,,breaking ,,into ,,the ,,movies ,illustration3 ,,casting ,,the ,,picture ,this is a typical scene in a casting director's office4 ,mr4 ,emerson and ,miss ,loos1 with their stenographer1 are studying the faces of the applicants4 ,when a type exactly suited to the story is found1 she is sent direct to the studio to begin work4 ,,breaking ,,into ,,the ,,movies by ,,john ,,emerson and ,,anita ,,loos ,authors of ,how ,to ,write ,photoplays ,,illustrated ,illustration ,,philadelphia ,,george ,w4 ,,jacobs ,,company ,,publishers ,copyright1 #aiba1 by ,,the ,,james ,a4 ,mc,c,a,n,n ,,company ,all ,rights ,reserved ,,printed ,,in ,,the ,u4 ,s4 ,a4 ,,contents ,,chapter ,,page ,i ,,introduction 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #a ,,ii ,,what ,,the ,,jobs ,,are 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #e ,,iii ,,acting ,,for ,,the ,,screen 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #i ,,iv ,,would ,,you ,,film ,,well8 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #ab ,v ,,make-,,up 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #ag ,,vi ,,how ,,to ,,dress ,,for ,a ,,picture 4 4 4 4 4 4 4 4 4 4 4 4 #bb ,,vii ,,movie ,,manners 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #bf ,,viii ,,reading ,,your ,,part 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #bi ,,ix ,,inside ,,the ,,brain ,,of ,a ,,movie ,,star 4 4 4 4 4 4 4 4 4 #cc ,x ,,salaries ,,in ,,the ,,movies 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #ch ,,xi ,,scenarios 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #da ,,xii ,,how ,,others ,,have ,,done ,,it 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #dd ,,xiii ,,amateur ,,movie ,,making 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #di ,,introductory ,,note ,,to ,,part ,,ii 4 4 4 4 4 4 4 4 4 4 4 #ec ,,red ,,hot ,,romance 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #ee ,,illustrations ,,casting ,,the ,,picture ,,frontispiece ,,facing ,,page ,,rouging ,,the ,,lips ,,for ,,the ,,camera 4 4 4 4 4 4 4 4 4 4 4 #ag ,,making ,,up ,,the ,,eyes 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #ah ,,glueing ,,on ,a ,,cr,,pe ,,mustache 4 4 4 4 4 4 4 4 4 4 4 4 4 #bj ,,rehearsing ,,the ,,company 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #bi ,,testing ,,make-,,up ,,and ,,expression 4 4 4 4 4 4 4 4 4 4 4 4 #db ,,making ,a ,,close-,,up 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 #ej ,,breaking ,,into ,,the ,,movies ,breaking ,into the ,movies ,,chapter ,i ,,introduction ,were the average man suddenly called upon to assemble all the women in his town who looked like ,mary ,pickford1 he might find himself at a loss as to how to commence4 ,in fact1 he might even doubt that there were sufficient persons answering this description to warrant such a campaign4 ,we know a way to get them all together on twenty-four hours' notice4 ,just insert a small advertisement in the local newspaper1 reading3 ,wanted for the movies--a girl who looks like ,mary ,pickford--apply at such-and-such a studio to-morrow morning4 ,we guarantee that not only will every woman who looks like ,mary ,pickford be on the spot at sunrise1 but that a large preponderance of the entire female population will drop in during the morning4 ,for it is a puzzling but indisputable fact that everybody wants to break into the movies4 ,the curious part of it all is that the movies really need these people4 ,on the one hand are countless men and women besieging the studio doors in the hope of starting a career in any one of a thousand capacities1 from actress to scenario writer1 from director to cameraman4 ,there are people with plots1 people with inventions1 people with new ideas of every conceivable variety1 all clamoring for admission4 ,and1 on the other hand1 there are the men who manage the movies sending out all manner of exhortations1 appeals and supplications to just such people to come and work in their studios4 ,they drown each other's voices1 the one calling for new talent and new types1 the many for a chance to demonstrate that they are just the talent and types that are so in demand4 ,this economic paradox1 this passing in the night of ,demand and ,supply1 has come about through a general misconception of everything concerned with the movies4 ,the first to be in the wrong were the producers4 ,they built up an industry which1 in its early days1 was vitally dependent upon individual personalities4 ,a picture1 according to their views1 was made or unmade by a single star or director or writer1 and very naturally they were loath to entrust the fate of a hundred thousand dollar investment to untried hands4 ,while on the one hand they realized the pressing need for new blood in their industry1 they were1 nevertheless1 very wary of being the first to welcome the newcomer4 ,producers preferred to pay twenty times the price to experienced professionals1 no matter how mediocre their work might have been in the past1 than to take a chance on a promising beginner4 ,the business side of the movies1 has1 in the past1 been nothing more nor less than a tremendous gamble wherein the men who had staked their fortunes on a single photoplay walked about in fear of their very shadows--desiring new ideas1 yet afraid to risk testing them1 calling for new artists yet fearing to give them the opportunity to break in4 ,the very nature of the industry was responsible for this situation and1 to a large extent1 it is a condition which still prevails in a majority of the smaller studios4 ,the greatest obstacle which every beginner must surmount is the one which first confronts him--the privilege of doing his first picture--the first chance4 ,the larger companies1 however1 in the last year or so have awakened to the fact that by excluding beginners they have themselves raised the cost of motion picture production many times4 ,they have found themselves with a very limited number of stars and directors and writers and technical men to choose from1 all of whom1 for this very reason1 could demand enormous salaries4 ,one by one these companies are instituting various systems for the encouragement of embryo talent4 ,now1 if ever1 is the time to break into the movies4 ,but much more to blame for the general mix-up in the movies are the beginners themselves4 ,in the majority of cases they state in loud1 penetrating accents that they desire to break into the movies1 here and now2 but when questioned as to the exact capacity in which they desire to accomplish this ambition1 they appear to be a bit hazy4 ,anything with a large salary and short hours will do1 they say4 ,the organization of the business and the sordid details connected with the various highly specialized jobs in the studios concern them not at all4 ,they let it go with an unqualified statement that they want to break in the worst way--and generally they do4 ,now making movies is not child's play4 ,it is a profession--or rather a combination of professions--which takes time and thought and study4 ,true1 there are fortunes to be made for those who will seriously enter this field and study their work as they would study for any other profession4 ,but unfortunately1 most of those who head towards the cinema studios do not take time to learn the facts about the industry4 ,they do not look over the multitude of different highly specialized positions which the movies offer and ask themselves for which one they are best suited4 ,they just plunge in1 so intent upon making money at the moment that they give no thought at all to the future4 ,therefore1 in writing this series1 we shall start with an old saw--a warning to amateurs to look before they leap4 ,no industry in the world presents so many angles1 varying from technical work in the studio1 to the complexities of high finance4 ,if you really wish to break into the movies1 go to the studios and see for yourself what you are fitted for4 ,perhaps you think you are an actor1 and are really a first rate scenarioist4 ,perhaps you have an ambition to plan scenery1 and instead find that your forte lies in the business office4 ,men who started as cameramen are now directors4 ,men who started as directors have ended as highly successful advertising managers4 ,so there you are4 ,you pay your money--and--if you are wise--you take your choice4 ,,chapter ,,ii ,,what ,,the ,,jobs ,,are ,most people seem to think there are concerned in the making of motion pictures just four classes of people--actors1 scenario writers1 directors and cameramen4 ,it all seems very simple4 ,the scenario writer sits down in the morning and works out a scene2 he wakes up the director1 who packs some actors and a cameraman in an automobile1 together with a picnic lunch1 and goes out to make the picture on some lovely hillside4 ,then1 having finished the photoplay1 they take it around to your local theater and exhibit it at twenty-five cents a seat4 ,as a matter of fact1 the movies1 now the fifth national industry in the ,united ,states1 has as many phases1 and as many complexities as any other industry in the world4 ,broadly speaking1 the movies are made up of alliances between producing companies and distributing companies4 ,for example1 the ,constance ,talmadge ,corporation produces the photoplays in which ,miss ,talmadge is starred1 and this ,company is allied with the ,first ,national ,exhibitors ,circuit which takes the completed film and sells it to theater managers in every part of the world4 ,the ,constance ,talmadge ,corporation's duty is to make a photoplay and deliver it to the ,first ,national ,exhibitors ,circuit2 the latter company duplicates the film in hundreds of prints1 advertises it1 rents it to exhibitors1 and sees to the delivery of the film4 ,in the same way1 ,nazimova makes comedies and releases them through the ,metro ,corporation1 her distributor4 ,the great distributing companies employ the salesmen1 advertising experts1 business men1 and so forth4 ,all the technical work concerned with the making of the picture1 however1 is in the hands of the producing company1 and1 since we are engaged in such work ourselves1 it is about these posts that we must talk4 ,if we are to take the studio jobs in their natural order1 the first to begin work on a picture is1 of course1 the author4 ,each studio employs a scenario editor who is on the lookout for good magazine stories or plays or original scripts4 ,he himself is not so much a writer as an analyst1 who knows what kind of stories his public wants2 generally he is an old newspaperman or an ex-magazine editor4 ,having bought the story1 he turns it over to a scenarioist--the continuity writer4 ,this type of specialist is much in demand1 since no story can survive a badly constructed scenario4 ,the scenario writer puts the story into picture form exactly as a dramatist may put a novel into play form for the stage4 ,it is the scenarioist or continuity writer who really gives to the story its screen value--hence the very large prices paid for this work when it is well done4 ,next in line is the director1 who takes the scenario and sets out to make the picture4 ,there is a shortage of directors at present1 and for that reason1 salaries are particularly high in this line1 but of course1 direction is a profession which takes many years of study4 ,in beginning work on his picture1 the director first consults the studio manager1 who is really the head of the employment office4 ,the studio manager consults with him as to the expenses of the scenery and the length of time to be spent in making the picture and then summons the technical staff4 ,the technical staff of a studio is a rather large assembly4 ,there is the art director1 who plans the scenery1 the technical man who directs the building1 the casting director1 who selects the actors1 the electrician1 who assists in working out the lighting effects1 the laboratory superintendent1 who must supervise the developing of the film1 the cutters1 who assemble the completed film1 and last1 but not least1 the cameraman4 ,of course there are hundreds of minor posts--assistant director1 assistant cameraman1 property man1 research experts1 location seekers1 and so forth4 ,the casting director immediately sends out a call for the types demanded in the scenario4 ,if possible1 he notifies the actors and actresses personally1 but more often he is forced to get in touch with them through the numerous agencies which act as brokers in types4 ,the ,actors' ,equity ,association is now doing excellent work in supplying actors for pictures at the lowest possible cost to the actor in the way of commissions4 ,presently a large number of actors and actresses appear at the studio and the casting director selects from them the individuals best suited to the coming production4 ,beginners are warned against grafting agents who on any pretense whatever charge more than the legal #e commission4 ,they are also warned against signing exclusion contracts with any agent1 as this frequently compels the actor to pay double commissions4 ,meanwhile the art director has built his scenery1 and the picture goes into production4 ,at the end of some six weeks or two months1 the directors turn the completed film over to the assembling and cutting department4 ,as a rule both the director and the scenario writer work with the assembler and cutter1 and if they are wise1 they insist on doing the cutting themselves1 for the success of the picture depends largely upon this important operation of assembly4 ,at the same time1 another specialist designs and works out the illustrations on the borders of the written inserts4 ,finally the assembled picture is shown to the studio staff1 and if they are satisfied1 the negative is forwarded to the distributing company4 ,the studio's work on that picture is ended4 ,from this brief survey1 you can see that the avenues for breaking into the movies are almost unlimited4 ,you can be an actor1 director1 cameraman1 scene builder1 cutter1 titler1 scenario writer1 or anything else if you will begin at the bottom and learn the game4 ,all of these positions are highly paid and all require a high knowledge of motion picture technique4 ,the important thing is to start--to get into the studio1 in any capacity4 ,then choose the type of work in which you desire to rise1 and learn it4 ,everybody will help you and encourage you if you start this way1 instead of trying the more common but less successful method of starting at the top and working down4 ,,chapter ,,iii ,,acting ,,for ,,the ,,screen ,in ,new ,york resides a dramatic critic1 now on the staff of a great newspaper1 who has his own ideas about movie acting4 ,the idea in question is that there is no such thing as movie acting--and the gentleman carries it out by refusing to allow the word acting to be printed in any of the notices and reviews in his newspaper4 ,when he wishes to convey the thought that such and such a star acted in such and such a picture he says1 ,miss ,so-and-,so posed before the camera in the motion picture4 ,now this critic is a good critic1 as critics go1 but he would be improved physically and mentally by a set of those monkey glands which the medicos are so successfully grafting upon various ossified personalities4 ,anyone who thinks that there is no such thing as motion picture acting is probably still wondering whether the ,germans will win the war4 ,motion picture acting is a highly developed art1 with a technique quite as involved as that of the legitimate stage4 ,the fundamental principle to remember in undertaking screen acting is that the camera demands far greater realism on the part of the actor than the eyes of an audience4 ,an actor in the spoken drama nearly always overplays or underplays his part4 ,if he recited the same lines in the same tone with the same gestures in real life1 he would appear to be just a little bit spiffy1 as they say in ,english drinking circles4 ,on the stage it is necessary to overdraw the character in order to convey a realistic impression to the audience2 exact naturalism on the stage would appear as unreal as an unrouged face under a spotlight4 ,the camera1 however1 demands absolute realism4 ,actors must act as naturally and as leisurely as they would in their own homes4 ,their expressions must be no more pronounced than they would be in real life4 ,above all1 they must be absolutely unconscious of the existence of the camera4 ,any deviation from this course leads to the most mortifying results on the screen4 ,the face1 enlarged many times life size1 becomes clearly that of an actor1 rather than a real character4 ,the assumed expression of hate or fear which would seem so natural on the stage is merely grotesque in the film4 ,unless the actor is really thinking the things he is trying to portray on the screen1 the audience becomes instantly aware that something is wrong4 ,in the same way the camera picks up and accentuates every motion on the part of the actor4 ,an unnecessary gesture is not noticed on the stage4 ,on the screen1 enlarged many times1 it is instantly noted4 ,the two most important rules to follow1 then1 in motion picture acting are3 act as you would under the same circumstances in real life1 and eliminate all movement and gesture which does not bear on the scene4 ,it is better not to move at all than to make a false move4 ,beginners must adjust their walk to the camera4 ,there is no rule for this1 however1 as every individual's way of standing and walking is different4 ,only through repeated tests can the beginner discover and correct the defects which are sure to appear in his physical pose the first time he acts before a camera4 ,often in making a picture1 the director will instruct his cast to speed up or slow down their scene4 ,sometimes1 also1 he will alter the tempo of the scene by slowing down or speeding up the rate at which the camera is being cranked4 ,beginners must follow such instructions to the letter1 for the timing of a scene is a vitally important part of picture production and a duty which is entirely in the hands of the director4 ,the best way to learn the principles of motion picture acting is to watch the making of as many scenes as possible before attempting to act one4 ,most of the stars of to-day learned their art by watching the efforts of others before the camera4 ,only by constant observation in the studio and1 more important1 in real life1 where the actions and reactions of real people can be noted1 can an actor hope to become proficient4 ,,chapter ,,iv ,,would ,,you ,,film ,,well8 ,probably the number of people who have not at one time or another wondered in a sneaking sort of way if they wouldn't look pretty well on the screen is limited to the aborigines of ,africa4 ,and1 believe it or not1 two of the aborigines themselves applied at our studio for jobs not long ago4 ,they had acted in several travelogue pictures1 taken in darkest ,africa1 had traveled as porters with the company to the coast1 and had finally become so enamored of the work that they beat their way all the way to ,america1 with an ,english vocabulary limited to about fifty words1 twenty-five of which were highly profane4 ,it just goes to show that we are all human4 ,needless to say1 both beauty and character are the characteristics in demand in the films1 as everywhere else4 ,the curious fact is that faces which in real life possess great beauty or deep character1 frequently fail to carry this across to the camera4 ,the chief reason for this lies in the fact that the camera does not accept color values1 and at the same time accentuates many defects which are ordinarily imperceptible to the eye4 ,for example1 a wonderful type of ,italian beauty appeared at our studio while we were casting ,mama's ,affair for ,constance ,talmadge4 ,she had never before appeared in motion pictures1 and our casting director was quick to seize the opportunity to make a test of her face4 ,when the picture was shown1 her extraordinarily fine coloring of course went for nothing1 and her beauty was entirely marred by the inexplicable appearance of a fine down over her upper lip and a large mole on her left temple4 ,both the mole and the down had been entirely unnoticed in daylight1 but under the fierce mercury lights of the studio and the enlarging lenses they made her face grotesque4 ,at another time we attempted to make a leading man of a famous war hero4 ,this boy had been a college athlete and had subsequently distinguished himself as a bayonet fighter on four battlefields4 ,when his test films were projected1 to the astonishment of everyone he appeared as an anmic1 effeminate stripling1 whose every gesture aroused the ridicule of the audience4 ,the skin of the face must be entirely smooth and unbroken4 ,the slightest eruption or blemish is visible on the screen1 especially in this day when close-ups are the vogue4 ,the teeth must be perfect4 ,considerations which do not matter in the slightest degree in facial beauty on the screen are those of coloring and of fineness of the features4 ,the pinker a woman's cheeks may be1 the hollower they appear to the camera1 for red photographs as black1 and a face which is beautiful1 but coarse in its outline1 frequently photographs quite as well as the beautiful face which is exquisite in every detail4 ,a screen star should be equally beautiful in every expression and from every angle4 ,this is not so true of the stage star1 for when she is moving about1 speaking and gesticulating1 the question of her beauty becomes comparatively unimportant4 ,on the screen1 however1 important scenes are always taken in close-ups wherein the star1 whether portraying rage or pain1 love or hate1 must be equally charming1 at the risk of making a permanently bad impression upon her audience4 ,many people who are beautiful when seen in full face are most unattractive in profile4 ,in fact1 the matter narrows down still further1 for quite often those who have a lovely profile are1 for some inexplicable reason1 gross and unattractive when the face is turned to show three-quarters4 ,a number of the present movie stars have risen to the top despite such impediments by stipulating in all their contracts that they be never shown in close-up in the pose in which they are unattractive4 ,one star in particular never shows the left side of her face for this reason4 ,this1 however1 is obviously a great handicap4 ,the male types which are most in demand are not those whose appeal is through physical beauty4 ,audiences are sick of large-eyed1 romantic heroes1 and are demanding a little manly force and character in their heroes4 ,to film well1 a man's head should be large1 rugged1 with the features cut in masses1 like a ,rodin bust4 ,whether he is attempting to play juveniles1 leads or heavies his face must possess the cardinal requisites of character4 ,deep-set eyes1 a strong chin1 a jutting forehead1 a prominent nose1 are all desirable4 ,again1 the high cheekbones and long face appear desirable characteristics4 ,william ,s4 ,hart's success depends largely on these two simple characteristics of facial structure4 ,neither in men nor in women is the hair an essential for screen beauty4 ,wigs and trick arrangements of the hair are a function of the make-up department1 and a man or woman with no hair at all could still be made to appear most attractive to the unsophisticated camera4 ,in analyzing your own face1 then1 ask yourself the following questions3 ,are my eyes large8 ,is my skin fine and well kept8 ,is my mouth small and are my teeth good8 ,is my nose straight8 ,has my face character1 something which makes it not only beautiful1 but which portrays the underlying personality8 ,if you can answer these questions in the affirmative you may have a career before you in the motion pictures4 ,if you cannot answer any of them but the last in the affirmative1 you may still be successful as a movie actor1 for types--whether of gunmen or millionaires1 villains or saints--are much in demand4 ,one man has made himself a small fortune by playing parts in which a particularly villainous expression were required--such as dope fiends4 ,another chap1 in the ,western studios1 has made a good living for years by acting stained glass saints1 having been equipped by nature with an unusually sthetic expression4 ,in any case1 if you are to essay a career in the movies1 remember that your natural characteristics are all that count4 ,tricks of rolling the eyes or puckering the lips or setting the jaw are buncombe and are instantly discovered by the camera4 ,be natural4 ,keep healthy and happy4 ,that1 in the movies1 as in real life1 is the way to charm and beauty4 ,,chapter ,v ,,make-,,up ,illustration3 ,,rouging ,,the ,,lips ,,for ,,the ,,camera ,red photographs black1 so particular care must be taken in rouging the lips for movie work4 ,john ,emerson is helping ,may ,collins with her make-up1 while ,anita ,loos and the director1 ,victor ,fleming1 give suggestions4 ,although most women use cosmetics in their every-day life1 they are lamentably ignorant of the principles of make-up4 ,for example1 not one woman in a hundred knows that she should never rouge her face until she has put on her hat1 since the shadow and line of the hat changes the whole color and composition of her face4 ,the average man's knowledge of the subject is limited to the use of powder after shaving4 ,and yet thousands of men and women secure work in the mob and ensemble scenes in the movies and find themselves expected to make up for the camera1 the most difficult task of all1 with no previous instruction whatsoever4 ,no wonder they are discouraged when they see themselves peering out from the crowd scene with a face they hardly recognize themselves4 ,nevertheless1 almost all the stars of to-day--,norma ,talmadge1 ,constance ,talmadge1 ,mary ,pickford1 and dozens of others--have risen from these mob scenes4 ,their faces1 even when seen among hundreds of others1 attracted instant attention4 ,perhaps it was natural beauty4 ,perhaps1 too1 they had1 by accident or design1 solved at the start the great problem which confronts all movie actors1 that of finding the correct make-up4 ,movie make-up strives only for a photographic effect and has no relation to street or stage make-up4 ,almost every face contains numerous imperfections which are invisible to the eye1 yet which1 when enlarged many times on the screen1 are very obvious4 ,there are fundamental rules of make-up1 but the only way to perfect your technique is by constantly viewing your own stills and movies1 and changing your make-up to the best advantage4 ,red photographs black1 and for this reason rouge is little used in the studios1 except for special effects4 ,rouge on the cheeks gives the illusion of dark shadows and makes the face look hollow2 it deepens the eyes1 and is sometimes used on the eyelids for this reason4 ,light carmen may be used on the lips4 ,to start your make-up you will need cold cream1 special yellow film powder1 film grease paint1 and a soft towel4 ,massage your face with cold cream and then remove it with the towel1 so that the surface is absolutely clean4 ,then apply your grease paint with the fingers1 and cover every bit of the face from the collar-line to the hair4 ,when you have a smooth1 even surface of grease paint1 spread special film powder upon it and pat it in lightly with a powder puff4 ,there are a number of shades of grease paint and by changing the grease tint before applying the powder you can darken or lighten your complexion in accordance with your part4 ,before going further1 make sure there are no blotches on your make-up's surface and that the grease has left no sheen4 ,illustration3 ,,making ,,up ,,the ,,eyes ,the eyes are the most expressive of the features and their make-up is correspondingly important4 ,here ,john ,emerson and ,anita ,loos are helping ,basil ,sydney1 the noted ,english actor1 to darken his eyes in accordance with movie technique4 ,the eyes are the most important and expressive features4 ,the make-up which relates to them is all important4 ,first you must ascertain by actual test the correct color with which to line your eyes4 ,almost every color is used1 for the effect seems to vary with different faces4 ,black1 blue1 green1 brown and red are all used in varying proportions and mixtures by different actors4 ,naturally1 you should try to find the color which makes your eyes look deepest and most luminous4 ,the edge of the upper eyelid is clearly lined4 ,then the shade is worked back toward the eyebrow1 getting constantly lighter1 until it finally blends with the grease paint of the face4 ,the process is reversed for the lower lid1 which is darkest at the edge and grows lighter as you work down4 ,your eyelids should be lined with black cosmetic4 ,do not bead them4 ,this shows clearly in close-ups and looks rather ridiculous4 ,the slapstick comedy people sometimes use beaded eyelids to burlesque the baby-doll expression4 ,the corners of the eyes are shadowed with brown or red4 ,it is this shadowing that gives most of the character to the eyes2 but at the same time it is apt to age the whole face4 ,for this reason it must be done in conjunction with actual tests4 ,finally1 apply light carmen to your lips and make sure you do not overdo it4 ,there are numerous special recipes for producing pallor1 scars1 bruises1 and the like4 ,blackface make-up is done most successfully with charred cork dust mixed with water to produce a heavy paste4 ,tom ,wilson1 the best known player of negro parts in the movies1 who played in ,the ,birth of a ,nation1 and more recently in our own special production1 ,red ,hot ,romance1 advises amateurs to use this recipe and1 further1 to high-light the natural lines of their faces by scraping off the cork with a sharp stick1 wherever a line is to show1 and letting the natural white of the skin appear4 ,high-lighting for most character parts is a special art4 ,such characters as ,indian faces or the weather-beaten and wrinkled countenance of an old sea captain may be done in brown with white high-lights4 ,you should ask your cameraman to help you with high-lighting1 as it is very difficult4 ,there are tricks of make-up which alter the entire character of the face4 ,for example1 by shading the outline of the face with red you can make it appear much thinner4 ,in this case the grease paint is slightly reddened--or1 if you desire1 darkened--near the ear-line4 ,if you desire to make your face rounder and fuller reverse the process and lighten the grease paint at its outer edge4 ,if your eyebrows and hair are dark1 you can tinge them gray by rubbing the hair with mascaro and then combing4 ,if they are light1 white and black grease paint1 applied alternately and then combed1 will do the trick4 ,beards and bushy eyebrows are made of crpe hair and glued on with spirit gum4 ,as a matter of fact1 if you are really serious about making a career of movie acting1 it is best to grow1 so far as possible1 the hirsute appendages required in your parts4 ,for an unshaven tramp or a ,robinson ,crusoe effect1 for example1 it is much better to go unshaven for a week or so than to produce a false effect by attempting to imitate the real thing with crpe hair4 ,illustration3 ,,glueing ,,on ,a ,,cr,,pe ,,hair ,,mustache4 ,john ,emerson is affixing a villainous mustache to ,frank ,stockdale4 ,spirit gum and crpe hair are used4 ,finally1 lest you be left in the position of the man who starts his first ride on a motorcycle without knowing how to shut the power off1 we may add that all this nasty mess of grease paint and powder and gum and hair will come off in an instant when cold cream is applied4 ,it is hard to feel natural in make-up at first2 but presently you will forget that you have it on at all4 ,all of the necessary cosmetics may be secured through any drug store or theatrical costumer4 ,if you want to find out how you will look in the movies1 it is not necessary to have a film test made4 ,just buy some make-up and have someone take a few close-ups of your head with an ordinary camera4 ,but do not retouch the negatives--for movies are not retouched1 you know4 ,look for imperfections of every sort in pose and expression4 ,then try to find a make-up which will eradicate them4 ,if you solve your make-up problem before you go to the studio you will be well repaid4 ,among the dozens of flat1 uninteresting countenances a well made-up face stands out and attracts the attention of the director at once4 ,,chapter ,,vi ,,how ,,to ,,dress ,,for ,a ,,picture ,there is only one drawback to the pleasurable life of the movie actor or actress4 ,they draw big salaries2 they get their names in the papers and are deluged with fan letters to such an extent that special postal departments are installed in their offices2 the work is interesting and the hours comparatively short4 ,but1 alas1 they have to have a lot of clothes4 ,to be sure1 the buying of clothes is a most pleasurable experience to all women and to many men4 ,and1 forsooth1 if they draw big salaries1 why cavil about the cost of replenishing a wardrobe every now and again8 ,the fact is1 the wardrobes are not replenished every now and again2 they are constantly in a state of replenishment1 and for that reason the average actor's bank account1 no matter how big the salary1 is also in constant need of being similarly replenished4 ,for every new scene is apt to require completely new gowns and suits1 and1 in the case of the actors who play the more important parts1 no two suits or gowns can be worn in any two pictures or the fans will be sure to discover it and write uncomplimentary letters to the studio4 ,in the case of the beginner1 however1 no such expenses need be met if he or she has one complete wardrobe to start with4 ,people playing minor characters must dress for the part at their own expense1 but no one notices or cares whether they wear the same clothes with which they recently graced the studio next door4 ,if they play a part requiring a special dress or uniform the management will supply it without charge4 ,it is rather difficult for a newcomer to the movies to know exactly what clothes are required for their wardrobe4 ,therefore we are including the following comments on clothes and styles1 as applied to motion picture work3 ,men should have at least three business suits1 one of which should be light and one dark4 ,for summer scenes1 white flannels1 with a blue coat and a soft shirt--not a sport shirt--are required4 ,white duck shoes complete this outfit4 ,tweed suits are the proper thing for wear in the country club scenes and in most pictures calling for scenes on ,english estates4 ,for dress wear three outfits are necessary4 ,there is the cutaway for afternoon weddings1 society teas1 and so forth1 a ,tuxedo for club scenes and semi-dress occasions1 and finally1 full dress for balls and dinners where ladies are in the scene4 ,a dark four-in-hand or bow tie1 with a stand-up or wing collar1 should be worn with the cutaway1 and regulation dress bow ties1 black with the dinner coat and white with the dress suit4 ,these clothes are an essential part of a motion picture actor's outfit4 ,the great difficulty with young actors is a tendency to overdress and to attempt to hide bad tailoring with a flashy design and a freak cut of the coat4 ,since clothes are an actor's stock in trade1 he should patronize only the best1 if the most expensive tailors1 and stick to conservative lines unless the part requires eccentric dressing4 ,jewelry should be avoided1 unless called for in the character2 cuff links and a watch chain are all that should be worn1 with the exception of dress studs with the dinner or dress coat4 ,girls will need a simple afternoon suit and an outer coat to match4 ,they must have two summer frocks1 a sailor blouse with a dark skirt1 neglige1 and an evening gown and wraps4 ,hats to match are necessary1 of course1 as are dancing slippers and white duck shoes4 ,the evening gown is perhaps the most important part of the young actress's wardrobe1 since she is more apt to be called in for ball and dinner scenes than any other4 ,simplicity should be the keynote of such gowns4 ,simple ,french models are very attractive1 but few women can wear them well1 since most ,american girls are too broad in the shoulders for the ,parisian styles4 ,clothes for character parts must be assembled on the moment according to the demands of the director and the imagination of the actor or actress4 ,realism is the great essential of character dressing4 ,to wear the rags of a vaudeville tramp in the movies would turn the picture into a slapstick comedy4 ,a real tramp's clothes are a mighty different matter4 ,the greatest difficulty which a casting director experiences is that of finding people to play the part of society folk4 ,these parts require an understanding of drawing-room manners and ballroom etiquette1 and the ability to wear smart clothes4 ,if the clothes are not up to the moment they will be obsolete when the picture reaches the country at large1 and the audiences will think that because the styles are out of date the picture is out of date also4 ,also if any extreme styles are worn they are sure to be out of date when the picture is shown4 ,in the same way1 the slightest error in etiquette is sure to be noted and commented upon4 ,it is more of a trick than one might think to know1 at a moment's notice1 how to act as best man at a fashionable wedding1 or how to serve a ten-course dinner according to the latest vogue4 ,the best way is to dress conservatively and to act as any well bred person might be expected to4 ,a man who fails to take off his hat upon entering a fashionable house would be laughed at4 ,a man who took it off with a grand flourish would be hooted out4 ,recently a director read in a certain short story that the ,newport set had instituted the custom of supplying a single green glove for each dinner guest to wear while the olives were served4 ,this was merely a bit of satire on the part of the story writer--but the director took it seriously1 and instituted the fad in a dinner scene with dire results when the picture was shown to the newspaper critics4 ,,chapter ,,vii ,,movie ,,manners ,this chapter does not deal so much with how to act in a picture as how to act in a studio4 ,motion picture people live1 more or less1 in a world of their own4 ,it is a world which may seem a bit topsy turvy to the outsider1 with its own peculiar customs1 and a greater freedom from restraint than is customary in the conventional world outside4 ,examined a bit closer1 these outlandish ideas appear to be the very same ones which are always associated with artists--a bohemian spirit which is the same whether in ,hollywood or the ,latin ,quarter of ,paris4 ,if the newcomer to the studio wishes to establish himself as a bona fide member of the movie world he must always remember that no matter how cynical they may seem1 no matter how pessimistically they may talk1 these people1 in the bottom of their hearts1 consider a photoplay a form of art and themselves as artists4 ,the actor or director or author who does really good work1 who has something new to offer1 or who at least is sincere in his desire to do something big and fine in the motion pictures1 will always be tolerated no matter how bizarre his character in other respects4 ,in short1 people are ranked according to their artistic understanding rather than according to their ancestry1 their bank account or their morals4 ,most of the leaders of the motion picture world have risen from poverty and obscurity1 a fact which accounts for the democracy which prevails in the studio4 ,there are a few rules which beginners would do well to follow4 ,here they are3 ,be modest4 ,because you don't understand why something is done1 don't believe it is all nonsense4 ,and remember that you have ever so much to learn about the business4 ,don't criticize4 ,try your best to please everyone1 particularly the director1 whose shoulders are carrying the responsibility for the whole production and whose manner may be a bit gruff--as it usually is when a man is laboring under a heavy load4 ,don't be ashamed of being in the movies4 ,if you think movies are a low-brow form of making a living your associates will surely become aware of your state of mind and you will be quietly frozen out4 ,in the old days of the movies social status in the studio was determined by a curious system1 based upon the pay envelope4 ,actors--for the movie world is composed for the greater part of actors--are classed as stars1 the leads1 the parts1 the bits1 the extras and mobs4 ,the star is1 of course1 the highly paid actor or actress who is the feature of the production2 the lead is the leading man or woman who plays opposite the star2 the parts include all those characters which appear on the program--the minor characters of the play2 the bits are those who are called on to perform a bit of individual action1 such as the butler who opens the door1 or the chauffeur who drives the car1 but who have no real part in the play2 the extras are simply members of the crowd1 as the ballroom throng1 while a mob is just a mass of people1 like an army or the audience at a football game4 ,the large producing companies frequently give elaborate dinners1 seating three or four hundred people1 and under this ridiculous old system the star sat at the head of the table1 with the leads near at hand4 ,then came the parts1 then the bits1 and finally1 away down at the foot of the table1 were the extras4 ,in the same way directors1 assistant directors1 studio managers1 and so forth1 were graded down according to how much money they drew from the cashier every week4 ,to-day all this snobbery has passed away4 ,the movie world has its smart set and its slums1 as in any other world1 but the criterion is artistic worth1 not money4 ,we know of one rather unpleasant personality who has risen to stardom1 but is completely ignored by the lesser lights of the profession despite this star's attempts to break into film society4 ,,chapter ,,viii ,,reading ,,your ,,part ,on the legitimate stage actors and actresses are called on to read their parts before beginning rehearsals4 ,in the movies the part is read to them4 ,before the company begins to make even the first scene in a photoplay the scenario writer and director call a meeting and rehearse the company1 reading the scenario and explaining the meaning of each scene4 ,if the author and director are wise the story is then carefully rehearsed clear through1 scene by scene1 before anything is photographed4 ,in this way the actors learn the sequence of their scenes and the relation of their parts to other parts and to the whole4 ,illustration3 ,,rehearsing ,,the ,,company ,movie authors should rehearse their own stories1 at least1 according to ,john ,emerson and ,anita ,loos4 ,here these authors1 on the left1 are rehearsing their scenarios for ,wife ,insurance while the director1 ,victor ,fleming 7with the cap7 takes notes4 ,rehearsals are arranged before the scenery is built1 and the above tableau is supposed to take place in a restaurant4 ,it is up to you to make the best of your part4 ,secure a copy of the scenario1 or at least of your scenes1 as soon as possible4 ,then go over the story as many times as possible1 trying to grasp the relationship of your own character to that of the other characters in the story4 ,work out your own conception of the part4 ,perhaps at first the director will never give you a chance to do a piece of original acting4 ,he will work out every bit of action for you4 ,eventually1 however1 your opportunity will come to create a part1 and you must be ready for it4 ,all the action of a motion picture story is contained in the numbered scenes of the scenario4 ,your bit of acting will be in one or more of these scenes4 ,here is a sample bit of one of our own scenarios1 based on the stage play ,mama's ,affair1 which we recently wrote for ,constance ,talmadge4 ,these are the last few scenes of the photoplay3 ,eve watches her mother go out1 then turns to the doctor1 goes to him1 gives him her hand1 and says very quietly3 ,,sp3 ,,good-,,by1 ,,doctor4 ,the doctor looks at her1 astonished1 and says1 ,what6 ,eve looks up at him sternly and says3 ,,sp3 ,,good-,,by2 ,i ,,can ,,hardly ,,hope ,,to ,,see ,,you ,,again4 ,she then starts out the door4 ,the doctor hurries after her1 stops her1 and says1 ,what do you mean8 ,eve turns to look at him1 and then says very calmly3 ,,sp3 ,i ,,shall ,,be ,,leaving ,,to-,,morrow4 ,the doctor1 taken aback1 steps back a couple of steps1 looks at her in astonishment1 and says3 ,,sp3 ,i ,,just ,,told ,,you ,,that ,i',d ,,marry ,,you6 ,eve looks at him commiseratingly1 smiles a cynical smile1 and says3 ,,sp3 ,,you ,,just ,,told ,,me ,,you ,,would ,,take ,,me ,,in ,,because ,,you ,,see ,,no ,,way ,,to ,,prevent ,,my ,,becoming ,a ,,chronic ,,neurasthenic4 ,the doctor looks at her1 flabbergasted at the plain way in which she is putting things4 ,she then goes on and says3 ,,sp3 ,,you ,,don',t ,,want ,,me1 ,,but ,,you',,ll ,,take ,,me ,,in ,,as ,,you',d ,,take ,a ,,patient ,,into ,a ,,hospital4 ,the doctor looks at her1 tries to speak1 stammers1 stops1 not knowing what to say4 ,eve then takes a step toward him1 smiles commiseratingly1 and says3 ,,sp3 ,,you ,,don',t ,,have ,,to ,,do ,,that4 ,i ,,have ,,learned ,,how ,,to ,,handle ,,mama4 ,,you ,,don',t ,,have ,,to ,,worry ,,about ,,my ,,health4 ,the doctor looks at her1 surprised at this new ,eve1 who is in no need of him at all in his professional capacity4 ,eve looks at him1 throws out her arms with gestures of complete victory over all her worries1 and says3 ,,sp3 ,i ,,am ,,going ,,back ,,to ,,new ,,york1 ,,and ,i ,,am ,,going ,,to ,,live4 ,eve then turns1 starts1 goes toward the door and starts to go out4 ,the doctor looks at her1 struggles with himself1 worries over the fact that he is losing her1 goes toward her1 and says3 ,eve6 ,she turns1 looks at him1 and says3 ,yes8 ,he looks at her helplessly1 trying to find words to express himself1 and then says3 ,,sp3 ,i ,,can',t ,,let ,,you ,,go ,,like ,,this4 ,eve looks at him calmly1 and asks why4 ,the doctor looks around helplessly1 stalls a moment1 and then says3 ,,sp3 ,,because ,i ,,love ,,you4 ,eve looks at him a moment1 and then1 dropping all her pose1 simply overcome with intense relief1 she says3 ,,sp3 ,,well1 ,,that',s ,,what ,i',,ve ,,been ,,trying ,,to ,,get ,,at4 ,the doctor rushes over to her1 grabs her1 takes her in his arms1 looks into her face1 and says3 ,,sp3 ,,you ,,bold-,,faced1 ,,shameless ,,little ,,darling4 ,then gives her a good kiss1 and we ,,fade ,,out4 ,you will observe that in the scenario there are many lines written in for the actors to speak which never appear on the screen 7only those in capitals are shown on the screen74 ,this is to give the cast a chance to say the things they would say in real life under the same circumstances1 and so to make the scene entirely natural4 ,the actor speaks all the lines in small type and also those in the capital letters1 following the abbreviation ,,sp1 which stands for ,spoken ,title4 ,contrary to common belief1 the actors really speak the words of their lines4 ,there was a day when the hero1 kissing the heroine in the final close-up1 might say something like ,let's go out and get a cheese sandwich1 now that this is over4 ,but just about this time large numbers of lip-readers began to write in to the producers1 kicking against this sort of thing4 ,it seems that constant attendance at the movies develops a curious power of following a speech by watching the character's lips4 ,and from that day the slapstick comedians who used to swear so beautifully before the camera and the heroines of the serial thrillers who used to talk about the weather in their big scenes began to speak their proper lines4 ,,chapter ,,ix ,,inside ,,the ,,brain ,,of ,a ,,movie ,,star ,but they have no brains6 someone is sure to say4 ,that sort of thing is rather cheap cynicism4 ,as a matter of fact1 they have plenty of brains1 but of their own peculiar sort4 ,a movie actor1 like any other type of artist1 is an emotional1 temperamental creature2 but the problem which worries him the most is one of intellect rather than emotion2 in short1 just how to control the reactions inside that discredited gray matter of his4 ,every movie actor--and you1 too1 if you enter this field--is at one time or another confronted with the perplexing problem of just how much thought he should allow to go into his work2 that is1 whether his acting should be emotional or intellectual4 ,the question resolves itself into this3 ,does an actor feel8 ,should he feel8 ,there are two schools of thought on this seemingly academic but in reality most important subject4 ,first are those who say that an actor must feel the part he is playing4 ,the greatest actors1 they say1 have always been those who wore themselves out in an hour's time1 because they felt the emotions they portrayed4 ,they tell stories such as that of ,mrs4 ,kendall1 who1 having lost her own child1 electrified an ,english audience by her portrayal of the bereaved mother in ,east ,lynne to such an extent that women leaped to their feet in the pit1 shouting1 ,no more1 no more4 ,they point to the fact that the great stars of the screen and the stage alike are able to simulate the three reactions which are quite beyond the control of the will--pallor1 blushing1 and the sudden perspiration which comes with great terror or pain4 ,this1 they say1 is proof positive that these actors are feeling every emotion as they enact it4 ,the second group declares that all this is nonsense and that if an actor really felt his part he would lose control of himself1 and perhaps actually murder some other actor in a fight scene4 ,acting1 they say1 is an art wherein the artist1 by the use of his intellect1 is able to simulate that which he does not feel--using his face merely as the painter uses his canvas4 ,the moment an actor begins to enter into his part1 his acting is either overdone or underdone and the scene is ruined4 ,the whole trick of it1 they add1 is to keep perfectly cool and know exactly what you are doing1 no matter how spectacular the scene4 ,still a third school declares that both these views are wrong1 and that acting is neither a matter of thought nor of emotion1 but is purely imitative4 ,an actor observes his own emotions as he experiences them in each crisis of his real life1 they say1 and remembers them so well that he is afterward able to reproduce them before the camera4 ,the truth of it seems to be that all of them are partly right and partly wrong4 ,the great stars of the movies to-day1 when one is able to draw them out on the subject1 say that when they are acting they are thinking not about one thing but about several things4 ,the brain is divided into different strata1 and while one section is thinking about the part1 another section is entering into it1 while still a third stratum is busying itself with idle speculation about the cameraman and the director4 ,there are two important secrets1 connected with the psychology of screen acting1 which every beginner should know1 even if he never makes use of them4 ,the first is that of ,preparation2 the second1 that of ,auto-,suggestion4 ,a movie actor or actress is in a more difficult position1 so far as the artistry of his work is concerned1 than the players of the spoken drama4 ,in the movies the scenes are nearly always taken out of sequence1 the first last1 the last first1 and so forth4 ,for that reason the motion picture stars have great difficulty in working themselves up to the proper pitch to play a scene1 inasmuch as they have not been through the action which leads up to it4 ,the movie directors know this1 and in most studios try to help them up to this pitch by employing small orchestras to play during the important scenes4 ,in nearly every large studio where more than one company is working there are to be heard the faint strains of ,sonata ,pathetique1 where some melancholy scene is being taken1 or livelier music for a bit of comedy in another set4 ,also the directors are always behind the camera to guide their actors with spoken directions as the scene is made4 ,this orchestra business has always seemed to us pure buncombe1 but if the director or actor gets any fun out of it1 it doesn't do any particular harm4 ,the wise movie actors of to-day are borrowing these two tricks of ,preparation and ,auto-,suggestion from their brethren of the stage4 ,preparation consists merely of spending a little time before the scene is begun in going over the part1 in thinking about it1 and in trying really to feel all the emotions of the character in question4 ,this seems a simple matter2 but it makes the difference between real acting and routine work4 ,once an actor has carefully worked out the part for himself he can easily conform to the director's ideas2 and once he has let himself feel his part he need waste no emotion upon it when on the set1 for his mimetic powers will reproduce his feelings of an hour before4 ,auto-suggestion consists in working oneself up to the part before going before the camera by various expedients4 ,for example1 one actor1 before playing a part calling for extreme anger1 spends some ten minutes in clenching his fists1 swearing at the handiest fence post1 setting his jaw--and so making himself really angry4 ,it is not hard to reproduce emotion by these tricks of auto-suggestion4 ,try thinking of something sad--draw your face down--and before long you will be in a very glum mood4 ,that is the way such stars as ,norma ,talmadge and ,mary ,pickford produce tears on short notice4 ,most people think they are tricks of make-up1 such as drops of glycerine2 as a matter of fact1 it is a matter of puckering the face and a few gloomy thoughts4 ,all this sort of thing sounds very intricate and unnecessary4 ,and yet it is the really practical side of screen acting4 ,the psychology of each actor is different and his manner of preparing for a scene and of enacting it will be different4 ,the important thing is that he be aware that there is such a thing as psychology1 and that if he will only understand it as applied to himself he can improve his work as a film player4 ,,chapter ,x ,,salaries ,,in ,,the ,,movies ,so much propaganda and press-agentry has been at work during the last few years that no one knows what to believe of the movies4 ,there appears to be a sort of attenuated smoke cloud thrown up about all connected with the artistic1 and1 more particularly1 the financial side of the movies4 ,and naturally the first question to be asked by one who is considering entering this field as a vocation is ,what do they pay8 ,is it all true8 ,is there money in the movies8 ,the leading stars of the screen get anywhere from one thousand to ten thousand dollars a week4 ,there are only two or three stars1 however1 who get as high as ten thousand4 ,the majority range between one and three thousand4 ,a few stars are paid a percentage of the profits of the picture4 ,one or two others are paid a lump sum for a picture1 rather than a weekly salary1 and in one case this lump sum comes to eighty thousand dollars4 ,a good leading man or leading woman gets four or five hundred dollars a week--some much more4 ,first rate character people1 or heavies1 get from three to five hundred a week1 or1 if called on to play by the day1 get anywhere from fifty to a hundred dollars4 ,the smaller parts bring salaries ranging from fifty to two hundred dollars4 ,bits1 such as the butler who opens the door1 which involve a small bit of individual acting1 although really merely atmospheric work1 bring ten dollars a day or thereabouts4 ,extras for the crowd scenes get about five dollars a day4 ,the salaries of directors range all the way from ten thousand dollars a week1 which is the emolument of one great artist1 down to the hundred and fifty a week of the fly-by-night concerns4 ,the average director in a large company gets anywhere from five hundred to a thousand dollars a week1 especially as at present there is a great shortage of good directors4 ,scenario writers are paid according to the type of work they do4 ,if they write original stories they may get from one thousand to twenty thousand dollars for them4 ,of course1 the published works of notable authors or the stage hits of famous playwrights bring more4 ,writers doing the adaptations or continuities of the stories of others are more often paid by the week4 ,the big scenario writers get salaries ranging up to hundreds of thousands of dollars a year1 for this is fast becoming the most important work of the entire industry4 ,the lesser lights seldom receive less than twenty thousand dollars a year4 ,cameramen get from one hundred to three hundred dollars a week4 ,art directors receive several hundred dollars a week1 but few companies have as yet realized the necessity of employing specialists in scenic art4 ,a good five-reel feature picture to-day costs about sixty thousand dollars to produce4 ,if a famous star is employed1 the cost of the picture goes to a hundred thousand dollars1 or even a hundred and fifty4 ',way ,down ,east1 ,griffith's latest production1 cost just under a million dollars to produce4 ,the profits of the picture come out of its run1 which may last seven or eight years1 and even longer in ,europe4 ,a one hundred thousand dollar picture may eventually make half a million dollars for it's backers1 but1 of course1 they have a long wait for their money4 ,on the other hand1 the risk is stupendous1 for the picture may be a flat failure4 ,one cheering fact1 attested by all motion picture magnates1 is that1 whatever may be the case in other industries1 salaries are not going to drop in the movies4 ,on the contrary1 the movies are growing bigger and bigger and the demand is greater than ever before4 ,there is money in the movies now1 and there will be even more in the next few years4 ,,chapter ,,xi ,,scenarios ,on the legitimate stage nearly every actor at one time or another writes a play4 ,in the same way1 in the movies nearly every actor tries his hand at scenario writing4 ,in fact1 many of the most successful playwrights and photodramatists have had stage or screen experience as actors4 ,for this reason1 although this series is designed more for those who wish to act than for those who wish to write--and although we have already one book on ,how to ,write ,photoplays--nevertheless1 a chapter on scenario writing is not out of place4 ,there is a fine career for any writer in scenario writing if the writer will only take the trouble to study it seriously4 ,there is technique in writing plots and still more technique in adapting those plots to the screen1 by writing them into scenario form4 ,studio experience is of vast benefit to anyone who wishes to write movie stories2 and that is where the actor has the advantage over the outsider who tries to write scenarios with no practical knowledge of how movies are really made4 ,first write your plot into a five hundred or thousand word synopsis1 just as you would write it for a magazine4 ,make it brief and clear4 ,be sure it is based upon action1 mental or physical1 and try to give real character to your plot people4 ,in choosing your story be sure it has the dramatic quality4 ,it must not be rambling2 and it must have an element of conflict between opposing factors--a man and a woman1 a woman and her ,destiny1 or simply ,good and ,evil--which leads up to a crisis in which the matter is fought out and finally settled4 ,stories which have not these qualities are suitable for novels1 perhaps1 but not for plays4 ,it is1 as a general rule1 inadvisable to try historical stories or stories which require elaborate scenes4 ,battle stories and stories of the ,jules ,verne or ,h4 ,g4 ,wells type are also difficult to place4 ,the great demand to-day is for sane1 wholesome stories of modern ,american life1 wherein character is the paramount interest rather than eccentricities of the plot or camera4 ,send your story in synopsis form to the scenario editor of the studio which employs the star for whom you think the story is best suited4 ,send with it a stamped and self-addressed envelope for the return of your script1 if it is not suitable for their use4 ,keep on sending it2 don't be discouraged by rejection slips4 ,you may write dozens of stories and then sell the very first one you wrote4 ,if the studio buys your story it is well to ask for an opportunity to help write the continuity1 or scenario form4 ,this is a highly technical but very well paid task1 and one which every screen author should learn4 ,the chance to enter the studio and help work out the scenario of your own story is worth trying for4 ,illustration3 ,testing ,make-,up and ,expression4 ,every make-up must conform to the part4 ,here the authors1 ,john ,emerson and ,anita ,loos1 are helping their director1 ,victor ,fleming1 to make a test of ,basil ,sydney and ,may ,collins1 who played the leading roles in ,wife ,insurance4 ,the tests are usually taken in some corner of the studio under the best possible lighting conditions4 ,scenarios to-day are more in demand than ever before2 but producers are still chary of taking chances on untried amateurs4 ,the amateur author's greatest success is when he sells his first story4 ,the road is comparatively easy after that4 ,original plots for five-reel pictures sell from #a1jjj to #bj1jjj1 depending upon the reputation of the author and the standing of the company which buys them4 ,of course1 some of the smaller companies pay less than this1 and two and three reel features sell for less4 ,published stories and novels1 and plays which have had a run1 bring enormous prices4 ,griffith recently paid #aej1jjj for the film rights on a play4 ,fifty and seventy thousand dollars are frequently paid for similar plot material1 but that is because of the advertising value in the names of the plays or books1 or the reputation of the writers1 which assures the producers that the story is almost sure to make a good photoplay4 ,the highest paid workers in the movies to-day are the continuity writers1 who put the stories into scenario form and write the titles or written inserts4 ,the income of some of these writers runs into hundreds of thousands of dollars a year4 ,it is extraordinarily interesting work and well worth while learning2 but unfortunately the technical training for this sort of thing takes as much time as the training necessary to enter any other profession4 ,scenario writing does not require great genius4 ,it does require a dramatic insight and certain amount of training4 ,it is the latter factor that most amateurs overlook4 ,if you are to write scenarios1 you must take your work as seriously as you would if you were trying to write music or paint pictures4 ,,chapter ,,xii ,,how ,,others ,,have ,,done ,,it ,the histories of the movie celebrities are as picturesque as the story of their industry4 ,nearly all of them have risen from the ranks4 ,few of them1 in the days when the motion picture was classed as a freak novelty1 expected the present amazing expansion of the industry2 still fewer had any conception of their own latent talents in photodramatic art4 ,but characteristics which they all had in common were determination to succeed in their profession1 a modest faith in its future1 and a desire to learn the business from the ground up4 ,it is a curious fact that many of the directors of to-day were once automobile mechanics4 ,this is not because automobile mechanics are as a class better fitted for such work1 but because1 in the old days of #aijg and #aijh and #aiji1 when everything started1 they had a singular opportunity to apprentice themselves to the profession4 ,in those days companies worked almost entirely out of doors1 and the cameraman transported his paraphernalia in an automobile4 ,the driver of the automobile would usually assist the cameraman in setting up2 a friendship would spring up between them2 presently the driver would be assistant cameraman1 then chief cameraman1 and finally director4 ,of course1 directors have been recruited from every profession and every class--actors1 authors1 professors1 newspaper men1 scene carpenters1 artists--for the dramatic gift is not confined to any class4 ,what a man's profession was before he entered the movies has nothing to do with his career thereafter2 he has to learn everything all over again1 and a very good actor1 with years of studio experience1 may make a very poor director1 whereas an unsuccessful tinsmith might suddenly rise to the top by virtue of an innate gift for this type of work4 ,the scenario writers of to-day have also grown up with the business4 ,some were newspaper men who broke into the game as press-agents2 some were actors2 others were directors4 ,recently a large number of professional playwrights1 novelists and authors with magazine experience have entered the movies to learn scenario writing1 but this is a new development4 ,the writers of this series have been asked to tell how they themselves broke into the scenario offices4 ,unlike the others1 our own story has nothing picturesque about it4 ,miss ,loos was born and bred in a ,california town2 she was the daughter of a newspaper proprietor and inherited that fatal desire to write4 ,at the age of fourteen she sent her first scenario to ,griffith2 for a miracle1 it was accepted--but1 of course1 it was easy to sell stories in those days1 when scenario writing was almost unheard of outside of ,california4 ,soon after this she paid a personal visit to the ,griffith studios and became the youngest scenario editor in the world1 turning out a new story about every six weeks4 ,some six years ago ,mr4 ,emerson left his post as producer for ,frohman on the legitimate stage and went to ,hollywood to keep an eye on the filming of one of his own plays which was being adapted from the speakies4 ,he decided to make the movies a permanent profession1 and with this in mind worked as an actor about the ,griffith studios to learn the rudiments of the game4 ,some months after this he was allowed to direct his first picture2 and at this time he met ,miss ,loos1 who was to write the scenario4 ,after that they collaborated in the ,doug' ,fairbanks' pictures--and that's that4 ,most of the present-day movie actors and actresses gained their experience as extras1 although a few have first made their success on the legitimate stage and then stepped directly into film stardom4 ,doug' ,fairbanks was one of the latter1 and so was ,mary ,pickford4 ,charley ,chaplin and ,wallace ,reid1 on the other hand1 have done little of note outside of the movies4 ,both ,norma ,talmadge and ,constance ,talmadge rose from the ranks4 ,they took small parts in the old ,vitagraph pictures2 but their extraordinary beauty and talent was immediately recognized by the directors1 and they were permitted to try bits1 then parts1 and finally leads4 ,norma ,talmadge went in for the more emotional rles1 while ,constance developed her ability as a comedienne4 ,within six years they have attained to position of leadership in their respective fields4 ,d4 ,w4 ,griffith himself was once an extra4 ,he was a good extra1 too1 according to some of his former employers who now work under him in his great studios at ,mamaroneck1 ,conn4 ,but he had all manner of queer ideas as to how pictures should be acted1 and directed and photographed4 ,for example1 he thought that more effective scenes might be made1 at times1 by photographing actors close up1 cutting off their legs and arms with the frame of the picture and showing only their faces many times enlarged2 also he had a theory that one might heighten the dramatic suspense by cutting back from one scene to another1 instead of following one line of action in a monotonous sequence through an entire photoplay4 ,the directors and actors and cameramen of those days1 who would no sooner have thought of taking a character's picture from the bust up than of taking the picture upside down1 were nevertheless interested in this eccentric chap1 and even asked his advice from time to time4 ,finally1 the eccentric extra got his chance as a director to try out a few of these radical theories4 ,his ,the ,birth of a ,nation changed the entire technique of the movies4 ,many noted directors received their training in directing plays for the legitimate stage1 as1 for example1 ,hugh ,ford4 ,others1 like ,marshall ,neilan1 or ,allan ,dwan1 came in from outside professions4 ,victor ,fleming1 formerly director for ,douglas ,fairbanks and ,constance ,talmadge1 was one of the latter4 ,his first success1 many years ago1 was as an automobile designer1 but his interest always lay with the theater2 he resigned his post with the automobile company at about the age when most young men are seeking their first jobs1 and decided to learn the business of making movies4 ,the same creative faculty which made his automobile designs distinctive in the old days manifested itself in his pictures last year1 ,the ,mollycoddle and ,when the ,clouds ,roll ,by4 ,there are a million ways to break into the movies4 ,no one can imitate the career of another4 ,don't read other people's biographies2 go out and make one for yourself4 ,,chapter ,,xiii ,,amateur ,,movie ,,making ,amateur theatrical clubs1 theater guilds1 and the like1 have done much to make the modern drama the great art that it is4 ,but because of the overwhelming expense heretofore attached to the making of movies there have been no attempts at any similar activities in the films4 ,the movies have never had the advantage of the experiments of amateur societies4 ,to-day1 however1 the making of movies by amateurs is a distinct possibility4 ,the possibilities of making a motion picture at comparatively little expense were first drawn to public attention five years ago when two young men1 both of whom have become well-known directors1 made a saleable photoplay in their own back yard4 ,these boys had many theories about what a movie should and should not be1 but they could never find a company willing to give their theories a trial4 ,finally they hit upon the original expedient of buying their own camera and making a picture in which nearly all the actors were children and which therefore cost very little money4 ,nearly all the scenes were exteriors1 so that practically no scenery was required4 ,the picture was most original and in spite of their technical shortcomings1 they found a fairly profitable sale4 ,if you desire to write1 direct or act in the pictures1 you can have no better experience than trying to make a picture of your own1 even if at first you are not very successful4 ,the great initial expense for this sort of thing is1 of course1 the outlay required to buy a camera4 ,in most towns of any size there are now professional movie cameramen who work for the news reel companies and who may be hired for a comparatively small sum4 ,if1 however1 you desire to make your photoplay an entirely amateur affair1 you can buy a usable second-hand camera for outdoor work for as low as a hundred dollars4 ,some one of your associates must make it his business to learn to run this camera with sufficient skill to insure that your film will not be wasted4 ,the next important outlay is that of the film itself4 ,film costs about eleven or twelve cents a foot when developed and printed4 ,therefore1 the cost of production depends largely upon the length of your picture4 ,for a first attempt we should advise you to keep your photoplay within #b1jjj feet1 or two reels4 ,start by writing a simple story into a scenario with as many exterior scenes as possible4 ,the necessary interiors1 such as rooms or hallways1 may be built by your own amateurs1 outdoors1 as they are often built in ,california1 so that no lights will be necessary4 ,you can paint your own subtitle cards--the written inserts--and film them yourself4 ,illustration3 ,,making ,a ,,close-,,up ,sun reflectors1 consisting of silvered canvas screens1 are used to lighten the shadows1 which are apt to make the cheeks seem hollow4 ,the actors are ,basil ,sydney and ,may ,collins4 ,it is not necessary to make the scenes in their natural sequence4 ,after the picture is finished and developed1 however1 someone must assemble and cut it4 ,this means that you must rent the use of the projection machine at your local theater for a few mornings1 and get the local operator to help you splice and cement the film together in its correct order of long shots and close-ups4 ,there is no rule for this work except that of practical values on the screen4 ,just run your bits of film through the projection machine and stick them together the way they look best4 ,it is a matter of artistic perception rather than any set rule4 ,if your scenario calls for an outdoor picture--for example1 a cowboy story--which does not require costumes1 you should be able to make it for a thousand dollars1 provided your amateur actors1 and amateur cameramen1 and amateur authors are working for nothing4 ,there are mighty few amateur theatricals of any pretention whatsoever which do not cost as much as this1 and you should be able to take in a good profit if your picture is exploited in your local theaters4 ,as a matter of fact1 pictures have not always been produced on the scale that they are to-day4 ,ten years ago feature pictures cost from #e1jjj to #g1jjj to make1 and in those days film and cameras were much more expensive4 ,the producers simply made outdoor pictures which required no lights or scenery1 and saved on the salaries of actors and directors1 which have multiplied twenty times since then4 ,to-day the average feature picture costs from #ej1jjj to #aej1jjj to produce4 ,griffith's ',way ,down ,east cost nearly a million to produce4 ,that is because the salaries of actors1 directors and authors have risen so enormously4 ,but there is no reason why an amateur company in which the cost of salaries is completely eliminated cannot make their own picture at a minimum expense4 ,if you want to break into the movies1 here is a way to do it1 right in your own home town4 ,,introductory ,,note ,,to ,,part ,,ii ,whether you desire to break into the movies as writer1 actor or director1 your most important consideration will be the scenario4 ,in the scenario you will find all the elements of the photoplay2 everything is built upon that as a foundation4 ,the actor or director who sincerely desires to do good work studies his script assiduously4 ,the ambitious writer analyzes not only his own photoplays1 but those of other people4 ,it is exceedingly difficult to talk technique to anyone who has never read a scenario4 ,for this reason we have incorporated a continuity in this book4 ,it is the dramatic form of a screen story which we have made as a special production4 ,the titles1 which are the written inserts to be flashed on the screen1 are in capital letters4 ,the inserts refer to such articles as letters1 telegrams1 pictures1 and the like1 which may be shown in close-up4 ,the iris is the broadening or narrowing of the frame of the picture to open or close a scene1 or to emphasize some particular object which is irised upon4 ,the fade effects are used very much as the curtain of the legitimate stage is used to open and close scenes4 ,the abbreviation ,sp means ,speech1 indicating that the title which follows is to be spoken by the actor4 ,some of the quoted lines--the ones not set off in capitals--are not shown on the screen1 but are merely given as a guide for the players4 ,most of the directions concerning the scenes are also given in capital letters4 ,,exterior1 or the abbreviated ,,ext41 for example1 refers to a scene outdoors1 while ,,interior or ,,int41 is an indoor scene4 ,the terms ,,long ,,shot and ,,close-,,up refer to the distance at which the camera is placed from the scene4 ,red ,hot ,romance is played as a romantic melodrama1 but is intended as a satire upon this very type of story1 with its incredibly heroic hero1 its ,american girl1 its marines-to-the-rescue and all the rest of it4 ,basil ,sydney and ,may ,collins played the parts of ,roland and ,rosalie1 and ,victor ,fleming was the director4 ,,red ,,hot ,,romance ,t3 ,,it',s ,,bad ,,enough ,,for ,,some ,,to ,,boss ,,the ,,rest ,,of ,,us ,,while ,,they ,,are ,,alive1 ,,but ,,the ,,limit ,,is ,,reached ,,when ,,they ,,want ,,to ,,keep ,,right ,,on ,,after ,,they ,,have ,,cashed ,,in4 ,t3 ,,for ,,instance1 ,,there ,,was ,,old ,,harder ,n4 ,,stone1 ,,the ,,vice-,,president ,,of ,,the ,,british-,,american ,,insurance ,,co4 #a4 ,,library1 ,,stone ,,home ,,in ,,washington4 7,fade in47 ,harder ,n4 ,stone1 an old skinflint1 is seated at his desk writing4 ,,insert--,stone's hand writing the following3 ,i1 ,harder ,n4 ,stone1 of ,washington1 ,d4 ,c41 hereby direct that1 should ,i die before my son1 ,roland ,stone1 he is to receive from my estate the sum of #ej4jj per week and the use of my residence in ,washington1 ,d4 ,c1 until his twenty-fifth birthday4 ,stone sits back and regards what he has been writing1 smiles smugly1 and then continues writing4 ,,insert--,stone's hand writing the following3 ,on his twenty-fifth birthday1 provided he has lived according to instructions herein set down1 my son1 ,roland ,stone1 is to receive his inheritance at the hands of my chosen executor1 ,lord ,howe-,greene1 of ,london1 ,president of the ,british-,american ,insurance ,co4 ,stone sits back and reads over what he has written and is highly pleased4 ,he then rings for a servant and presently ,briggs enters4 ,he is a little ,english butler1 who has been in the family for years4 ,stone turns to him and tells him that he has just been making out his will4 ,briggs is properly impressed and ,stone says to him3 ,,sp3 ,,briggs1 ,i ,,have ,,provided ,,in ,,my ,,will ,,that ,,if ,i ,,die ,,before ,,my ,,son ,,you ,,are ,,to ,,stay ,,on ,,with ,,him ,,as ,,long ,,as ,,you ,,live4 ,briggs is highly pleased1 thanks him1 ,stone dismisses him1 goes on writing4 7,fade out47 ,,the ,,old ,,boy ,,did ,,die1 ,,as ,,he ,,deserved ,,to1 ,,and ,,left ,,his ,,son ,,and ,,heir1 ,,roland ,,stone1 ,,with ,,nothing ,,to ,,do ,,but ,,live ,,on #ej4jj ,,per ,,week4 #b4 ,,roland',s ,,bedroom4 7,fade in47 ,he is lolling in bed in pajamas and dressing gown1 smoking a cigarette and opening a stack of bills and reading them4 ,,insert--top bill--tailor's bill with a balance from the month before and about #bge4jj for this month with a note in heavy letters ,,please ,,remit4 ,this one is turned over1 and the second one is from a club with a statement ,you have this day been posted for #agi4jj and your credit is hereby suspended until same is paid4 ,this bill is turned over and the third bill is from a florist's for #iej4jj worth of flowers sent to ,miss ,rosalie ,bird and has a note reading3 ,impossible for us to fill any more orders until these bills are paid4 ,roland puts down the bills in disgust1 not looking further1 as he knows they're all alike4 ,briggs1 the butler1 now enters and takes up the breakfast tray which is lying on the bed opposite beside ,roland4 ,roland looks up to him1 then looks at the bills1 and says3 ,,sp3 ,,how ,,do ,,you ,,expect ,,me ,,to ,,pay ,,these ,,bills ,,on #ej4jj ,a ,,week8 ,briggs shrugs his shoulders as though he had nothing to do with it1 and suggests that ,roland's bills are too big4 ,he then leaves4 ,roland looks after him1 disgusted1 runs through a few more bills1 throws them on the floor and at this juncture1 ,tom1 ,roland's valet1 a big husky negro with a child-like1 innocent smile1 enters the room with letters1 goes to ,roland and hands him the letters4 ,roland looks at them and sees they are more bills1 puts them down4 ,tom picks up others from floor and gives them to ,roland1 much to his disgust4 ,he looks up to ,tom and says3 ,,sp3 ,,you',,re ,a ,,fine ',,secretary'6 ,,what ,,do ,i ,,pay ,,you ,,for8 ,tom looks up at him1 round-eyed and smiles and says3 ,,sp3 ,,you ,,don',t4 ,this is a poser for ,roland for a moment1 he finally regains his composure and says3 ,,sp3 ,,well1 ,i ,,am ,,going ,,to ,,when ,i ,,get ,,my ,,inheritance ,,next ,,april4 ,tom nods his head quizzically as he has heard this many times before4 ,roland then picks up the bills1 runs through them again and says3 ,,sp3 ,,the ,,question ,,now ,,is--,,how ,,are ,,we ,,going ,,to ,,live ,,untilapril8 ,he sighs1 reaches over to a table which has a little calendar on it1 picks up the calendar1 sees that it is the #acth of ,january1 and runs through the pages very dubiously4 ,he finally looks up at ,tom1 shows him how many days they have to live through on the calendar1 and says3 ,,sp3 ,i ,,haven',t ,a ,,nickel ,,and ,i ,,can',t ,,borrow ,,anything ,,now4 ,,how ,,are ,,we ,,going ,,to ,,live ,,until ,,april8 ,tom looks about very dubiously4 ,finally he gets an idea1 he looks from one object of furniture to another1 and his idea grows until he is fairly beaming and he says3 ,,sp3 ,,they',s ,a ,,mighty ,,lot ,,of ,,hockable ,,stuff ,,around ,,heah1 ,,boss6 ,he indicates the things around the room1 and ,roland is delighted with the idea4 ,he picks up the bunch of bills1 looks at the top one4 ,,insert--,,tailor',s ,,bill4 ,roland then looks around for something to pay that with and his eye falls upon an antique vase4 ,he jumps out of bed1 takes the vase and hands it to ,tom together with the tailor's bill1 saying that that will pay for that4 ,roland looks at the next bill4 ,,insert--,,bill ,,from ,,club4 ,roland then takes a couple of ornaments from the mantel1 gives them to ,tom together with the club bill saying that they will pay for that4 ,roland then looks at the next bill4 ,,insert--,,florist',s ,,bill4 ,roland then takes a picture from the wall1 leaving a discolored place behind it1 saying that will pay for that4 ,he then thinks a moment and picks up a little antique clock and hands it to ,tom1 saying3 ,,sp3 ,,and ,,buy ,,her ,,some ,,orchids ,,with ,,this4 ,tom grins1 goes out loaded down with all the junk4 ,roland looks after him1 very pleased with himself1 and1 probably thinking of his girl and the orchids1 smiles1 and fade out4 ,t3 ,,indicating ,,that ,,it',s ,,tea ,,time4 #c4 ,,exterior ,,colonel ,,bird',s ,,house4 7,fade in47 ,roland comes down the street with a bunch of orchids in his hand and goes up and rings the bell4 ,t3 ,,colonel ,,bird1 ,,of ,,virginia1 ,,who ,,has ,,been ,,hanging ,,around ,,washington ,,for ,,thirty-,,five ,,years1 ,,waiting ,,for ,a ,,job ,,which ,,was ,,first ,,promised ,,him ,,by ,,president ,,cleveland4 #d4 ,,parlor1 ,,colonel ,,bird',s ,,house4 ,colonel ,bird1 seated at a desk1 very busily reading several large law books and making notes1 trying to kid himself into believing that he is busy4 ,a colored mammy presently shows in ,roland1 who greets the ,colonel very effusively4 ,the ,colonel asks ,roland to sit down1 which he does4 ,the servant exits4 ,the ,colonel1 not being very greatly impressed with ,roland1 excuses himself and goes on with his work1 explaining that he has some very important matters on hand4 ,roland looks at him1 smiles to himself1 then looks out expectantly toward the hall4 ,t3 ,,the ,,colonel',s ,,daughter1 ,,rosalie1 ,,the ,,lady ,,of ,,the ,,orchids4 #e4 ,,hallway1 ,,colonel',s ,,house4 ,rosalie comes down the stairs and enters the parlor4 #f4 ,,parlor1 ,,colonel',s ,,house4 ,rosalie rushes over1 greets ,roland4 ,the ,colonel rises until ,roland and the girl are seated when he sits and goes on with his on a sofa1 work4 ,roland gives ,rosalie the orchids4 ,rosalie thanks him1 but says3 ,,sp3 ,,roland1 ,,you ,,shouldn',t ,,buy ,,orchids ,,every ,,day4 ,she then points around to different vases in the room1 all of which are full of orchids4 ,she holds on to the orchids and gives ,roland a little lecture on economy1 telling him he has no business to spend his money so foolishly4 ,and ,roland says he thought she liked orchids4 ,she says she does and he's a dear sweet boy to bring them1 but he sees she is not pleased and is correspondingly depressed4 #g4 ,,exterior ,,colonel',s ,,bird',s ,,house4 ,a low rakish roadster drives up and out of it gets ,jim ,conwell4 ,he has a small sized package in his hand4 ,,close ,,up--,and he runs up and rings the bell4 ,t3 ,,jim ,,conwell ,,is ,,one ,,of ,,that ,,brotherhood ,,of ,,diplomatic ,,hangers-,,on ,,who ,,make ,a ,,shady ,,livelihood ,,by ,,doing ,,the ,,dirty ,,work ,,of ,,the ,,various ,,washington ,,embassies4 #h4 ,,ext4 ,,colonel ,,bird',s ,,porch4 ,the colored mammy opens the door1 lets in ,conwell1 takes his hat and coat and shows him into the parlor4 #i4 ,,parlor ,,colonel ,,bird',s ,,house4 ,the colored mammy shows ,conwell ,,sp3 ,,here',s ,a ,,little ,,thing ,i ,,picked ,,up ,,in ,,an ,,antique ,,shop4 ,i ,,thought ,,you',d ,,like ,,it4 ,rosalie puts down her orchids in ,roland's chair4 ,she then takes the package1 opens it up and takes out ,roland's clock4 ,she lets out a cry of surprise and delight1 then turns to ,conwell and says3 ,,sp3 ,,it',s ,,lovely6 ,i',,ve ,,always ,,wanted ,a ,,clock ,,like ,,that4 ,roland looks at this1 open-mouthed and in absolute astonishment1 sits down in his chair1 smashing the orchids4 ,rosalie then shows the clock to the old ,colonel and the two of them rave over it1 forgetting the existence of ,roland1 who finally comes to sufficiently to see that he's sitting on something1 gets up and picks up the mashed orchids1 looks at them disgustedly4 ,the clock is finally put in place on the mantel and ,rosalie comes back and joins ,roland1 who stands looking ruefully at the flowers in his hand4 ,he dolefully shows them to her1 and she1 seeing he is hurt1 comforts him1 telling him he's a dear boy and she loves the orchids4 ,she takes them from him and tenderly straightens them out1 but ,roland is still in the dumps4 ,conwell is now throwing a lot of bull at the old ,colonel1 saying3 ,,sp3 ,i ,,just ,,said ,,to ,,the ,,secretary ,,of ,,state3 ',,you',,re ,,not ,,looking ,,very ,,well1 ,,elihu1 ,i ,,wish ,,you',d ,,let ,,my ,,old ,,friend1 ,,colonel ,,bird1 ,,take ,,some ,,of ,,the ,,work ,,off ,,your ,,hands4' ,he goes on spouting and the old ,colonel fairly eats it up4 ,finally1 ,roland1 unhappy and jealous and disgusted at ,conwell1 gets up and tells ,rosalie he has to go4 ,rosalie begs him to stay in her sweetest manner1 but ,roland takes another look at ,conwell1 says no1 he's got to go1 says good-by to ,rosalie and says good-by to the ,colonel and ,conwell1 and leaves4 ,,street ,,ext4 ,,col4 ,,bird',s ,,house4--,roland comes out and goes dolefully down the street4 7,fade out47 ,,hallway ,,roland',s ,,house4 ,roland enters1 disheartened4 ,hangs up hat and coat and stick and goes slowly into library4 #aj4 ,,library ,,roland',s ,,house4 7,fade in47 ,tom is fussing about the room4 ,roland enters the room1 terribly depressed and upset and starts to tell ,tom about the scene that just took place4 ,he goes on talking about ,conwell and finally says3 ,,sp3 ,,the ,,old ,,man ,,stands ,,for ,,all ,,of ,,conwell',s ,,bunk ,,and ,,thinks ,,he',s ,,great4 ,tom is very sympathetic and tells ,roland he ought to settle the matter4 ,roland agrees with him1 pounds on the table1 and says3 ,,sp3 ,i ,,think ,,the ,,time ,,has ,,come ,,when ,i ,,ought ,,to ,,tell ,,rosalie ,i ,,love ,,her6 ,tom agrees with him1 says that's absolutely right4 ,roland says he knows it's right--the only thing to do is to come to an understanding right away4 ,he then goes over to the telephone and calls a number1 and while he is waiting for the number1 he goes on talking to ,tom1 telling him just how he is going to settle things and ,tom encourages him4 #aa4 ,,hallway ,,colonel ,,bird',s ,,house4 ,rosalie comes down the hall to the telephone and answers it4 #ab4 ,,library ,,roland',s ,,house4 ,roland is still talking to ,tom1 telling him how he's going to lay down the law when he suddenly hears ,rosalie's voice over the 'phone4 ,all his belligerency oozes out4 ,he smiles and stammers foolishly and gulps and tries to get his courage up as if he were going to lay matters right before her and finally weakens and comes out with ,,sp3 ,,how ,,are ,,you8 #ac4 ,,hallway ,,colonel ,,bird',s ,,house4 ,rosalie1 wondering what the devil he's asking her that for when he just left her1 frowns quizzically and says that she's feeling all right4 #ad4 ,,library ,,roland',s ,,house4 ,roland goes on talking through the 'phone in a stammering embarrassed sort of way1 and ,tom keeps telling him to go on and tell her what he said he was going to4 ,roland tries to motion to ,tom and he goes on stammering and stuttering4 #ae4 ,,hallway ,,colonel ,,bird',s ,,house4 ,rosalie still very quizzically listening to ,roland4 ,she finally asks him what is the matter with him4 #af4 ,,library ,,roland',s ,,house4 ,roland stammering into the 'phone4 ,finally ,tom1 utterly disgusted1 comes over to the 'phone and yells in it3 ,,sp3 ,,he',s ,,trying ,,to ,,ask ,,you ,,to ,,marry ,,him1 ,,miss ,,rosalie6 ,,will ,,you8 ,roland turns angrily to ,tom1 still holding the receiver to his ear1 and starts to berate ,tom soundly1 when he suddenly hears something in the telephone which stops him4 ,he listens1 overcome with wonderment and finally says3 ,,sp3 ,,say ,,that ,,again6 #ag4 ,,hallway ,,colonel ,,bird',s ,,house4 ,rosalie at the 'phone1 laughing1 says3 ,,sp3 ,,yes4 ,,of ,,course ,i ,,will6 #ah4 ,,library ,,roland',s ,,house4 ,roland can hardly believe his ears1 makes her reiterate it1 then turns to ,tom in great glee and says3 ,,sp3 ,,it',s ,,all ,,right4 ,,she ,,says ,,yes4 ,he then turns back to the 'phone and asks ,rosalie if she really means it4 ,while he is talking to ,rosalie1 ,tom goes over to a heavy couch1 pulls it out toward the hall4 ,roland still at the 'phone talking1 turns and asks ,tom what he is doing4 ,tom still pulling the couch says3 ,,sp3 ,,ah',m ,,going ,,to ,,buy ,,you ,a ,,engagement ,,ring4 ,roland smiles and nods1 and suddenly thinks of the clock episode1 stops ,tom1 tells him to wait a minute1 then turns toward the telephone and says3 ,,sp3 ,,what ,,would ,,you ,,rather ,,have--,a ,,ring ,,or ,a ,,sofa8 #ai4 ,,hallway ,,colonel ,,bird',s ,,house4 ,rosalie listening at the 'phone is utterly dumbfounded at this odd request1 she asks him to repeat it1 then finally still puzzled1 says3 ,,sp3 ,,why1 ,a ,,ring1 ,,of ,,course6 ,,you ,,silly ,,boy6 #bj4 ,,library ,,roland',s ,,house4 ,roland listening at the 'phone1 hears ,rosalie wants the ring1 turns to ,tom and tells him to go on and hock the sofa4 ,he then turns to ,rosalie1 starts in to talk to her ecstatically over the 'phone1 smiling1 as we fade out4 ,t3 ,,that ,,night ,,at ,,the ,,hangout ,,of ,,the ,,fringe ,,of ,,the ,,diplomatic ,,set4 #ba4 ,a ,,wop ,,restaurant4 7,fade in47 ,this is a typical #a4ce ,table d',hote joint4 ,seated at the various tables are many diplomatic hangers-on1 all of them crooked and all looking out for the main chance4 ,among them is a ,mexican1 a ,frenchman1 an ,englishman1 a ,german1 a ,russian1 an ,italian1 a ,chinaman1 a ,jap1 a ,bulgarian1 a ,hindoo and their women--perhaps three or four ,americans1 but the atmosphere is generally foreign1 the waiters being ,wops4 ,seated at one table is ,conwell alone4 ,he is eating spaghetti and looking very sourly about4 ,t3 ,,enrico ,,de ,,castanet ,,of ,,bunkonia4 ,enrico is seated at a table talking to a very attractive vamp type of a woman4 ,t3 ,,his ,,lady ,,friend 7,,the ,,international ,,vamp ,,and ,,spy71 ,,countess ,,pulloff ,,de ,,plotz4 ,the ,countess is listening very intently to ,enrico4 ,enrico goes on talking very earnestly1 and finally says3 ,,sp3 ,,you ,,see1 ,,we ,,must ,,have ,a ,,man ,,who ,,can ,,be ,,bought ,,body ,,and ,,soul4 ,the ,countess agrees with him1 and perhaps suggests somebody1 whom ,enrico says would never do4 ,the ,countess starts thinking again1 and1 as she does1 her eyes wander over the room and she sees ,conwell1 who has just gotten up1 paid his bill and given the waiter a very small tip1 at which the waiter shows his disgust4 ,conwell then turns to leaves the restaurant1 starts down toward ,enrico and the ,countess4 ,the ,countess sees him1 has a sudden idea that he would be fine for the job and points him out to ,enrico4 ,at this moment1 ,conwell has stopped to talk to someone at one of the tables1 ,enrico looks him over from head to foot1 asks the ,countess if she is sure he can be handled2 she assures him he can4 ,,sp3 ,,he ,,worked ,,for ,,the ,,shipping ,,board4 ,enrico agrees that he looks like a good bet1 and just at this moment ,conwell comes past the table1 sees the ,countess motion to him4 ,he comes over to the table1 ,enrico rises and the ,countess introduces him saying3 ,,sp3 ,,senor ,,de ,,castanet ,,is ,,minister ,,of ,,war ,,of ,,bunkonia4 ,conwell is mildly interested in this fact4 ,enrico then asks ,conwell to sit down1 so he takes a seat1 and the ,countess then begins to get very confidential4 ,she looks around to see that no one is looking1 then getting their three heads together1 she says in whispered tones3 ,,sp3 ,,we ,,are ,,engineering ,a ,,little ,,revolution ,,down ,,in ,,bunkonia4 ,conwell is a little more interested now4 ,he pricks up his ears a bit and casually glances around to make sure no one is overhearing1 then looks to ,de ,castanet for some information1 and ,de ,castanet1 with a quick glance around says to ,conwell3 ,,sp3 ,,the ,,american ,,consul ,,has ,,resigned ,,and ,a ,,new ,,one ,,is ,,to ,,be ,,appointed ,,next ,,month4 ,conwell is still more interested1 asks ,enrico where do ,i come in8 ,enrico says1 indicating ,madame3 ,,sp3 ,i ,,am ,,here ,,to ,,see ,,that ,,the ',,right' ,,man ,,is ,,appointed4 ,conwell says ,oh ho1 he sees and looks at the ,countess1 who nods her approval4 ,he then asks her where he comes in4 ,with more mysterious looks1 they get their heads very closely together1 and the ,countess says3 ,,sp3 ,,what',s ,,the ,,matter ,,with ,,you ,,for ,,consul8 ,,the ,,pickings ,,are ,,going ,,to ,,be ,,fine ,,for ,,the ',,right ,,man4' ,conwell considers a moment1 smiles quizzically and shakes his head and says3 ,,sp3 ,,no1 ,i',m ,,in ,,wrong--,,the ,,senate ,,wouldn',t ,,confirm ,,me4 ,the ,countess tries to argue with him but heis obdurate and says there's no chance for him1 but as they are talking he is suddenly struck with a brilliant idea4 ,he says1 ,wait a minute4 ,they all wait and finally he speaks and says3 ,,sp3 ,i',,ve ,,got ,,just ,,the ,,man ,,for ,,you6 ,they are all attention and eager to know who it is4 ,he indicates that this must be very much on the quiet and then says3 ,,sp3 ,,old ,,colonel ,,bird--,,fine ,,record--,,easy ,,to ,,handle--,,been ,,waiting ,,thirty-,,five ,,years ,,for ,a ,,job4 ,the ,countess indicates that she knows old ,bird and tells ,enrico that he is ideal1 that they couldn't do better4 ,enrico asks if he can be handled when the time comes4 ,conwell swells up and tells him to leave that to him4 ,it's the easiest thing in the world4 ,enrico turns to ,madame1 who backs up ,conwell and ,enrico is then satisfied4 ,conwell then speaks up and says3 ,,sp3 ,i',,ll ,,go ,,along ,,as ,,secretary ,,and ,,keep ,,my ,,eye ,,on ,,the ,,old ,,boy4 ,they both express their approval of that1 and indicate that he will get part of the swag4 ,the ,countess leans over and says rather tauntingly3 ,,sp3 ,i ,,suppose ,,the ,,old ,,boy',s ,,daughter ,,will ,,go ,,along1 ,,too6 ,conwell says he bets she will and winks the other eye4 ,the ,countess laughs and ,enrico smiles1 interested at the idea of a romance4 ,he and the ,countess exchange glances4 ,conwell then says3 ,,sp3 ,,remember--,,mum',s ,,the ,,word ,,until ,,after ,,the ,,appointment ,,is ,,made4 ,they all agree to that and put their heads together and go on with their scheming4 7,fade out47 ,t3 ,,and ,,so ,,it ,,came ,,to ,,pass---- #bb4 ,,parlor ,,colonel ,,bird',s ,,house4 7,fade in47 ,an old trunk in the middle of the floor and the ,colonel and mammy are packing in his books1 papers1 etc4 ,the ,colonel all full of business and very busy4 ,rosalie is helping1 but is very sad over the matter4 #bc4 ,,exterior ,,colonel ,,bird',s ,,house4 ,roland rushes down the street with a newspaper in his hand1 runs up the steps and rings the bell4 #bd4 ,,parlor ,,colonel ,,bird',s ,,house4 ,rosalie looks up quickly1 thinking that this must be ,roland4 ,mammy starts for the door but ,rosalie tells her she will answer the bell1 and she runs out into hall4 #be4 ,,hallway ,,colonel ,,bird',s ,,house4 ,rosalie runs to the door and opens it4 #bf4 ,,exterior ,,colonel ,,bird',s ,,house4 ,rosalie opens the door1 and ,roland rushes in4 #bg4 ,,hallway ,,colonel ,,bird',s ,,house4 ,roland1 full of excitement1 grabs ,rosalie1 shows her the article in the newspaper4 ,,insert--,article in newspaper stating that ,colonel ,bird has been appointed ,consul of ,bunkonia and that he is to leave for there immediately with his daughter and his ,secretary1 ,james ,conwell4 ,roland asks ,rosalie if this is true4 ,rosalie nods her head sadly1 says that it is and ,,sp3 ,i ,,didn',t ,,know ,a ,,thing ,,about ,,it ,,myself ,,until ,,this ,,morning4 ,roland protests that she can't go away and leave him1 and ,rosalie asks what she can do and says that her father has waited for this all his life and insists on taking her along4 ,roland asks where her father is1 she points into parlor1 and ,roland tells her that he will see about whether she will be taken away or not1 and full of worry1 rushes into the parlor followed by ,rosalie4 #bh4 ,,parlor ,,colonel ,,bird',s ,,house4 ,colonel ,bird is helping mammy pack and ,roland rushes in followed by ,rosalie4 ,he goes to the ,colonel and protests against taking his fiance away from him4 ,he puts his arm around ,rosalie and says that he wants to marry her now and keep her4 ,the ,colonel can't see this at all1 and says3 ,,sp3 ,,if ,,you ,,marry ,,now1 ,,how ,,are ,,you ,,going ,,to ,,support ,,her8 ,rosalie turns to ,roland and says that is the trouble--that her father won't let her stay there and marry him because he can't support her4 ,roland then turns to the ,colonel and says3 ,,sp3 ,,but1 ,,colonel1 ,,in ,,another ,,month ,,everything ,,will ,,be ,,all ,,right6 ,rosalie seconds the motion and tries to persuade her father that everything will be all right1 but her father shakes his head1 looks grimly at ,roland and says3 ,,sp3 ,,that',s ,,what ,,cleveland ,,said ,,to ,,me ,,in '#hi4 ,roland looks discouraged and realizes that he is up against a hard proposition in the old ,colonel1 but tries to explain that if they can just struggle along for a month he will have millions1 but the ,colonel says3 ,,sp3 ,,when ,,you ,,have ,,your ,,inheritance ,,right ,,in ,,your ,,hand1 ,,come ,,down ,,to ,,bunkonia ,,and ,,get ,,her4 ,roland1 much discouraged1 still tries to argue with the old boy1 but he cuts him off and goes on about his work4 ,roland then turns to ,rosalie1 who by this time is in tears4 ,at the sight of ,rosalie's tears1 ,roland forgets his own disappointment1 and putting his arm around her1 leads her off to a secluded corner out of sight of the old ,colonel1 seats her and tries to comfort her1 putting his arm around her and saying3 ,,sp3 ,,the ,,first ,,of ,,april ,,is ,,my ,,birthday4 ,i ,,get ,,my ,,inheritance ,,that ,,day ,,and ,i',,ll ,,start ,,at ,,once ,,for ,,bunkonia4 ,at once ,rosalie looks up at him with her eyes full of tears and smiles wanly4 ,roland takes her hand1 wipes away her tears1 kisses her and says3 ,,sp3 ,i',,ll ,,send ,,you ,a ,,cable ,,every ,,day6 ,at this ,rosalie is greatly cheered up1 she looks and says3 ,will you1 dear8 and he assures her that he will and again kisses her4 7,fade out47 ,t3 ,,the ,,american ,,cable ,,company ,,did ,,well ,,that ,,month ,,but ,,look ,,what ,,happened ,,to ,,roland',s ,,house4 #bi4 ,,hallway ,,roland',s ,,house4 7,fade in47 ,view of hall without a piece of furniture1 bric-a-brac or pictures4 7,dissolve out47 #cj4 ,,library ,,roland',s ,,house4 7,dissolve in47 ,view of ,library absolutely bare4 7,dissolve out47 #ca4 ,,roland',s ,,bedroom4 7,dissolve in47 ,bedroom has nothing in it but one couch1 one chair and a soap box on which are ,roland's mirror and toilet articles4 ,roland is asleep on the couch4 ,presently ,briggs enters1 looks about at the devastated room1 then shaking his head over the laziness of his master1 goes over1 wakes ,roland up and says3 ,,sp3 ,i ,,wish ,,you ,a ,,happy ,,birthday1 ,,sir4 ,roland wakes up1 looks at him1 rubs his eyes1 realizes that his probation is over4 ,tom enters smiling with a telegram in his hand which he gives to ,roland who opens it and reads3 ,,insert--,,telegram4 ,new ,york1 ,march #ca1 #aibj4 ,arrive ,washington four-forty to-morrow1 ,april first1 to deliver inheritance4 ,,howe-,,greene4 ,roland jumps out of bed1 goes over and claps ,briggs on the back and shakes hands with him--then shakes hands with ,tom4 ,then makes ,briggs and ,tom shake hands4 ,tells them both he's going to have loads of money and they will be paid4 ,roland then goes over to his soap box on which is a calendar4 ,he looks at page marked ,march #ca4 ,tears it off and looks at page marked ,april #a4 ,he tears off the page with a flourish which reads ,march #cast1 turns it over1 and1 sitting on the floor1 writes on the back of it4 ,tom in the meantime sends ,briggs for his breakfast and gets out ,roland's clothes1 brushing them with great gusto4 ,roland finishes writing and reads what he has written4 ,,insert--,,what ,,roland ,,is ,,writing4 ,miss ,rosalie ,bird1 ,santo ,grafto1 ,bunkonia4 ,at last the great day is here4 ,lord ,howe-,greene arrives to-day with my inheritance4 ,leave for ,bunkonia to-morrow to claim you as my bride4 ,roland4 ,he reads it and tells ,tom to send it4 ,tom takes the message4 ,scratches his head and looks around the room for something to hock4 ,roland wants to know why he's hesitating1 and he tells him4 ,roland then says3 ,,sp3 ,,take ,,the ,,couch6 ,tom looks at the couch dubiously1 then looks at ,roland and says3 ,where are you going to sleep to-night8 ,roland1 in an extravagant manner and with a grand flourish1 tells him to take it away4 ,,sp3 ,i ,,won',t ,,be ,,able ,,to ,,sleep ,,to-,,night ,,anyway6 ,tom goes over1 picks up the couch and starts out of the room with it4 ,at the door1 ,roland stops him1 picks up the one remaining chair1 hands it over to him and says3 ,,sp3 ,,cable ,,her ,,some ,,roses ,,with ,,this6 ,tom takes the chair1 starts for the door when he suddenly thinks of the fact that ,lord ,howe-,greene is due that morning1 so he stops1 turns to ,roland and says3 ,,sp3 ,,what ,,dat ,,lord ,,howe-,,greene ,,to ,,sit ,,on ,,when ,,he ,,comes8 ,roland says that's right1 so he leaves the chair and starts out with the couch4 ,briggs in the meantime has entered with ,roland's breakfast4 ,puts breakfast on soap box4 ,roland tells him to put the chair down in the hall4 ,briggs doleful4 ,roland slaps him on the back--tells him to cheer up4 ,briggs goes out shaking his head and ,roland sits on chair and starts his breakfast all smiles4 7,fade out47 ,t3 ,,the ,,new ,,millionaire4 #cb4 ,,front ,,of ,,roland',s ,,house4 7,fade in47 ,roland's taxi drives up and stops1 followed by ,tom's4 ,roland and ,lord ,howe-,greene with portfolio get out4 ,tom also gets out with bags4 ,howe-,greene starts up walk4 ,tom stops ,roland and shows him three cents--all he has and whispers to him1 saying3 ,,sp3 ,,how ,,do ,i ,,pay ,,the ,,taxi8 ,roland signifying that he can't be annoyed with such little things1 says grandiloquently3 ,,sp3 ,,tell ,,them ,,to ,,wait6 ,he follows ,lord ,howe-,greene up the walk while ,tom goes to the taxis and tells them to wait4 ,then he follows with bags4 #cc4 ,,reception ,,hall ,,roland',s ,,house4 ,it is perfectly bare4 ,briggs is just coming down the stairs carrying the one chair that is left1 he puts it down1 looks around at the bare hall1 shakes his head sadly1 dusts off the one chair1 then looks up quickly at hearing bell ring1 goes over to the door4 #cd4 ,,front ,,of ,,roland',s ,,house4 ,briggs opens the door and lets ,roland and ,lord ,howe-,greene in followed by ,tom with bags4 #ce4 ,,hallway ,,roland',s ,,house4 ,roland and ,lord ,howe-,greene enter1 followed by ,tom and ,briggs4 ,briggs is delighted to see the old ,englishman but is terribly chagrined at the condition of the house4 ,he takes ,lord ,howe-,greene's coat and hat1 and ,roland engages ,lord ,howe-,greene in talking1 then motions to ,tom to get the chair into the library4 ,tom sneaks the chair around behind ,lord ,howe-,greene and into the library4 #cf4 ,,library4 ,tom sneaks the chair in1 puts it down near the fireplace4 #cg4 ,,hallway ,,roland',s ,,house4 ,roland noticing that ,tom has the chair placed1 escorts ,lord ,howe-,greene into the library with a grand flourish4 #ch4 ,,library4 ,tom is standing behind the chair4 ,lord ,howe-,greene and ,roland enter4 ,tom seats ,lord ,howe-,greene very ceremoniously in the chair4 ,lord ,howe-,greene looks around the empty room and is astounded4 ,he turns to ,roland and says3 ,i say1 old fellow1 the place looks rather beastly bare8 ,where's the furniture8 ,roland thinks for a moment1 looks at ,tom2 ,tom does some quick heavy thinking and finally says1 very graciously3 ,,sp3 ,,we ,,sent ,,the ,,furniture ,,out ,,to ,,be ,,cleaned ,,in ,,honor ,,of ,,your ,,coming4 ,roland smiles in relief and in approval of ,tom1 and then says3 ,,sp3 ,,the ,,cleaners ,,are ,,on ,,strike ,,so ,,they ,,didn',t ,,get ,,it ,,done ,,in ,,time4 ,lord ,howe-,greene blandly accepts the explanation and thanks him for his thoughtfulness4 ,roland1 who has been fondling the portfolio1 can hardly wait for it to be opened1 and he gives it to ,lord ,howe-,greene and then goes and stands by the mantel with ,tom4 ,lord ,howe-,greene fishes out the papers1 finally comes to the will and starts to read the glad news4 ,he reads for a moment and then ,,insert--,that providing said ,roland ,stone has carried out previous instructions of the will1 his father provides as follows3 ,roland1 overcome with impatience1 begins to get even more interested4 ,lord ,howe-,greene clears his throat and goes on reading3 ,,insert--,i bequeath to my son1 ,roland ,stone1 one unencumbered position in the ,anglo-,american ,insurance ,co4 as soliciting agent with a guarantee of #be4jj per week4 ,roland looks in astonishment at ,lord ,howe-,greene as does also ,tom4 ,lord ,howe-,greene clears his throat again and goes on reading3 ,,insert--,if at the end of one year1 the business said ,roland ,stone procures for the company has proven profitable1 the same will be a proof of his good business judgment1 and he is then to come into possession of my entire fortune4 ,roland stares simply open-mouthed in astonishment and disappointment1 while ,tom can hardly believe his ears4 ,,insert--,if on the other hand1 the company at the end of one year has suffered a loss through the agency of said ,roland ,stone1 my entire fortune shall be given to the support of the ,washington ,home for ,incurables4 ,roland1 absolutely dumbfounded by the news1 stares at ,lord ,howe-,greene1 then looks around at ,tom4 ,tom looks at ,roland accusingly4 ,roland then turns in discouragement and asks ,lord ,howe-,greene if there's any more4 ,lord ,howe-,greene goes on reading3 ,,insert--,it is further provided that conditions under which said ,roland ,stone is to work1 shall be subject to the approval of ,lord ,howe-,greene4 ,roland is utterly unable to take all of this in1 and he insists on reading it himself4 ,lord ,howe-,greene hands it to him1 and ,roland starts in to read it as though he could hardly believe his eyes4 ,tom looks over his shoulder1 and1 finally disgusted with the whole proceeding1 he goes over toward the window1 stands there dejectedly and looks out4 #ci4 ,,street ,,in ,,front ,,of ,,roland',s ,,house4 ,flash of the two taxis waiting1 taken from an angle of the house4 #dj4 ,,library ,,roland',s ,,house4 ,tom receives a terrible shock on seeing the taxis and realizing that they can't pay them4 ,he then goes over to ,roland1 and tells him that the two taxis are out there1 eating their heads off4 ,roland looks out toward the window1 thinks about the taxis1 then looks over to ,lord ,howe-,greene1 who is sitting comfortably in the last chair1 thinks a moment1 then goes over to ,lord ,howe-,greene1 excuses himself1 takes the chair from under the utterly flabbergasted ,lord ,howe-,greene1 gives it to ,tom and tells him to take it out to pay the taxis4 ,tom takes the chair and goes out1 ,lord ,howe-,greene looking after him in wide-eyed astonishment4 ,roland then turns to ,lord ,howe-,greene and starts in to protest about the conditions of the will1 but ,lord ,howe-,greene tells him that there is nothing that he can do4 ,he takes the papers from ,roland4 ,sits on window sill 7especially built7 and starts in to read the long document to ,roland4 ,roland trying to follow ,howe-,greene gets disgusted1 leans against wall and at length slips to floor and sits there disconsolate1 thinking of his rotten luck and of the girl away off with his rival4 7,dissolve out47 #da4 ,,studio ,,garden ,,in ,,bunkonia4 7,dissolve in47 ,rosalie sitting in a hammock with ,conwell standing near her1 natives playing ukuleles1 fanning them and giving them ice drinks1 and ,conwell whispering sweet nothings in ,rosalie's ear4 7,dissolve out47 #db4 ,,library ,,roland',s ,,house4 7,dissolve in47 ,roland1 sitting in the corner1 very much distressed by the vision he has just seen4 ,lord ,howe-,greene is still sitting on window sill reading document4 ,roland gives him a dirty look1 puts his hands on his ears and at length jumps up and stalks out into the hall1 leaving ,howe-,greene still reading4 #dc4 ,,hallway--,,roland',s ,,house4 ,roland rushes in from library1 looks back disgusted at ,howe-,greene1 who is still reading4 ,at this moment ,tom enters from street1 goes to ,roland1 looks at him despondently1 and says3 ,what are we going to do now8 ,roland puts his hand on ,tom's shoulder1 and says with great emphasis3 ,,sp3 ,,look ,,here1 ,,tom1 ,,you',,ve ,,got ,,to ,,think ,,of ,,some ,,way ,,to ,,get ,,me ,,to ,,rosalie6 ,tom thinks a moment1 finally his face brightens and he says3 ,,sp3 ,,if ,,you',,ve ,,got ,,to ,,sell ,,insurance1 ,,why ,,not ,,sell ,,it ,,in ,,bunkonia8 ,roland is delighted at this1 and tells ,tom he knew he'd think up a way out--that they can start for ,bunkonia to-morrow just as they had planned4 ,tom says of course they can4 ,roland says they will put it up to ,lord ,howe-,greene at once and they go into the library4 #dd4 ,,library1 ,,roland',s ,,house4 ,lord ,howe-,greene still sitting reading4 ,roland and ,tom enter1 see him1 and stop1 both disgusted4 ,howe-,greene finishes his reading4 ,gets up and goes to them--gives ,roland the document1 tells him it is very important for him to keep it safe4 ,roland puts it in his pocket then turns to ,howe-,greene and says3 ,,sp3 ,i',,ve ,,been ,,thinking ,,things ,,over1 ,,and ,i',,ve ,,decided ,,that ,,if ,i ,,have ,,to ,,sell ,,insurance1 ,i ,,would ,,like ,,very ,,much ,,to ,,get ,,away ,,from ,,washington4 ,lord ,howe-,greene indicates that he understands his feelings in the matter1 thinks a moment and says3 ,,sp3 ,i ,,have ,,it6 ,,you ,,shall ,,try ,,new ,,york4 ,roland looks at him in utter astonishment and says he is surprised that ,lord ,howe-,greene would suggest such a terrible place to sell insurance4 ,he then turns to ,tom and ,tom agrees with him4 ,roland then says to ,lord ,howe-,greene1 ,,sp3 ,,new ,,york ,,would ,,never ,,do6 ,,it',s ,a ,,terrible ,,place ,,for ,,insurance6 ,lord ,howe-,greene is interested1 and wants to know why1 and ,roland goes on saying3 ,,sp3 ,,why ,,thousands ,,of ,,people ,,are ,,killed ,,there ,,daily6 ,lord ,howe-,greene is tremendously interested and surprised and wants to know how4 ,roland then goes on to describe the terrible life that ,new ,yorkers lead and we fade out4 ,,insert--,animated ,cartoon of subway entrance--people pushing their way madly into the subway4 ,interior of subway car4 ,animated ,cartoon4 ,conductor is packing people in1 smashing them in so they can hardly breathe and mashing them against the wall so that they collapse4 ,he hammers others on the head with mallets to get them to move back4 ,everybody about him is mashed flat but still he pushes more in4 7,fade out47 ,roland concludes his story about the terrible life in ,new ,york and ,lord ,howe-,greene greatly surprised at this says3 ,,sp3 ,,my ,,word6 ,roland appeals to ,tom for confirmation and ,tom nods his head and says that he hasn't heard the half of it4 ,lord ,howe-,greene shakes his head1 thinks a moment and says3 ,,sp3 ,,then ,,you ,,shall ,,try ,,chicago6 ,roland is surprised at his suggesting ,chicago1 shakes his head1 and says3 ,,sp3 ,,chicago ,,is ,,worse4 ,,people ,,are ,,blown ,,to ,,death ,,in ,,chicago ,,by ,,millions6 ,he turns to ,tom and ,tom confirms this and ,lord ,howe-,greene1 extremely puzzled and surprised1 wants to know how4 ,roland then goes on to describe a scene of how people are blown to death in ,chicago1 along ,michigan ,avenue4 7,fade out47 ,,insert--,animated ,cartoon4 7,fade in47 ,michigan ,avenue4 ,people are being blown down the ,avenue and slammed up against walls where they mash out flat4 ,some of them are blown over and over and some of them are rolling like barrels4 7,fade out47 ,roland finishes his tale about ,chicago1 and ,tom agrees with him1 shaking his head and saying3 ,it is indeed a terrible sight to see this thing that ,roland just described6 ,lord ,howe-,greene shows great distress1 and shakes his head again and exclaims3 ,,sp3 ,,my ,,word6 ,roland looks over at ,tom and gives him a wink4 ,tom gives ,roland the high sign and the two of them feel that things are going fine when suddenly ,lord ,howe-,greene scratches his head and gets a brilliant idea4 ,he then tells ,roland that he has just the place for him and says3 ,,sp3 ,i ,,have ,a ,,cousin--,a ,,real ,,estate ,,agent ,,in ,,los ,,angeles--,,who ,,writes ,,me ,,that ,,the ,,climate ,,is ,,so ,,salubrious ,,that ,,every ,,one ,,lives ,,to ,a ,,ripe ,,old ,,age4 ,roland looks at ,lord ,howe-,greene in astonishment1 feeling that he has been stuck at last4 ,lord ,howe-,greene then pats him on the shoulder and says3 ,,sp3 ,,that',s ,,the ,,place ,,for ,,you1 ,,my ,,boy6 ,roland looks genuinely alarmed and turns to ,tom for aid1 but ,tom himself is pretty much stumped at this4 ,lord ,howe-,greene feeling that their problem has been settled1 says that that's exactly the place and everything will be fine4 ,roland stalls1 does some quick1 heavy thinking1 finally gets an idea1 and says3 ,lord ,howe-,greene1 that's exactly where you're wrong4 ,,sp3 ,,the ,,trouble ,,out ,,there ,,is ,,that ,,people ,,never ,,die4 ,,they ,,won',t ,,buy ,,insurance6 ,roland is rather pleased with himself for thinking up this and ,tom congratulates him on it1 smiling his approbation4 ,lord ,howe-,greene can hardly believe this angle of the situation1 says he doesn't think that's possible4 ,roland1 realizing that he has got to spike this says3 ,,sp3 ,,why1 ,i ,,tried ,,to ,,sell ,,insurance ,,out ,,there ,,once ,,and ,,what ,,do ,,you ,,think ,,happened8 ,lord ,howe-,greene is interested and wants to know what did happen to him4 ,tom looks rather quizzically at ,roland1 feeling that he is getting out beyond his depth4 ,roland clears his throat and starts in to describe what happened4 7,fade out47 #de4 ,,front ,,of ,,bungalow ,,in ,,los ,,angeles4 7,fade in47 ,three men with white whiskers to their waist are playing leap-frog on the lawn4 ,roland comes down the street1 approaches one with an insurance circular in his hand and asks if he could interest him in some insurance4 ,the old fellow says3 ,,sp3 ,,no1 ,i ,,don',t ,,want ,,any ,,insurance1 ,,but ,,you ,,might ,,see ,,pa4 ,roland is surprised that a man of his age should have a father and asks where he is4 ,the old fellow points to the front door of the bungalow and says3 ,,sp3 ,,he',s ,,helping ,,grandpa ,,carry ,,the ,,piano ,,up ,,in ,,grandma',s ,,room4 ,roland can hardly believe his ears at this and says3 ,what8 ,the old man nods and says3 ,,sp3 ,,yes1 ,,grandma ,,is ,,going ,,to ,,take ,,music ,,lessons4 ,roland looks aghast at the old man who goes back to his leap-frog1 and finally coming to1 goes up to the house and rings the bell while the three old boys continue their leap-frog4 ,presently a youthful looking ,jap with long1 white whiskers opens the door4 ,roland asks for the father and is shown in4 #df4 ,,hallway ,,los ,,angeles ,,bungalow4 ,roland enters with the ,jap servant4 ,pa and ,grandpa--one with whiskers to the knees and one with whiskers to the ankles--are lifting a piano up the stairs4 ,roland approaches pa and asks him if he could interest him in insurance4 ,pa holds the piano with one hand1 with the other takes the young man's circular and looks at it4 ,he then shakes his head no1 turns to grandpa and says3 ,father1 do you want any insurance8 ,grandpa asks to see the circular and ,pa hands it up to him4 ,grandpa looks at it a minute1 then looks at ,roland1 shakes his head and says3 ,,sp3 ,i ,,think ,,not1 ,,son4 ,i ,,can ,,look ,,after ,,my ,,family ,,for ,a ,,few ,,years ,,yet1 ,,and ,,by ,,that ,,time ,,they',,ll ,,be ,,able ,,to ,,take ,,care ,,of ,,themselves4 ,he hands the circular back to ,roland and he and ,pa pick up the piano and go on upstairs1 ,roland looking after them in absolute amazement4 7,fade out47 #dg4 ,,library1 ,,roland',s ,,house4 7,fade in47 ,roland finishes his story about ,los ,angeles4 ,turns to ,tom who confirms everything he has said4 ,lord ,howe-,greene1 shaking his head in amazement over these extraordinary conditions in ,america1 says very weakly-- ,,sp3 ,,my ,,word 7in very small type74 ,and ,lord ,howe-,greene is very much distressed4 ,he feels that this case is baffling him4 ,he finally looks up hopelessly and asks ,roland what they're going to do4 ,roland1 puzzled1 turns to ,tom and asks him what he thinks of the situation4 ,tom thinks a moment1 finally gets an idea1 turns to ,lord ,howe-,greene and says3 ,,sp3 ,,if ,,you ,,could ,,only ,,get ,,him ,,to ,,go ,,down ,,to ,,bunkonia4 ,roland pooh-poohs this idea and says no1 he never would1 he couldn't go there because it is too far away4 ,but ,tom goes on into raptures about ,bunkonia1 telling him what a marvelous place it is for business of all kinds1 and ,lord ,howe-,greene1 glad of some solution to his problem1 finally jumps at the idea--turns to ,roland and says3 ,,sp3 ,,that',s ,,an ,,idea6 ,,new ,,country--,,virgin ,,field--,,it',s ,,just ,,the ,,place ,,for ,,you6 ,roland thinks a minute as though he had to be convinced1 but ,lord ,howe-,greene keeps on begging him to take a chance4 ,tom joins ,lord ,howe-,greene in urging him1 and finally ,roland allows himself to be persuaded1 decides that he will go1 ,lord ,howe-,greene shakes him warmly by the hand and--7fade out74 ,t3 ,,santo ,,grafto1 ,,capitol ,,of ,,bunkonia1 ,,the ,,beautiful ,,land ,,of ,,sunshine ,,and ,,flowers1 ,,music ,,and ,,laughter1 ,,tamales1 ,,typhoid ,,and ,,ptomaine4 #dh4 ,,exterior ,,view ,,of ,,town ,,of ,,santo ,,grafto4 7,fade in47 ,showing natives1 equipages1 a few soldiers1 etc4 7,dissolve out47 #di4 ,,park 7dissolve in7 ,,singers1 ,,dancers1 ,,musicians1 ,,flower ,,sellers1 ,,children1 ,,etc4 7,dissolve out47 ,t3 ,,king ,,caramba ,,and ,,his ,,council ,,engaged ,,in ,,their ,,favorite ,,indoor ,,sport ,,of ,,raising ,,taxes ,,and ,,downing ,,liquor4 #ej4 ,,the ,,king',s ,,council ,,chamber4 ,caramba sitting at the head of the table with three councilors on his right and three on his left--among them being ,enrico4 ,some servants in livery are standing about4 ,one of the councilors has just finished reading the text of a bill to raise the taxes4 ,king ,caramba is sound asleep with a bottle in his hand4 ,enrico1 the only sober one in the lot1 is looking in a sinister1 calculating way around the table4 ,the councilor who is reading the bill sways as he reads and the paper jiggles in his hand4 #ea4 ,,insert ,,paper ,,raising ,,taxes4 ,the councilor finishes reading1 puts paper in front of ,king and guides his hand while he signs it4 ,,insert--,king's hand is signing the paper--it wanders all over the paper so that most of the name is written on the table with a grand flourish at the end4 ,after signing the paper1 the king takes another drink4 ,the man takes the paper and blows on it4 ,enrico1 with a sinister smile1 gets up and starts to go4 ,the ,councilor takes the paper1 waves it aloft to the other councilors who cheer in a drunken manner4 ,they all pour out another bumper1 ,enrico stands by the doorway in a calculating manner1 then smiling a satisfied smile1 he turns on his heel and leaves4 7,fade out47 ,t3 ,,the ,,revolutionists ,,await ,,their ,,leader ,,at ,,their ,,rendezvous ,,in ,,the ,,rue ,,de ,,stiletto4 #eb4 ,,revolutionists' ,,rendezvous4 7,fade in47 ,a number of revolutionary leaders are there1 including the ,countess1 ,conwell1 the ,general and two men in citizen's clothes4 ,they are discussing matters more or less violently and waiting for ,enrico4 #ec4 ,,rendezvous ,,at ,,gate4 ,enrico enters1 looks about stealthily1 sees that no one is watching and then wraps three times on the gate4 ,the gate is opened by a villainous servant and ,enrico enters4 #ed4 ,,revolutionists' ,,rendezvous4 ,the revolutionists are still talking together and they see ,enrico entering4 ,they gather about him to get the news and ,enrico says3 ,,sp3 ,,they ,,were ,,all ,,drunk ,,to-,,night4 ,,it ,,will ,,soon ,,be ,,time ,,to ,,strike4 ,they all rejoice at this4 ,enrico asks the ,general about the army and he replies3 ,,sp3 ,,two ,,hundred ,,of ,,the ,,army ,,are ,,with ,,us ,,now4 ,,it ,,will ,,take ,a ,,hundred ,,pesetas ,,to ,,win ,,over ,,the ,,other ,,fifty4 ,enrico is very angry at this1 and asks him what he means by a hundred pesetas1 and is very sore at the tremendous cost at buying these men4 ,the ,countess stops his raving1 putting her finger over his lips1 goes into her stocking1 takes out the money and gives the ,general two bills1 which amount to more than he has asked for4 ,he then turns to ,conwell and starts in to talk4 ,the ,general puts the money in his pocket but ,enrico notices him and says3 ,,sp3 ,,here6 ,,here6 ,,give ,,us ,,the ,,change6 ,reluctantly the ,general digs it up1 starts to pass it over to the ,countess but ,enrico stops him before the ,countess notices1 grabs the money and puts it in his own pocket4 ,enrico then crosses over to ,conwell and says3 ,,sp3 ,,are ,,you ,,sure ,,we ,,can ,,handle ,,old ,,bird ,,when ,,we',,re ,,ready8 ,conwell tells him it's the easiest thing in the world1 that the old man has got to do just what he says and winds up with3 ,,sp3 ,,didn',t ,i ,,get ,,him ,,this ,,job8 ,they all seem satisfied with this and go on plotting4 7,fade out47 ,t3 ,,on ,,the ,,edge ,,of ,,this ,,political ,,volcano ,,sits ,,our ,,old ,,friend1 ,,colonel ,,bird1 ,,at ,,peace ,,with ,,all ,,the ,,world ,,in ,,the ,,fullness ,,of ,,his ,,ignorance4 #ee4 ,,colonel ,,bird',s ,,room ,,in ,,the ,,consulate4 7,dissolve in47 ,colonel ,bird is sitting at his desk reading a political book4 ,mammy is straightening room and dusting4 ,rosalie enters dressed for the street4 ,she goes to the ,colonel1 looks over his shoulder1 tells him that he works too hard1 makes him promise he will get some rest and kisses him good-by and goes out4 #ef4 ,,conwell',s ,,room ,,in ,,the ,,consulate4 ,conwell is sitting at his desk very busily but rather slyly making out a report4 ,rosalie comes from her father's room1 says good morning to ,conwell and starts to pass through4 ,conwell immediately jumps to his feet1 comes to her1 and stops her1 admiring her dress1 etc4 ,rosalie shows by her attitude that she has begun to fear this man4 ,she starts to pass him but he takes her by the hand1 restrains her and says3 ,,sp3 ,,how ,,much ,,longer ,,are ,,you ,,going ,,to ,,keep ,,me ,,waiting8 ,rosalie is embarrassed and doesn't know what to say4 ,she tells him that she doesn't care about him in that way and he finally says3 ,,sp3 ,,don',t ,,you ,,think ,,you ,,owe ,,me ,,something ,,after ,,all ,i',,ve ,,done ,,for ,,your ,,father8 ,she expresses her gratitude for the help he has been to her father but doesn't quite see why she should marry him for that reason4 ,conwell is getting impatient and finally says3 ,,sp3 ,,your ,,father ,,as ,,good ,,as ,,promised ,,that ,,you',d ,,marry ,,me4 ,rosalie is surprised and incredulous1 says she doesn't believe it and turns and goes to the door4 ,conwell tries to restrain her but doesn't succeed4 ,rosalie calls in to her father and asks if he will come in4 #eg4 ,,colonel ,,bird',s ,,room ,,at ,,consulate4 ,colonel ,bird puts down his book and goes in to ,conwell's room4 #eh4 ,,conwell',s ,,room ,,at ,,consulate4 ,rosalie looks up at her father almost in tears and asks if he promised that she marry ,conwell4 ,colonel ,bird berates ,conwell for suggesting such a thing1 tells her she shall marry the man of her choice4 ,conwell protests that ,bird is indebted to him for his job1 ,colonel ,bird straightens himself up with great dignity and says3 ,,sp3 ,,well1 ,,sir1 ,,didn',t ,i ,,make ,,you ,,my ,,secretary8 ,conwell looks at him as much as to say--,you poor old simp--just wait4 ,colonel ,bird takes ,rosalie to the door1 kisses her good-by and she goes out4 ,he then turns to ,conwell and tells him to stop annoying his daughter4 #ei4 ,,exterior ,,consulate4 ,rosalie comes out and goes down the street toward the station4 #fj4 ,,conwell',s ,,room ,,at ,,consulate4 ,colonel ,bird is still laying down the law to ,conwell who nods his head1 and ,colonel ,bird goes back to his own room4 ,conwell looks after him in a menacing way1 then shakes his fist after him and suggesting that he will get even with him yet4 ,he then gets his hat and goes out4 7,fade out47 ,t3 #fa4 ,,railway ,,station ,,at ,,santo ,,grafto4 ,station master is there1 baggage man1 three or four natives1 some kids and several pretty native girls4 ,rosalie also is waiting4 ,the train comes in1 a couple of soldiers get off and greet the girls4 ,two natives get off and then ,tom and ,roland get off4 ,rosalie rushes to them4 ,roland kisses her1 she greets ,tom and leads them off4 #fb4 ,,back ,,of ,,santo ,,grafto ,,station4 ,carriage waiting with native driver4 ,rosalie enters with ,roland and ,tom1 they get into the carriage and drive off4 7,fade out47 ,t3 ,,the ,,hotel ,,del ,,mosquito4 #fc4 ,,front ,,of ,,hotel4 7,fade in47 ,there are several tables in front of the hotel and also several booths and a sign over the entrance4 ,several people are sitting at the tables drinking4 ,at one table sits the ,countess and ,enrico4 ,conwell enters and joins them1 rather sore over his rebuff by ,rosalie4 ,they ask him why so grouchy and he tells them4 ,they give him the laugh but ,enrico slaps him on the back and tells him she will come around all right4 ,waiters are going in and out4 ,a pretty girl is selling flowers1 a couple of musicians are playing guitars4 ,carriage drives up with ,rosalie1 ,roland and ,tom4 ,tom and ,roland get out1 a native porter comes from the hotel and takes their bags into the hotel followed by ,tom1 while ,roland stops to speak to ,rosalie4 ,conwell looks up1 sees ,roland and is very much disturbed4 ,he calls the attention of his two friends to ,roland and tells them who he is and they all look searchingly at him4 ,roland says a very affectionate good-by to ,rosalie and says3 ,,sp3 ,,may ,i ,,come ,,to ,,see ,,you ,,this ,,evening8 ,rosalie tells him that he may1 bids him good-by and he watches her drive away1 sighs and turns and goes into hotel4 ,conwell half hides so that ,roland won't see him4 ,after he is well out of sight ,conwell starts to grumble at his ill luck at having this fellow come down here4 ,enrico pats him on the back1 whispers in his ear and says3 ,,sp3 ,,we ,,can ,,put ,,him ,,out ,,of ,,the ,,way ,,during ,,the ,,revolution4 ,the ,countess nods that this will be easy but ,conwell looks doubtful1 shakes his head and says3 ,,sp3 ,,no1 ,,it ,,would ,,be ,,dangerous ,,for ,,us--,,he',s ,,too ,,well ,,known ,,in ,,washington4 ,conwell shows his anger and chagrin at the turn of affairs4 ,enrico shrugs his shoulders but the ,countess starts in to think of some way out4 #fd4 ,,hallway ,,outside ,,roland',s ,,apartment4 ,porter enters with ,roland and ,tom1 opens door and they enter ,roland's room4 #fe4 ,,roland',s ,,apartment ,,in ,,the ,,hotel4 ,the porter shows ,tom and ,roland in4 ,roland is quite pleased with the place1 tips the porter generously2 the porter leaves1 followed by ,tom and his bag4 #ff4 ,,front ,,of ,,hotel4 ,conwell is still cursing his luck4 ,enrico is sympathetic but helpless4 ,the ,countess is thinking heavily and finally gets an idea4 ,she leans over1 pats ,conwell on the and says3 ,,sp3 ,,there',s ,,something ,,on ,,every ,,man ,,if ,,you ,,can ,,only ,,find ,,it4 ,,leave ,,it ,,to ,,me4 ,i',,ll ,,find ,,something ,,to ,,hang ,,on ,,him4 ,enrico approves of this1 ,conwell is slightly interested and the ,countess goes on explaining that she has tackled many a difficult proposition and won out4 ,just to leave it to her4 7,fade out47 ,t3 ,,evening4 #fg4 ,,beautiful ,,courtyard ,,or ,,garden ,,at ,,the ,,consulate4 ,roland1 dinner coat1 and ,rosalie1 evening dress1 and the ,colonel are there4 ,roland has just finished telling the story of his dad's directions regarding his fortune and he finishes up by saying to ,rosalie3 ,,sp3 ,,so ,,we',,ve ,,got ,,to ,,wait ,,another ,,year1 ,,rosalie4 ,she takes his hand and says she doesn't mind at all1 she knows he'll be a great success4 ,the old ,colonel comes to him1 takes him by the hand and says3 ,,sp3 ,i',m ,,glad ,,something ,,has ,,set ,,you ,,to ,,work1 ,,but ,,you',,ve ,,got ,,to ,,win ,,to ,,get ,,rosalie4 ,roland thanks the ,colonel1 tells him he knows it and that he's going to make good4 ,the ,colonel rather brusquely tells him he hopes he does and then leaves4 ,rosalie runs to ,roland1 tells him she knows he's going to make good4 #fh4 ,,hallway ,,outside ,,roland',s ,,apartment4 ,the ,countess enters1 looks around stealthily1 goes to the door1 tries it1 finds it locked1 takes a hairpin from her hair1 unlocks the door with it1 looks around and enters4 #fi4 ,,roland',s ,,room ,,in ,,hotel4 ,the ,countess in dark evening dress enters and closes the door4 ,begins to rummage around among ,roland's things in his wardrobe trunk4 ,she finally uncovers a lot of blank insurance policies4 ,she shows great interest in the discovery of the papers1 as papers are one of her main stock in trade4 ,she starts feverishly to examine them4 ,,insert--,,handful ,,of ,,insurance ,,blanks4 ,the ,countess looks at them in disgust1 puts them back where she found them and goes on hunting4 #gj4 ,,garden ,,of ,,consulate4 ,another very beautiful shot with ,rosalie and ,roland standing or sitting on a bench planning their future4 #ga4 ,,roland',s ,,bedroom ,,in ,,hotel4 ,the ,countess still rummaging around4 ,down in the bottom drawer of the trunk1 she discovers a copy of ,roland's father's instructions which have been given him by ,lord ,howe-,greene4 ,she pounces on this and reads it4 ,,insert--,if at the end of one year the business said ,roland ,stone procures for the company has proven profitable1 the same will be proof of his good business judgment and he is then to come into possession of my entire fortune4 ,countess ponders over this a moment1 then reads next paragraph3 ,,insert--,part of statement as follows3 ,if1 on the other hand1 the company at the end of one year has suffered a loss through the agency of said ,roland ,stone1 my entire fortune shall be given to the support of the ,washington ,home for ,incurables4 ,the ,countess gloats over this discovery1 carefully replaces everything just as she found it1 conceals the paper in her dress and stealthily leaves the room4 #gb4 ,,exterior ,,of ,,consulate4 ,roland is just bidding ,rosalie good-night4 ,she is expressing her good wishes for his success4 ,roland looks out toward the view of ,bunkonia1 then turns to ,rosalie and says3 ,,sp3 ,,why1 ,,in ,a ,,virgin ,,field ,,like ,,this1 ,i ,,can',t ,,help ,,but ,,make ,,the ,,company ,,money4 ,rosalie is just as certain as he is about it4 ,he then goes on telling her that in just one little year he will be claiming her4 ,rosalie is delighted4 ,roland timidly kisses her1 says good-night and leaves4 ,rosalie looks after him and sighs4 #gc4 ,,cafe ,,of ,,the ,,hotel4 ,enrico and ,conwell sitting at a table smoking and drinking4 ,conwell is quite nervous and irritable4 ,enrico is trying to jolly him up4 ,the ,countess enters in a very mysterious way1 sits beside them and tells them with much glee but in great secretiveness that she has great news4 ,she stealthily draws the paper from her dress and shows it to them4 ,,insert--,,same ,,clause ,,as ,,before ,,with ,,the ,,countess' ,,finger ,,pointing ,,to ,,it4 ,conwell and ,enrico are puzzled over this1 and ,conwell asks the ,countess how it concerns him4 ,the ,countess looks furtively about and says3 ,,sp3 ,,don',t ,,you ,,see--,,if ,,he ,,loses ,,money ,,for ,,the ,,company1 ,,he ,,loses ,,the ,,fortune ,,and ,,the ,,girl6 ,enrico and ,conwell consider this for a moment1 and finally realize the truth of it but ask the ,countess what she has in her bean4 ,the ,countess looks furtively about and says3 ,,sp3 ,,we',,ll ,,have ,,him ,,insure ,,the ,,lives ,,of ,,the ,,king ,,and ,,council4 ,enrico and ,conwell look at her1 then at each other and ask what good that will do4 ,the ,countess looks at them in a surprised way and says3 ,,sp3 ,,aren',t ,,they ,,all ,,to ,,be ,,killed ,,in ,,our ,,revolution8 ,slowly the force of this breaks over the minds of ,enrico and ,conwell1 their faces become wreathed in smiles1 at length both laugh boisterously4 ,conwell takes the paper and looks at it again1 then rises1 takes his glass1 holds it out toward the ,countess and says3 ,,sp3 ,,to ,,the ,,women--,,bless ,,them4 ,,what ,,would ,,we ,,do ,,without ,,them8 ,he and ,enrico raise their glasses and drink to the ,countess who smiles and blushes4 7,fade out47 ,t3 ,,the ,,next ,,morning--,,the ,,plant4 #gd4 ,,front ,,of ,,the ,,hotel4 7,fade in47 ,roland is sitting at a table in the f4g4 having his breakfast4 ,conwell and ,enrico come to the hotel doorway and look out4 ,they finally spot ,roland4 ,conwell then gives instructions to ,enrico as to what to do4 ,he then goes out toward ,roland while ,enrico backs into the hotel doorway and waits4 ,conwell goes over to ,roland1 slaps him on the back1 greets him heartily4 ,roland rises1 rather embarrassed1 ,conwell shakes his hand cordially and sits beside him4 ,enrico in the doorway watches with a sinister smile4 ,conwell asks ,roland what he is doing down in ,bunkonia4 ,roland says3 ,,sp3 ,i',,ve ,,come ,,down ,,to ,,sell ,,insurance4 ,conwell is interested in this and ,roland tells him in a few words what he wants to do4 ,conwell is quite interested and says3 ,,sp3 ,,perhaps ,i ,,can ,,give ,,you ,a ,,boost4 ,i ,,know ,,all ,,the ,,big ,,guns ,,down ,,here4 ,roland is mildly interested but not overly enthusiastic as he knows something of ,conwell's boasting proclivities4 ,however he thanks him4 ,conwell offers ,roland a cigarette and while ,roland is taking it1 ,conwell quickly signals to ,enrico4 ,enrico sees the signal and walks down to the front of the hotel4 ,conwell looks up sharply1 pretending he has just seen ,enrico1 points him out to ,roland1 who looks also1 and ,conwell then speaks1 saying3 ,,sp3 ,,that',s ,,enrico ,,de ,,castanet1 ,,secretary ,,of ,,war1 ,,and ,a ,,great ,,pal ,,of ,,king ,,caramba4 ,roland is quite impressed4 ,conwell says he will bring him over and gets up and goes over toward ,enrico4 ,enrico turns1 sees him1 greets him very enthusiastically1 saying1 ,ah1 my friend1 shakes his hand and raises his hat at the same time ,conwell is doing it4 ,conwell then asks him if he won't come over and meet his friend1 at the same time giving ,enrico the wink4 ,enrico says he will be pleased and they both go over to ,roland's table4 ,conwell introduces ,enrico to ,roland4 ,enrico again raises his hat4 ,they all sit1 ,roland orders drinks and ,conwell briefly tells ,enrico about ,roland's business4 ,enrico says he is interested in any friend of ,conwell's and after a few words of explanation from ,roland1 ,enrico says to ,conwell3 ,,sp3 ,,there',s ,a ,,meeting ,,of ,,the ,,council ,,to-,,night4 ,,why ,,not ,,bring ,,your ,,friend8 ,i',,ll ,,have ,,him ,,meet ,,the ,,king4 ,roland is quite overcome by all this kindness1 and ,conwell says3 ,that is exactly the thing to do4 ,conwell takes his drink1 holds it up and says3 ,,sp3 ,,here',s ,,hoping ,,you ,,insure ,,the ,,lives ,,of ,,the ,,king ,,and ,,all ,,his ,,council4 ,they all drink to ,roland's success4 ,roland is overcome by their kindness4 7,fade out47 ,t3 ,,at ,,the ,,council ,,meeting4 #ge4 ,,king ,,caramba',s ,,council ,,room4 7,fade in47 ,king ,caramba and his councilors are there1 boozing as usual4 ,conwell is standing making a speech to them which they are not listening to very intently4 ,conwell is telling them what a great thing insurance is1 and says3 ,,sp3 ,,right ,,at ,,your ,,very ,,door1 ,,gentlemen1 ,,is ,a ,,young ,,yankee ,,who ,,is ,,able ,,to ,,sell ,,you ,,this ,,wonderful ,,life ,,insurance4 ,the councilors listen in a drunken way1 all except old ,seor ,frijole1 who is very sore and grouchy and signifies that he wants nothing to do with this ,yankee and his business4 ,enrico rises to speak1 telling them what a wonderful thing insurance is1 and then he says3 ,,sp3 ,,why1 ,,do ,,you ,,realize1 ,,gentlemen1 ,,that ,,we ,,get ,,thousands ,,of ,,pesetas ,,for ,a ,,mere ,,few ,,hundred8 ,he turns to ,conwell and asks him if he is right4 ,conwell assures him he is right1 and then continues his speech4 ,at this the ,councilors begin to take very much more interest4 ,they signify that this must be very good after all1 all except old ,seor ,frijole1 who is sitting next to ,enrico4 ,he pulls ,enrico's sleeve and says3 ,,sp3 ,,but ,,you ,,have ,,to ,,die ,,to ,,get ,,it--,,don',t ,,you8 ,enrico gives him a quick1 dirty look1 tells him to shut up1 which squelches him somewhat1 but he goes on mumbling to himself4 ,conwell goes on talking1 saying that this opportunity should not be overlooked4 ,he sits down4 ,enrico says he thinks it is a fine idea and says3 ,,sp3 ,i',,ll ,,take #aj1jjj ,,pesetas ,,myself4 ,at this the councilors are more interested than ever as they know ,enrico is not the type to be done4 ,old ,frijole goes on grumbling into his glass of liquor saying he will have nothing to do with it4 ,conwell goes over to the door1 opens it and goes out4 #gf4 ,,hallway ,,in ,,palace4 ,roland sitting on a settee4 ,conwell comes from ,council ,room4 ,roland with application in his hand jumps up nervously and meets him4 ,conwell tells him it is all right and they go into ,council ,room4 #gg4 ,,council ,,room4 ,conwell brings ,roland in and introduces him to the councilors who greet him1 with drunken enthusiasm1 while ,conwell stands in the background with a menacing leer4 ,roland is very much pleased1 but bashful1 overcome by his luck4 ,enrico1 with a grand flourish1 asks ,roland for an application which ,roland gives him1 and he signs his own application with a grand flourish and hands it over to ,roland as if to say--,there1 what more assurance do you want that this is a good thing8 ,at this the other councilors all reach out drunkenly and grab applications1 ,roland writing in the amounts1 and all of them signing the applications drunkenly4 ,enrico and ,conwell exchange triumphant looks1 but old ,seor ,frijole shows his disgust for the entire affair4 ,he finally goes up and tries to keep the ,king from signing his application1 but the ,king gives him a push1 he staggers back into his chair1 mumbling and grumbling and warning them against ,yankee tricks4 ,by this time1 ,roland has most of the applications signed1 ,conwell comes up1 pats him on the back and congratulates him4 7,fade out47 ,t3 ,,about ,a ,,week ,,later4 7,fade in47 #gh4 ,,colonel ,,bird',s ,,room ,,in ,,consulate4 ,rosalie in simple evening dress is standing by the window4 ,roland1 in a blue coat and flannel trousers1 rushes in and ,rosalie runs to him4 ,he tells her he has a surprise for her4 ,she is very much interested and wants to know what it is4 ,he says3 ,,sp3 ,i',,ve ,,insured ,,king ,,caramba ,,and ,,his ,,councilors ,,for ,,nearly ,a ,,hundred ,,thousand ,,dollars4 ,rosalie is amazed and delighted at this good news4 ,roland says3 ,,sp3 ,i ,,just ,,delivered ,,the ,,policies ,,and ,,collected ,,the ,,premiums4 ,rosalie is in ecstasies and throws her arm around him and kisses him1 much to his embarrassment1 although he is also greatly pleased4 ,roland says3 ,,sp3 ,i ,,want ,,you ,,to ,,come ,,out ,,to ,,help ,,celebrate ,,my ,,good ,,fortune4 ,she is delighted1 picks up a tulle scarf and goes out with ,roland4 #gi4 ,,conwell',s ,,room ,,in ,,consulate4 ,conwell is standing at desk as ,roland and ,rosalie enter4 ,conwell turns to them smiling4 ,roland stops and tells ,rosalie ,conwell's influence got him his big clients4 ,he goes to ,conwell and thanks him1 shaking his hand4 ,rosalie is surprised and puzzled that ,conwell should help ,roland4 ,roland gets ,rosalie and they go out bidding ,conwell good-night4 ,conwell looks after them leering4 #hj4 ,,exterior ,,consulate4 ,roland and ,rosalie come out of the ,consulate and leave in the direction of the hotel4 #ha4 ,,revolutionists' ,,rendezvous4 ,the ,countess1 three other ,revolutionists and about thirty soldiers are there4 ,they are all excited and talking among themselves4 #hb4 ,,gateway ,,of ,,rendezvous4 ,general enters hurriedly and knocks three times--gate opens and he quickly enters4 #hc4 ,,revolutionists' ,,rendezvous4 ,revolutionists talking and awaiting somebody4 ,the general enters and joins group4 ,he looks about and says3 ,,sp3 ,,enrico ,,has ,,just ,,left ,,the ,,council ,,meeting4 ,,as ,,soon ,,as ,,he ,,comes ,,we ,,strike4 ,he then leaves and goes to soldiers--the others discuss this news excitedly4 #hd4 ,,gateway ,,of ,,rendezvous4 ,a group of six or eight soldiers1 led by a sergeant1 approach skulkingly--the sergeant knocks at the gate1 which opens and the soldiers all sneak in4 #he4 ,,exterior ,,consulate4 ,colonel enters from opposite direction taken by ,roland and ,rosalie and enters consulate4 ,four guards look out from hiding places4 #hf4 ,,cafe ,,in ,,front ,,of ,,the ,,hotel 7,,night74 ,several people at tables4 ,roland and ,rosalie enter and go into one of the little booths and sit down--waiter comes and takes their order--they are very happy4 #hg4 ,,exterior ,,consulate4 ,enrico enters1 whistles softly1 and four guards sneak out of hiding places and come to him4 ,he asks if ,colonel ,bird is home4 ,they tell him he has just gone in4 ,he tells them to wait in the shadow and they go into the shadow and ,enrico1 looking about cautiously1 goes to the porch and knocks three times4 #hh4 ,,conwell',s ,,room ,,in ,,consulate4 ,conwell at desk hears knock1 glances toward the colonel's room and goes to the door1 opens it4 ,enrico quickly enters4 ,conwell closes the door4 ,enrico asks him if the ,colonel is in4 ,he smiles and says yes4 ,enrico tells him he has come to fix old ,bird4 ,conwell says3 ,easy--he'll do anything you say1 and tells him to wait a moment and goes into the ,colonel's room4 #hi4 ,,colonel',s ,,room4 ,colonel at his desk4 ,conwell enters1 tells him that ,enrico de ,castanet wishes to see him4 ,colonel somewhat surprised and a little bit flattered1 swells up a bit1 tells ,conwell to show ,seor de ,castanet in4 ,conwell opens the door and de ,castanet enters4 ,the ,colonel greets him and they sit down and ,conwell goes out and they begin to talk1 ,enrico telling him that they are going to pull a revolution that night and put ,king ,caramba and his council out of the way4 #ij4 ,,cafe ,,in ,,front ,,of ,,hotel4 ,roland and ,rosalie still dining1 having a grand time4 ,a couple of revolutionists enter and sit in the booth next to theirs4 #ia4 ,,colonel',s ,,room4 ,enrico is talking very earnestly to the ,colonel4 ,at length he says3 ,,sp3 ,,now ,,if ,,you ,,will ,,advise ,,the ,,american ,,president ,,to ,,recognize ,,our ,,new ,,government ,,to-,,morrow1 ,,it ,,will ,,mean ,,almost ,,anything ,,you ,,wish ,,to ,,ask4 ,the old ,colonel is puzzled and vaguely alarmed at this1 doesn't quite get it4 ,asks ,enrico3 ,,sp3 ,,are ,,you ,,offering ,,me ,a ,,bribe8 ,enrico shrugs his shoulders and says if that is what he chooses to call it4 ,the old ,colonel becomes very angry1 rises at his desk1 begins to lay down the law to ,enrico and says3 ,,sp3 ,,you ,,would ,,have ,,me ,,barter ,,the ,,honor ,,of ,,my ,,country8 ,,are ,,you ,,aware1 ,,sir1 ,,that ,,you ,,are ,,dealing ,,with ,a ,,loyal ,,american ,,citizen8 ,he bangs the table1 stretches himself to his full height4 ,enrico rises and tries to argue with him1 but the ,colonel brushes him away and grandiloquently points to ,american flag4 ,,sp3 ,,that1 ,,sir1 ,,is ,,the ,,greatest ,,flag ,,in ,,the ,,world1 ,,and ,,no ,,act ,,of ,,mine ,,shall ,,ever ,,stain ,,it4 ,at the finish of the speech1 the old ,colonel1 with a grand flourish1 orders ,enrico out of the room4 ,enrico backs out1 protesting all the way4 ,the old man kicking him out at the finish4 #ib4 ,,conwell',s ,,office4 ,conwell waiting expectantly4 ,enrico lands in the room1 to which he has been catapulted by the old ,colonel's foot4 ,conwell comes to him1 much perturbed4 #ic4 ,,col4 ,,bird',s ,,room ,,at ,,the ,,consulate4 ,old ,colonel slams the door and walks up and down in excitement4 #id4 ,,conwell',s ,,room4 ,enrico angrily telling ,conwell what happened in the other room4 ,conwell very sore and disgusted at the old man1 says3 ,,sp3 ,,have ,,your ,,guard ,,kidnap ,,him ,,and ,,lock ,,him ,,up ,,and ,i',,ll ,,take ,,charge ,,of ,,the ,,consulate4 ,enrico angrily approves of this and rushes outdoors4 #ie4 ,,colonel',s ,,room ,,at ,,consulate4 ,colonel at his desk1 rapidly writing a telegram1 presses button4 #if4 ,,conwell',s ,,room ,,at ,,consulate4 ,conwell1 looking out1 hears the button1 goes into the ,colonel's room4 #ig4 ,,colonel',s ,,room ,,at ,,consulate4 ,colonel finishing telegram1 rises4 ,conwell comes to him4 ,colonel indignantly tells him in a very few words what has happened1 points to the flag1 hammers his chest in great indignation1 shows him a telegram which he is sending4 ,conwell reads telegram3 ,,insert--,,telegram4 ,,to ,,capt4 ,,henry ,,halyard1 ,u4 ,s4 ,,battleship ,,utah1 ,,porto ,,punko1 ,,bunkonia4 ,,revolution ,,threatened ,,here ,,to-,,night4 ,,send ,,marines ,,at ,,once ,,to ,,protect ,,american ,,interests4 ,,bird1 ,,consul4 ,conwell smiles at this4 ,the ,colonel orders him to send it at once and ,conwell1 still smiling1 starts to leave the room1 when the door opens and in bursts ,enrico with his four guards4 ,he tells them to arrest the ,colonel1 which they do1 but the old boy puts up a fight4 ,they finally overcome him and hold him prisoner4 ,he appeals to ,conwell1 who only laughs at him and tears up the telegram and throws it in his face1 shakes his finger at the old man and says3 ,,sp3 ,,we ,,shall ,,see ,,now ,,who ,,is ,,the ,,boss ,,around ,,here4 ,the old ,colonel is annoyed and tries to get at ,conwell but the guards hold him4 ,conwell smiles and says3 ,,sp3 ,,we ,,shall ,,see ,,now ,,whether ,i ,,get ,,your ,,daughter ,,or ,,not4 ,he tells the guard to rush the old man out1 which they do1 followed by ,conwell and ,enrico4 #ih4 ,,conwell',s ,,room ,,in ,,consulate4 ,the guards rush the old ,colonel through the room and out1 followed by ,conwell and ,enrico4 #ii4 ,,front ,,of ,,the ,,consulate4 ,guards rush the old ,colonel out followed by ,enrico and ,conwell4 ,enrico tells the guard3 ,,sp3 ,,lock ,,him ,,up ,,in ,,the ,,dungeons ,,under ,,the ,,palace4 ,he scribbles on a card that he gives to one of the guards4 ,the guards rush the ,colonel off toward the palace and ,enrico and ,conwell go in the opposite direction1 toward the rendezvous4 #ajj4 ,,cafe ,,in ,,front ,,of ,,hotel4 7,long shot7 showing the two booths1 with ,roland and ,rosalie in one and the two revolutionists in the other4 ,,close ,,up ,,of ,,table ,,with ,,roland ,,and ,,rosalie4 ,they are talking animatedly4 ,roland has a little notebook in his hand1 which he shows to ,rosalie and says3 ,,sp3 ,,think ,,what ,,this ,,means ,,to ,,us1 ,,rosalie6 ,i ,,can',t ,,fail ,,now4 ,rosalie is delighted at the wonder of this--takes his hand and they go on talking of their plans4 ,,close ,,up ,,of ,,the ,,table ,,with ,,the ,,revolutionists4 ,a third revolutionist officer comes in hurriedly1 sits down1 looks about and says3 ,,sp3 ,,the ,,hour ,,to ,,strike ,,is ,,at ,,hand4 ,the other revolutionists listen4 ,,close ,,up ,,of ,,roland ,,and ,,rosalie4 ,they are pricking up their ears4 ,,close ,,up ,,of ,,revolutionists' ,,table4 ,one asks the newcomer what is going to happen and he says3 ,,sp3 ,,the ,,revolution ,,starts ,,to-,,night4 ,the other two gloat over this4 ,,close ,,up--,roland and ,rosalie listen1 their alarm growing1 ,roland climbs on chair and looks into next booth4 ,,other ,,booth--,roland looking over top1 frightened4 ,the revolutionists go on talking1 the newcomer says3 ,,sp3 ,,king ,,caramba ,,and ,,his ,,council ,,will ,,be ,,killed ,,first4 ,they go on talking together4 ,,close ,,up1 ,,roland ,,and ,,rosalie--,roland is dismayed at what he has heard4 ,rosalie starts to speak and he tells her to keep quiet and he listens over the partition4 ,,close ,,up1 ,,three ,,revolutionists--,they are talking1 call waiter1 pay him and get up and leave hurriedly4 ,roland ducks down4 ,,close ,,up ,,of ,,roland--,finally he realizes what is to happen1 and that it means ruin and he turns to ,rosalie and says3 ,,sp3 ,,they ,,are ,,going ,,to ,,kill ,,every ,,one ,i',,ve ,,insured4 ,they are both terribly alarmed and realize that this means ruin for their hopes4 ,they don't know what to do1 at length ,rosalie says3 ,,sp3 ,,we ,,must ,,have ,,father ,,send ,,for ,,help4 ,roland in his terror agrees to this--he throws a bill on the table1 she grabs him by the hand and they rush out4 #aja4 ,,exterior ,,revolutionists' ,,rendezvous--,enrico and ,conwell enter4 ,enrico knocks on door three times1 the door is opened and they enter4 #ajb4 ,,revolutionists' ,,rendezvous4 ,enrico and ,conwell enter and join ,countess and ,general and tell them the time has come to strike--that old ,bird refused ,enrico's request1 that they chucked him in prison and ,conwell now is boss of the ,consulate4 #ajc4 ,,dungeons ,,under ,,palace4 ,four guards rush in ,colonel ,bird and chuck him in one of the cells1 lock the door and rush out4 #ajd4 ,,exterior ,,consulate4 ,roland and ,rosalie run in and rush into the ,consulate4 #aje4 ,,conwell',s ,,room ,,at ,,consulate4 ,roland and ,rosalie rush through4 #ajf4 ,,col4 ,,bird',s ,,room ,,at ,,consulate4 ,roland and ,rosalie rush in--see the overturned furniture and realize something has happened4 ,mammy enters from back door4 ,rosalie runs to her and asks what has happened and she doesn't know4 ,rosalie asks ,mammy where her father is4 ,mammy says she left him here4 ,rosalie is terrified4 ,rosalie and the old servant rush out4 ,rosalie upstairs and ,mammy to kitchen to look for the ,colonel4 ,roland picks up the bits of the telegram from the floor and pieces them together4 ,rosalie comes back into the room and the old servant enters and shakes her head4 ,rosalie in terror1 says3 ,,sp3 ,,father ,,is ,,not ,,here4 ,roland thinks a moment1 realizes that they have taken him away1 shows his anger at this1 calls ,rosalie to him1 finishes piecing the telegram together and then reads it4 ,,insert ,,of ,,telegram ,,pieced ,,together4 ,rosalie having read the telegram shows hope in her face and says to ,roland3 ,,sp3 ,,you ,,must ,,send ,,that ,,message ,,at ,,once4 ,roland jumps at this and gathers up the pieces in his hand1 starts to go1 then thinks of the girl1 stops and asks her what she will do in the meantime4 ,she says never to mind1 but to go on1 old ,mammy will stay with her4 ,roland is reluctant to go1 but ,rosalie goes to the drawer of the desk1 takes out her father's old army revolver1 and then goes to ,roland and says3 ,,sp3 ,i ,,am ,,an ,,american ,,girl ,,and ,,can ,,take ,,care ,,of ,,myself4 ,she tells him to go and forces him out toward the door4 ,he takes her in his arms and kisses her and rushes out4 ,the old mammy comes to her and puts her arm about her4 #ajg4 ,,front ,,of ,,consulate--,roland rushes out and down the street toward the station4 #ajh4 ,,revolutionists' ,,rendezvous4 ,the ,countess1 the ,general and a few other officers1 about #ajj soldiers and a major are there4 ,enrico is giving his instructions to the various people4 ,conwell and ,enrico enter4 ,conwell tells ,countess1 ,general and others what has happened and tells them what to do4 ,conwell says3 ,,sp3 ,,look ,,here1 ,,what ,,about ,,the ,,girl8 ,i ,,want ,,her ,,abducted ,,and ,,kept ,,for ,,me ,,in ,,the ,,palace4 ,enrico says that's all right--tells the general to put a guard at the disposal of ,conwell4 ,conwell and the general leave--go to soldiers4 ,enrico tells ,countess to look after the girl when she gets to the palace4 ,countess says she will and ,enrico goes on talking to others4 ,about #ajj soldiers are there4 ,conwell and ,general enter4 ,general selects a guard of about three men4 ,tells them to obey ,conwell's orders and ,conwell leaves with the three men4 ,the ,general then turns to the rest of the soldiers instructing them as to what they are to do4 #aji4 ,,exterior ,r4 ,r4 ,,station4 ,roland runs in and enters station4 #aaj4 ,,interior ,r4 ,r4 ,,station ,,and ,,telegraph ,,office4 ,roland rushes in and tells station master he wants to send a message4 ,starts to write it4 ,station master stops him--says he cannot send message4 ,roland asks why4 ,station master points to telegraph instrument4 ,,close ,,up ,,of ,,telegraph ,,instrument ,,smashed4 ,roland asks who did that4 ,station master says3 ,,sp3 ,,the ,,revolutionists4 ,roland is nonplused for the moment--rushes out of the door1 followed by the station master4 #aaa4 ,,exterior ,r4 ,r4 ,,station4 ,roland rushes out followed by station master4 ,roland runs in the direction of the hotel4 ,station master looks after him and bites his thumb at him1 then goes back into station4 #aab4 ,,exterior ,,window ,,side ,,of ,,consulate4 ,conwell sneaks in with his three soldiers and peeks in window and sees-- #aac4 ,,col4 ,,bird',s ,,room ,,in ,,consulate--,rosalie sitting tense holding gun and watching door4 ,mammy beside her standing4 #aad4 ,,exterior ,,window ,,side ,,of ,,consulate4 ,conwell shows his chagrin at the fact of ,rosalie's having a gun1 thinks a moment1 then tells his guard to keep very quiet and follow him4 ,he sneaks out toward front of house1 followed by guard very quietly4 #aae4 ,,cafe ,,in ,,front ,,of ,,hotel4 ,tom is sitting in one of the booths shooting craps with a native civilian4 ,roland rushes in1 tells ,tom about the revolution1 says3 ,,sp3 ,,we',,ve ,,got ,,to ,,save ,,all ,,those ,,ginks ,i ,,insured4 ,he grabs ,tom and they rush out of the cafe toward the palace leaving the native flat4 #aah4 ,,conwell',s ,,room ,,in ,,consulate4 ,conwell1 with his three guards1 enter stealthily4 ,he places the three guards against the wall on each side of the door leading to the ,colonel's room and he then knocks on the door4 #aag4 ,,colonel',s ,,room ,,in ,,consulate4 ,rosalie1 terrified1 says3 ,who is it8 #aah4 ,,conwell',s ,,room ,,in ,,consulate4 ,conwell says1 ,it's ,i--,jim ,conwell4 #aai4 ,,colonel',s ,,room ,,in ,,consulate4 ,rosalie1 greatly relieved1 lowers gun and says1 come in4 ,conwell enters1 leaving the door open4 ,he smiles ingratiatingly and comes forward4 ,she asks him if he knows where her father is4 ,he doesn't know1 but pats her reassuringly on the shoulder and gently takes the revolver from her4 ,in this position he whistles4 ,the girl looks up quickly and jumps to her feet in alarm1 but before she can make any move1 the three guards rush in and seize her4 ,conwell steps to her and says3 ,,sp3 ,,don',t ,,be ,,alarmed1 ,,these ,,gentlemen ,,will ,,escort ,,you ,,to ,,the ,,king',s ,,palace ,,where ,,our ,,wedding ,,will ,,take ,,place ,,to-,,morrow ,,morning4 ,rosalie is horrified at this and starts to struggle1 but the men hold her and start to take her out of the room4 ,the old ,mammy grabs a big book and lambasts ,conwell over the head1 stunning him for a moment4 ,she then runs for the guards1 jumping on their backs like a cat4 ,by this time ,conwell has regained his feet1 grabs the colored servant and bangs her on the head with something heavy1 then chucks her over into a corner and he follows the guards and ,rosalie out through a back door4 #abj4 ,,back ,,door ,,of ,,consulate4 ,conwell rushes out followed by the three guards dragging ,rosalie4 ,they start toward palace but ,conwell stops them and says3 ,,sp3 ,,we',,ll ,,keep ,,her ,,in ,,our ,,rendezvous ,,until ,,enrico ,,captures ,,the ,,palace4 ,they all exit in the opposite direction4 #aba4 ,,revolutionists' ,,rendezvous4 ,enrico is there with the ,general1 ,major and ,countess4 ,enrico is haranguing the soldiers1 giving them final instructions4 ,they all cheer4 ,enrico calls ,major to him and tells him to look after the ,countess and after they have captured the palace to bring her there4 ,major salutes and steps aside with ,countess4 ,enrico goes on haranguing the soldiers and at length says3 ,,sp3 ,,and ,,remember ,,there ,,is ,a ,,price ,,of ,,thirty ,,pesetas ,,on ,,the ,,head ,,of ,,the ,,king6 ,they all cheer4 ,enrico draws his sword and says3 ,,sp3 ,,on ,,to ,,the ,,palace6 ,he gives orders to fall in1 which they do1 then forward march4 ,they all march out led by ,enrico1 the ,countess and ,major looking after them4 ,t3 ,,thirty ,,pesetas' ,,worth ,,of ,,royalty4 #abb4 ,,king',s ,,bedchamber4 ,councilors standing by bed all salute drunkenly4 ,two lackeys carry the ,king 7who is dressed in a long white night gown and night cap and hugging a bottle of booze to his chest7 and chuck him on the bed1 cover him up and stand4 ,the king dozes off into a drunken stupor4 ,councilors salute and stagger out toward ,council ,room 7followed by lackeys74 #abc4 ,,hallway ,,in ,,palace4 ,councilors stagger out of ,king's bedroom across hall and into ,council ,room4 #abd4 ,,council ,,room ,,in ,,palace4 ,councilors stagger in and sit at table and begin boozing--drinking to3 ,,sp3 ,,good ,,rest ,,to ,,his ,,majesty4 ,they all down a drink and sit down4 #abe4 ,,front ,,door ,,of ,,palace4 ,two royal guards on duty 7uniforms elaborate and different from those of the army74 ,roland and ,tom rush up and demand admittance and are refused4 ,roland says it is very important to see the king1 but they won't let him in4 ,tom wants to wallop them on the nose and go in1 but is restrained by their guns and finally he and ,roland leave in disgust and go down to the edge of the grounds1 then look back and see the guards are not looking and beat it around to the side of the palace4 #abf4 ,,street4 ,enrico1 the ,general and soldiers march through toward palace4 #abg4 ,,wall ,,of ,,palace 7outside74 ,roland and ,tom run in and scale wall4 #abh4 ,,wall ,,of ,,palace 7inside74 ,roland and ,tom jump down and run toward back of palace4 #abi4 ,,back ,,of ,,palace4 ,roland and ,tom run in4 ,tom leans down and makes a stepping stone for ,roland1 who jumps from his back to window1 pushes it open and crawls in4 ,he then pulls ,tom up after him4 #acj4 ,,hallway ,,of ,,palace ,,looking ,,toward ,,the ,,back4 ,roland and ,tom crawl in the window1 quickly look about1 rush into the ,council ,room4 #aca4 ,,council ,,chamber4 ,councilors all drunk4 ,tom and ,roland rush in from hall1 tell them there is a revolution on and they've got to beat it to save their hides as the soldiers and revolutionists are coming4 ,they all get up in a drunken1 stupid sort of way--don't take it in4 ,two lackeys rush out the window at back4 ,roland demands of one of the councilors3 ,,sp3 ,,where ,,is ,,the ,,king8 ,the councilor1 half soused1 points across the hall4 ,roland and ,tom stir up the councilors and drive them out into the hall4 ,one of them is too far gone to walk4 ,roland pitches him over to ,tom who throws him over his shoulder and carries him out4 ,little ,frijole1 the grouch1 is the soberest of the lot and realizes the situation and tries to follow along1 but ,roland gives him a shove and lands him in a chair1 saying3 ,,sp3 ,,get ,,away6 ,,you',,re ,,not ,,insured4 ,they all go out into the hall1 ,frijole getting up and following4 ,as he does so1 he draws an old revolver out of his pocket4 #acb4 ,,hallway ,,in ,,the ,,palace4 ,they all cross the hallway to the king's bedroom--,tom carrying his councilor1 ,frijole following1 waving his revolver4 #acc4 ,,king',s ,,bedroom4 ,they all rush in--,tom carrying the same councilor and ,frijole waving his revolver4 ,roland rushes to the king's bed and wakes him up while the councilors stagger about stupidly1 bumping into each other and not yet fully realizing what's up4 ,tom drops his councilor on a couch or floor4 ,roland wakes the king up--pulls him out of bed--tells him that the revolutionists are coming and he has got to get out4 ,the ,king is very stupid from drink and doesn't take it in4 ,roland shakes him and tries to make him understand4 #acd4 ,,street ,,corner ,,nearer ,,the ,,palace4 ,enrico1 the ,general and army march through4 #ace4 ,,king',s ,,bedroom4 ,roland1 trying to make old ,king ,caramba understand1 says to ,tom3 ,,sp3 ,,get ,,some ,,water4 ,tom leaves4 ,roland goes on shaking the ,king4 ,,close ,,up ,,of ,,little ,,private ,,sideboard ,,or ,,bar in corner of room4 ,tom rushes in1 looks for water but there is none4 ,he turns and says3 ,,sp3 ,,everything ,,here ,,but ,,watah6 ,roland says to bring a bottle of something4 ,tom takes a bottle of champagne1 knocks neck off of it and goes toward bed4 ,,close ,,up ,,by ,,bed--,roland still trying to bring ,king to4 ,tom enters with champagne4 ,roland takes it and souses it in ,king's face--,king falls back on bed4 ,roland and ,tom pull him up again to his feet4 ,king licks champagne from his face with tongue4 ,they punch1 pummel and slap him and finally bring him to4 ,roland tells him about the revolution--that they must get out of the palace and hide4 ,the ,king looks around and sees the various councilors4 ,finally realizes what is up--asks where the ,revolutionists are4 #acf4 ,,front ,,of ,,palace4 ,two royal guards sleeping on ground4 ,enrico1 ,general and soldiers march in4 ,royal guards are overpowered and ,enrico1 ,general and soldiers begin to bang on door4 #acg4 ,,king',s ,,bedroom ,,in ,,palace4 ,roland tells him they are rushing on the ,palace4 ,the old ,king is scared blue--begins to shake and tremble4 ,roland asks him if he doesn't know some way to get out4 ,finally the old ,king comes to his senses enough to remember a trap door under the flagging of the floor4 ,he takes ,roland over to the place in the floor and points down there4 ,roland and ,tom look and see nothing but flagging4 ,the old ,king keeps pointing and poking with his toe1 says3 ,,sp3 ,,stairway ,,under ,,there4 ,finally ,roland taps the flagging with his heel4 ,then he and ,tom get down on their knees and try to pull up the stone4 ,it won't come4 ,they look up at the ,king4 ,he says1 yes1 that's the place4 ,,sp3 ,,tunnel--,,leads ,,to ,,el ,,juggo ,,prison4 ,tom then gets a big jack-knife from his pocket1 opens it and begins to pry up the flagging4 ,the old ,king claps his hands and nods his head4 ,roland and ,tom continue pulling up the flagging from the floor4 #ach4 ,,front ,,of ,,the ,,palace4 ,enrico1 the ,general and soldiers banging on the door4 #aci4 ,,the ,,king',s ,,bedroom4 ,roland finishes pulling up the last stone4 ,tom chucks the stones under the bed4 ,roland then raises the trap door1 starts to shove the ,councilors down4 #adj4 ,,front ,,of ,,the ,,palace4 ,soldiers still banging on the door trying to break it down4 #ada4 ,,the ,,king',s ,,bedchamber4 ,roland is shooing the ,king and ,councilors down the stairway4 ,frijole keeps butting in and ,roland pushing him back4 ,,close ,,up ,,of ,,the ,,stairway4 ,frijole is trying to push himself down1 but ,roland holds him back and says3 ,,sp3 ,i ,,told ,,you ,,to ,,keep ,,out ,,of ,,this--,,you',,re ,,not ,,insured4 ,but ,frijole insists that he shall go and raises his revolver at ,roland4 ,roland ducks and knocks the revolver out of his hand4 ,tom picks it up4 ,roland pushes ,frijole over to ,tom1 who picks up the little man and drops him out of the window4 #adb4 ,,front ,,of ,,palace4 ,soldiers still banging on the door--door breaks through and they enter4 #adc4 ,,king',s ,,bedchamber ,,in ,,palace4 ,tom runs to door to hall1 opens it a crack and peeks out4 #add4 ,,hallway ,,of ,,palace 7front end74 ,soldiers rush in4 ,enrico is holding his soldiers at the door1 through which they have broken1 telling them just where to go4 #ade4 ,,king',s ,,bedchamber4 ,tom calls to ,roland to look4 ,roland comes to the door and looks4 #adf4 ,,hallway ,,in ,,palace4 ,enrico giving instructions to his men4 #adg4 ,,king',s ,,bedroom4 ,tom aims revolver at ,enrico4 ,roland stops him and says3 ,,sp3 ,,for ,,god',s ,,sake ,,don',t ,,kill ,,him4 ,,he',s ,,insured ,,for ,,ten ,,thousand ,,dollars4 ,he grabs ,tom1 closes the door and locks it1 pulls ,tom away4 #adh4 ,,hallway4 ,enrico1 with a flourish1 leads his men down the hall toward the ,king's bedroom4 #adi4 ,,king',s ,,bedroom4 ,tom picks up his councilor and starts down through trap with him4 ,roland quickly removing traces of the broken floor1 takes a rug and pulls it to the back of the trap door4 #aej4 ,,hallway ,,of ,,palace4 ,enrico and part of his soldiers are beating down the door of the ,king's chamber--the rest going to the council chamber4 #aea4 ,,king',s ,,bedchamber4 ,he closes the trap just as the door breaks open and ,enrico rushes in with his soldiers4 ,enrico rushes to the bed1 sees the ,king is gone1 looks angrily all about the room1 points toward the council chamber and they all rush out4 #aeb4 ,,council ,,chamber4 ,soldiers with ,general looking about coming in from door leading to other rooms where they have found nothing4 ,enrico enters1 followed by soldiers1 discovers there is nobody there4 ,he meets the ,general and they are much puzzled as to who could have tipped off the ,king and let him escape4 ,the ,general shrugs his shoulders1 says if they have escaped1 ,enrico can proclaim himself dictator4 ,enrico goes to the head of the council table1 the ,general on his right raising his sword and shouting3 ,,sp3 ,,the ,,king ,,and ,,council ,,having ,,fled1 ,,senor ,,de ,,castanet ,,proclaims ,,himself ,,dictator ,,of ,,bunkonia6 ,soldiers wave their hats1 officers their swords1 and all acclaim him dictator4 ,he starts to make a speech and says3 ,,sp3 ,,general1 ,,our ,,first ,,move ,,must ,,be ,,to ,,capture ,,and ,,shoot ,,our ,,renegade ,,king ,,and ,,his ,,council4 ,the ,general approves and calls an officer and tells him to take a troop and go after the ,king4 ,officer leaves4 #aec4 ,,hallway ,,of ,,palace4 ,officer comes in1 gets together his men1 and beats it4 #aed4 ,,old ,,stone ,,stairway ,,with ,,heavy ,,wooden ,,door ,,at ,,the ,,top4 ,roland1 ,tom1 ,king and four ,councilors stumble up the stairs4 #aee4 ,,hallway ,,of ,,el ,,juggo ,,prison ,,with ,,heavy ,,wooden ,,doors ,,at ,,back4 ,guard is sitting there half asleep4 ,he arouses a little bit4 #aef4 ,,old ,,stone ,,stairway ,,with ,,heavy ,,wooden ,,door 7same as #aed74 ,roland still beating on the door4 #aeg4 ,,hallway ,,of ,,jail4 ,the guard1 amazed at hearing the noise outside this door1 gets up1 unlocks the big lock and opens the door4 ,roland rushes in with the ,king on his arm1 followed by the four ,councilors1 ,tom carrying one4 ,the guard is dumbfounded at seeing all these notables coming through the tunnel and asks what the trouble is4 ,roland tells him there is a revolution4 ,he looks closely at the ,king1 realizes who it is1 drops on his knees and kisses the ,king's hand4 ,roland pulls him up to his feet and says3 ,,sp3 ,i ,,want ,,you ,,to ,,lock ,,this ,,whole ,,gang ,,up ,,until ,i ,,can ,,get ,,help6 ,the guard looks at ,roland then at the ,king and says3 ,,sp3 ,,lock ,,up ,,my ,,king--,,never6 ,he then kneels down and kisses the ,king's hand4 ,roland again pulls him to his feet1 takes him aside and gives him a couple of pesetas4 ,the guard says1 ,sure1 that's all right1 grabs the ,king and hustles him and others down corridor1 ,tom carrying his councilor4 ,roland tells ,tom to stay with them4 ,tom follows them down the corridor and ,roland beats it out of the front of the jail4 #aeh4 ,,hallway ,,in ,,palace4 ,countess and ,major enter1 followed by ,conwell1 ,rosalie and guards4 ,they walk down the hall and into the ,council ,chamber4 #aei4 ,,council ,,chamber4 ,enrico at the head of the table1 the ,general on his right 7,councilors' liquor still on table74 ,several other officers at the table and a number of soldiers standing about4 ,countess enters with ,colonel1 ,conwell1 ,rosalie and guards4 ,countess is escorted by ,colonel to ,enrico1 who kisses her hand and steps over to ,rosalie1 who is with ,conwell4 ,she is terribly frightened but ,enrico leers at her and tells her she has nothing to fear4 ,then turns to the party and says3 ,,sp3 ,,let ,,us ,,drink ,,to ,,our ,,little ,,bride4 ,they all take glasses4 ,conwell raises glass to ,rosalie and says3 ,,sp3 ,,to-,,morrow ,,at ,,ten4 ,they all drink to ,rosalie1 who stands shivering pitifully4 7,quick fade out47 ,t3 ,,too ,,late4 #afj4 ,,exterior ,,consulate4 ,roland runs in and rushes in the ,consulate4 #afa4 ,,colonel',s ,,room ,,in ,,consulate--,old mammy lying unconscious where ,conwell had thrown her4 ,roland rushes in1 is alarmed at seeing the girl gone4 ,he goes to mammy1 raises her up1 shakes her1 rubs her hands and slaps them1 trying to bring her to4 #afb4 ,,street4 ,tom runs through desperately4 #afc4 ,,colonel',s ,,room ,,in ,,consulate4 ,roland is giving mammy a drink of water4 ,she opens her eyes and slowly comes to4 ,he puts her in a chair and asks her what has happened4 ,she pulls herself together and says that ,conwell was there with soldiers--says3 ,,sp3 ,,they ,,took ,,her ,,to ,,the ,,king',s ,,palace6 ,,they ,,are ,,going ,,to ,,make ,,her ,,marry ,,conwell ,,in ,,the ,,morning6 ,roland shows his alarm and anger1 is stumped for a moment4 ,the old mammy begs him to save her girl4 ,roland thinks for a minute what is best to do4 #afd4 ,,front ,,of ,,consulate4 ,tom runs in and rushes into the house4 #afe4 ,,colonel',s ,,room ,,in ,,consulate4 ,roland is still talking to old mammy1 who is describing what happened4 ,tom rushes in from ,conwell's room1 rushes to ,roland and all out of breath points hand and says3 ,,sp3 ,,the ,,revolutionists ,,paid ,,the ,,jail ,,guard ,,ten ,,pezits ,,and ,,he ,,turned ,,over ,,the ,,king ,,and ,,his ,,whole ,,gang ,,to ,,them6 ,roland is in despair at this news4 ,tom still panting1 says3 ,,sp3 ,,they ,,are ,,going ,,to ,,shoot ,,them ,,all ,,in ,,the ,,morning6 ,roland is utterly flabbergasted at this1 looks bewildered at ,tom and the old mammy and finally says to ,tom that they have ,rosalie in the palace and are going to make her marry ,conwell4 ,tom is open mouthed at this news4 ,at length ,roland says3 ,,sp3 ,,there',s ,,only ,,one ,,chance--,,we ,,must ,,go ,,to ,,porto ,,punko ,,and ,,get ,,the ,,marines6 ,tom and the old mammy are very much interested in this and urge him to try it and ,roland asks mammy if she is all right4 ,she says she is and tells them to go on4 ,tom and ,roland beat it out toward the front4 ,she looks after them4 #aff4 ,,front ,,of ,,consulate4 ,roland and ,tom come out and rush down the street toward the station4 #afg4 ,,dungeon ,,under ,,palace4 ,squad of soldiers bring in the ,king and four ,councilors4 ,tom's ,councilor is being carried4 ,they chuck them in the cells and go out4 ,col4 ,bird looking out of adjoining cell and demanding that he be released4 ,the soldiers spit at him and go out4 #afh4 ,,the ,r4 ,r4 ,,station--,roland and ,tom run in and quickly enter the station4 #afi4 ,,interior ,r4 ,r4 ,,station4 ,roland and ,tom rush in4 ,roland asks the station master when the next train goes to ,porto ,punko4 ,station master laughs sardonically and replies3 ,,sp3 ,,no ,,trains ,,to ,,porto ,,punko ,,to-,,night6 ,,the ,,revolution ,,leaders ,,have ,,given ,,orders ,,that ,,no ,,one ,,shall ,,leave ,,town6 ,he laughs again at ,tom and ,roland4 ,roland looks at ,tom in alarm then asks the station master if he is sure4 ,station master says of course he's sure4 ,roland steps out of back door4 ,tom starts an altercation with the station master1 telling him he is too fresh1 etc4 #agj4 ,,exterior ,,back ,,of ,,station4 ,roland comes out and looks around in desperation4 ,sees native riding by on an old bony horse1 runs to him and tries to hire horse4 #aga4 ,,interior ,r4 ,r4 ,,station4 ,tom and station master's argument is getting warmer4 ,they are threatening each other violently4 #agb4 ,,exterior ,,front ,r4 ,r4 ,,station4 ,two soldiers 7officers with revolvers7 ride up on hand car1 get off and run into station4 #agc4 ,,interior ,r4 ,r4 ,,station4 ,tom is pounding station master's head on counter as two officers enter4 ,they see him1 draw their revolvers and shout1 ,throw up your hands4 ,tom stops thumping station master and throws up his hands4 ,they make him turn toward front door and while one covers him the other talks excitedly to station master4 #agd4 ,,exterior ,,back ,,of ,r4 ,r4 ,,station4 ,roland trying to bribe native to give him horse1 but native refuses and rides off4 ,roland turns and looks toward station and sees-- #age4 ,,interior ,r4 ,r4 ,,station4 ,one of officers covering ,tom whose hands are up1 the other talking to station master4 #agf4 ,,exterior ,,back ,,of ,r4 ,r4 ,,station4 ,roland1 alarmed1 runs to station4 #agg4 ,,interior ,r4 ,r4 ,,station4 ,officer finishes his talk with station master1 covers ,tom also and they start to march him toward front door4 ,roland rushes in and fairly catapults himself on the two officers1 knocking them down4 ,then he and ,tom rush out front door jumping over officers4 #agh4 ,,exterior ,,front ,,of ,r4 ,r4 ,,station4 ,tom and ,roland rush out of station and start down road4 #agi4 ,,interior ,r4 ,r4 ,,station4 ,two officers scramble to their feet and rush out front door1 followed by station master4 #ahj4 ,,exterior ,,front ,,of ,r4 ,r4 ,,station4 ,roland and ,tom running down road4 ,two officers rush out1 see them and both fire at them4 ,roland falls and ,tom stops to help him4 ,the two officers run up to them followed by station master4 ,they stick ,tom up again and jerk ,roland to his feet4 ,roland loses his hat and puts his hand to his head4 ,he has only a scalp wound4 ,two common soldiers run in from opposite direction--attracted by shots4 ,one of the officers says to them3 ,,sp3 ,,take ,,them ,,to ,,the ,,palace ,,dungeon ,,and ,,lock ,,them ,,up4 ,the two soldiers start off with ,roland and ,tom4 ,the officer says1 wait a minute--they stop4 ,he speaks to the other officer who nods his head4 ,the first officer then says to ,tom3 ,,sp3 ,,you ,,come ,,with ,,us4 ,he tells the two soldiers to take ,roland off1 which they do4 ,the two officers then march ,tom off to the hand car1 followed by station master4 ,arrived at the hand car one of them says to ,tom3 ,,sp3 ,,get ,,on ,,there ,,and ,,pump ,,that ,,car4 ,tom and two officers get on hand car4 ,officers cover ,tom with their revolvers4 ,the station master says3 ,,sp3 ,,where ,,are ,,you ,,going8 ,one of the officers turns to him and says3 ,,sp3 ,,to ,,porto ,,punko4 ,at this ,tom's face lights up and he begins to pump like mad and the hand car goes down the track in opposite direction to one of train in scene4 ,station master waves his hand to them and exits to station4 7,fade out47 ,,next ,,morning4 ,,the ,,fatal ,,hour ,,approaches4 #aha4 ,,plaza--,,front ,,of ,,palace4 ,soldiers are lined up in front of palace4 ,populace in native costumes are running about talking excitedly and reading placards which are posted all about4 ,,insert--,,placard 7in fake language74 ,,proklamationiz ,,bingus ,,de ,,spolio ,,kayitz6 ,,etc4 ,,dissolve ,,into ,,english ,,which ,,reads3 ,,proclamation ,,ex ,,rex ,,caramba ,,and ,,his ,,council ,,have ,,deserted ,,their ,,people4 ,,enrico ,,de ,,castanet ,,has ,,been ,,proclaimed ,,dictator ,,by ,,unanimous ,,vote ,,of ,,the ,,army4 ,,caramba ,,and ,,his ,,council ,,will ,,be ,,shot ,,at ,,ten4 ,,all ,,taxes ,,will ,,be ,,raised ,,twenty ,,per ,,cent ,,at ,,ten-,,thirty4 ,the people are frightened at this and call others to read4 #ahb4 ,,courtyard ,,back ,,of ,,palace4 ,officer enters from palace with sixteen soldiers4 ,he picks out ten for a firing squad4 ,he goes to the wall and paces off a distance1 then lines up his firing squad4 ,he then takes the other six and goes back into the palace4 #ahc4 ,,council ,,room4 ,enrico enters with ,magistrate carrying a book4 ,enrico leads him across the room and says3 ,,sp3 ,,the ,,wedding ,,takes ,,place ,,here6 ,the ,magistrate says all right and gets ready4 #ahd4 ,,dungeons ,,under ,,palace4 ,conwell and guards with guns enter and open the door of cell and drag ,roland out leaving old ,colonel in4 ,they lock the door4 ,roland reaches through the bars and grasps ,bird's hand1 saying ,good-by4 ,they take out ,roland1 who has a handkerchief tied around his head4 ,march out4 ,roland then straightens up and marches out like a ,sidney ,carton4 #ahe4 ,,council ,,room4 ,enrico and ,magistrate are waiting 7no guns on anybody in this scene74 ,countess enters with ,rosalie who is terrified and completely cowed4 ,enrico goes to her1 pinches her cheek and says3 ,,sp3 ,,well1 ,,have ,,you ,,made ,,up ,,your ,,mind ,,to ,,marry ,,conwell8 ,she weakly shakes her head and says she doesn't know what to do4 ,enrico smiles and says3 ,,sp3 ,,so ,,you',d ,,rather ,,see ,,your ,,father ,,killed1 ,,would ,,you8 ,she miserably shakes her head and says ,no4 ,enrico pats her on the shoulder and says3 ,that's a sensible little girl4 #ahf4 ,,hall ,,of ,,palace4 ,roland1 with two guards and ,conwell1 comes up the stairs and they march to the door of council room and stop4 ,conwell smiles at ,roland and says3 ,,sp3 ,i ,,did ,,you ,a ,,good ,,turn1 ,,now ,,you ,,are ,,going ,,to ,,do ,,me ,,one4 ,roland looks at him suspiciously and ,conwell still smiling1 says3 ,,sp3 ,,you',,re ,,going ,,to ,,be ,,best ,,man ,,at ,,my ,,wedding4 ,he then throws the door wide open and indicates the wedding party on the opposite side of the room1 with a flourish4 ,roland looks in astounded and horrified4 #ahg4 ,,council ,,room4 ,enrico1 ,magistrate1 ,countess and ,rosalie standing opposite door4 ,they all look at doorway and see ,conwell and ,roland4 ,rosalie stands transfixed with her eyes wide open4 #ahh4 ,,hall ,,in ,,palace4 ,roland stands transfixed1 looking at ,rosalie4 ,conwell invites him in with a sinister smile and enters first1 followed by ,roland1 who is followed by the two guards4 #ahi4 ,,council ,,room4 ,conwell enters1 followed by ,roland and two guards4 ,conwell crosses to ,rosalie but ,roland stops near door1 with guards back of him almost in doorway4 ,conwell takes ,rosalie's hand1 tells her ,roland is to be their best man and1 looking tauntingly at ,roland1 he leans over and kisses her4 ,this infuriates ,roland so he cannot contain himself4 ,he suddenly whirls1 pushes the two guards in the face4 ,they fall through the door out into the hall4 ,roland quickly closes the door4 #aij4 ,,hall ,,in ,,palace4 ,the two guards fall through the doorway1 sprawling on the floor4 #aia4 ,,council ,,room4 ,roland closes the door and locks it1 turns and rushes upon the astonished ,conwell4 ,then follows a general mixup4 ,roland having to fight ,conwell1 ,enrico and possibly the ,magistrate--or the ,magistrate might be an old guy who beats it out the window as soon as the fight begins4 ,rosalie tries to help by picking up a vase or some such object and hitting ,conwell or ,enrico1 but the ,countess stops her and ,rosalie keeps the ,countess busy by struggling with all her might4 ,conwell must be put out completely and ,roland conquers ,enrico and the ,magistrate and would be a complete winner but for the ,countess4 ,while she is struggling with ,rosalie and the fight is going on1 the guards in the hall struggle to their feet and begin banging on the door4 ,the ,countess hears this and her object is to get the door open4 ,she is prevented for some time by ,rosalie but just as ,roland has finished off ,conwell and the ,magistrate and has ,enrico down and practically out1 the ,countess manages to get the door open and let in the two guards4 ,they cover ,roland and he rises and surrenders4 ,conwell and ,enrico are pretty far gone but they manage to get up and ,enrico says to the guards3 ,,sp3 ,,take ,,him ,,to ,,the ,,courtyard ,,and ,,shoot ,,him6 ,the guards rush ,roland out--,rosalie collapses4 ,during this fight we see a long shot of ,tom with an ,american flag and the marines coming down the street4 ,a man running to a group of the populace and saying3 ,the ,americans are coming6 ,the whole of this group then run out toward the palace4 ,this group runs to the crowd in front of the palace and yell3 ,the ,americans are coming6 ,the crowd falls back to the other side of the ,plaza and the soldiers guarding the palace look anxiously up and down4 ,tom with his marines rushes into the plaza4 ,the crowd falls back and the soldier guards beat it hot foot4 ,part of the marines rush into the palace1 led by ,tom4 ,the man with the flag and the rest of them stop outside and guard the palace4 ,also1 during this fight the officer and his guard of six men take the ,king and ,councilors out of their cells and lead them off toward the courtyard1 line them up against the wall1 tie their hands behind them1 blindfold each one and are just about to give the order to shoot when ,tom rushes into the courtyard with his marines1 who chase the soldiers off and ,tom picks up the ,king and carries him and shoos them all before him into the palace1 having jerked off their blindfolds4 #aib4 ,,hallway ,,of ,,palace4 ,just as the two guards bring ,roland out of the ,council ,room into the hall and start toward the stairs1 ,tom runs in at front with his marines4 ,the guards1 seeing them1 drop ,roland and beat it out the back window4 ,roland greets ,tom ecstatically1 looks at his watch1 sees that it is one-half minute to ten and says3 ,,sp3 ,,try ,,and ,,save ,,the ,,king ,,and ,,council6 ,tom wants to know where they are and ,roland points down stairs and back4 ,roland tells twenty of the marines to come with him and the rest run down stairs with ,tom4 ,roland leads his little bunch into the council room4 #aic4 ,,council ,,room4 ,countess is holding up ,rosalie1 ,conwell leaning against the wall side of her4 ,magistrate is starting marriage service4 ,enrico is sitting on the table holding his head and watching the ceremony4 ,the door bursts open and in rushes ,roland with six marines4 ,he rushes over and grasps ,rosalie and tells the marines to cover all the others1 which they do4 #aid4 ,,courtyard ,,of ,,palace4 ,officers just finishing blindfolding ,king and ,councilors4 ,they are all lined up to be shot4 ,firing squad is all ready--sixteen in all1 now4 ,officer leaves ,king and ,councilors and takes place at end of firing squad4 ,he is just about to raise his sword when ,tom runs in from the ,palace1 lets out a yell1 and followed by his twenty marines rushes in4 ,the soldiers seeing them1 run like mad1 chased by the marines4 ,tom quickly jerks off blindfolds and shoos the whole bunch--,king and ,councilors--into the palace4 #aie4 ,,council ,,room4 ,colonel ,bird and two marines run in4 ,rosalie rushes to her father's arms and ,roland tells ,bird to look after her and to go into the hall1 which they do4 ,he tells two of the marines to guard ,conwell and the ,countess and ,magistrate4 ,he then grabs ,enrico1 tells the other six marines to follow1 and drags ,enrico out into the hall1 followed by six marines4 #aif4 ,,hallway ,,in ,,palace4 ,colonel ,bird and ,rosalie are waiting4 ,roland drags ,enrico out1 followed by six marines4 ,they start toward the front4 ,at this moment the ,king and ,council come up the stairs headed by ,tom4 ,roland grabs the ,king in his other hand1 calls ,tom and tells him to bring the ,king along2 hands him over to ,tom4 ,tells the marines to herd along the ,council1 and they all go toward front of hall4 #aig4 ,,front ,,of ,,the ,,palace4 ,people waiting4 ,american soldiers there4 ,roland and ,tom drag the ,king and ,enrico out on the porch1 followed by ,bird and ,marines4 ,the people become silent1 not knowing what has happened4 ,,close ,,up ,,of ,,roland ,,starting ,,speech4 ,he raises his hand while ,tom holds the ,king4 ,he points at the ,king1 then turns and says3 ,,sp3 ,,my ,,friends1 ,,for ,,ten ,,years ,,your ,,beautiful ,,country ,,has ,,been ,,ruled ,,by ,,this ,,comic ,,opera ,,king1 ,,who ,,has ,,not ,,drawn ,a ,,sober ,,breath ,,since ,,he ,,ascended ,,the ,,throne4 ,tom holds up the ,king1 to whom ,roland points--the ,king weakly protesting4 ,roland turns front and speaks again1 pointing at ,enrico3 ,,sp3 ,,last ,,night ,,the ,,king ,,was ,,dethroned ,,by ,,the ,,most ,,corrupt ,,and ,,contemptible ,,grafter ,,the ,,country ,,has ,,ever ,,known--,,enrico ,,de ,,castanet6 ,he points at ,enrico1 who grits his teeth and wants to pounce on ,roland1 but is restrained by guns of marines at his back4 ,roland looks triumphantly at ,enrico1 then front1 and says3 ,,sp3 ,,the ,,first ,,act ,,of ,,this ,,tyrant1 ,,on ,,assuming ,,power1 ,,was ,,to ,,raise ,,the ,,already ,,exorbitant ,,taxes6 ,the people nod their heads yes and shake their fists at ,enrico4 ,roland points to ,enrico and says1 ,look at him4 ,he then turns to the ,king and says ,look at him4 ,then he turns to the people and says3 ,,sp3 ,,is ,,either ,,of ,,these ,,wretches ,,fit ,,to ,,rule ,,this ,,beautiful ,,country8 ,the people shake their heads yelling ,no1 no1 and to-helling both the ,king and ,enrico4 ,,close ,,up ,,of ,,roland listening to this demonstration1 turning first to the ,king and then to ,enrico1 as if to say ,ah1 you see1 and then front again and says3 ,,sp3 ,,in ,,america ,,we ,,choose ,,our ,,own ,,rulers ,,and ,,determine ,,ourselves ,,what ,,our ,,taxes ,,are ,,to ,,be4 ,,long ,,shot ,,of ,,the ,,crowd--,hearing this1 turning to each other and expressing their approval of the idea1 one or two yelling out exclamations of approval4 ,,close ,,up ,,of ,,roland--,smiling1 looking again at the men on his right and left and again speaking front3 ,,sp3 ,,why ,,not ,,change ,,this ,,government ,,into ,a ,,democracy ,,like ,,america ,,and ,,all ,,the ,,civilized ,,countries ,,of ,,the ,,world8 ,,long ,,shot ,,of ,,the ,,crowd1 yelling approval1 waving their hats and hands and 7fade out74 ,t3 ,,and ,,so ,a ,,new ,,republic ,,was ,,born4 ,,they ,,tried ,,to ,,make ,,roland ,,president1 ,,but ,,there ,,was ,,only ,,one ,,job ,,he ,,wanted4 #aih4 ,,fade ,,in ,,judge',s ,,court4 ,roland is sitting on the bench all dolled up in a judge's rig4 ,beside him stands ,tom in a policeman's uniform4 ,he indicates to ,tom to bring in the prisoners4 ,tom tells an officer to open the door4 ,,close ,,up ,,of ,,door ,,at ,,side ,,of ,,room4 ,officer opens door and the ,king and four ,councilors and ,enrico file past the camera going to the front of the ,judge's bench4 ,,long ,,shot ,,of ,,courtroom1 showing prisoners1 ,judge and ,tom4 ,,close ,,up ,,of ,,roland looking over the prisoners and saying3 ,,sp3 ,,you ,,are ,,all ,,sentenced ,,to ,,one ,,year ,,in ,,prison--,,this ,,country ,,must ,,be ,,made ,,safe ,,for ,,democracy ,,and ,,insurance4 ,the prisoners all look at each other in dismay4 ,tom steps down1 starts to jerk ,enrico roughly toward the door4 ,roland raises his hand and speaks3 ,,sp3 ,,treat ,,them ,,gently1 ,,chief4 ,,their ,,policies ,,don',t ,,expire ,,for ,,eleven ,,months6 ,then ,tom takes them very gently and leads them out of the room4 ,as they go out1 ,roland says3 ,,sp3 ,,we',,ll ,,call ,,that ,a ,,day4 ,,court ,,is ,,adjourned6 ,he leaves by door at back4 #aii4 ,,garden4 ,rosalie waiting4 ,roland comes to her4 7,fade out47 ,transcriber ,notes3 ,passages in italics were indicated by underscores4 ,passages in bold were indicated by equal signs4 ,small caps were replaced with ,,all ,,caps4 ,throughout the dialogues1 there were words used to mimic accents of the speakers4 ,those words were retained as-is4 ,the illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate1 and the table of illustrations is changed to reflect those moves4 ,errors in punctuations and inconsistent hyphenation were not corrected unless otherwise noted4 ,in the list of ,illustrations1 ,,crepe was replaced with ,,cr,,pe4 ,on page #f1 ,constance,talmadge was replaced with ,constance ,talmadge4 ,in the illustration on page #bj1 ,,crepe was replaced with ,,cr,,pe and crepe was replaced with crpe4 ,on page #ei1 ,,orchid',s was replaced with ,,orchids4 ,on page #fi1 a double quotation mark was added before ,,what ,,dat ,,lord ,,howe-,,greene ,on page #ha1 one title has no text4 ,on page #ajd1 7same as #aeh7 was replaced with 7same as #aed74 ,on page #ajd1 king's was replaced with ,king's4