“IT’S A QUESTION OF ETHICS—­”

     Bill glowers and snaps: 

Cut-in leader—­

     “ETHICS BE DAMNED!  IT’S A QUESTION OF—­ARE YOU GOIN’ TUH
     BLAME HER FOR THE VERY THING YOU MADE HER DO?”

     Blinker begins to consider.

148—­Ella’s room.

     Florence dressing (suspense:  Does she recall that revolver
     and want to add her tragedy to the dreary ones of “Brickdust
     Row?”)

149—­Blinker’s apartment.

     Big realization—­“All my fault.”  Blinker goes off with Bill.

150—­Ella’s room.

     Ella soothing Florence.  Latter does not wish to live.  All
     life is black before her.

151—­Hall outside door.

Comedy relief as Bill and Blinker come on and latter draws back in a natural suspense as to his reception and Bill tells him to “beat it on in!” Blinker knocks, and goes in.  Bill pauses.

152—­Ella’s room.

     Florence looks up.  Ella surprised.  Blinker pauses.  Ella
     seems to be attracted by something.

153—­Crack of open door.

     Bill is making violent gestures to get Ella out.

154—­Ella’s room.

     Ella catches Bill’s idea, and moves unostentatiously out. 
     Then Blinker strides to Florence.  He says: 

Cut-in leader—­

     “IT’S ALL WRONG.  I’VE COME TO SQUARE IT.”

     Florence is reserved, chilly, as she says: 

Cut-in leader—­

     “YOU MEAN—­ABOUT THE PARLORS?”

     Blinker is beside her, and catching her hands he cries: 

Cut-in leader—­

     “I MEAN—­ABOUT YOU!—­AND ME!”

In spite of herself, Florence is forced to lift her eyes, and as she reads the look in his own she is compelled to realize that the air is cleared at last and that the happiness that seemed dead is again alive—­palpitant happiness that draws her into his ready arms.

155—­Hall outside Ella’s room.

     Bill “fixes it up” with Ella to “travel double.”  She wants
     to rush in and tell her chum, but Bill stays her:  “Nix—­let
     ’em do some clinchin’ first!”

156—­Ella’s room.

     Florence and Blinker embracing.

     Circle diaphragm closes to blackness.[60]

[Footnote 60:  This is the script before it reached production.  If you see the picture you will no doubt observe directorial alterations that came up during production.  In that case you will have valuable experience in seeing the difference between the original—­the script-writer’s conception—­and the directorial interpretation.]

CHAPTER XXI

MARKETING THE PHOTOPLAY SCRIPT