The Sidewalks of New York (1923)

 
		Art Title--I
	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.
 
		Blend to 

Scene 2--Exterior. An Italian organ-grinder
plays, while a number of ragamuffins of the
neighborhood dance.
 
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
		town,
 	The tots sang ring-a-rosie, London 
		Bridge is falling down; 
	Boys and girls together, Me and Mamie 
		Rorke, 
	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.
 
		Art Title--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 
pot.

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
them.
 
Scene 9--Back to 7. Mary, as before.
 
		Art Title--3 
	Pat Reagan, a former pugilist who 
	conducts a gymnasium as a blind to his 
	real "profession."
 
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:
 
		Spoken Title--1 
	"You two pork-and-beaners are all wet. 
	I'm gonna introduce ya to a good 
	scrapper!"

Scene 13--The battlers break and glare at 
Reagan. One of them, a freckled specimen with 
dangerous eyes, asks:
 
		Spoken Title--2 
	"What's his trade-mark?"
 
Scene 14--Long shot, as in Scene 12. Reagan 
bites a "chew" from a plug of tobacco and then 
replies:

		Spoken Title--3 
	"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 
	a fight!"
 
The freckled specimen is incredulous, but his 
training mate, a broken-nosed gent with a "tin 
ear," volunteers:
 
		Spoken Title--4 
	"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 
down at
 
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 
dancers.
 
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 
smiling face.
 
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 
on ledge.

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:
 
		Spoken Title--5 
	"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:
 
		Spoken Title--6 
	"Holy codfish, but ain't that bimbo the 
	cat's nightshirt!"
 
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 
of hate.
 
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:
 
		Spoken Title--7 
	"What are you sniveling at?"
 
Scene 32--A close-up of Mary, as she sobs:
 
		Spoken Title--8 
	"My--my geranium!"
 
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:
 
		Spoken Title--9 
	"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.
 
		Art Title--4 
	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.
 
		Art Title--5 
	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:
 
		Spoken Title--10 
	"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:
 
		Spoken Title--11
	"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 
replies:
 
		Spoken Title--12 
	"To change my methods I would have 
	to change yet my disposition. If a cold 
	heart wins success, I'm proud to be a 
	failure!"
 
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. 
 
		Art Title--6 
	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 
timorously appears.
 
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:
 
		Spoken Title--13 
	"What are you doing, Mr. Hogan?"
 
There is a twinkle in his eyes as he answers:
 
		Spoken Title--14 
	"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:
 
		Spoken Title--15
 	"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 
disapprovingly.
 
Scene 49--long shot.  Door opens.  Dick
Hammond enters.
 
		Art Title--7 
	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
childish fancy.
 
Scene 53--Back to 51. Dick sees Mary, who
makes an instant hit with him. He speaks to
Reagan:

		Spoken Title--16
 	"And who's this little cherub?"
 
Reagan answers carelessly:
 
		Spoken Title--17 
	"My daughter Mary."
 
Dick picks Mary up in his arms. Reagan scowls,
but as Dick turns he forces a smile. Iris out.
 
		Art Title--8 
	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 
violin.
 
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 
snarls:
 
		Spoken Title--18 
	"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 
him.
 
		Art Title--9 
	Reagan's secret room, where he usually 
	remains for hours, much to little Mary's 
	relief.
 
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 
playing violin.
 
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:
 
		Spoken Title--19 
	"Some damned backyard troubadour!"
 
Scene 65--Reagan living-room.  Long shot.
Rising, Mary tiptoes to door at left, opens it and 
enters room.
 
Scene 66--Interior. Small bedroom. Through 
window, which is closed, can be seen fire-escape. 
Mary enters on tiptoe, raises window.
 
		Art Title--10 
	The angel-kissed notes of Old David's 
	melody beckon to little Mary like fairy 
	fingers.
 
Scene 67--Close-up of Mary climbing on to 
fire-escape.
 
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.
 
		Art Title--11 
	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:

		Spoken Title--20 
	"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.
 
		Art Title--12 
	The shadow of impending Failure 
	falls across the threshold of Old David's 
	tottering establishment.
 
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:
 
		Spoken Title--21 
	"A shaft of sunlight out of a gray sky--
	ah, a lucky omen!" 

But suddenly the happy light disappears, as he 
sees
  
Scene 77--Back to 75.  A buzzardlike black 
shadow (Friedman's) has fallen across sunlit 
doorway.
  
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:
 
		Spoken Title--22
	"What did Friedman want, Daddy?"
 
The old man looks at her and with forced 
cheerfulness says:
 
		Spoken Title--23 
	"The rent. Friedman never makes a
	social call."
 
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:
 
		Spoken Title--24 
	"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.
 
		Insert--1 
	(Flash letter first in German, then blend 
	into English.)
 
		Insert--2 
	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,
			KARL LIEBER.
 
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:

		Spoken Title--25 
	"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 
him to
 
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 
smiles.
 
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 
on famously.

Scene 102--Close-up of Mary and Old David. 
Mary asks:
 
		Spoken Title--26 
	"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:
 
		Spoken Title--27 
	"Don't forget, my dear, that you are 
	already promised!"
 
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:
 
		Spoken Title--28 
	"Don't you get lonesome without any 
	playmates?"
 
Scene 105--Close-up of Mary as she answers, 
with tears in her eyes:
 
		Spoken Title--29 
	"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.
 
		Art Title--13 
	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
song.
 
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:
 
		Spoken Title--30 
	"And you can't go into th' Gym any 
	more, neither!"
 
Scene 119--Back to 117. Mary, as before.  
Iris out.
 
		Art Title--14 
	Necessity forces Old David to seek aid 
	of a friend, who, through his efforts, 
	has become a wealthy chain clothing 
	store operator.
 
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:
 
		Spoken Title--31 
	"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.
 
		Art Title--15 
	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 
her.
 
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 
and reads.
 
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:
 
		Spoken Title--32 
	"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:

		Spoken Title--33 
	"Security?  You talk to me of security, 
	Henry, after all I have done for you?"
 
Harmon laughs forcedly, as he replies:
 
		Spoken Title--34
	"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:

		Spoken Title--35 
	"Does that include my violin and other 
	personal belongings?"
 
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 
broken pieces.
 
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:
 
		Spoken Title--36 
	"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:
 
		Spoken Title--37 
	"I'm sorry, Henry, but Millie is already 
	promised to the son of my old friend, 
	Ludwig Lieber."
 
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:
 
		Spoken Title--38 
	"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:

		Spoken Title--39 
	"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 
with clerk.
 
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:
 
		Spoken Title--40 
	"Daddy wants me to marry a greenhorn 
	I haven't seen since I was four 
	years old!"
 
Scene 147--Back to 145.  This news proves a 
bit of a jolt to Dick, who has come to love Millie. 
He says:

		Spoken Title--41 
	"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:

		Spoken Title--42 
	"When you're sendin' out th' invites,
	don't pass me up.  I love wedding-
	cake!"
 
Dick makes a playful pass at the clerk.  Iris out.
 
		Art Title--16 
	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:
 
		Spoken Title--43 
	"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: 
  
		Spoken Title--44
	"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. 
Iris out.
 
		Art Title--17 
	At Dick's suggestion Reagan has 
	introduced boxing among the girls of the 
	neighborhood.
 
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 
box.
 
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
professional admiration.

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 
with it.
 
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
hand.

		Insert--3 
	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. 
They read:

		Insert--4 
	(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:
 
          Spoken Title--45
	"As you all seem to feel I have a chance, 
	I'll enter the tournament and try my 
	luck!"
 
They all laugh down her modesty and cheer her. 
She smiles affectionately at Dick.  Iris out.

		Art Title--18 
	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 
fellow German.
 
		Art Title--19 
	Karl Lieber, who has crossed the 
	Atlantic to sit (as he thinks) in the lap 
	of luxury.
 
Scene 161--Close-up of Karl boasting to fellow 
German, who seems greatly impressed by his air. 
He says:

		Spoken Title--46 
	"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:
 
		Spoken Title--47 
	"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:
 
		Spoken Title--48 
	"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:
 
		Spoken Title--49 
	"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.
 
		Art Title--20
	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 
sensually.
 
Scene 173--Long shot. Rising, Millie asks 
Harmon what he wants, and he answers meaningly 
"You!" She regards him defiantly, as she 
replies:
 
		Spoken Title--50
	"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:
                                     
		Spoken Title--51 
	"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:
 
		Spoken Title--52 
	"You're taking too much for granted! 
	The note will be met when due, Mr. 
	Harmon!"
  
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 
is hurt.
 
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.
 
		Art Title--21 
	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. 
Iris out.
 
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 
on her.
 
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:
 
		Spoken Title--53 
	"Go--and do not see or communicate 
	with my daughter again!"
 
Dick tells Old David it is too late. The old man says:

		Spoken Title--54 
	"Too late? What do you mean?"
 
Dick tells him:
 
		Spoken Title--55 
	"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 
Old David.
 
Scene 193--Close-up of Reagan as he says:
 
		Spoken Title--56 
	"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 
beats her...
 
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:
 
		Spoken Title--57 
	"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-
room.
 
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 
goes out.
 
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.
  
		Art Title--22 
	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:
 
		Spoken Title--58 
	"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
out.
 
		Art Title--23 
	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" 
conspicuously displayed.
 
		Art Title--24 
	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.
 
              Insert--5 
	(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 
	England.

	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.
 
		Art Title--25 
	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.
 
		Insert--6 
	(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 
meager meal.
 
Scene 215--Close-up of Karl, as he opens letter 
and reads.
 
		Insert--7 
	(Letter in feminine hand, same writing 
	as in Insert No. 6)
 
 	Dear Daddy:

   	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, 

		Your heart-broken 

			MILLIE.
 
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:
 
		Spoken Title--59 
	"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. 
Iris out.
 
		Art Title--26
	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 
at work.
 
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 
fire-escape.
 
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 
Reagan.
 
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.
 
		Insert--8
	(A Formal Notice of the Sheriff's Sale 
	of Old David's effects to satisfy 
	Harmon's Chattel Mortgage.  Have this 
	legally correct.)
 
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. 
Reagan growls:
 
          Spoken Title--60
	"Broke again  What did ya do wit'
	that tenner I gave ya yesterday?"
 
Karl laughs forcedly, as he replies:
 
		Spoken Title--61 
	"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 
205-A.
 
Scene 230--Back to 228. Karl hits upon a plan
to get Reagan out of the way. He tells him:
 
		Spoken Title--62 
	"I just saw th' kid goin' into th' tailor 
	shop!"
 
Scene 231--Close-up of Reagan.  Hearing 
this, he becomes furious.  He snaps:
 
		Spoken Title--63 
	"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 
the shop.
                         
Scene 240--Close-up of Old David on floor 
calling after Reagan in a weak voice to spare
Mary.
 
Scene 241--Interior.  Gymnasium.  Millie and
Dick there.  Millie is dressed for the street. 
Her eyes are filled with tears, as she says:

		Spoken Title--64
	"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 
father.
 
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
it advances!
 
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:
 
		Spoken Title--65 
	"I'd advise you not to bother your 
	father just now.  His condition is such 
	that another argument would prove 
	fatal!"
 
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:
 
		Spoken Title--66
	"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
policemen enter.
   
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" 
cringing.
 
Scene 266-Close-up of policemen battering 
down door!
 
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:
 
		Spoken Title--67 
	"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 
Reagan out.
 
Scene 271--Close-up of Dick and Old David 
comforting little Mary. Iris out.
 
            Art Title--27 
	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 
of each.
                                      
Scene 273--Close-up of Mary watching Old
David.
 
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: 
 
		Spoken Title--68
	"Where's yours?"

Scene 276--Close-up of Mary and Old David. 
He looks sheepish, then awkwardly replies:
 
		Spoken Title--69 
	"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:
 
		Spoken Title--70
	"Eat that and don't tell any more 
	whoppers!"
 
He smiles at her through tears, then ravenously
begins to partake of the bread in his hand.  Mary
watches him sympathetically.  Iris out.
 
		Art Title--28 
	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:
 
		Spoken Title--71 
	"Thinkin' o' sailin', brother?"
 
Karl, startled, looks up; then, seeing his 
interrogator is only a park roustabout, he relievedly 
answers:
 
		Spoken Title--72 
	"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.
 
		Art Title--29 
	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:
 
		Spoken Title--73 
	"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.
 
		Art Title--30 
	In the inelegant but descriptive parlance 
	of the vaudeville world, Mary was a 
	"wow!"
 
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.)
 
		Spoken Title--74 
	"East Side, West Side, all around the
		town,
	The tots sang ring-a-rosie, London 
		Bridge is falling down; 
	Boys and girls together, Me and Mamie 
		Rorke, 
	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.
 
		Art Title--31 
	Old David, missing Mary, was just 
	about to send out a general alarm for 
	her, when--
  
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 
tells him:
 
		Spoken Title--75 
	"For singing at the Blue Horse. The 
	delicatessen man gave me bills for the 
	silver."
 
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.
 
		Art Title--32 
	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
she reads:

		Insert--9 
	(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 
 	             champions.
 
   	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 
of contest.
  
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:
 
		Insert--10 
	(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 
	win easily.
 
Old David, thinking he is unobserved, begins to 
berate the paper for predicting victory for his 
daughter's opponent.  He says grumblingly:
 
		Spoken Title--76 
	"How dare they say my Millie won't 
	win!"
 
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.
 
		Art Title--33 
	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 
on admiringly.
 
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 
to auctioneer.
 
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 
fixtures.
 
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
sorrowfully.
 
Scene 309--Exterior.  Street corner in Ghetto. 
Close-up of Mary speaking to one of the policemen 
that appeared in earlier scenes. She asks:
 
		Spoken Title--77 
	"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 
after her.
 
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 
lustily cries:
 
		Spoken Title--78 
	"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 
cries:
 
		Spoken Title--79 
	"And in this, Millie Hammond, the 
	Champion of America!"
 
Scene 317--Close-up of Millie bowing sweetly 
to crowd.
 
Scene 318--Exterior. Street.  Mary on 
running--off.
 
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 
victory.
 
Scene 323--Exterior.  Another street.  Mary 
on running--off.
 
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
Millie.
 
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. 
He growls:

		Spoken Title--79 
	"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:
 
		Spoken Title--80
	"Show her where ya come from, Millie 
	old-timer!"
 
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 
to rally.
  
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 
for Millie.
 
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:
 
		Spoken Title--81
	"Retaliate, Harriet old thing, 
	retaliate!"
 
Scene 348--Close-up of Irish (a strong English-
detesting type) shouting at English dude:
 
		Spoken Title--82
	"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 
Millie.
 
Scene 352--Close-up of Millie in her corner, 
smiling at Dick and Mary, as her seconds work 
over her.
 
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
second shouting:
 
		Spoken Title--83 
	"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.
 
             Art Title--34 
	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-
gown.
 
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:
  
		Spoken Title--84 
	"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 
being arrested.
 
Scene 366--Exterior. Taxi. A flash of Millie 
and Mary.
 
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. 
Dick says:

		Spoken Title--85
	"When you reach Germany, get a job 
	and settle down--something easy like 
	sweeping the sun off a roof or posing 
	for pretzels!"
 
Karl goes out.  Dick takes up telephone, asks 
Central for "Information," gets her, speaks.
 
		Spoken Title--86 
	"Information, please get me the number 
	of Claxton Forrester, 4492 Riverside 
	Drive."
 
Dick waits for number, a twinkle in his eye. Iris 
out.
 
Scene 369--Interior.  Tailor shop.  Sheriff's 
sale in progress.   Auctioneer offers Old David's 
beloved violin (in case).  A Jew in front makes 
an offer.
 
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:
 
		Spoken Title--87 
	"Please, Henry, let me keep my violin. 
	It holds memories as dear as life itself. 
	Sell it and you might as well cut out 
	my heart!"
 
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 
arms!
 
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 
arms.
 
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 
the shins!
 
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 
them:
 
		Spoken Title--88 
	"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.
 
		Art Title--35 
	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
out.
 
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.
 
		Insert--11 
	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 
bars at
 
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 
with legend
 
	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 
             OF MUSIC
	       _________

	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:
 
 		Spoken Title--89
	"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 
her sweetly.
 
		Art Title--36 
	Pure gold from the Crucible that is 
	New York!
 
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.
 
		The End.
 
 
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 dollars): '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 glorifying motherhood? '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 action. '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 Revel."' 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 Command." 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: Spoken Title "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.
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