Youth's Endearing Charm
Screenplay
For those interested, here's the text of the original screenplay for Youth's Endearing Charm. This has been available on the internet for awhile, although we've cleaned our version up a bit and the scenes involving Mary Miles Minter have been highlighted in blue text.
If you've seen any of the previously available Mary Miles Minter films, or even enough of her photographs, you can visualize her performing the role while you're reading the screenplay. If you immerse yourself enough, it's like watching a brand new Minter film.
It's the typical Minter vehicle, and there's no question that it delighted audiences. Our absolute favorite part is where Mary inadvertently puts on the fancy ball gown (instead of a maids outfit), and ultimately delights the high society guests of her rich benefactors with tales of her experiences at the farm. Just reading it is hilarious. It starts about scene 140 and runs through scene 171.
We hope you enjoy this. The scenes numbered in half-numbers were
additional scenes inserted after the screenplay was first drafted.
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
4
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.
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. 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.
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.
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.
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.
