New York, the giant of the universe
... Bagdad-on-the-Subway ... Stone
and steel and silk ... diamonds against
black velvet ... Seven million hearts
throbbing to the crash of a discordant
but mighty symphony!
Scene 1--Exterior. Iris in on typical East Side
street, the sidewalks black with denizens of the
section and the curbs lined with peddlers' carts.
Scene 2--Exterior. An Italian organ-grinder
plays, while a number of ragamuffins of the
Scene 3--Exterior. A close-up of a pair of
ragged little girls giving their versions of the
latest thing seen in the uptown cabarets. They
are quite brazen about it.
Scene 4--Exterior. Close-up of organ, its
blackness filling the screen. To the left the
Italian's hand is seen. Superimpose on organ in
white the words:
"East Side, West Side, all around the
The tots sang ring-a-rosie, London
Bridge is falling down;
Boys and girls together, Me and Mamie
Tripped the light fantastic
On the Sidewalks of New York."
Scene 5--Exterior. A flash of dancing ragamuffins,
showing organ-grinder, as in Scene 2.
Little Mary Reagan, a rose among
weeds, whose only pleasure is obtained
by watching other children at play.
Scene 6--Interior. The Reagan living-room.
Long shot. Little Mary is discovered, back to
camera, looking down into street through open
window. On ledge is a sickly geranium in a clay
Scene 7--Interior. A close-up of Mary watching
dancing ragamuffins in street below, a wistful
little expression on her face.
Scene 8--A long shot from above, showing
organ-grinder and ragamuffins, etc., as Mary sees
Scene 9--Back to 7. Mary, as before.
Pat Reagan, a former pugilist who
conducts a gymnasium as a blind to his
Scene 10--Interior. Reagan's Gymnasium.
A close-up of Reagan, an expression of disgust
on his face, as he watches
Scene 11--A close-up of two fifth-raters in ring
togs having a "work-out." They are types,
cauliflower ears, etc.
Scene 12--Interior. Long shot, showing entire
gymnasium. Reagan, as before. As the battlers
fall into an awkward clinch, he says:
"You two pork-and-beaners are all wet.
I'm gonna introduce ya to a good
Scene 13--The battlers break and glare at
Reagan. One of them, a freckled specimen with
dangerous eyes, asks:
"What's his trade-mark?"
Scene 14--Long shot, as in Scene 12. Reagan
bites a "chew" from a plug of tobacco and then
"Dick Hammond. His left is just plain
dynamite, but his right is T.N.T. He's
only an $80 a month checker now, but
he'll soon be pullin' down 1,000 berries
The freckled specimen is incredulous, but his
training mate, a broken-nosed gent with a "tin
"He's no set-up, I'll tell th' world and
Yonkers. One night in th' Garden he
hit a guy so hard that Rickard swallowed
a gold tooth!"
As they begin to unlace gloves, Reagan leaves
them. He exits to
Scene 15--Interior. Living-room, as in Scene 6.
Mary looking wistfully down into street, as
before. Reagan enters, scowls as he notices her,
pushes her ungently away from window and peers
Scene 16--A long shot, as in Scene 8, only instead
of the ragamuffins dancing we have an exhibition
by a typical cake-eater and a finale hopper.
Scene 17--A close-up of Reagan, a fiendish
light in his eyes, scowling at organ-grinder and
Scene 18--A close-up of Mary watching Reagan,
terror in her eyes.
Scene 19--A close-up of cake-eater and finale
hopper showing the crowd some "shivery" movements.
Scene 20--A close-up of Italian organ-grinder's
Scene 21--Back to 17. Reagan, his ire mounting,
looks about for something to throw down. Sees
Scene 22--A closeup of Mary's sickly geranium
Scene 23--Back to 21. Reagan reaches for
potted geranium and flings it down!
Scene 24--Close-up, showing pot crashing on
ground near Italian.
Scene 25--Exterior. Street. Dancing and
music stops. All glare up at Reagan. The finale
hopper does more. She tells him what she
thinks of him.
Scene 26--Back to 23. Reagan snarls back:
"G'wan, ya bandy-legged finale hopper!"
Reagan then slams window shut.
Scene 27--Exterior. Street. The finale hopper
turns to her cake-eating mate and opines:
"Holy codfish, but ain't that bimbo the
All laugh. Then, as cake-eater and his flashy,
bobbed-haired companion resume their "exhibition,"
the organ starts again.
Scene 28--Back to 26. As Reagan hears organ,
he snarls, then, seeking something on which
to vent his wrath, turns to
Scene 29--A close-up of Mary crying.
Scene 30--Back to 28. Reagan advances
threateningly toward her--slowly, his face a study
Scene 31--A close-up of Mary and Reagan.
Mary registers fear as Reagan draws closer.
Slowly his big hands go forward and grip her
shoulders. Shaking them violently, he demands:
"What are you sniveling at?"
Scene 32--A close-up of Mary, as she sobs:
Scene 33--Back to 31. A look of disgust
sweeps Reagan's brutal face. As he flings her
from him on to floor, he snarls:
"Who ever heard of a Reagan foolin'
wit' flowers? Pull yourself together
and get th' potatoes on. I'm hungry!"
Scene 34--A close-up of Mary on floor, a
pathetic little expression on her face. Iris out.
Old David Schwartz, careless in business
but exacting in strict adherence to
the moral code.
Scene 35--Interior. Old David's Tailor Shop.
A close-up of Old David, facing customer (not
seen), and handing her a flashy check suit.
Millie, his daughter who has softened
the blow of the loss of his revered wife.
Scene 36--A close-up of Millie watching her
father--and, incidentally, the customer. She feels
that her father is about to be again imposed upon.
Scene 37--Interior. Long shot, showing Old
David, the customer, and Millie. The customer,
a frail, pale-faced woman, takes flashy suit from
Old David's hand and says:
"Me husband says he'll pay ya soon as
he gets a job. He's gonna see the
District Leader to-night."
Millie turns away; it was just as she expected.
Old David smiles and says it's all right. The
woman thanks him and goes out. Hearing the
door close, Millie turns and says:
"If kind deeds were dollars, Daddy,
you'd be rich, but you'll have to change
your methods or there'll be another
failure on the East Side!"
The lovable old man dislikes having his generosity
disparaged and, with some display of feeling, he
"To change my methods I would have
to change yet my disposition. If a cold
heart wins success, I'm proud to be a
Scene 38--Close-up of Millie and Old David.
She comes over to him and, putting her arm
around him, kisses him. Melting, he smiles and
takes her into his arms. Iris out.
The limit of little Mary's freedom--an
occasional visit to the gymnasium.
Scene 39--Interior. Gymnasium. Long shot.
Reagan is in the rear attaching a new punching
bag to holder. The freckled specimen is seated
in the rowing-machine strenuously working at the
oars, and the broken-nosed gent with the tin ear
is skipping the rope. The door leading to the
Reagan living-room opens slowly and Mary
Scene 40--Close-up of Mary, a frightened
expression on her face.
Scene 41--Close-up of Reagan, who, seeing
Mary, scowls at her.
Scene 42--Back to Mary. A pathetic question
in her eyes asks "May I come in please?"
Scene 43--Back to Reagan. He hesitates a
moment, then grudgingly nods, "Yes."
Scene 44--Back to 39. A faint smile of gratitude
lights Mary's eyes, as she enters. Reagan
returns to his labors with the bag. Mary goes
up to the broken-nosed gent.
Scene 45--Close-up of Mary and the broken-
nosed gent. He puffs furiously as he continues
to man the oars. He is a laughable spectacle.
Feeling her presence, he turns and squints at her.
She rewards him with a captivating smile which
he returns. Then she asks:
"What are you doing, Mr. Hogan?"
There is a twinkle in his eyes as he answers:
"Crossin' th' Delaware."
He continues on his "journey." Mary, knowing
something about history, laughs and moves on
to watch the freckled specimen skip the rope.
Scene 46--Close-up of Mary watching freckled
specimen skipping the rope. They exchange
smiles and then Mary says:
"I can do that!"
He gives her the rope and a dare. Mary takes
both and commences to skip rope. He calls
attention to her.
Scene 47--Close-up of broken-nosed gent. He
stops rowing and regards her admiringly.
Scene 48--Close up Reagan. He has attached
the bag to its holder. He regards Mary
Scene 49--long shot. Door opens. Dick
Dick Hammond, a clean-cut young
American of the type that placed the
star-spangled banner over the Rhine.
Scene 50--Close-up of Dick.
Scene 51--Back to 49. Reagan goes forward
to greet him. They shake hands. Reagan calls
over broken-nosed gent and the freckled specimen
and introduces them.
Scene 52--Close-up of Mary. She has stopped
skipping the rope and is watching Dick with
admiring eyes. It is plain that he has captured her
Scene 53--Back to 51. Dick sees Mary, who
makes an instant hit with him. He speaks to
"And who's this little cherub?"
Reagan answers carelessly:
"My daughter Mary."
Dick picks Mary up in his arms. Reagan scowls,
but as Dick turns he forces a smile. Iris out.
Old David's greatest treasure, next to
Millie, is the violin that holds for him
so many sacred memories.
Scene 54--Interior. The Schwartz living-
room in the rear of the shop. Old David takes
up battered violin case and fondles it like a
cherished baby. He goes to chair by open window,
where he takes the beloved instrument from the
case and holds it to his breast as he seems to look
back through the mist of the years.
Scene 55--Close-up of Old David and his beloved
Scene 56--Interior. Reagan living-room. Long
shot. Reagan stands over Mary, a scowl on his
face, as she scrubs the floor.
Scene 57--Close-up of Mary registering fatigue.
Scene 58--Close-up of Reagan frowning. He
"Come on, kid, snap out of it!"
Scene 59--Back to 56. With an effort, Mary
resumes, and Reagan, taking key from pocket,
unlocks door of room at right and enters. A
pathetic expression on her face, Mary looks after
Reagan's secret room, where he usually
remains for hours, much to little Mary's
Scene 60--Interior. Reagan's secret room. At
first glance it looks like a scientific laboratory, but
closer inspection reveals it as a small but productive
distillery. The shelves are lined with pint-
size glass flasks and in one corner is a little
improvised safe. The window shades are drawn.
The room is illuminated by electricity. Reagan
goes to door, puts his ear to it, then, taking key
from pocket, locks door.
Scene 61--Back to 59. Mary, as before. Suddenly
she stops and, putting down brush, listens
to the music from Old David's violin.
Scene 62--Close-up of Old David dreamily
Scene 63--Close-up of Mary listening,
enchanted with the beautiful melody.
Scene 64--Close-up of Reagan in secret room.
As he hears Old David's melody, he turns with
disgust toward the shaded window and growls:
"Some damned backyard troubadour!"
Scene 65--Reagan living-room. Long shot.
Rising, Mary tiptoes to door at left, opens it and
Scene 66--Interior. Small bedroom. Through
window, which is closed, can be seen fire-escape.
Mary enters on tiptoe, raises window.
The angel-kissed notes of Old David's
melody beckon to little Mary like fairy
Scene 67--Close-up of Mary climbing on to
Scene 68--Close-up of Old David playing violin.
Presently he starts, as he sees
Scene 69--Close-up of Mary looking in at him,
her eyes filled with wonder and tears.
Scene 70--Back to 68. He laughs lightly and,
putting down violin, speaks gently to her. Smiling
sweetly at him, she answers. Her answer delights
him and he laughs.
The beginning of a beautiful friendship.
They are getting on famously together when
suddenly Mary thinks of
Scene 71--A close-up of Reagan's face that fills
the screen. His mouth is twisted into a sneer
and there is a fiendish light in his eyes.
Scene 72--Back to 70. A look of terror comes
into Mary's eyes and smiling pathetically she says:
"I--I must be going now!"
Before Old David can answer she has disappeared.
He looks after her, a world of sweetness and
sympathy in his eyes.
Scene 73--Back to 66. Mary enters bedroom
from fire-escape. The memory of the lovable old
man and his kindness brings a little smile to her
eyes, but the thought of Reagan banishes it and,
her hand to her mouth and her head nodded
pathetically a little to one side, a look of fear
appears in them. Iris out.
The shadow of impending Failure
falls across the threshold of Old David's
Scene 74--Interior. Tailor shop. Old David
is wearily pressing a pair of trousers, when
suddenly his eyes light up as he sees
Scene 75--Close-up, showing a shaft of sunlight
in doorway. (This effect can be obtained in
studio by using strong arcs.)
Scene 76--Close-up of Old David, a happy
light in his eyes, as he exclaims:
"A shaft of sunlight out of a gray sky--
ah, a lucky omen!"
But suddenly the happy light disappears, as he
Scene 77--Back to 75. A buzzardlike black
shadow (Friedman's) has fallen across sunlit
Scene 78--Back to 74. Old David looks downcast
as Friedman, a wizened, bitter little Jew,
enters and begins to threaten him. The old man
pleads with him to be lenient, but Friedman scoffs
and stalks from the shop, shaking his bony fist as
he goes. Old David closes his eyes wearily.
Millie, dressed for the street, comes into the shop
from the street and, going to her father, asks:
"What did Friedman want, Daddy?"
The old man looks at her and with forced
"The rent. Friedman never makes a
Millie, realizing that things are beginning to
look really serious, pats Old David's cheek
affectionately. He smiles a sad little smile.
Scene 79--Interior. Reagan living-room.
Mary is seated at table in the foreground peeling
potatoes and humming little tune. Reagan,
dressed for the street, enters from the "secret
room" (which he locks), and scowls as Mary,
who not having heard him enter, goes on humming.
Scene 80--A close-up of Reagan's scowling face.
Scene 81--A close-up of Mary humming over
her work. Sensing his presence, she stops and
turns fear-filled eyes in his direction.
Scene 82--Back to 79. Eyeing her coldly, he
takes from his pocket a number of bills. Peeling
one off, he flings it on table and says:
"Here's a dollar for the steak. I'll be
back about five. See that you're here!"
Mary gazes at Reagan, then at bill on table, and
nods understandingly. Reagan goes out. Mary
resumes her potato peeling.
Scene 83--A close-up of Old David seated on a
chair, his face buried in his hands.
Scene 84--Back to 82. The potatoes peeled,
Mary places them on table, takes the dollar, and,
donning her cheap little hat, takes key out of
lock and goes out.
Scene 85--A close-up of Mary locking door.
Scene 86--Interior. Tailor shop. Old David
takes letter from hand of letter-carrier and
wearily opens it. Carrier goes out.
Scene 87--Close-up of Old David reading letter.
(Flash letter first in German, then blend
Dear Friend Schwartz:
I am coming soon to claim my bride.
I hope she is pretty and can cook. As
you have a big business and are wealthy
we will of course make our home with
you. My father and you certainly made
a fine arrangement.
Your future son-in-law,
Scene 88--Back to 86. He places letter in his
pocket and a sad light fills his eyes. Mary,
carrying a bag (steak), enters and his eyes brighten
as he rushes to greet her.
Scene 89--A close-up of Old David and Mary
registering mutual admiration. He asks her
where she has been and she answers:
"I had to go to the butcher's and
thought I would drop in to see you."
The quaint way she says this tickles him and he
takes her into his arms.
Scene 90--A close-up of Old David's old-
fashioned clock registering 4:10.
Scene 91--Interior. Tailor shop. Long shot.
Millie and Old David are listening to Mary sing
a little song for them.
Scene 92--Close-up of Mary singing. Suddenly
she stops as she sees
Scene 93--Exterior. Street in Ghetto. A close-
up of Dick Hammond lighting cigarette by curb.
Scene 94--Back to 91. To Millie's and Old
David's surprize, Mary her song unfinished,
rushes from the shop.
Scene 95--Back to 93. Dick, as before. Mary
rushes up to him and, taking his hand, leads
Scene 96--Back to 94. Mary introduces Dick
to Old David, then to Millie.
Scene 97--Close-up of Dick and Millie shaking
hands. It is plain that they are strongly
attracted to each other.
Scene 98--Back to 96. Mary and Old David
both realize that Dick and Millie take to each
other, and the child and the old man exchange
Scene 99--A close-up of Old David's old-
fashioned clock registering 4:46.
Scene 100--Interior. Tailor shop. Long shot.
They have paired off. Millie with Dick, and
Mary with Old David.
Scene 101--Close-up of Dick and Millie getting
Scene 102--Close-up of Mary and Old David.
"Will you teach me another song the
next time I come?"
Old David says he will.
Scene 103--Back to 100. Mary, noticing time,
makes haste to return to the rooms before
Reagan. Dick notices and bids Millie good-bye.
Mary takes the steak from counter. As she does
so, Dick lifts her up in his arms. General good-
byes, then Dick carries Mary out. Millie looks
admiringly after Dick, and Old David, coming
over to her, shakes his finger at her, as he says:
"Don't forget, my dear, that you are
This is a blow to Millie, but she takes it in
silence. Iris out.
Scene 104--Interior. Reagan living-room.
Dick enters, carrying Mary. He puts her down
gently and then tosses the key on the table. She
places steak on table and then removes her hat
quaintly. Smiling at her, he asks:
"Don't you get lonesome without any
Scene 105--Close-up of Mary as she answers,
with tears in her eyes:
"I had a dog once--his name was
Tricks. Papa gave him something to
eat and then he died."
Scene 106--Close-up of Dick registering resentment
in such a way that Mary does not see.
Scene 107--Back to 104. Dick is about to ask
another question when Reagan enters. Seeing
Mary is not alone, he frowns. He greets Dick
warmly, but Dick senses that something is wrong,
as he sees Mary take steak from table and go
affrightedly from room. Iris out.
The day Reagan remained in the
"secret room" but a few minutes.
Scene 108--Interior. Schwartz living-room as
in Scene 54. Old David is teaching Mary a new
Scene 109--Interior. Reagan living-room. Reagan
comes out of "secret room" and is surprized
at not seeing Mary. Frowning, he goes into
Scene 110--Interior. Small bedroom. Not seeing
Mary here, he turns to fear for her safety.
Then fear turns to anger as he hears
Scene 111--Close-up of Mary singing, with
Old David watching her admiringly.
Scene 112--Back to 110. Recognizing Mary's
voice, Reagan fumingly rushes out door.
Scene 113--Schwartz living-room. Mary and
Old David, as before. Suddenly they both start
as they see
Scene 114--A close-up of Reagan's brutal face.
Scene 115--Back to 113. Reagan grabs Mary
by the shoulders and shakes her violently. Old
David pleads with him and is pushed out of the
way. Then Reagan drags Mary from the room.
Scene 116--Interior. Reagan living-room. Reagan
on with Mary. He again shakes her violently
and then strikes her with such force that she
is thrown to the floor.
Scene 117--Close-up of Mary on floor, crying,
her eyes filled with terror. There is a gash on her
cheek from Reagan's fist.
Scene 118--Close-up of Reagan scowlingly saying:
"And you can't go into th' Gym any
Scene 119--Back to 117. Mary, as before.
Necessity forces Old David to seek aid
of a friend, who, through his efforts,
has become a wealthy chain clothing
Scene 120--Interior. Tailor shop. Old David,
weighed down with sorrow, hands Millie, who is
dressed for the street, a sealed note, as he says:
"Henry shouldn't refuse me. I helped
him when he was hungry and friendless."
Millie kisses her father and then goes out. He
looks affectionately after her, then he falls to
brooding. He is very proud and dislikes having
to ask help even from one who owes it to him.
Scene 121--Interior. Harmon's luxuriously
appointed office. It resembles a studio more
than it does a place of business. Harmon is seated
at a desk affectedly smoking a cigaret.
Henry Harmon, who believes his lately
acquired wealth a key that will open
any door, even if marked "Forbidden."
Scene 122--A close-up of Harmon affectedly
depositing ash from his cigaret into an ornate
tray on desk.
Scene 123--Back to 121. A flashily dressed
Semitic youth enters and tells Harmon that there
is a girl to see him. Harmon asks him if she's
pretty and is told she is. He tells youth to have
her come in. As he glances toward door marked
"Private" Millie enters. Harmon rises to greet
Scene 124--Close-up of Millie and Harmon.
He eyes her sensually, then invites her to be
seated. Millie gives him note, which he opens
Scene 125--Interior. Reagan living-room. A
flash of Mary wearily washing dishes.
Scene 126--Back to 124. Finished with the
note, Harmon eyes Millie in such a manner that
she can not help but see he is impressed with her.
He says he will help her father.
Scene 127--Back to 125. Mary, as before.
Scene 128--Exterior. Broadway in the vicinity
of Houston Street. A handsome limousine and
liveried chauffeur by curb. Harmon on, smoothly
invites Millie to enter limousine. She does so,
then he gets in himself after affectedly giving
chauffeur instructions. Limousine drives off.
Scene 129--Exterior, showing Millie and Harmon
in limousine. Millie catches Harmon watching
her, a dangerous light in his eyes.
Scene 130--A flash of Mary, as in 127.
Scene 131--Interior. Tailor shop. Old David
is at counter figuring, when Millie and Harmon
enter. Harmon and Old David shake hands. Old
David invites him to be seated, as Millie goes
through to living-room to remove her things.
Scene 132--Interior. Schwartz living-room.
Millie slowly removes her hat and coat, then,
glancing toward shop, shows plainly that she
dislikes Harmon and his attitude towards her.
Scene 133--A close-up of Old David and Harmon
seated. Harmon affectedly inspects a diamond
ring on his left hand and then says:
"I will let you have a thousand dollars,
David, but I must have security!"
Old David is stunned by the word "security."
Scene 134--A close-up of Millie registering her
contempt for Harmon.
Scene 135--Back to 133. Old David says brokenly:
"Security? You talk to me of security,
Henry, after all I have done for you?"
Harmon laughs forcedly, as he replies:
"Business is business, David. A chattel
mortgage on everything you possess
will cover the thousand."
Old David is stunned.
Scene 136--A close-up of Millie registering contempt.
Scene 137--Back to 135. Old David brokenly asks:
"Does that include my violin and other
Harmon nods "Yes," and Old David regards him
with sad eyes.
Scene 138--Interior. Reagan living-room.
Mary washing dishes in foreground. Reagan,
back to camera, is looking out window. Mary
drops saucer. Reagan, hearing it crash, turns
and scowls at her. Pathetically pleading with
him not to strike her, Mary begins to pick up the
Scene 139--Back to 137. Harmon, a triumphant
gleam in his cynical eyes, hands Old David
a check. The old man looks at it with a sigh
and then wearily pockets it. Harmon says:
"Now that business is settled, let's discuss
sentiment. I like your Millie well
enough to marry her."
Old David smiles sadly (he is greatly disappointed
in Harmon) and then answers:
"I'm sorry, Henry, but Millie is already
promised to the son of my old friend,
Harmon regards this in the light of an insult
and stalks out of the shop. Old David looks
after him in surprize. Millie comes out of living-
room and, going to her father, says:
"Why do you keep telling people I am
promised, Daddy? You know I have
no intention of marrying Karl Lieber!"
Old David gets as angry as it is possible for him
to get and tells her that she will marry Karl.
She rushes from the shop to street in tears.
Scene 140--Exterior. Freight Delivery Office
on waterfront (either railroad or steamship).
Delivery clerk comes out of office and calls to
Scene 141--Exterior. Open dock. Close-up of
Dick, wearing cap, pad in hand, writing down
description of case on Italian laborer's hand-
truck. Hearing his name, Dick looks in direction
of Delivery Office.
Scene 142--Close-up of Delivery Clerk, as he says:
"You're wanted on the 'phone by a
damsel in distress!"
Scene 143--Back to 141. Dick laughs and
leaves laborer at sea, as he goes to
Scene 144--Back to 140. Dick on, enters office
Scene 143--Close-up of Dick at 'phone in office.
(This can be "shot" in office on waterfront
--no set required.)
Scene 144--Close-up of Millie in pay-station
booth talking excitedly. She says:
"Daddy wants me to marry a greenhorn
I haven't seen since I was four
Scene 147--Back to 145. This news proves a
bit of a jolt to Dick, who has come to love Millie.
"I'll try to think of a way out for you.
Meet me to-night at Reagan's Gym."
Scene 148--Back to 146. Millie brightens at
this. After telling Dick she will meet him at
Reagan's, she hooks receiver.
Scene 149--Back to 147. As Dick hooks receiver,
he sighs, and clerk, who is watching him, says:
"When you're sendin' out th' invites,
don't pass me up. I love wedding-
Dick makes a playful pass at the clerk. Iris out.
There was nothing romantic about
Reagan's Gymnasium, but to Millie and
Dick it was an ideal rendezvous.
Scene 150---Interior. Reagan's Gymnasium.
Long shot. Tint amber. Millie and Dick seated
in background, talking. Reagan and a neighborhood
youth (both in gym togs) boxing in foreground.
Reagan is showing the youth an effective blow.
Scene 151--Close up of Millie and Dick. Dick
is finishing his solution of Millie's difficulties.
She regards him admiringly and says:
"You're certainly Mr. Fixer himself!
Now can you get Mr. Reagan's permission
to let Mary visit Daddy?"
Dick says he will do the best he can.
Scene 152--Back to 150. Dick and Millie go
to Reagan's side.
Scene 153--Close-up of Reagan, Millie and
Dick. Dick says:
"I'll consider it a personal favor, Pat, if
you'll let Mary visit Old David occasionally.
He's crazy about her."
Reagan hesitates for a moment, then, not wishing
to cross Dick, says "Yes." Millie and Dick
are pleased. Dick tells Reagan his solution of
Millie's difficulties and Reagan looks his surprize.
At Dick's suggestion Reagan has
introduced boxing among the girls of the
Scene 154--Interior. Reagan's Gym. Long
shot. Reagan, Dick (who has folded newspaper
in hand), and a number of bloomered girls are
watching Millie and another neighborhood girl
Scene 155--Close-up of Millie and girl boxing,
with Millie having things all her own way.
Scene 156--Close-up of Dick registering
personal and professional admiration.
Scene 157--Close-up of Reagan registering
Scene 158--Interior. Tailor shop. Close-up of
Old David and Mary. Old David is reading a
Mother Goose tale to Mary, who is carried away
Scene 159--Back to 154. The bout over,
Millie and the girl shake hands. Dick calls
Millie, admiration in his eyes. He shows Millie,
Reagan and others an article in newspaper in his
The teaching of the art of self-defense
of girls and young ladies is necessary
not only for the value of the exercise,
but also as a protection in case of need
in these times when girls have taken up
many responsibilities that formerly
were assumed entirely by men, and in
consequence are continually exposed to
danger and insult where they might be
called upon to defend themselves.
Dick turns page and shows them another article.
(A picture of Harriet Dane in ring
costume--under it the following:
Coincident with the announcement that
Harriet Dane, England's champion lady
boxer, is soon to visit America, comes
word that a group of leading society
women are to hold a tournament to
find a suitable opponent for her. The
winner of the tournament and Miss
Dane will then be matched for the
world's championship. A large purse
will go to the victor.
Dick and others look to Millie to enter tournament.
The girls give her three cheers and she
modestly accepts them. She says:
"As you all seem to feel I have a chance,
I'll enter the tournament and try my
They all laugh down her modesty and cheer her.
She smiles affectionately at Dick. Iris out.
When Kipling wrote "East is East and
West is West, and ne'er the twain shall
meet," he hadn't heard of Ellis Island.
Scene 160--Interior or Exterior. Ellis Island.
Long shot. A group of immigrants of various
lands. Among them is Karl Lieber, who is
extremely green. He is talking boastfully to a
Karl Lieber, who has crossed the
Atlantic to sit (as he thinks) in the lap
Scene 161--Close-up of Karl boasting to fellow
German, who seems greatly impressed by his air.
"Work? I won't have to work. My
friend is wealthy. If his daughter is
pretty, so much the better!"
He digs his elbow insinuatingly into the ribs of
his companion, as he refers to Millie.
Scene 162--Interior. Tailor shop. Old David,
dressed for the street, is talking with Millie, who
looks unhappy. He tells her:
"Now that Karl has arrived, you'd better
prepare for the wedding. Have you
selected a dress yet?"
For reasons of her own Millie remains silent.
Believing that everything will come out as he
planned, Old David kisses her and, after telling
her that he is going up to get little Mary, leaves
the shop. Millie looks after him. It is plain
that she dreads meeting Karl.
Scene 163--Interior. Reagan living-room.
Reagan is seated at table eating. Mary is pouring
him a cup of coffee. There is a knock on the
door. Reagan scowls and barks, "Come in!"
The door opens and Old David enters somewhat
timorously. Mary's eyes light up as she sees
the old man. She places coffee-pot on table, as
Reagan growlingly asks the old man what he wants.
Old David says:
"I am going to Ellis Island to get a
friend who's just come over and would
like to take Mary with me."
Scene 164--Close-up of Reagan as he revolves
the question in his mind. He glances at Mary.
Scene 165--Close-up of Mary, her eyes begging
him to let her go with Old David.
Scene 166--Close-up of Old David anxiously
awaiting Reagan's answer.
Scene 167--Back to 163. Reagan frowns up
at Old David and says:
"She can go, but ya've gotta promise to
have her back soon!"
Old David is grateful and thanks Reagan, who
continues with his meal and pays no attention to
what he is saying. Mary has donned her cheap
little hat and joins Old David. As they go out,
they each say good-bye to Reagan, but he does
not answer them. He pours himself another cup
of coffee. Iris out.
The power of a smile.
Scene 168--Interior. Immigration Office at
Ellis Island (to be "shot" in studio). Long shot.
A grouchy uniformed official is seated at large
flat desk. Above desk, on wall, is a flag-draped
portrait of George Washington. Old David is
pleading with grouchy official to release Karl, but
official scowls and is about to send him away,
when he sees
Scene 169--Close-up of Mary, her eyes begging,
as she gives him her sweetest smile.
Scene 170--Back to 168. The official, won
over by Mary, melts and, taking up 'phone, speaks
into mouthpiece; then, rehooking receiver, he
talks to Mary, who has made a decided hit with
the official, much to Old David's delight.
Scene 171--Interior. Tailor shop. Close-up of
Millie reading newspaper. A footfall startles
her and she looks up quickly. An expression of
contempt comes into her eyes as she sees
Scene 172--Close-up of Harmon, eyeing her
Scene 173--Long shot. Rising, Millie asks
Harmon what he wants, and he answers meaningly
"You!" She regards him defiantly, as she
"That's rather a large order! Shall
I be wrapped up and sent, or will you
take me with you~"
Her tone angers him and he snaps:
"Your father'll never be able to meet
the note, and, unless you marry me, I'll
throw him into the street!"
Millie counters with:
"You're taking too much for granted!
The note will be met when due, Mr.
Scene 174--Close-up of Harmon. He laughs
as he thinks Millie is bluffing him. He regards
her insolently and then takes note of
Scene 175--Close-up of key in lock.
Scene 176--Back to 170. Long shot. Immigration
Office. Karl comes into office and he and
Old David embrace. Mary looks on, a smile of
greeting in her eyes.
Scene 177--Interior. Tailor shop. Long shot.
Harmon locks door and pockets key. Then, as
Millie, her hands folded and a gleam of defiance
in her eyes, waits, he comes slowly and insultingly
over to her. When he endeavors to take her into
his arms and kiss her, he gets the surprize of his
life. The athletic Millie begins to treat him as
she does the bag up in Reagan's Gym!
Scene 178--Exterior. Moving taxi. Mary,
catching Karl's eye, smiles sweetly up at him, but
the contemptible greenhorn frowns at her. Mary
Scene 179--Back to 177. Harmon now possesses
a beautiful "shiner!" Quite battered, he
rushes to door, quickly opens it, throws key on
floor, and makes an inglorious exit! Millie
laughs and, as if nothing had happened, picks up
key, returns it to lock and begins to
straighten up shop which naturally has become a
little upset during the painfully one-sided fracas!
Scene 180--Exterior. Barber shop. Harmon
on, looking like Verdun after the siege. With his
good eye, he reads sign in window.
Scene 181--Close-up of sign in window reading
"Black Eyes Painted." (To save time, it is
advisable to have sign made and then placed in
window of some convenient barber shop.)
Scene 182--Back to 180. Harmon, holding his
battered eye ludicrously, enters shop.
Scene 183--Interior. Tailor shop. Millie is
again absorbed in her newspaper, when the noise
of a taxi outside makes her look up. She frowns
as she presumably sees Karl. As she puts down
paper and rises, Old David, Mary, and Karl enter.
Karl is introduced to Millie.
Scene 184--Close-up of Karl registering
ecstasy, as he drinks in Millie's beauty.
Scene 185--Back to 183. Putting down his
old-fashioned suitcase, which he then proceeds to
trip over, he rushes forward to kiss Millie, but
she manipulates things so his lips do not meet
hers, but her cheek. As Karl turns to beaming
Old David to tell him how delighted he is with
his "bride," Mary sees Millie wipe the imprint
of the awkward greenhorn's kiss from her face,
and in her own childish way she understands.
Filled with resentment and craving
revenge, Harmon returns.
Scene 186--Interior. Tailor shop. Long shot.
Old David and Karl have removed their things
and have placed them and the old-fashioned
suitcase in the living room. Old David is telling
little Mary about the coming wedding, and Millie
is watching with disgust the strutting of Karl
as he makes himself perfectly at home, filling the
shop with the fumes from his long-stemmed German
pipe. Harmon, his eye painted, but his
clothes and general appearance as before, rushes
into the shop and begins to deride Old David,
who is surprized at his friend's disheveled
condition. Mary becomes frightened, and Karl and
Millie listen to Harmon's accusations. Harmon
then tells Old David his version of what happened.
Scene 187--Interior. Tailor shop. Iris in.
Harmon enters shop and, finding it empty, goes to
Scene 188--Interior. Schwartz living-room in
rear, where he sees Millie and Dick in each
other's arms on sofa and kissing passionately.
He speaks to them and Dick gets up and orders
him out. A struggle follows with Dick punching
him so hard that he falls into
Scene 189--Back to 187. Shop. Dick, followed
by Millie, comes in and then commences
to pummel him unmercifully. Iris out.
Scene 190--Interior. Tailor shop. Iris in.
Harmon finishes his "story." Old David, his
heart heavy, looks to Millie for some word, but
is speechless. Then Karl, having heard
about her "misconduct," glares at her, and
Harmon, smiling cynically, leaves the shop. Old
David turns on Millie and begins to berate her
severely. She tries to tell him the truth, but he
will not listen. Mary, frightened, rushes from
the shop. Frantic, Millie turns to Karl and says,
"Tell Daddy it isn't true!" but he turns his back
Scene 191--Exterior. Dock, as in Scene 141.
Dick there. Mary on and excitedly tells him what
is happening at the shop. He exits with her.
Scene 192--Back to 190. The situation is at
its worst when Dick enters with Mary. Dick
goes to Millie and, taking her into his arms,
assumes her end of the argument. Old David turns
on Dick. He says:
"Go--and do not see or communicate
with my daughter again!"
Dick tells Old David it is too late. The old man says:
"Too late? What do you mean?"
Dick tells him:
"Millie and I are already married!"
Hearing this, Old David loses all control of
himself and orders Millie and Dick from the place!
Reagan, looking for Mary, enters. Grasping the
situation at a glance, he tries to intercede with
Scene 193--Close-up of Reagan as he says:
"They could've done worse than gettin'
married. And I know they're married,
because I was there!"
Scene 194--Back to 192. Old David turns on
Reagan, blaming him for the whole thing. Millie
and Dick go to door.
Scene 195--Close-up of Millie and Dick in
doorway. Millie, her eyes filled with tears, looks
back and says "Daddy!" but Old David ignores
her. Dick tries to comfort her as they exit.
Scene 196--Back to 194. Reagan becomes
abusive to Old David and goes to strike him.
Mary, no longer able to control her feelings, flies
to the old man's defense. This has a peculiar
effect on both men.
Scene 197--Close-up of Reagan. His eyes
flame as he realizes Mary has turned against him.
Scene 198--Back to 196. Reagan grabs Mary
and drags her from the shop. Old David is too
upset to interfere and he looks helplessly after
Mary, sympathy in his eyes.
Scene 199--Interior. Reagan living-room.
Reagan on, dragging Mary after him. Closing
the door with his free hand, he tightens his grip
on Mary; then, his eyes gleaming fiendishly, he
Scene 200--Interior. Tailor shop. Old David
is a picture of solemn Sorrow. Karl, still
strutting and smoking his long-stemmed pipe, comes
over to him and insolently asks:
"Where do I stand now? Is this what
you brought me to America for?"
But Old David is in no mood to answer him and
the greenhorn stalks blusteringly into the living-
Scene 201--Back to 199. His hatred cooled,
Reagan throws Mary violently into a corner and
then goes into the "secret room."
Scene 202--Close-up of Mary in corner. She
is like a poor broken little reed. She thinks of
Old David and her eyes fill with sympathy.
Scene 203--Back to 201. Drying her eyes
pathetically on her sleeve, Mary looks toward
door of "secret room, then tiptoes to door and
Scene 204--Interior. Tailor shop. Close-up of
Old David sitting in chair, his eyes heavy with
sorrow. Mary on. Seeing her, he takes her into
his arms--then, together, these two who are
linked by a great and beautiful love, shed tears of
mutual sympathy and understanding. Iris out.
Karl soon learns New York's ways, and
Reagan finds him a willing tool.
Scene 205--Interior. Reagan's "secret room."
Reagan regarding Karl--a new and flashily-
dressed Karl--amusedly, as he says:
"A few months have certainly done
wonders for you, Sourkrout!"
Karl accepts this as a compliment. His shifty
eyes take note of
Scene 205-A--Close-up of improvised safe.
Scene 205-B--Back to 205. Reagan gives him
a number of flasks of "moonshine" which he
pockets. Karl shakes his head understandingly,
as Reagan instructs him as to how to dispose of
them and to whom. Reagan extinguishes electric
light and with Karl goes to
Scene 206--Interior. Reagan living-room.
Mary is wearily blacking a pair of Reagan's
brogans. Reagan and Karl come into room. Mary
shows plainly that she dislikes Karl. Reagan and
Karl go to door, where Reagan gives him a final
word or two. Karl goes out. Reagan turns to
Mary and grumblingly orders her to hurry. Iris
Robbed of the things he holds most
dear, Old David has let the business
drift from bad to worse.
Scene 207--Interior. Tailor shop. Old David,
the picture of sorrow, stands looking through
window of shop at
Scene 208--Exterior. Long shot, showing up-
to-date tailoring establishment across the street
(presumably), with the name "Henry Harmon"
Out of spite Harmon has taken
practically all of Old David's cash
patronage, leaving him the "dead beats" and
those too poor to pay.
Scene 209--Exterior. Close-up of Harmon's
tailoring establishment. Harmon, immaculately
dressed, comes to door of shop with customer and
speaks honeyed words.
Scene 210--Back to 207. Injured rather than
resentful, Old David turns away from window.
Scene 211--Interior. Reagan's Gymnasium.
Millie and Dick in fighting togs boxing. Dick is
showing her a number of good points of defense.
Reagan comes in with newspaper. "Did you see
this?" Millie and Dick go to him.
Scene 212--Close-up of Millie, Dick and Reagan.
They read article he shows them.
(Newspaper story showing pictures of
Millie and Harriet Dane, the English
champion, in ring costume.)
September 24 is the date set for the
World's Championship bout between
Millie Hammond, champion of America,
and Harriet Dane, champion of
Mrs. Hammond has shown wonderful
form in winning every contest in the
recent nationwide tournament, America
looks to her to
Dick and Reagan tell Millie she must win. She
laughingly agrees with them. Iris out.
No height is too sublime for man to
attain--no depth too despicable.
Scene 213--Interior. Tailor shop. Letter-
carrier (the same as in Scene 86) hands Karl a
letter. Karl sneakily awaits carrier's withdrawal
before looking at it. Carrier goes out and Karl
glances at letter.
(Envelop in feminine hand)
Mr. David Schwartz,
863 Allen Street,
New York City.
Karl looks stealthily toward living-room.
Scene 214--Interior. Schwartz living-room.
A flash of Old David wearily partaking of a
Scene 215--Close-up of Karl, as he opens letter
(Letter in feminine hand, same writing
as in Insert No. 6)
It is not like you to refuse to answer
my letters. I have written you from
every city I boxed in during the recent
tournament. Won't you please forgive
me? I'm sure if you knew what a splendid
husband Dick is, you would love him
like I do. Please write, Daddy, and
say you forgive me,
Scene 216--Long shot. Karl tears letter to
pieces and pockets them quickly as woman (who
appeared in Scene 37) enters. Going to Karl she
hands him a two-dollar bill.
Scene 217--Close-up of woman, as she says:
"Give this to Mr. Schwartz and tell him
Mrs. Higgins thanks him. Me husband
is working now!"
Scene 218--Back to 216. Woman goes out
somewhat jauntily (her husband is working now)
and Karl stealthily pockets the two-dollar bill.
Yearning for a sight of the lovable old
man who has been so kind to her.
Scene 219--Interior. Small bedroom, as in
Scene 66. Close-up of Mary by window. A sad
smile comes into her eyes, as she thinks of Old
David. She looks toward living-room.
Scene 220--Interior. "Secret Room." Reagan
Scene 221--Back to 219. Mary decides to
climb down fire-escape to see Old David.
Scene 222--Interior. Reagan living-room.
Long shot. Karl enters in his insolent way. He
crosses to enter secret room. Suddenly his eye is
attracted by something in bedroom.
Scene 223--Close-up of Karl, as he sees
Scene 224--Close-up of Mary climbing out on
Scene 225--Back to 223. Deciding to watch
her, Karl follows her.
Scene 226--Bedroom. Going to window, Karl
looks down. As it comes to him that Mary is
going to visit Old David he decides to tell
Scene 227--Interior. Tailor shop. Old David,
a legal-looking paper in his hand and tears in
his eyes, is seated in chair. Mary enters and,
going to him, kisses him sweetly. Then in her
childish way she connects the paper in his hand
with his tears, and she asks him what it says. He
shows it to her.
(A Formal Notice of the Sheriff's Sale
of Old David's effects to satisfy
Harmon's Chattel Mortgage. Have this
Little Mary's heart goes out to the old man and
she endeavors to comfort him.
Scene 228--Interior. Secret room. Karl is
talking with Reagan, begging him for money.
"Broke again What did ya do wit'
that tenner I gave ya yesterday?"
Karl laughs forcedly, as he replies:
"I put it down on Victorious in the
fourth race. She came in last!"
Reagan does not share Karl's laughter--tells him
he won't give him any money. Karl's shifty eyes
again take note of
Scene 229--Close-up of improvised safe as in Scene
Scene 230--Back to 228. Karl hits upon a plan
to get Reagan out of the way. He tells him:
"I just saw th' kid goin' into th' tailor
Scene 231--Close-up of Reagan. Hearing
this, he becomes furious. He snaps:
"What--after I told her never to go
down there again!"
Scene 232--Back to 230. His eyes seething with
fury, Reagan rushes from the room. Karl
makes the most of his opportunity.
Scene 233--Close-up of Karl at improvised
safe. He opens it hurriedly and takes from
drawer a large roll of bills and pockets them.
Then he takes out--
Scene 234--Close-up of large manila envelop
sealed with wax. Turned over, it bears in an
illiterate hand the words: FORRESTER CLIPPINGS.
Scene 235--Back to 233. He stuffs manila
envelop into inside pocket of his coat, as a
triumphant gleam comes into his shifty eyes. Then
he closes door of safe, making it appear as tho it
has not been tampered with.
Scene 236--Interior. Tailor shop. Old David
is playing violin. Mary is seated at his feet
looking admiringly up at him.
Scene 237--Close-up of Mary's face registering
admiration and affection for Old David. Suddenly
it changes to terror, as she sees
Scene 238--Close-up of Reagan's brutal face.
Scene 239--Back to 236. Old David seeing
Reagan and knowing what his presence means,
endeavors to get between them, but Reagan
throws the old man violently to the floor and
grabs the frightened Mary and drags her out of
Scene 240--Close-up of Old David on floor
calling after Reagan in a weak voice to spare
Scene 241--Interior. Gymnasium. Millie and
Dick there. Millie is dressed for the street.
Her eyes are filled with tears, as she says:
"I can not understand why Daddy
doesn't answer my letters. I am going
to see him at once!"
Dick agrees with Millie that she should see her
Scene 242--Interior. Reagan living-room.
Karl seated at table coolly smoking cigaret.
Reagan drags Mary in and flings her on floor. Mary
pleads with Karl to help her, but he shrugs his
shoulders and goes out. Reagan, his eyes filled
with a fiendish hate, advances slowly and
menacingly toward Mary!
Scene 243--Close-up of Mary's terrified face,
as she pathetically pleads with him not to strike
her--"Please, Papa, don't! Please!"
Scene 244--Close-up of Reagan's fiendish face
moving slowly toward camera!
Scene 245--A flash of Mary's frightened face.
Scene 246--A flash of Reagan's brutal face, as
Scene 247---Interior. Hallway outside Gymnasium.
Karl about to go down stairs. (He is
smoking cigaret.) Millie comes out of gymnasium.
Going to Karl, she asks him if her father
is in. He replies:
"I'd advise you not to bother your
father just now. His condition is such
that another argument would prove
Not wishing to cause her father any pain, Millie
tells Karl she will not see him, and Karl smiles
sneakily. They go down stairs together.
Scene 248--Interior. Reagan living-room.
Long shot. Reagan slowly advances on the pleading,
crying, terrified Mary. Suddenly grabbing
her, he strikes her brutally. She cries out:
"Please, Papa, don't hit me!"
But her words have no effect on the brute and he
strikes her again!
Scene 249--Exterior. Street corner in Ghetto.
Old David, hatless, on excitedly and looks
frantically about for a policeman.
Scene 250--Back to 248. Reagan beating Mary.
Scene 251--Interior. Gymnasium. Dick
hears Mary's cries and can not believe his ears.
Then, as it comes to him that Reagan is beating
her, he exits quickly.
Scene 252--Back to 250. Reagan beating
Mary. Dick enters. Taking in situation at a
glance, he starts to give the brutal bully the
thrashing of his life!
Scene 253--Close-up of Mary's tear-stained
face looking on, fearful for Dick's safety!
Scene 254--Close-up of Dick and Reagan
fighting furiously, with Dick having decidedly the
better of it.
Scene 255--Another flash of Mary's face.
Scene 256--Back to 254. Dick and Reagan
mixing. It begins to look like Reagan's fight,
when Dick strikes a powerful blow and Reagan
falls prone at his feet.
Scene 257--Close-up of Reagan lying prone on
floor, a broken bully.
Scene 258--Close-up of Dick and Mary. Dick
takes the child into his arms and tries to comfort
her. His emotions give way and the tears run
down his cheeks.
Scene 259--Exterior. Another street corner
in Ghetto. Old David and policeman pick up
another officer and hasten from scene.
Scene 260--Interior. Living-room. Long
shot. Dick and Mary as before. Reagan, with
a great effort, manages to get to his feet and then
exits into the "secret room."
Scene 261--Interior. "Secret room." Close-
up of Reagan locking door.
Scene 262--Back to 260. Old David and two
Scene 263--A flash of Reagan at improvised
safe--registers fear when he finds money, and
particularly the manila envelop, missing.
Scene 264--Back to 262. Old David, glad to
see little Mary safe, asks Dick where Reagan is.
Dick tells him and policemen begin to batter down
door of "secret room" with chairs.
Scene 265--A flash of Reagan in "secret room"
Scene 266-Close-up of policemen battering
Scene 267--Interior. Living-room. Long
shot. Policemen succeed in smashing down door!
Scene 268--Interior. Secret room. Policemen
place Reagan under arrest. They are quite
surprized at evidence of illicit distilling they find.
Scene 269--Close-up of one of policemen, a
jovial-faced Irishman, as he says:
"This is the baby that's been keepin'
th' East Side drunk. Th' Commissioner
will make us captains for this!"
Scene 270--Interior. Living-room. Policemen
lead out Reagan cringing and protesting.
Dick offers to give himself up and policeman
laughingly tells him to forget it. Policemen lead
Scene 271--Close-up of Dick and Old David
comforting little Mary. Iris out.
Poverty is the test of true friendship.
Scene 272--Interior. Schwartz living-room.
Long shot. Old David standing by stove watching
an egg fry, while Mary, her chin resting on
her hands, looks on admiringly from her seat at
table which is "set"--sugar, condensed milk, a
dab of butter, and a few slices of bread. There
is a cup of coffee, already sweetened, at the place
Scene 273--Close-up of Mary watching Old
Scene 274--Close-up of Old David at stove.
Scene 275--Back to 272. Old David places
egg on plate and then puts it before Mary. As he
seats himself and takes up piece of bread and begins
to butter it sparingly, she asks:
Scene 276--Close-up of Mary and Old David.
He looks sheepish, then awkwardly replies:
"I--I am not hungry, my dear."
Mary looks at him sweetly; she knows that there
isn't another egg (or anything else eatable) in
the house. She "bosses" him deliciously. As she
divides egg, placing her half on saucer and passing
him the plate, she says:
"Eat that and don't tell any more
He smiles at her through tears, then ravenously
begins to partake of the bread in his hand. Mary
watches him sympathetically. Iris out.
Reagan's trial having revealed Karl's
guilt, he is anxious to leave the country.
Scene 277--Exterior. A municipal park.
Close-up of Karl, looking shabby, seated on bench
next to battered bum. Karl is anxiously looking
over steamship announcements. Bum leans over
familiarly and asks:
"Thinkin' o' sailin', brother?"
Karl, startled, looks up; then, seeing his
interrogator is only a park roustabout, he relievedly
"Yes--all I need is a ticket!"
His answer tickles his companion's risibility.
Karl fails to see the humor of it and says so!
The bum tells him he will knock him into the middle
of next week and Karl deems it best to say no
more. Iris out.
Mary conceives a plan to obtain some
money for her benefactor.
Scene 278--Interior. Smoke-filled underworld
dance hall. Tables filled with hard-faced,
garishly-dressed representatives of both sexes. In
middle of floor, which is cleared for dancing, a
sallow-complexioned youth is doing the "buskin'
act"--performing for whatever money the patrons
care to toss him. As he jigs, coins are thrown.
Scene 279--Close-up of Mary, peeking from
behind bunting-wrapped pillar, is watching him--
and money thrown him.
Scene 280--Close-up of youth jigging, with
coins dropping at his feet.
Scene 281--Back to 278. Youth, finished,
picks up money and pockets it. Manager crosses
floor to make an announcement and Mary, coming
from behind pillar, goes up to him and tugs
at his sleeve just as he is about to speak to crowd.
Scene 282--Close-up of Mary and manager.
She smiles sweetly up at him and then tells him
she would like to do a "stunt." Amused, the manager
grins down at her and asks her what she can
do. Mary tells him she can sing.
Scene 283--Interior. Dance hall. Long shot,
Mary and manager in center of floor. Manager
has his hand on her head. General craning of
necks by the patrons.
Scene 284--Close-up of manager, as he announces
in a stentorian voice:
"Miss Mary Reagan will now vocalize!"
Scene 285--Back to 283. Manager walks
away and Mary starts to sing.
Scene 286--Close-up of a pair of tough types
looking on admiringly. Male member digs down
and tosses Mary a quarter.
Scene 287--Close-up of Mary singing, coins
dropping all about her.
In the inelegant but descriptive parlance
of the vaudeville world, Mary was a
Scene 288--Interior. Dance hall. Long shot.
Heads rocking, everybody in place joins in with
Mary when she reaches the chorus of her song.
(This is one of the best audience bits in the picture
and should be played up for all it is worth.)
"East Side, West Side, all around the
The tots sang ring-a-rosie, London
Bridge is falling down;
Boys and girls together, Me and Mamie
Tripped the light fantastic
On the Sidewalks of New York."
Scene 289--Close-up of Mary singing, with
coins dropping all around her.
Scene 290--Close-up of two typical East Side
"bruisers" singing lustily.
Scene 291--Close-up of Mary singing, coins
literally raining at her feet. Iris out.
Old David, missing Mary, was just
about to send out a general alarm for
Scene 292--Interior. Schwartz living-room.
Old David wringing his hands and praying for
Mary's safety. Mary, carrying a bag of groceries
almost as big as herself, enters and Old David,
his eyes beaming, rushes to her. Taking bag from
her, he places it on table; then, as he kisses her,
she hands him a roll of bills.
Scene 293--Close-up of Old David gazing at
bills, his eyes filled with tears of joy. He asks
her where she got them.
Scene 294--Close-up of Mary, as she cutely
"For singing at the Blue Horse. The
delicatessen man gave me bills for the
Scene 295--Close-up of Old David and Mary.
When he realizes what she has done, he says "My
darling!" and takes her into his arms. Iris out.
Millie's contest for the world's
championship is only a few days off, and,
naturally, the papers are full of it.
Scene 296--Interior. Schwartz living-room.
Mary reading newspaper. Her eyes sparkle as
(Double Column Spread, with same
photos as used in Insert No. 5)
WOMEN BOX FOR WORLD'S
CHAMPIONSHIP ON SATURDAY
Everything in readiness for big bout
between American and English
The contest between Millie Hammond and
Harriet Dane will be held at the International
Boxing Club on Saturday afternoon. The victor
will receive a large purse.
Mary, greatly pleased, takes newspaper and exits
with it to
Scene 297--Interior. Tailor shop. Old David
is mending a pair of trousers. Mary on with
newspaper. She tells him it is a piece about
Millie and he refuses to read it. Then Mary cutely
leaves paper on counter for him and returns to
living-room. Seeing she has gone, the old man
takes paper from counter and begins to read story
Scene 298--Close-up of Mary peeking from
behind door of living-room. She smiles cutely as
she sees her ruse has worked.
Scene 299--Close-up of Old David reading
account. He is quite pleased until he reads:
(Vignette of Newspaper Story, set in
6 pt. 13 ems wide)
Altho the American champion has
proved herself to be a clever boxer, the
English girl is the favorite. She has
experience in her favor and is expected to
Old David, thinking he is unobserved, begins to
berate the paper for predicting victory for his
daughter's opponent. He says grumblingly:
"How dare they say my Millie won't
Scene 300--Close-up of Mary in doorway
smiling at his actions.
Scene 301--Interior. Tailor shop. Long
shot. Old David, the paper in his hand, is walking
angrily up and down, grumbling to himself the
while, when Mary comes up to him. Caught red-
handed, he looks sheepish. Mary laughs and his
face beams with a guilty smile. Iris out.
Clotho, Lachesis, and Atropos--better
known as the Fates--have arranged
that the Sheriff's Sale and Millie's bout
occur the same day.
Scene 302--Interior. Dressing-room at Boxing
Club. Millie, in ring costume, is being attended
by her seconds (two of the girls in Scene 154).
There is a knock on door. One of the girls--a
gum-chewing damsel with large "buns" over her
ears--goes to open it. Dick enters. Millie
brightens when she sees him. They kiss. Then
Dick begins to offer encouragement. Girls look
Scene 301--Interior. Tailor shop. Long
shot. Sheriff's sale in progress. Old David
seated sorrowfully in rear. Mary tries to cheer
him. Harmon gloatingly looks on as a number
of Jewish types (tailors and their wives) listen
Scene 302--Close-up of Old David and Mary.
Mary wipes tears from Old David's eyes.
Scene 305--Close-up of Harmon gloating over
Old David's discomfiture.
Scene 306--Back to 303. Mary tells Old David
she is going to Millie. The old man proudly
protests, but before he can stop her she has left
shop. A number of Jews bid spiritedly for the
Scene 307--Close-up of two Jews in heated
argument. There is much ludicrous gesticulating
and calling of names.
Scene 308--Close-up of Old David looking on
Scene 309--Exterior. Street corner in Ghetto.
Close-up of Mary speaking to one of the policemen
that appeared in earlier scenes. She asks:
"Where is the International Boxing
Club and how do I get there?"
Policeman instructs her. Mary thanks him
sweetly and is off. Policeman looks admiringly
Scene 310--Interior. Hall outside Millie's
dressing room at boxing club. Karl, shabbier
than ever, there. Millie, her seconds and Dick
come out of dressing-room. Karl stops Dick and
asks for a moment. Dick tells him to go into
dressing-room and wait, that he can not stop now.
Millie is sorry for Karl. Karl goes into dressing-
room. Dick rejoins Millie and the quartet pass
down the hall.
Scene 311--A flash of Sheriff's sale.
Scene 312--Interior. Boxing Club. Long
shot, showing ring, spectators, etc. Millie, being
attended by her seconds, is in her corner;
Harriet Dane, attended by her seconds (two haughty
damsels) in hers.
Scene 313--Close-up of Dick in ringside seat
anxiously watching Millie.
Scene 314--Close-up of Announcer, as he
"In this corner, we have Harriet Dane,
the Champion of England!"
Scene 315--Close-up of Harriet Dane haughtily
bowing to crowd.
Scene 316--Close-up of Announcer, as he lustily
"And in this, Millie Hammond, the
Champion of America!"
Scene 317--Close-up of Millie bowing sweetly
Scene 318--Exterior. Street. Mary on
Scene 319--A flash of Sheriff's sale.
Scene 320--Interior. Boxing Club. A close-
up of gong sounding.
Scene 321--Interior. Boxing Club. Close-up
of Millie, Harriet Dane, and referee (who is in
white). Harriet Dane haughtily shakes Millie's
offered hand. Bout commences.
Scene 322--A flash of Dick urging Millie to
Scene 323--Exterior. Another street. Mary
Scene 324--A flash of Sheriff's sale.
Scene 325--Close-up of Millie and Harriet
Dane. The English champion is getting the
better of it by far.
Scene 326--Close-up of Dick anxious for
Scene 327--A flash of Sheriff's sale.
Scene 328--Interior. Entrance to Boxing Club.
Close-up of Mary begging uniformed gateman
to admit her. She tells him she knows Millie.
"I wouldn't care if you were Jack
Dempsey's niece--you can't go in!"
Mary pleads with man and he tells her to beat it.
Scene 329--Close-up of Millie and Harriet
Dane, with latter getting better of it.
Scene 330--Close-up of Dick as before.
Scene 331--Close-up of Millie's gum-chewing
second as she shouts:
"Show her where ya come from, Millie
Scene 332--Close-up of gong sounding.
Scene 333--Close-up of Millie and Harriet
Dane as they go to respective corners.
Scene 334--Close-up of Millie's seconds attending
to her and giving her advice.
Scene 335--Close-up of Harriet Dane's seconds
attending to her as she looks haughtily on.
Scene 336--A flash of Sheriff's sale.
Scene 337--Close-up of Millie and Harriet
Dane beginning second round.
Scene 338--Interior. Entrance, as in Scene
328. Mary, walking behind unusually fat man,
cutely gets through gate. Gateman sees her after
she has passed through--is about to go after her,
but humor of it strikes him and he lets her go.
Scene 339--Close-up of Millie and Harriet
Dane, with latter getting better of it.
Scene 340--Close-up of Mary seated beside the
unusually fat man, rooting strenuously for Millie.
Scene 341--Close-up of Millie and Harriet
Dane. Millie sees Mary and, encouraged, starts
Scene 342--Close-up of Dick. He turns and
calls Mary. She comes and sits on his knee.
Scene 343--Close-up of Millie and Harriet
Dane. The tide begins to turn for Millie!
Scene 344--A flash of Sheriff's sale.
Scene 345--Close-up of Dick and Mary rooting
Scene 346--Close-up of Millie and Harriet
Dane. Millie rallying!
Scene 347--Close-up of English dude with
monocle and gardenia, as he effeminately cries:
"Retaliate, Harriet old thing,
Scene 348--Close-up of Irish (a strong English-
detesting type) shouting at English dude:
"G'wan, ye cup o' tea, for two potatoes
I'd knock ye into an Eskimo pie!"
Scene 349--Close-up of Millie and Harriet Dane.
Scene 350--Close-up of gong sounding.
Scene 351--Close-up of Dick and Mary encouraging
Scene 352--Close-up of Millie in her corner,
smiling at Dick and Mary, as her seconds work
Scene 353--Close-up of hair-pulling match between
two of the tailors' wives at Sheriff's sale!
Scene 354--Close-up of Millie and Harriet
Dane, with Millie getting the better of it.
Scene 355--Close-up of Dick and Mary rooting.
Scene 35~--Close-up of Millie's gum-chewing
"Crown th' dizzy limey, Millie old-
timer, and I'll quit th' Five-and-Ten!"
Scene 357--Close-up of Millie and Harriet
Dane. The latter is beginning to get groggy!
Scene 358--Close-up of Dick and Mary urging
her to finish it!
Scene 359--Close-up of Millie and Harriet
Dane. An exciting exchange of blows--then Harriet
Dane goes to floor. Referee begins count.
Scene 360--A close-up of portion of crowd
wild with excitement!
Scene 361--Back to 359. Referee finishes
count, raises Millie's hand. Iris out.
What startling facts are buried in the
columns of yesteryear's newspapers!
Scene 362--Interior. Dressing-room at boxing
club. Karl nervously pacing floor. He heaves a
sigh of relief when Dick enters. Dick asks him
what he wants--Karl takes opened manila envelop
from his pocket.
Scene 363--Exterior. Speeding taxi. A flash
of Millie and Mary. Millie is still in ring costume
which is partly visible beneath her dressing-
Scene 364--A flash of Sheriff's sale.
Scene 365--Close-up of Dick and Karl. Dick
is reading contents of one of the clippings. Karl
is watching him sneakily. Dick says:
"Reagan must have been the discharged
footman mentioned in these clippings.
He wasn't Mary's father after all!"
Karl looks on dumbly; but occasional glances
toward door show that he is in constant fear of
Scene 366--Exterior. Taxi. A flash of Millie
Scene 367--A flash of Sheriff's sale.
Scene 368--Interior. Dressing-room. Dick
has manila envelop and clippings. He gives Karl
a number of bills. Karl's eyes bulge greedily.
"When you reach Germany, get a job
and settle down--something easy like
sweeping the sun off a roof or posing
Karl goes out. Dick takes up telephone, asks
Central for "Information," gets her, speaks.
"Information, please get me the number
of Claxton Forrester, 4492 Riverside
Dick waits for number, a twinkle in his eye. Iris
Scene 369--Interior. Tailor shop. Sheriff's
sale in progress. Auctioneer offers Old David's
beloved violin (in case). A Jew in front makes
Scene 370--Close-up of Auctioneer boisterously
offering violin which he holds aloft.
Scene 371--Close-up of Old David realizing
they are bartering his cherished instrument.
Tears come into his eyes and he rushes forward.
Scene 372--Back to 369. Old David makes a
pathetic appeal to Auctioneer not to sell his violin.
Auctioneer, touched, looks to Harmon for
orders. Harmon tells him coldly to go ahead
and sell it. Old David goes to Harmon.
Scene 373--Close-up of Old David and Harmon.
Old David beats his breast as he sobs:
"Please, Henry, let me keep my violin.
It holds memories as dear as life itself.
Sell it and you might as well cut out
Scene 374--Close-up of Millie and Mary in
doorway, their eyes filled with sympathy.
Scene 375--Interior. Tailor shop. Long shot.
Harmon heartlessly pushes Old David aside and
then gives Auctioneer the order to sell it. A
pathetic and broken spectacle, the old man turns
away. Millie enters with Mary, and, pushing
Harmon out of the way, snatches the violin from
the Auctioneer's hand and places it in her father's
Scene 376--Close-up of Millie and Old David.
After one quick, soul-reading look into each
other's tear-wet eyes, they go to each other's
Scene 377--Close-up of Mary, happy over the
reunion of Millie and her father.
Scene 378--Close-up of Harmon and Auctioneer.
Angered by Millie's act, they crouch
pantherlike, ready to spring!
Scene 379--Back to 375. Long shot. Harmon
and Auctioneer endeavor to take violin from
Old David's arms! Millie endeavors to prevent
them, and Mary joins in by kicking Harmon in
Scene 380--Close-up of Harmon and Auctioneer
trying to take violin from Old David who
clings to it pathetically.
Scene 381--Back to 379. Two of the Jews
who covet the instrument and had offered bids for
it rush to assistance of Harmon and Auctioneer!
Scene 382--Close-up of Dick in doorway looking
on, unable to believe his eyes!
Scene 383--Back to 381. The four men are
about to get violin away from Old David's pathetic
clutch, when Dick, his fists clenched and his
eyes seething with rage, rushes in! He punches
Harmon and the Auctioneer and the Jews and
their wives rush from the shop like a flock of
frightened geese! Dick then finishes the job and
kicks both Harmon and the Auctioneer into the
street, throwing their things after them!
Scene 384--Close-up of Millie bringing Dick
to Old David, who is more grateful than words
can tell. A happy if tearful reunion follows and
Mary, looking on, smiles sweetly.
Scene 385--Exterior. Steamship Ticket Office.
Karl, a ticket in his hand, comes out. As he
stands gazing at it in doorway, a man accosts him,
and, showing him a badge, which he takes from
his pocket (Central Office men do not, as a rule,
have their badges pinned on vest or inside coat as
some writers and directors would have us believe),
places him, much to his horror, under arrest!
Scene 386--Close-up of Millie, Dick, Old
David, and Mary. Old David puts his arm
paternally around Dick's neck and says "My
boy!" and Millie registers happiness. Dick tells
"It's like a glorified fairy tale. And
Mary, who has brought us all together,
is a princess--a dollar princess. Her
parents will be here any minute!"
Questions naturally follow and Dick explains in
full. Old David is torn between happiness over
Mary's good fortune and the sorrow of losing
her. The lovable old man takes her into his
arms. Millie and Dick register sympathy, as
they realize how much Old David cares for the
child. Iris out.
There is no alchemy as magic as Time
in its flight.
Scene 387--Exterior. Beautiful country
mansion. Iris in. A well-groomed man and a
fashionably tho tastefully gowned woman (Mary's
parents) look on admiringly at Mary, who,
dressed like a veritable little princess, is playing
with an exquisite Scotch collie. Blend into
Scene 388--Close-up of Mary and collie. Iris
Scene 389--Interior. Harmon's office as in
Scene 121. Iris in. Harmon, his superior air
gone, is the picture of dejection as he reads a
copy of the New York Times.
THE DAY'S BUSINESS FAILURES
Stannard Manufacturing Co.
Henry Harmon Corporation.
Kornheimer & Leavitt, Inc.
A. J. Drummond & Co.
Harmon looks blankly ahead of him. Iris out.
Scene 390--Interior. Sing Sing Prison. Iris in.
Close-up of Reagan glaring savagely through
Scene 391--Close-up of Karl glaring back.
He is presumably in another cell on same tier.
Scene 392--Back to 390. Reagan, as before.
He shows his teeth. Iris out.
Scene 393--Exterior. Iris in on new building
DICK AND MILLIE HAMMOND'S GYMNASIUM
prominently displayed. Blend into
Scene 394--Interior. Up-to-date Gymnasium.
Millie and Dick watching a number of young men
and women in gym togs engaged in various muscle-
building diversions--boxing, handball, Indian
clubs, bag punching, etc. Blend into
Scene 395--Close-up of Dick and Millie looking
at each other, a world of love in the eyes of
each. Iris out.
Scene 396--Iris in on door with legend
THE GOTHAM CONSERVATORY
David Schwartz, Director
prominently displayed. Blend into
Scene 397--Interior. Opulently-furnished studio,
with beautiful grand piano in one corner.
Old David playing his beloved old violin. The
melody brings thoughts of Mary and the old
man stops playing and, putting down violin, takes
up photo of Mary in silver frame and shows by
his actions that he misses her. Tears come into
eyes as he looks at photograph; then he hears
his name called, and, an expression of great
happiness on his face, he turns and sees
Scene 398--Close-up of Mary, dressed like a
princess, smiling sweetly at him from doorway.
Scene 399--Back to 397. Old David puts
down photograph and, uttering a glad cry, goes
to Mary, who meets him in center of room. He
takes her into his arms. She regards him
affectionately as she says:
"Papa and Mamma want you to teach
me to play the violin. Then I can come
to see you every day!"
This makes Old David very happy and he kisses
Pure gold from the Crucible that is
Scene 400--A close-up of Old David and Mary
in shaft of golden sunlight. (This effect can be
obtained by tinting strip amber, or, better still,
by hand-coloring. Consult Prizma.) Old David
is playing his beloved violin, an expression of
beatific happiness on his face, and Mary is seated
on a cushion at his feet, looking up at him, a
world of affection in her eyes. Iris out.
Screenplay ("precisely as purchased by the producers")
by Willard King Bradley
Inside Secrets of Photoplay Writing and Birth Control
Here are three paragraphs from screenwriter Willard King
Bradley's 1926 book _Inside Secrets of Photoplay Writing_,
in which he discusses the inspiration for his 1920 script
"Empty Arms" (he notes that "of all my pictures it is
probably the most successful, both artistically and
commercially" and claims it grossed over half a million
'I was seeking a theme for a photoplay of
large dimensions -- I had just received an
order from a producer to write such a
photoplay -- when an article favoring
birth control fell into my hands. The
writer of it, a woman, was deadly opposed
to child-bearing. In her opinion (tho'
how she learned is one of those mysteries
which defy solution, since she professed
to be a spinster) motherhood was a
scourge, an insult, a stone around the
neck of modern womanhood. I didn't agree
with her. I saw in motherhood only that
which was beautiful and God-like. I ached
to write an answer to her nature-flaunting
"exposť." Then out of the air came the
question: Why not write a photoplay
flaying the evils of birth control and
'A dozen plots presented themselves. I
wrote a number of them, then started all
over again. My first effort sounded too
much like a sermon; my second like a
physician's treatise. I realized that,
first of all, the story must entertain.
The photoplay fans pay their quarters to
be entertained, not to be preached to. So
I sugar-coated the pill by making the
propaganda subservient to the dramatic
'After another effort I succeeded in
completing a single-track theme about a
woman, a pampered daughter of the upper
ten, who, through prejudice and fear,
balks at maternity. Then for dramatic
contrast, I rewrote the story, employing
another woman, who welcomes motherhood.
This done, I decided to give the fans a
"run for their money" by injecting a
fight, a head-on train wreck collision,
and a fashionable party bearing the more
or less intriguing designation of "Pagan
Later in the book, the author helpfully includes the first
page or so of his script. The opening title reads:
"Our message is not for the mothers of the
world -- they have already done their
splendid share -- but for those married
women who, through fear, ignorance, vanity
and prejudice, wilfully violate His Supreme
This is followed by a dissolve to a close-up of the Bible,
over which is superimposed the Supreme Command: "Increase
... multiply ... and replenish the earth!"
The opening scene finds Diane, the pampered daughter of a
copper magnate, reading a novel called "Sex and Society":
'As she thinks over what she has read,
Diane bites her lip. Rising, she closes
her eyes. Then as a sudden thought strikes
her, she raises her hand to her mouth with
a gesture betokening terror and exclaims:
"I won't -- I won't marry Bruce!"'
For some reason, the author does not tell us more about the
fight, the head-on train wreck collision, or the "Pagan
Revel." Too bad -- that would have really given us a run
for our money.
Mind you, this is his most artistically successful picture.