Youth's Endearing Charm
PART ONE
1
A DISORDERED HOUSEHOLD
Bed-room at Jenkins' farm, five o'clock in the
morning. Discovered, Mrs. Jenkins, up and
dressing. In bed under covers, still lies
Farmer Jenkins, snoring. Mrs. Jenkins awakens
him, pointing to the daylight through the
windows. He arouses and sits up sleepily.
Berating him for leaving the early rising upon
her, she throws his clothes on the bed at him.
He yawns and steps out. Mrs. Jenkins stops to
listen at the three children "bawling" in the
next room She walks to the door and shouts for
them to "shut-up."
2
Children's bed-room at Jenkins'. Discovered,
sitting on a towseled bed, Willie, age five,
Lucy, four, the baby, two years old, all crying.
Mrs. Jenkins appears in door -- they cry the
louder. She does not come in to attend to them.
3
Same as 1. Bed-room at Jenkins'. Discovered, Mr.
and Mrs. Jenkins, dressing and jawing at each
other.
MARY, AN ORPHAN, BOUND OUT TO
FARMER JENKINS TWO YEARS AGO
Kitchen at Jenkins'. A big room, serving both
as kitchen, dining-room and partial living-room.
The place is replete with all necessities, and
though kept in certain order, is anything but
neat, or inviting. Enter Mary, a young girl
about fifteen, slovenly dressed, awkward and
unsophisticated, but bearing evidence of beauty
and refinement through all disguise. Mary is
yawning and trying to button her apron back of
her neck. Washing her face and hands in a
basin, she fills the stove full of shavings and
kindling from a basket and sets it afire. Next
the coffee-pot is set on the stove. In this
scene, and a few subsequent ones, Mary, a little
tall for her age, wears a discarded skirt of
Mrs. Jenkins' reaching almost to her ankles (too
long for her age). Her hair is rudely twisted
in a knot behind. With a gesture of disgust,
Mary hears the children crying. With a sigh,
she shambles toward their room and exits.
5
Same as 2. Children's bed-room. Discovered, the
three of them still unattended and "bawling."
Jenkins himself, pulling on his trowsers,
appears in door. He shouts:--
On screen.
"SHET UP!"
Back to scene.
But they don't. He stands there menacing them.
Enter Mary. The children see her and all hold
out their arms to her as their salvation. She
is nice and kind to them and starts dressing
them. Jenkins moves away from the door.
6
Same as 4. Kitchen at Jenkins'. Enter Mrs.
Jenkins. She sees the roaring, smoking fire of
Mary's, caused by the dry shingles, and runs and
takes a lid off to cool the stove. Enter
Jenkins. Mrs. Jenkins "goes for" Mary, in her
usual complaining, nagging manner.
7
Flash. Children's bed-room. Discovered Mary
and children. She stops dressing them long
enough to listen to the remarks paid her in the
kitchen.
8
Same as 6. Kitchen at Jenkins'. Mrs. Jenkins
starts to get breakfast at the same time calls
to Mary to hurry up. Jenkins combs his hair
(by a comb hanging by a chain to the mirror)
near the dining table. From the table Mrs.
Jenkins takes a bowl of eggs--counts them--
there are but few. She calls Jenkins'
attention to the fact, saying:
On screen.
"YOUR HENS HAVE GOT TO LAY MORE,
IF WE'RE TO FEED THIS FAMILY!"
Back to scene.
Jenkins scratches his head. He'll "be blamed"
if he knows how to get 'em to lay any more. Mrs.
Jenkins breaks the eggs, and with milk added
stirs up an omelet. She calls across the
kitchen for Mary to hurry up. Jenkins exits
outside house. Enter Mary, with children.
She carries the baby and sets it in its
high-chair before the table, then flies, in her
usual confusion in always being frightened by
both the Jenkinses, to set the table. Mrs.
Jenkins hands her a bucket and pushes her out
after water. Mary exits.
9
ZIPPY
Exterior of Jenkins' house--kitchen door, with
farm surroundings. Discovered Jenkins in
distance chopping wood at wood-pile. Sitting
upon the doorstep is Zippy, Mary's little cur
dog--a breed of the stiff-haired Airedale
variety, bright and affectionate. He wears a
collar. Enter Mary with bucket. Mary loves
Zippy. He is her best friend. She pats him
affectionately and he runs to the pump and back
with her. She and Zippy enter house.
10
Same as 8. Jenkins' kitchen. Discovered Mrs.
Jenkins with breakfast prepared and all the
children seated at table. Enter Mary and Zippy.
Mrs. Jenkins goes to door, and irritably calls
out at Jenkins to come in to breakfast. Mary
sets down her water-bucket and starts to
frolicking with Zippy. Mrs. Jenkins looks out
the corner of her eye, but does not say
anything. Immediately after playing with and
patting Zippy, Mary turns to the table and
begins cutting the loaf of bread. Mrs. Jenkins
whirls around with:--
On screen.
"WASH YOUR HANDS AFTER
HANDLING THE DOG!"
Back to scene.
Nearly scared out of her senses, Mary drops the
knife and runs to the wash-basin. Enter
Jenkins with armload of wood. "What's the
commotion now?" he inquires. Mrs. Jenkins
explains there is "too much dog." Dropping his
wood with a bang behind the stove--Jenkins
opens the outer door. Zippy exits, almost
riding Jenkins' foot. Turning, to take her
dog's part, Mary receives a cuff on the ear
from the woman, and subsides in her place at
the breakfast table.
11
MORNING CHORES
Same as 10. Jenkins' kitchen. Room cleared,
save Mary, who is washing up the breakfast
dishes, pans, etc. A great pile of them
already washed and draining, stands on the
table. Enter Mrs. Jenkins. She scolds Mary as
usual for being slow. Stopping the dish-
washing, the woman starts Mary on her morning's
chores. Two large pails, filled with "swill"
stand by the kitchen stove for the pigs. An
empty pail for milking is near. Mrs. Jenkins
loads Mary up with all of them. From the table
she also takes two butcher knives, which Mary
can sharpen up at the grindstone when she
returns. Mary exits with her uncertain load.
12
Same as 9. Exterior of Jenkins' house--kitchen
door. Enter Mary from 11. Zippy is there to
go with her. She exits toward stables.
13
Pig pens. Enter Mary. She feeds the pigs, also
stops for a moment's talk to them, as well. She
and Zippy exit.
14
Cows in barn-yard. Jenkins is already there,
milking several and about finished. Enter Mary.
She starts to milk a cow. Jenkins exits with
his two filled buckets, but stops to take a
silent look at Mary, for he realizes that she
is growing pretty.
15
JACK OF ALL TRADES
A grindstone on the barn-lot. Discovered Mary,
her filled milk-bucket on the ground, grinding
and sharpening up her two butcher knives. She
finishes the last and exits with her buckets.
16
Same as 11. Jenkins' kitchen. Discovered Mrs.
Jenkins, sorting the family wash. On the stove
a wash boiler steams. Enter Mary with the
bucket of milk and her two butcher knives.
Mrs. Jenkins takes the milk and knives, and
indicates that Mary's next chore is the family
washing. She is tired, but rolls up her
sleeves and stands contemplating the time-old
job. A stamp from Mrs. Jenkins' foot sends her
flying to work. Enter Jenkins from another
room. He carries a coat with the sleeve half
worn out. He shows it to Mary--her next turn
is to sew in the sleeve. Wearily she takes
note and nods, rubbing away on the board.
Jenkins leaves the coat and exits out doors.
The table has a checked cloth on and is all set
up for dinner, evidently by Mrs. Jenkins. Mrs.
Jenkins enters another room and returns with
the baby, for Mary to mind, and sets it on the
floor (on an old comfort) near enough the table
for the baby to catch hold of the tablecloth
later. "Yes," Mary indicates, she will "mind
him." Exit Mrs. Jenkins out of doors, in
sunbonnet.
17
Same as 12. Exterior Jenkins' house--kitchen
door. Enter Mrs. Jenkins. She takes a rake
and hoe, leaning against the house, and exits
for the garden.
18
Corner of yard, near house. Discovered,
Jenkins sharpening a scythe at the grindstone.
He sees his wife off for the garden.
19
Garden. Enter Mrs. Jenkins to work.
20
Same as 18. Corner of yard. Discovered Jenkins.
He sees his wife in the garden. Setting aside
the scythe, he starts for the house.
20 1/2
Same as 16. Jenkins' kitchen. Discovered Mary
occupied between the washing and trying to
amuse petulant baby, succeeding a little at
both. Enter Jenkins. He looks on. Attracted
by Mary in a way she does not understand he
starts up a conversation at the tub. Soon he
is handling her pretty hair. Annoyed, yet
always frightened of him, she suggests he amuse
the baby rather than bother her. He laughs and
passes through kitchen.
21
Garden. Discovered Mrs. Jenkins. She exits
for house with rake and hoe and a basket of
vegetables.
21 1/2
Same as 16. Jenkins' kitchen. Discovered Mary
washing in tub, and baby on floor. Unobserved
by Mary, the baby has caught hold of the
tablecloth and pulls it and the dishes upon the
floor. Standing on the other side of the tub,
though some distance from the baby, Mary
reaches out furtively toward the falling dishes,
and thus upsets the tub and all the clothes on
the floor. Enter Mrs. Jenkins at this climax
with basket of vegetables. Enter Jenkins from
another room. Furious, Mrs. Jenkins picks up
the wet and frightened child and starts to cuff
Mary with the free hand. Paralyzed, Mary takes
the cuffing, till Jenkins comes to Mary's
rescue and jerks his wife away. This being a
new attitude to Mrs. Jenkins she does not know
what to make of it. "Let her alone," exclaims
Jenkins, "can't you see she's got too much to
do?" "No!" Mrs. Jenkins can't see it that way,
and starts again at Mary, but Jenkins holds her
back. He orders Mary to pick up her wash. He
exits. Mary keeps an eye ready for escape on
the woman, but Mrs. Jenkins is too surprised at
Jenkins to do anything but sit down.
THAT EVENING
Same as 17. Exterior of Jenkins' house--kitchen
door. Discovered Mary, playing with Zippy.
Enter Mrs. Jenkins in door, with basket to hunt
the day's eggs. She admonishes Mary:--
On screen.
"NEVER BRING IN SO FEW
EGGS AGAIN. HUNT TILL
YOU FIND THEM ALL!"
Back to scene.
Mary exits toward barn.
23
Barn. Enter Mary with basket. She exits in
barn.
24
Interior of barn--a row of nests in the hay.
Enter Mary. She finds eggs in some nests but
not all. Coming to one nest, Mary reaches over
and pats a setting hen on the back.
25
Close-up. Hen on eggs in nest. Mary pets and
talks to her.
26
Same as 24. Nests in barn. Mary exits, but is
afraid to go in with so few eggs.
27
Same as 23. Barn. Enter Mary from inside.
Zippy is waiting for her. They exit toward
house.
28
A FEW DAYS LATER
Same as 21 1/2. Jenkins' kitchen. Discovered
Mary, alone, washing dishes. Enter Jenkins
from outdoors. It is plain now that the man is
enamoured of Mary and that she is entirely
innocent of his intentions. He approaches her
with a remark that causes her to stop work.
He looks her over admiringly. He says:--
On screen.
"'PEARS TO ME YOU'RE
ABOUT GROWN UP!"
Back to scene.
Mary registers "Maybe so."
29
Same as 1. Jenkins' bed-room. Discovered Mrs.
Jenkins making the bed. She overhears the
talking outside and listens.
30
Same as 28. Jenkins' kitchen. Discovered Mary
and Jenkins. She slides away from his intrusion.
He grabs and kisses her. Indignant and furious,
Mary gives him a piece of her mind -- "What are
you bothering about me for--Go about your
business!" she exclaims.
31
Same as 29. Jenkins' bed-room. Discovered Mrs.
Jenkins listening. With set lips she exits to
kitchen.
32
Same as 30. Jenkins' kitchen. Discovered Mary
and Jenkins. He has hold of her arm. Mrs.
Jenkins appears in door. She then advances,
surprising the crestfallen Jenkins, and orders
him away. But her wrath is vent upon Mary,
instead. Taking his hat, Jenkins slinks out.
Mrs. Jenkins wheels upon Mary. She exclaims:--
"YOU OUGHT TO BE ASHAMED OF
YOURSELF--TRYING TO FASCINATE
A GODFEARING MAN!"
Back to scene.
Dazed, Mary hasn't the slightest idea what she
means, but says in return, very indignant, "I
wasn't bothering him--he was bothering me!"
Mrs. Jenkins won't accept it that way. She
looks Mary over. So she 'pears grown up? Well,
she'll soon fix that--it's the long skirt, it
is. Mary's widening eyes behold the woman get
a big pair of scissors. Jerking Mary into the
middle of the floor, Mrs. Jenkins makes her
stand still. Then she cuts off the bottom of
the skirt about a foot, so that it falls to an
inch below the knees, revealing Mary's white
stockings and old shoes in ridiculous fashion.
Mary protests, but Mrs. Jenkins finishes her
job. Next she sights the lovely hair. Down it
comes. Getting a brush, she is so mad she
douses it in the bucket of drinking water
(dipper standing in bucket) and wets down
Mary's curls -- divides them and begins to
braid them in two pig-tails.
33
Flash. Same as 22. Exterior of Jenkins' house.
Discovered Jenkins sitting on a log not far
away, whittling, with furtive glances toward
the house. He is quite provoked his "old woman"
got one on him.
34
Same as 32. Jenkins' kitchen. Discovered Mrs.
Jenkins and Mary. One pig-tail is braided and
tied. Mary is commanded to braid the other
herself. Humiliated at her short skirt she
tries to pull it down. Mrs. Jenkins glances in
anger toward the outer door. " I'll show him
who's grown up," she says. Mary sits down on a
chair and begins to cry, reduced to angry
submission. Mrs. Jenkins stamps her foot.
Jumping, Mary starts to braid her pig-tail.
Exit Mrs. Jenkins. Mary braids an instant,
then steals outside to show Zippy her disgrace.
35
Same as 33. Exterior of Jenkins' home.
Discovered Jenkins unobserved, some few feet
away. Discovered Zippy around the door (or Mary
can appear in door, weeping, and call him when
he comes running around the house). The poor
child, now in pig-tails, hair parted in the
middle and "slicked back" and with a skirt
ludicrously short, is a sorry little object
indeed. Jenkins, whittling. He comes forward.
Mary has sat down on the steps, her arms around
Zippy, crying. Jenkins catches her by the arm,
makes her stand up, reluctantly, and looks Mary
over. He is compelled to laugh at the
metamorphosis--to Mary's innocent grief and
despair. He says:
On scene.
"MY, AIN'T SHE CLIPPED
YOUR WINGS, THOUGH!"
Back to Scene.
Mary just cries, sitting down by Zippy again.
Mrs. Jenkins appears in the door and orders
Jenkins about his business. He goes off
laughing.
36
THE LAST STRAW
Same as 34. Jenkins' kitchen. Discovered Mrs.
Jenkins, Mary, and the three children--baby in
high-chair. Mrs. Jenkins and Mary are getting
dinner. Mrs. Jenkins gives Mary the egg-basket
and orders her to hunt some eggs for dinner.
"And see that you bring enough for all of us,"
says the woman. Mary exits.
37
Same as 23. Barn. Enter Mary. She exits in
barn.
38
Same as 24. Interior of barn--with the row of
nests and the setting hen. Enter Mary. She
collects what eggs there are--but there are not
enough. She disappears further in the barn, is
gone a moment, and returns--still afraid to go
back with so few eggs. She stops and
contemplates the setting hen. Why not? These
would add more eggs at least. Mary reaches
under the hen and draws out two eggs. She says
in apology:
On screen.
"EXCUSE ME, PEGGY--IF THEY DON'T
EAT 'EM, I'LL BRING 'EM BACK."
Back to scene.
Mary puts the eggs in her apron pockets so they
may be identified, and exits with the rest in
her basket.
39
Same as 36. Jenkins' kitchen, empty, save the
children. Enter Mary with eggs. She
stealthfully takes the two eggs from her pocket,
then with an old stub of lead-pencil from a
shelf, makes a cross on each egg.
40
Close-up--the eggs in Mary's hand, each with a
cross -- X.
41
Same as 39. Whole scene--Jenkins' kitchen.
These two eggs Mary drops in a separate bowl on
the table, hoping Mrs. Jenkins will not cook
them. Enter Mrs. Jenkins to continue her
preparation of the dinner. She sees the egg
basket and noting its contents begins to berate
Mary, till Mary indicates there are more eggs in
the bowl on the table. Apparently satisfied,
Mrs. Jenkins drops the eggs in the basket in a
pot of boiling water, to boil. She indicates
for Mary to watch the clock and time them. But
Mary is worried about the eggs on the table.
Enter Jenkins--he takes his place at the table,
and hurries on dinner. Mary with an eye on the
clock, and on the bowl on the table, puts the
two other children up at the table. Mary begins
to cut the bread. The two older children, side
by side, start to quarrel and cry. Jenkins
tries to silence them. Enter Mrs. Jenkins;
having set the coffee-pot on the table she
places another bowl before Jenkins for his
boiled eggs. Mary had tried, but is never able
to get the other bowl off the table. Mrs.
Jenkins ladles out the boiled eggs in a wire
strainer and approaches the table. She picks
out an egg apiece and sets each on the plate in
front of each child. The others she dumps out
in the same bowl in which Mary has placed the
two marked, uncooked eggs, and pushes the whole
up before Jenkins. Mary, worried, draws off to
one side and watches. Preoccupied with the
children handling their eggs, and calling Mary
to fix them, Jenkins takes one egg from the
bowl and breaks it on the edge of and into his
dish. Still preoccupied, he picks out two
other eggs in one hand.
42
Close-up. The two marked eggs in Jenkins' hand.
43
Same as 41. Jenkins' kitchen--a nearer view of
the table. Jenkins takes one egg in each hand,
and between "jawing" at the children and his
wife, starts to break them on the side of his
dish, as he did the first.
44
Close-up of Mary -- watching Jenkins.
45
Same as 43. Jenkins and children at the table.
Mrs. Jenkins sits down. Cracking one egg,
Jenkins starts and listens. He holds one egg
to his ear. Mrs. Jenkins watches him in concern.
So does poor Mary. He breaks the shell.
46
Close-up Mary -- waiting, open-mouthed.
47
Same as 45. Discovered Jenkins, Mrs. Jenkins,
and children, the latter watching. The broken
eggshell lies on the table beside Jenkins'
plate, but he has slapped an empty dish down
over the object of his amazement. Mary is
moving toward the outer door. Jenkins with a
terrible look, raises the dish and a little
chicken totters out. Tableau--especially with
Mary. Jenkins and his wife stare at shrinking
Mary, who is tying to reach the outside door.
"And so this is some more of you!" cries Mrs.
Jenkins. Jenkins hurls the loaf of bread, his
empty plate, and coffee-cup at Mary. Both the
farmer and his wife rise in their places. The
last straw is broken -- Mary takes out for her
life.
48
Same as 35. Exterior of Jenkins' home.
Discovered Zippy, tied by a string at the
corner of the house. Enter Mary hastily from
house. She starts to run for dear life, then
sees Zippy and quickly unties him. She says to
him:
On screen.
"ZIPPY, WE SURE HAVE
GOT TO GO NOW!"
Back to scene.
Zippy is glad enough. They start on a dead run
over the lot.
49
Same as 47. Jenkins' kitchen. Discovered Mr.
and Mrs. Jenkins and the children. The
children giggle and there is a family uproar.
Jenkins goes to the wall and takes down a whip,
then springs to the door in Mary's wake.
50
Same as 48. Exterior of Jenkins' home, with
Mary and Zippy running in background. Enter
Jenkins in door with whip. "Come back here!"
he yells, brandishing the whip. But Mary and
Zippy do not alter their intentions. They keep
right on. Jenkins goes back in house.
51
Same as 49. Jenkins' kitchen. Discovered Mrs.
Jenkins and children at table. Enter Jenkins.
He throws down whip and goes back to table. He
says:
On screen.
"SHE'LL BE BACK, ALL RIGHT!"
Back to scene.
He sits down. Fade out.
END OF PART ONE
PART TWO
52
Barn-lot. Discovered Mary and Zippy still
running, and looking back.
53
Same as 14. A group of cows in barn-lot.
Enter Mary and Zippy, running. As Mary passes
the cows, she calls to them:
On screen.
"GOOD-BYE, COWS!"
Back to scene.
Exit Mary and Zippy.
54
Same as 13. Pig-pens. Mary and Zippy pass
these in their flight. As she passes, Mary
looks over into the pen at her old friends.
On screen.
"GOOD-BYE, PIGS!"
Back to scene.
Exit Mary and Zippy.
55
A fence dividing barn lot from turnpike. Enter
Zippy and Mary. She lifts him over the fence,
and follows herself. They start up the turnpike
--still running. It is real and sure enough
"business" for Mary, but a lark for Zippy.
56
Turnpike. Another scene, further on. Mary
running, still looking back, and Zippy. She
imagines her offense so great that there never
can be any returning.
57
Turnpike. Further on. Discovered a wagon of
loosely piled hay, driven by farmer, moving
ahead on road, back of wagon to camera.
Discovered Mary and Zippy behind it, running.
58
Same as 57. Closer view. Mary reaches the
wagon, panting for breath. She crawls in
behind (leaving Zippy out) and tries to conceal
herself under the hay. Zippy runs along behind.
59
Flash. Close-up of Zippy barking behind wagon.
Mary has climbed under the hay and is concealed
all but one ankle and foot.
60
Turnpike, with wagon moving along, side view.
The farmer hears a dog barking and looks around
to see where it is, as the road is deserted as
to houses, etc. He finds Zippy running behind
and whips back at him.
61
Same as 49. Jenkins' kitchen. Discovered Mr.
and Mrs. Jenkins and children, having finished
meal. The elders are quarreling over Mary's
absence. Mrs. Jenkins goes to the door, looks
out, and returns, saying that Mary is nowhere
in sight. Mrs. Jenkins with brandishing arm,
hurls at Jenkins:
On screen.
"IF YOU'VE DROVE HER AWAY,
YOU GET ANOTHER ONE!"
Back to scene.
Jenkins registers he has had about enough of it
as it is and exits outdoors.
62
Same as 50. Exterior of Jenkins' house. Enter
Jenkins from house. He looks for Mary--she is
really gone. Calling does not bring her. "Oh,
well," he registers, "she will be back." He
moves off.
63
Same as 60. Turnpike. The wagon has stopped in
road. The farmer gets down and goes back to
whip away Zippy and still his irritable barking.
He can't imagine why and where Zippy has come
from. Concealed under the hay, all but her foot
sticking out behind, Mary hears Zippy being
scolded and wiggles her foot almost in the
farmer's face. In astonishment he sees he has
an extra load. Catching Mary by the ankle he
pulls her out the hay on the road. He surveys
the pig-tails and the white stocking. He asks:
On screen.
"WELL, NOW--WHOSE
CRITTER AIR YOU?"
Back to scene.
Afraid she will be sent back to the Jenkins',
if the farmer should know them, Mary answers:
On screen.
"NOBODY'S -- I'M
JUST TRAVELIN'!"
Back to scene.
Finally the farmer permits her to get up on the
front of the load with him, taking Zippy along.
He drives off.
64
SUMMER VACATIONISTS
RETURNING HOME
A country railroad station. Discovered Mr. and
Mrs. Bell, middle-aged city people of
comfortable circumstances, with two children, a
boy of four and a baby a year old, camped on the
benches outside, tediously awaiting the arrival
of the country train. Mrs. Bell, younger than
her husband, is nearly tired out with the crying
baby, etc. An array of baggage, hand and
otherwise, is stacked on the platform. Mr.
Bell is trying to help the station-boss check
up some of the hand-baggage. Consulting his
watch, the station-boss registers he has no
idea when the train will come. Mrs. Bell
registers weary collapse.
65
Flash. Same as 63. Turnpike and wagon. Mary
chats with the farmer.
66
Same as 65. Wagon. Close-up. Front view over
the horses' backs. Discovered farmer and Mary
on front of wagon, with Zippy sitting between
them. Mary finding the man friendly, chats
volubly. She says:
On screen.
"I HAVE RELATIVES IN THE CITY"
Back to scene.
The farmer looks her over, amused. He asks:
On screen.
"BE YOU A-GOIN' TO 'EM?"
Back to scene.
Mary nods. She hasn't a friend on earth but
Zippy, and she must lie and get along somehow.
Nervously she adds:
On screen.
"YES. THEY'RE--THEY'RE
MILLIONAIRES"
Back to scene.
Surveying her tattered condition again, the
farmer takes this with a grain of salt. Mary
endeavors to convince him of her assertion. He
whips up.
67
Same as 69. Country railroad station, another
view. Enter the hay-wagon, with farmer, Mary,
and Zippy. Of course, he thinks, if Mary is
going to the city, the station is the place to
let her off. The poor child has led him on by
her own bait, and when he draws up, she and
Zippy have to get off the wagon. But she thanks
him, and he drives on. Alone in another strange
place, Mary picks up the string tied to Zippy's
collar, a forlorn little creature. She moves up
on the platform, however, leading Zippy.
68
Same as 64. Country railroad station.
Discovered all the Bells, as in 64. The baby
is still crying--Bell himself shakes a rattle
before it. Enter Mary and Zippy around corner
of building. All see each other. Mary slowly
sidles up. Her appearance is so ludicrous that
the Bells are amused. But Mary has chiefly
taken note of one thing--the baby is crying --
she knows how to tend to babies, and they are
not doing it right. Approaching Mrs. Bell, she
takes the baby and cuddles him up--just right.
"See--like this? " she says. And sure enough,
Mr. Baby stops crying. They ask Mary where she
is going. "To the city," she replies, not
knowing in the least how she will reach there.
Enter station-boss from building. "The train
is coming," he announces, pointing up the track,
and whirling some of the trunks to the edge of
the platform. "Will you take care of my baby,
going in?" asks Mrs. Bell. Mary nods and
indicates that Zippy must go too. Mr. Bell runs
to buy another ticket.
69
ENGAGED AS NURSEMAID
FOR THE RAILROAD FARE
Same as 68. Bell returns with the extra ticket
for Mary. Mary looks so pitifully grotesque
that Mrs. Bell hands her one of her own cloaks,
an old golf cape reaching a little below Mary's
skirts, which will cover her up. Mary is still
hatless. The train pulls in. The Bells and
Mary and Zippy all get aboard, Mary carrying
the baby.
70
FREE AT LAST!
Close-up of Mary, with baby in her lap. Just
one seat in the car. Mary's facial emotions
are conflicting--still one is paramount. She
has gotten away from those horrible Jenkins' at
last! Even with no place to lay her head she
is glad. Zippy sits beside Mary and the baby.
71
Interior of passenger car. Discovered the
Bells sitting behind Mary, baby, etc., in car.
The conductor comes along. Mr. Bell gives him
the tickets, indicating that one is for Mary.
Conductor moves up beside Mary, and sees Zippy
in the seat. "He must get down from there,"
demands the official. "Oh, please let him stay,
he's my best friend!" exclaims Mary. Mr. Bell
pulls the conductor's sleeve. "It's all right
--let him stay," says Bell. The conductor,
with a warning, passes on. Mary hugs Zippy
and grins back at the Bells. Then she begins
to amuse the baby.
71 1/2
THE CITY
Large city terminal station. Discovered, Mr.
and Mrs. Bell, the children, Mary, and Zippy,
entering from station to sidewalk. The Bells
think that Mary is coming right along with them,
but she stops and hands over the baby. "Why
don't you come?" begs Mrs. Bell. Mary shakes
her head for reasons of her own, and says:
On screen.
"I GOT TO HUNT MY RELATIONS"
Back to scene.
They can't induce her to come--nor will she
tell who her relatives are. Bell asks her if she
has any money. Mary has not. Bell gives her
two crisp one dollar bills for her services --
a fortune to Mary, who has never owned a cent
in her life. She is so grateful and so
ludicrous when she removes Mrs. Bell's cloak,
that Mrs. Bell decides she does not need it and
presses it upon Mary to keep. Bell hands Mary
his card and address. The Bells take a taxi
and exit. Mary, alone and friendless in a great
city, stands looking at her two new bills.
"Goodness, Zippy--we are rich." Pedestrians
passing, she hides her money and leads Zippy
out on his string.
72
City street, presumably not far from terminal
station. Discovered Mary leading Zippy by a
string. They pass a stand where a man is
selling hot frankfurter sandwiches. Mary
concludes that she and Zippy must eat. She
selects a sandwich for herself, but compromises
on two frankfurters alone for Zippy, instead of
the added bread. Hating terribly to part with
one of her new bills, Mary nevertheless pays.
She gives Zippy his portion, and eating her
own, exits with him.
73
Street scene--residence portion. Enter Mary
and Zippy, lost in a big city. Very weary,
Mary is revived to see a handsomely dressed
young woman pass from the opposite direction,
leading a poodle dog with a big ribbon bow at
back of his neck and another tied on his
harness in the middle of his back. The haughty
lady never notices Mary, but Mary takes note of
her dog, also observes the little ribbon tied
around his nose as a muzzle. "My, Zippy! I
guess you are all out of style," says Mary.
While Mary has been observing the passing dog,
a maid enters from a house carrying out some
tied-up newspaper packages and a fairly good
woman's hat which she stuffs in top of a
garbage barrel at edge of the sidewalk. Maid
exits. Mary sees the hat. She wears none.
With a furtive glance at the house, she finally
gets the hat. "Why, this is a good hat--what
a shame to throw away a good hat." Mary tries
it on and lets it remain on her head.
Curiously she pulls at one of the parcels. A
yard or so of three-inch-wide ribbon emerges.
Mary pulls it out. She has no place about her
person for it. But there is Zippy! Mary
glances in direction of the other dog and
laughs. Just watch her fix up Zippy in style.
She doubles and ties all the ribbon in a big
bow on his collar. How Mary laughs. She
exclaims:
On screen.
"NOW, ZIPPY, YOU
ARE A CITY DOG!"
Back to scene.
They exit.
74
STRANDED
A poorly furnished garret bed-room. Discovered
Mary sitting on the bed, feeding herself and
Zippy from a paper bag. Things look black--she
is about ready to cry. Enter the old, old
bugbear--a landlady. Landlady wishes rent.
Mary only has a few pennies left. The unkind
woman takes all of these, then out Mary and
Zippy go! Mary gets into her cloak and the
(garbage) hat, a summer style with some flowers
upon it and very becoming, and exits with Zippy,
crying.
75
Business street scene. Enter Mary and Zippy. A
policeman stops Mary. She hasn't her dog muzzled
and must observe the law. Mary recalls the
other lady's dog and knows what is meant, but
she has no means nor muzzle. The policeman is
kind and as Zippy looks harmless, he manages to
feel about his pockets till he discovers a piece
of tape. This he folds around Zippy's nose and
ties around his neck. Zippy don't like it, but
Mary is thankful. "Do not leave it off," says
the officer. Mary and Zippy exit.
76
MIDDAY -- AND HUNGER
Discovered Mary and Zippy sitting upon a
doorstep, very forlorn. As they sit there an
old blind man feels his way along with a cane,
holding out his tin cup as he passes. A few
pedestrians toss him a coin. Poor man--Mary is
very sorry for him. He exits. Mary registers
hunger. What on earth can she do--the Jenkins
are far away and there is not a soul to go to.
Suddenly she thinks of Mr. Bell's card and
brings it forth from her waist. While she
looks at it fade to--
77
Same as 69. Country railroad station. Discovered
Bell family awaiting the train, with Mary
approaching the crying baby and taking it in
her arms. Fade back to--
78
Same as 76. Discovered Mary and Zippy on
doorstep. Mary looks at the card. She shakes
her head -- she does not like the vision. She
exclaims, holding her face in her hands:
On screen.
"I'VE ALWAYS HAD BABIES--
I DON'T WANT ANY MORE!"
Back to scene.
Mary looks up and receives another vision. Fade
out or dissolve to-
79
Same as 61. Jenkins' kitchen. Discovered Mary,
Mr. and Mrs. Jenkins, the baby who pulls the
cloth and dishes from the table, and Mary who
has overturned the wash-tub. Fade out into--
80
Same as 78. Discovered Mary and Zippy on
doorstep. The nightmare of the Jenkins family
is too much. Anything but that! Holding her
head, Mary runs out the picture--Zippy
following.
81
THE THEATER HOUR
Tinted bright, yellow gas-light. The entrance
to a good city theater. Men and women in
evening dress are entering. Enter Mary and
Zippy, on his string--ribbon bow and all. Mary
contemplates it all. All are so happy and she
and poor Zippy are hungry. They must eat--but
how? She looks down and speaks to him, saying:
On screen.
"ZIPPY, WE'VE GOT TO EAT"
Back to scene.
But how can they accomplish it? Suddenly a
thought strikes Mary. She remembers the old
blind man. She will play blind herself! Here
with the rich people is just the place for it.
Unobserved up to this time, she moves a few
paces along, and loosening out her hair, which
is now pinned up in the former way, lets it
fall about her shoulders. Her hat she tucks
under her cloak. Pulling the cloak around her
she sits down near theater entrance, with Zippy
beside her, and holds out her hand, her head
back--her eyes closed. Automobiles draw up
with theatergoers at the curb. Mary is
beautiful in her falling hair, and sweet,
up-turned face, and the coins drop in her hand.
A gentleman drops her a half-dollar. Mary feels
of its size and senses its value.
82
Close-up of Mary, blind-- and Zippy. Feeling
the half-dollar in her hand, she can't help but
squint down at it--her eyelids flutter--she sees
fifty cents. My! Her eyes snap back shut again.
83
Same as 81. Curb, near theater, with Mary blind
and Zippy. The theater crowd swells, and the
coins still drop to Mary. One lady alighting
from a taxicab, notes the girl's rare beauty.
She is sorry and makes her husband go down in
his pockets for a silver dollar. Feeling of it,
Mary's eyelids flutter--but she don't dare look.
Enter, feeling along with his stick, another
blind man--thin, about 45, wearing smoked
glasses. Mary has evidently squatted herself
in his regular stand in front of the theater.
Nudging her with his cane, he resents her
intrusion. Forgetting herself, she squints up
at him--and is suspicious that he is not blind,
either. The man squats down beside her.
Pushing her he says:
On screen.
"MOVE ALONG! THIS IS MY
STAND, AND I AM BLIND"
Back to scene.
Mary listens with imperturbable face--eyes
closed. Then, curious, she slowly turns her
head toward him.
84
Close-up of Mary and the blindman. As she
turns her face to him, he does the same to her,
slightly looking out under his glasses to see
her, thinking she is blind. They both catch
each other with open eyes. Mary snaps hers shut
again and exclaims:
On screen.
"MOVE ON YOURSELF. I GUESS
I AM AS BLIND AS YOU ARE!"
Back to scene.
The man quickly readjusts his dark glasses.
85
Same as 83. Curb in front of theater.
Discovered Mary and the blind man and Zippy.
Mary completely usurps him and makes him go,
even setting Zippy upon him. He rises and
feels his way with his cane out of the picture.
Holding out her hand, Mary is quite blind again
-- and the coins drop, their givers remarking
her beauty. Enter taxicab containing Harry
Disbrow, young son of millionaire Disbrow, with
three young companions, all in evening dress.
Harry sees Mary, admires her, but is pushed on
into the theater by his companions. She does
not observe him.
86
PROFESSIONAL JEALOUSY
The crowd in front of theater. A fine looking
young policeman is on duty, preening himself
before the theatergoers. Enter blind man from
85. He manages to sidle up to the policeman
and slips him a money bribe. Then the blind
man whispers:
On screen.
"PINCH THAT LITTLE
IMPOSTER OVER THERE"
Back to scene.
The policeman nods. Ostensibly this mendicant
is a regular patron (tipster) of his.
Registering that he will nip the flowering bud,
the officer ambles over to the other side. The
blind man settles himself for his night's
begging.
87
Same as 85. Curb in front of theater, with Mary
and Zippy. Enter policeman from scene 86. He
sees his mark. Just as Mary has received a
coin from a passerby, and ties it in her
handkerchief with her goodly collection, she
senses something ominous standing beside her
(the policeman), but she does not look up. No
one will catch her off her job again, while she
is on it. The officer touches her shoulder
with his night-stick. Mary turns a guileless
face up to his--eyes closed. He lifts her up
by the arm. He peers into her face. Mary
never flickers. Her hands grope over him
blindly. So far as he knows she may be blind,
but she is on the other mendicant's beat who
has paid for his -- so he must get this one out
of the way. He arrests Mary and leads her and
Zippy away. But Mary is pretending that she is
blind very effectively.
88
Sergeant's office in police-station. Enter
policeman, Mary, and Zippy. The sergeant is
impressed with the scene, and Mary's beauty,
but listens to the complaint. The policeman
says Mary is shamming. Asked if she is really
blind by the sergeant, Mary says she is. Asked
if she has a license for begging, Mary answers
she has nothing but Zippy. The sergeant is
reproachful to the officer for bringing Mary
in, but is compelled by law to hold her as a
vagrant. A guard leads her and Zippy, whom she
insists having along, to a cell.
89
Jail--three cells. Enter guard or turnkey,
with Mary and Zippy. He locks them in, Mary
still blind, and protesting. The turnkey is
sorry. He exits. When he has gone, Mary opens
her eyes and looks out through the bars, from
her seat. Grasping Zippy around the neck, she
cries:
On screen.
"OH, ZIPPY, MAYBE
THEY'LL HANG US!"
Back to scene.
Mary is truly frightened.
90
HARRY DISBROW, DISSIPATED
SON OF A MILLIONAIRE
Same as 85. Front of theater, the performance
over. Enter Harry, with companions. They
enter a taxicab and exit.
91
IN THE WEE SMA' HOURS
Exterior of gentlemen's club. Tinted moonlight.
Enter from club building, Harry and companions.
One or two wish to see him home, but Harry is a
handsome young chap, the prince of good fellows
--and can find his way home alone, thank you.
All have been drinking in the clubrooms,
however. They separate, going in opposite
directions, Harry staggering out alone.
92
Exterior of the Disbrow home -- a handsome
place. Enter Harry, hat on the back of his
head, swinging his cane zig-zag up the walk.
93
Same as 92. Exterior Disbrow house. Close-up
of front door. Discovered, Harry with his latch
key, trying to unlock the door. With futile
jabs he is never able to strike the keyhole,
nor can he feel of it with his fingers.
Drawing back he jabs again. Blinkingly he looks
the premises over--yes, this is his house. He
tries the key again--no use. He exclaims:
On screen.
"THE KEYHOLE ISHN'T HERE TONIGHT!"
Back to scene.
He is utterly unable to find it.
94
Same as 93. Whole scene of porch. Harry stands
at the outer edge, scratching his head, looking
at his key. He starts to ring the door-bell.
No, that won't do--his father will go for him
again. There's noting to do but try to get in a
window. He scales the porch railing and tries a
front one. It won't work.
95
Hedge-fence or wall, outside Disbrow house.
Discovered a policeman--the night-watchman.
Looking in, he sees a probable Raffles. He
slowly starts over the fence.
96
Same as 93. Exterior of Disbrow house--another
view along the side. Discovered Harry creeping
along. He climbs up, reaches one window and
tries it--locked. The next he is able to open.
Just as he is half way in, enter policeman who
pulls him out by the leg and arrests him.
Drunk and mad, he protests and wants the
officer to call his people. But the officer
declines--he is on to these Raffles fellows. He
jerks Harry out, protesting vigorously, but he
is compelled to come along. They exit.
97
Same as 88. Sergeant's office in police-
station. Discovered, the same sergeant as in 88.
Two policemen are waiting their turn with
"arrests." One is an old woman in tattered
shawls, who protests; the other officer has a
couple of pickpockets. Enter officer with
Harry, good-natured but reeling. The others
are taken back to the cells. Harry has his
turn with the sergeant. Harry starts into
assailing his officer. The sergeant silences
him. Asked for identification (they see he is
well dressed) Harry filches in every pocket of
his dress-suit and cannot find a card, his
wallet, or a letter. He accuses the policeman
of having robbed him. The sergeant knows
better. At any rate he concludes that Harry
can sober up in the lock-up with the rest, and
have his hearing before the magistrate in the
morning. Harry is piloted back to the cell.
The sergeant shakes his head. This is a wise
crook--or a young swell going wrong very fast.
98
Same as 89. Tier of cells. Discovered Mary and
Zippy in one. Mary hears a commotion and rises
up from her bench, holding Zippy. Enter
policeman, who passes with Harry. Unobserved by
turnkey, who thinks her blind, Mary gets a good
look at Harry in his evening clothes. She says:
On screen.
"MY, ZIPPY! HE'S DRESSED
ALL BY 'MAIL ORDER'"
Back to scene.
99
Harry's cell. Policeman locks him in. His
silk hat on back of his head, he makes a pillow
of his overcoat. Hardly realizing where he is,
he philosophically begins to make himself
comfortable. His attention is attracted by
Zippy barking down the corridor. "Who in the
devil's dog?" he growls, trying to look out.
100
Close-up of bottom of Mary's cell-door, with
Zippy barking through the bars.
101
Same as 98. Whole tier of cells. Mary tries
to quiet Zippy.
102
Same as 99. Harry's cell. Closer-up. He yells
at Zippy. Pulling off his shoe he rises to
throw it.
103
Same as 101. Mary, with startled eyes, grabs
Zippy up in her arms. Comforting him she
exclaims:
On screen.
"I DON'T BELIEVE THAT ANY
OF THESE IS NICE FOLKS"
Back to scene.
While Mary buries her face in Zippy's coat, the
picture fades.
END OF PART TWO
PART THREE
109
SORTING OUT THE CHAFF
Magistrate's Court. Discovered the usual court
attendants, and several "arrests" up for a
hearing. Judge Strong sits on the bench.
Discovered Mary, her complaining officer, and
Zippy. Enter Harry, sobered and indignant, in
his evening clothes. The spectators titter at
him. A case having just been disposed of, the
magistrate hears Mary's. Mary never once loses
her hold on being blind before the court. Very
much frightened, she keeps up her shamming
beautifully and enlisting the sympathies around
her. The judge questions her. She has no
place to go--no friends but Zippy. Harry
notices and begins to take an interest in her.
The judge is sorry for Mary. In disposing of
her case, he leans kindly over the bench and
says:
On screen.
"BLIND AND FRIENDLESS, I
SHALL HAVE TO COMMIT YOU
TO AN INSTITUTION"
Back to scene.
Mary is much perturbed. This may be a worse
place than the Jenkins'. But the judge tells
her she will be safe from the streets. He waves
her on and out. Harry interrupts. His case is
next and the girl's innocent beauty and pitiful
plight have interested him; also he smiles at
sight of and memory of Zippy of the night
before. As Mary moves out with the officer,
Harry signals the judge:
On screen.
"WAIT A MOMENT, JUDGE. ALLOW
ME TO BAIL HER OUT"
Back to scene.
Mary is held a moment. She tries hard to steal
a glance at her benefactor out the corner of her
eye. The judge addresses Harry--"And now who
are you, young man?"
105
THE MAGIC OF A NAME
Same as 109. Magistrate's Court. Discovered all
as in 108. Harry mentions his own and his
father's name. At the latter, the judge evinces
interest. It is impossible that millionaire
Disbrow's son had been in jail all night. Harry
indignantly explains (referring to police):
On screen.
"THIS LOBSTER ARRESTED ME
GETTING IN MY OWN HOUSE!"
Back to scene.
The policeman does not like the appellation and
resents it. When asked for means of
identification, Harry can produce none. The
magistrate has the detective get him Disbrow,
Sr.'s telephone number. Having found it, the
judge takes the telephone.
106
Library suite of Disbrow's palatial home.
Discovered John Disbrow, Harry's father, in his
hat and overcoat, ready to start for business.
Discovered also Mrs. Disbrow, the mother, and
the butler, Decker, and Marie, the maid. The
dining-room is visible in the rear and the
butler and maid are just explaining to Disbrow,
who is much ruffled, that Harry has not been in
all night. In anger, Disbrow says:
On screen.
"I'LL BREAK THE BOY'S
DISSIPATION IF I HAVE
TO BREAK HIS HEAD!"
Back to scene.
Harry's mother intercedes. The telephone rings.
The butler answers, then hands the receiver to
Disbrow. "Yes?" He starts, then listens with
concentrated features.
106 1/2
Same as 105. Magistrate's Court. Discovered all
as in 105. Judge Strong at the 'phone, talking.
He describes Harry.
107
Same as 106. Disbrow's library. Discovered
Disbrow at 'phone, talking -- Mrs. Disbrow,
Decker, and Marie. Disbrow says:
On screen.
"YES--THAT IS MY SON"
Back to scene.
Shutting off the receiver, Disbrow pauses to
explain. Me says to Mrs. Disbrow--"Well, he's
been in jail all night and wants to get out."
Mrs. Disbrow is horrified. Disbrow turns back
to the telephone and talks -- then listens.
108
Same as 106/2. Magistrate's Court. Discovered
all as in 106 1/2. Judge Strong at 'phone. In
explaining, the judge says:
On screen.
"HE WISHES TO BAIL OUT A
YOUNG WOMAN ALONG WITH HIM"
Back to scene.
Harry nods that this is right.
109
Same as 107. Disbrow's library. Discovered
all as in 107. Disbrow at phone. When he
hears that assertion, his jaws snap shut like a
trap. So that is it! The boy has been in some
"woman mess," and wants assistance to get her
out. Disbrow answers:
On screen.
"THEN YOU BETTER PUT
HIM BACK IN JAIL AGAIN!"
Back to scene.
Disbrow is furious.
110
Same as 108. Magistrate's Court. Discovered all
as in 108. Judge at telephone. He smiles,
then explains to Harry that his father is angry.
Harry runs around the bench and takes the
telephone himself. He tries to talk to his
father.
111
Same as 109. Disbrow's library. Discovered all
as in 109. Disbrow at phone. When he hears
his son's voice, his jaws snap and he hangs up
the receiver with a bang, cutting off. He
turns and says to the other--"I will have
nothing to do with it." With his wife pleading,
he exits by front door.
112
Same as 110. Magistrate's Court. Discovered all
as in 110. Harry hangs up the receiver
hopelessly. The judge understands and makes up
his mind to discharge Harry. Harry is now
standing right alongside Mary. He still wants
to get her out--institutions are horrible
things--yet he hasn't an idea of what he will
do with her.
113
Same as 112. Magistrate's Court. Discovered all
as in 112. The magistrate discharges Harry
this time, with only a warning. But with regard
to Mary he advises the young man:
On screen.
"THE COURT THANKS YOU FOR
YOUR INTEREST IN THIS YOUNG
WOMAN. BUT BLIND, SHE WOULD
ONLY BE AN INCUMBRANCE"
Back to scene.
Harry doesn't mind that--something about the
girl has appealed to him--he wants to take her.
While the magistrate confers a moment with the
detective, unobserved by all, Mary slips her
hand into Harry's. Glancing up at Harry, she
surprises him; with her lovely eyes, and
strikes his high sense of humor when she says:
On screen.
"PLEASE TAKE ME. I'LL RECOVER
MY SIGHT ON THE OUTSIDE"
Back to scene.
Her counterfeit blindness, for whatever reason
it is, strikes Harry as so cute that he makes
up his mind to release her at all odds.
Suppressing his smiles, he makes his last plea.
The magistrate at last lets Mary go. Harry
leads her out, quite blind again. Zippy is
pulled along on his string.
114
Exterior of court. Exit Harry in evening-dress
and Mary, with Zippy, from 113. But Mary won't
listen to him here. She still pretends
blindness, and he must hurry around the corner
to hear about it. They exit.
115
Bench in a park. Enter Harry, Mary, and Zippy,
from 114. They sit down. Harry is delighted
to look into the frank seeing eyes of Mary.
What a lark--and why did she get in jail? In
all serious innocence, Mary starts to tell him.
Dissolve to--
116
Same as 87. Curb in front of theater.
Discovered, Mary begging with Zippy. She is
arrested by the policeman. Dissolve to--
117
Bench in park. Discovered Harry, Mary, and
Zippy. He is inwardly touched by her
cleverness. He says then:
On, screen.
"I AM GOING TO TAKE
YOU HOME WITH ME "
Back to scene.
A bright thought enters Mary's mind. She
exclaims, all smiles:
On screen.
"I'M GOOD AT CARING FOR BABIES!"
Back to scene.
Harry doubles up with laughter.
On screen.
"I'M THE ONLY BABY AT OUR HOUSE"
Back to scene.
That is funny -- also sad for Mary, who now
would do most any chore so as not to leave this
nice young man. Finally Harry makes up his
mind. He is dead "busted," but he is not going
to leave the kid on the streets. He's going to
take her to his home! He pulls her out the
picture, with Zippy on the string.
118
Same as 93. Exterior of Disbrow house. Enter
Harry and Mary, with Zippy. Mary pauses in
astonishment. "My, do you live here?" she asks.
"Sure," returns Harry. Mary pats up the ribbon
bow on Zippy's collar. She hesitates to go in,
but Harry leads her by the hand.
119
Same as 98. Close-up, the front door of
Disbrow's house. Enter Harry, Mary, and Zippy.
His latchkey fits now -- but he indicates to
Mary that the keyhole was not there last night
--hence his downfall. They exit in house.
120
Hall and vestibule stairs, in Disbrow's house.
Discovered Decker, the butler. Enter Harry,
Mary, and Zippy. Decker is glad to see his
young master, then his eyes fall upon Mary and
her old hat, cloak, and white stockings. His
eyes waft ceiling-ward. Who might this young
female be? And why with the young master? But
Decker asks no questions. But looks tell.
Having taken Harry's things, he waits for
Mary's. Nervous in such an affluent atmosphere,
Mary only hangs to her protector's arm. "Where's
mother and dad?" asks the boy. With a
nonplussed expression Decker exits upstairs.
Harry, Mary, and Zippy exit in library.
121
Same as 111. Disbrow's library. Enter Mary,
Harry and Zippy. Mary is almost afraid to move
among the fine furnishings. These indeed must
be millionaires. Harry endeavors to get Mary
to sit down but she is apprehensive, and wants
to run away. Enter presently, Mrs. Disbrow from
hall. She is both concerned and glad to see
Harry--he is a spoiled son, but she looks
aghast at Mary and her dog. Harry tries to
explain. Mrs. Disbrow is a fine lady and well
bred, but Harry must be crazy to bring the girl
home. Mary starts to run away but Harry pulls
her back. Harry pleads:--
On screen.
"LET HER STAY TILL
DAD GETS HOME"
Back to scene.
Mrs. Disbrow expostulates with raised hands.
She knows about what Dad will say. Finally she
consents to keep Mary at least for the day.
Harry exits upstairs to change his clothes.
Not knowing what to do with Mary and Zippy,
Mrs. Disbrow leads them through the dining-
room.
122
Dining-room at Disbrow's. Enter Mrs. Disbrow
in repressed exasperation with Mary and Zippy.
She leads them through the swinging-door into
the kitchen.
122 1/2
Kitchen at Disbrow's house. A fine, modern
affair. Discovered Decker, cleaning silver;
Marie polishing glass-ware and Louis the cook
at work with pastry. Enter Mrs. Disbrow, with
Mary and Zippy. The kitchen folk, all
specialists in their line, are aghast at Mary's
timid awkwardness, but are restrained before
their mistress. Mrs. Disbrow orders some food
set up before Mary and exits. The kitchen folk
ask her what she is to be, maid, waitress, or
what? Mary does not know--but she does know
she and Zippy are very hungry. The butler
carries some of his silver into the dining-
room, much upset over his young master's
latest escapade.
123
Same as 122. Dining-room at Disbrow's.
Discovered Mrs. Disbrow, much distracted over
the latest addition to her household. Enter
Decker with his silver-ware. She registers she
does not know what to do with Mary, but Decker
suggests that she leave the matter to him. Mrs.
Disbrow is about to exit when Harry, dressed in
business suit, enters dining room looking for
Mary. His mother indicates she is in the
kitchen eating. Harry asks why she is not in
the dining-room? Mrs. Disbrow and her butler
exchange glances. What next? Harry wings
into the kitchen.
124
Same as 122 1/2. Disbrow's kitchen.
Discovered Marie, Louis and Mary eating at
table. Enter Harry. He finds Mary on a chair
with Zippy behind the door, the plate of food
on her lap. He is provoked that Mary is in the
kitchen. He registers that she follow him to
the dining-room, but Mary holds him back--she
would not think of going in that fine place to
eat! Enter Decker. He complains of the dog
being in the kitchen. Harry retaliates. Mary
is satisfied and feeds Zippy. "Well, you wait
here, kid, till I come home from the office,"
indicates Harry, leaving. Mary promises.
Circumspect in their young master's presence,
the kitchen folk are still aghast at Mary's
intrusion.
125
WAITING TILL DAD COMES HOME
Same as 129. Disbrow's kitchen. One corner, in
which Mary sits in a kitchen chair, hat and
cloak removed, where she has sat all day, the
object of amusement of the help. Zippy is
beside her. Discovered Decker, Marie and Louis,
getting up evening dinner. Mary sits calmly and
looks on.
126
Same as 120. Hall and stairs at Disbrow's.
Enter Harry from street. He no sooner has his
coat and hat hung on the rack than his father
Disbrow enters from street. At sight of his
son, the old gentleman is mad. His escapades
have gone far enough. "Never mind, Dad, I got
out all right." Disbrow worships his son, but
despises his weaknesses. Harry is on the other
hand, merely a lovable up-to-date young man.
He exits upstairs. Harry secretively goes to
look for Mary.
127
Same as 125. Disbrow's kitchen. Discovered all
as in 125, save that Decker moves in and out
dining room. Enter Harry. Mary still sits in
her corner. Harry greets her warmly and she is
glad to see him. " You wait," he says, "I'll
fix it all right." He exits.
128
Same as 123. Disbrow's dining-room. Enter
Disbrow and Mrs. Disbrow. Harry is waiting for
them. They all sit down at table. Enter Decker
with soup. Harry starts to tell his father
several times about Mary, but each time his
mother shakes her head. Finally Disbrow, Sr.,
wipes his lips, leans back and says, with
inscrutable glance at his son:
On screen.
"WHO WAS THE WOMAN YOU
WANTED TO BAIL OUT?"
Back to scene.
Opening an admirable opportunity, Harry tells
his father to wait a moment. He exits to
kitchen. Mrs. Disbrow and Decker exchange
glances. Disbrow is mystified.
129
Same as 127. Disbrow's kitchen. Discovered
Mary in her same corner, Zippy, Marie and Louis.
Enter Harry. He leads Mary, shrinking in the
dining-room.
130
Same as 128. Disbrow's dining-room. Discovered
Mr. and Mrs. Disbrow, served by Decker. Enter
Harry, with Mary and Zippy. Well, Dad, has a
good look at Mary and Zippy. Between wonder
and surprise, his explosion is restrained a
moment. Mary is scared to death at his look.
Then the old gentleman, disregarding any
explanation, orders Mary out. Harry intercedes,
but matters go badly, till Mary of her own
accord turns upon Disbrow and says:
On screen.
"YOU ARE JUST LIKE JENKINS"
Back to scene.
Curious, Disbrow wants to know who Jenkins is.
Mary explains, dramatically, imitating Jenkins'
salient points. Attracted by her clever
mimicry, Disbrow is interested. Mary continues:
On screen.
"HE WAS SO MEAN HE
MUST BE DEAD BY NOW!"
Back to scene.
Disbrow at last laughs heartily. Harry's heart
lightens. While Disbrow chuckles and eats his
meal, having first taken note of Zippy, to
Mary's delight, Mary feels the ice is broken.
Her sweet infectious smile wins them all.
130 1/2
HARRY'S FIANCEE,
MAUD, ARRIVES
Same as 126. Hall and stairs. Discovered,
Decker at evening. Decker opens front door.
Enter Maud, a pretty girl, whose traveling togs
indicate she has traveled some distance,
followed by Harry and a chauffeur carrying some
luggage. Disbrow and his wife hasten from the
library to welcome Maud.
131
Top of stairs -- landing, at Disbrow's.
Discovered Mary at top of stairs. She wears a
neat house-dress. Hearing the welcome below,
she runs and looks down.
132
Same as 130 1/2. Hall at Disbrow's. Discovered
all as in 130 1/2. Exit chauffeur, Decker,
with the girl's luggage, followed by Mrs.
Disbrow, Maud and Harry exit up stairs.
133
Same as 131. Head of stairs at Disbrow's.
Discovered Mary peering over. Hearing the
others coming, she runs back in hall. But all
arriving upstairs, Mrs. Disbrow sees Mary and
calls her to assist with the young guest's
things. Harry gives Mary a pat of encouragement
on the back, and leaves, Mrs. Disbrow, Maud and
Mary exit in a bedroom.
133 1/2
Bedroom at Disbrow's. A pretty guest-room, with
bath, furnished with cane bed, and chintz
hangings, etc. Enter Mrs. Disbrow, Maud, Mary
and Decker with luggage. Exit Decker. Maud is
very pretty and Mary is anxious to help her.
Mary is soon excused from the room however, by
Mrs. Disbrow, when her own lady's maid, Agnes,
enters. Mary as much alone as ever, exits
reluctantly.
134
HER SURROUNDINGS NOT IMPROVED
Night. Back yard or area of Disbrow's home. A
corner of it. Discovered Zippy, tied in an
unattractive spot, exiled from the house, a
plate of food before him. He barks in protest.
Enter Mary. She sits down with her arms around
his neck, but is afraid to untie and liberate
him. Patting him, both are forlorn; oh, very
forlorn!
135
Same as 121. Disbrow's library. Discovered Mr.
Disbrow waiting with Harry. Enter Mrs. Disbrow
and Maud from upstairs. The parents are hoping
Harry will display more interest in Maud, but
somehow he is distraught -- something else is on
his mind (easily registered it is Mary) and he
finally exits through dining-room.
136
Same as 134. Disbrow's back-yard. Discovered
Mary and Zippy in the moonlight. Enter Harry.
He comforts Mary -- he really wants to kiss her
but does not. Surely it is a shame for Zippy
to be out by himself. Harry unties him, and
they all exit toward house.
137
Same as 129. Disbrow's kitchen. Discovered
Louis, Marie and Decker, finishing the dinner
clean-up. Enter Harry, Mary and Zippy. Louis
protests, but Harry informs him that Zippy stays
in the kitchen. Harry exits.
138
Same as 135. Disbrow's library. Discovered Mr.
and Mrs. Disbrow and Maud, the latter
loquacious and entertaining. Enter Harry. He
interests himself with Maud who is in love with
him.
139
A BALL IS GIVEN
IN HONOR OF MAUD
Same as 133 1/2. Bedroom at Disbrow's.
Discovered Maud dressing for the ball in lovely
evening gown, assisted by Agnes and Marie, the
maids. Maud is about ready to go down stairs,
when she picks up a pretty evening gown lying
on the bed, and showing a slight rent in it,
says to Agnes:
On screen.
"MEND THIS, SO I CAN
WEAR IT TOMORROW"
Back to scene.
Agnes exits with gown.
140
Maid's room at Disbrow's. Enter Agnes, with
the evening gown, which she throws over the
back of a chair. Arranging her cap more
becomingly, Agnes exits.
141
Same as 135. Disbrow's library. Well dressed
guests have arrived and are dancing, etc.
Discovered among them, Mr. and Mrs. Disbrow,
Maud, Harry and all of Harry's thoroughbred
companions from the club-room scenes, 90, 91,
etc., pretty girls.
142
Same as 133. Top-stair landing. Discovered
Mary in her house dress, looking down at the
dancers over the balustrade. What a wonderful
sight! All those pretty evening dresses! She
creeps a few steps down.
143
Same as 132. Close-up. Hall and stairs at
Disbrow's. Discovered Mary looking over about
half way down at--
144
Flash. Same as 141. Disbrow's library. The
ball in progress.
145
Same as 143. Hall and stairs at Disbrow's.
Discovered Mary electrified, watching. People
passing below; cause her to run upstairs again.
146
Same as 144. Disbrow's library. Guests at hall.
Decker singles Mrs. Disbrow out and calls her
to one side. He says:
On screen.
"MADAME, THE EXTRA WAITRESS
HAS NOT COME"
Back to scene.
Mrs. Disbrow is provoked. She considers a
moment. Then she asks--"why not let Mary
substitute?" Decker is willing and both exit
through the dining-room.
147
Same as 130. Disbrow's dining-room. Enter Mrs.
Disbrow and Decker. Decker exits to kitchen
and brings in Mary. Mrs. Disbrow makes known
to her the absence of the much needed waitress.
Can Mary take her place? Indeed, Mary is quite
willing. Glad, Mrs. Disbrow pats her on the
shoulder and says:
On screen.
"YOU WILL FIND A SUITABLE
DRESS IN THE MAID'S ROOM"
Back to scene.
Mary indicates she will find it. Exit Mrs.
Disbrow relieved. Mary exits alone. Decker
goes about his task of setting his tables for
the late supper. There are beautiful floral
decorations on the large table, while the
smaller ones are set with glass ware,
punchbowls, etc.
148
Same as 140. Maid's room. Enter Mary alone.
No dress is in sight, but Maud's evening dress
over the back of the chair, where Agnes left
it. Mary looks in a ward-robe, but finds
nothing but a cloak and a wrapper. Her eyes
light on Maud's dress. She has never seen it
before. She concludes it has been placed out
there where she could find it -- surely Mrs.
Disbrow must have meant this one. Anyway, all
the pretty girls were wearing these kind of
dresses. Of course, that is just what Mrs.
Disbrow meant. Oh, the joy of getting into such
a pretty dress. Mary begins to quickly disrobe.
149
Same as 137. Disbrow's kitchen. Discovered a
commotion among Louis and Decker trying to give
orders at once to Agnes and Marie, who are
getting up the dinner for the dancers.
150
Same as 146. Flash. Library at Disbrow's.
Discovered the guests at the ball.
END OF PART III
PART FOUR
151
Same as 148. Discovered Mary, dressing, as in
148. She has on a plain white petticoat and
corset cover. Standing before the bureau she
has coiled her hair up on her head attractively
and is sticking two of Agnes' shell pins in to
hold it. Then she throws the evening dress
over her head, happy as a child. The dress is
low-necked, white and girlishly made, after the
prevailing style of ball-gowns for debutantes.
152
Same as 147. Disbrow's dining-room. Enter
Decker, carrying a big cut-glass bowl full of
punch. This he places right in the door
leading to the library on a small table, also
the glasses, that all may be available as
refreshment to the dancers. He exits in
kitchen.
153
Same as 151. Maid's room. Discovered Mary
dressed, fastening the last hook at her waist.
In this pretty dress she is a startling
revelation of loveliness. She can't believe her
own eyes. On tip-toes she looks at herself --
then pinches her arm to make sure it is she.
And so she goes down, in her innocence, to be
the "extra waitress."
154
Same as 152. Disbrow's dining-room. Discovered
many of the guests gathered around the punch-
bowl, drinking, among them Maud, Harry and
several young people.
155
Same as 145. Hall and stairs at Disbrow's.
Discovered Mary in her ball-gown, coming down
stairs, leaning over the balustrade. She has
had no one to instruct her as to her entrance
-- she is simply coming down to be like other
folk, and help in what way she can.
156
Same as 150. Library at Disbrow's. Discovered
most of the dancers, including Mr. and Mrs.
Disbrow. Seeing those possibly in need of help
at the punchbowl, Mary passes through the
library to it. Mrs. Disbrow sees her. Open-
mouthed she places her hand on Disbrow's arm,
then follows Mary out. Disbrow follows too.
157
Same as 154. Disbrow's dining-room. At the
punch bowl. Discovered Maud, Harry and others
gathered around. Enter Mary shyly and sweetly,
and she starts to ladle out the punch. Wide-
eyed and electrified at the revelation of Mary,
Harry gasps. Wider-eyed, Maud beholds her ball-
gown upon Mary! The young men thinking she is
some lovely belated house guest, crowd about
her. Oblivious to all, Mary thinks she is
doing her duty. Enter Mrs. Disbrow, who, with
finger to her lips, silences any out-break from
Maud. Mr. Disbrow enters, and looks upon one of
the prettiest young women he has even seen.
Harry is so elated with Mary's mistake that he
would throw up his hat if he had one -- he
catches his father's eye. Enter Decker and
Agnes carrying more punch in cut-glass
pitchers. They both behold Mary and nearly
subside on the spot. Two young men press up to
Mrs. Disbrow and ask for introductions.
Distracted and not knowing what to do Mrs.
Disbrow is beside herself what to say, till she
catches Harry's eye, and sees a light of love
in it for Mary. Mrs. Disbrow steps forward.
She says:
On screen.
"MY NIECE"
Back to scene.
Mary nearly drops her ladle, then beautifully
composes herself and chats with the young men.
Unobserved, Harry wrings his mother's hand.
The joke is so good, that Mr. Disbrow himself
presses up for a glass of punch. With eyes
heavenward, Decker and Agnes exit. Maud is a
study.
158
Close-up of Mary filling the punch glasses.
Maud stands near, her face in mingled emotions.
She cannot imagine how Mary got possession of
her evening gown.
159
Same as 157. Disbrow's dining-room. Discovered
all as in 157. Mary at the punch-bowl. In the
homage paid her, she seems to entirely forgot
her awkward shyness. The young men bear her
off in the library.
160
Library. Discovered, the guests, dancing, etc.
Enter Mary, with the young men. Quite the
belle of the ball, she nevertheless has to make
an excuse that she does not dance. Thoroughly
amused and interested, Disbrow, Sr., begins to
see new possibilities in Mary. Harry is
secretly delighted. Maud watches the progress
of her ball-gown, with indignation. When Harry
hears from Maud that it is her dress, his humor
knows no bounds.
161
LATER
Same as 157. Disbrow's dining-room. Whole
scene. Decker announces that luncheon is
served. The guests take their places at the big
table (smaller tables may be seen through
another door for other guests). At the big
table, Mary is in evidence, seated between
Harry and Banker Jordon, a fine-looking elderly
man, much taken with Mary. Other guests
surround the table, including Mr. and Mrs.
Disbrow, Maud, etc. Enthused and delighted,
Mary begins a chatter of conversation. All
listen attentively. Decker, Agnes and Marie
wait on table.
161 1/2
MARY TELLS THEM A STORY
Same as 161. The Disbrow's dining-room, with
guests, the Disbrows and Mary, talking. In
answer to a question from Banker Jordon she
says:
On screen.
"YES I FELT I NEEDED
A CHANGE IN THE CITY"
Back to scene.
"But this is why I came so quickly," she goes
on. All listen. Dissolve to--
162
Same as 79. Jenkins' kitchen. Discovered Mary
at the wash-tub, with the baby pulling the
table-cloth over on the floor. Dissolve back
to--
163
Same as 161. Disbrow's dining-room. Mary tells
her narrative. But the faces of those around
have sobered up--especially that of Mrs.
Disbrow. "That was bad enough," goes on Mary,
"but listen --" Dissolve to--
164
Same as 162. Jenkins' kitchen. Discovered Mary
and Mrs. Jenkins. Mrs. Jenkins hands Mary the
egg basket and scolds her for not finding more
eggs.
Cut in--
On screen.
"SHE WAS ALWAYS MAD BECAUSE
I DID NOT FIND MORE EGGS"
Back to scene.
Mary takes the basket and exits.
165
"SO ONE DAY, I TOOK
SOME FROM UNDER PEGGY"
Same as 38. Interior of barn. Discovered Mary.
She takes two eggs from Peggy and puts them in
her pocket. She exits.
166
Same as 169. Jenkins' kitchen. Discovered Mrs.
Jenkins at stove. Mary brings in the basket of
eggs, and drops the two in the dish on the
table. Enter Jenkins who sits down at table
with children.
167
Same as 161. Disbrow's dining-room. Discovered
the listening guests around the table. Mrs.
Disbrow is mortified to death but cannot reach
Mary to stop her. Laughing, Mary says:
On screen.
"MR. JENKINS ALWAYS LIKED
TWO OR THREE EGGS"
Back to scene.
Mary talking -- the others with mingled
emotions. Fade to--
168
Same as 166. Jenkins' kitchen. Discovered Mr.
and Mrs. Jenkins, the Jenkins children and Mary.
Mr. Jenkins at the table has just discovered
the little chickens. Mary darts out the door.
169
Same as 55. Fence on Jenkins' barn-lot.
Discovered Mary and Zippy going over the fence.
Mary runs up road for dear life. Dissolve to--
170
Same as 167. Disbrow's dining-room. Discovered
Mary finishing her story, with guests listening.
There is a moment's pause when every one
silently convulsed, roars with laughter. Mary
does not know what she has done, and she looks
at her embarrassed hostess in fright, but Banker
Jordon pats her on the back. "Good for you," he
says. And turning to Mrs. Disbrow, he says, "I
congratulate you on your plucky niece." Decker
stands with his back to the table, his face in
his hands, his shoulders shaking with laughter.
Mary has made the hit of the evening, even if
certainly an embarrassing one for her self-
claimed "relatives," the Disbrows.
Break scene. The guests rise and leave dining-
room. It is plain to the Disbrows that Mary
can never be relegated to the background again,
as they watch the young men and Banker Jordon
bear Mary away. Women, too, congratulate Mrs.
Disbrow upon Mary's loveliness, even though
they cannot quite understand or dove-tail the
Jenkins' story with that of the Disbrow proud
ancestry. Harry has the joke on his parents.
171
DISCOVERIES
Same as 160. Disbrow's library. Discovered
Disbrow, Mrs. Disbrow and Maud, whom they some
day expect to be a daughter. Enter Harry from
another part of the house. With a glance at
him, his parents slip out to leave them alone.
Maud gives Harry the chance to declare his
love, but he does not take it. Looking toward
the hall he smiles, for he sees --
172
Same as 155. Hall and stairs. Discovered, Mary
coming down in a pretty and simple house-dress
now as one of the family. With something of a
start she sees Maud and Harry alone, and
notices Maud's attitude toward Harry, and turns
as if to retrace her steps upstairs.
173
Same as 171. Disbrow's library. Discovered
Maud and Harry. Harry calls Mary and goes to
meet her. Maud witnesses where his heart has
found refuge. With suppressed indignation at
Mary for not keeping her place, Maud with an
excuse soon exits. Harry falls to chatting with
Mary, not realizing that he is in love with her.
174
AFTER THE DINNER HOUR
Same as 170. Dining-room at Disbrow's.
Discovered, finishing dinner at table, Mr. and
Mrs. Disbrow, Mary, Harry and Maud. Mary is
quite happy, but Maud has never forgiven her
for her pleasantly made sensation of the other
evening. As the women exit for the drawing-
room, Harry follows, but he is held back by his
father who wishes to speak with him in
confidence. Disbrow says to Harry, finally:
On screen.
"WE HAVE PLANNED TO SEND
MARY AWAY TO SCHOOL UNTIL
AFTER YOUR MARRIAGE WITH
MAUD"
Back to scene.
Harry is stunned over his father's keenness for
this marriage. Harry insists he has no
inclinations of the kind toward Maud, and is
angry when the matter is pushed. Disbrow
continues:
On screen.
"I HAVE GRAVE REASONS FOR
DESIRING THIS MARRIAGE"
Back to scene.
Leaving Harry alone to come to a sensible
resolve, Disbrow exits to drawing-room.
175
Same as 173. Disbrow's library. Discovered Mary
and Maud sitting alone on a divan. Also Mrs.
Disbrow, elsewhere. Enter Mr. Disbrow. He
passes Mary and Maud, and pats Maud
affectionately upon the shoulder as he does so.
After he has joined his wife, both exit,
leaving the girls alone. Maud, with an object
in view, grows confidential. Feigning a shy
blush, Maud leans over and whispers to Mary.
176
Same as 175. Close-up of Mary and Maud. Maud
confides to Mary effectively:
On screen.
"DID YOU KNOW THAT HARRY
AND I ARE ENGAGED?"
Back to scene.
Mary registers that she certainly did not know
it, and an expression of pain flashes over her
face. Maud enjoys her discomfiture. Mary looks
out toward the dining-room and sees through the
door.
177
Same as 174. Disbrow's dining-room. Discovered
Harry. He looks through and catches Mary's eye.
Pained, and looking guilty, she thinks, he turns
away. He exits toward the vestibule.
178
Same as 175. Disbrow's library. Whole scene.
Discovered Mary and Maud on divan. Mary is
watching Harry, which Maud takes note of.
Unable to throw off the report of Maud's
confidence, Mary exits toward stairs.
179
Same as 172. Hall and stairs. Discovered Harry,
his evening at home spoiled, getting into his
hat and coat. Mary enters, passes wordless
upstairs, Harry reaches after her. He exits
just as his father steps into the hall to see
where he is going, evading questioning.
180
YOUTH'S CONSOLATION
Same as 90. Card-room at gentlemen's club.
Discovered several of Harry's old society pals
at the usual game. Enter Harry dejected. He
won't tell what's the matter, but orders drinks
-- plenty of them.
181
MIDNIGHT
Same as 179. Hall and stairs at Disbrow's.
Enter Harry.
182
Same as 178. Disbrow's library. Lights lowered.
Discovered Mary, curled up on the divan, where
she has been awaiting Harry's return. She
hears him and hurries out.
183
Same as 181. Hall and stairs. Harry discovered,
fumbling about to get out of his coat. Enter
Mary. She did not think he would come home like
this. He is humiliated she has found him so.
Mary begs him to give up his dissipation.
Thinking him engaged to Maud she breaks into
tears and starts to run upstairs. He checks her.
More than that, tenderly in love with her, he
tries to take her into his arms. He registers
that he will never drink again, if she will
care for him. Mary shakes her head. She
remembers what Maud told her. All her
happiness for some reason seems gone. She says
to him:
On screen.
"I GUESS I WILL GO
BACK TO THE JENKINS!"
Back to scene.
Harry's brain is not too be-muddled to grasp
the significance, and it strikes him as
particularly funny. "Never that," he assures
her. Laughing, he grasps her reluctant hands.
Mary runs up stairs. Harry sits down on the
hall-rack, his brain dazed, to think it over.
184
THE UNITY TRUST COMPANY
Private office or handsome library of the Trust
Company. Discovered Mr. Disbrow, alone. In
his hands he holds a legal paper. Its contents
worry him deeply. It is as if he reads in the
sinister lines, failure of his bank. He paces
the floor, irresolute. He places his hand over
his eyes, to shut out a vision of horror.
185
Exterior of a bank. Discovered a maddened run
upon the bank, with officers fighting back the
depositors.
186
Same as 189. Private office of Trust Company.
Discovered Disbrow, alone. He registers that
such a calamity must never happen if he can
avert it. Disbrow consults his watch. The
outer door opens.
187
GEORGE HORTON, PARTNER OF
DISBROW, AND MAUD'S FATHER
Same as 186. Private office. Trust Company.
Discovered Disbrow. Enter Horton, an
immaculately dressed man of fifty-five. Horton
at ease with himself, however craftily notices
the document in Disbrow's hand. Disbrow asks
Horton.
On screen.
"WHO HOLDS OUR GREAT
NORTHERN SECURITIES?"
Back to scene.
Horton feigns he is surprised that such a
question should be asked him. But as if to
remind Disbrow he says:
On screen.
"I HEARD YOU DICTATE A
LETTER OFFERING THEM
OUR BONDING COMPANY"
Back to scene.
To prove this, Horton takes a letter file from a
desk and shows Disbrow the copy. "Yes," Disbrow
replies, "I dictated the letter, but," he adds:
On screen.
"THE LETTERS AND THE SECURITIES
BOTH FAILED IN SOME MYSTERIOUS
MANNER TO REACH THEIR DESTINATION"
Back to scene.
Horton registers this must be impossible.
Disbrow goes on to describe over again, just
how he dispatched the securities. Dissolve to--
188
Same as 187. Disbrow's office of Trust Company.
Discovered Disbrow dictating a letter to his
stenographer (man). As he dictates, unobserved
Horton enters door, pauses--listens. With a
sinister expression, he lingers till Disbrow
observes him. Then slips outside again.
Having finished, Disbrow hands the stenographer-
secretary the securities which are to be
enclosed in the letter. Stenographer exits.
189
Main office of Trust Company. Several clerks
discovered. Enter Disbrow's stenographer. He
immediately begins typing the important letter.
Horton passes through the office, watching him.
190
Flash. Same as 188. Discovered Disbrow at his
desk, arranging papers. Enter stenographer
with the letter, for Disbrow's signature which
he adds. Disbrow himself encloses the securities
and seals the letter. Stenographer exits with
envelope.
191
Same as 189. Main office of Trust Company.
Enter stenographer. He places the envelope
among a stack of like mail to be sent out.
Horton watches. Stenographer exits in another
office. Horton passes and unseen by any one of
the clerks, whose backs are turned, slips out
the one envelope and secretes it. He exits to
the private office.
192
Same as 190. Private office of Trust Company.
Discovered Disbrow at his desk. Enter Horton,
suave and matter-of-fact. He asks what Disbrow
has been doing. When Disbrow explains he has
offered the securities, Horton registers he
thinks it a good move.
193
Diagram in. Same as 187. Discovered Disbrow
with Horton, listening. Horton distinctly
remembers the transaction, and again proves his
assertion by the carbon copy of the letter.
Puzzled, and worried, Disbrow registers the
securities are missing. He touches the button
on his desk. Enter stenographer secretary.
When asked about the letter in question,
stenographer thinks a moment, then replies:
On screen.
"I SENT OUT ALL THOSE
LETTERS FIVE MINUTES LATER"
Back to scene.
Exit stenographer. Horton tells Disbrow not to
worry--that there is a mistake somewhere. But
Disbrow registers how serious the matter is--
also that it involves himself in a careless
business transaction. He closes his desk to
leave.
194
Exterior of Trust Company. Enter in car, Mrs.
Disbrow and Mary in pretty afternoon dress. In
front with the chauffeur, sits Zippy resplendent
in a white sweater. Mrs. Disbrow gets out to
meet her husband. She exits in building. Mary
has the chauffeur help Zippy to the back seat
beside her.
195
OLD ACQUAINTANCES
Same as 194. Exterior of Trust Company.
Discovered Mary and Zippy and chauffeur in car.
Enter, passing the bank building, Mr. and Mrs.
Bell and their two children. The small boy
walks, but the baby Mr. Bell pushes in a baby-
carriage. They are almost past when Mary
happens to recognize them. With all manner of
pantomime and calls, she manages to attract
their attention. The Bells come back and are
amazed to see that this is Mary of former
pig-tails. Mary in a big automobile,
beautifully dressed! Delighted, Mary confides
to them:
On screen.
"I FOUND MY RELATIVES!"
Back to scene.
The Bells register that they must be "some
relatives." Mary presses a bunch of violets
she is wearing upon Mrs. Bell, who modestly
takes them. "And oh, look at Zippy," exclaims
Mary, "isn't he society?" The Bells are so
taken by surprise that they do not see Mr. and
Mrs. Disbrow, who have entered from the
building. But Mary excitedly introduces the
Bells and relates wherein they once did her a
kindness. Disbrow and Mrs. Disbrow shake hands
with the Bells kindly, then enter the car. The
chauffeur darts out of the picture with them,
leaving the Bells behind amazed. Mr. Bell takes
off his hat and scratches his forehead. Mrs.
Bell wonders if her clothes appeared just right
before the rich Disbrows.
196
SOME TROTHS ARE
NEVER PLIGHTED
Same as 119. Exterior of Disbrow's home.
Discovered, the Disbrow car with chauffeur in
front of house. Enter from house, Harry and
Maud. Decker, the butler, and Mrs. Disbrow see
them off. Car exits with Harry and Maud.
197
Several flashes of country road to indicate
that Maud lives in some suburban home near New
York. Discovered in the car, Harry and Maud.
198
Exterior of Horton's home--a beautiful place,
presumably on Long Island. Enter, through
driveway, Disbrow's car with Harry, Maud and
chauffeur. A servant runs out from the house,
to take the luggage. Pressed to come in by
Maud, Harry is sorry. The hour is late--he must
return to the city. The car whirls around and
away with Harry and driver. Maud stands looking
after him. Her distress finally subsides in
anger. She feels secure, yet she is far from
landing Harry yet.
198 1/2
Same as 155. Hall and stairs at Disbrow's.
Enter Harry in his motor coat, plainly wearied
with the question of Maud. Enter, from
upstairs, Mary and Zippy, Harry sees her. His
face grows radiant. Getting out of his coat, he
greets her at the bottom of the stairs, where
she sits on the lower step. With a sigh, he
exclaims:
On screen.
"THANK HEAVEN I AM THROUGH
WITH THAT! DO YOU KNOW WHY?"
Back to scene.
Mary does not know why. "This is why,"
exclaims Harry, and taking her face in his
hands, he looks into her falling gaze, then
gives her a kiss square on the lips. Mary is
so sweetly embarrassed, that she reaches down
and holds her hand over Zippy's eyes. He must
not see such actions. Harry laughs. The
picture fades.
END OF PART FOUR
PART FIVE
199
THE DIRECTORS' MEETING
Same as 193. Private office of Trust Company.
Discovered Disbrow and the directors of the
company, seated at the table, which is piled
with papers, etc. One chair is vacant--that of
Horton. The others have been awaiting his
arrival.
200
THE MISSING MEMBER
Hotel lobby. Discovered the usual habitues.
Among them is Horton, leaning against the news
stand with a newspaper, reading. It has been
his intention to stay away from the directors'
meeting, until he unexpectedly comes across
some headlines in the paper. He reads:
Newspaper on screen.
VALUABLE, SECURITIES MISSING. RUMORS REACHED
BANKING CIRCLES LATE TODAY THAT SECURITIES TO
BE OFFERED A LARGE BONDING COMPANY AS
COLLATERAL, BY THE UNITY TRUST COMPANY ARE
MISSING. THE INFORMATION IS UNOFFICIAL.
Late this afternoon apparently reliable
information reached financial circles that
securities amounting to--
Back to scene.
This changes matters for Horton. So the news
has crept out! It is something which he did
not yet intend to happen. He knows there is a
directors' meeting tonight. For fear that
suspicion might rest upon him, because of his
absence, he decides he had better go.
Consulting his watch, he exits.
201
Same as 193. Private office of Trust Company.
The meeting is in session now, as Disbrow
finally takes up the issue of the missing
securities. Disbrow says:
On screen.
"IT MAY LOOK CARELESS OF ME,
NOT TO HAVE DELIVERED THEM BY
SPECIAL MESSENGER, BUT THEY
WERE SENT, NEVERTHELESS"
Back to scene.
Disbrow touches a button on desk. Enter his
stenographer-secretary. When asked if he
positively mailed the envelope again, the man
thinks a moment -- his brain is becoming dazed,
but he finally says he is positive. As
stenographer exits, he meets Horton, late,
coming in. Horton apologizes for his lateness.
Noting the serious expression of his confreres,
he signifies his tardiness has been caused by
the article which has appeared in the newspaper.
The newspaper publication is a surprise to the
directors. "Who could have given such rumors
out?" No one knows. Seating himself, Horton
explains that he knows nothing of the
transaction, other than that he heard Disbrow
dictate the letter, the copy of which he
recognized on the table before him and picks up.
At all events, Disbrow indicates that the
newspaper publications must be stopped. Also,
Disbrow insists that the securities must turn
up yet.
Break scene.
The directors are adjourning.
202
Same as 182. Disbrow's library. Discovered
Mary, curled up on the divan, unseen by Disbrow
as he returns home from the directors' meeting.
He comes in, alone he thinks, and lays his hat
and coat over another chair. He sits down,
meditating, in a big arm-chair. Mary notices
he is in some trouble. She has had an inkling
of the trouble herself. She glances to a
newspaper she has herself seen, earlier, and
folded and placed behind a vase on the table.
Approaching Disbrow, she sits down on the arm
of his chair. She has always wanted to look
upon him as a father, but somehow the constraint
is still felt, and she is too shy to make first
advances. But now, Disbrow is glad to see her
-- glad of the company of her youth. She
questions him what is wrong. He laughs--it is
nothing she can remedy. Mary then reaches for
the hidden newspaper and shows him the
headlines. "Is this the reason?" she asks.
Surprised that the late publication has
reached his home, Disbrow says, "Yes." Disbrow
asks if the whole house knows it--but Mary
indicates that only she does. "Be quiet then,"
he requests. Mary is very sorry--but hopeful.
Indeed she is so overjoyed that Disbrow should
put upon her the honor of a confidante in his
trouble, that she impulsively pats him upon the
bead and gives him a good squeeze around the
neck. Then she runs for the stairs -- and won't
look back, when he rises and calls her. Once
she is gone, Disbrow sits down, a new light in
his face. He sees Mary's real worth. He
smiles and says:
On screen.
"A FRIEND LIKE THAT
IS A FRIEND INDEED!"
Back to scene.
Disbrow finally exits.
203
SECRETLY PLAYING THE MARKETS
Business street in New York--financial
districts. Discovered Harry coming out of a
cigar store. He lights a cigarette in the
doorway. As he stands there lighting, Horton,
absorbed deeply, passes. Harry recognizes and
hails him, but Horton passes, not hearing or
seeing him. Harry follows him out.
204
Same as 203. Financial district. Discovered a
big building, in ground-floor office of which
is plainly evident a large brokerage house.
Enter Horton. With a glance about, he exits.
Enter Harry, who has seen Horton enter the
place. He pauses.
205
Close-up of Harry, outside the window of
brokerage house. He registers expression--
"Why is Horton here?"
206
Same as 204. Financial district--outside window
of brokerage house. Discovered Harry,
watching. He sees Horton pass the plate glass
window, inside the office. Assured that Horton
is playing the markets, Harry goes into the
building to see.
207
Interior trading-room of stock brokerage office,
with quotation boards, men matching the market,
etc. Horton watches the board a moment. Harry
appears unobserved in the door. Horton scans a
ticker-tape -- luck is against him. He calls
one of the brokers the broker registers that
everything is on the "break" for the day.
Horton indicates a certain market. "Rotten, and
dropping every second," indicates the broker.
Convinced that Horton is playing, Harry exits.
Horton exits into private office of the firm.
208
Private office of brokerage house. Discovered
an official. Enter Horton perturbed. The
official regrets the depreciation of the
markets--but requests more money for margins.
Horton exits.
209
Same as 201. Private office of Trust Company.
Discovered Disbrow, at work. Enter clerk, with
a newspaper reporter, carrying pad and pencil.
Taking up the newspaper with the run of
headlines, Disbrow registers he has no
interview or information, and to cut out such
publication immediately. "The Unity Trust
Company is all right," affirms Disbrow.
Reporter exits. Alone--Disbrow sees the
seriousness of the matter. Enter Harry--he has
met and passed the reporter outside. He asks
his father if he gave out any news. Disbrow
says he did not. Then Harry confides what he
has just seen in the financial district. He
says:
On screen.
"HORTON IS PLAYING MIDLAND
STEEL, WHICH HAS BEEN
DROPPING SINCE FRIDAY!"
Back to scene.
Disbrow cannot believe it, but Harry assures him
it is true. Disbrow wonders if Horton could
have had anything to do with the missing
securities --but that cannot be possible either
-- yet Harry's information is valuable. They
will keep quiet on the discovery awhile, at
least. Harry exits.
210
AS THE FACTS DEVELOP
Same as 209. Private office of Disbrow.
Discovered Disbrow. Enter Horton. He starts to
pass through the office to his own office,
leading off the private office, when Disbrow
calls him. Once seated, Disbrow says:
On screen.
"HORTON, YOU KNOW IF THERE IS
A CRASH HERE, EVERY CENT OF
YOUR FORTUNE AS WELL AS MINE,
MUST BE ASSIGNED TO OUR
DEPOSITORS"
Back to scene.
Horton is silent. He finally has to confess:
On screen.
"PRIVATE ENTERPRISES HAVE
LATELY DEPLETED MY OWN WEALTH"
Back to scene.
Disbrow's suspicions grow, but he decides not
to make an accusation yet. Horton is glad to
get out to his own office.
211
THAT EVENING
Same as 198. Exterior of Horton's house.
Discovered, Horton in car, with chauffeur,
having run out from city. He exits in house.
Car exits.
212
A drawing-room or library in Horton's home.
Enter Horton from scene 211. Enter Maud, who
greets him warmly. Horton is troubled over his
own ignominy. But the sight of his daughter,
and the comfort of his home, increases his
desperation to win out at all odds. He sits
down--she stands chatting behind him. As he
sits there, dissolve to--
213
Same as 185. A run on the bank. Dissolve to--
214
Same as 212. Interior Horton's home. He is
thinking:
On screen.
"IS PRIVATE WEALTH WORTH MORE
THAN DEPOSITORS' SAVINGS?"
Back to scene.
Horton wipes out the picture with a laugh. He
rubs his hands, "Yes! Yes." Compared to his
selfish interests, depositors are worth nothing
to him. Maud has stopped chattering. Why is
Horton so engrossed? He collects himself, and
rising, pats her on the shoulder fondly. They
exit:
215
THE DAY FOLLOWING
Corner of library in Horton's home (same as
214). Discovered Horton, working the combination
of a wall-safe. He removes the envelope
containing the stolen securities. He pauses--
it is a terrible move to make. He did not
intend at first to wholly steal them, but merely
to offer them temporarily as his own, individual
collateral. Then, desperate, he secretes the
envelope in his coat pocket. He is in overcoat
and hat, and exits for the city.
216
Same as 211. Exterior of Horton's home. His car
is waiting. Horton enters from house and enters
car. Chauffeur drives out.
217
"WIPED OUT"
Same as 210. Private office of Trust Company,
empty. Enter Horton. Disbrow's desk is open.
He runs through some of the papers, as if
seeking something more for collateral, then
calls up the telephone.
218
Close-up of Horton--intensely strained features.
219
Same as 208. Private office of brokerage house.
Discovered official. He turns to telephone --
talks.
220
Same as 217. Private office of Trust Company.
Discovered Horton, inquiring about his stocks.
221
Same as 219. Private office of brokerage firm
--official at telephone. He says:
On screen.
"ALL YOUR MARGINS MUST BE
COVERED BEFORE THE MARKET
OPENS IN THE MORNING"
Back to scene.
The official, is very sorry, but such is the
case.
221 1/2
Same as 220. Private office of Trust Company.
Discovered Horton at 'phone. He hangs up the
receiver, stunned. He feels of the envelope
in his pocket. As the last straw he will have
to use these the missing securities to cover
his losses.
222
THAT EVENING
Same as 170. Dining-room at Disbrow's.
Discovered, Mrs. Disbrow, Mary and Harry, at
dinner served by Decker. Decker hears Mr.
Disbrow coming home, in hall, and exits to him a
moment.
223
Same as 155. Hall and stairs in Disbrow's home.
Enter Disbrow. Enter Decker, who removes his
coat. Exit Disbrow and Decker to dining-room.
224
Same as 222. Disbrow's dining-room.
Discovered Mrs. Disbrow, Mary and Harry, dining.
Enter Disbrow and Decker. Mary especially is
happy to see him home. No one of the household
but Disbrow and Harry know of the real crash
imminent. Disbrow takes place at table. Decker
announces to Disbrow:
On screen.
"MR. HORTON TELEPHONED HE
WILL SEE YOU HERE AT EIGHT-
THIRTY THIS EVENING, SIR "
Back to scene.
Disbrow replies -- "Very well." Mary hates all
the Hortons.
225
OFF FOR THE THEATER
Same as 228. Hall and stairs at Disbrow's.
Discovered Harry and his mother, Mrs. Disbrow,
off for the theater. Mary bids them good-bye
at door. Decker sees them out. Mary runs
upstairs.
226
Same as 203. Disbrow's library. Discovered
Disbrow at table reading--awaiting Horton.
227
Same as 139. Guest room at Disbrow's--now
Mary's bed-room. Enter Mary. Glad to be left
alone with her interesting novel, she curls
herself up in a big chair, under a softly
shaded reading lamp to read.
228
EIGHT-THIRTY
Same as 225. Hall and stairs at Disbrow's.
Discovered, Decker, opening front door. Enter
Horton. Decker takes his things, then announces
him.
229
Same as 227. Guest-room. Discovered, Mary, in
chair reading. She hears Horton arrive--
listens an instant, nods then settles back to
read again.
230
Same as 226. Library at Disbrow's. Discovered,
Disbrow who rises to welcome Horton. There is
only luke-warm cordiality between the partners.
They both sit down at the table, on which
Disbrow already has some documentary papers,
etc. Disbrow sees that Horton is on the brink
of a nervous breakdown. Beginning at once, with
firmness Disbrow says to him, with shaking
finger:
On screen.
"HORTON, I HEAR YOU HAVE
BEEN DABBLING IN STOCKS!"
Back to scene.
Horton is surprised that Disbrow knows this.
Horton's face is pale--he does not answer--he
looks into space. Disbrow waits.
231
Same as 229. Guest-room. Discovered Mary,
reading. For some unexplainable reason she
grows restless and can't read. She rises and
pats her hair before the glass. She walks to
the door, opens it, and listens out in the
hall.
232
Same as 230. Disbrow's library. Discovered,
Disbrow and Horton in tense attitudes. Horton,
at last nods. He says, "Yes, I have been
speculating--disastrously." Disbrow hates to
hear him make the admission, but he presses
Horton with the words:
On screen.
"YOU ADMIT YOU ARE WIPED OUT.
WHAT HAVE YOU DONE WITH THE
BANK'S SECURITIES?"
Back to scene.
Horton starts over the fact that he has been
suspected, but he nods. Now, however, he has
the whip-hand to hold over Disbrow.
233
Flash. Same as 231. Guest room at Disbrow's.
Discovered, Mary, listening. She exits in hall.
234
Same as 228. Hall and stairs at Disbrow's.
Discovered Mary creeping down, holding to
balustrade, listening. She stops midway on
stairs, looking into library.
235
Same as 232. Library at Disbrow's. Discovered
Disbrow and Horton. Horton starts to make a
rapid explanation. Disbrow stops him--all he
wants are facts--not generalities. Horton sinks
back with a smile, pushing his chair back a pace.
From an inner pocket, he takes before Disbrow's
almost unbelieving eyes, the envelope containing
the securities. With an exclamation, Disbrow
holds out his hand for the envelope. Horton
does not give it to him.
236
Flash. Close-up of Mary, listening on the
stairs, unobserved.
237
Same as 235. Disbrow's library. Discovered
Disbrow and Horton. Horton waves Disbrow's
extended hand back. He says to Disbrow:
On screen.
"I HAVE NOT USED THESE
SECURITIES YET. BUT I AM A
RUINED MAN, DISBROW. FIRST,
MAKE MY FAMILY SAFE BY A
MARRIAGE OF YOUR SON AND MY
DAUGHTER, AND YOU CAN HAVE
THE SECURITIES TO SAVE THE
DEPOSITORS. IF NOT --"
Back to scene.
At first, Disbrow is staggered with the bald-
faced proposition. He simply stares at Horton,
now the aggressor.
238
Flash. Same as 234. Close-up of Mary on
stairs, listening, wide-eyed. How she hates
that Mr. Horton!
239
Same as 237. Disbrow's library. Discovered
Disbrow and Horton. Still holding out his hand,
Disbrow says:
On screen.
"I CANNOT FORCE MY SON TO
MARRY A WOMAN HE DOES NOT
LOVE"
Back to scene.
Horton stung at the refusal of his daughter,
begins to wear a sneer.
240
Flash. Same as 238. Close-up of Mary, on
stairs listening. She hugs herself with joy,
to hear Mr. Disbrow sit that.
241
Same as 239. Disbrow's library. Discovered,
Disbrow and Horton. Disbrow holding out his
hand again, is amazed to see Horton start to
replace the securities in his coat. Horton
shakes his head. "So long as I hold these
securities, Disbrow, you and your bank are in
my power." Disbrow springs to his feet,
outraged. He cries: "You scoundrel, do you
mean to hold the bank's money to cover your own
indebtedness!" Horton nods. Disbrow springs
to his feet. Horton does the same--but on his
side of the table in order to steady himself in
his quick rising, he grasps the table's edge,
which knocks the security envelope from his
hand forgotten to the floor beneath the table
at his feet
242
Flash. Same as 240. Whole scene. Mary on
stairs, listening. She has seen the envelope
drop. She runs down stairs and out around by
the dining-room entrance.
243
Same as 241. Disbrow's library. Discovered
Disbrow and Horton, quarreling bitterly.
Disbrow over the end, Horton over the side of
the table.
244
Close-up of envelope lying on floor a little
behind Horton.
245
Flash. Close-up of Mary peering in at dining-
room entrance. She drops behind a big chair in
the library, then gets down to crawl over the
floor.
246
Same as 249. Disbrow's library. Discovered,
Disbrow and Horton quarreling. In rage and
losing his head, Disbrow reaches in the nearest
drawer and secures a revolver. Horton springs
upon him to save his own life. Mary is
crawling on the floor behind them, toward the
security envelope.
247
Same as 244. Close-up of envelope. Enter Mary
crawling. She secures the envelope, and darts
back.
248
Same as 246. Disbrow's library. Discovered,
Disbrow and Horton struggling with the revolver.
Discovered, Mary--she rises from the floor,
still unseen, and runs near the dining-room
door and drops the envelope in a huge Japanese
vase standing on the floor. She then turns and
is horrified to see the men struggling with the
revolver. Furthermore, Horton has wrested the
weapon from Disbrow's hand, and it is only the
question of a moment with the two infuriated
partners. Mary picks up a slender bronze statue
on the table. She comes down with it on
Horton's arm, averting his aim, as he fires
into the air.
249
Flash. Same as 149. Disbrow's kitchen
Discovered, Decker, Louis, Marie and Agnes,
the help at a game of cards on the kitchen table.
They hear the shot, arise and run to find the
reason thereof.
250
Same as 248. Disbrow's library. Discovered
Disbrow, Horton, and Mary. The men see Mary
for the first time. Holding his arm, Horton
drops the revolver on the table. Disbrow knows
she has saved his life. With a glance at the
dining-room, Mary quickly conceals the weapon
in a drawer, just as Decker, Louis, Marie, and
Agnes burst in. They find a tableau, but
apparently no tragedy. The partners try to
readjust themselves. But it is Mary who allays
the servants' curiosity and fears. She pushes
the four of them back toward the dining-room.
With exchanging glances the "help" retire. The
two partners look at each other. Mary has not
only averted a scandal, but she has saved the
bank as well, for Horton, scattering the papers
over the table and looking on the floor, cannot
find the securities. He staggers out of the
room, a beaten and ruined man. Alone, Disbrow
opens his arms. Thankful to have such a
daughter, Disbrow closes Mary to his breast.
When he recovers, she pulls him by the arm to
the vase. She points inside. Holding her
against him, Disbrow dashes the tears from his
eyes.
251
SAFE HAVEN
Same as 250. Disbrow's library. Red lights
glow in the fireplace. Discovered, Disbrow
sitting in a big chair before the fire in quiet,
restful rumination, while Mary, reposing on the
chair arm, Disbrow's arm around her, is asleep.
She has found a real daddy at last. Disbrow
holds the security envelope on his knees.
252
Same as 251. Disbrow's library. Whole room.
Discovered Disbrow and Mary in the chair, as in
251. Enter Harry and Mrs. Disbrow from the
theater. They see the two before the fire.
Disbrow smiles up at them. Don't wake her, he
registers. Harry and his mother exchange
glances. It looks about time that somebody was
awakened. Harry shakes Mary by the arm. She
gets up, rubbing her eyes--and smiles. Harry
takes her away from his father and shelters her
in his own arms. Disbrow arises and blesses
the two of them. With a cry of gladness, Mary
throws her arms round Harry's neck. Fade out --
253
ENVOY - THE HONEYMOON
Same as 60, 63, and 65. Scenes along the old
familiar turnpike, near the Jenkins farm.
Discovered Harry and Mary in motor clothes
(Mary with a big motor veil and smart suit)
driving in a sporty roadster. They draw up.
Mary is quite sure this is the way. Zippy, who
is along, certainly recognizes it, for he
barks. Car exits.
254
Same as 55. The fence at Jenkins' barn-lot,
dividing the place from the turnpike. The big
gate is open. Enter Harry and Mary in car.
They stop. "This is the place, all right,"
Mary exclaims. So they drive the car in and
up to--
255
Same as 50. Exterior of Jenkins' home.
Discovered Jenkins feeding a flock of chickens
around the door, among which are two pure white
chickens, exactly alike. The three Jenkins'
children are also in evidence. Harry and Mary
drive up in the car. Mary nearly paralyzes
Jenkins when she at last makes him realize she
is Mary of old. He runs to the door and shouts
to his wife. She comes running out. "My land
of love, pa, it is her!" exclaims the woman.
"And gracious me--here is Zippy too." Mary
points to her wedding-ring and Harry, her
husband. The Jenkins are speechless,
especially "Pa," who surveys the snappy car.
But Mary sees the children. Mrs. Jenkins
helps the baby in to her. And from the bottom
of the car Mary takes up presents to show she
has not forgotten the children--a girl doll--a
clown-doll, a jumping-jack, a little iron train
of cars, etc. Mrs. Jenkins is so overcome she
sobs outside the car against Mary's shoulder.
"Oh, Lord, pa, we was so mean to her!" But
Mary pats her gently on the head--"It is all
right now." Then Mary sees the chickens and
laughs. "Wait," says Jenkins, with a laugh.
He makes a dive for one of the white chickens.
256
Same as 255. Exterior of Jenkins' house.
Discovered all as in scene 255. Further away in
the lot. Jenkins has been unable to catch either
of the two white chickens, but he returns and
tells Mary these are the two which caused her to
run from home. Mary and Harry laugh. Jenkins
says in explanation:
On screen.
"THOSE ARE THE TWO. WE ALWAYS
CALLED THEM 'MARY'S CHICKENS'!"
Back to scene.
They all laugh. Mary would like to take them
with her, but she cannot this time. But she
will come back again. Handing out the baby,
which she has kissed good-bye, Harry starts the
car. They back and drive out.
257
Flash. Discovered the back of Harry's car,
driving out of the barn-lot gate. Mary waves
back. The Jenkins wave to her.
258
Flash. Same as 253. Scene of the turnpike. Mary
and Harry coming in car, Zippy seated between
them.
259
Same as 258. Close-up of Harry and Mary in car.
Driving with one hand, he has the other arm
about her. They laugh and chat. Then he draws
her smiling lips to his. The picture fades.
______________________________________
Screenplay by Maibelle Heikes Justice,
"probably the best known free lance
scenario writer in America. Miss Justice
seldom receives less than $1,500 for a
mere synopsis, and more frequently sells
her completed scripts for a big advance
and royalty."
Scenes numbered in half-numbers were
inserted scenes after the scenario was
first drafted.