The Fire Jugglers
"THE FIRE JUGGLERS."
By William E. Wing.
(Produced by the Selig Polyscope Co.)
CAST.
Leavitt
Mrs. Leavitt
Signor Alberti
Major Schmall
Detectives
Model
Farar
SYNOPSIS.
Mrs. Leavitt is a type which is common in society. Catering
to anyone who will flatter her, she falls a prey to the charms
of Farar, a tenor, and Signor Alberti, an artist, who proves
to be Gioto, a clever blackmailing Italian. Alberti and Mrs.
Leavitt get the consent of her husband to allow the Italian
to paint a portrait, which he does almost in the nude and
then demands ten thousand dollars from Leavitt. In the
meanwhile, Major Schmall, a friend of Leavitt, communicates
with the Italian police and learns of Alberti's blackmailing
career. On receipt of a note from the artist, Leavitt goes
to see the picture. Alberti has for his companion a model,
the two working together to fleece the rich of their money.
Alberti covers the picture with a drapery, he having "faked"
the nude part of the picture as a ruse to compel Leavitt to
pay blackmail. Leavitt's wrath is intense, and as he reaches
for the painting, the artist pulls a revolver. A struggle
follows in which a hole is shot through the picture. Major
Schmall, with Italian and American detectives, arrest the
model and proceed to Alberti's studio just as Leavitt is
about to end the artist's life. Alberti is arrested and
with the model is taken to jail. Leavitt takes the picture
to his home, where in trembling fear he compels his wife to
look upon it. She loses her vanity and tears the jewels from
her hair, and in a spasm of hysteria pleads with her husband.
He understands she has learned an object lesson and tenderly
places his arm about her.
The Action.
Scene 1. INTERIOR MRS. LEAVITT'S FASHIONABLE
DRESSING ROOM WITH THREE MIRRORS--
ONE ON DRESSER, TWO PEDESTAL
MIRRORS AT SIDES.
Mrs. Leavitt, young, vain, few brains, is in
fancy dressing gown, seated before mirror.
Maid, near, has just concluded dressing
madam's hair. Madam looks at herself admiringly
in the glasses. Leavitt, the husband, society
type, older than wife, comes unnoticed,
frowns at scene; face clears and he forces a
smile as she turns to him and puts up cheek
for kiss. She immediately turns back to
admiration of herself, trying effect of jewels in
hair. Leavitt, impatient with the display of
vanity, turns and goes. Maid brings reception
gown to madam.
Scene 2. LIBRARY LEAVITT'S FINE HOME.
Leavitt comes frowning, finds Schmall, German
gentleman, military type, waiting. They greet
each other heartily--walk from room.
Scene 3. LAWN, FINE HOME, NEAR FLOWER BED.
Leavitt and Schmall come. German is interested
in roses. Cut.
Scene 4. VERANDA LEAVITT'S FINE HOME.
Mrs. Leavitt, gown and auto coat, comes, looks
yonder in grounds, face brightens. She hastens
that way.
LEADER. MAJOR SCHMALL'S TITLE AND MEDALS OF HONOR
SET THE VAIN MRS. LEAVITT IN A FLUTTER.
Scene 5. BACK TO LEAVITT AND SCHMALL ON LAWN AS IN 3.
Mrs. Leavitt joins the gentlemen and is introduced
to Major Schmall. Husband excuses himself.
Mrs. Leavitt is coquettish. She sees the
medals under major's coat, stands close to him,
handles them and looks up into his eyes. He is
displeased with her actions. He registers that
husband yonder is calling. She takes his arm,
unasked, and they go, Mrs. Leavitt talking
vivaciously and leaning on his arm.
Scene 6. DRIVEWAY IN LEAVITT'S YARD.
Leavitt and auto waiting. Major and Mrs.
Leavitt come, enter the machine and the three
exit.
LEADER. SIGNOR ALBERTI, THE PORTRAIT PAINTER, HAS
BECOME THE BABE OF SOCIETY.
Scene 7. INTERIOR STUDIO OF SIGNOR ALBERTI,
EASEL IN FOREGROUND. TABLE NEAR,
DAIS FOR POSING AT LEFT, BACKGROUND,
PICTURES ON WALLS. ETC.
Signor Alberti, ready for guests, is talking with
his model, young and shapely. They hear guests
coming. He kisses her. She hurries out rear
door. Alberti at foreground door admits gushing
women. Cut.
Scene 8. CURBING IN FRONT CLUB--CAMERA IN
STREET SHOWING CLUBHOUSE IN BACKGROUND.
Leavitt, wife and major come in auto. They
descend. Mrs. Leavitt attempts to attach
herself to major, who quietly moves to other side
of Leavitt. Mrs. Leavitt pouts. They enter
building.
Scene 9. BACK TO INTERIOR STUDIO AS IN 7.
Alberti is showing enthusiastic guests portraits
when Mr. and Mrs. Leavitt and Major Schmall
enter. Alberti hastens to greet them, especially
Mrs. Leavitt, the artist's specialty being
brainless women. Major Schmall starts when he
sees artist. The two men are greeted by the
women present and turn away. Alberti takes
Mrs. Leavitt aside. Cut.
Scene 10. CORNER SAME STUDIO AS 9.
Alberti comes, flatters Mrs. Leavitt, who is
pleased with his compliments. She listens with
eyes downcast, raises them until she gazes
into his eyes. Cut.
Scene 11. CUT BACK TO STUDIO GROUP AS IN 9.
Group all chatting but Major Schmall, who is
looking toward corner where Alberti and Mrs.
Leavitt are talking. Cut.
CUT-IN. "Ah, madam is so beautiful! To paint her
portrait would give me happiness!"
Scene 12. CUT BACK TO CORNER OF STUDIO AS IN 10.
Alberti is gushing over the responsive madam;
would like to paint her portrait. She bows
assent.
Scene 13. BACK TO THE STUDIO AND MAJOR AS IN 11.
He frowns, is tempted to speak to the husband
near, refrains and ponders. Mrs. Leavitt comes
with Alberti excitedly, asks husband's permission
to have artist paint her portrait. Husband
consents. Major studies Alberti's face.
The trio goes.
Scene 14. LEAVITT'S AUTO AT CLUB CURBING AS IN 8.
Mr. and Mrs. Leavitt and major come. Major
refuses to drive with them. Auto and Leavitts
go. MaJor, perturbed, gazes after them, then
at clubhouse--goes.
LEADER. "THESE FOOLISH RICH SHALL BE MADE TO RECUPERATE
OUR DEPLETED FUNDS."
Scene 15. BACK TO STUDIO INTERIOR.
Last of guests just going. Alberti, with smile
of triumph on face, turns as model enters room
from rear door. She goes to him eagerly and
inquires. He nods that he has been successful.
She throws her arms about his neck. He says
words of leader.
Scene 16. CORNER MAJOR'S ROOM, WITH WRITING DESK.
Major has just completed a letter, is reading
inside page:
INSERT. SECOND PAGE OF WRITTEN LETTER.
Am sure he is Gioto, the clever
blackmailing artist whose picture I saw in a
Naples newspaper. Inform the authorities
of Rome at once.
Your friend,
MAJ. KARL SCHMALL.
BACK TO SCENE.
Major much satisfied with his letter; goes with
it.
LEADER. THE FIRST SITTING.
Scene 17. INTERIOR STUDIO, CLOSE TO DAIS.
Alberti is arranging Mrs. Leavitt's pose,
flattering her meantime. She drinks it in. He
has her recline and put head on hand which
is on pillow, arranges her loose hair over
shoulders and body. She is puzzled. He tells
her it is a beautiful pose. She smiles up at
him again. He retreats to easel.
Scene 18. STUDIO INTERIOR WITH CAMERA BEHIND
PAINTER, SHOWING DAIS AND MRS.
LEAVITT IN BACKGROUND.
Alberti comes and begins to block in head. Cut.
Scene 19. EXTERIOR, REAR DOOR TO STUDIO.
Model peeps in crack of door, smiles scornfully.
LEADER. AFTER MADAM HAS GONE.
Scene 20. STUDIO INTERIOR.
Alberti bows Mrs. Leavitt out, signals and
model comes. She is bare-footed and bare-
shouldered, covered with single drape to give
hint of nude pose which she is supposed to do.
Alberti signifies door through which their victim
has just gone, then head of Mrs. Leavitt,
blocked out on canvas. Both laugh sneeringly.
They go to dais. Cut.
Scene 21. DAIS IN REAR OF STUDIO.
Artist and model come. He spreads her hair.
She begins to remove drape, exposing upper
portion of naked body. Cut.
Scene 22. CUT BACK TO CLOSE-UP OF EASEL WITH
CANVAS OF MRS. LEAVITT'S HEAD
BLOCKED IN.
Alberti comes, cunning look on face, and sits;
begins to work and talk to model. Cut.
Scene 23. CUT BACK TO MODEL ON DAIS FROM REAR,
CLOSE UP, SHOWING ONLY HER HEAD
AND BARE SHOULDERS COVERED BY
LOOSE HAIR, AFTER POSE BY MRS.
LEAVITT.
Scene 24. BACK TO EASEL AS IN 22, SHOWING ARTIST
AT WORK AND OUTLINE OF NUDE
BLOCKED ONTO DRAWN HEAD OF MRS.
LEAVITT.
Alberti laughs heartily.
LEADER. NEXT IS FARAR, THE GREAT FRENCH TENOR.
Scene 25. SIDEWALK WITH PARK IN BACKGROUND.
Farar, tenor and conceited, struts past,
enjoying bows of admiring women, is called from
curbing yonder, looks that way, removes hat
and hastens forward.
Scene 26. CURBING AT PARK.
Mrs. Leavitt is leaning eagerly from her auto.
Farar comes, bows low. She gives him both
hands gushingly. He kisses them. Mr. Leavitt
comes. Madam sinks back, rather abashed.
The conceited tenor greets Mr. Leavitt with a
bow, receiving a cold nod. Leavitt enters auto,
which goes. Mrs. Leavitt peeps back at the
bowing Farar.
Scene 27. LIBRARY IN LEAVITT'S HOME AS IN 2.
Leavitt enters, hat in hand. Maid hands him
note. He reads:
INSERT. NOTE IN FOREIGN HANDWRITING.
Signor Leavitt: Your Wife's portrait is
finished. I would advise bringing $10,000.
Come alone. You will understand.
ALBERTI.
Leavitt is puzzled, frowns--impulse to go to
his wife upstairs--takes hat and leaves house.
LEADER. AN ITALIAN DDETECTIVE WITH A MISSION.
Scene 28. EXTERIOR POLICE STATION.
Italian detective with American detective
emerge. American points the way. They
go.
Scene 29. ALBERTI'S STUDIO, CLOSE TO EASEL
WHICH HAS COVERED PICTURE ON IT.
Alberti, smiling craftily, hears knock; brings
in the wondering and rather grim Leavitt,
who looks at the covered canvas and steps toward
it. Alberti, showing teeth in a malicious smile,
stops him, takes the cloth. Cloth comes off in
Alberti's hands. Nude painting of Mrs. Leavitt.
Leavitt steps back in amazement. Cut.
Scene 30. STREET.
Alberti's model passes, followed by Italian and
American detectives.
LEADER. "IT MAY BE, AS SIGNOR SAYS, A 'FAKE.' BUT WHO
WILL BELIEVE IT?"
Scene 31. CUT BACK TO STUDIO AS IN 29.
Alberti, with sneering smile, watches Leavitt,
who is tense in his wrath. He reaches for the
canvas, but is thrown back by the watchful
artist who pulls gun. Alberti points gun at
Leavitt and they are posed tensely at the cut.
Cut.
Scene 32. STREET.
Model passes followed by the two detectives.
LEADER. "DESTROY IT AND I CAN PAINT ANOTHER!"
Scene 33. BACK TO STUDIO AS IN 31.
Alberti sneeringly tells Leavitt he can paint
another, patting his right arm which holds
gun. Leavitt, in rage, hits weapon, which
shoots hole in picture. Leavitt seizes the artist
and the struggle is on for ten feet. Cut.
Scene 34. SIDEWALK ENTRANCE TO CLUB AS IN 8.
Model, closely followed by detectives, turns in.
Italian detective seizes her. American detective
holds her. Italian enters building.
Scene 35. BACK TO FIGHT INTERIOR STUDIO AS IN 33.
Struggle continues, wrecking interior studio as
in 33. Leavitt forces artist to the table and
throws him over table from opposite side camera;
twists artist's right arm as he masters
him. Artist's face comes over table, distended
with torture, until eyes stare into camera.
Leavitt, sudden rage in face, tells victim his
arm is going to break, begins to twist it. Cut.
Scene 36. EXTERIOR DOOR OF STUDIO.
Italian detective comes, hears fight, hurls
himself into room.
Scene 37. BACK TO BATTLE IN STUDIO AS IN 35.
Leavitt, battle-scarred and breathless, backs
from his victim on the table, animal rage in
his face. The artist, in great pain, rolls from
table and falls to floor as Italian detective
rushes in, looks at Leavitt, then at writhing
figure on floor, seizes latter, raises him and
exhibits badge. Alberti shrinks, wildly gazes at
the detective, whom he recognizes. Detective
takes him and goes, followed by Leavitt.
LEADER. "THEY WILL HARM SOCIETY NO MORE."
Scene 38. CUT BACK TO AMERICAN DETECTIVE AND
MODEL, EXTERIOR CLUB AS IN 34.
Italian detective comes with Alberti. Leavitt
follows with picture covered by scarf. Italian
detective tells him the precious pair are going
to Jail. They separate.
Scene 39. INTERIOR MRS. LEAVITT'S DRESSING
ROOM AS IN 1.
She is admiring the jewels in her hair and
gown she has just donned, sees photo on screen,
picks it up (flash of Farar's photo on screen),
admires it, sees self in glass, throws kiss at
her reflection, turns suddenly as Leavitt, mussed
by the fight and with covered picture, comes.
She is alarmed at his grim appearance, creeps
towards him. He shows back of picture and
bullet hole, drops it face down on floor, tells
her to look at it and come to him in library in
five minutes, goes, leaving her staring and
frightened. She fears to take picture up, forces
herself to raise it, drops it and covers her eyes.
Cut.
Scene 40. LIBRARY AS IN 2.
Leavitt, dressing coat and clean collar, comes
grimly, looks at watch and waits. Cut.
Scene 41. BACK TO MRS. LEAVITT AS IN 39.
She is crouched on floor beside picture, sobbing;
rises, reels as she looks in mirror, destroys
Farar's photo, tears jewels from hair, begins to
tear dress. Cut.
Scene 42. BACK TO LIBRARY AND LEAVITT WAITING
AS IN 40.
Paces library.
Scene 43. EXTERIOR LIBRARY DOOR.
Mrs. Leavitt, hair done simply, in simple black
dress, comes fearfully, looks at door, spasm of
hysteria overtakes her. She puts arms on door
and head on arms. Door begins to swing open.
Scene 44. BACK TO LIBRARY AS IN 42, NEAR DOOR.
Leavitt, arms folded, coldly waiting, door
swinging open slowly with Mrs. Leavitt sobbing
against it. As it opens she sinks to the floor.
He stands waiting. Sobbing, she draws herself
to her knees, holding to him. Then, upright,
swaying before him, makes her humble plea.
As FADEOUT begins, his face softens slightly
and his arm begins to move about her shoulder.
Screenplay by William E. Wing
Produced by Selig Polyscope