Chapter III
.]
_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--
64--Front of fairy castle.
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--_
SO BLINKER ROLLS UP THE SHIRTSLEEVES OF HIS MIND, AND BECOMES AN IDEALIST TOO.
66--A show (Slide).
Good comedy to get some people coming down a slide, with Blinker and Florence among them.
67--Bottom of slide.
Blinker and Florence get out, gay as can be--and as they stroll off, there is a touch of sentiment.
_Leader--_
THE PARTING.
68--Park entrance. Night.
Blinker and Florence. She stops him. He wants to go on with her, but she says:
_Cut-in leader--_
"I MUST LEAVE YOU HERE. I DON'T WANT TO SPOIL THE FAIRYLAND BY SHOWING YOU--'BRICKDUST ROW.'"
He tries to persuade her. She is firm. Another "date" for tomorrow. Off she goes. He the other way.
69--Room.
Florence in--lights up. Sits to dream of happy day.
70--Blinker's apartment. Lit up.
Blinker in to find Simonds waiting. Dismisses man, who might interrupt dream of happy day by proffer of something--comedy chase out, then Blinker back to smoke and smile.
71--Florence's room. Gas-lit.
Florence rises to remove dress, pauses to look at herself in mirror--girlish vanity.
_Leader--_
WHEN GANG-LEADER MEETS GANG-LEADER--
72--Front of "Brickdust Row." Night.
Bill sauntering. Pauses to light cigarette. A rival gang-leader comes on. Flash--pistols--bang--other man fires first. Bill wings him and turns.
73--Corner. Night.
"Cop" hears shooting. Listens to locate it.
74--Front of "Row." Night.
Bill hides gun in coat. Dodges into door.[52]
[Footnote 52: Here Bill is not introduced by leader, but is allowed to characterize himself in action.]
75--Corner. Night.
"Cop" looking around--sees--
76--Front of "Row." Night.
Man lying still.
77--Corner. Night.
"Cop" blows whistle and runs off.
78--Hall. Gas-lit.
Bill listening. Up the stairs! He may get away!
79--Front row. Night.
"Cop" and others gather about man. Several "cops" on at a run.
80--Ella's room. Gas-lit.
Bill looks in doorway. Florence at mirror, about to loosen dress. Turns. Bill comes in. He says:
_Cut-in leader--_
"LISTEN, SIS--A GUY CROAKED ANOTHER FELLOW--A COP THINKS I DONE IT--I DIDN'T--SO HELP ME GOD!"
He is so pathetic in his fright that she is torn with sympathy.
81--"Cops" before "Brickdust Row." Night.
"Cops" decide to look in house--go in.
82--Ella's room. Gas-lit.
Florence moves close to Bill and finds gun. He nods--says:
_Cut-in leader--_
"THAT'S WHY I'M SCARED--IF THEY FIND IT THEY'LL PINCH ME--"[53]
She nods. Both start, as at a sound.
[Footnote 53: It is, of course, clear to the spectators that he is not telling the truth, though not so to Florence.]
83--Hall. Gas-lit.
"Cop" bounding up the stairs.
84--Ella's room. Gas-lit.
Bill in terror. Florence sees the abject fear in his eyes, and the tenderness and protective sympathy of her nature are instantly roused. Dropping the gun in a table drawer, and sitting down, she motions Bill to sit opposite, and command himself. She picks up needlework, and proceeds to chat with Bill as unconcernedly as if he were a constant visitor at the place.
85--Outside the door of Ella's room. Gas light in room; dimmer light in hall.
The "cop" comes softly to door, listens, and then pushes door quietly inward.
86--Ella's room. Gas-lit.
As the police officer opens the door and looks in, Florence is quietly sewing, and Bill is leaning back, at his ease, though it is an effort for him to be unconcerned. He is smoking. The officer hesitates. Hold suspense of situation.
87--Front of "Row." Night.
Ambulance attendants busy over man. Street crowd being driven away by several policemen.
88--Ella's room. Gas-lit.
The officer moves forward, his eyes on Bill. Florence does not betray the slightest sign of dismay. She looks at the intruder as much in reproof as in surprise. Her steady look disconcerts the policeman; he shuffles, clears his throat, and explains his search, glancing toward Bill. Florence says:
_Cut-in leader--_
"LIVING IN THE BACK OF THE HOUSE WE DON'T HEAR MUCH--OR MY BROTHER WOULD HAVE GONE DOWN TO SEE WHAT WAS UP."
Bill takes up the lead she gives by pretending eagerness as to what happened, but the officer, after a hasty look out over the fire escape, turns and hurries from the room. Bill sighs relievedly, and looks at Florence with the same sort of light in his eyes that one sees in those of a faithful dog. This dog-like devotion is to be the developing keynote of Bill's character.
89--Roof of house. Night.
Policeman comes up on roof, looking around.
90--Ella's room. Gas-lit.
Bill is thanking Florence. She tells him that she will go down and see whether the coast is clear, and he sits down with a grateful look as she goes quietly out.[54]
[Footnote 54: Compare the present scene and the one following, in respect to varying treatment of conveyed information. Here the girl merely indicates what she intends to do, and her statement of the fact is not given as dialogue-in-scene, since the next scene will make clear her unregistered words; but see how dialogue-in-scene is employed in the scene that comes next, emphasizing in the briefest way just what the player feels by what she thinks and unconsciously forms with her lips.]
91--Front of "Row." Night. From the tenement doorway.
The injured man is being made to stand. Florence comes into the scene, pausing on stoop of the "Row" and watches as the injured party feigns great pain, and gasps:
_Cut-in leader--_
"HONEST--HE NEAR CROAKED ME. I'M DYIN'--ALL SHOT TO PIECES. AN' THE WORST IS I DIDN'T GIT A CHANST TO SHOOT BACK AT HIM."
The ambulance men laugh and tell him to be on his way; he is more scared than hurt. Florence's face becomes tense. Her lips form the thought that flashes into her mind. "He lied--to me!" She turns and goes into house.
92--Ella's room. Gas-lit.
Bill looks up eagerly as Florence comes in. Then he stares as she goes swiftly toward the table drawer. He is quick, but not swift enough, in his rush to forestall her as she gets his revolver and "breaks" it, so that the empty cartridge and five loaded ones drop into her hand.
93--Bust of hand holding discharged cartridge.
Register the fact that it has been fired.
94--Back to 92.
Florence looks up slowly. Bill figures that she will give him up now, and gives a quick, hunted look around as Florence closes the weapon and lays it on the table, fully convinced that she has been lied to. She stands looking down at the weapon, her face brooding. Suspense. What will she do about it?
95--Roof of house. Night.
"Cop," with another. No use looking further. Separate, one going down into tenement again, other across roof toward another descent.
96--Ella's room--looking toward door. Gas-lit.
Bill in an agony of terror as he hears policeman tramping toward door. Florence looks up, and moves toward Bill, who cowers. The door starts to open. Florence pities Bill now.
97--Ella's room--from hall, through opening door. Gas-lit.
The policeman is going to be crafty; he opens door, very softly, and as he peers in, he sees--Florence slipping her arms about Bill's neck, giving him a sisterly kiss as she says:
_Cut-in leader--_
"GOODNIGHT, BUDDY. GIVE THE KIDDIES A KISS FROM ME."
Convinced, the officer draws away and goes from scene. Bill can be seen touching cheek Florence kissed, looking at finger as if expecting it to show the mark of contact.
98--Close-up in room, from another angle, to get Florence in profile.
Bill slowly and reverently takes Florence's hand, and with devotion in every line, says fervently:
_Cut-in leader--_
"KID--YOU'RE _CERTAINLY_ WHITE! AND YOU _ARE_ 'LITTLE SIS' TO ME FROM NOW ON!"
Saying nothing more, but looking at her with devoted eyes, as she stands smiling her gentle smile, he goes to fire escape, and as he descends--Fade slowly out.
_Leader--_
BILL BECOMES THE FAITHFUL WATCHDOG, ASKING ONLY A PAT, AND IS ETERNALLY VIGILANT LEST HARM COME TO THE OBJECT OF HIS DEVOTION.
Diaphragm in:
99--Park entrance.
Florence waiting. Bill is coming down path. He sees her and advances--but she meets Blinker, who is gay and delighted. They go.
100--Close-up of Bill.
No jealousy--but suspicion. Bill thinks such a man can mean no good. He starts off.
101--Wider view.
Bill seen to be shadowing Blinker and Florence.
_Leader--_
CONVINCED THAT "A GUY" OF BLINKER'S _APPARENT_ AFFLUENCE CAN MEAN NO GOOD TO A "SKIRT LIKE SIS," THE WATCHDOG INVADES FAIRYLAND.
102--Steeplechase Pier.
Crowd coming off boat. Florence and Blinker. After them, shadowing, comes Bill.
_Leader--_
THIS TIME, THERE IS NO TIME LOST BY THE INFATUATED BLINKER, IN GETTING INTO THE SPIRIT OF THE REVELRY.
103--Any different amusement device.
Blinker with Florence--having a grand time. Show Bill aloof but watchful, evading discovery carefully.
_Leader--_
THE WALKING BEAM OF A CONEY ISLAND BOAT MAKES JUST ENOUGH NOISE TO ENABLE TWO TO CONVERSE COZILY ALOOF FROM THEIR NEIGHBORS.
104--By walking beam.
Wide enough to show several couples--Florence and Blinker among them; narrows down to those two, after Bill is established in background, watchful but not interfering.
105--Close-up of Blinker.
Blinker, in spell of love, says:
_Cut-in leader--_
"FLORENCE--I--LOVE YOU!"
Waits, breathless.
106--Close-up of Florence.
She laughs a little tremulously but recklessly and says:
_Cut-in leader--_
"THAT'S WHAT THEY ALL SAY."
She begins to hum.
107--Close-up of Blinker.
He is a little impatient, and says:
_Cut-in leader--_
"I AM RICH. I CAN GIVE YOU MANY THINGS--"
He is interrupted.[55]
[Footnote 55: Sketchy, because in this case, "O. Henry" leaders are the important thing--and they give sufficient clue to the action required.]
108--Close-up of Florence.
She laughs a little, and says:
_Cut-in leader--_
"THAT'S WHAT THEY ALL SAY."
She is playing with him, and yet telling truth.
109--Close-up of Blinker.
He is impatient at this repetition. Says:
_Cut-in leader--_
"I DON'T LIKE YOU TO KEEP SAYING THAT!"
He is annoyed. She is not taking him seriously.
110--Close-up of Florence.
She looks at him--wonders--says:
_Cut-in leader--_
"WHY SHOULDN'T I SAY IT? THEY DO!"
He is puzzled.
111--Close-up of Blinker.
Surprised--puzzled--angered--says:
_Cut-in leader--_
"WHO ARE--'THEY'?"
Jealous and anxious.
112--Close-up of Florence.
Surprised--innocent. Says:
_Cut-in leader--_
"WHY, THE MEN I MEET."
What is he driving at?
113--Both--in wider view.
Florence wondering. He changes expression. Growing tension. Asks her:
_Cut-in leader--_
"WHERE DO YOU MEET--THESE MEN?"
She looks wide-eyed--surprised--answers:
_Cut-in leader--_
"I MEET THEM--AS I DID YOU--"
Blinker aghast. Asks:
_Cut-in leader--_
"DO YOU KNOW SO MANY?"
She allows herself a laugh--says:
_Cut-in leader--_
"WELL I'M NOT EXACTLY A WALL FLOWER."
He turns away.
114--Close-up of Blinker.
Growing tension--it is sinking in, and finally his expression grows harder.
115--Close-up of Florence.
She wonders--finally asks:
_Cut-in leader--_
"WHAT'S WRONG?"
Her lips part in amazed terror.
116--New angle. Close-up of Blinker.
Swings upon her and cries:
_Cut-in leader--_
"EVERYTHING'S WRONG! WHY DON'T YOU SEE THESE--THESE MEN--AT YOUR HOME? IS IT NECESSARY TO MEET EVERY TOM, DICK AND HARRY--OUTSIDE?"
He is growing furious. So that is the sort she is!
117--Profile close-up of Florence.
She laughs. Her voice is brassy-hard, saying:
_Cut-in leader--_
"IF YOU COULD SEE 'BRICKDUST ROW' YOU WOULDN'T ASK THAT. THE FELLOW WHO OWNS IT DOESN'T GIVE US ANY PLACE TO RECEIVE--AND WE CAN'T TAKE FELLOWS TO OUR ROOM--SO--"
Shrugs.
118--Wider-angle view, with Blinker nearest camera.
Tension. Big scene as he gets over his horror and disgust and she realizes it, and rising, disillusioned--exactly as he feels that _he_ is disillusioned about _her_--Sudden pause--
119--Deck, _ad lib._
Fire! Excitement. "Where?"--"What'll we do?"[56]
[Footnote 56: Sketchy, as this sort of material has to depend on boat, crowd, director, etc. Continuity only required.]
120--Deck, another part.
Panic. Woman screams.
121--Walking beam.
Excited scattering of crowd. Florence turning away--Bill coming forward--Blinker listening. He grabs Florence by arm. She draws away. He compels her to go.
122--Deck.
Tension. Wild scene.
123--Walking beam.
Bill follows, crowd intervening, as Blinker takes Florence off. Bill gets after them.
124--Boat davits.
Wild scene. Officer. Sailors. Fire and smoke. Blinker with Florence. Takes her away--another boat!
125--Another boat.
Crowd more orderly. Women being helped into boat. Blinker on with Florence. Takes her to boat.
126--Boat davits.
Sailors shot at by officer. Surge away and off.
127--Fire blazing. Sailors lose heads--dash back from fire and toward--
128--Other boat.
Fire coming. Florence by boat. Sailors rush on and fight. Get officer's gun. Surround Florence and Blinker.
129--Different angle.
Blinker fighting to save Florence.
130--Different view.
Fire coming on. Bill fighting way toward Blinker and Florence.
131--Other boat.
Blinker fighting. Florence separated from him. Bill fights way to his side. They notice one another as men with same idea--join back to back. Florence forced away. They try to get to her. Surge of sailors over-runs them.[57]
[Footnote 57: Necessary departure from O. Henry, to build up Blinker's good qualities, and achieve a preparation for new finish.]
132--Deck rail.
Florence staggers on. Flames coming. Great God! What shall she do? Off she races.
133--Boat davits.
Flames leaping. Florence just in time to see boat lowered away. Too late. Driven back.
134--Other boat.
Bill and Blinker together. Several sailors done for, others lower boat and go. Men peer about, but smoke too thick for them to see.
135--Rail.
Florence in terror. Sudden blast of flame. On rail. Leaps.
Diaphragm out.[58]
Diaphragm in:
[Footnote 58: Purposely uncompleted to give suspense strength to hold over into next--slowing--episode.]
136--Blinker's apartment.
Man caring for Blinker, somewhat burned. Sad and downcast. Man admits Oldport. Lawyer listens to story.
137--Hospital entry.
Bill comes out, discharged--head bandaged. He takes a card out of pocket--looks and puts back. He does not know what to do, then decides, and goes off.[59]
[Footnote 59: Observe how girl's fate is withheld till disposition of less important characters is shown.]
138--Ella's room.
Florence in bed. Ella attending. Bill knocks, is admitted.
139--Blinker's apartment.
Oldport sees Blinker is able to talk business. He assumes quizzical air, says:
_Cut-in leader--_
"MAYBE I CAN KEEP YOU HERE LONG ENOUGH TO TAKE UP THAT DEFERRED MATTER--"
Blinker wearily assents. Oldport begins:
_Cut-in leader--_
"YOUR FATHER INTENDED THAT THE PARLORS OF CERTAIN BUILDINGS SHOULD BE USED BY THE GIRL-TENANTS AS PLACES WHEREIN TO ENTERTAIN THEIR MALE CALLERS."
Blinker gives start of surprise--query--agony--cries out:
_Cut-in leader--_
"'BRICKDUST ROW,' FOR A MILLION!"
Oldport smiles:
_Cut-in leader--_
"I BELIEVE THE GIRLS HAVE SOME SUCH NICKNAME FOR IT. WHAT SHALL I DO?"
Horrible! Blinker in spasm of anguish:
_Cut-in leader--_
"BURN IT! RAZE IT! DO WHAT YOU LIKE--BUT I TELL YOU--IT'S TOO LATE, MAN--IT'S TOO LATE!--"
He flings away.
140--Ella's room.
Bill chatting with Ella. Seems to have good feeling for her--devouring hot-cake she has made as he talks with Florence, who is sitting up. He takes out card, says:
_Cut-in leader--_
"THAT GUY YOU WAS WID--IS HE ON THE SQUARE?--HE AST ME TO CALL ON HIM--"
Florence suddenly recalls all that has happened. She turns her face away, unable to control tears of despondency.
141--Blinker's apartment.
Oldport goes. Blinker "chases" his man, sits in bad mood, sour and lovelorn by turns.
142--Ella's room.
Bill dismayed--demands what he has said. Florence sits up--controls herself. Says, gently:
_Cut-in leader--_
"HE--HE ISN'T GOING TO--SEE ME ANY MORE--I GUESS."
Bill is all anger--"Why?" She tells him:
_Cut-in leader--_
"I DON'T THINK--OUR--WAYS OF LIVING--"
She breaks down.
143--Close-up of Bill.
"The son of a brat!"--so he has chucked "Little Sis" has he, the rich piker? Well, Bill can see about that! Of course he thinks the worst of Blinker.
144--Wider-angle view.
Bill rises and tiptoes out. Florence weeping softly with Ella comforting--rough yet tender.
145--Blinker's apartment.
Man admits Bill and is dismissed. Blinker hearty--then sees Bill's anger. Rises. Big scene where Bill denounces him, saying:
_Cut-in leader--_
"YOU GOT TO BE SQUARE WITH THAT KID!"
Blinker misunderstands. Bill comes near to throttling him, before Blinker can gasp:
_Cut-in leader--_
"YOU DON'T UNDERSTAND--IT WAS ONLY A DIFFERENCE OF--OPINION--"
Bill waits to find out. Blinker hesitates, then, seeing threat, begins to explain.
146--Ella's room.
Florence seems to be asleep, and Ella sneaks off for some milk or something. Florence gets up, sad and despondent. Slowly begins to dress.
147--Blinker's apartment.
Bill amazed at Blinker, who ends up:
_Cut-in leader--_
"IT'S A QUESTION OF ETHICS--"
Bill glowers and snaps:
_Cut-in leader--_
"ETHICS BE DAMNED! IT'S A QUESTION OF--ARE YOU GOIN' TUH BLAME HER FOR THE VERY THING YOU MADE HER DO?"
Blinker begins to consider.
148--Ella's room.
Florence dressing (suspense: Does she recall that revolver and want to add her tragedy to the dreary ones of "Brickdust Row?")
149--Blinker's apartment.
Big realization--"All my fault." Blinker goes off with Bill.
150--Ella's room.
Ella soothing Florence. Latter does not wish to live. All life is black before her.
151--Hall outside door.
Comedy relief as Bill and Blinker come on and latter draws back in a natural suspense as to his reception and Bill tells him to "beat it on in!" Blinker knocks, and goes in. Bill pauses.
152--Ella's room.
Florence looks up. Ella surprised. Blinker pauses. Ella seems to be attracted by something.
153--Crack of open door.
Bill is making violent gestures to get Ella out.
154--Ella's room.
Ella catches Bill's idea, and moves unostentatiously out. Then Blinker strides to Florence. He says:
_Cut-in leader--_
"IT'S ALL WRONG. I'VE COME TO SQUARE IT."
Florence is reserved, chilly, as she says:
_Cut-in leader--_
"YOU MEAN--ABOUT THE PARLORS?"
Blinker is beside her, and catching her hands he cries:
_Cut-in leader--_
"I MEAN--ABOUT _YOU_!--AND _ME_!"
In spite of herself, Florence is forced to lift her eyes, and as she reads the look in his own she is compelled to realize that the air is cleared at last and that the happiness that seemed dead is again alive--palpitant happiness that draws her into his ready arms.
155--Hall outside Ella's room.
Bill "fixes it up" with Ella to "travel double." She wants to rush in and tell her chum, but Bill stays her: "Nix--let 'em do some clinchin' first!"
156--Ella's room.
Florence and Blinker embracing.
Circle diaphragm closes to blackness.[60]
[Footnote 60: This is the script before it reached production. If you see the picture you will no doubt observe directorial alterations that came up during production. In that case you will have valuable experience in seeing the difference between the original--the script-writer's conception--and the directorial interpretation.]
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