Judgment of the Storm
SUBTITLE 1:--(FADE IN ON)
The Heath farm on the outskirts of
the college town of Darienne.
1. EXTERIOR HEATH FARM:
This is a long shot of the Heath farm taken
from the field which Dave Heath is engaged
in plowing. To make this farm yield enough
to clothe and feed a large family requires
unremitting toil on the part of Dave, who so
far has kept the farm in good condition. Dave
halts the plow, takes off his hat and mops his
2. HEATH LIVING ROOM:
This room is a combined living and dining room.
The furniture is of a kind that ordinarily
would be found in a house situated on a farm
which only continued labor could make pay.
Although the furnishings are of the ordinary
kind, yet everything is kept spick and span.
The table is already set for the noonday meal.
In a corner of the room, between two windows,
sits Mrs. Heath with her work-basket in her
SUBTITLE 2:--Mrs. Heath,--Claire McDowell
3. CLOSE UP ON MRS. HEATH:
Mrs. Heath is sorting out some handkerchiefs
and places them in a workbasket which she puts
to one side. Then she resumes work on a
sweater she is making for John Trevor, a senior
in the college at Darienne and one of Mary
Heath's greatest admirers. Mrs. Heath is a
kindly woman but has a high sense of duty. If
at times she seems unreasonably stern, it is
only because of this inborn idea of duty, as
she sees it.
SUBTITLE 3:--Her daughter, Mary--Lucille Ricksen
4. CLOSE-UP ON MARY--HEATH KITCHEN:
Mary is standing near the window by the kitchen
sink, cutting bread for the noonday meal. She
is a very winsome girl of about eighteen years
of age, with lustrous brown eyes and curly hair
which hangs down her back in wavy ringlets.
Suddenly Mary looks up from her task and
gazing intently off scene toward the door which
joins the living room and the kitchen, sees--
5. CLOSE SHOT ON TABLE AND CHAIR--HEATH LIVING ROOM:
The family fox terrier, in search of food, has
cautiously climbed up on a chair and now slowly
raises its head above the level of the table. It
looks about the table longingly and then,
apparently unobserved, proceeds to investigate
matters a little more closely.
6. CLOSE-UP ON MARY--HEATH KITCHEN:
Into Mary's eyes comes an amused twinkle as she
closely watches to see what the dog is about to
do. Although her attention is riveted on the
dog, she continues to slice the bread slowly.
7. CLOSE SHOT ON TABLE AND CHAIR--HEATH LIVING ROOM:
The dog, now thinking that it is not being
observed, puts its paws up on the table and
sniffs around for something to eat. It now
puts its muzzle on the table cloth as if trying
to overturn one of the dinner plates to see if
anything is hidden there.
8. HEATH KITCHEN:
Mary takes down a dish towel which hangs on a
nail above the drain board of the sink and,
smiling, quietly tiptoes out of the kitchen,
prepared to surprise the still unsuspecting dog.
9. HEATH LIVING ROOM:
Shooting toward corner of room where Mrs. Heath
is still seated, working on John's sweater and
tipping in the table and the chair upon which
the dog stands. As Mary enters on tiptoe, Mrs.
Heath quickly looks up but Mary puts her
fingers to her lips--warning her mother not to
make any noise. Still moving noiselessly, Mary
maneuvers herself into a position directly back
of the chair where she can not be seen by the
still unsuspecting dog. Suddenly she seizes the
back of the chair and shakes it violently,
dumping the dog off on the floor. As the dog
springs down, Mary strikes at him with the dish
towel, thus adding to his confusion as he
hurriedly exits from the scene.
10. CLOSE-UP ON MARY--LIVING ROOM:
Mary stands there looking at the fast vanishing
dog. At first she tries to look serious as
though the dog were a grave offender; but then
the humor of the affair strikes her, and she
begins to smile good naturedly. Allow for
action here so as to bring out the fact that
Mary is a sweetly sympathetic girl, with an
eye open to the amusing things in life.
11. WINDMILL IN HEATH FARMYARD:
This windmill is in the Heath farmyard about
fifty feet or so from the farmhouse, and is
built above one of the out buildings which is
almost completely covered with vines. From the
ground to the little platform just beneath the
vanes of the windmill runs a ladder, formed by
nailing cross cleats to one of the timbers
supporting the mill. Paul and Patsy, the Heath
twins, enter the scene, running from the
farmhouse to the foot of the ladder, prepared
to climb to the platform. At the time there is
not sufficient breeze blowing to turn the mill
so that the blades are immobile. As usual, Paul
and Patsy are on mischief bent--although they
are continually in some sort of trouble, yet
they are greatly loved by all the members of
the Heath family who seem destined to forgive
one childish prank just in time for the twins
to launch themselves into another.
12. CLOSE SHOT ON TWINS--WINDMILL:
Paul and Patsy have now come to the foot of the
ladder, preparatory to climbing to the platform
high above their heads. Their eyes shine with
roguishness, for they know that they have been
forbidden to climb this ladder. This adds zest
to their enterprise. Now with Paul in the lead
they begin to climb, Patsy bravely following
her daring little brother. They struggle
upward from one cleat to another for the cleats
are some distance apart, and it is no easy
matter for the twins to stretch their little
legs so far. However, undeterred by such a
minor difficulty as this they continue to climb
higher and higher.
13. WINDMILL IN HEATH FARMYARD:
The twins continue to climb upward, never once
glancing down at the ground which is getting
further and further away, adding greatly to
their peril should they, by any chance, slip
and fall. Paul, being a boy, is a much better
climber than his sister, Patsy; but the little
girl is dressed in a suit of rompers and these
do not interfere with the free movement of her
little legs as she follows her brother with a
14. CLOSE SHOT ON WINDMILL PLATFORM:
Paul slowly comes into the scene and, clinging
to one of the cleats of the ladder with one
hand, pushes open the trapdoor with the other.
After some difficulty, he succeeds in pulling
himself through the opening in the platform and
then leans down to assist Patsy, grabbing her
by the seat of the breeches portion of her
rompers. Soon they are both safe on the
15. SIDE PORCH--HEATH FARMHOUSE:
Mary comes to the door, looking for the twins
to wash them for the noonday meal. Now she
comes to the porch and, seeing some cute little
chicks huddled together there, stoops down and
picks up one of them.
16. CLOSE-UP ON MARY HOLDING CHICK:
A very pretty shot of her here as she holds the
chick in both her hands. She looks at it
whimsically and then smiles at the helpless
little fluffy thing. Now she snuggles it close
to her neck. Hold sufficiently long to get
over the idea that Mary is a very kindhearted
girl with a wholesome sympathy for the helpless
and for those in trouble. This will help to
make clear her attitude toward John Trevor
later in the story.
17. CLOSE SHOT ON WINDMILL PLATFORM:
Paul is now standing up while Patsy is seated,
intently watching her heroic little brother.
Paul now goes over to one side of the platform
and, clinging to the vanes of the windmill with
one hand, bravely, though recklessly, stands on
one foot on the platform's edge. Patsy seems
much impressed with the "stunt" of her little
brother but is content to remain seated where
it is a good deal safer.
18. WINDMILL IN HEATH FARMYARD:
This is a still longer shot of the windmill,
taken so as to tip in a large part of the yard.
Paul is still balancing on one foot on the edge
of the platform. Patsy, still seated, is
19. CLOSE SHOT ON WINDMILL PLATFORM:
Paul still balancing on one foot and having
noted the impression for bravery that he has
made on Patsy says, rather contemptuously:
SUBTITLE 4:--"Aw, that's nothing--I'll show you
a good trick."
(Scene 19 continued.) Now Paul puts his hands
upon the platform's edge and prepares to stand
on his hands. Patsy is greatly excited and
tries to grab him by the leg, but Paul is
determined to show her "his good trick." After
several attempts which result in failures, he
finally succeeds in standing on his hands. His
position is an extremely perilous one and
little Patsy is rightly worried.
20. BACKYARD--HEATH FARMHOUSE:
Mary is discovered near the back door of the
farmhouse, looking anxiously across the fields
for the twins. The noonday meal is nearly
ready; the twins have not had their faces and
hands washed, and she can find them no place
although she has hunted high and low for them.
21. CLOSE SHOT ON WINDMILL PLATFORM:
Not satisfied with having accomplished the
trick of standing on his hands, Paul now tries
to stand on his head. After two failures,
he succeeds; but in doing so he spins around
on his head, loses his balance and drops over
the side of the platform. By a near miracle he
manages to catch hold of the edge of the
platform as he falls. Hanging by his hands,
he is not able to draw himself up to the
platform again, but at last succeeds in getting
a foothold on one of the cleats of the ladder.
22. WINDMILL IN HEATH FARMYARD:
Mary is now standing in the backyard near the
windmill, still looking for the missing twins.
Paul is still hanging by his hands to the edge
of the platform, and seems on the verge of
losing his hold and falling to the ground.
Suddenly Mary's attention is attracted to the
children above her. She turns quickly and
23. CLOSE-UP ON MARY--SOFT EDGED CIRCLE:
Mary looks up toward the windmill platform and
is terrified when she sees the predicament in
which Paul has got himself. For a moment she
does not know what to do. Her mouth is open
and her eyes staring in the shock of her
24. BACKYARD--HEATH FARMHOUSE:
Mary starts toward the ladder and begins to
climb to rescue her little brother. Moments
seem like hours now as she fears that Paul's
strength will give out, forcing him to let go
his hold on the platform.
25. CLOSE SHOT ON WINDMILL PLATFORM:
Patsy, greatly alarmed at Paul's perilous
position, has come to his aid and, with all the
strength at her command, is trying to help him
back to the platform. First, she tries to pull
him to safety by his hair. Now she seizes one
of the suspenders of his jumpers; and, what
with her pulling and Paul's struggles, the
little boy at last manages to drag himself over
the platform's edge to safety. Paul has had a
narrow escape, but does not seem to realize it.
To him it is all in a day's play.
26. CLOSE SHOT OF MARY--LADDER:
As she looks up and sees that Paul is again
back on the platform, Mary stops climbing up
the ladder. With a sigh of relief, she calls to
them, telling them to come down immediately.
27. CLOSE SHOT ON WINDMILL PLATFORM:
Paul is much more afraid of Mary's wrath than
he is of falling off the windmill platform.
When he hears her call and realizes that she is
coming up the ladder to get him and Patsy, he
makes haste to remove the trapdoor so that they
can descend. Patsy starts to crawl through the
28. CLOSE SHOT ON MARY--LADDER:
Mary climbs up another cleat of the ladder, but
now comes to the realization that the twins are
well on their way to safety and that they are
no longer in need of her assistance; so she
stands there, watching them to assure herself
that they will come down all the way to the
ground and not take a sudden whim and climb
back to the platform again. Having got them
started to safety, she intends to wait and see
that they arrive safely.
29. CLOSE SHOT ON WINDMILL PLATFORM:
Patsy carefully descends the ladder. As soon as
she has released her hold on the upper cleat,
Paul climbs through the opening in the platform
and, being careful not to step on Patsy's hands,
slowly makes his way down the ladder.
30. SMALL BRIDGE OVER CREEK:
This is an ordinary wooden bridge spanning a
small creek near the Heath farm--such a bridge
as would be found in the country where the load
would never exceed horses or light wagons. The
bridge has no side rails, but the planking is
fairly heavy. Seated on the bridge, with his
feet dangling over the side and with a can of
angle worms at his side, is one of the
neighborhood boys, fishing in the stream with
some home-made fishing tackle.
31. MEDIUM SHOT ON BRIDGE:
The boy is holding his fish pole with both
hands, intently watching the water and hoping
that some unwary fish will soon take the hook.
So intent is the boy on his fishing that he
does not hear Bob Heath as the latter
approaches on his bicycle.
32. SMALL BRIDGE OVER CREEK:
The boy is still sitting on the bridge, fishing,
when Bob Heath, coming home to the noonday meal
from the college in Darienne, starts to ride
noiselessly across the bridge on his bicycle.
33. MEDIUM SHOT ON BRIDGE:
As Bob rides by, he takes one foot off a pedal
of his bicycle and, without stopping his wheel,
kicks the can of angle worms into the creek.
The boy hears the splash, quickly turns, sees
who his tormentor is, and realizes that all
fishing is spoiled for that day.
34. SMALL BRIDGE OVER CREEK:
Bob continues across the bridge on his way home.
The boy gets to his feet and calls after Bob,
telling him what he thinks of the trick Bob has
SUBTITLE 5:--Bob Heath, the Spoiled and Pampered
Younger Brother.--George Hackathorne.
35. CLOSE-UP ON BOB:
On the further side of the bridge, Bob stops
his bicycle and calls out to the boy, telling
him to forget it--to keep things out of the way
if he does not wish to get them kicked into the
water. As Bob talks he smiles maliciously. It
is no concern of his if he kicked over the can
of angle worms. What does he care for fishing,
anyhow! Allow for sufficient action here to
show that Bob is not only selfish and
inconsiderate of others but is malicious too.
36. CLOSE-UP ON COUNTRY BOY:
The boy is very angry but realizes that he can
do nothing to Bob as the latter is so much
bigger and stronger than he is. Tears start to
come into his eyes as he looks angrily off
scene at the disagreeable Bob.
37. SMALL BRIDGE OVER CREEK:
Bob, well satisfied with the fact that he has
spoiled the boy's fishing and has hurt his
feelings too, continues on his way home. The
boy, with tears in his eyes, turns away and
sorrowfully walks across the bridge toward
home, in a direction opposite to that taken by
SUBTITLE 6:--Dave Heath, the oldest son, whose long
days of hard work make it possible to
keep the family together--Bruce Gordon
38. MEDIUM SHOT OF DAVE AND PLOW HORSES:
Dave has brought his plow horses to a stop and
stands in the partly plowed field, mopping his
brow with a handkerchief. Now he wipes off the
sweat band of his battered felt hat preparatory
to putting it on his head again and going to the
farmhouse for the noonday meal. Dave is a
strong manly fellow of about twenty-five years
of age. The lines in his face show that he is
possessed of considerable character, and is
accustomed to hard work on the farm. This work
he does uncomplainingly as upon his shoulders
rests almost the entire burden of making the
farm pay enough to feed and clothe them all and
to keep Bob in college. That he is perhaps
imposed upon at times has never occurred to
Dave, as he is only too glad and willing to
sacrifice himself for the benefit of others.
39. EXTERIOR HEATH FARMHOUSE:
Shooting from the country road that runs past
the front of the house. This shot shows nearly
all of the house, the picket fence and the gate
which is now open. Through the gate now come
some chickens, hurrying to get out of the way
of Paul and Patsy. The twins are not chasing
the chickens, but are fleeing from Mary who is
trying to get her hands on them to wash them
for the noonday meal. From the haste with
which the twins flee, one might think that they
were hurrying to escape some dire punishment
for having climbed up the windmill; but the
only punishment for them is having their faces
and hands washed. Just as in the case of all
small children, this is a real punishment for
they see little necessity in getting washed up
only to get dirty again.
40. SIDEYARD HEATH FARMHOUSE:
Bob has already entered and is riding along on
his wheel. Suddenly he loses control of the
bicycle and falls to the ground. To add to
his confusion and disgust, some geese, waddling
along hurriedly to escape the twins who are
still fleeing from Mary, almost walk over him
in their mad haste. As Bob falls, the
packages which he has been carrying under his
arm are scattered in the barnyard.
41. CLOSE-UP ON BOB--SIDEYARD:
Bob is tangled up with his bicycle and is lying
almost flat on the ground. The frightened
geese hurry to escape from the twins; and even
the chickens become so excited that they begin
to fly over Bob, covering him with dirt.
Presently Bob manages to sit up; and, as soon
as the dust has cleared, looks around him, with
intense disgust written all over his face.
Bob's position is not a dignified one, and he
feels this fact keenly.
42. SIDEYARD--HEATH FARMHOUSE:
While the twins stand and look at Bob,
wondering whether to continue their flight or
to watch Bob, Mary comes running into the scene,
goes to him, and begins to help him get on his
43. ANGLE BY BARN:
Dave enters with the two horses he has been
using on the plow, having unhitched them to let
them rest during the noon hour. One of the
horses enters the barn. Dave leads the other
forward by the reins toward the barn door.
44. HEATH KITCHEN:
Mrs. Heath is busying herself near the stove,
finishing her preparations for the noonday meal.
The twins, led by Paul, enter. Paul stands
talking to his mother, while Patsy goes to her
and clings to her skirts.
45. ANGLE BY BARN:
Near the barn door Dave stands by the side of
the horse, preparatory to leading it into its
stall in the barn. He is facing the horse and
does not see Mary who comes running into the
scene and goes to where he is standing.
46. MEDIUM SHOT ON DAVE AND HORSE:
Shooting toward barn door. Dave is adjusting
the horse's harness when Mary enters scene. As
she gets close to Dave, she gives a leap; and,
throwing her arms around his neck, lifts
herself off of the ground. Now she releases
her hold around Dave's neck, faces him, and
starts to put her arms around his neck again.
47. CLOSE-UP ON DAVE AND MARY:
Mary's arms are around Dave's neck. Together
they stand there looking happily in each
other's eyes. Now Dave places his hands under
Mary's arms and begins to lift her, to seat her
upon the horse's back.
48. CLOSE SHOT ON DAVE AND HORSE:
Dave lifts Mary up and puts her on the horse's
back; then, taking off his hat, stands there
and looks at her with a good natured smile.
Allow sufficient footage to show that brother
and sister are held together by a close bond of
sympathy and understanding.
49. CLOSE-UP ON DAVE:
Dave's face is wreathed in smiles as he looks
up at Mary.
50. CLOSE SHOT ON DAVE AND HORSE:
As Mary holds out her arms to him, Dave reaches
up and lifts her down from the horse. For a
moment they stand there; and then Mary,
laughing, playfully punches Dave in the ribs
and runs out of the scene. Dave smiles at her
as she goes and then leads the horse into the
51. SIDEYARD--HEATH FARMHOUSE:
The disgruntled Bob leans his bicycle against
the side of the house, then comes back and
picks up the packages which he had dropped in
his fall. Bob is in a disagreeable humor on
account of the accident which befell him--a
more disagreeable humor than usual, although at
no time has he been in a particularly agreeable
frame of mind.
52. SIDE PORCH--HEATH FARMHOUSE:
Tipping in bench, pump and wash basin. A towel
is hanging from a nail driven into the side of
the house. Dave enters, hangs his hat on a
nail near towel, pumps water into the basin
from a small head pump and is about to wash up
for the noonday meal when the disgruntled Bob
enters from the opposite side. As Dave always
listens good-naturedly to all of Bob's
complaints, Bob is accustomed to pour all his
trouble into Dave's ear.
53. CLOSE-UP ON BOB:
Looking thoroughly disgusted with things in
general, Bob stands there and watches Dave.
SUBTITLE 7:--Selfishly accepting as his due the
sacrifices his mother and Dave are
making for his education.
So thoroughly is Bob wrapped up in his
selfishness that he cannot appreciate the fact
that what is being done for him is a sacrifice
indeed. He really feels that he is entitled to
a great deal more than he is actually getting,
and that his life is a very hard one.
54. SIDE PORCH--HEATH FARMHOUSE:
Dave stands watching Bob as the latter comes
toward him, knowing that Bob has something
about which he wishes to complain. Bob walks
close to Dave, prepared to impress him with
the weight of his remarks.
55. MEDIUM SHOT ON DAVE AND BOB:
The disgruntled Bob stands there, petulantly
complaining of his hard lot in life. Dave
listens to him patiently.
56. CLOSE SHOT ON MARY AND TWINS--HEATH KITCHEN:
This is a cute little shot of Mary as she
washes Patsy's face and then Paul's. Like most
young children, the twins do not like to have
their faces washed but realize that they have
to submit to the inevitable. Mary is in a
good-natured mood as she is very fond of her
little brother and sister.
57. CLOSE SHOT ON DAVE AND BOB:
While Bob continues to talk, Dave smilingly
places his hand on Bob's shoulder as much as to
say, "Well, Bob, old man, don't take things so
much to heart."
58. HEATH LIVING ROOM:
This shot shows the door leading into the
kitchen, and also that leading to the side
porch. The twins are already seated and Mary,
on the opposite side of the table, busies
herself arranging the knives and forks. Mrs.
Heath comes from the kitchen, carrying in her
hands a plate of meat which she places on the
table. Bob enters from side door, still
carrying the packages which he had dropped in
the side yard. Mrs. Heath goes to meet him as
59. ANGLE BY SIDE PORCH:
Dave has finished washing his face and hands
and now throws the water out of the small
tin basin he has been using. Replacing the
basin, he rolls down his sleeves preparatory to
entering the house.
60. MEDIUM SHOT ON GROUP--HEATH LIVING ROOM:
Shooting toward the side door through which Bob
has just entered. Mary, with her hand resting
upon the back of one of the chairs at the table,
looks at Bob as his mother talks to him. As
Mrs. Heath continues to talk, Bob turns and
looks at Mary, his face wearing a scowl. Dave
is seen coming toward the side door. Mrs.
SUBTITLE 8:--"John's sweater is done. You can take
it back to college with you, Bob."
61. CLOSE-UP ON MRS. HEATH AND BOB:
As Mrs. Heath speaks title, Bob turns and looks
sharply at Mary off scene. On his face there
is a look of grim determination. Perhaps he
can take John Trevor's sweater; but he is
positive that he will do nothing of the kind.
He does not intend to become anybody's errand
boy. Bob turns, looks at his mother, and says:
SUBTITLE 9:--"Aw, let Mary take Trevor's sweater--
she's stuck on him, I'm not."
(Scene 61 continued.) As Bob says this in a
disagreeable tone, Mrs. Heath, realizing that
he is selfish, though not fully understanding
why, looks at him wonderingly. Then she
places her hand on his shoulder affectionately
and tries to coax him back into a better mood,
but her effort has little effect on Bob.
SUBTITLE 10:--John Trevor--Lloyd Hughes.
62. CLOSE-UP ON JOHN--CLASS GAME:
This shot shows the athletic field of the
college in Darienne. John's shirt is torn
almost to rags and his hair is disheveled, but
he still holds down on the ground the college
boy with whom he is contending in the class
games. John looks up and smiles. He is having
a fine time, is thoroughly in earnest, and
shows that he is a clean, good-natured young
63. MEDIUM SHOT ON CLASS GAME:
This shot shows a struggling mass of collegians
engaged in the class game. John starts to pick
up one of the boys out of the melee and to carry
him off the field which has been marked out for
64. CLASS GAME:
This is a long shot of the class game. The
contest still goes on furiously. John has
picked up in his arms his particular opponent
for the moment and is carrying him off the
65. CLASS GAME:
A still longer shot of the class game. John
carries his opponent outside the space marked
off for the game and lays him on the ground.
The referee stands near at hand ready to
announce the winner of the contest.
A flash of the college girls and boys as they
rise from their seats and start to cheer.
67. CLASS GAME:
The referee raises his hand to announce that
John's side has won the game. The victorious
boys gather into a group and cheer at the
68. HEATH LIVING ROOM:
Dave, having entered the living room, goes to
the twins and kisses them fondly, then helps
his mother to a chair before he himself sits
down. Mary takes Bob's hat and places it on a
chair to one side; while Bob, still looking
sour, goes to the opposite side of the table
and sits down. Allow sufficient footage to
show sharply the contrast between Dave and Bob
--the one of an affectionate disposition and
content with even his hard lot of life; the
other, selfish in the extreme, and lacking any
69. EXTERIOR HEATH FARMHOUSE:
Shooting from across the country road which
runs in front of the Heath farmhouse. Martin
Freeland enters in his classy roadster, stops
the car in front of the gate, climbs out of the
car, and enters the farmyard. Martin has money,
is well dressed, and appears to be satisfied
70. ANGLE OF HEATH LIVING ROOM:
This shot includes the side of the table where
Mrs. Heath and the twins are seated and shows
Mary, whose place is at the end of the table
nearest the door and with her back towards it.
Martin comes on the side porch, stops for an
instant, then opens the screen door and enters.
He really feels so much superior to all of them
in a way that he does not consider it necessary
to remove the cap he is wearing. Having said
"How do you do," Martin stands to one side of
the door, with his back resting against the
wall. As he enters, Mary turns and looks at
him in a rather disinterested way. Although he
is rich and one of her most persistent suitors,
Mary does not like him--she merely tolerates
him through force of necessity. Martin is very
friendly with Dave and Mary; on this account,
she could not snub him were she so disposed.
SUBTITLE 11:--Martin Freeland, whose infatuation for
Mary, and jealousy of John Trevor, keeps
him hanging around the small town of
71. CLOSE-UP ON MARTIN:
Martin is laughing and talking. Finally he
removes his cap, folds his arms with an air of
self-assurance and says:
SUBTITLE 12:--"I was just driving by. Anyone going to
(Scene 71 continued.) Martin finishes title
and looks out of the corner of his eye toward
Mary. His invitation is apparently a general
one, but it is Mary whom he wishes to ride into
town with him.
72. CLOSE-UP ON MARY:
Mary, none too pleased at the prospect of
riding into Darienne with Martin, looks at him
for a moment and then turns her head away and
looks down at the table, trying to think of
some excuse to offer him.
73. CLOSE-UP ON MARTIN:
A flash of Martin as he stands near the door
smiling, waiting for Mary to make up her mind
to accept his invitation.
74. ANGLE OF HEATH LIVING ROOM:
Mrs. Heath has heard Martin's invitation, but
has not noted the fact that Mary does not care
to accept it. Mrs. Heath gets up from her chair
and goes to where Martin is standing. As she
approaches, Martin moves forward slightly to
meet her. Mrs. Heath says:
SUBTITLE 13:--"Mary's going--she'll be glad of the
(Scene 74 continued.) Having spoken this title,
Mrs. Heath turns and exits into the kitchen.
Martin comes over to the chair where Mary is
seated, rests his hand familiarly on the back
of the chair and awaits her decision.
75. CLOSE-UP ON MARY:
Mary, still looking down at the table and
thinking of some excuse to offer Martin, finally
looks up, turns her head toward Martin and says:
SUBTITLE 14:--"Don't bother about me. I'll ride
(Scene 75 continued.) As she says this she
continues to look at Martin, hoping that he will
not press his invitation.
76. CLOSE-UP ON BOB:
Bob is about to take a bite of bread when he
hears Mary speak the above title. He looks
sharply in Mary's direction, a disagreeable
scowl wrinkling his forehead.
77. CLOSE-UP ON MARY:
Mary turns her head and looks toward Bob to see
what effect her remark has had upon him.
Although she knows Bob only too well to believe
that he will let her use his bicycle, yet she
is not positive that he will not consent to its
use in the circumstances.
78. CLOSE-UP ON BOB:
The selfish Bob is disgusted to think that Mary
could have even thought of such a thing. If she
goes, it will have to be with Martin. Bob says
in no uncertain tones:
SUBTITLE 15:-- You WILL not! Do you think I'm going
to walk back?"
(Scene 78 continued.) As he says this Bob's
face is clouded with displeasure. He does not
understand how Mary could be so selfish in a
matter of this kind--the very idea of having
to walk anywhere is repellent.
79. CLOSE-UP ON MARTIN:
Martin still stands there smiling facetiously.
He is very glad that Bob has adopted such an
attitude. Mary will either have to walk or go
with him in the roadster if she wants to go at
80. CLOSE-UP ON MARY:
Mary stares at Bob for a moment--it is beyond
her comprehension why Bob is so consistently
selfish and disagreeable. Then she turns and
looks at Martin in a helpless sort of way.
Although she does not want to go with him, she
sees nothing else to do.
81. ANGLE OF HEATH LIVING ROOM:
Mrs. Heath enters to Mary and tells her to go
take off her apron and put on her hat. Martin,
seeing that he has an unwitting ally in Mrs.
Heath, takes hold of Mary's chair to draw it
away from the table as she gets up.
82. CLOSE SHOT ON MARY AND MARTIN--HEATH LIVING ROOM:
Martin leans down and urges Mary to hurry and
get fixed up to go. Reluctantly Mary rises
from her chair.
83. ANGLE OF HEATH LIVING ROOM:
Mary exits from scene to go to her room. Dave,
having finished his meal, gets up from the
table and starts toward Martin.
84. MARY'S ROOM:
This shot shows the doorway, a dresser, and a
table on which is a lamp of the Rochester
burner type. Mary enters through doorway,
stands near dresser, and begins changing her
85. MEDIUM SHOT ON DAVE AND MARTIN--HEATH LIVING ROOM:
Dave now stands talking to Martin. The latter
says to him:
SUBTITLE 16:--"I'm driving to New York tomorrow--
want to go?"
(Scene 85 continued.) Martin's invitation is a
genuine one. He is very fond of the hard
working Dave. Dave smiles at Martin and says:
SUBTITLE 17:--"I'd be glad of the chance. I've got
to go sometime this month."
86. ANGLE OF HEATH LIVING ROOM:
As Dave finishes the above title, Martin shows
that he is very glad because of Dave's decision
to accompany him.
87. CLOSE SHOT ON MARY--HER ROOM:
Mary, in her room, has taken off her apron and
put on her hat. She opens the door and exits.
88. ANGLE OF HEATH LIVING ROOM:
Dave goes to the twins, wipes off their faces
with a napkin and starts to feed Patsy. Mary
enters, kisses her mother good-bye, and exits
with Martin through the door leading to the
side porch. As they go, Dave waves his hand to
Martin, assuring him that he will be on hand to
go to New York on the morrow. Bob, not having
finished lunch, is still sitting at the table.
He does not indicate the slightest interest in
anything that is taking place, being too self-
centered and selfish to devote any real thought
to the affairs of others--unless in the way of
89. EXTERIOR HEATH FARMHOUSE:
Shooting across the roadway as in the previous
scene. Martin and Mary come from house, climb
into the roadster to drive into Darienne.
90. MEDIUM SHOT ON DAVE AND BOB:
Dave has moved a chair close up to Bob's and
now sits there talking to him. Bob is
scowling; but Dave is looking at him good-
naturedly, waiting to hear what he has to say.
Although Bob is not actually interested in
Mary's affairs, yet he feels that they form a
good basis for a protest. As he is in a mood
to find fault with anything, he might as well
choose this subject as any other. Bob says
gravely as if he were announcing something of
SUBTITLE 18:--"Do you know that Mary sees John every
time she goes to the college?"
(Scene 90 continued.) Dave turns his head and
looks off scene, smiling. To him, Bob's question
sounds very funny. Bob is merely trying to make
a mountain out of a mole hill. Dave knows that
Bob has been in a very disgruntled mood ever
since he fell off his bicycle, and is seizing
upon this subject simply because he wants to
protest about something. Dave's usual method
in handling Bob when he gets off on a streak
of this kind is to laugh at him, but in a good-
natured way. The now laughing Dave turns and
looks at Bob, then he says genially:
SUBTITLE 19:--"What of it? John sees Mary every time
he comes out here."
(Scene 90 continued.) Bob can find no ready
answer to Dave's counter question but is
satisfied that he is in the right, as usual. The
conditions seem to him to be entirely different,
but Dave refuses to believe that they are so
essentially different, as to warrant a protest
on the part of anyone. Bob is not wholly
satisfied that Dave cannot see things in the
same light as he does and continues to argue
the matter with Dave, who does not believe
there is anything to argue about.
91. COLLEGE GROUNDS:
This is a long shot of the college grounds,
showing the college building in the background
and trees in the foreground. Mary and Martin,
in the latter's roadster, drive into the scene.
Martin stops the car, and Mary starts to get
out to deliver the sweater to John Trevor.
92. GATEWAY TO COLLEGE GROUNDS:
This shot shows the entrance to the college
grounds. To the right appears the brick
wall which surrounds the grounds. A short
distance from the base of this wall is a ledge
upon which one may stand and look over the wall.
John Trevor comes running into scene, goes
through the gateway and looks off scene where he
93. MEDIUM SHOT ON MARTIN'S ROADSTER:
Mary has just descended from the car. She
thanks Martin for bringing her to town and
then exits from scene, carrying a knitted
handbag in which is the sweater intended for
John. Martin very formally touches his hand
to his cap as Mary leaves, but is none too
pleased with the thought that she is leaving
him and going to see John Trevor. As the two
young men are rivals for Mary's hand and
apparently she thinks more of John than she
does of him, Martin not only does not like
John but is intensely jealous of him.
94. GATEWAY TO COLLEGE GROUNDS:
John, standing near gateway, sees Mary coming
and hastens to climb on the ledge of the wall
so that he can see her as she approaches, and
surprise her as she comes through the gateway.
95. CLOSE SHOT ON WALL:
Shooting from outside the college grounds
toward the wall. Slowly John's head appears
above the top of the wall as he watches Mary
coming up the brick walk which leads to the
96. BRICK WALL OUTSIDE OF COLLEGE GROUNDS:
Mary is coming up the walk, carrying the
knitted handbag which contains the sweater.
97. CLOSE SHOT ON WALL:
John smiles with delight as he sees Mary
coming up the walk.
98. GATEWAY TO COLLEGE GROUNDS:
John has lowered his head so that Mary cannot
see him but still stands on the ledge, awaiting
her approach. Mary enters scene and comes to
gateway, wondering why John is not there to
meet her as usual. As she starts to pass
through the gateway, John springs down from the
ledge and runs out through the gateway to meet
99. MEDIUM SHOT ON JOHN AND MARY:
Mary is greatly surprised when John comes to
her so quickly. John laughs at her confusion
then, taking her hand tenderly in his own, says:
"Come on, let's go over there," and leads her
out of the scene.
100. WALL OF COLLEGE GROUNDS:
This shot shows an archway, in front of which
is a tree with a twisted trunk. John and Mary
enter scene through archway and come to the
tree in the foreground. Both are a trifle ill
at ease; but they are thoroughly in love with
each other, and this fact renders them
unnecessarily conscious of each other's
101. CLOSE SHOT ON JOHN AND MARY:
John has his arm resting against one of the
trees; Mary is standing near the other. John
is in a very happy frame of mind and looks
devotedly at Mary as he says:
SUBTITLE 20:--"Mary, my mother has come back
from Europe. She arrived in New
102. CLOSE-UP ON JOHN:
As he says this, John's face fairly radiates
103. CLOSE-UP ON MARY:
Mary looks up at John and smiles because he is
104. CLOSE-UP ON JOHN:
John, wondering how Mary will receive the rest
of the information he has to impart, looks at
her questioningly as he says:
SUBTITLE 21:--"... and tomorrow, I'm going home."
(Scene 104 continued.) As he says this, John
plainly shows the enthusiasm with which the
idea has imbued him. He is thinking solely of
the fact that he is to see his mother again
after a long absence. This fact for the time
being has made him forget that his going home
will deprive him of his pleasure in seeing Mary
105. CLOSE-UP ON MARY:
Mary is smiling as John says the above title
but soon its full import begins to dawn upon
her. She bites her lips; and the expression of
happiness, that was on her face but a moment
ago, changes to one of sadness. Now she realizes
that after today it may be a long time before
she will see John again.
106. CLOSE-UP ON JOHN:
John looks at Mary, sorry because a look of
sadness has come into her face, yet secretly
pleased that she loves him so dearly that she
is sad when he is about to go away and leave
her, if only for a little while.
107. MEDIUM SHOT ON JOHN AND MARY:
Mary vainly tries to conceal her emotion. Her
lips quiver and she struggles to keep back the
tears. Then, lest John see how sad she feels
at the thought of losing him, she turns and
exits from the scene. With sober eyes, John
watches her go, wondering just what he should
do in the circumstances.
108. CLOSE-UP ON JOHN:
With sober face John watches Mary go and then
bursts into a low laugh. Of course, he will
come back soon to see her again. She must not
take this coming separation so much to heart.
On this last day together, Mary must cheer up
and rejoice in the happiness which is to come
to him on the morrow.
109. WALL ON VERANDA--COLLEGE GROUNDS:
This wall is a low one at the end of a veranda
of one of the college buildings. Upon the
end of the wall there is a large concrete base,
placed there for ornamental purposes. Mary
comes to the wall and stands there with bowed
head. Her heart is heavy at the thought of
losing John, if only for a little while. John
quickly comes to her side and tells her not to
feel sorry as he will surely return soon to see
her again. Placing his hands under Mary's
arms, he lifts her up and seats her upon the
wall. She places the sweater to one side and
looks at him attentively, as he takes from one
of his pockets a letter he has that day
received from his mother. Taking the letter
from the envelope, he gives the letter to Mary
110. CLOSE-UP ON MARY:
Mary reads the letter and shows that she is
glad of the happiness that is to be John's. To
her the letter speaks of the great love of
mother for son and she rejoices in the fact
that John has a mother of whom he can feel so
111. CLOSE SHOT ON JOHN AND MARY:
Mary has finished reading the letter and looks
up at John; the light of devotion shining in
her eyes. The reading of the letter has made a
great impression upon her, and she feels more
proud than ever of the handsome boy standing
beside her. Surely, with such a lovely mother,
a son must be more than worthy of the love of
any girl whom he sees fit to choose as his
partner in life. Looking devotedly at John,
SUBTITLE 22:--"Your mother must be lovely."
(Scene 111 continued.) As she says this, she
returns the letter to John who replaces it in
112. CLOSE-UP ON JOHN:
John looks up from the letter and vainly tries
to find words to tell Mary how wonderful his
mother is. Then he says feelingly:
SUBTITLE 23:--"I want your brother Dave to meet my
(Scene 112 continued.) As he says this title,
he is a trifle embarrassed as to how he shall
express the other thought he has in mind.
Finally he looks earnestly at Mary and says:
SUBTITLE 24:--"When he sees how wonderful she is, I
know he'll let you visit us ...."
113. CLOSE-UP ON JOHN AND MARY:
As he says the above title, he pauses as if not
knowing what else to say; but Mary can read in
his face just what he wishes to express to her,
and cannot just now for lack of words. Demurely
she turns her head aside as John comes closer
to her, and then says to her earnestly:
SUBTITLE 25:--"... If you want to, Mary..."
(Scene 113 continued.) Mary turns her head and
smiles delightedly at John, telling him that
there is nothing else on earth that would give
her greater pleasure than going to visit him
and his mother.
114. WALL OF VERANDA--COLLEGE GROUNDS:
Mary takes the sweater from the knitted handbag
and holds the sweater up in front of John, who
shows how delighted he is with the gift.
115. (FADE IN ON)
SUBTITLE 26:--To John, his mother had been abroad
for three years ....
This title LAP DISSOLVES OUT into the following:
SUBTITLE 27:--To those who "knew," Helene Trevor had
never left the city.
--Myrtle Stedman (FADE OUT)
116. CLOSE SHOT ON HELENE: (FADE IN)
Helene is seated in a lounging chair in her
magnificently furnished apartment, reading a
letter she has this day received from her
dearly loved son, John.
INSERT: "Darling Mother:
No one in this world is happier
than I am. It seems like an eternity
since I've seen you, instead of three
years. I can hardly wait to be with
117. CLOSE-UP ON HELENE:
Helene continues to read the letter; then, as
she glances up, her face softens with emotion
as she thinks of the fine, manly boy with whom
she parted three years before. As she again
begins to read the letter, her face lights up
with happiness at the thought that tomorrow
will see their reunion. If only conditions in
her life were different, she could feel far
happier. As she thinks of these conditions,
her face grows wistful and a pathetic look
comes into her eyes.
SUBTITLE 28:--Just around the corner from Mrs.
Trevor's apartment is one of the city's
hidden Temples of Chance, known as
118. MAIN ROOM--GAMBLING DEN:
This luxuriously furnished establishment is well
filled with men and women, most of them in
evening clothes. Night has come and the games
are already in progress. Some of the guests
move around among the tables and some of them
are seated, intent upon the games which they
know, down deep in their hearts, they cannot
possibly beat. The lure of gambling has them
all in its grip. To and fro move some Chinese
servants with noiseless tread, ready to serve
refreshments to any who may wish them. The
gambling den is a great money-maker, and can
well afford to cater to its patrons. Food and
drink cost but little in comparison with the
vast amount of money that is taken in nightly.
119. HELENE'S APARTMENT:
Shooting toward one of the alcoves of the
apartment. Helene comes into the alcove, where
there is a telephone concealed in a handsome
120. CLOSE SHOT ON HELENE--TELEPHONE CABINET:
Helene sits in a chair in front of the cabinet
from which she takes a telephone. Having got
the number she requested, she says:
SUBTITLE 29:--"Tell Keenan I want to speak to him."
(Scene 120 continued.) After she says this,
she sits there quietly, the telephone held
close to her ear, waiting for Keenan to answer.
121. CLOSE SHOT ON KEENAN'S OFFICE:
SUBTITLE 30:--Jim Keenan, manager and part owner of
This shot shows a desk and a chair in foreground
and door to right. Keenan enters through
doorway, closes the door behind him, and picks
up the telephone receiver from the desk where it
had been left by the attendant who answered the
122. CLOSE SHOT ON HELENE--TELEPHONE CABINET:
Helene, talking over telephone, says:
SUBTITLE 31:--"I'll want to see you for a few minutes."
(Scene 122 continued.) As she says this, she
waits to hear what Keenan has to say.
123. CLOSE-UP ON KEENAN:
Keenan talks into phone. As the games are in
progress and he wishes to be in the main room
while they are going on, he is slightly annoyed
at the fact that Helene has called him up. He
asks her if his visit is a matter of any
importance; and, when she states that it is, he
agrees to come over at once.
124. CLOSE SHOT ON HELENE--TELEPHONE CABINET:
Helene hears Keenan agree to come over at once.
She hangs up the receiver.
125. CLOSE SHOT ON KEENAN'S OFFICE:
Keenan, having hung up the telephone receiver,
takes his hat and coat from a hat-rack in rear
of the desk and, with his coat slung over his
arm, exits on the side opposite the door
through which he entered.
126. MEDIUM SHOT ON HELENE--TELEPHONE CABINET:
Helene replaces the telephone in the cabinet
and momentarily sits there thinking. She has
made up her mind what she intends to do but
rather dreads the ordeal of her coming
interview with Keenan.
127. MEDIUM SHOT ON JOHN--COLLEGE ROOM:
John is in the throes of packing up his things
preparatory to going to New York on the morrow.
The room is a typical college boy's room with
pictures and pennants on the walls. John comes
to table in foreground on which there is a
framed photograph of his mother, takes up the
photograph in both his hands and looks at it
affectionately. His face radiates happiness at
the thought that on the morrow he will see his
dearly beloved mother again.
128. CLOSE-UP ON FRAMED PHOTOGRAPH OF HELENE:
A flash of Helene's framed photograph.
129. CLOSE SHOT ON JOHN--COLLEGE ROOM:
John raises photograph quickly to his lips and
kisses it fondly, his face radiant with joy.
Then takes the photograph toward dresser in
130. JOHN'S ROOM AT COLLEGE:
Shooting toward dresser in background. John
goes to dresser with photograph and for a
moment stands there, wrapped in thought.
131. CLOSE-UP ON HELENE AND KEENAN:
Keenan has arrived at Helene's apartment and is
standing near her as he asks her why she had
sent for him in such haste. He is not in a
good humor at having been called away from the
gambling den and is inclined to be pugnacious--
more so than usual. Helene notes Keenan's ill-
humor but is determined to go through with her
plan at all costs. Finally she says:
SUBTITLE 32:--"I loathe this gambling business--I want
to sell out!"
(Scene 131 continued.) As she says this,
Keenan looks at her in sharp surprise and
adopts a belligerent attitude toward her. Her
proposition is a new one and he does not
understand the motive behind it. Pointing to
himself, he says in a sarcastic tone:
SUBTITLE 33:--"How about me--how about paying back
the rest of the money your husband
borrowed to start the business?"
(Scene 131 continued.) He does not care
particularly about keeping her in the gambling
business against her will, but wants to be
assured that he will get every dollar coming to
him. As he speaks the above title, Helene
slowly turns her head away and says:
SUBTITLE 34:--"I have sent for my boy, I wanted him--
it's been three years--now I'm afraid
he'll find out the truth."
(Scene 131 continued.) As Helene says this,
her face twitches with her intense emotion--
the business to her has become a nightmare; and
now she is in mortal terror lest John discover
the source of her income and cast her out of
his life forever. She realizes only too well
how low in his estimation she would sink should
he discover that he has been living off the
misery of others. Almost brought to the point
of tears by her emotion, she slowly exits from
the scene, leaving Keenan gazing after her
intently, undecided just what to do.
132. MEDIUM SHOT ON DOORWAY--HELENE'S APARTMENT:
Helene goes to doorway and stands there, her
head bowed down, wondering if Keenan will agree
to the rupture of their business relations or
whether he will insist upon her going on as in
the past. If Keenan refuses to let her sell
out, the future looks dark indeed.
133. CLOSE-UP ON KEENAN:
For a moment Keenan stands and watches Helene,
then he exits toward the doorway where she is
standing. Perhaps he can argue her out of the
idea she has in mind.
134. MEDIUM SHOT ON DOORWAY--HELENE'S APARTMENT:
Keenan enters to Helene. He is still not at all
pleased with the idea that she wishes to
withdraw from partnership in the gambling den.
Finally Keenan says:
SUBTITLE 35:--"The business has bought his clothes--
Kept him in college--but now that he's
educated you want to get out!"
135. CLOSE-UP ON KEENAN:
Keenan speaks the above title in a tone of
bitterness and sarcasm, watching Helene
closely to see what effect it will have upon
her. He cannot understand her attitude at all
--to him the whole idea is merely the whim of a
136. CLOSE-UP ON HELENE:
As Helene hears Keenan's cutting remark, her
face grows sad to think that circumstances ever
forced her into becoming Keenan's partner in
the nefarious business. She says wistfully:
SUBTITLE 36:--"Sometimes I think John would rather
have had me--than the money."
(Scene 136 continued.) Although she says this
as though some doubt existed in her mind yet,
deep within her heart, she knows that John
would far rather have never had a dollar than
to have had an abundance derived from a
gambling hell. The thought of this makes her
hang her head in shame.
137. CLOSE-UP ON KEENAN:
For a moment, Keenan looks thoughtful as if
weighing things in the balance. Perhaps after
all it will be just as well if Helene does sell
her interest in the gambling establishment to
one of his choosing, since she seems determined
to sell out anyhow. Finally he says to her:
SUBTITLE 37:--"What you say goes--but it'll take a
couple of weeks to straighten things out."
138. MEDIUM SHOT ON DOORWAY--HELENE'S APARTMENT:
Since he has committed himself to the
proposition of her selling out, Keenan assures
her that he will have little difficulty in
finding a purchaser for her interest in the
place--it is only a matter of time. Having so
assured her, Keenan exits, leaving Helene
standing there, wishing that somehow she might
sell out that very night. But she realizes
the impossibility of this and turns her head
sadly to one side. (FADE OUT)
End of Sequence
SUBTITLE 38: (FADE IN ON)
139. OUTER DOOR OF HELENE'S APARTMENT:
This shot is taken from within the apartment,
through an alcove which leads into a small
reception hall in which, on a pedestal, there
is a bust of Pan and his pipes. John has just
arrived, overcoat and grip in hand, and is
being met by Helene's butler. The butler
takes John's grip, hat, and overcoat, and
having told him that he will at once announce
his arrival, leaves John standing in the
alcove and looking around, with admiring eyes,
at the luxuriousness of his mother's apartment.
His face lights up with gladness as he thinks of
the joy of his homecoming, and he can scarcely
wait until his beloved mother appears to greet
140. CLOSE SHOT ON DRESSING TABLE--HELENE'S ROOM:
Helene is seated in front of dressing table.
The maid finishes arranging Helene's hair and
then moves toward the door which shows in
background, as she hears the butler knock.
The maid opens door and the butler announces
to Helene that John has come. Helene gets up
from the bench in front of the dressing table
and smiles happily at the thought of the great
joy in store for her.
141. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
Shooting from farther side of living room of
John's suite so that door to bedroom shows in
background. The butler enters, places grip
temporarily on a chair, and then exits into
bedroom to hang up John's coat and hat.
142. MEDIUM SHOT ON ALCOVE--HELENE'S APARTMENT:
Shooting from alcove so that reception room of
Helene's apartment shows beyond alcove. John's
back is turned toward camera as he looks toward
reception room, awaiting the coming of Helene.
Presently he sees her approach and moves
forward to meet her.
143. CLOSE-UP ON JOHN:
John's face lights up with joy as he sees his
mother coming. Exclaiming "Mother!" he starts
to hold out his arms to her as he moves forward
to greet her.
144. CLOSE-UP ON HELENE:
For a moment Helene stands in reception room,
overcome with emotion as she sees her beloved
145. RECEPTION ROOM--HELENE'S APARTMENT:
Shooting through reception room toward alcove.
Helene has her back to camera; John is facing
it. Both mother and son now stretch out their
arms to each other as they move forward.
146. CLOSE SHOT ON JOHN AND HELENE:
They gradually walk toward each other, and are
soon clasped in each other's arms.
147. CLOSE SHOT ON JOHN AND HELENE:
John and his mother stand there, clasped in
each other's arms. Then for a moment they
gaze happily at each other. Hugging his mother
tight in his strong arms, John kisses her
fondly. Then, as they stand there looking
rapturously into each other's eyes, Helene
SUBTITLE 39:--"How you have grown!"
(Scene 147 continued.) As she says this her
face lights up with admiration for the handsome,
manly-looking boy before her. John is a trifle
embarrassed but soon finds his voice, and says
SUBTITLE 40:--"A fellow does grow, some in three
(Scene 147 continued.) As he says this, they
both laugh gaily; and John, wholly carried away
by the happiness of this reunion, cannot resist
the desire to hug his mother close to his
breast again. (FADE OUT)
End of Sequence
SUBTITLE 41. (FADE IN ON:)
The promised visit to meet John's mother.
148. EXTERIOR APARTMENT BUILDING:
Shooting from street so as to show the entrance
to the apartment building, which is the one
where Helene lives. Dave and Martin enter in
the latter's roadster. Martin stops the
machine in front of the building, and Dave
partly rises in his seat.
149. CLOSE SHOT ON DAVE AND MARTIN:
Dave starts to climb out of car, then pauses
and says to Martin:
SUBTITLE 42:--"Come on! I promised John I'd stop and
meet his mother."
(Scene 149 continued.) Martin looks at Dave,
agrees to go in, gets out of car, and together
they walk toward entrance to the apartment
150. RECEPTION ROOM--HELENE'S APARTMENT:
John and Helene come to table in foreground and
stand there talking.
151. CLOSE SHOT ON JOHN AND HELENE:
Still talking, John and Helene stand near table.
Helene points out to John some of the objects
lying on the table.
152. MEDIUM SHOT ON OUTER DOOR--HELENE'S APARTMENT:
Shooting from hall way of apartment building
toward the outer door of Helene's apartment.
Dave and Martin enter scene. Dave starts to
knock on door, but Martin points out the bell
which Dave now rings. The butler comes and
opens the door. They tell him who they are.
As the butler asks them to step in, they
remove their hats and enter the small
153. CLOSE SHOT ON JOHN AND HELENE:
John and Helene are still talking when John's
attention is attracted by the entrance of Dave
and Martin. Turning his head and looking off
scene, John sees--
154. MEDIUM SHOT ON ALCOVE--HELENE'S APARTMENT:
The butler is escorting Dave to foreground,
followed by Martin. Dave stands in alcove,
smiling as he sees John.
155. CLOSE SHOT ON JOHN AND HELENE:
John tells his mother who the visitors are and
then starts forward to meet them.
156. MEDIUM SHOT ON ALCOVE--HELENE'S APARTMENT:
As John enters scene, Dave starts forward to
meet him with outstretched hand. They shake
157. CLOSE SHOT ON HELENE:
Helene, looking off scene, stands watching group
158. CLOSE SHOT ON ALCOVE--HELENE'S APARTMENT:
For a moment John stands talking, telling Dave
how glad he is to see him. Then, with his hand
affectionately holding Dave's arm, John leads
him forward. Dave, dressed in clothes such as
a farmer boy in his circumstances in life might
wear, is visibly impressed with the
magnificence of what he sees and is slightly
159. CLOSE SHOT ON HELENE:
Helene awaits their approach as John leads Dave
forward by the arm. Martin follows slightly in
the rear. As John and Dave come to where
Helene stands, John says proudly:
SUBTITLE 43:--"This is Dave Heath. He's my best
friend and--he's Mary's brother."
160. CLOSE-UP ON HELENE, JOHN, AND DAVE:
John stands there smiling genially as Helene
shakes hands cordially with Dave, telling him
of the genuine pleasure she feels in making
his acquaintance. Martin, having followed
Dave, is waiting close by to be introduced to
John's mother, but does not appear in scene.
161. MEDIUM SHOT ON GROUP--HELENE'S APARTMENT:
As Helene finishes shaking hands with Dave,
John introduces Martin who bows very
162. CLOSE-UP ON DAVE AND MARTIN:
Martin is still bowing, his hand on vest of
dinner suit. Martin now moves closer to
Helene, looking off scene at her intently.
163. CLOSE-UP ON JOHN AND HELENE:
Helene is still smiling a welcome to John's
visitors when Martin moves forward and looks
searchingly into her face. John moves out of
scene to talk to Dave. Martin says to Helene
SUBTITLE 44:--"Haven't I met you before?"
(Scene 163 continued.) As this title is shown,
there DISSOLVES INTO it a roulette layout. The
rake of a croupier reaches out and draws in the
chips which are seen lying on the table.
164. CLOSE-UP ON HELENE AND MARTIN:
Martin still looks at Helene searchingly.
Helene is embarrassed at his question and
momentarily turns her head away, as if to
gather her wits together. Not to be so easily
trapped, she turns, looks Martin straight in
the eye; and, although stammering slightly in
her confusion, says:
SUBTITLE 45:--"I--I think not. I've been abroad for
(Scene 164 continued.) As she finishes title,
Martin again looks at her sharply. He does not
believe her at all. Then he turns his head to
one side and smiles sardonically as John enters
scene, and starts to talk to him. John's
approach has relieved the tenseness of a very
165. ANGLE OF RECEPTION ROOM--HELENE'S APARTMENT:
Shooting toward a divan which appears in the
background. John asks them all to come and sit
on the divan. As John starts to lead Helene
away, she turns toward Martin, telling him to
help himself to the cigarettes lying on the
table near him.
166. CLOSE-UP ON HELENE AND MARTIN:
As Helene starts to move away, she suddenly
stops and looks at Martin over her shoulder.
Her mind is greatly agitated at the thought
that Martin has actually recognized her for
what she is. She looks at him intently,
wondering what he intends to do. Martin
turns to table to get a cigarette, and does
not see Helene's questioning look.
167. CLOSE SHOT ON HELENE AND MARTIN:
Helene starts to move toward divan in rear,
where John and Dave are already waiting. As
soon as she is seated on divan, John and Dave
sit down beside her. Martin lights a cigarette
and turns to watch her as she moves toward
divan. In his own mind he is almost certain
that he knows who she is and where he has seen
her. Now Martin turns and walks toward where
the others are seated.
168. MEDIUM SHOT ON KEENAN'S OFFICE:
Keenan's desk is in the foreground. He is
seated behind it talking earnestly to a
prospective purchaser of Helene's interest in
the gambling den. This man is familiarly
seated on the corner of Keenan's desk and is
deliberating whether to buy or not. Keenan
continues to argue the matter and says:
SUBTITLE 46:--"This is a good chance for you--
Helene's anxious to sell out."
(Scene 168 continued.) As the man hears this
subtitle, he indicates that perhaps the
proposition would be an agreeable one to him
provided Keenan continued as manager.
169. CLOSE SHOT ON OUTER DOOR -- HELENE'S APARTMENT:
Martin and Dave are just leaving. John has
accompanied them to the door. As they pause in
hallway, John cordially shakes Dave's hand,
expressing the wish that he will see him again
soon. Martin places his hand on Dave's
shoulder, urging him along: as there is much
that he wishes to show him. Many are the
interesting sights that he must see before his
return to Darienne. As Martin and Dave exit
down the hall, John stands for a moment,
watching them go, and then re-enters the
apartment. Because of his interest in Mary,
John also feels a vital interest in Dave.
Allow sufficient footage here to emphasize
contrast between the parting of John and Dave,
and the tragic scenes that are enacted later--
when John discovers his friend Dave stretched
out dead on the floor of the gambling den, the
unwitting victim of an assassin's bullet.
170. EXTERIOR APARTMENT BUILDING--NIGHT:
Dave and Martin have already come from the
apartment building and are seated in Martin's
roadster, prepared to drive around and see the
town. Martin starts car and they drive away.
171. CLOSE-UP ON DIVAN--HELENE'S APARTMENT:
John and Helene are discovered on divan,
talking. Clasping his mother's hands in his
own, John sits there telling her about much of
his college life during the past three years
and waiting, in a rather embarrassed manner,
for his mother to broach the subject of Mary--
the subject nearest his heart. Like most
young men in love, he is very anxious to get
his mother's approval of the girl of his
choice; but is waiting for Helene to lead up
to this subject.
172. EXTERIOR CAFE--NIGHT:
Dave and Martin enter in roadster. As Martin
stops the car in front of entrance to
restaurant, Dave alights. Then Martin drives
the car out of scene to park it farther up the
street. Dave starts to follow, thinking that
Martin is about to leave him to enter cafe
alone; but Martin re-enters scene and joins
Dave. As they stand together on the sidewalk,
SUBTITLE 47:--"This is the classiest cafe in town."
(Scene 172 continued.) As Martin speaks this
title, they move toward entrance of cafe and
173. LOBBY OF CAFE:
Shooting from front of lobby toward small
hallway which joins lobby and main dining room.
Dave and Martin enter and move to rear. Dave
is overjoyed to think of the wonderful sights
he is to see under Martin's guidance, and is
slightly embarrassed but much impressed with
his surroundings. As they move to rear, Dave
almost knocks over a miniature ship which is
on a table in middleground. Martin is
thoroughly at home in this cafe; but to Dave
it is all new, and he is manifestly out of
place. As they reach rear of lobby, one of
the head waiters joins them, and invites them
to come in dining room for dinner; but Martin
indicates that they have only come to look,
and will dine later.
174. DINING ROOM OF CAFE:
Shooting from rear of dining room toward stage
in foreground. A large crowd of diners is
present. The curtain rises and the cabaret
entertainment is about to begin.
175. CLOSE-UP ON DAVE AND MARTIN:
They are standing in rear of lobby from which
they can look into dining-room, and see stage
upon which the cabaret entertainment is about
to take place. As the curtain raises, Dave's
eyes open wide with interest in what he sees.
Martin, accustomed to this sort of thing,
smiles indulgently at his friend's evident
176. DINING ROOM OF CAFE:
Down a ramp constructed on the stage, a girl
comes sliding on a sled. Then a troop of
cabaret girls come dancing on the stage, which
is covered with imitation snow to represent a
winter scene, the girls being dressed in fur
trimmed short dresses. The scene is one of
gaiety and merriment.
177. CLOSE-UP ON DAVE AND MARTIN:
Dave is entranced. He turns to Martin and tells
him how interesting it all is. Martin smiles
as he is used to cafe scenes of this kind.
178. DINING ROOM OF CAFE:
The girls on the stage pick up imitation
snowballs and begin to throw them at the
179. LOBBY OF CAFE:
Dave is anxious to go into the dining-room
where he will be closer to the scenes of
gaiety; but Martin says no--there are many
other places he wishes to show him. As they
stand there some of the imitation snowballs
come rolling in at their feet.
180. DINING ROOM OF CAFE:
The girls and the men diners are having a
wonderful time throwing imitation snowballs
at each other.
181. CLOSE-UP ON DAVE AND MARTIN:
Dave is more excited than ever and wants
Martin to go into the dining-room, so they can
take part in the festivities; but Martin demurs
SUBTITLE 48:--"We'll come back later--I've many more
places to show you."
(Scene 181 continued.) Dave is disappointed
because Martin wants to go but the latter is
182. LOBBY OF CAFE:
Martin takes Dave's arm, tells him to come
along, and together they start to move toward
front of lobby.
183. CLOSE-UP ON JOHN AND HELENE:
John and Helene are still seated on divan,
talking. Helene looks at him devotedly and
SUBTITLE 49:--"Tell me about--Mary."
(Scene 183 continued.) John is slightly
embarrassed and does not know just how to
begin; but, knowing that he has a most
sympathetic listener, promptly gets over his
embarrassment and launches himself
wholeheartedly into telling Helene all about
the girl of his heart.
184. EXTERIOR GAMBLING DEN--NIGHT:
Shooting from sidewalk toward entrance of
gambling den. Dave and Martin enter scene and
stand on sidewalk near entrance. Martin says:
SUBTITLE 50:--"I want you to see this place. It's
the biggest gambling house in the city."
185. MEDIUM SHOT ON DAVE AND MARTIN--NIGHT:
Dave and Martin are still standing on the
sidewalk near the entrance to the gambling
den as Martin speaks the above title.
Together they start to walk toward the
186. CLOSE-UP ON JOHN AND HELENE:
Still seated on the divan, John is telling his
mother all about Mary. Helene sympathetically
puts her arm on John's shoulder, assuring him
of the great pleasure she feels because he has
learned to love so worthy a girl.
187. MAIN ROOM--GAMBLING DEN:
Shooting from front of main room toward archway
in rear. The scene is one of great animation.
Men and women players are present in
considerable number, and the games are in full
swing. Dave and Martin enter foreground and
move to rear, Dave much interested in the
novelty of the sights he is witnessing. Having
led a life of toil far from the whirl of the
city, he had never even dreamed that such a
place as this was in existence.
188. CLOSE SHOT ON KEENAN'S OFFICE:
Keenan is discovered at telephone, talking to
189. ALCOVE IN HELENE'S APARTMENT:
Shooting toward telephone cabinet in background.
Helene is seated in front of cabinet, answering
190. CLOSE SHOT ON KEENAN'S OFFICE:
Keenan, talking in phone, says:
SUBTITLE 51:--"Can you come over at once--I have a
buyer for the place."
191. CLOSE-UP ON HELENE:
Helene protests against coming over just then,
as she does not want to leave John. She asks
Keenan if he cannot conduct the negotiations.
192. CLOSE SHOT ON KEENAN'S OFFICE:
Keenan, still talking over the phone, says
SUBTITLE 52:--"He insists on seeing YOU."
(Scene 192 continued.) Keenan indicates that
there is nothing else for her to do but come
over and conduct her own negotiations, if she
still desires to sell her interest in the
193. CLOSE-UP ON HELENE:
Helene does not want to go at that time but
sees no way out of going. She hangs up the
receiver, replaces the phone in the cabinet,
and sits there momentarily thinking up some
excuse to offer John to account for her going
out at that time unaccompanied.
194. ROULETTE WHEEL AND TABLE:
The wheel is spinning and the banker stands
watching to see into what numbered pocket the
ball will fall. At one end of the table upon
which are painted the numbers corresponding to
those on the wheel, stands The Waster, a
dissolute young man. Seated near him is his
girl, who has entered the gambling den with
him. The Waster's money is almost gone; and,
as he stands there nervously fingering his
chips, he watches the wheel intently.
195. MEDIUM SHOT ON ROULETTE TABLE:
As The Waster realizes that he has again lost,
he passes his hand over his forehead in a dazed
sort of way. Ruination faces him. The girl
reaches over and squeezes his hand as if to
reassure him, but The Waster feels helpless as
he looks down and fingers the few chips that
SUBTITLE 53:--A fool--and the last of his money.
196. ROULETTE WHEEL AND TABLE:
The girl places some chips on one of the
numbers. The Waster watches intently as the
wheel spins swiftly around.
197. CLOSE SHOT ON ROULETTE TABLE:
Both The Waster and the girl are watching the
spinning wheel intently as Dave and Martin
enter scene. They stop near end of table.
Dave is greatly interested in the wheel, and
stands close to The Waster and the girl to see
what is going on. As The Waster nervously
fumbles in his pocket for a match, Dave sees
him and, taking a match from his own pocket,
graciously lights The Waster's cigarette.
While this action is going on, Martin quietly
moves on out of the scene.
198. OVAL ARCHWAY IN GAMBLING DEN:
Martin is discovered standing in the archway.
He beckons to Dave to come along and see the
rest of the establishment.
199. MEDIUM SHOT ON ROULETTE TABLE:
Dave sees Martin beckon to him and exits.
200. OUTER DOOR--HELENE'S APARTMENT:
Shooting from the inside of the apartment.
Helene already has her coat on and, accompanied
by John, comes to the door. John opens the door
for her and together they stand there, Helene's
hands resting affectionately on John's arms.
John asks her to let him accompany her; but
SUBTITLE 54:--"No, dear, you stay here--I'm only
going around the corner."
(Scene 200 continued.) As this title appears
there DISSOLVES INTO it a spinning roulette
wheel and the table upon which the bets are
placed. Helene, naturally, does not attempt
to explain where "around the corner" is. Her
statement is the literal truth--that is all.
201. CLOSE-UP ON JOHN AND HELENE:
Helene kisses John goodbye. He smiles down at
her and then hugs her tight to him, reluctant
to let her go, if only for a little while.
Helene exits through doorway; and John stands
there, watching her go down the hall.
202. OUTER DOOR--HELENE'S APARTMENT:
John watches Helene go down the hall and then
closes the door.
203. CORNER OF ROULETTE TABLE:
The game still goes on. Another man has come
to the table and has taken the place beside The
Waster's girl. Upon one of the numbers, the
man has placed a large number of chips. He
wins and the banker pays him a stack of bank
notes. The Waster's girl has been watching
this play; and, when she sees that the man has
won, she looks up at him with an alluring
smile. As the man gathers up his winnings and
starts to leave the table, he nods to the girl,
inviting her to follow him. Unobserved by The
Waster, the girl quietly slips away from the
table and follows.
204. KEENAN'S OFFICE:
Keenan is discovered at the door and greets
Helene as she enters. The prospective buyer is
introduced to Helene and bows at the
introduction. Then Helene sits down near the
desk and starts to unfasten her coat.
205. CLOSE SHOT ON ROULETTE TABLE:
The Waster has staked the last of his chips
and is gazing fixedly at the wheel.
206. CLOSE-UP ON THE WASTER:
Again The Waster has lost. With staring eyes
he watches the banker rake in the chips. Dazed
by the realization that he is ruined, The
Waster aimlessly puts his hand to his forehead.
Suddenly he turns to speak to the girl and
finds her gone. Swiftly he turns his head in
the opposite direction and sees--
207. CLOSE-UP ON MAN AND GIRL:
The man, who has just won the stack of bank
notes, is standing in the archway with the
girl, just above the steps that lead down to
the main room of the gambling den. The man is
offering the girl some money.
208. CLOSE-UP ON THE WASTER:
The Waster's face is clouded with rage as he
sees the man offer money to the girl.
209. CLOSE-UP ON MAN AND GIRL:
The man gives the girl a handful of bills,
then leans down and whispers something close to
her ear. She smiles up at him coyly,
acquiescing in what he has asked her.
210. CLOSE-UP ON THE WASTER:
The Waster, wholly beside himself with rage,
rushes from the scene.
211. MEDIUM SHOT ON ARCHWAY:
The man is still talking to the girl when The
Waster rushes into the scene, furiously
determined to break up this affair.
212. CLOSE-UP ON GROUP:
The Waster shoves the man backward and then
turns wrathfully to the girl, demanding to
know who the man is and what she intends to do.
The girl is defiant; does not answer The
Waster, but slowly walks away with a very bored
expression on her face. More furious than ever,
The Waster grabs her viciously by the arm and
takes the money away from her.
213. MEDIUM SHOT ON ARCHWAY:
The man, having recovered his balance after The
Waster had pushed him out of the scene, comes
back to where The Waster and the girl are still
standing, determined to protect her against the
younger man's violence. The Waster suddenly
turns upon the man and slaps him full in the
face. Infuriated by this blow, the man hits
The Waster a stinging blow and knocks him,
staggering backward, down the steps.
214. CLOSE SHOT ON ROULETTE TABLE:
The Waster comes stumbling backward into the
roulette table, his eyes flaming with fury.
Then he quickly reaches toward his hip pocket
for his revolver, determined to kill.
215. MEDIUM SHOT ON ARCHWAY:
Wholly unmindful of danger, the man stands in
the archway talking to the girl. Dave and
Martin enter the archway and stand there for a
moment. Dave, unaware of the fact that Death
is hovering close at hand, is directly
between The Waster and the man with whom he has
216. CLOSE SHOT ON GROUP AROUND ROULETTE TABLE:
The Waster draws his pistol and fires blindly.
217. CLOSE-UP ON DAVE:
The bullet strikes Dave close to the heart. On
his face comes a look of surprise as, for the
instant, he does not realize what has struck
218. CLOSE-UP ON THE WASTER:
The Waster looks upon the scene with horror
written on his face. Terrified he raises his
hand to his forehead; and his eyes almost
start from their sockets as, like one
entranced, he watches Dave, the innocent
victim of his fury.
219. CLOSE-UP ON DAVE:
Gradually to Dave comes the realization that he
is shot and mortally wounded. Slowly he puts
his hand inside his coat, close to his heart.
Then his head tips back, he totters, and begins
220. MAIN ROOM--GAMBLING DEN:
This shot shows the archway in the background.
Dave reels and falls backward down the steps,
221. CLOSE-UP ON THE WASTER:
A flash of The Waster as he realizes what he
222. FOOT OF STEPS LEADING TO ARCHWAY:
Dave is lying face down. Martin turns his body
over and realizes that he is dead.
223. CLOSE SHOT ON THE WASTER:
Horrified at the enormity of his crime, The
Waster places his pistol against his side.
224. FOOT OF STEPS LEADING TO ARCHWAY:
A flash of Martin kneeling beside Dave's
225. CLOSE-UP ON THE WASTER:
Quickly The Waster pulls the trigger. His face
takes on a look of agony as he topples out of
the scene, dead.
226. FOOT OF STEPS LEADING TO ARCHWAY:
Martin is still kneeling beside Dave's body
when Keenan enters and sees what has taken
place. Martin hurriedly gets up and exits
from the scene to go for John Trevor.
227. MAIN ROOM--GAMBLING DEN:
The crowd of gamblers, realizing that a double
tragedy has taken place, begins a wild
struggle to get out before the arrival of the
228. EXTERIOR GAMBLING DEN--NIGHT:
Martin, hatless, rushes excitedly out of the
gambling den and, for a moment, pauses on the
sidewalk, uncertain what direction to take to
go to Helene's apartment. Then he exits
229. MEDIUM SHOT ON DESK--POLICE STATION:
A police sergeant is sitting behind desk,
making entries in a ledger, when the phone
rings. The sergeant takes down receiver and
230. MEDIUM SHOT ON STEPS LEADING TO ARCHWAY:
Keenan, satisfied that Dave is beyond medical
aid, gets up from a kneeling position beside
Dave's body and hurriedly exits so as to get
outside before the arrival of the police. The
crowd is still struggling to get out and many
are panic stricken.
231. CORNER OF APARTMENT BUILDING--NIGHT:
This is the corner of the building in which
Helene's apartment is situated. Martin, on
his way to get John, runs into scene, turns
corner, and exits.
232. EXTERIOR APARTMENT BUILDING--NIGHT:
Martin enters on the run and goes into
233. MAIN ROOM--GAMBLING DEN:
The crowd, verging on panic, mills back and
forth. Every minute is bringing certain
arrest nearer and nearer.
234. EXTERIOR POLICE STATION--NIGHT:
Police automobiles drive up to the curb and,
as fast as they are filled with policemen,
235. RECEPTION ROOM--HELENE'S APARTMENT:
Shooting toward alcove and outer door of
apartment. John is discovered in an easy
chair, reading, as the butler lets Martin in.
Martin is almost breathless with excitement
and exertion. As he hurries to John, the
latter rises from his chair, realizing that
something must be wrong; but wholly in the
dark as to what it is.
236. CLOSE-UP ON JOHN AND MARTIN:
Martin grasps John's arms and says:
SUBTITLE 55:--"Dave's shot--killed!"
(Scene 236 continued.) As Martin says this,
the two turn and hurry toward outer door of
237. MAIN ROOM--GAMBLING DEN:
Shooting toward alcove leading from main floor
of gambling den. As the crowd is struggling
to get out, the police enter alcove and come
down the steps into midst of crowd.
238. EXTERIOR APARTMENT BUILDING-NIGHT:
A flash of John and Martin as they come out of
the apartment building and start running along
239. MAIN ROOM--GAMBLING DEN:
The panic-stricken crowd is still struggling
wildly to escape the clutches of the law; but
the police are restraining them with none-too-
240. CORNER OF APARTMENT BUILDING--NIGHT:
A flash of John and Martin as they come running
up the street and turn the corner.
241. CLOSE SHOT ON KEENAN'S OFFICE:
Helene is still seated near desk. Negotiations
have been concluded. The prospective buyer of
her interest in the establishment has his hat
in hand, preparatory to leaving. The buyer
says to Helene:
SUBTITLE 56:--"I'll be back in half an hour with the
(Scene 241 continued.) As he finishes this
title he puts on his hat and exits through door
242. CLOSE-UP ON TWO POLICEMEN:
One of the policemen is the lieutenant in
charge of the detail sent to the gambling den;
the other is a patrolman. The lieutenant says
to the patrolman:
SUBTITLE 57:--"Get Keenan!"
(Scene 242 continued.) The patrolman raises
his hand in acknowledgment of his superior's
orders and exits.
243. MAIN ROOM--GAMBLING DEN:
The crowd is still struggling wildly to escape.
Some of them are being roughly handled by the
244. FOOT OF STEPS LEADING TO ARCHWAY:
Dave is still lying on the floor where he fell
but his face has been partly covered up with a
245. CLOSE-UP ON JOHN:
John's face twitches with emotion as he looks
down and sees his friend lying dead at his feet.
The shock is so great that he can scarcely
believe what he sees.
246. FOOT OF STEPS LEADING TO ARCHWAY:
John sorrowfully drops to one knee beside
Dave's body. The police lieutenant moves
forward and stands near John.
247. CLOSE-UP ON JOHN AND MARTIN:
John is almost beside himself with grief. He
can scarcely realize the awfulness of the
tragedy which has taken place. Shaken with
emotion he turns to Martin and says pitiful in
SUBTITLE 58:--"Why did he come here--how did it
(Scene 247 continued.) Martin stammeringly
starts to explain as he realizes that he is
indirectly responsible for Dave's death in
bringing him to a place such as this.
248. CLOSE SHOT ON KEENAN'S OFFICE:
Helene has arisen from her chair near the desk
and is about to put on her coat when she turns
and sees patrolman who is entering through door
opposite that through which prospective buyer
left the office. Helene's eyes open wide with
surprise as she cannot even guess the object of
the officer's visit. The patrolman glances
around, looking for Keenan; and, having assured
himself that Keenan is not there, says to
SUBTITLE 59:--"There's been a murder and a suicide in
249. CLOSE-UP ON HELENE:
As she hears the above title, Helene almost
loses control of herself. Her face is terror
stricken as she realizes what a terrible
calamity has overtaken her.
250. CLOSE-UP ON JOHN AND MARTIN:
In a halting voice, Martin explains that he
brought Dave there merely to see the place--
that he was taking him to see all the sights
of the town. John's head is bowed with grief.
251. CLOSE SHOT ON JOHN AND MARTIN:
Martin helps John to his feet as the police
lieutenant, realizing that both of these young
men are friends of the dead Dave, crosses
behind them and takes his place beside Martin.
The lieutenant is facing now toward the alcove
through which Helene enters in the next scene.
252. ALCOVE OF GAMBLING DEN:
Accompanied by the patrolman, Helene enters as
if in a dream and goes to top of steps which
lead down to main floor of gambling den.
253. CLOSE-UP ON HELENE:
With staring eyes, the terrorized Helene gazes
down at the floor of the main room of the
gambling den and sees--
254. CLOSE SHOT ON DAVE'S BODY:
A flash of Dave's body lying on the floor.
255. CLOSE-UP ON HELENE:
The awfulness of the tragedy is beginning to
dawn on Helene's mind.
256. CLOSE-UP ON JOHN, MARTIN, AND POLICE LIEUTENANT:
John, harassed by his grief and scarcely
knowing what he says, looks at the police
lieutenant and demands to know--
SUBTITLE 60:--"Why don't you hang the swine that run
these places Why do you let THEM live?"
(Scene 256 continued.) As he speaks this
title, John's attitude is almost a threatening
one. He cannot but feel that the police are
partly responsible for Dave's death in
permitting a place of this kind to remain in
operation. To him it seems that none but swine
would ever stoop to such a nefarious business
257. CLOSE-UP ON HELENE:
A flash of her as she realizes that it is John
who speaks, and that he is unknowingly
referring to her as one of the swine who
operate gambling dens.
258. CLOSE-UP ON JOHN, MARTIN, AND POLICE LIEUTENANT:
The police lieutenant does not attempt to
answer John's questions for to him they are
merely the ignorant questions of a grief-
stricken boy; but turns toward Martin as much
as to say that the latter, being a man of the
world, had better answer his friend's inquiries.
259. CLOSE-UP ON HELENE:
A flash of her as she stands there, unable to
take her eyes off the scene before her.
260. CLOSE-UP ON POLICE LIEUTENANT:
The police lieutenant, seeing Helene standing in
the alcove and knowing that she is one of the
proprietors of the place, turns to John and
SUBTITLE 61:--"There is the woman who owns this one--
261. CLOSE-UP ON JOHN, MARTIN, AND POLICE LIEUTENANT:
As the lieutenant speaks this title, John
quickly turns and sees--
262. CLOSE-UP ON HELENE:
A flash of Helene, as with a startled look, she
sees John turn and look at her.
263. CLOSE-UP ON JOHN, MARTIN, AND POLICE LIEUTENANT:
John, looking off scene, sees his mother, turns
again to police lieutenant, and says in a voice
vibrant with emotion:
SUBTITLE 62:--"Why you're crazy--that's my mother!"
(Scene 263 continued.) John cannot understand
why the police lieutenant has mistaken his
mother for the proprietor of the gambling den.
264. MAIN ROOM--GAMBLING DEN:
Shooting so as to include group and also
Helene and patrolman standing in alcove. John
leaves Martin and police lieutenant, runs
toward his mother and starts up the steps.
265. CLOSE-UP ON JOHN AND HELENE:
John runs up the steps, takes one of Helene's
hands in both of his own, and says to her
SUBTITLE 63:--"Why did you follow me, mother? You
must go home--something terrible has
(Scene 265 continued.) To John no other
explanation to account for his mother's
presence suggests itself. He pats her
reassuringly and kisses her on the forehead,
begging her to go home and wait for him there.
Helene sadly turns away. She cannot for the
life of her bring herself to tell John the
truth just now.
266. MAIN ROOM--GAMBLING DEN:
Leaving his mother in the alcove, John runs
back to where Martin and the police lieutenant
are still standing.
267. CLOSE-UP ON JOHN, MARTIN, AND POLICE LIEUTENANT:
So far John has utterly failed to grasp the
significance of the police lieutenant's remark.
Still believing that the lieutenant does not
know what he is talking about, John says
SUBTITLE 64:--"You don't know what you're talking
about--she came here for me!"
(Scene 267 continued.) As he says this, John
looks at the lieutenant with a feeling of pity
for the latter's ignorance. The lieutenant,
not being disposed to argue the matter of
whether Helene came for John or not, says
SUBTITLE 65:--"That may be so, but she owns this
(Scene 267 continued.) As the lieutenant
speaks the foregoing title, John raises his arm
to strike him for offering such a gross insult
to Helene; but Martin quickly throws his arms
around John and keeps him from making matters
worse than they are.
268. MEDIUM SHOT ON HELENE AND PATROLMAN:
A flash of Helene and the patrolman as she
becomes startled to see John raise his arm to
strike the lieutenant.
269. CLOSE-UP ON JOHN AND MARTIN:
Martin still holds John, who turns to him and
asks him if what the lieutenant says is true.
Martin turns his head aside, not daring yet to
tell John the truth.
270. CLOSE-UP ON JOHN, MARTIN, AND POLICE LIEUTENANT:
John looks searchingly at both Martin and the
police lieutenant. He cannot bring himself to
believe that what the lieutenant says is true.
The idea is too preposterous--the thing is
271. CLOSE-UP ON JOHN AND MARTIN:
To John comes the suspicion that perhaps after
all it may be true. He puts his clenched fists
before his eyes--it is too horrible to even
272. MAIN ROOM--GAMBLING DEN:
John turns, sees his mother still standing in
the alcove, and runs to her. She, he believes,
will deny the truth of the lieutenant's
273. CLOSE-UP ON JOHN AND HELENE:
John goes to her, begging her to deny what has
been said. He is a pitiful object as he pleads
with her and says:
SUBTITLE 66:--"Mother, you don't own this place, do
you? Tell him he lies!"
(Scene 273 continued.) As he says this
Helene, almost in tears, hangs her head with
the shame of it. She is utterly speechless--
she cannot deny. To John comes the
realization that it is true. Helene's very
actions proclaim her guilt. Tortured with the
mental anguish this discovery has brought him,
John staggers backward.
274. CLOSE-UP ON JOHN:
John, staggering backward, leans against one
of the pillars in the alcove. With head bowed
down with sorrow, he stands there, too stunned
for the moment to move. Then he looks up and
275. CLOSE SHOT ON DAVE'S BODY:
A flash of Dave's body lying on the floor.
276. CLOSE-UP OF JOHN AND HELENE:
Helene has moved close to John, who stands
there gazing dully at the floor. Finally he
turns and looks at her and says piteously:
SUBTITLE 67:--"Mother, you don't know what you've
(Scene 276 continued.) Helene turns to him in
mute appeal; and then, in a voice throbbing
with emotion, he says:
SUBTITLE 68:--"I love you--worship you--and you--
(Scene 276 continued.) John cannot find words
to express for him what he would say. The
whole castle of his dreams has come tumbling
down about his ears. The night's tragedy has
utterly destroyed his tranquillity of soul.
He must get away--must go anywhere and forget
the happenings of this dreadful night. Torn
with grief, he rushes wildly from the scene.
277. MAIN ROOM--GAMBLING DEN:
John rushes down the steps near the alcove
and exits from the scene. With a cry of
despair, Helene holds out her arms to him
appealingly and then staggers down the steps
calling to him. (FADE OUT QUICKLY)
278. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
With head bowed with grief, John enters slowly
to center of room and stands there dazed by the
shock of the terrible events through which he
279. CLOSE-UP ON JOHN:
Determined to get away from it all, John turns
and starts toward his bedroom to pack up his
280. MEDIUM SHOT ON HELENE AND BUTLER:
Helene hurriedly enters her apartment, looking
for John. Moving quickly to foreground, she
asks the butler where John is. Her face is
haggard and drawn.
281. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
Shooting from living room of suite toward door
of bedroom, showing clothes closet in
background. John goes to clothes closet and
takes out his clothes, which he tosses in a
heap on a table at one side.
282. CLOSE SHOT ON JOHN:
John's grip is on the table close to where he
has tossed his clothes. He picks up clothes;
and, without stopping to fold them, starts to
hurriedly pack them in his grip. Then he
tosses them to one side again and stands
looking at them with loathing and disgust.
283. CLOSE-UP ON CLOTHES:
The clothes are lying heaped up on the table.
There DISSOLVES INTO them quickly a spinning
roulette wheel and a roulette layout.
284. CLOSE-UP ON JOHN:
In imagination, as he looks down at the
clothes, John sees this spinning wheel and
realizes that even the clothes he wears have
been purchased with money won from
285. CLOSE-UP ON OUT DOOR OF JOHN'S SUITE:
A flash of Helene as she enters door, her eyes
opened wide with terror.
286. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
Helene stands near door while John comes from
his bedroom to meet her. He can ill conceal
the bitterness he feels as he stands there and
looks at her. Helene pitifully extends her
arms to him, begging him to listen to what she
has to say.
287. CLOSE-UP ON JOHN:
John looks at Helene with a feeling of almost
loathing to think that she is the cause of all
the misery that has come to him.
288. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
Helene comes to him and begs him to listen to
her, but he turns his head away in bitterness.
Then she puts her arms around him and implores
him to hear her. Helene says:
SUBTITLE 69:--"You must listen to me--you MUST!"
289. CLOSE-UP ON JOHN AND HELENE:
Helene still clings to John and implores him to
listen to her. To John, nothing matters now
save that a tragedy has taken place and that
his once-adored mother is the cause of it. No
explanation of hers can change these
outstanding facts. He turns from her, almost
290. CLOSE SHOT ON JOHN AND HELENE:
John leaves his mother's side and walks to
foreground. Helene follows, still pleading
with him. She says:
SUBTITLE 70:--"I didn't know how your father made his
money until he died--then I went on with
it for you!"
(Scene 290 continued.) Helene, almost at the
breaking point, says this pathetically; but
John pays scant heed to what she says. The very
pleasures of his life have been bought at the
price of blood and woe. He moves out of scene,
leaving Helene staring at him helplessly.
291. CLOSE-UP ON CHAIR:
A flash of John as he sinks heavily into chair
and bows his head over his hands.
292. CLOSE-UP ON HELENE:
A flash of Helene as she stretches her hands
appealingly to him.
293. CLOSE-UP ON CHAIR:
John sits sideways in the chair staring down at
the floor. Helene comes to him and kneels down
at his feet. Piteously she says:
SUBTITLE 71:--"I was going to sell out--it was all
(Scene 293 continued.) As she says this,
John's face clouds with disgust at the very
thought that she had so far misjudged his
character, as to think that he wished for
anything in life that could not come to him
save at the price of such misery to others. He
gets up out of chair.
294. CLOSE SHOT ON JOHN AND HELENE:
A flash of him as he stands above the still
kneeling Helene, his face twitching with
295. CLOSE-UP ON JOHN:
As he stands above her, he says bitterly:
SUBTITLE 72:--"For ME. For the food I eat--the
clothes I wear--God, what a price!"
296. CLOSE SHOT ON JOHN AND HELENE:
As he says this, Helene covers her face with
her hands. His remark cuts her like the lash
of a whip.
297. CLOSE-UP ON JOHN:
A flash of John as his face twitches with
298. CLOSE-UP ON HELENE:
Helene reaches up to him, grasps his hand, and
lays her other hand on his arm pathetically.
Then she says:
SUBTITLE 73:--"I wanted you to have money--everything
--can't you see?"
299. CLOSE SHOT ON JOHN AND HELENE:
Helene begs him to try to see things as she sees
them. It has all been done for him, and him
300. CLOSE-UP ON JOHN:
To John it is wholly impossible to see things
in the same light as his mother sees them. He
SUBTITLE 74--"No, all I can see is Dave and Mary--and
the other Daves and Marys ..."
(Scene 300 continued.) As he says this, he
closes his eyes as if to shut out the tragedy
that has overtaken him.
301. CLOSE-UP ON HELENE:
A flash of Helene as she holds up her hand to
302. CLOSE-UP ON JOHN:
John looks at Helene with loathing and says:
SUBTITLE 75:--"... murder ... suicide ... and broken
303. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
Helene is still kneeling near the chair,
staring down at the floor and almost in tears.
For a moment John stands there looking at her,
then rushes from the scene. As he goes, Helene
cries out to him in despair, begging him to
stay. At the doorway, John pauses and looks
back toward Helene.
304. CLOSE-UP ON JOHN:
As he stands near the door, John says from the
very bottom of his heart:
SUBTITLE 76:--"I wish I had never been born!"
(Scene 304 continued.) As he says this he puts
his clenched fists to his forehead, exits
hurriedly through the doorway, and closes the
door behind him.
305. CLOSE-UP ON HELENE:
Helene calls out to him wildly, still begging
him to stay. Then, as she realizes that he is
gone out of her life, perhaps forever, her eyes
fill with scalding tears and she becomes
engulfed in the flood of her emotion.
306. JOHN'S SUITE OF ROOMS--HELENE'S APARTMENT:
Pressing her hands to her brow, Helene bows
down, her body shaken by her sobs. (FADE OUT)
SUBTITLE 77. (FADE IN ON):
In spite of sorrow, life goes on and the
day's work is done.
307. ANGLE OF HEATH LIVING ROOM:
Mrs. Heath sits in the corner of the room
between two windows, darning Bob's socks. Her
eyes are full of sadness, and the lines in her
face have noticeably deepened. Several weeks
have elapsed since Dave's death and burial, but
she is still haunted by the great grief caused
her in the loss of her beloved son. Every
waking minute she thinks of her boy who can
return to her no more.
308. EXTERIOR HEATH FARM:
In this scene a partly plowed field shows in
the foreground, the creek in background.
Underneath the wide-spreading branches of the
trees which line the creek, the cows are
grazing peacefully, unconcerned with the
affairs of mortals. Two horses enter attached
to a plow which the struggling Bob is vainly
trying to guide. To Bob, unaccustomed as he
is to any form of manual labor, the task of
plowing is a very arduous one. Dave's death
has forced him to do all the work that must be
done on the farm, if the family is to live; and
Bob's dreams of a college education have been
rudely shattered. He utterly detests the very
thought of having to do this work, but now
there is no help for it.
309. MEDIUM SHOT ON BOB:
Bob is struggling with the handles of the plow,
intense disgust written large upon his face.
Brutally he jerks the reins of the horses as he
calls out to them. None of his troubles in
trying to plow a field does he blame upon
himself; but considers that the horses are
wholly at fault and vents his spite on them,
knowing that they can offer no protest in
return for any brutal treatment he may accord
310. EXTERIOR HEATH FARM:
Bob still struggles angrily with the plow. It
seems invested with almost human perversity as
it jumps out of the furrow.
SUBTITLE 78:--After weeks of wandering--drawn back to
Darienne by anxiety for the family and
his love for Mary.
311. INTERIOR CABIN:
This cabin is a small one used by the college
boys as a hunting lodge and is situated close
to the Heath farm on a hillside over-looking
it. The place is crudely furnished; but it is
equipped with sufficient furniture and cooking
utensils so that one can be comfortable, if he
is prepared to rough it. To one side is a
large, stone fireplace with a wide mantel above
it. John, accompanied by one of the
neighboring farmers, who has driven him over to
the lodge from the railroad station, is
discovered on scene. The farmer is carrying
John's grip, his sole article of baggage. John,
now dressed in a flannel shirt and a suit of
clothes such as a young man with little money
might wear, is looking around and inspecting
the cabin. Finally, as John seems well
pleased with the place, the farmer places the
grip on a chair beside a small wooden table.
312. CLOSE SHOT ON JOHN AND FARMER--CABIN:
They are standing at the end of the small
table. John asks the farmer if he thinks it
would be all right for him to occupy the cabin
for a while. The farmer is a very genial old
fellow and says:
SUBTITLE 79:--"Sure you can have it; them college
boys only use it for a hunting lodge."
(Scene 312 continued.) The farmer, having
assured John that it will be all right for him
to take possession of the cabin and make
himself at home, exits. John watches him go
and then stands there wondering if the Heaths,
ignorant of the place where Dave met his death,
will welcome him to their home as before or
whether they have learned that Dave was killed
in Helene's gambling den and will close their
doors against him forever.
313. MEDIUM SHOT ON MARY AND MRS. HEATH:
Mary and her mother are standing at the gate in
the picket fence which surrounds the Heath
farmhouse. As Mary looks across the fields,
wondering what has become of John Trevor, her
face becomes very sad.
314. CLOSE-UP ON JOHN:
John turns his head and, seeing a little
window of the cabin overlooking the Heath farm,
starts toward it.
315. CLOSE-UP ON WINDOW OF CABIN:
John advances to window and peers through it
SUBTITLE 80:--Desperately afraid they have found out
--and shut their door against him.
(Scene 315 continued.) For a moment John
lingers at the window, then sadly turns away.
316. MEDIUM SHOT ON MARY AND MRS. HEATH:
Mrs. Heath affectionately places her hands on
Mary's shoulders and sympathizes with her.
317. CLOSE-UP ON MARY--SOFT FOCUS:
A very pretty shot of her here as she says
SUBTITLE 81:--"I can't understand why John doesn't
come back or write--after all he did for
us when Dave--died."
(Scene 317 continued.) As she says this, her
lips quiver ever so little. She feels hurt to
think that after his long period of devotion he
may desert them all now, in their hour of
greatest need. To her it is strange indeed
that one could show such solicitude when her
brother died and then disappear from sight
altogether; but deep down in her heart, she
knows that someday he will come back to her.
318. CLOSE-UP ON MARY AND MRS. HEATH:
Mrs. Heath assures Mary that everything will
turn out for the best and starts out of scene,
going up the walk that leads to the farmhouse.
319. CLOSE SHOT ON JOHN--CABIN:
John has already placed his grip on the table
and is now unpacking some of his belongings.
Laying some of his things to one side, he
takes from his grip a framed photograph of his
320. CLOSE-UP ON HELENE'S PHOTOGRAPH:
A flash of the photograph as John holds it in
321. CLOSE-UP ON JOHN:
As John gazes intently at the photograph, a
look of loathing comes over his face. The
photograph but recalls memories of the tragic
past. He starts to hurl the photograph to the
floor, determined to put the past out of his
life forever. Then he changes his mind and
decides to keep the picture--the one memento of
a mother who loved him so devotedly. He
thinks of his mother as she was in the old days
before calamity descended upon them both, and
his face softens with the thought.
322. EXTERIOR OF HEATH FARM:
Shooting from across the road which runs in
front of the Heath farmhouse and showing
farmhouse, picket fence and gate. Mary is
still standing at the gate, gazing sorrowfully
across the fields; when the farmer, who took
John to the cabin, drives into the scene in his
buckboard, stops his team, and calls out to
323. CLOSE-UP ON THE FARMER:
A flash of the farmer, seated in his wagon, as
he calls out to Mary.
324. PICKET FENCE AND GATE:
Mary hears the farmer call to her and starts
from gate toward farmer's buckboard.
325. EXTERIOR HEATH FARMHOUSE:
Full scene, continuing main action. Mary
advances to a position close to the farmer's
326. CLOSE-UP ON FARMER:
The farmer looks at Mary and smiles at the
importance of the news he is about to tell her.
SUBTITLE 82:--"Guess who I just took up to the lodge!"
(Scene 326 continued.) As the farmer says
this, he leans forward eagerly waiting for Mary
327. CLOSE-UP ON MARY:
Mary is intensely interested but cannot guess
who it is.
328. CLOSE-UP ON FARMER:
A flash of the farmer as he says, with an air
of great importance:
SUBTITLE 83:--"John Trevor!"
329. CLOSE-UP ON MARY:
Mary can scarcely believe him--it seems too
good to be true.
330. CLOSE-UP ON FARMER:
The farmer laughs and points toward the hunting
lodge, quite pleased that he has been the one
to bring such good news to Mary.
331. CLOSE-UP ON MARY:
Mary is too happy to speak. Her heart is
bubbling over with joy to think that at last
John has come back to her. She turns and
starts to move toward Heath farmhouse.
332. PICKET FENCE AND GATE:
Mary comes into scene on a run, opens gate,
and hurries up the gravel walk which leads to
333. HEATH KITCHEN:
The stove is in the foreground; a cupboard in
background. To the left, close to the kitchen
sink, stands Mrs. Heath, peeling potatoes.
334. CLOSE-UP ON MRS. HEATH:
Mrs. Heath hears Mary running toward kitchen,
turns and looks toward doorway as Mary enters.
335. HEATH KITCHEN:
Mary has entered and now moves forward to tell
her mother the good news. Mrs. Heath laying
down the potato she is peeling, advances to
center of kitchen to meet Mary.
336. CLOSE UP ON MARY:
Her face radiant with joy in the thought that
at last John has come back to her.
337. CLOSE SHOT ON MARY AND MRS. HEATH--HEATH KITCHEN:
Mary, pointing off scene toward the cabin, tells
her mother that John is back. Mrs. Heath, happy
for the moment in the thought of Mary's
happiness, kisses her fondly.
338. COUNTRY ROAD:
Shooting down the road toward the Heath
farmhouse which appears in the distance. The
farmer, in his buckboard, comes driving along
the road, having just left Mary. In his
roadster, Martin enters from the opposite
direction. The auto and wagon almost collide.
The farmer draws up his team and Martin quickly
stops his roadster.
339. CLOSE-UP ON FARMER:
The farmer is very angry at Martin's reckless
driving and wants to know why Martin does not
stay on his own side of the road.
340. CLOSE-UP ON MARTIN:
Martin is equally angry and tells the farmer to
drive where he belongs and not try to hog the
341. CLOSE-UP ON FARMER:
The farmer, having had his say, starts to drive
away but suddenly realizes that he can spoil
Martin's day for him by telling him of John's
return. He has never liked the rich Martin,
anyhow. The farmer says:
SUBTITLE 84:--"You won't be seein' so much of Mary,
now John Trevor's back!"
(Scene 341 continued) As he says this he
watches Martin intently to see the effect of
the remark will be, for he is well aware of
Martin's jealousy of John.
342. CLOSE-UP MARTIN:
Martin hears the farmer's remark and shows
that the news is not pleasing to him. During
John's absence, he has had a clear field with
Mary. Now he will again meet with opposition
in his suit for Mary's hand.
343. CLOSE-UP FARMER:
The farmer, grinning maliciously at the thought
that he has hurt Martin, starts to drive out of
344. CLOSE-UP ON MARTIN:
Disgusted, Martin slumps down in the seat of
his roadster. Then, on his face comes a look
of grim determination, as he decides on his
line of action. He will break up John's
romance immediately by going to the Heaths and
telling them where Dave was killed.
345. MARY'S ROOM:
Shooting through the open door of Mary's room
toward living-room where Mrs. Heath and Mary
are now standing. Mary enters room, closes
door, and stands with her back to it.
346. CLOSE-UP ON MARY:
Mary stands with back against door. Her face
is radiant with joy. This is the happiest day
of her life. At last John has come back.
347. SIDEYARD--HEATH FARMHOUSE:
Martin enters slowly in roadster and stops his
car in the yard.
348. WATERING TROUGH:
This is the watering trough in the Heath
backyard. Bob enters with the two plow horses
to give them a drink before putting them in
their stalls for the noon hour. He gradually
gets the horses maneuvered around in front of
the trough but has a difficult time managing
them, and is in a very disagreeable mood. The
horses could be easily managed by anyone
experienced in that line; but they seem to
sense Bob's inexperience, although they are in
no sense fractious.
349. CLOSE-UP ON BOB'S FOOT:
A flash of Bob's foot as he steps forward and
one of the horses plants its hoof on it.
350. CLOSE SHOT ON BOB AND HORSE:
A flash of Bob as he starts to unfasten the
horse's bridle and then looks down and sees the
horse's hoof on his foot.
351. CLOSE-UP ON BOB'S FOOT:
A flash of Bob's foot as the horse stands on it.
352. CLOSE SHOT ON BOB AND HORSE:
Bob's disgruntled mood, at the thought that he
is forced to work on the farm, changes to one
of anger. He cruelly strikes the horse on the
muzzle, causing it to pull back quickly and
remove the hoof from off his foot. Then he
reaches down, grasps his injured foot, and
starts to strike the horse again.
353. CLOSE SHOT ON MARTIN:
Martin, standing beside the roadster, has been
quietly observing all that has taken place at
the watering trough. He notes that Bob is very
angry with the horse and is in a disagreeable
mood toward things in general, and considers
this the propitious moment to tell him just
what he knows of John Trevor and the gambling
den where Dave was killed. Bob will make a
useful ally in forever blasting John's romance
with Mary. With this idea in mind, Martin
starts toward watering trough.
354. CLOSE-UP ON MRS. HEATH:
Mrs. Heath, standing near cupboard, turns and
sees Mary as she enters room.
355. CLOSE-UP ON MARY:
Mary has just entered room. She has a package
under her arm. For a moment, Mary stands near
door and says:
SUBTITLE 85:--"These are the things John left. I
think I had better take them to him."
(Scene 355 continued.) Mary waits there
momentarily for her mother's approval. So
anxious is she to see John again that she
cannot wait for him to come to the farmhouse
to see her--she must needs go to him.
356. CLOSE-UP ON MRS. HEATH:
Mrs. Heath smiles good-naturedly at Mary, and
says that it will be all right for her to take
the things to John.
357. CLOSE-UP ON MARY:
Mary smiles back at her mother, and says that
she will not be gone very long.
358. MEDIUM SHOT ON WATERING TROUGH:
Bob, thoroughly disgusted with his lot in life
and still angry because the horse accidentally
stepped on his foot, is seated on the end of
the trough. Martin is now standing near him,
looking at him with eyes in which malice
gleams. Noting Bob's mood, Martin says, as
if he were trying to sympathize with him:
SUBTITLE 86:--"It's a shame you couldn't finish
(Scene 358 continued.) Martin realizes that
school is the thing nearest to Bob's heart and
has chosen to attack him at his weakest point.
Bob looks up at him helplessly; and Martin
continues to speak, now in an insinuating
SUBTITLE 87:--"Did you ever wonder where John Trevor
got his money?"
(Scene 358 continued.) As this title appears
there DISSOLVES INTO it a spinning roulette
wheel and a roulette layout.
359. CLOSE-UP ON BOB AND MARTIN:
Bob is listening attentively but makes no
attempt to answer Martin's question. It had
never occurred to him to question the source
of John's money. Martin continues, maliciously:
SUBTITLE 88:--"From his mother's gambling house--she
owned the biggest one in the city!"
(Scene 359 continued.) As this title appears,
there DISSOLVES INTO it a spinning roulette
wheel and a roulette layout as in the previous
scene. Bob looks mildly surprised but is not
the type of character who worries about where
money comes from, so long as it comes.
Moreover, he is inclined to doubt Martin's
statement. Martin, now watching Bob intently,
SUBTITLE 89:--"It's the truth! She owned the one
where--Dave was killed!"
(Scene 359 continued.) The effect of this
statement is electrical. Bob excitedly leaps
to his feet. Martin, adding fuel to the
SUBTITLE 90:--"That's why he paid all the funeral
bills and helped you--because he was to
(Scene 359 continued.) Bob is almost trembling
with rage as he hears this. Martin, having
now so successfully stirred up Bob's wrath
against John, continues:
SUBTITLE 91:--"But you have to work while he takes it
easy--and makes love to Mary!"
(Scene 359 continued.) Bob, becoming more and
more wrought up with the injustice of things,
turns trembling toward Martin. The latter, to
spur Bob on to immediate action against John,
SUBTITLE 92:--"He's up at the lodge now."
360. MEDIUM SHOT ON WATERING TROUGH:
Bob is now beside himself with rage.
Determined to break up forever Mary's romance
with John, he clenches his fists, and hurls
himself out of the scene. Martin, thoroughly
satisfied with what he has so far
accomplished, and with an amused expression on
his face to think that his plan has worked out
so well, watches Bob go.
361. HEATH KITCHEN:
Mrs. Heath is now working near the kitchen sink
when she hears Bob hurriedly enter the kitchen
door. She turns and advances to meet him,
unable at the time to fathom the cause of Bob's
agitation. Bob excitedly rushes to center of
kitchen and asks wildly:
SUBTITLE 93:--"Where's Mary?"
(Scene 361 continued.) Mrs. Heath, although
she realizes that Bob is greatly wrought up
over something, does not stop to question him.
She tells him that Mary has gone to the hunting
lodge to take some things to John. This is
enough for Bob, who rushes to the kitchen door
362. EXTERIOR HEATH FARMHOUSE:
Shooting from the road which passes in front
of the Heath farm. Mary is at the side of
the road, gathering some flowers to take to
John. She starts to move to road just as she
hears Bob call, then she turns and Bob comes
running up to her.
363. CLOSE-UP ON MARY:
Just a flash of Mary as, uncomprehending, she
looks at Bob.
364. EXTERIOR HEATH FARMHOUSE:
Continuing the main action, Bob grabs the
package which Mary is carrying under her arm
and hurls it from him. Then he seizes the wrist
of the still uncomprehending Mary, hurries her
through the gateway and up the gravel walk to
365. ANGLE OF HEATH LIVING ROOM:
Shooting toward window. Bob enters, still
dragging the surprised Mary after him. Then he
drops her arm and stands with his back to the
door, his face working with anger. Mrs. Heath,
sensing that something is wrong, rushes into
the scene from the kitchen and stands near the
366. CLOSE-UP ON MARY:
A flash of Mary as she stands there bewildered
at Bob's unexplained conduct.
367. CLOSE-UP ON BOB AND MRS. HEATH:
Mrs. Heath turns toward Bob, a questioning look
in her eyes. She is entirely at a loss to
explain the cause of his anger. Bob, pointing
a shaking finger at Mary off scene, and
trembling with rage, says:
SUBTITLE 94:--"You're never going to see John Trevor
(Scene 367 continued.) As he says this, Bob
can scarcely contain his anger.
368. CLOSE-UP ON MARY:
A flash of Mary as she gazes at Bob with wide-
369. CLOSE SHOT ON BOB AND MRS. HEATH:
Mrs. Heath is surprised at Bob's strange
conduct. Bob continues to speak:
SUBTITLE 95:--"John hilled Dave--he and his mother!
She owned that gambling house!"
(Scene 369 continued.) Mrs. Heath, unbelieving,
looks at Bob in amazement that he could make
such a statement concerning John Trevor.
370. CLOSE-UP ON MARY:
A flash of Mary as she gasps and puts her
hands to her mouth.
371. CLOSE-UP ON MRS. HEATH:
Mrs. Heath gazes first at Mary and then back at
Bob. The thing is unbelievable.
372. CLOSE-UP ON BOB:
A flash of Bob as he looks off scene and sees
Martin who has just entered the door leading in
from the side porch.
373. CLOSE-UP ON MARTIN:
A flash of Martin as he stands near the side
door. His face is serious, but he is well
satisfied with the way matters have developed.
374. CLOSE-UP ON BOB:
Bob points toward Martin and says:
SUBTITLE 96:--"Ask Martin--he'll tell you!"
(Scene 374 continued.) Bob stands there
waiting for Martin to speak.
375. CLOSE-UP ON MRS. HEATH:
Mrs. Heath slowly turns her head and gravely
looks at Martin.
376. CLOSE-UP ON MARTIN:
Martin looks at Mrs. Heath and says that it is
377. CLOSE-UP ON MARY:
A flash of Mary as she quickly glances at
Martin and then, almost in tears, starts toward
378. CLOSE-UP ON MARY AND MRS. HEATH:
Mary grasps Mrs. Heath's dress and, having
glanced back at Martin, piteously pleads with
her mother not to believe him. Then she rushes
from her mother toward Martin.
379. CLOSE SHOT ON MARTIN:
Mary runs into scene and stands near Martin,
begging him to say that it is not true.
380. CLOSE-UP ON MARY:
Mary is almost in tears as she says to Martin:
SUBTITLE 97:--"I don't believe it!"
(Scene 380 continued.) To her the thing is
381. ANGLE OF HEATH LIVING ROOM:
As Mrs. Heath stands looking at Mary, Bob
suddenly rushes through the outer door,
determined to confront John and accuse him to
his face. Fearful lest, in Bob's rage, he may
kill John or be killed by him, Mrs. Heath
hurries to follow Bob as she sees him leave the
house. One tragedy has fallen upon the
household--there must be no more.
382. EXTERIOR HEATH FARM:
Shooting from country road which passes in
front of the farmhouse. Bob comes running from
house, rushes through the gate, and turns toward
383. CLOSE SHOT ON MARY AND MARTIN:
A flash of Mary as she sees her mother start to
leave the house. Mary runs from scene towards
384. ANGLE OF HEATH LIVING ROOM:
A flash of Mary as she runs toward window and
385. EXTERIOR HEATH FARM:
Continuing the main action, Mrs. Heath comes
running from the gate to the road, holding her
hands out appealingly to the hurrying Bob and
calling wildly to him.
386. CLOSE UP ON MARY:
Mary is at the window, watching her mother go.
Her face is twitching with her great emotion
as she now turns and looks toward Martin.
387. CLOSE SHOT ON MARTIN:
Martin having accomplished his purpose without
seeming to do so, turns and exits through the
side door; his face serious as if he greatly
regretted having had to tell the Heaths where
Dave was killed.
388. SIDEYARD--HEATH FARMHOUSE:
Martin's roadster is standing in the side yard.
A turkey gobbler is sitting on the running
board as Martin enters. Martin viciously
knocks the gobbler off the machine and starts
to climb in to drive away.
389. MEDIUM SHOT ON CABIN FIREPLACE:
John places his mother's photograph on the
mantel above the fireplace, and his eyes soften
with tender memories of the happy days that
390. MEDIUM SHOT ON CABIN DOOR:
The door opens, Bob quickly enters and stands
with his back to the door, his face livid with
391. CLOSE-UP ON JOHN:
John is still looking at his mother's
photograph when he hears the door open. He
turns and for a moment a smile of welcome to
Bob flickers across his face. As he is about
to speak, he notes that Bob is boiling with
392. CLOSE-UP ON BOB:
Bob's face is distorted with rage as he stands
momentarily at the door. Then he advances
threateningly toward John.
393. CLOSE SHOT ON JOHN:
John still stands at the fireplace, awaiting
Bob's approach. Bob enters with clenched fist
and, trembling with his anger, stands before
the wondering John. Then in a voice, vibrant
with rage, Bob says:
SUBTITLE 98:--"You killed Dave--you and your mother!"
394. CLOSE-UP ON BOB:
A flash of Bob, as with blazing eyes, he draws
back his hand to strike John.
395. CLOSE-UP ON JOHN:
John is surprised at Bob's vehemence. He
opens his mouth to speak but cannot find words
396. CLOSE SHOT ON JOHN AND BOB:
For the moment, John feels utterly helpless in
the face of Bob's sudden onslaught. While he
tries to explain matters to the angry Bob, the
latter says with a heart full of bitterness and
SUBTITLE 99:--"You--always sending me on errands--you
with lots of money--from a GAMBLING
397. CLOSE-UP ON BOB:
A flash of Bob as he finishes speaking the
foregoing title and looks angrily at John.
398. CLOSE-UP ON JOHN:
John endeavors to explain but cannot find words
that are adequate. He turns nervously and looks
at his mother's picture, realizing that she is
the indirect cause of all of his misfortunes.
399. CLOSE SHOT ON JOHN AND BOB:
AS John turns to look at Bob, the latter
SUBTITLE 100--"Deny it! Why don't you deny it!"
400. CLOSE-UP ON JOHN AND BOB:
As he speaks the foregoing title, Bob looks up
at John threateningly. John, unable to deny
the truth of Bob's accusations, sadly turns his
head to one side.
401. CLOSE SHOT ON JOHN AND BOB:
Bob is still threatening John when the latter,
with staring eyes, looks and sees Mrs. Heath
standing in the doorway. Bob, noting the look
that has come into John's eyes, turns and sees
402. MEDIUM SHOT ON CABIN DOOR:
Mrs. Heath, panting from her exertion in
climbing the hill to the cabin, stands there
and looks at John appealingly. As she slowly
places her hands upon her heaving bosom, her
face clouds with sorrow. Down deep in her
heart, for the sake of Mary's future happiness,
she still hopes that what Martin has said is
403. CLOSE-UP ON JOHN:
With wide-open eyes, John stares at Mrs. Heath.
404. CLOSE SHOT ON JOHN AND BOB:
Mrs. Heath, with eyes fixed intently upon John,
moves from the door toward the fireplace of the
405. CLOSE SHOT ON JOHN AND BOB:
With measured tread, Mrs. Heath enters scene.
Her face is worn with care and sorrow. Even now
she fervently prays that John will be able to
deny the truth of the story Martin has told.
As she approaches John, Bob turns away.
406. CLOSE-UP ON MRS. HEATH:
With steadfast eyes which earnestly gaze up into
John's face, Mrs. Heath asks solemnly:
SUBTITLE 101:--"Is it true, John?"
(Scene 406 continued.) As she asks this fateful
question, she waits for John to answer.
407. CLOSE-UP ON JOHN:
John cries to stammer out some reply. He
cannot answer yet and turns his head to one
side, a tortured look upon his face.
408. CLOSE-UP ON MRS. HEATH:
For a moment Mrs. Heath awaits his answer, then
sorrowfully bows her head.
409. CLOSE-UP ON JOHN:
In his agony John stammers:
SUBTITLE 102:--"I'm sorry--I--"
(Scene 409 continued). He tries to find words
to complete the sentence he has begun but cannot
go on. From the very bottom of his heart, he is
sorry; but he realizes that sorrow cannot bring
back Dave again.
410. CLOSE-UP ON MRS. HEATH:
Mrs. Heath looks up sternly at John and, with a
voice choking with emotion, says:
SUBTITLE 103:--"Will sorrow, give Dave back to us?
Will it harvest the grain--will it feed
(Scene 410 continued.) John cannot answer
these questions. He knows that no sorrow on
earth can do any of the things Mrs. Heath has
411. CLOSE-UP ON JOHN AND BOB:
As Bob hears Mrs. Heath's questions, he quickly
turns on John and asks vehemently:
SUBTITLE 104:--"Will it give me an education--will
it Keep me from working like a dog"
(Scene 411 continued.) These two things are
uppermost in the mind of the selfish Bob. To
him it seems far more important that he should
get an education, and not be compelled to work,
than that the grain should be harvested and the
412. CLOSE SHOT ON GROUP--CABIN:
Mrs. Heath lays a reproving hand on Bob's arm.
As John stands helpless before them, Bob gives
him a vindictive look and leads his sorrowing
mother out of the scene. For a moment John
watches them as they slowly approach the door
of the cabin, then rushes out of the scene to
intercept them at the door, to make a one last
plea to Mrs. Heath.
413. MEDIUM SHOT ON CABIN DOOR:
John runs to door as Bob and Mrs. Heath
approach. Bob quickly draws back his hand to
strike John; but Mrs. Heath, placing herself
between the two boys, restrains the angry Bob,
who hurriedly exits from the cabin to await his
mother outside. He has heard enough of John's
attempts to palliate his guilt for Dave's death
and wants to hear no more.
414. CLOSE-UP ON JOHN AND MRS. HEATH:
As they stand at the cabin door, John says from
the bottom of his heart:
SUBTITLE 105--"I'd give anything in the world ..."
(Scene 414 continued.) Although she cannot but
realize John's contriteness of spirit, yet he
cannot give her the one thing she most longs
for. With a choking voice, Mrs. Heath says:
SUBTITLE 106:--"Give us--Dave!"
(Scene 414 continued.) Having said this, she
exits through the doorway of the cabin. John
sees her join Bob and go down the hill toward
the farmhouse, his heart torn with anguish.
415. CLOSE-UP ON MARY:
Mary is sitting on the bed in her room, sobbing.
As the scalding tears roll down her cheeks, she
bows her head with grief at the thought that
perhaps she has lost forever the one boy she
has most loved.
416. EXTERIOR HEATH FARM:
Mrs. Heath and Bob slowly enter scene from the
road which passes in front of the farmhouse and
go toward the gate.
417. MEDIUM SHOT ON CABIN FIREPLACE:
John stands near fireplace, his brow knitted in
thought. As he stands there thinking, an idea
suddenly comes to him. He can and will help
the Heaths in their hour of sorrow.
418. CLOSE-UP ON MARY AND MRS. HEATH:
Mrs. Heath, upon re-entering the farmhouse, has
gone at once to Mary to tell her that John has
tacitly admitted his guilt for the murder of
Dave. Hopeful to the last, Mary has for the
moment succeeded in drying her tears. Together
Mrs. Heath and Mary stand in the doorway
leading to Mary's room. Mrs. Heath notes the
fact that Mary has been crying bitterly and
says to her solemnly, in a tone of mild
SUBTITLE 107:--"Mary, if you loved Dave, you won't
waste tears on John Trevor."
(Scene 418 continued.) As her mother says this,
Mary cannot keep back the tears that glisten in
her eyes. For her the days of romance have
passed; and she has lost, perhaps forever, the
love that she held closest to her heart.
419. MEDIUM SHOT ON CABIN FIREPLACE:
As John stands there, a resolution is horn
within him. He looks down at his hands and
sees that they are strong. Although he cannot
bring Dave back to life again; yet he can,
with those strong young hands of his, harvest
the grain and feed the children. He looks at
his mother's picture and tells her, just as if
she were there in person to hear him, that with
his hands and with them alone he can atone for
the sin that was hers. Determined to go at
once to Mrs. Heath and offer what little he has
to give, he hurriedly exits from the scene.
420. WATERING TROUGH:
Bob comes toward trough, leading two plow
horses from the barn in the background.
421. SIDEYARD--HEATH FARMHOUSE:
Shooting toward barn and watering trough but
tipping in the side porch. John runs into scene
and goes to side porch to find Mrs. Heath.
422. MEDIUM SHOT ON WATERING TROUGH:
A flash of Bob as he turns, looks off scene,
and sees John.
423. SIDEYARD--HEATH FARMHOUSE:
Shooting toward porch and side door of house.
John stands on the lower step to porch, as if
about to enter the house, then calls out; and,
as no one appears at the door, looks around,
sees Bob near the watering trough, and starts
424. MEDIUM SHOT ON WATERING TROUGH:
Bob, looking off scene and seeing John coming
toward him, hunts for something with which to
defend himself. Finally, under the trough, he
discovers a stout club and picks it up. Then he
awaits John's approach, in a defiant attitude.
425. SIDEYARD--HEATH FARMHOUSE:
John stops for a moment, looks toward house,
and calls to Mary and Mrs. Heath.
426. CLOSE-UP ON MARY AND MRS. HEATH:
Mary and Mrs. Heath are still standing in the
doorway leading to Mary's room, as they hear
427. SIDEYARD--HEATH FARMHOUSE:
As no one appears at side door in response to
his call, John turns and runs toward watering
428. CLOSE-UP ON MARY AND MRS. HEATH:
Mrs. Heath, having heard John call, goes to the
side door to see what he wants. Mary follows
429. CLOSE SHOT ON BOB:
Bob, club in hand, has moved away from the
watering trough and stands waiting John's
approach. John enters scene and goes to Bob.
430. CLOSE-UP ON BOB:
A flash of Bob as, with face clouded with
anger, he tells John to get off the place.
431. CLOSE-UP ON JOHN:
A flash of John as he tells Bob to wait a
moment and listen to what he has to say.
432. SIDEYARD--HEATH FARMHOUSE:
Mrs. Heath, having come out of the house in
answer to John's call, stands on the steps to
the side porch. She looks off scene and sees
John and Bob, the latter in a very threatening
attitude. Fearing that the two young men are
about to engage in a physical encounter, Mrs.
Heath hurriedly exits toward them, followed by
433. CLOSE SHOT ON JOHN AND BOB:
Bob is still threatening John, when Mrs. Heath
and Mary run into scene and take their places
434. CLOSE-UP ON MRS. HEATH AND BOB:
A flash of them as they stand there waiting to
hear what John has to say.
435. CLOSE-UP ON JOHN:
John looks at them earnestly and, stretching
out his hands, says:
SUBTITLE 108:--"I have come to do what I can ..."
(Scene 435 continued.) As he says this, his
face lights up with joy at the thought that he
can help them all.
436. CLOSE-UP ON MARY AND BOB:
As Mary realizes that John has come to sacrifice
himself for them, she steps forward impulsively
to thank him; but Bob roughly pulls her back.
437. CLOSE-UP ON JOHN AND MRS. HEATH:
Mrs. Heath looks earnestly at John, waiting to
hear what more he has to say. John continues:
SUBTITLE 109:--"I know I can't fill Dave's place--but
I can give you my hands and myself ...."
(Scene 437 continued.) As he says this, he
looks at Mrs. Heath imploringly. He is in
deadly earnest and hopes that she will not
438. MEDIUM SHOT OF GROUP:
As Mary turns her head away to conceal her
emotion, John begins to roll up his sleeves,
preparatory to going to work at once. Bob,
mistaking John's action and thinking that John
is threatening him, also rolls up his sleeves,
prepared to defend himself if necessary against
439. CLOSE SHOT ON JOHN:
John finishes rolling up his sleeves and says:
SUBTITLE 110--"I will work the farm--I'll plow--I'll
harvest the grain ...."
440. CLOSE-UP ON JOHN:
As John speaks the foregoing title, his face is
tense with emotion; but he is determined to
atone for his mother's sin, even though he must
give up all the years of his youth.
441. CLOSE-UP ON MRS. HEATH AND BOB:
Both Mrs. Heath and Bob are skeptical of John's
sincerity of purpose. They look at him fixedly,
not believing that he realizes just what he is
442. CLOSE SHOT ON JOHN:
John is not to be deterred in what he has
determined upon. He says earnestly:
SUBTITLE 111:--"I promise to do Dave's work--the rest
of my life, if you'll only let me."
443. CLOSE-UP ON JOHN:
A flash of him as he finishes title.
444. MEDIUM SHOT ON GROUP:
As Mrs. Heath has not denied him his request,
John crosses scene, running toward watering
trough. The others stand and watch him go.
Mrs. Heath is frankly skeptical of his
sincerity of purpose; while Bob, the perpetual
scoffer, thinks it just a sudden whim although
in his heart he hopes that John will not back
down, thus forcing him to take up again the
odious labor on the farm. To Mary, John's act
is one of supreme self-sacrifice, and her heart
goes out to him.
445. CLOSE SHOT ON WATERING TROUGH:
John enters to where the horses are standing,
takes hold of the reins, and starts to lead the
446. MEDIUM SHOT ON MARY, BOB, AND MRS. HEATH:
A flash of them as they stand watching John.
447. SIDEYARD--HEATH FARMHOUSE:
Shooting toward windmill which appears in
background; the watering trough is in the
middleground. John leads the horses from the
trough, to take them to the field for the
448. CLOSE-UP ON MARY:
With her heart overflowing with pity for his
hard lot in life and yet admiring him for the
nobility of his self-sacrifice, Mary watches
John as he leads the horses away.
449. MEDIUM SHOT ON MARY, BOB, AND MRS. HEATH:
For a moment, they stand there watching John;
then Bob exits, going toward watering trough.
Mary turns and looks at her mother, wondering
what she will say; but Mrs. Heath says nothing
at all. Into Mary's eyes comes a look of pain
to think that her mother is so unappreciative
of the sacrifice John is making for them all.
Mrs. Heath cannot look upon John's act as one
of self-sacrifice. With her stern sense of
duty, she believes that he is doing no more
than he is really obligated to do in the
450. CLOSE SHOT ON WATERING TROUGH:
Bob leans against the end of the trough,
watching John. Seeing that the latter is in
earnest and really intends to do all the work
on the farm, Bob slowly rolls down his sleeves
--for him farm work is at an end. Then Bob
glances down at the club in his hand, as much
as to say that he will force obedience from
John Trevor even with a club, if necessary.
SUBTITLE 112. (FADE IN ON)
Christmas (FADE OUT)
451. CLOSE-UP ON TURKEY (FADE IN):
The months of summer and fall have gone, and
Christmas is at hand. A fat luscious turkey is
baking in a white enamel pan. The hand of Mrs.
Heath, as she bastes the turkey, shows in the
452. CLOSE SHOT ON MRS. HEATH AND PATSY:
Mrs. Heath is kneeling down near oven, basting
the turkey; while Patsy stands at her side
talking to her about the turkey and the
wonderful things she expects to eat with the
453. WOODPILE--HEATH FARMHOUSE:
Snow covers the ground as winter has set in in
earnest. John is discovered at the woodpile,
splitting wood for the kitchen stove.
454. CLOSE-UP ON WINDOW--HEATH LIVING ROOM:
Mary comes to the window and stands there
watching John as he splits the wood. She
looks at him pityingly to think that he has to
work so hard to keep them all.
455. MEDIUM SHOT ON WOODPILE:
John gathers up some sticks of wood in his arms
and starts to exit toward the kitchen door.
456. CLOSE-UP ON MARY:
Mary stands at the window, watching John as he
approaches the house with his armful of wood.
She sorrowfully turns her head away as she
thinks of how few pleasures he has in life.
457. EXTERIOR KITCHEN DOOR:
John enters with armful of wood and stands at
the foot of the steps leading to the kitchen
door, looking back at the woodpile.
458. MEDIUM SHOT ON WOODPILE:
Paul enters, gathers up three sticks of wood
in his little arms, and exits to kitchen door
where John is still standing. Paul is very
devoted to John and helps him with his work,
although he is too small to make his efforts
459. EXTERIOR KITCHEN DOOR:
Paul, struggling, under the weight of the three
sticks of wood he is carrying, enters to John
who opens the kitchen door. Together they
start to enter the kitchen.
460. CLOSE SHOT ON KITCHEN DOOR--INTERIOR:
John and Paul enter with the wood they are
carrying. They stoop down and put the wood in
a box near the door.
461. CLOSE-UP ON MARY:
Mary stands near the china closet in the
kitchen, watching John as he works.
462. CLOSE-UP ON JOHN:
John, as if to speak, looks longingly at Mary.
463. CLOSE-UP ON MARY:
Mary smiles at John reassuringly. In the face
of tragedy, Mary's love for John has never
464. CLOSE-UP ON JOHN:
For a moment John stands there and looks
intently at Mary, then he turns and starts to
exit through the kitchen door. In the hour of
adversity, he loves her for her faith in him
and in the rectitude of his intentions.
465. CLOSE SHOT ON KITCHEN DOOR--INTERIOR:
Just a flash as John exits through the doorway.
466. CLOSE-UP ON MARY:
Mary still stands near china closet in the
kitchen. Her eyes are suffused with pity as
she thinks of John's hard lot in life--
homeless and almost friendless. Today is
Christmas and is supposed to be a day of good
cheer; but it seems to her that he has nothing
to cheer him, save the hallowing thought of his
467. EXTERIOR KITCHEN DOOR:
Momentarily John stands near the kitchen door,
his heart warmed by the sympathy he had read
in Mary's eyes. Then he exits toward the barn,
to do the other chores that demand his
468. CLOSE-UP ON MARY:
Mary stands near the china closet, thinking.
"Would it not bring just a little joy into
John's life to have him eat Christmas dinner
with them? As she asks herself this question
she smiles at the happy thought, and starts
toward her mother to get the latter's approval
of her idea.
469. CLOSE-UP ON MARY AND MRS. HEATH:
Mary moves close to Mrs. Heath and says:
SUBTITLE 113:--"Mother, can't we have John eat dinner
(Scene 469 continued.) Mrs. Heath's face is
very grave and stern as she looks at Mary
intently and says:
SUBTITLE 114:--"I don't see how you can ask it--our
first Christmas without Dave."
470. ROAD NEAR HEATH BARN:
Shooting from across the road so that the barn
appears in the background. The roofs of the
barn and the adjoining sheds are heavily
covered with snow. In the middleground is the
road which has been cleared through the deep
drifts. A sleigh loaded with Bob and some of
his friends, who are coming to Christmas
dinner, drives into the scene.
471. CLOSE-UP ON WINDOW:
From this window, one, who is standing there,
can see and hear what is taking place on the
side porch. Mary comes to window and stands
there gazing out at the snow-covered ground, sad
to think that she has been unable to bring even
a little happiness into John's life.
472. MEDIUM SHOT ON SIDE PORCH:
Bob's friends enter to side porch, waiting for
him to join them before they go into the house.
Through the window near where she is standing,
Mary sees them and smiles a welcome.
473. CLOSE SHOT ON BOB AND SLEIGH HORSES:
Bob stands at the horses's heads,looks off
scene and sees John shoveling snow. Bob calls
to him and beckons to him in a peremptory
474. CLOSE-UP ON JOHN:
A flash of John as he hears Bob call.
475. CLOSE SHOT ON BOB AND SLEIGH HORSES:
In Bob's estimation, John has never been
anything but a hired man since he began work on
the farm to atone for his mother's sin. Bob
points to the horses and calls out insolently
SUBTITLE 115:--"Hey you! Blanket the horses and feed
(Scene 475 continued.) Having said this, Bob
starts to exit from the scene.
476. CLOSE-UP ON JOHN:
A flash of John as he starts to where Bob has
left the horses.
477. MEDIUM SHOT ON SIDE PORCH:
Bob's friends are still standing on the side
porch when Bob enters the scene.
478. CLOSE SHOT ON SLEIGH HORSES:
John enters, gets a blanket from the sleigh and
throws the blanket over one of the horses.
479. CLOSE SHOT ON SIDE PORCH:
Bob looks back to see if John is tending the
horses. One of Bob's boy friends, looking
toward John, asks, "Is that John Trevor?" Bob
answers him superciliously:
SUBTITLE 116:--"Sure, that's John Trevor--he's my
hired man now!"
(Scene 479 continued.) The unsympathetic Bob
smiles as he says this, thinking that it is a
480. CLOSE-UP ON MARY:
A flash of Mary as she gasps when she hears
Bob's unkind remark.
481. CLOSE-UP ON JOHN:
John is standing near the horses' heads,
looking helpless but defiant, as he sees that
Bob is ridiculing him.
482. CLOSE SHOT ON SIDE PORCH:
Bob motions to John, telling him to get to
work, then he and his friends start to enter
483. CLOSE-UP ON JOHN:
For a moment John stands there looking
defiantly at Bob, then he starts to blanket the
other sleigh horse.
484. MEDIUM SHOT ON MARY AND GIRL FRIEND:
Mary is taking the girl's wraps. One of Bob's
boy friends comes up behind Mary and puts a cap
on her head. She looks at him with a winsome
smile, determined not to let Bob's friends see
that she is sad.
485. HEATH LIVING ROOM:
Mary, with the wraps on her arm, starts from
the scene. Bob and his guests talk animatedly.
486. CLOSE SHOT ON SLEIGH HORSES:
John, having blanketed the other sleigh horse,
pats them, and then starts out of scene.
487. HEATH LIVING ROOM:
Shooting so that full length of table shows.
Some of the guests are already seated when Mrs.
Heath enters from the kitchen, carrying a
platter on which is the big turkey. Mary is in
the background, fixing the twins preparatory to
lifting them into their places at the table.
488. CLOSE-UP ON MARY AND THE TWINS:
Mary has just finished fixing the twins when
Paul, almost crying, looks at her and says with
SUBTITLE 117:--"Us wants Christmas wif John!"
(Scene 488 continued.) Mary fully sympathizes
with the twins but there is nothing that she
can do. She too, would like to have had dinner
with John, had not her mother so firmly decided
489. CLOSE-UP ON BOB AND MRS. HEATH:
A flash of them as they look reprovingly at
Mary and the twins.
490. CLOSE-UP ON MARY AND THE TWINS:
A flash of Mary and the twins as Mary looks
toward her mother, hoping that she will relent
at the last minute and let John come to eat
Christmas dinner with them.
491. CLOSE-UP ON BOB AND MRS. HEATH:
A flash of them as they still look reprovingly
at Mary and the twins.
492. CLOSE-UP ON MARY AND THE TWINS:
Mary, realizing that the twins' request will
not be granted, takes them in her arms and hugs
493. SIDE YARD--HEATH FARMHOUSE:
Shooting toward the barn. Martin, in his
sleigh, drives into the scene.
494. MEDIUM SHOT ON BARN DOOR:
John comes out of the barn, looks off scene,
sees Martin, and starts to move away.
495. CLOSE-UP ON MARTIN'S SLEIGH HORSES:
Martin, having got out of the sleigh, comes to
horses' heads and insolently calls out to John:
SUBTITLE 118:--"Watch my horses. I'll be right out--
I'm taking Mary to the pageant."
(Scene 495 continued.) Martin emphasizes the
fact that he is taking Mary to the pageant
knowing that this will wound John.
496. CLOSE-UP ON JOHN:
John looks steadily at Martin and says
SUBTITLE 119:--"I don't take orders from you."
(Scene 496 continued.) The relations between
John and Martin have never been harmonious in
the past because of their rivalry for Mary's
hand; and now John knows that these relations
have reached the breaking point, as he is
determined to take no orders, whatever, from
the caddish Martin. Although voluntarily bound
to serve the Heaths, he is not obligated to do
anything for Martin.
497. CLOSE-UP ON MARTIN'S SLEIGH HORSES:
A flash of Martin as he leaves his place near
the horses' heads and moves toward where John
is standing off scene.
498. CLOSE SHOT ON JOHN:
John stands there awaiting Martin's approach,
determined not to yield a single inch. Martin
enters and advances threateningly toward him.
499. CLOSE-UP ON JOHN:
A flash of John as he looks fixedly at Martin.
500. CLOSE-UP ON MARTIN:
Martin looks sneeringly into John's face and
SUBTITLE 120:--"You'll take orders from anybody. Your
mother took orders to quit running a
(Scene 500 continued.) Although uncertain
whether or not John will resent this insult yet
he does not for a moment take his eyes off John.
Martin holds John in supreme contempt and has
deliberately insulted him.
501. CLOSE-UP ON JOHN:
A flash of John as he hears this title, his
face livid with rage.
502. MEDIUM SHOT ON JOHN AND MARTIN:
John, with clenched fist, knocks Martin against
the side of the barn. Martin almost falls but
recovers his balance and clinches with John. As
they struggle violently, John grasps Martin by
the throat and bends him backward to the ground.
Months of hard labor on the farm have put John
in much better physical condition than his
opponent and the latter is no match for him.
503. CLOSE-UP ON JOHN:
A flash of John. His face is dark with anger.
504. CLOSE-UP ON MARTIN:
A flash of Martin. His face is distorted with
pain as he gasps for breath.
505. CLOSE-UP ON JOHN:
A flash of John as Martin shoves his fist into
506. MEDIUM SHOT ON JOHN AND MARTIN:
A flash of them as they still struggle.
507. CLOSE-UP ON JOHN:
A flash of John as Martin tries to shove his
fingers into John's eyes.
508. FLASH ON JOHN AND MARTIN:
A flash of them as John hurls Martin to the
509. MEDIUM SHOT ON JOHN AND MARTIN:
John stands threateningly over the prostrate
Martin and says, in a voice choked with anger:
SUBTITLE 121:--"If you ever say anything about my
mother again, I'll ...."
(Scene 509 continued.) Having spoken this
title, John exits from scene leaving Martin to
struggle to his feet as best he may.
510. HEATH LIVING ROOM:
Shooting from above so that entire table and
guests are shown as the latter partake of the
Christmas feast. The scene is one of pleasure,
in sharp contrast to the foregoing ones in
which John has had to fight Martin because of
the latter's insolence. (FADE OUT)
511. CLOSE-UP ON HELENE (FADE IN):
Helene, seated alone in the reception room of
her apartment, is very sad and lonely for the
absent John. On this Christmas day, she more
bitterly than ever feels her loss. Almost at
the breaking point, she has decided that either
John must come back to her or she will go to
him. So poignant has been her grief at losing
her beloved boy that she has but recently
arisen from a bed of sickness. Her face is
drawn and shows that day and night the tears
have rushed unbidden to her eyes.
512. CLOSE-UP ON JOHN:
John, standing near the woodpile in the Heath
farmyard, looks longingly out across the snow-
covered fields and wonders what his mother is
doing this Christmas day. Although he had left
her in loathing, yet months of absence from her
have softened the harshness of the thoughts he
held; and now he wishes that he might see her
again, if only for a little while.
513. SIDE PORCH--HEATH FARMHOUSE:
Bob's guests are just leaving. Mrs. Heath and
Mary, with one of the twins on either side of
her, have come to the porch to see the guests
depart. One of the guests says:
SUBTITLE 122:--"We'll meet you at Darienne."
514. MEDIUM SHOT ON SIDE PORCH:
The guests begin to leave, to drive back to
Darienne. Mrs. Heath stands on the side porch,
watching them go.
515. BOB'S SLEIGH:
Bob and the twins are now in his sleigh and
start to drive out of the barnyard. Bob stops
the sleigh for a moment and they all look
toward Mrs. Heath, still standing on the side
516. CLOSE SHOT ON MRS. HEATH:
Mrs. Heath is watching Bob and the twins.
517. CLOSE-UP ON BOB'S SLEIGH:
A flash of the twins as they wave goodbye to
518. MEDIUM SHOT OF JOHN:
John sees the twins and waves goodbye to them.
519. CLOSE-UP ON BOB'S SLEIGH:
The twins, seeing John, continue to wave their
hands and call out to him:
SUBTITLE 123:--"Goodbye, John."
(Scene 519 continued.) Bob hears the twins call
to John and drives out of the scene.
520. CLOSE-UP ON JOHN:
John's face grows sad as he turns and walks
521. CLOSE-UP ON MARTIN'S SLEIGH:
Martin tucks the laprobe around Mary, who
looks off scene and sees John. Martin notes
the fact that she is looking at John, and his
eyes gleam with malevolence.
522. MEDIUM SHOT ON JOHN:
John turns away, gets his heavy overcoat,
which is hanging in a shed near the woodpile,
and starts to put it on to go to the cabin.
523. CLOSE-UP ON MARY:
Mary looks toward John, pitying him because
all the pleasures of life are denied him.
524. CLOSE-UP ON MARTIN'S SLEIGH:
Martin gets into the sleigh, tucks the laprobe
around himself, gives Mary a sarcastic glance,
and drives away.
525. MEDIUM SHOT ON JOHN:
A flash of John as he stands and watches Mary
and Martin drive away.
526. ROAD NEAR HEATH BARN:
Shooting diagonally down the road. The snow-
laden barn and sheds show in background.
Martin and Mary enter in sleigh and exit down
527. SEMI-CLOSE-UP ON JOHN:
John turns and exits to go to cabin.
528. CLOSE-UP ON MARY AND MARTIN:
Martin is driving along, smiling sarcastically.
Suddenly, out of a clear sky, he says:
SUBTITLE 124:--"Still crazy about your hired man?"
529. CLOSE-UP ON MARY:
Mary hears Martin's question and is desperately
530. CLOSE-UP ON MARTIN:
Martin sneeringly says, as he sees that Mary is
SUBTITLE 125:--"A lot you must have cared for Dave to
love the fellow that helped kill him."
(Scene 530 continued.) Martin watches Mary
intently, as he says this, to see the effect of
his remark. Smarting under the rough treatment
he has received at John's hands and sensing
that he is playing a losing game with Mary's
affections because she does not love him and
never will, Martin does not hesitate to goad
her to desperation.
531. CLOSE-UP ON MARY:
As Martin speaks the above title, Mary is more
angry with him than ever. Although the sleigh
is in motion, Mary starts to get out of it to
get away from the hateful Martin. He grabs her
arm to restrain her, but she struggles out of
532. CLOSE-SHOT ON MARTIN'S SLEIGH:
Seeing Mary's intention of leaping from the
sleigh and unable to restrain her, Martin
quickly reins in the horses. Mary leaps out
into a deep drift beside the road, falling
down as she strikes the snow.
533. CLOSE-UP ON MARTIN:
A flash of Martin as he smiles sardonically,
well satisfied with the pain he has caused her.
534. MEDIUM SHOT ON MARY:
Mary stands in the deep drift beside the road,
almost in tears. She tells Martin how she
hates him, and never wants to see him again as
long as she lives.
535. CLOSE-UP ON MARTIN:
Martin looks at her with a sneer on his face,
SUBTITLE 126:--"Give my regards to the hired man."
(Scene 535 continued.) As he says this, he
raises his whip and starts to drive away.
536. COUNTRY ROAD:
Martin gives the horses a crack with the whip
and drives away. Mary struggles out of the
drift into the roadway, and starts to walk
back to the Heath farmhouse.
537. CLOSE SHOT ON CABIN FIREPLACE:
John, with a letter in his hand, goes to the
mantel and stands there looking at his
538. CLOSE-UP ON JOHN:
John looks earnestly at his mother's
photograph, yearning to see her again and
pitying her because of the grief she feels at
his continued absence.
539. CLOSE-UP ON HELENE'S PHOTOGRAPH:
A flash of the photograph as John looks at it.
540. CLOSE-UP ON JOHN:
John gazes at the photograph, then takes off
his stocking cap, looks at the letter which he
is holding in his hands, and reads:
INSERT: "And I know it is worry over your absence
that caused your mother's illness; and,
even now, she cries continually. Won't
you please come to her or let her come to
you? Her heart is breaking and I feel
This letter is written in a scrawly hand, as if
it had been written by one of Helene's servants
--probably her maid. As he reads this letter,
John is in a torment of doubt, uncertain
whether to go to her or have her come to him.
541. RECEPTION ROOM--HELENE'S APARTMENT:
Helene, with her fur coat on her arm, comes to
davenport in the foreground, and drops the coat
on the davenport as the butler enters, hands
her a timetable and says:
SUBTITLE 127:--"Here's the time table, ma'am."
542. CLOSE SHOT ON HELENE AND BUTLER:
As the butler exits, Helene looks at the
INSERT: A flash of a New York Central timetable,
followed by a close-up of the same,
partly masked so that the words and
figures "8:41, Darienne, 9:30" stand out
distinctly. The first figure given is
the time of the train's departure from
New York, the latter figure that of
arrival at Darienne.
543. CLOSE-UP ON HELENE:
As Helene stands there looking at the timetable,
she cannot but think of the tragic night when
John, wishing that he had never been born, had
cast her out of his life. INSERT: A flash of
the time-table and DISSOLVE INTO it the title:
"I wish I had never been born!" As Helene
seems to hear again this bitter remark that
John had made, her face grows very sad. (FADE
544. HEATH LIVING ROOM--NIGHT. (FADE IN):
Mrs. Heath is seated in a rocking chair near
the fireplace, gazing into the fire with
anxious eyes. Mary is about to light the
hanging lamp over the table. Mrs. Heath gets up
and goes to the window, looking out as if her
gaze could pierce the darkness which has
settled down over the landscape. Mary lights
the lamp. Mrs. Heath, plainly worried, returns
to replace and glances up at the clock--
INSERT: A close-up on the clock, showing the
time to be 6:27.
Mrs. Heath, noting the hour, turns anxiously to
545. CLOSE-UP ON MRS HEATH:
Mrs. Heath, looking at Mary, says:
SUBTITLE 128:--"Bob said they'd be back by six."
(Scene 545 continued.) Intuition tells her
that some accident has befallen Bob and the
546. CLOSE-UP ON MARY:
Mary has her hand on the ring at the base of
the lamp, ready to push it toward the ceiling,
the lamp being one of the old fashioned hanging
kind suspended from the ceiling by chains and
having prisms encircling the painted china
shade. Mary tries to allay her mother's
anxiety as she says:
SUBTITLE 129:--"Don't worry, mother. They said the
pageant was going to be awfully long."
547. HEATH LIVING ROOM:
As she speaks the foregoing title, she pushes
the hanging lamp toward the ceiling. She, too,
is worried but feels it her duty to conceal
this fact from her mother.
548. BOB'S SLEIGH--NIGHT:
A blizzard is raging and Bob, blinded by the
fury of the storm, has got off the main road.
The horse plunges wildly as it tries to drag
the sleigh through the drifts.
549. CLOSE-UP ON BOB'S SLEIGH--NIGHT:
Bob lashes the struggling horse with the whip.
Paul looks up at Bob and asks:
SUBTITLE 130:--"Are we 'most home, Bob?"
(Scene 549 continued.) Bob cannot tell Paul
how desperate is their predicament. He tries to
calm him, covering him up with the laprobe
against the flying snow. (NOTE to Art
Department: In shooting the foregoing title
and all others that appear during the storm
sequence, double expose drifting snow into
550. BOB'S SLEIGH--NIGHT:
The horse is now down on its haunches, vainly
striving to move the sleigh out of a drift.
Bob lashes the horse with the whip; and, with a
terrific effort, the horse, becoming more and
more terrified, moves the sleigh out of the
551. INTERIOR CABIN:
Shooting toward door and window. A candle, the
only light in the cabin, is burning on the
little table which appears in the foreground.
John is standing near the door, his brow
knitted in deep meditation. Outside the storm
is raging, becoming more violent as the minutes
pass. John turns from door, goes to the
window, and watches the storm, then comes to
the table in foreground.
552. BOB'S SLEIGH--NIGHT:
The horse, having succeeded in getting the
sleigh out of the drift, now comes struggling
along trying to pull it over a rise in the
ground. The horse has become terrorized with
The horse comes plunging into the scene, rushes
wildly down the hill, and tips over the sleigh.
554. MEDIUM SHOT ON BOB AND THE TWINS--NIGHT:
As the sleigh tips over, Bob and the twins come
rolling down the hillside into the foreground.
Further up the hill is the sleigh, turned over
on one side. The horse in tipping over the
sleigh has broken the harness and being free
has set out to find its way back to the shelter
of the Heath barn.
555. HEATH LIVING ROOM:
Mary is seated in a corner of the room, vainly
trying to read, as she listens for every sound
that may announce the coming of Bob and the
twins. Mrs. Heath, as she rocks slowly back
and forth in her chair before the fireplace,
gazes anxiously into the fire. Her mind is
greatly agitated at the fact that Bob and the
twins have not yet come, but she shows great
repression in all of her actions.
556. MEDIUM SHOT ON BOB AND THE TWINS--NIGHT:
Bob gathers up the twins in his arms and
starts to take them up the hill to the shelter
of the overturned sleigh.
557. CLOSE SHOT ON JOHN--CABIN:
John picks up the letter from the table and
INSERT: "And I know it is worry over your absence
that caused your mother's illness; and,
even now, she cries continually. Won't
you please come to her or let her come to
you? Her heart is breaking and I feel
(Scene 557 continued.) (NOTE: Insert a flash
of this sufficiently long to identify it with
the letter previously shown.) As John re-reads
this letter, he makes up his mind to go to his
mother. Getting paper and pencil, he sits down
at the table and writes.
558. CLOSE-UP ON JOHN:
John hurriedly writes a note.
INSERT: "I am leaving on this evening's train.
John folds up the note.
559. MEDIUM SHOT ON JOHN--CABIN:
Knowing that, when he does not appear at the
farmhouse in the morning, Mary will come to the
cabin to see what has become of him, John
places the folded note under the candle where
she can find it in the morning.
560. OVERTURNED SLEIGH--NIGHT:
Bob has carried the twins into the shelter of
the overturned sleigh. Knowing that, unless he
can find the road that leads to the farmhouse,
both he and the twins must perish in the storm,
Bob calms them as best he may and says:
SUBTITLE 131:--"Stay here--I'll be right back!"
561. MEDIUM SHOT ON BOB AND THE TWINS--NIGHT:
Having carefully covered up the twins with the
laprobe and assured them that he will come
right back to them, Bob exits to get the
lantern and attempt to find the road.
562. CLOSE SHOT ON JOHN--CABIN:
John puts on his overcoat and stocking cap,
blows out the candle, and exits from the cabin.
563. CLOSE-UP ON CLOCK--HEATH FARMHOUSE: (FADE IN)
The clock now shows the time to be 8:03.
564. EXTERIOR HEATH FARMHOUSE--NIGHT:
The violence of the storm is mounting. The
branches of the trees near the house are
whipped about by the wind.
565. MEDIUM SHOT ON MARY AND MRS. HEATH:
Mary is standing at the window near the
fireplace. She turns and looks anxiously at
her mother who still sits there, gazing into
the fire and greatly worried because the twins
and Bob have not yet come.
566. MEDIUM SHOT ON BOB--NIGHT:
Bob, with lighted lantern in hand, comes
struggling through the snow and exits.
Although he knows that there is no one to hear
him, yet in desperation he calls wildly for
567. CLOSE-UP ON TWINS--NIGHT:
The twins are crusted with the drifting snow.
The sobbing Paul tries to calm his little
SUBTITLE 132:--"If you cry, you'll get big ithicles
on your nose."
(Scene 567 continued.) Together they lie down
and try to comfort each other.
568. INTERIOR RAILROAD STATION:
John enters railroad station and goes toward
ticket window. This is the ordinary country
station, with double bench in the middle of the
floor and a large coal stove in one corner of
569. CLOSE-UP ON TICKET WINDOW:
John enters to window and asks the station
agent about the night-train to New York.
570. CLOSE-UP ON STATION AGENT--TICKET WINDOW:
Shooting from behind ticket window, toward
John. The station agent looks up at John
SUBTITLE 133--"The train to the city is held up by
the storm--it won't be along until 9:30."
571. CLOSE-UP ON TICKET WINDOW:
As the station agent speaks the foregoing title,
John turns and looks off scene at the clock
above the door through which he has entered,
notes the length of time that must elapse
before the train's arrival, and starts toward
the stove in the corner of the station.
572. INTERIOR RAILROAD STATION:
John goes to stove and stands there warming his
573. MEDIUM SHOT ON BOB--NIGHT:
Bob is still struggling through the drifting
574. CLOSE-UP ON BOB--NIGHT:
Bob holds up his lantern and sees a tree begin
to fall, too late to save himself as he is in
direct line with the falling tree.
575. CLOSE-UP ON TREE--NIGHT:
A flash of the tree as it begins to fall.
576. FALLING TREE--NIGHT:
The tree crashes to the ground and pins the
luckless Bob underneath its branches.
577. ANGLE OF RAILROAD STATION:
Shooting toward the stove in the corner of the
station. To the right of the stove there is a
window. John is looking out of the window at
the storm which now seems to be raging more
violently than ever. The station agent enters
scene with his hat and coat, preparatory to
going out on the station platform. He puts on
his hat and, while putting on his coat, says
SUBTITLE 134:--"This is the worst blizzard we've had
in years. I hope to God nobody's caught
out in it!"
(Scene 577 continued.) As the station agent
speaks this title, John turns and looks at him
with alarm. The station agent exits to station
578. CLOSE-UP ON JOHN:
John watches the station agent go, then turns
to window and tries to look out into the
darkness. The station agent's remark has
alarmed him; and he cannot but wonder if his
little friends, the twins, are safe at home
again. As he turns and looks toward the center
of the room, he sees, in vision, the twins just
as he saw them that afternoon as they waved to
him and said goodbye. FADE OUT and--
INSERT: CLOSE-UP ON BOB'S SLEIGH as the twins
wave their hands to him and say:
SUBTITLE 135:--"Goodbye, John." (See scene 519).
(Scene 578 continued.) John's face is very
thoughtful as, in his mind's eye, he sees the
twins waving their goodbye. He has a
premonition that they have been caught out in
the blizzard and determines to go at once to
the Heath farmhouse and see whether or not they
have arrived safely at home.
579. CLOSE-UP ON FALLEN TREE--NIGHT:
Bob slowly drags the upper part of his body
from under the fallen tree, tries to move one
of his legs but cannot do so as it is pinned
fast to the ground by one of the branches.
Terrorized, he calls for help, but his only
answer is the moaning of the wind as it sweeps
across the snow-covered ground. Bob realizes
that for him and the twins the hours are
numbered, unless succor should miraculously
come. For the time being he cannot aid himself
--let alone the little brother and sister whom
he left in the shelter of the overturned sleigh.
With his face distorted with pain and fear, Bob
sinks down into the snow.
580. ANGLE OF HEATH LIVING ROOM:
Shooting toward fireplace and the window which
is to one side. As she gives one hasty glance
at the clock, Mary turns from the fire place
and goes to her mother. Both of them are tense
with fear for the safety of Bob and the twins,
and vainly try to comfort each other.
581. MEDIUM SHOT ON BARN DOOR--NIGHT:
Snow is heaped up against the barn doors and is
drifting badly. Bob's sleigh horse, with
broken harness, enters scene and stands near
doors, trying to get into the shelter of the
582. CLOSE-UP ON KITCHEN DOORSTEP--NIGHT:
The family fox terrier is at the door, trying
to get in out of the storm.
583. ANGLE OF HEATH LIVING ROOM:
Mary and Mrs. Heath, with their arms around
each other, are doing their best to allay each
other's fears but are plainly at the breaking
point in their anxiety. Mrs. Heath hears the
dog at the door, believes that Bob and the
twins have returned, and her face lights up
with happiness as she hurries to the door,
followed by Mary.
584. KITCHEN DOOR--INTERIOR:
Followed by Mary, Mrs. Heath comes to kitchen
door and opens it, expecting to find Bob and
the twins there. The dog enters, pleased to get
in from the cold. A look of apprehension comes
into Mrs. Heath's face as she sees no one at
the door; but this look quickly passes away,
and she gazes out through the scurrying snow
and sees the horse standing, in the dim light,
near the barn door.
585. MEDIUM SHOT ON BARN DOOR--NIGHT:
The horse is still standing near the barn door,
trying to get into the barn.
586. CLOSE SHOT ON KITCHEN DOOR:
Mary and Mrs. Heath are standing at the kitchen
door. The light t near the barn is not
sufficient to reveal the fact that the horse is
not still hitched to the sleigh; but Mrs. Heath
now feels assured that, at last, Bob and the
twins have succeeded in making their way home
through the storm. She starts to go out to the
barn; but Mary draws her back into the kitchen,
takes her mother's scarf, puts on a coat, and
exits through the kitchen door. Mrs. Heath
quickly closes the door to keep out the cold
wind and the flying snow and for a moment
stands there, her face radiant with happiness
at the thought of Bob's return.
587. MEDIUM SHOT ON BARN DOOR--NIGHT:
Mary runs into scene, goes to horse, and is
almost frantic when she discovers that the
harness is broken and that Bob and the twins
are nowhere in sight.
588. CLOSE-UP ON MARY AND HORSE--NIGHT:
Mary is frantic with terror as she looks at
the broken harness and realizes that some
accident has befallen Bob and the twins.
589. CLOSE SHOT ON KITCHEN DOOR:
Mrs. Heath starts from kitchen door to fix
blankets in chairs so as to warm Bob and the
twins when they enter.
590. MEDIUM SHOT ON BARN DOOR--NIGHT:
Mary brushes and kicks the snow away, then
pulls door open so that the horse may enter the
591. MEDIUM SHOT ON FIREPLACE:
Mrs. Heath places blankets in the chairs in
front of the fireplace.
592. CLOSE SHOT ON KITCHEN DOOR:
Mary quickly enters and stands there looking
off scene at her mother. Mary is greatly
agitated at her discovery of the broken
593. KITCHEN DOOR--INTERIOR:
Mary's eyes are opened wide with terror, as
she advances toward foreground to meet her
mother. In a voice shaken with fear, Mary
SUBTITLE 136:--"Bob's horse is loose--without the
sleigh! Something's happened!"
(Scene 593 continued.) As Mary speaks this
title, Mrs. Heath almost collapses. She clasps
her hands in the agony of fear that Bob and the
twins have perished in the blizzard. Mary
exits to her own room. Something must be done
immediately. She will go to the cabin and get
John Trevor to hunt for the missing ones!
594. MEDIUM SHOT ON DOOR OF MARY'S ROOM:
Shooting from the living room so as to show
foot of bed in middleground. Mary enters,
throws the scarf on the footboard, sits on bed,
and starts to put on heavy shoes.
595. CLOSE SHOT ON MRS. HEATH:
With hands outstretched imploringly, Mrs. Heath
starts toward Mary's room.
596. CLOSE SHOT ON DOOR OF MARY'S ROOM:
Mrs. Heath goes to Mary who is now dressed in
heavy winter wraps. Together they stand in the
doorway. Mary, realizing that there is not a
moment to be lost as the predicament of Bob and
the twins is necessarily a desperate one, says:
SUBTITLE 137:--"I'm going to get John--he'll find
(Scene 596 continued.) As Mary exits from the
scene, Mrs. Heath looks at her appealingly.
Mary's love for John has never died nor has her
faith in him ever wavered--he will not fail her
in her hour of need!
597. CLOSE SHOT ON SIDE DOOR:
Mary has entered to door, when the door
suddenly opens, and John comes hurriedly in.
598. CLOSE-UP ON MARY:
Mary is overjoyed to see him. Impulsively she
raises her arms to put them around his neck.
599. CLOSE SHOT ON SIDE DOOR:
Mary throws her arms around John's neck and
hugs him tight.
600. CLOSE-UP ON MRS. HEATH:
Mrs. Heath is surprised that Mary should so far
forget herself as to hug John. Even though the
lives of Bob and the twins are hanging in the
balance and John is the only one on earth who
can bring her lost ones back to her, yet she
believes that Mary but demeans herself by thus
showing her love for John.
601. CLOSE SHOT ON SIDE DOOR:
Mary stands close to John, puts her hands on
his shoulders and says:
SUBTITLE 138:--"Something has happened to Bob and the
(Scene 601 continued.) She tells him that they
should have returned at six. Gently John takes
her in his arm and assures her that he will do
all in his power to find Bob and the twins.
Mary goes to corner and gets a pair of snowshoes
which she gives to John, then she exits to the
kitchen to get a lantern. John bends down and
hurriedly puts on the snowshoes.
602. CLOSE SHOT ON LANTERN:
Mary enters, takes the lantern down from the
nail on which it is hanging and exits toward
603. ANGLE OF HEATH LIVING ROOM:
Mrs. Heath is watching John as he puts on the
snowshoes. John rises and takes the lantern
from Mary, who has just entered. Mary goes to
him and stands there looking at him with
604. CLOSE-UP ON MRS. HEATH:
Mrs. Heath's face hardens in protest at Mary's
605. ANGLE OF HEATH LIVING ROOM:
Mary throws her arms around John's neck and
kisses him devotedly. John quickly turns and
exits through door. Mary goes to door, closes
it, and stands there looking at her mother.
606. CLOSE-UP ON MARY:
Mary soberly looks at her mother, grieved to
think that she did not even speak to John when
he was about to plunge out into the raging
storm to risk his life for Bob and the twins.
607. ANGLE OF HEATH LIVING ROOM:
Mary goes to her mother's side.
608. CLOSE-UP ON MARY:
Mary looks sadly at her mother, and says:
SUBTITLE 139:--"He has gone out in that storm to
risk his life for us, and you wouldn't
even speak to him."
(Scene 608 continued.) As she says this, her
eyes are moist with tears. She is indeed
grieved to think that her mother could not
bring herself to offer at least a little
encouragement to John. To her, Mrs. Heath has
seemed unnecessarily severe.
609. ANGLE OF HEATH DINING ROOM:
Mary goes to window and looks out, wondering if
John will be able to effect the rescue of Bob
and the twins or whether they are all four
doomed to perish in the storm. Mrs. Heath,
feeling the weight of Mary's rebuke, bows her
head in sorrow.
610. ANGLE OF STORM--NIGHT:
John is but faintly seen as he walks through
the snow, calling loudly to Bob whom he hopes
may hear his voice above the whistling of the
wind as it wildly sweeps across the snow-covered
611. PLATFORM OF RAILROAD STATION--NIGHT:
This station is the small one at Darienne on
the New York Central lines. The train comes
into scene slowly and stops.
612. MEDIUM SHOT ON JOHN--NIGHT:
John, as he comes to foreground carrying the
lighted lantern, is calling loudly to Bob.
613. PLATFORM OF RAILROAD STATION NIGHT:
Conductor enters with Helene, who carries a
small grip in her hand and has on a heavy fur
614. CLOSE SHOT ON HELENE--NIGHT:
For a moment Helene looks around anxiously and
then starts toward the railroad station.
615. MEDIUM SHOT ON JOHN--NIGHT:
John calls loudly to Bob. Suddenly he hears
Bob's answering call and starts to exit to
616. CLOSE SHOT ON HELENE AND STATION AGENT--NIGHT:
The station agent points in the direction in
which the Heath farm lies, and says to Helene:
SUBTITLE 140:--"The Heath farm is over yonder--but
you couldn't hire anybody to drive that
far in the blizzard!"
(Scene 616 continued.) For a moment Helene
gazes about her, not knowing what to do. Then,
seeming to sense a diminution in the violence
of the storm, she decides that she can find her
way across the fields as it is much shorter
than by the road which runs past the Heath
farm. Urged on by the overpowering desire to
see her loved boy again, she determines to go
to him at once and starts to exit from the
617. CLOSE SHOT ON FALLEN TREE--NIGHT:
Bob raises himself up on one elbow and calls to
John, as he sees the bobbing lantern which
marks John's approach.
618. MEDIUM SHOT ON JOHN--NIGHT:
John, making his way slowly and still uncertain
just where Bob is, comes through the snow,
calling to Bob.
619. CLOSE-UP ON BOB--FALLEN TREE--NIGHT:
Bob, with his face twisted with pain and
fearful lest John may fail to discover his
whereabouts, calls loudly for help.
620. MEDIUM SHOT ON JOHN--NIGHT:
John hears Bob's call for help and at last
determines the general direction from which the
call comes. He exits toward where Bob lies
pinned down beneath the fallen tree.
621. FALLEN TREE--NIGHT:
John enters scene and goes to Bob, as fast as
the cumbersome snowshoes will permit.
622. CLOSE SHOT ON FALLEN TREE--NIGHT:
John begins to extricate Bob from beneath the
branches of the fallen tree.
623. MEDIUM SHOT ON HELENE--NIGHT:
Helene comes stumbling through the deep drifts,
rapidly tiring with her exertions in fighting
her way against wind and snow. At last,
unable longer to keep her feet, she falls down
but finally struggles to her feet again and
plunges on through the storm, uncertain now of
the direction in which she is going.
624. FALLEN TREE--NIGHT:
After a strenuous effort, John finally succeeds
in dragging Bob from beneath the branches of
the fallen tree; but Bob's foot pains him so
that, for the time being, he is unable to walk.
625. HEATH LIVING ROOM:
Mary is standing at the window, looking out
anxiously into the storm. Mrs. Heath slowly
rocks back and forth in the chair before the
fireplace as she gazes fixedly at the fire,
listening for the slightest sound that may
proclaim the coming of Bob and the twins. The
minutes, seeming like a very eternity of time,
slowly tick themselves away.
626. EXTERIOR HEATH FARMHOUSE--NIGHT:
The violence of the storm is rapidly mounting.
A tree near the corner of the house sways with
the wind, totters, and falls with a crash.
627. HEATH LIVING ROOM:
Mary, startled, jumps back from the window as
the tree falls and strikes the house. Mrs.
Heath gasps with sudden fear. Smoke from the
fireplace pours into the room, almost choking
them. Mary comes and kneels down beside her
mother's chair to comfort her.
628. CLOSE-UP ON MARY AND MRS. HEATH:
Mary, though she herself is thoroughly
frightened because the storm has increased its
fury, tries to reassure her mother and calm her
629. ANGLE OF STORM--NIGHT:
John, still carrying Bob on his back, makes his
way slowly through the snow.
630. HEATH LIVING ROOM:
Mary is still trying to calm her mother's fears.
Even though she stands on the very brink of
despair, Mary cannot give up hope that John will
rescue Bob and the twins.
631. MEDIUM SHOT ON BOB'S SLEIGH--NIGHT:
Still carrying Bob, John enters and carefully
puts him on the ground close to the overturned
sleigh. Then he begins to search for the twins
who are nowhere in sight.
632. CLOSE SHOT ON JOHN--NIGHT:
A look of horror comes to John's face as he
discovers that the twins are no longer there.
Here is a calamity, indeed. He calls out to
SUBTITLE 141:--"They're gone!"
633. MEDIUM SHOT ON BOB'S SLEIGH--NIGHT:
Vainly John looks around, uncertain for the
moment what to do. Bob, spurred to action by
this desperate predicament in which they find
themselves, struggles partly to his feet and
looks around. He cannot bring himself to
believe that the twins have actually wandered
away from the shelter of the overturned sleigh.
Then as he sees them nowhere, he realizes that
they are indeed gone. Perhaps their footprints
have not yet been fully obliterated by the
634. CLOSE-UP ON MRS. HEATH:
Mrs. Heath is still gazing blankly at the fire.
Mary comes to her. Tragedy stalks abroad, and
mother and daughter are becoming more and more
fearful as the minutes pass.
635. MEDIUM SHOT ON BOB'S SLEIGH--NIGHT:
John and Bob are looking for footprints in the
snow. Suddenly, Bob points to the ground and
636. CLOSE-UP ON FOOTPRINTS IN SNOW--NIGHT:
A flash of the twins' footprints in the snow,
partially drifted over.
637. MEDIUM SHOT ON BOB'S SLEIGH--NIGHT:
John starts to lift Bob on his back again to
follow the footprints in the snow.
638. ANGLE OF STORM--NIGHT:
The twins, having set out to find Bob, are
making their way with great difficulty through
the drifting snow.
639. CLOSE-SHOT ON HELENE--NIGHT:
Helene, with uncertain steps, comes stumbling
through the fast-deepening snow.
(Scene 639 continued.) She has lost all
sense of direction and, having wandered around
aimlessly for some time, is about to give up
the unequal struggle. What little strength she
has is rapidly ebbing away.
640. MEDIUM SHOT ON TWINS--LOG--NIGHT:
The twins come to a log. Patsy lies down in the
shelter of it. Paul looks around vainly,
wondering what he can do. The twins, too, are
lost and are terrorized because they have been
unable to find Bob.
641. CLOSE-UP ON MARY AND MRS. HEATH:
Mary and her mother clasp each other in their
arms, fearing that the worst has happened.
642. MEDIUM SHOT ON TWINS--LOG--NIGHT:
Paul gazes around helplessly, then lies down by
Patsy's side so that they can keep each other
as warm as possible.
643. ANGLE OF STORM-NIGHT:
John, still carrying Bob and following
footprints in the snow, moves into foreground.
644. CLOSE SHOT ON TWINS--NIGHT:
The twins are lying huddled together. The
drifting snow is fast covering them.
Helene, still stumbling along but about to sink
down from utter exhaustion, comes to the log.
646. ANGLE OF STORM--NIGHT:
John, still carrying Bob on his back, follows
the footprints in the snow.
647. MEDIUM SHOT ON HELENE--LOG NIGHT:
Helene falls prone near the log, struggles
uncertainly to her tired feet and with one last
despairing effort is about to plunge on, when
she suddenly looks down at the log and
discovers the twins huddled together there.
648. CLOSE-UP ON TWINS--LOG--NIGHT:
A flash of them as they lie there huddled
649. MEDIUM SHOT ON HELENE--LOG--NIGHT:
A flash of Helene as she starts to go to the
Helene goes to twins, kneels down beside them,
and starts to brush away the drifted snow.
651. MEDIUM SHOT ON HELENE--LOG--NIGHT:
Helene helps the twins to their feet, puts them
inside her fur coat, and starts to lie down
with them to shelter them and keep them warm.
652. HEATH LIVING ROOM:
Mary and her mother are in the very depths of
despair. Mary glances anxiously toward door.
John, still carrying Bob, comes into scene and
sees someone lying near the log.
654. CLOSE SHOT ON LOG--NIGHT:
A flash of the twins and Helene as they lie in
the snow near the log.
John carries Bob to a spot on the ground from
which the snow is partly blown away, puts him
down, and starts toward Helene and the twins.
656. MEDIUM SHOT ON LOG--NIGHT:
John goes to log, kneels down, and starts to
brush the snow away. He draws Paul out from
beneath the shelter of Helene's fur coat and
sends him out of scene to Bob. Then he starts
to get Patsy.
657. CLOSE SHOT ON BOB--NIGHT:
Bob holds out his hands to Paul who enters
from fallen log. Bob clasps Paul tight in his
arms, overjoyed to think that his little
brother and sister are safe.
658. MEDIUM SHOT ON LOG--NIGHT:
John gets Patsy from out beneath the fur coat,
sends her to the waiting Rob, and then returns
to the other figure lying prone in the snow.
Although he realizes that this figure is that
of a woman yet he does not know that his mother
is so close at hand.
659. CLOSE SHOT ON JOHN AND HELENE--NIGHT:
John, still unsuspecting that the woman
beside him is Helene, brushes away the snow
from her face to discover who she is. Suddenly
he gazes at her intently and can scarcely
believe his eyes as he sees his mother beside
660. CLOSE-UP ON JOHN--NIGHT:
A flash of John as he looks at his mother
661. CLOSE-UP ON HELENE--NIGHT:
A flash of Helene as her eyes open wide in her
discovery that the boy beside her is none other
than her dearly beloved son.
662. CLOSE-UP ON JOHN AND HELENE--NIGHT:
A flash of them as they hug each other tight,
too overjoyed for words.
663. CLOSE SHOT ON BOB AND TWINS--NIGHT:
A flash of Bob as he looks off scene and sees
Helene there. He has not the slightest idea
who she is.
664. CLOSE SHOT ON JOHN AND HELENE--NIGHT:
John hugs his mother close to his breast and
calls out to Bob: "This is my mother!" Helene,
exhausted, sinks back into the snow. John tries
to lift her to her feet but she is unable to
stand. Helene says:
SUBTITLE 143:--"I can go no farther, John--I'm too
weak--leave me--take the children."
(Scene 664 continued.) As she falteringly says
this, she looks at him with appealing eyes in
which the light of eternal love is shining.
She has found him again, and knows that he
still loves her as of yore--this to her is
665. CLOSE SHOT ON BOB AND TWINS--NIGHT:
A flash of Bob and the twins as he clasps them
tight to his breast and looks off scene at John
666. CLOSE SHOT ON JOHN AND HELENE--NIGHT:
John implores his mother not to give up. He
loves her too deeply to lose her now.
667. CLOSE-UP ON HELENE NIGHT:
Helene's strength has given out. She can go
no further. With her face hallowed by the
self-sacrifice she is making for Mrs. Heath,
SUBTITLE 144:--"Tell their mother--I send her three
--for the one I took."
668. CLOSE SHOT ON JOHN AND HELENE--NIGHT:
John hugs her tight and kisses her fondly. He
begs her not to give up hope as he will come
back for her when he has Bob and the twins safe
in the farmhouse. If only she can keep alive
until then, all will be well.
Helene begs John to go and leave her, so that
he may save Bob and the twins.
670. CLOSE-UP ON JOHN--NIGHT:
A flash of John as his face is distorted with
agony at the thought of having to leave Helene
John goes to Bob and the twins, gathers the
twins up in his arms, helps Bob to his feet,
and starts out of scene. Bob, though
painfully hurt, nevertheless hobbles along,
holding to John's hand. Helene watches them as
they go, rejoicing that her beloved John is
able to rescue them even though she may perhaps
meet death ere John can return for her.
672. HEATH LIVING ROOM (FADE IN):
Mrs. Heath at fireplace has given up hope of
ever seeing her children again. Mary is
almost distracted with grief as she goes to
comfort her mother, just as the door flies open
and John enters with Bob and the twins.
673. MEDIUM SHOT ON MARY AND MRS. HEATH:
A flash of them as they turn and look toward
the door, overjoyed at the sight which greets
674. HEATH LIVING ROOM:
As John comes in with Bob and the twins, Mrs.
Heath and Mary go to him. Mrs. Heath takes the
twins, puts them into one of the blanketed
chairs, and starts to take off their wet
clothes. With Mary's assistance, Bob hobbles
to the other chair.
675. CLOSE-UP ON JOHN:
A flash of John as he stands near the door,
panting with his exertion.
676. MEDIUM SHOT ON BOB, MARY, AND MRS. HEATH:
Mrs. Heath is now kneeling in front of the
twins, almost overcome with joy that they are
still alive. Mary pats her brother
affectionately, but Bob is still very much
wrought up with the experiences through which
he has passed. He struggles to his feet, and,
pointing toward John, says excitedly:
SUBTITLE 145:--"His mother is out there--in the
storm! His mother, I tell you!"
(Scene 676 continued.) As he says this, Bob
sinks back into the chair, exhausted.
677. CLOSE SHOT ON JOHN:
John starts to open the door to go to the
rescue of Helene. Mary runs to him and takes
678. CLOSE-UP ON MRS. HEATH:
Mrs. Heath realizes Helene's desperate plight
and starts toward John with outstretched arms.
679. CLOSE SHOT ON JOHN AND MARY:
Mary encourages John who opens the door just as
Mrs. Heath runs into scene. John quickly
closes the door to hear what she has to say.
Mrs Heath, looking appealingly at John,says:
SUBTITLE 146:--"John, bring her--here--to us!"
(Scene 679 continued.) John can scarcely
believe his ears. Can Mrs. Heath really mean
what she says? Then his face lights up with joy
as he notes her sincerity.
680. CLOSE-UP ON JOHN AND MRS. HEATH:
John throws his arms around her, hugs her tight
to his breast and kisses her fondly. Swept away
by his emotion and gratitude to her for her
kindness, he bends down and kisses her hand.
681. MEDIUM SHOT ON JOHN, MARY, AND MRS. HEATH:
John starts to go out into the storm. Mary
puts her arms around his neck and kisses him
passionately. Mrs. Heath wishes him Godspeed
and John, flinging open the door, once more
plunges out into the raging storm. Mary closes
the door behind him and, going to the window,
watches him vanish into the darkness as he
crosses the yard. (FADE OUT)
(FADE IN ON)
682. HEATH BEDROOM (FADE IN):
John, almost exhausted from his exertions of
the night before, is lying quietly in bed;
while Mrs. Heath sits beside him, watching with
a mother's love. The door opens and Mary
683. MEDIUM SHOT ON MARY AND HELENE:
Mary's face is radiant with joy as she stands
at the door smiling. Then, hand in hand with
Helene, she leads her into the scene. Helene,
with wistful eyes, looks anxiously off scene to
where John is lying in the bed.
684. CLOSE SHOT ON JOHN AND MRS. HEATH:
John's face is white and drawn but he has
recovered somewhat from his exhaustion. Mrs.
Heath turns her head and looks off scene toward
where Mary and Helene are still standing.
685. HEATH BEDROOM:
Mrs. Heath gets up from the bed, starts toward
Mary and Helene, and says:
SUBTITLE 148:--"He's better now."
686. MEDIUM SHOT ON MARY, HELENE, AND MRS. HEATH:
As Mrs. Heath speaks this title, Helene quietly
enters the room and starts toward bedside.
687. HEATH BEDROOM:
Helene goes to the bed, sits down, and leans
down to John, putting her face close to his.
688. CLOSE SHOT ON JOHN AND HELENE:
John looks up admiringly at his mother who
leans down and kisses him affectionately. Then
she gently passes her hand across his brow as
she gazes fondly into his eyes. He reaches up,
puts his arm around her neck and draws her down
close to him, happy indeed that she has come to
689. MEDIUM SHOT ON MARY AND MRS. HEATH:
Mary and Mrs. Heath stand watching John and
Helene for a moment, then Mary starts to side
of bed opposite to that on which Helene is
690. HEATH BEDROOM:
Mary comes to bedside and stands there watching
John and his mother, while Mrs. Heath stands at
foot of the bed.
691. CLOSE SHOT ON JOHN AND HELENE:
For a moment Helene sits on bed, happy in the
thought that she has won back her beloved boy.
692. HEATH BEDROOM:
Helene gets up from the bed and starts to Mrs.
Heath, who is standing near the foot of the
bed. Mary sits on bed beside the adored John.
With arms outstretched in a plea for
forgiveness for all the sorrow she has caused
them in the past, Helene falls repentantly on
her knees before Mrs. Heath and puts her arms
693. MEDIUM SHOT ON HELENE AND MRS. HEATH:
Mrs. Heath helps Helene to her feet and gently
sits her down on the foot of the bed. Then she
holds her in her arms and tells her that all
the past is forgiven.
694. HEATH BEDROOM:
Mrs. Heath is still sympathizing with Helene
when Bob comes to the door and looks in.
695. CLOSE-UP ON BOB:
Bob smiles sweetly as he sees the scene before
him. He has learned one of life's greatest
lessons--that one cannot live for oneself alone.
696. CLOSE SHOT ON JOHN AND MARY:
Mary puts her hand on John's and smiles at him
with adoration. He pats her hand affectionately
as he gazes up into her brimming eyes. Through
calm and storm their love has endured and will
go on forever.
FADE IN ON
SUBTITLE 149:--Time keeps pace with youth and love,
and the returning Spring comes smiling
697. MEDIUM SHOT ON HELENE AND TWINS--GATE:
Spring has come again and with it the wedding
of John and Mary. On this day, they are
expected to return home from their honeymoon.
Helene and the twins are standing at the
gateway in the picket fence which surrounds the
Heath farmhouse. All are dressed in light
fluffy clothes, for not only is the day a warm
one but it is a gala one too. Helene is talking
gaily to the twins, who have learned to love
her dearly, as Bob comes down the path from the
house. Bob puts his arms around her
affectionately for he, too, has learned to love
her for her gentleness and kindness. He talks
to her for a moment and then exits from scene
in the direction in which John and Mary will
698. MAIL BOX NEAR ROAD:
Bob enters on the run, gazes up the road, and
calls back to Helene: "Here they come!" Then
he starts up the road to meet them.
699. MEDIUM SHOT ON HELENE AND TWINS--GATE:
Helene and the twins look up the road, watching
for Mary and John. Mrs. Heath, having heard
Bob call, comes down the walk from the house
and joins Helene and the twins. The twins wave
their hands and John and Mary draw nearer and
Mrs. Heath throws a kiss to them in welcome.
700. COUNTRY ROAD:
Shooting up the road past the Heath farmhouse.
Mrs. Heath, Helene, and the twins can be seen
at the gate. The buggy in which John and Mary
are riding, coming down the road, enters the
scene rapidly. The group at the gate move to
road as the buggy drives up.
701. CLOSE-UP ON JOHN AND MARY IN BUGGY:
John stops the buggy. Mary affectionately
squeezes John's arm, then turns and sees Bob
coming to the side of the buggy.
702. CLOSE SHOT ON BUGGY:
Bob comes to side of buggy. Mary gets out of
the buggy, and Bob gleefully picks her up in
his arms to carry her into the house in state.
703. CLOSE SHOT ON TWINS:
The twins start to throw rice at the
704. CLOSE SHOT ON BUGGY:
John fastens the reins as Bob starts to carry
Mary out of scene.
705. BUGGY IN ROAD:
As Bob carries Mary toward Mrs. Heath and
Helene, John gets out of buggy.
706. MEDIUM SHOT ON BOB AND MARY:
Bob carries Mary up the gravel walk toward the
house. John runs into scene and genially slaps
Bob on the back, then he comes back to Mrs.
Heath and Helene who are now standing near the
707. CLOSE SHOT ON JOHN, HELENE, AND MRS. HEATH:
John comes to Helene and Mrs. Heath, places an
arm around each of them and kisses them both
with filial affection, while the twins look on.
Mrs. Heath says: "Well, let's go into the
house," and, as she says this, they all go up
the path together. The tragic past is dead but
the future beckons to them, promising happy
years. (FADE OUT.)
(FADE IN ON.)
SUBTITLE 150:--The End.
Screenplay by Ethel Styles Middleton