CHAPTER XX

God's in his heaven—All's right with the world!

We have read of a Western script in which the outlaw, wounded and bleeding, is given shelter by the heroine. When the sheriff arrives, he sees the basin containing the bloody water and inquires how it comes there. Even while he is looking at it, the girl cuts herhand with a knife, and declares that, having cut herself before the Sheriff's arrival, she has just washed her hand in the basin.

This incident, or situation, is almost identical with one in the Ambrosio Company's "After Fifty Years," which won the first prize of twenty-five thousand francs ($5,000) at the Turin Exhibition, and which showed as one of its many thrilling situations the Italian heroine gashing her hand with a knife held behind her back, to explain to the Austrian soldier who is in search of her lover the presence of blood on her sleeve.

Yet this could not be called a theft, or even a re-arrangement of another writer's plot. The plot, characters, and setting were entirely different in each play—it was only that one situation that was made use of; and it seems likely that it was from the Ambrosio picture, or the account of it, that the author of the Western story got his inspiration. Yet who can really tell? Thoughts are marvellous things, and both writers may have gotten their ideas from some other original—or even conceived them in their own brains.

After all, as has been pointed out, the trouble with many young writers is that they are not content with copying a single situation. They have not been "in the game" long enough to realize either the risk that they are taking or the wrong that they are doing a fellow writer, so they not only adapt to their own needs a strong situation in another's story but precede and follow it with other incidents and situations whichare substantially the same as those surrounding the big situation in the original story.

But giving an old theme a new twist is a trick of the trade that comes only with experience, and experience is gained by practice. Experience and practice soon teach the photoplaywright not to rely too heavily upon the newspaper for new ideas, for almost every day editors receive two or more plots which closely resemble each other, simply because the writers, having all chosen the same theme, have all worked that theme up in the same way—theobviousway, theeasiestway, the way that involves the least care, and therefore the least ingenuity.

"Where do the good plots come from, anyhow?" asks John Robert Moore. "We people in universities often amuse ourselves by tracing stories back to their origins. The trouble is that we often reach the limit of our knowledge, but rarely find the beginning; for theplotseems to be as old as the race. What, then, has been changed in a story which has been raised from a mediæval legend to a modern work of art?

"In such cases, the setting and the moral content are almost invariably altered. An absurdly comic story about an Irishman and a monkey, which was current a couple of centuries ago, became 'The Murders in the Rue Morgue' in the hands of Poe. The central plot remained much the same, but the whole of the setting and the intellectual content assumed a new and vastly higher significance. 'The Bottle Imp' harks back to the Middle Ages; but Stevenson made a world-famous story of it by giving it the flavor of the South Sea Islands which he knew so well."

So there are both discouragement and cheer for those who accept the Wise Man's dictum that there is nothing new under the sun. In the one aspect, there seems little chance for the novice since the primary plots are really so few; but in the other view, fresh arrangements of old combinations are always possible for those who see life with open eyes, alert minds, warm hearts, and the resolve to be as original as they can.

Adapted from "O. Henry's" Short-Story, "Brickdust Row," by A. Van Buren Powell, and Produced in Film Form by The Vitagraph Company[35]

The mere reading of the following photoplay script will not do you any good. To get any benefit from it you muststudyit.

The script, which is an adaptation—the short-story of a famous author, "O. Henry," translated into screen technique—is in the form in which it was accepted for production. An adaptation rather than the script of an original idea is chosen for two reasons: the story from which it was made is accessible in every library, and the translation into production-form offers certain problems which make it a more effective lesson in idea-building.

Pretend that you are a staff writer, and that you are to "do" a certain story by "O. Henry." Get from your library the book of short-stories by the famous author which contains "Brickdust Row"—the volume is entitled "The Trimmed Lamp." Read the story—read it until you are thoroughly familiar with its every word. Read it analytically. You are to make an adaptation of it. What must that adaptation have for its fundamental purpose?—the preservation of "O. Henry's" charm of atmosphere; the utilization of his cleverness with words, wherever possible in leaders; the emphasizing of his purpose in writing the story. What was that purpose? Was it not to show how a man's code of ethics, mistakenly clung to, resulted in his misjudging a perfectly innocent girl, with resultant tragedy? And, contributory to this, was it not the aim of the original author to emphasize and excuse the conduct of the girl—conduct arising naturally from her environment and station in life?

These things must be conveyed, then, through the medium of characterization, with the help of little human touches. The girl must be shown as sweet, clean, without a wrong thought; the man must be clearly depicted, his reason for being so seemingly churlish and careless of the duties imposed upon him by his ownership of many tenements must be handled in such a way that he will not be an unsympathetic character.

Then we are confronted with certain studio conditions. The story must be made of feature length—five or more reels. Again, tragedy is not welcome on the screen. Arguments might be offered to show that the original story will lose strength through the addition of the "happy ending." We cannot help that—in fact, we must surmount that obstacle. We mustmakethestory equally strong and try, if we can, to add to its lesson. We cannot air our ideals, and write just as we wish; we must conform to the set rules of our particular studio, as well as to the general rules covering screencraft.

The change of title is governed by so many factors that it need only be said that the alternative title was given as possessing a greater advertising and drawing power.[36]

Now we have dissected "O. Henry's" original story. We have decided what we must do with it. Comes the director for consultation. He feels that the story is not long enough. It need not be padded, but an additional character might be introduced to bring out and emphasize the true character of our leading woman, and at the same time the required dramatic element and the contrasting of his character with that of the leading man may be achieved by his presence.

So, agreeing with the director, we write our script.

Throughout, notes will call your attention to certain points that will help your understanding of the technical purposes of certain material.

"EVERYBODY'S GIRL"

SYNOPSIS

Florence is a shop girl, of the quiet, sweet, clean type. She finds it hard to make ends meet. Her morepractical, more worldly-wise friend, Ella, the shoe-store cashier, suggests that they share her present quarters in "Brickdust Row"—a decaying tenement block. By this division of expense they can both save "enough to buy an extra pickle for lunch once in a while."

When Florence sees "Brickdust Row" she is depressed by its dull aspect, its dreary environment. But she accepts Ella's proposal, and the two girls begin their sharing of the tiny room as cheerfully as possible.

Through a terrifying experience with a male flirt Florence comes to learn that Ella has long been used to accepting attentions and escort from men outside the home atmosphere. Ella explains that since the owner of "Brickdust Row" is so avaricious that he allows the parlors to be rented out, no place is provided where the girls may entertain men properly, and so the society of the opposite sex must be sought and enjoyed "here, there and everywhere."

The idea is repugnant to Florence, who is unusually fine in her ideas of propriety; but she comes to see that Ella's way is the only outlet for youth and the desire for companionship, brightness, life.

She is very choice in her selection of escorts, and never permits any young man she meets to discover even where she lives.

The owner of the tenements is a bored, money-spoiled young man—Alexander Blinker. His lawyer tries to make him take enough interest in his tenements to change the leases so that the girls can have a placeto meet gentlemen with the shield of propriety. Blinker is too anxious to get to a golf tournament even to listen.

Florence grows used to her rôle of "Everybody's Girl," and while she is decidedly decorous, she learns the arts and affectations of the "street meeting."

Blinker has to come to his lawyer in order to sign some important documents; they are not prepared. He must stay in the city over Sunday. The idea fills him with disgust; he longs for the hunting trip he has planned. In sheer desperation he decides to do that which his butler considers equivalent to jumping from the window, in view of his social status—Blinker determines to go to Coney Island.

His experiences may be imagined as he is pushed and jostled by the rough-and-ready pleasure-seekers. He gets on the boat and is seen by Florence, who regards him as a prospective escort and so conducts herself that he is virtually forced into conversation, and with no experience to guide him in this strange method of introduction, he manages to bear himself suitably, to the end that the two debark at the island of pleasure-seeking and set out to enjoy themselves, Florence being the guide, by virtue of her experience.

At first Blinker feels entirely out of his element, but Florence shows him the spirit in which to accept the tinsel and the rude fun-making. He soon comes to like it—and to think very well of the naively "different" girl beside him.

He is treated like all her other cavaliers at the time and place of parting—she goes home alone. He returns to his apartment with a new idea of the city's possibilities.

That same evening Florence finds an intruder unceremoniously invading her room—a "gang" leader who believes the shot he has just fired at an adversary has been fatal in its effect. He tells her his story, but says he did not do the shooting. She believes him, and when the police come to her door in their search for the culprit, she pretends that the man opposite her at the table is her brother.

Later she learns that he has told her a falsehood, but she does not deliver him to justice, and when she finds that the man who was shot is not fatally injured, she sends the shielded one away in safety; for which display of her fine sense of loyalty he becomes a veritable watchdog, never intruding his presence upon her, but being always near to observe the quality of the companions she still allows herself.

Blinker meets her by appointment the next evening, and the faithful Watchdog follows them to Coney Island, vigilant, feeling sure than a man of the evident social status of Blinker can mean no good to a girl in Florence's station.

On the boat, coming home, Blinker tells Florence that he loves her. So accustomed is she to this display of sentimentality in her cavaliers that she merely laughs. He persists, and she indicates a belief that he is just like the rest. Mention of "the rest" awakes question in Blinker. He learns that she meets men indiscriminately. He has a horror of this evidence ofwhat he considers to be moral laxity, and when Florence sees this she is amazed.Hehas met her in the same way, yet he is shocked that she should meet others! In justifying her course she explains what sort of place "Brickdust Row" is, and how the girls are driven out.

A fire is discovered on the boat, and in the excitement Blinker and Florence are separated and the Watchdog is unable to find the girl he worships. She has jumped into the water as the flames drew too close to her.

Later she is found at home by the Watchdog, safe though suffering from shock. He discovers that the shock is less from exposure than from her discovery that Blinker was serious, and that he refused to condone her mode of meeting men.

Blinker is visited by his lawyer, and in their conversation, a reference to "Brickdust Row" gives Blinker the knowledge that he is the owner of that tenement—that it is his own fault which gives rise to such unconventional practices as Florence has innocently indulged in. It is too late, he thinks, now—too late to change things. His dream of love is rudely dispelled.

However, after a visit from the Watchdog, in which the gangster loyally champions Florence's character and "lays down the law" to Blinker, the latter sees Florence again, realizing his own great fault in being too quick to judge—and the reconciliation is made sweeter by his willingness to have Florence do her willwith the remodeling of the tenement, while the Watchdog finds comfort in the smiles of Ella.

CAST OF CHARACTERS[37]

SCENARIO, OR CONTINUITY OF SCENES

Leader—

THUS DOES FLORENCE COAX A FEW RELUCTANT DOLLARS INTO HER WEEKLY PURSE.

1—Interior small hat-trimming shop.

The diaphragm opens to show Florence trimming a hat. She is a pathetic figure as she looks down at the hat and realizes that such finery is beyond her owning. She looks up and smiles gratefully as the owner of the place comes from paying others in view, and drops an envelope on table before her.[39]

Leader—

THE SHOP GIRL'S CONSTANT PROBLEM—MAKING ENDS MEET—HELPS FLORENCE WEAR OUT MANY A PENCIL.

2—Boarding house steps.

Florence is discovered sitting on step, figuring out her accounts with a stubby pencil on back of an old envelope. She looks disconsolately at her figures. Then as she glances up her eyes brighten and she waves a hand.[40]

Leader—

FRIEND ELLA, OF THE SHOE-STORE CASHIER'S CAGE.

3—Street near boarding house.

Ella, whose face is piquant with recognition, waves in a snappy, "Oh! Hello, Kid" manner, and goes toward boarding house.

4—Boarding house steps, as in 2. Close-up of two girls.

Ella comes on and greets Florence in breezy way; Florence is pleased, but her manner of salutation is more quiet, though equally sincere. Ella drops on step, looks at figures, and grins. Florence indicates her depression, due to the figures that will not balance with her meager income. Ella makes a proposition, saying:

Cut-in leader—

"WHY NOT SHARE A ROOM WITH ME? WE MIGHT EACH SAVE ENOUGH TO ADD A DILL PICKLE TO OUR LUNCH."Florence is impressed, and Ella bids her come along and see the place.[41]

"WHY NOT SHARE A ROOM WITH ME? WE MIGHT EACH SAVE ENOUGH TO ADD A DILL PICKLE TO OUR LUNCH."

Florence is impressed, and Ella bids her come along and see the place.[41]

5—Wider view of steps.

As Florence rises, she hesitates, and seems to be averse to putting her friend to inconvenience. Ella grins gayly, and says:

Cut-in leader—

"WHEN YOU SEE 'BRICKDUST ROW'—WHERE I LIVE—YOU WON'T THINK I'M DOING YOU ANY FAVOR."She urges Florence to come along. Two girls leave scene.[42]

"WHEN YOU SEE 'BRICKDUST ROW'—WHERE I LIVE—YOU WON'T THINK I'M DOING YOU ANY FAVOR."

She urges Florence to come along. Two girls leave scene.[42]

6—A street corner.

A blind man is selling pencils. Ella and Florence come on. Florence pauses, fishes coin from her purse and buys a pencil. Then, as Ella keeps right on, turning corner, Florence smiles gently and pauses again.

7—Street corner—close-up of hands.

Florence gently slips the purchased pencil back into hand of blind man, allowing her hand to rest commiseratingly on his arm an instant.

8—Wider view of street corner.

Ella turns to see what is keeping Florence, who is hurrying away to avoid the man's "Bless you, and the Saints protect you!"[43]

Leader—

"BRICKDUST ROW," WITH ITS DREARY MONOTONY AND CRUMBLING DECAY, IS A PLACE TO SIGH OVER—NOT TO LIVE IN.[44]

9—Long view of street with typical tenements.

Showing the dreary atmosphere of the place as Florence and Ella come along street and pause at a doorway.

10—Closer view doorway.

Emphasis of atmosphere. Ella unlatching door as Florence touches side-rail of low stoop and looks downcast, shuddering a bit. They go in.

11—Lower hall of tenement.

A worn whisk-broom hangs on wall. There is a comedy touch as Ella and Florence come in, and the latter notices the whisk-broom.

12—Bust view. Wall.

Showing whisk-broom.

13—Wider view of hall.

Ella laughs, and says:

Cut-in leader—

"THE FIRST TIME YOU START OUT FROM THIS DUST-FACTORY YOU'LL KNOW WHY THAT'S THERE!"Florence is dubious about liking the place, but follows Ella up the rickety, dust-laden stairway.

"THE FIRST TIME YOU START OUT FROM THIS DUST-FACTORY YOU'LL KNOW WHY THAT'S THERE!"

Florence is dubious about liking the place, but follows Ella up the rickety, dust-laden stairway.

14—Ella's tiny but neat room—window on fire-escape.

Ella brings Florence in. Ella throws out hands in gesture of "Here it is—not much, I'll admit." Florence exclaims in reassuring affectation of delight and says she will take Ella's offer.Diaphragm out.

Ella brings Florence in. Ella throws out hands in gesture of "Here it is—not much, I'll admit." Florence exclaims in reassuring affectation of delight and says she will take Ella's offer.

Diaphragm out.

Leader—

WE NOTE ONE BLINKER—ALEXANDER BLINKER—OWNING TENEMENTS GALORE, AND LEADING A GENERALLY USELESS LIFE BECAUSE HE HAS BEEN BROUGHT UP THAT WAY.

15—Oldport's legal office. Close-up at door.

Diaphragm in to a close view of Blinker, introducing him in a very unpleasing humor, evidently sour about something.[45]

16—Oldport's office—wider view.

Showing Oldport looking quizzically at the fuming Blinker as the latter advances, saying:

Cut-in leader—

"IF IMUSTSIGN THOSE DISGUSTING LEASES, LET US GET IT OVER. I HAVE A GOLF TOURNAMENT ON—"He advances and slumps pettishly into a chair by desk.

"IF IMUSTSIGN THOSE DISGUSTING LEASES, LET US GET IT OVER. I HAVE A GOLF TOURNAMENT ON—"

He advances and slumps pettishly into a chair by desk.

17—Close-up of Oldport.

Oldport looks around at Blinker, with an expression showing more pity than annoyance.

18—Close-up of Blinker.

Blinker makes a gesture of impatience and shifts in his chair.

19—Ella's room. A few touches indicating the refining influence of Florence.

Ella is getting ready to go out. Florence questions. Ella says, "I got an afternoon date." Then she vents her annoyance at the owner of the buildings by saying:

Cut-in-leader—

"THE DUB THAT OWNS THIS DUST-BIN IS SO MEAN THAT HE RENTS THE PARLORS—SO US GIRLS HAS GOT TO MEET OUR GENTLEMEN FRIENDS SOMEWHERE OUTSIDE—WE CAN'T ENTERTAIN IN OUR ROOMS, CAN WE?"Florence shakes her head, and refuses an invitation to accompany Ella, who goes out.[46]

"THE DUB THAT OWNS THIS DUST-BIN IS SO MEAN THAT HE RENTS THE PARLORS—SO US GIRLS HAS GOT TO MEET OUR GENTLEMEN FRIENDS SOMEWHERE OUTSIDE—WE CAN'T ENTERTAIN IN OUR ROOMS, CAN WE?"

Florence shakes her head, and refuses an invitation to accompany Ella, who goes out.[46]

20—Oldport's office.

Blinker signing papers. Finishing, he rises. Oldport lays a restraining hand on his arm, taking another paper. Blinker shudders in distaste, as Oldport turns and says:

Cut-in leader—

"THERE IS A MATTER CONCERNING THE RENTING OF THE PARLORS IN ONE OF YOUR BUILDINGS—YOUR FATHER HAD INTENDED TO REMODEL THEM, SO—"Blinker shrugs, and rises, protesting, imploringOldport to let him get away. Oldport rises, and follows him to door, where he stops him.

"THERE IS A MATTER CONCERNING THE RENTING OF THE PARLORS IN ONE OF YOUR BUILDINGS—YOUR FATHER HAD INTENDED TO REMODEL THEM, SO—"

Blinker shrugs, and rises, protesting, imploringOldport to let him get away. Oldport rises, and follows him to door, where he stops him.

21—Close-up door of Oldport office.

Oldport is serious, almost pleading, as Blinker wheels. Oldport says:

Cut-in leader—

"BECAUSE THE PARLORS ARE RENTED AS ROOMS, THE GIRLS, MOSTLY SHOP WORKERS, MUST DO THEIR ENTERTAINING OF MEN—ELSEWHERE—"Blinker turns deprecatingly, and says:

"BECAUSE THE PARLORS ARE RENTED AS ROOMS, THE GIRLS, MOSTLY SHOP WORKERS, MUST DO THEIR ENTERTAINING OF MEN—ELSEWHERE—"

Blinker turns deprecatingly, and says:

Cut-in leader—

"DEAR OLD MAN—ANOTHER TIME,PLEASE!"He hurries out. Oldport frowns with annoyance, then shrugs.Diaphragm out.Diaphragm in:[47]

"DEAR OLD MAN—ANOTHER TIME,PLEASE!"

He hurries out. Oldport frowns with annoyance, then shrugs.

Diaphragm out.

Diaphragm in:[47]

22—Front of hat-shop where Florence is employed.

Frank, a typical street-flirt, is lounging, watching some girls pass; they laugh and nudge each other; then Florence comes out of shop and Frank, lifting cap, falls into step beside her. Depict innocence on Florence's part—she does not "get his drift."[48]

23—Exterior of golf club.

Blinker arrives in haste, to find friends and players waiting. Emphasize his egotism and self-centeredness as they start off for the golf links.

24—Street in tenement district.

Frank is keeping up with Florence as she comes on. He takes her arm. She stops dead still. Sudden fear shows in her face. Tearing herself free, she fairly runs from the scene, Frank staring in surprise, and indicating "Holy Mackerel—stuck up little skirt!"

25—Door in Brickdust Row.

Florence comes hurrying on, looks over her shoulder to be sure she is not followed, and rushes into house.

26—Golf course.

Blinker tees up and drives. He shows satisfaction as he watches the flight of the ball, then sets off, smiling at his caddie's muttered "Some drive!"

27—Ella's room.

Florence is coming in. She is panting. Still shaking with fright and mortification, she flings herself across the bed.

28—A street corner.

Ella is parting from a "gentleman friend" and thanks him for a "swell time," then starts for home as he turns, hat lifted, and goes.

29—Golf course.

Show Blinker's egotism as he wins match amid plaudits of his friends.

30—Ella's room.

Florence still on bed as Ella comes in. "What's up, Kid?" Florence explains. Ella laughs, and tells her the lad meant no harm, then rising in denunciation of their environment, she exclaims:

Cut-in leader—

"LORD, KID! A GIRL CAN'T STICK IN THE HOUSE AND BE A DRIED PRUNE WITHOUT NO FRIENDS. IF SHE CAN'T BRING 'EM HOME—SHE HAS TO MEET 'EM WHEREVER SHE FINDS 'EM."This is a new idea to Florence, and it impresses her, though she is dubious about it. Finally, reconciling herself, she agrees, saying:

"LORD, KID! A GIRL CAN'T STICK IN THE HOUSE AND BE A DRIED PRUNE WITHOUT NO FRIENDS. IF SHE CAN'T BRING 'EM HOME—SHE HAS TO MEET 'EM WHEREVER SHE FINDS 'EM."

This is a new idea to Florence, and it impresses her, though she is dubious about it. Finally, reconciling herself, she agrees, saying:

Cut-in leader—

"YES, A GIRL HASGOTTO HAVESOMEFUN. I GUESS IT'S NO HARM TO LETNICEFELLOWS SPEAK, AND TAKE YOU OUT SOMETIMES."Ella assures her that it is no harm. Florence is less dubious.

"YES, A GIRL HASGOTTO HAVESOMEFUN. I GUESS IT'S NO HARM TO LETNICEFELLOWS SPEAK, AND TAKE YOU OUT SOMETIMES."

Ella assures her that it is no harm. Florence is less dubious.

Leader—

DUN, DREARY MONOTONY DRIVES FLORENCE TO THE ONLY ENTERTAINMENT HER ENVIRONMENT PERMITS.

31—A park entrance.

Florence allows a neat chap who has been flirting to take her arm, and they go off together.

Leader—

SOMETIMES THE MOVIES—

32—Outside moving picture house. Night.

Florence is laughing as she comes on with ANOTHER nice-looking chap who takes her in to see the show.

Leader—

SOMETIMES MOONY SPOONING—

33—Park seat near lake. Moon on water for pretty view.

Florence is allowing a different fellow to sit close and hold her hand. (No inclination to get "fresh.")

Leader—

BUT ALWAYS THE SAME TACTICS, AND EACH TIME WITH A DIFFERENT CAVALIER.[49]

34—Front door, Brickdust Row. Evening.

Florence comes on, with an impatient swain, but she gives absolutely no indication that this is where she lives, and they pass off.

35—Street corner.

Florence and companion come on. She says "good night" and refuses to let him go further. When he is gone around the corner she retraces her steps toward home.Diaphragm slowly out.

Florence and companion come on. She says "good night" and refuses to let him go further. When he is gone around the corner she retraces her steps toward home.

Diaphragm slowly out.

Leader—

AH, THE TRIBULATIONS OF BLINKER!

36—Oldport's office.

Blinker comes in, disgusted. Oldport laughs at him somewhat sardonically as Blinker says:

Cut-in leader—

"WILL THOSE PAPERS NEVER BE DONE WITH? WELL—HURRY. I'M PACKED TO START FOR THE NORTH WOODS TONIGHT."Oldport grins cheerfully, saying:

"WILL THOSE PAPERS NEVER BE DONE WITH? WELL—HURRY. I'M PACKED TO START FOR THE NORTH WOODS TONIGHT."

Oldport grins cheerfully, saying:

Cut-in leader—

"THE WORST HAS NOT BEEN TOLD YOU. THE PAPERS WILL NOT BE READY TILL MONDAY—SO YOU WILL HAVE TO AMUSE YOURSELF FOR A DAY AND A HALF—"Blinker flings out, disgusted.

"THE WORST HAS NOT BEEN TOLD YOU. THE PAPERS WILL NOT BE READY TILL MONDAY—SO YOU WILL HAVE TO AMUSE YOURSELF FOR A DAY AND A HALF—"

Blinker flings out, disgusted.

37—Ella's room.

Florence comes in, in her work-day clothes, and prepares to get out a quite new summer frock.

38—Blinker's apartment.

Blinker in, and man taking off coat, etc. Summer garb. Blinker disgusted with life. Reads paper. Man obsequious—comedy touch with proffer of numbers of varieties of cigarettes.

39—Ella's room.

Florence dressed in summer frock. Wonders what to do with herself—plans, counts money—decides and goes out.

40—Apartment.

Blinker reads "ad." in paper and suddenly says to his man:

Cut-in leader—

"SIMONDS, I'M GOING TO CONEY ISLAND."Man bows as if he had said he was going to drown himself. Blinker bids man fetch some cool outing flannels—he acts as if he were preparing to go to be shot, but must face it. Ennui driving him.

"SIMONDS, I'M GOING TO CONEY ISLAND."

Man bows as if he had said he was going to drown himself. Blinker bids man fetch some cool outing flannels—he acts as if he were preparing to go to be shot, but must face it. Ennui driving him.

Leader—

FOR ONCE HOI-POLLOI JOSTLES, BUSTLES AND HARASSES THE ARISTOCRATIC BLINKER.

41—Dock, gangplank.

Comedy with Blinker in a mob of "kidders" on the way to a Coney Island boat.

42—Deck chair or camp stool, on Coney Island boat.

Florence is staring out over water. Turns. Sees something.

43—Deck location.

Blinker coming out of mob—catching hat, effect of tipping it.

44—Deck, wider view.

Florence affects to be freezing. Blinker notices her, and is abashed.

45—Close-up of Florence.

Florence freezing, says:

Cut-in leader—

"HOW DARE YOU LIFT YOUR HAT TO ME, SIR?"Haughty.

"HOW DARE YOU LIFT YOUR HAT TO ME, SIR?"

Haughty.

46—Close-up of Blinker.

Blinker stammers:

Cut-in leader—

"I DIDN'T—"Then starts, admiring.

"I DIDN'T—"

Then starts, admiring.

47—Close-up of Florence.

Florence freezing, yet eyes twinkle.

48—Wider-angle view.

Blinker quickly corrects himself by adding:

Cut-in leader—

"I DIDN'T SEE HOW I COULD HELP IT—AFTER ISAWYOU."She appears mollified. He sits.

"I DIDN'T SEE HOW I COULD HELP IT—AFTER ISAWYOU."

She appears mollified. He sits.

49—Closer view, toward water.

Florence says:

Cut-in leader—

"I DON'T ALLOW GENTLEMEN TO SIT BESIDE ME TO WHOM I HAVE NOT BEEN INTRODUCED."Comedy as Blinker rises, then sits as he sees she is joking. They begin to "get together."

"I DON'T ALLOW GENTLEMEN TO SIT BESIDE ME TO WHOM I HAVE NOT BEEN INTRODUCED."

Comedy as Blinker rises, then sits as he sees she is joking. They begin to "get together."

50—Same scene, different angle.

He asks Florence:

Cut-in leader—

"ARE YOU GOING TO CONEY ISLAND?"She comes back at him:

"ARE YOU GOING TO CONEY ISLAND?"

She comes back at him:

Cut-in leader—

"CAN'T YOU SEE I'M RIDING A BICYCLE UP THE WOOLWORTH TOWER?"He is abashed, then gets her idea, and says quite attentively:

"CAN'T YOU SEE I'M RIDING A BICYCLE UP THE WOOLWORTH TOWER?"

He is abashed, then gets her idea, and says quite attentively:

Cut-in leader—

"I'VE NEVER BEEN TO CONEY. MAYN'T WE SEE IT TOGETHER?"She is surprised, then appraises him and temporizes.

"I'VE NEVER BEEN TO CONEY. MAYN'T WE SEE IT TOGETHER?"

She is surprised, then appraises him and temporizes.

Leader—

IN DUE COURSE ONE IS DASHED INTO THE WALKS AND AVENUES OF FAIRYLAND GONE INTO VAUDEVILLE.

51—Steeplechase Amusement Park.

A long view to show the "atmosphere."[50]Florence and Blinker in the crowd.

52—Closer view.

Blinker and Florence. "Tough" with girl. "Tough" blows cigar smoke in Blinker's face. Florence tactfully prevents a "scrap." She can't afford to have cavalier "pinched." Off they go.

53—Some open-air amusement, as "The Whip."

Blinker and Florence on—he is disgusted. She is aflame with excitement. He looks disgustedly at the amusement, and she, divining—dejectedly—goes off with him.

Leader—

FLORENCE IS DIVINELY HAPPY—FOR IS SHE NOT WITH HER MAN—KEEPER OF THE KEYS OF FAIRYLAND?

54—Front of a show.

Florence in ecstasy. Overcomes chagrin. Goes in with disgusted but subdued Blinker—subdued by a battle royal with the mob around ticket wicket.

55—Inside the show.

As Blinker helps Florence into a seat, an Italian woman with bunch of candy-sticky kids comes along. In they pile, candying Blinker, who disgustedly hops out, with Florence, somewhat discomfited and provoked at him, following. He backs away, and she after him.

56—Closer view of the two.

Florence sizing up Blinker—delivers her opinion:

Cut-in leader—

"IF YOU EXPECT TO HAVE ANY FUN, YOU'VE GOT TO JUMP IN AND ACT AS NUTTY AS THE REST OF THEM."Blinker is subdued, but hard to convince. Then he looks at the wistfulness of Florence's eyes, and somehow he decides he will try to enter into the spirit of the thing. She sees, is starry-eyed—drags him off, ecstasy in her face.

"IF YOU EXPECT TO HAVE ANY FUN, YOU'VE GOT TO JUMP IN AND ACT AS NUTTY AS THE REST OF THEM."

Blinker is subdued, but hard to convince. Then he looks at the wistfulness of Florence's eyes, and somehow he decides he will try to enter into the spirit of the thing. She sees, is starry-eyed—drags him off, ecstasy in her face.

57—The flying horses.

Blinker about to get on, with Florence pulling him. They get on. "They're off!"

Leader—

BY THE MAGIC OF FLORENCE'S ENTHUSIASM BLINKER SUDDENLY SEES CONEY ISLAND IN ITS TRUE GUISE.

58—Flash on horse.

Florence all ecstasy.

59—Another horse—parallel.

Blinker watching Florence—sudden change to delight.

60—Horses on track in Steeplechase, running parallel.

The two horses are going away from the camera, and as Blinker turns to smile at Florence, she smiles at him, and—The scene interposes into—

The two horses are going away from the camera, and as Blinker turns to smile at Florence, she smiles at him, and—

The scene interposes into—

61—A rolling open field.

Taking the place of the Steeplechase horses, we see Florence and Blinker riding at a gallop on real horses, typifying their imagined visualization. The scene interposes back into—

62—Steeplechase horses.

Blinker laughs merrily at Florence, and both "work" as hard as they can to send the horses faster.[51]

Leader—

NO LONGER DOES BLINKER SEE A RABBLE. HE IS AMONG HIS BROTHERS, ALL SEEKING AN IDEAL.

63—Front of tawdry amusement place.

Blinker is with Florence. As they come up and listen to the "ballyhoo" man—The scene interposes into—

Blinker is with Florence. As they come up and listen to the "ballyhoo" man—

The scene interposes into—

64—Front of fairy castle.

Florence and Blinker as Prince and Princess.The scene interposes back into—

Florence and Blinker as Prince and Princess.

The scene interposes back into—

65—Front of amusement place.

Blinker and Florence rush in with crowd, all gay and hilarious.

Leader—

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