The Griffith Project Volume 11: Selected Writings of D.W. Griffith: Indexes and Corrections to Volumes 1–10 9781844572328, 9781838710705, 9781839020025

Table of contents :
Cover
Title
Copyright
Contents
Foreword
Notes on Contributors
Part I: Selected Writings of D.W. Griffith
A Fool and a Girl
War
The Rise and Fall of Free Speech in America
“Motion Pictures, the Miracle of Modern Photography”
“The Movies 100 Years From Now”
“How Do You Like the Show?”
“The Greatest Theatrical Force”
“How Movies Are Made”
“Griffith’s Top 50 Films”
“Film Master Is Not Proud of Films”
Part II: Indexes and Corrections
Corrections and Additions to Volumes 1–10
The Lost Films of D.W. Griffith
Films directed by D.W. Griffith not available for viewing at the time of publication
Films formerly attributed to D.W. Griffith
Other films about D.W. Griffith or containing footage from his films
General Index of Credits, Volumes 1–10
Index of Contributors to The Griffith Project

Citation preview

THE GRIFFITH PROJECT VOLUME 11 SELECTED WRITINGS OF D.W. GRIFFITH INDEXES AND CORRECTIONS TO VOLUMES 1–10

IN MEMORY OF RINO D’ANNA CARTOONIST, GOURMAND, GENTLEMAN (1953–2004)

THE GRIFFITH PROJECT VOLUME 11 Selected Writings of D.W. Griffith Indexes and Corrections to Volumes 1–10

G ENERAL E DITOR Paolo Cherchi Usai CONTRIBUTORS Harold “Rusty” Casselton Karen Latham Everson Tom Gunning David Mayer A SSISTANT E DITOR Cynthia Rowell

Publishing

First published in 2007 by the British Film Institute 21 Stephen St, London W1T 1LN The British Film Institute is the UK national agency with responsibility for encouraging the arts of film and television and conserving them in the national interest. Copyright © Le Giornate del Cinema Muto 2007 Set in Italian Garamond by D R Bungay Associates British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library ISBN 978–1–84457–232–8 eISBN 978–1–83902–001–8 ePDF 978–1–83902–002–5

CONTENTS

Foreword Notes on Contributors PART I: SELECTED WRITINGS OF D.W. GRIFFITH A Fool and a Girl War The Rise and Fall of Free Speech in America “Motion Pictures, the Miracle of Modern Photography” “The Movies 100 Years From Now” “How Do You Like the Show?” “The Greatest Theatrical Force” “How Movies Are Made” “Griffith’s Top 50 Films” “Film Master Is Not Proud of Films”

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1 71 137 171 175 179 183 184 186 188

PART II: INDEXES AND CORRECTIONS Corrections and Additions to Volumes 1–10 189 The Lost Films of D.W. Griffith 207 Films directed by D.W. Griffith not available for viewing at the time of publication 208 Films formerly attributed to D.W. Griffith 209 Other films about D.W. Griffith or containing footage from his films 214 General Index of Credits, Volumes 1–10 224 Index of Contributors to The Griffith Project 339

THE GRIFFITH PROJECT Volume 1: Volume 2: Volume 3: Volume 4: Volume 5: Volume 6: Volume 7: Volume 8: Volume 9: Volume 10: Volume 11:

1907–08 January–June 1909 July–December 1909 1910 1911 1912 1913 1914–15 1916–18 1919–46 Selected Writings by D.W. Griffith Indexes and Corrections to Volumes 1–10 Volume 12: Essays on D.W. Griffith

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FOREWORD

This book is a documentation supplement to the ten-volume series dedicated to the analysis of the complete creative output of D.W. Griffith. The volume consists of three main sections: the first is an anthology of writings by D.W. Griffith, mainly focused on his theatre plays and on the booklet The Rise and Fall of Free Speech in America, the 1916 ideological premise to Intolerance. The second part is a summary of all the corrections and additions to the entries reproduced in volumes 1 to 10, drawn from extensive research by the participants to The Griffith Project. A general index of all the names listed in the credits of previous volumes (plus those identified in the corrections and additions section) completes the book. The index was edited by Alice Moscoso and Brian T. Meacham, with the collaboration of the following students of the L. Jeffrey Selznick School of Film Preservation: Magnus Rosborn, Diana Little, Brent Phillips, Benjamin Tucker, Susan Busam, May Dea, Ember Lundgren, Alexandra Terziev, Brianne Merkel, Daniela Currò, Celine Ruivo, Inés Toharia Terán. We are grateful to all the other interns and students of the L. Jeffrey Selznick School of Film Preservation who contributed to the early stages of preparation of this and other volumes: Kelly Chisholm, Sonia Genaitay, Sungji Oh, Christina Porterfield, Heather Stilin, John Woodard (in the academic year 2001–02); Susan Busam, May Dea, Andrew Lampert, Diana Little, Ember Lundgren, Brianne Merkel, Robert Nanovic, Heather Olson, Brent Phillips, Magnus Rosborn, Alexandra Terziev, Edward Tse (2002–03); Daniel Blazek, Brendan C. Burchill, Christina Nobles, Loubna Regragui, David Rice, Jennifer Sidley, Marcus Smith, Anna Sperone (2003–04), Janet Ceja, Angela Holm, Nancy Kauffman, Bryan Pang, Molly Pielow, Albert Steg (2004–05); Charles Allen, Leslie Lewis, Elisa Mutsaers, Joanna Poses, David Spencer (2005–06); Daniela Currò, Celine Ruivo, Inés Toharia Terán (2006–07); Alice Moscoso, recipient of the 2007 Pordenone/Selznick School Fellowship, has assisted with supplementary research. Paolo Cherchi Usai Canberra, May 2007

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NOTES ON CONTRIBUTORS

HAROLD “RUSTY” CASSELTON is director of Film Studies at Minnesota State University, Moorhead. PAOLO CHERCHI USAI is director of the National Film and Sound Archive of Australia. He is co-founder of the Pordenone Silent Film Festival and of the L. Jeffrey Selznick School of Film Preservation at George Eastman House. Among his books are The Death of Cinema (BFI, 2001) and D.W. Griffith (forthcoming, 2008). His experimental silent feature film Passio, based on music by Arvo Pärt, was premiered in 2007. KAREN LATHAM EVERSON has been an independent filmmaker and also has worked as an archivist, with her late husband and at the George Eastham House. She has now returned to her roots, living in Texas and doing historical research and freelance writing. TOM GUNNING is professor of Art History and member of the Committee on Cinema and Media at the University of Chicago. He is the author of D.W. Griffith and the Origins of American Narrative Film: The Early Years at Biograph (1991) and numerous articles on early cinema (including “the Cinema of Attractions”). He was a founding member of Domitor, the international society for the study of early film. His most recent book, The Films of Fritz Lang: Allegories of Vision and Modernity (2000) is published by BFI. DAVID MAYER is emeritus professor of Drama and research professor at the University of Manchester, England. His books include Harlequin in His Element: English Pantomime, 1806–1836 (1969) and Playing Out the Empire: Ben Hur and Other Toga Plays and Films (1994). He is author of numerous essays on nineteenth- and early twentieth-century popular stage entertainments and links with early film. CYNTHIA ROWELL graduated in 1999 from the L. Jeffrey Selznick School of Film Preservation at George Eastman House. She currently produces DVDs for New Yorker Films.

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T HE P LAYS A FOOL AND A GIRL Synopsis ACT 1 In San Francisco’s busy Bull Pup Café a group of small-time criminals (confidence men and their demi-mondaine companions) meet to plot the duping of a moderately rich innocent young man. Their plan is to lure the young Kentuckian, Albert Holly, into a romance with the city-girl Effie Tucker and for Effie to use her wiles to extract money for the conspirators’ benefit and to Albert’s loss. Albert, predictably, is charmed. He is also enamoured of California life and persuades the group to accompany him to the hop fields on the Russian River where they will pick hops and enjoy a taste of country life. With reluctance and with the knowledge that they will be away from their city environment, the confederates agree. ACT 2 In the hop fields, where the hop-gathering is done by a mixture of Mexicans, California “Digger Indians”, and white migrant workers, Albert is beguiled by Effie. The conspirators concoct a letter which Effie is to receive from her fictitious mother expressing severe financial need. Albert offers her money, which she initially pretends to scorn and to be insulted by his presumption. Ultimately and according to plan, she accepts. Albert kisses her passionately leaving her bemused. ACT 3 The setting is the same as Act 2, but a week has passed, and now it is night. Albert has fallen in love with Effie, and Effie has encouraged his attentions. The Mexicans sing a medley of sentimental folk songs, most notably “La Golondrina”, which thereafter becomes the romantic signature of the couple. The principal conspirators, Effie’s sister, Evangeline, and her pimp, Mike Dehota, become drunk and threaten the illusion of Effie’s innocence. Unaware of this threat, Albert proposes marriage to Effie, and she accepts, but a new obstacle looms as Albert insists that Effie’s fictitious mother attend the wedding. ACT 4 Whereas the previous acts maintained a serious and romantic tone, this act plays as farce until the final moments when, once again, bleak seriousness returns. The conspiracy has been successful. Albert and the conspirators are in a San Francisco hotel preparing for the imminent wedding. The latter have made various unsuccessful attempts to find a woman who might be bribed to impersonate Effie’s mother. Albert is adamant that the wedding be postponed until her “mother” arrives. Meanwhile, Mike, drunk and hiding in Effie’s bedroom, demands that Effie immediately provide him with some of Albert’s money. Moreover, as a further unlooked-for complication, Effie, who has become increasingly respectful of Albert’s honesty, generosity, and gentleness, has begun to fall in love with him. Mike’s and Evangeline’s insistent clumsiness undermine Effie’s resolve, and, in the final moments of the act, Effie confesses that she has been a party to the confederacy to dupe Albert but acknowledges that she now loves him. Albert, horrified and revolted, expresses rage and dismay at his own gullibility. 1

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ACT 5 About 15 years have elapsed, and Effie, now poor, respectable, and worn with toil, lives in a San Francisco tenement inhabited by various women and children whom she has befriended. Effie, now literate and able to appreciate the pleasures of literature, is encouraging others to read and better themselves. Outside, a hurdy-gurdy plays “La Golondrina”. The tenement’s new landlord arrives. It is Albert who has used his wealth to buy up and renovate slum properties, turning them into comfortable dwellings. Albert has regretted abandoning Effie, and now, as the two meet, he confesses his loneliness and enduring love for her. Hearing “La Golondrina” rising up from the street and speaking of it as “our song”, he again asks Effie to marry him, and she, also still in love with Albert, agrees. A Fool and a Girl is Griffith’s only commercially staged play and one of two Griffith plays known to have survived in typescript form. The version that we possess of A Fool and a Girl is not even a fair copy, but a coarse draft surviving in Griffith’s papers. Later drafts and, perhaps more important, a script of the play as eventually produced are not known to survive, but, were we to find them, they would be substantially different from the text appearing in this volume. The performing rights to A Fool and a Girl were purchased from Griffith by the noted American actor-manager-impresario James K. Hackett and jointly produced by Hackett and the Klaw & Erlanger management. The play was rehearsed in Washington, D.C., in September 1907, Griffith frequently revising the script under instructions from Klaw & Erlanger’s stage director, Mr. Duane, and it was first performed at Washington’s Columbia Theatre on 30 September, where it ran for a week receiving indifferent-to-hostile reviews. A second week’s try-out engagement followed in Baltimore, and the play and company of players, presumably en route to Toledo, then disbanded or disappeared into the wilderness of the Ohio circuit. Despite being well cast with established actors (John W. Dean, Fannie Ward, and Alison Skipworth in the roles of Albert Holly, Effie Tucker, and Evangeline Tucker; all three later became important actors in American silent film), A Fool and a Girl never reached the Broadway destination Griffith had envisioned. Reasons for the failure of A Fool and a Girl – alternately titled The Fool and the Girl and A Fool and the Girl – are multiple: the play is clumsy, unoriginal in plot and situations, mawkish, many of its characters offensively coarse to early 1900s audiences, constricted by dialogue which, whilst deliberately slangy, is never easy or natural. In style and approach A Fool and a Girl is conspicuously derivative: the works of other, more successful, American near-contemporaries, most conspicuously the West Coast plays of David Belasco and the regional melodramas of Augustus Thomas, loom in Griffith’s mind, and there are hints that he was experimenting with theatrical Naturalism but lacked the knowledge, dexterity, temperament, and courage to push his material very far in that direction. Like Belasco, but with demonstrably less of Belasco’s dramatic skill, Griffith instead opts for a kind of “romantic realism”. But, above all, A Fool and a Girl is overly ambitious in that, again emulating both Belasco and Thomas in mise-en-scène and addiction to exotic environments and local colour, it requires an expensive production and a large cast, far in excess of those available to novice dramatists. Nevertheless, there are underdeveloped dramatic suggestions to which Griffith will later return and enlarge in his Biograph films: episodes of marriage and separation; plots of estrangement and reconciliation; dramas of mute loneliness; evidence of his recurring fascination with otherness, especially the Mexican and Native American other; and his conceit that he understands and can interpret these marginal cultures. Typically, we also find Griffith straining for profundity, occasionally reaching and expressing emotional, although not intellectual, depth. It is therefore inevitable that we view this play retrospectively through the lens of his film successes. 2

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Attempts to establish a wholly accurate account of the play’s journey from Griffith’s imagination and experience to its final performances are thwarted by the dense mythology surrounding this period of Griffith’s life, much of the myth-making provided by Griffith himself who was adept at embellishing personal and creative events which might otherwise seem prosaic. Some elements of the plot and their sources are located in Griffith’s experiences as an actor in various California – chiefly San Francisco-based – repertory companies. In 1905 while a member of the Melbourne MacDowell Company, Griffith had met Linda Arvidson, cast in Sardou’s Fedora, another drama in the Company’s repertoire. A Fool and a Girl is autobiographical to the extent that Griffith depicts himself as the provincial, priggish, partly – and self-consciously – educated Kentuckian, Albert Holly, and offers in Effie Tucker a rouged-up, coarsened rendering of Linda, who said of San Francisco girls, herself one of these, that they were notably “piquant”, i.e., sharp-tongued and worldly. His romance with the more urbane Arvidson opened his eyes to an aggressive, complex, multi-layered environment and to its underworld infestation of predatory city-slickers. Griffith describes in his autobiography and in letters visits to San Francisco dance halls, bars, and restaurants with intimate dining rooms (one of the latter, “The Poodle Dog”, the model for his first-act “Bull Pup” restaurant) where, having known “nice girls” (his expression), he encountered “the other kind” (again, Griffith’s expression). Girl had been a staple English word for centuries, largely referring to females below the age of puberty, but in the final decades of the Victorian era and early in the 20th century, girl increasingly referred to females of marriageable age who were seeking – or who had found – financial independence and who were making their own way in new professions before settling into marriage. Griffith has deliberately chosen to refer – somewhat ambiguously – to his leading ingénue as “a girl” and plays to current understandings of girl without adding to its meaning, merely stressing Effie’s isolation from family and supporting moral, social, and economic influences and institutions. The independent “girl” (e.g., “the telephone girl”) will become a staple character in Griffith’s Biograph films. Further, and as significant to the development of A Fool and a Girl, Griffith was cast in the role of the Native American Alessandro in a stage version adapted from Helen Hunt Jackson’s Ramona (see Yuri Tsivian’s fine essay on Griffith’s Ramona, vol. 4, DWG Project #255). Appearing in this production, he encountered a trio of Mexican musicians who taught him, by rote, to sing a cluster of the traditional Mexican songs which are found in Acts Two and Three of A Fool and a Girl, most particularly “La Golondrina” (“The Swallow”) which, through the agency of the offstage barrel organ, reappears as the romantic melody (“our song”) in the play’s closing moments. Although assuming that he had learned to sing in Spanish, Griffith’s command of the language was negligible, as his misrendering of the song title testifies. As a “resting” actor, Griffith undertook seasonal field labour to support himself when stage engagements failed to materialise. He briefly worked at hop-picking in Ukiah, California, an agricultural centre on the Russian River north of Oakland. He may have been accompanied to the hop fields by Arvidson, who later wrote of “operatic Italians”, not Mexican hop-pickers, “who drank ‘dago red’ and sang the sextet from Lucia [di Lammermoor]”. This much can be agreed upon. What follows is less certain. In the early autumn of 1906, Griffith completed a draft of A Fool and a Girl and in October of that year applied for dramatic copyright. Copyright was granted on 6 October, and, sometime after that date, probably in November or December of that year, Griffith sent his manuscript to Hackett. According to Griffith, Hackett was delighted with the script and purchased it for $1,000. Arvidson contradicts, stating that Hackett paid $750 with royalties to follow if the play were successful. This latter sum is more likely because when Griffith sent train fare to Arvidson for her journey to the Washington opening night, he was only able to give her $3.00. Whilst there is no record of the rehearsal and rewriting processes, it is apparent 3

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that Duane and Hackett saw the necessity of reducing Griffith’s cast. In the script we possess, more than forty-one speaking characters are specified, many of these small roles which cannot be doubled effectively, as well as two onstage orchestras and somewhat more than twenty supernumeraries. The cast list for the Washington premiere calls for no more than twenty speaking roles, some Mexican singers, two Mexican dancers, and a small handful of supers. Additionally, Duane, supervising Griffith’s rewrites, compelled the shortening of the play from five acts to four. In all likelihood, this step involved fusing the second and third acts into a single act set on “[t]he edge of [the] Hop-Pickers’ camp on [the] Russian River”, enabling the action of the play to go forward, but also providing – and perhaps elaborating – an effective setting for the various dance and musical numbers which Griffith builds into both acts in the extant draft. Griffith was sufficiently schooled in theatre practice and the economics of the theatre to understand that at this date melodramas such as this toured American hinterlands and also still appeared in major cities as “combination companies”, single productions carrying both dramatic actors and variety performers. The Mexican singers and dancers are not merely present to add local colour. Their presence in A Fool and a Girl was virtually obligatory in meeting the expectations of American audiences long accustomed to melodramas mixing dramatic action and musical interludes. Even in his later films, most notably in Way Down East (1920), Griffith incorporated the “combination” structure and filmed dance sequences wellintegrated into a dramatic narrative (see my essay on Way Down East, vol. 10, DWG Project #598). Nevertheless, such abridgements to his text as Duane wrought distressed Griffith. Banished by Duane to the alley at the back of the Columbia Theatre, he apparently encountered Hackett, who had arrived from New York for the final dress rehearsal, and complained. Hackett responded, “Well, Griffith, they have certainly done a lot of spoiling of the play I bought – but it’s too late now to do anything about it.” Griffith further insisted that Hackett attempt to make changes to the cast before A Fool and a Girl embarked on its try-out tour but was informed by Hackett that Klaw & Erlanger refused to permit further alterations. Moreover, neither Hackett nor Klaw & Erlanger sought to share Griffith’s copyright. At this date it was not at all unusual for producers, sensing the imminent success of a production, to apply for a joint share of the copyright alongside the author’s original right, but in the instance of A Fool and a Girl, neither management found this drama a commercially viable proposition. Unresolved tension between Hackett and Griffith inspired further myth-making: Griffith’s autobiography claims that the production of A Fool and a Girl bankrupted James Hackett and that Hackett was unable to produce plays until, some years later, he inherited a fortune and went on to stage elaborate and expensive productions. Hackett’s subsequent acting and producing career contradict this assertion. There was no obvious diminution of either activity. One of the problems which Duane and Hackett failed to address was the play’s language. Griffith, in overloading the dialogue with current slang, is attempting to recreate a natural division between the slow, hesitant Kentucky-bred speech of Albert Holly and the racy modernity of the plotters’ hard-boiled city talk. This kind of dialogue was finding its way into American drama, but was largely found in comedies as a kind of character-signature. In serious melodrama such as Griffith’s play, it is still somewhat alien. Moreover, Griffith (or Duane) added dialogue that is not found in this draft and clearly shocked audiences. According to Griffith’s autobiography: The next scene (the new third act) finds the prostitute (Evangeline) indignantly bellowing out over the footlights, “Say, there ain’t a single goddam blue-eyed mother in all San Francisco. Belasco has a pretty good one working for him over at his theatre, but she’s got coal-black lamps. I got some tramp tied up downstairs, but what a ham! She’ll blow our lines in the first act.”

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Griffith elaborates. This was the first “dam-dam American drama”, (i.e., the first in which “God dam” was spoken from the stage). The effect, according to Griffith, was instantaneous: “Ninety patrons walked out, leaving eleven practically alone. One critic wrote, ‘If this be art, it is the art of Zola, and Washington wants none of it’.” Griffith adds, “Of course, such advertising packed the house for the rest of the week.” Other Washington critics make no mention of this dialogue or the sparse audience, speaking of the play as inoffensive and observing that the Columbia Theatre was filled with “a large opening audience”. Arvidson, however, quotes Hector Fuller, a further Washington critic: It may be said that the dramatist wanted to show where his hero’s foot strayed; and where he found a girl he was afterwards to make his wife, but if one wants to tell the old, old and beautiful story of redemption of either man or woman through love, it is not necessary to portray the gutters from which they are redeemed.

The problem of an acceptable narrative may again lie in the racy dialogue and urban dialect. By 1907, the American stage had dealt with the issue of “the woman with a [sexual] past” for nearly 50 years, and at this date the heroine who had engaged in sex outside of marriage was no longer banished or killed off in the final act. Rather, the “damaged” woman’s reintegration into society was a popular theme, as Lottie Blair Parker’s Way Down East (1899) effectively demonstrates. Nor was the question of deception about this sexual past grounds for critical complaint. The additional dialogue may have made the “gutter” too explicit for some taste, and the designation – if made explicit – of Evangeline as a “prostitute” may have contributed to the shock of A Fool and a Girl, but it is more likely that both Griffith and Arvidson are searching for reasons to justify the failure of Griffith’s first theatrical effort. David Mayer Author’s note: One of the ways in which Griffith identifies himself as a novice playwright is in his determination to pepper his script with stage locations intended to guide the Victorian actor. In the main, these directions to specific areas of the stage were not added until the script was copyrighted and published and thus made available to companies who sought to replicate the original production. It is likely that Duane, in directing A Fool and a Girl, ignored Griffith’s directions and imposed his own plans for moving and locating his actors. But Griffith, submitting his typescript to Hackett, imagined that he was being professional and, accordingly (and, to his credit, with a clear vision of the stage picture in his mind) specified L = left, R = right, U = upstage, D = downstage, C = centerstage. These locations, left and right, were based on the actor’s left and right as s/he faced the audience. The notation U.L. thus means upper left, etc. E, virtually an anachronism remaining from Griffith’s years as a journeyman actor in road companies, refers to exits from the stage when outmoded sidewings and cut-cloths were in use. U.L.E. instructs the actor to use the upper left exit. X is shorthand for “to cross”, specifying a character’s movement across the stage. Griffith’s notation “bus” or “Bus” refers to stage “business”: handling of a property (e.g., the miming of serving, eating and drinking) or subtle exchanges between actors which help to delineate character. “Omnes” (all) means that the actors speak and/or move at the same moment. Editor’s note: Both A Fool and a Girl and War were written in 1907. Punctuation, capitalization and spelling are idiosyncratic and inconsistent. Every effort was taken to make the plays read smoothly. Corrections and insertions are contained in brackets. Some words, such as “allright” and “to-day”, remain in their contemporary spelling, marked by a [sic] at the first occurrence in the text. 5

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A F OOL

AND A

G IRL

To be played with rapidity, and as full of life and brightness as possible, not alone for its own effect, but as a contrast to the hazy, […]porous atmosphere of the Old Mission Scenes. All music used in the action of play is in our possession, the Mexican Fol[k] Songs used in ACTS II and III, being selected from a repe[r]tory of over three hundred unwritten Folk Songs of old Spain and Mexico, by kindness of a Mexican fa[m]ily of musicians now in the City of Mexico, – songs for their wonderful sen[s]uous beauty, in our opinion, not equalled by any similar music in the entire world. Dances and figures, while of Spanish origin, are not thoroughly Mexicanized. All of this, though it seems [h]ardly credible, entirely new to the American Stage AT PRESENT. SCENE: – Private Dining Rooms of the “BULL PUP CAFE”, San Francisco. There is a general entrance, making a narrow hallway down stage L.C., on each side of which are boxes done in plain dark wood, with wine colored curtains over doorways leading into boxes. Center hall is supposed to lead off into main dining room. Upper stage R.C. small table where dissipated elderly gentleman is seated. Box 1 is decorated with ballet posters in striking colors, photographs of actresses and other celebr[i]ties, covering practically entire wall surface. Large uncovered table C., 4 chairs. Small table R.U. with 2 chairs. Long mirror wall R. Folding doors between Boxes 1 and 3. Box 2 entirely plain; small table C. with cover; two chairs. Above hallway at back, is ornate balcony for orchestra. Only three of the musicians are seen, Bass Viol, Violin and Harp. The Ba[ss] Viol is exceedingly abdominous, with exaggerated Dutch pompadour. He works in a business-like manner. Violinist, – Light hair, mustache turned up stiffly at ends. Harpist, smooth face, pale, rather long, dark hair, – Italian. At rise of curtain, orchestra is playing brightly. Scene full of life and action. Waiters with steaming platters go to and fro. Two men and two women, very fashionabl[y] dressed, exit from box 3, into hallway. Gentleman arranges one lady’s coat. They exit R.U. Two elderly gentlemen cross stage in back from R. to [L.] Stop waiter C., gets light for his cigar. Exit L.U. A [s]low waiter, rather fleshy, middle aged, bald headed[,] pale, very innocent and me[e]k expression. Walks with exaggerated slowness and affectation of dignity. As he gets C., drops napkin [whi]ch he then picks up in same, slow[,] dignified manner. ACT I D UTCHY : (He is medium height, rather stout, red cheeked, pompadour, close cut hair with high, rather heavy eyebrows arched in the middle to give his face an inquiring expression.) (Enters box L.2, sets tray down on table, singing to the air played by the orchestra, – with German accent) Oh, where, oh where hast mine little dog gone, Got in Himmel, oh where can he be With his tail cut long, And his hair cut short, Oh, Teddy Ruse-e-efelt where ist he? [(]Voices from the box, – [“]Stop that singing, – cut it out.[”][)] D UTCHY : (Goes on piling dishes and repeats song in low tone of voice) (Middle aged man and woman enter L.C. Man opens curtains box 2.) (Following scene played with rapidity) 6

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G ENTLEMAN : (I[n] busy, satisfied manner) Ah, this is allright [sic], fine! L ADY : (Entering quickly, – nervously) No, I don[’]t like this at all, too small. D UTCHY : (Opening curtains, indicating box 1 across hall) Dere is anodder one over here. Would you? G ENTLEMAN : (Entering other box) Oh, this is the one. This is allright. Come in[,] dear. L ADY : (Entering box) Oh, no, – this is too big. G ENTLEMAN : Yes, it is big, isn’t it? (To waiter, both coming back to box 2) These all the rooms you have? D UTCHY : I’m sorry, sir, dat is all. Very nice rooms, sir, would you? G ENTLEMAN : Well, Annie, what do you say about it? Is it allright? L ADY : Well, what do you say about it? G ENTLEMAN : Oh, I leave it to you. I’m satisfied. L ADY : Oh, well, I think I’ll take the other room. (Goes to curtains, stops) No, I guess this one will be allright. (Sits down) I only want a sandwich anyhow. (Woman’s voice, off stage, supposed to be in box 6, singing very sharp and off key, – [“]Tis the last Rose of sum – her[”], – breaks on top note.) (Voices off, – [“]No, no, – Cut it out, – drown it.[”]) L ADY : Gracious goodness, what a fearfully noisy place this is. G ENTLEMAN : Well, dear, we had better hurry. Only got a few minutes. L A D Y : I’m sure I don[’]t know what kind of a sandwich I want. Oh, this terrible chair! I can[’]t sit in it. I think we had better take the other room after all. (Gets up, crosses hall, looks in other room, quickly and nervously) No, I don[’]t think I want anything anyhow. Come on, let’s go home. (Starts out, gentleman following her) G ENTLEMAN : Well, dear, if that was all you wanted, this isn’t the way to do. L ADY : Well, I don[’]t care. (Both exit L.C. talking as they go.) D UTCHY :(Follows up stage, looking off after them) Goodbye. [(]Exit R.U.) (Slow waiter crosses L. to R. As he gets near R., [h]e drops his napkin, looks at it a moment, then with exaggerated slowness and gravity, picks it up and puts it over his arm) (Curtains open between boxes 1 and 3. Four young men enter from box 3 to 1. Dressed in height of fashion and affecting effeminate manners. Robert prece[ding] the others.) R OBERT : (Airily) Oh, Charley [sic], you forgot the bonbons. C HARLIE : (In drawling voice) Gracious goodness, I just knew I’d leave those foolish things. R OBERT : Oh dear me, isn’t he the crazy thing? My goodness, I never saw such a man. (Woman’s voice as before, singing, [“]The last rose of sum – her[”][)] O MNES : Cut it out, forget it. J IMMY : Oh heavens, I’ll never come to this place again as long as I live. The noise is enough to drive one wild. R OBERT : I just hate this sort of thing, don[’]t you? All these queer curtains and furniture. You know, they have a terrible effect on me. You know I am a creature of environment. J IMMY : Oh, goodness, hear us talk! C H A R L I E : (Opening curtains leading into hall.) Come on[,] children let’s get out of this place. Where has that foolish wait[e]r gone to? (Puts money down on table) R OBERT : (In amazement) Charlie Ice, did you give that waiter all that money? You’ll need that some day. C HARLIE : (Recklessly) Well, I don[’]t care, you can[’]t be a stingy old thing. When you’re a sport, be a sport. J IMMY : (up stage, in hallway singing) I don[’]t like no cheap man, Spend his money on the installment plan. 7

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(All exit L.U. laughing and talking) (Two waiters cross R. to L. with empty trays, very rapidly. One waiter with steaming platter crosses L. to R. Then slow waiter crosses R. to L. As he gets in C., drops his napkin, Bus. as before) D UTCHY : (Enters box 1. Picks up money.) Ten cents, – for mine it a red autermobeel. (Exit singing sadly) Oh, where, oh where hast mine little dog gone, etc. [(]Enters box 2, tips chairs against table as though reserving it for customer, and exits [up] hallway) (Orchestra starts up, “There’ll be a hot time in the old town to-night [sic].”[)] (Enter L.U. MAGGIE SMITH, known as “SKINNY”. Looks calmly up and down the dining room, up stage, turns, strolls down hallway down stage. She is dressed in black spangled long trail dress, a little out of style, with a large hat of purple chiffon, set a little on one side of her head. She has very red hair, fluffed in exaggerated manner about her face. Very highly made up. Is awkward and angular and affects a haughty, superior manner. She i[s] followed closely by EVANGELINE TUCKER, known as “SHORTY”. She is dressed in cherry colored[,] tight fitting walking suit, very short skirt, extremely high-heeled shoes with red heels and big bows. Sh[e] is very plump and her dress fits her close about the hips which she moves as she walks in the exaggerated, hip swaying fashion. A very lar[g]e hat, black, with four immense ostric[h] feathers of white turning into vivid crimson at ends. Co [...] stage. Opens [c]urtains box 1, calls up L.U.) E VANGELINE : Come on Freshy[,] what’s the matter with you, come on, will you? (E FFIE T UCKER , generally known as “FRESHIE” [sic], – off stage) E FFIE : Allright, wait a minute, I’m loosing my stockin’. E VAN [sic]: Oh, don[’]t mind that, hurr[y][,] will you[?] E FFIE : Oh, I’m coming. E VAN : Well, get a move on[,] you. (Orchestra is still playing brightly) [(]EFFIE TUCKER enters L.U. She is dressed in automobile costume, with long light coat and auto veils. She is very bright, full of good nature and sparkling with life) E FFIE : (Calling loud and gaily to old man sitting at table R.U.) Hello, popsey, how’s the old rooster to-night? (Waiter sets down large mug of beer in front of gentleman. As old man starts to take beer, Effie snatches it up with one hand. With the other lifts the old man from his seat, and dances with him down C.) E FFIE : (Calling up to musicians in Balcony) Come on[,] Fatty, play something lively, what is this? My God, kiddo, you’re asleep. Wake up, wake up[,] Bill, where do you think you’re at? This ain[’]t Philadelphia. (The musicians smile down upon her and liven up as she dances down to the first box) E FFIE : Well, popsey, you dance as gracefully as an elephant. (He makes motion to take beer which Effie [s]till holds) E FFIE : No, this is for me, I’m as dry as an ash barrel[.] (takes drink) (Turns glass upside down, puts it in his hand, pushes him up stage, he falls into chair) Skiddo [sic], [B]ill, skiddoo. E VAN : (At entrance to box) Well, Freshie, you’re the limit, come on. E FFIE : Oh, wait a minute. E VAN : Well, what’s the trouble now? EFFIE: (Whispering) I want to see who’s on deck to-night. (Tiptoes up to box 5, looks around and then looks in between curtains. At this, there is a loud angry exclamation from inside box) E FFIE : (Sweetly and with exaggerated politeness) Oh, I beg your pardon, so sorry. (Closes curtains. Rep[e]ats this at the up stage boxes 4 and 6.[)] E VAN : Oh, for God[’s] sake, cut out that rubbering and come [on.] (entering box 1) 8

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E F F I E : Oh, guess who’s in the last box on this side[?] GUSSIE, yes[,] GUSSIE, with a sunstroke blonde. E VAN : Well, my God, what do you think of that? [(]In this scene, care must be taken to get that natural, careless, slurring personal note, a feature of this class of women. While common, free from too much harshness or coarseness, merely breezy good-nature and over-flowing animal spirits) E FFIE : (Half singing) Yes[,] GUSSIE, GUSSIE[,] Fussie Gussie, he’s deserted me, deserted me [–] (jumping up and down in mock agony) Gussie, Gussie, False, False Gussie, [F]ussie Gussie[!] (throws herself in chair back of table) E VAN : (Who has been wiping her face at mirror in wall R.) Cut it out, cut it out! E FFIE : (Picks up fork, lightly tapping on table in time) Gussie, Gussie, False, False Gussie! E VAN : (In louder tone) CUT IT OUT! CUT IT OUT! E FFIE : (Same bus[.]) Gussie, Gussie, False, [F]alse Gussie, Fussie Gussie! E VAN : (takes up water bottle, holds it above her head in threatening attitude, – very loud) CUT IT OUT, I say! (Effie stops in the middle of her speech with pretense of fear, watching Evangeline as she slowly turns back to mirror, dropping the water bottle slowly at the same time. As Evan gets back to the mirror, Effie whispers at her) E FFIE : (Whispering, repeating bus. with fork) Gussie, Gussie, False[,] False Gussie, Fussie Gussie! S KINNY : Well, touch the button, I want a drink. [E FFIE ]: (Jumping up and sitting on table) Me too[,] Bill. (Puts her toe against the button as she sits on table, smooths out her eyebrows) We’ll send one in to Gussie, False[,] False Gussie, Fussie Gussie. (At this Evan turns again threateningly, repeating same bus. As Evan turns away Effie speaks) E FFIE : (Whispering, same bus. as before) False, False Gussie[,] Fussie Gussie. D UTCHY : (Knocks at door) E VAN & [S KINNY ]: Come in! D UTCHY : (Enters box) S KINNY : Ah, it’s a new one! E VAN : Hello, Dutchy, what you doin here? E FFIE :Oh, Mama, ain[’]t he cute? D U T C H Y : (Stands with knowing grin on face at curtains) Oh, I left Zinky’s. What ist the word? Would you? E VAN : Bring me a cocktail, Manhattan[.] E FFIE : (Singing to the tune of “Only a Pansy Blossom[”]), – Only a Bourbon Highball And make it good and tall. S KINNY : I don[’]t know what I want, can[’]t somebody tell me something good? E VAN : VINEGAR, [o]f course! E FFIE : Vinegar for Gussie, False[,] False Gussie, Fussie Gussie! S KINNY : I tell you, – Aw, bring me a vichy [sic]. E FFIE : For she’s on the water wagon now, With wrinkles on her brow, brow, brow! E V A N : (Disgustedly) Say[,] cut out that squa[w]king, won[’]t you? Bring her the same as mine. [D UTCHY ]: Sure, tank you, much oblige. (Exit) E FFIE : (Calling waiter back) Say, Dutchy, Dutchy, – 9

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D UTCHY : (Re-enters) E FFIE : Say[,] Dutchy, where’s Charlie? D UTCHY : He’s in the big room, – he ist. E FFIE : If you see the “Big Three”, Dutchy, you know, you’re on, Dutchy, allright. D UTCHY : I’m a wise one, I am. E VAN : (Calling after him) Give the check to Gussie. E FFIE : Yes[,] Gussie, False, False Gussie, Fussie Gussie! (As waiter exits, enter two young men, Bill and Zimy. They are both dressed exactly alike, with light grey coats in the height of fashion, grey derby hats with black bands, light grey spats, black band around hat, bright red neckties, grey cuffs and shirts to match, black bows in cuffs, white handkerchiefs with purple borders in sleeves. They stop waiter in hallway C.) (After Dutchy’s exit until entrance of Bill and Zimy into box, the three girls busy themselves primping, Skinny unbuttons gloves, Evan puts shoe on chair and ties bow on shoes, Effie before mirror adjusting hat and singing softly to herself,[)] E FFIE : I was drunk last night, dear mother, I wa[s] drunker the night before, And if I ever get sober, I’m going to get drunk some more. B ILL : Say[,] Dutchy, have you seen the girls to-night? D UTCHY : Dere’s one on de odder side. B ILL : One of them on the other side, you say? D UTCHY : But she is with anodder. B ILL : Another what? D UTCHY : Anodder gentleman. Z I M Y : Oh, you Dutch Sauerkr[a]ut [sic], I hear them allright. Here they are in this box. (Going to box) S KINNY : I hear Bill talking to somebody. E F F I E : Oh, they’re here, they are! (Goes L. opens curtains, leaning against them) Hello[,] [kiddos], how are you? (To 2 men) [B I ] LL : Hello, Freshy, how’s Trix? Z IMY : Hello[,] Freshy, where did you get that rig? B ILL : Are the other kiddos with you? E FFIE : Sure[,] Mike. They’re in here. Think I’m on a lonely booze? (Bill and Zimy enter box) B ILL : Hello[,] [g]irls, how are you? Z IMY : Here we are, all fine and dandy. E FFIE : Take it from me[,] kiddos, you surely do look good. (All shake hands and effusive greetings.) S KINNY : We was just talking about you. Take a chair. Nothin extra for sitting. B I L L : (Standing by Eva’s [sic] side looking down on her with one arm around her neck) Shorty, I loves you well. Stick by me[,] kiddo, I like to have you round. (Gives her a kiss.) (Woman’s voice, as before, heard singing “The last rose of Sum – her[”]) E VA : (Getting up from chair) Break it off! Z IMY : Drown it! [D]rown it! E FFIE : Get an ax! (Dutchy enters. EFFIE L. of table; EVA, back of table; ZIMY, [c]hair R.[;] SKINNY and BILL[,] small table corner R.) E FFIE : Come in[,] [F]atty. E VA : (Kiddingly) Where have you been[,] Dutchy, taking a walk? Where’s my drink? 10

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E FFIE : When did you get back[,] sauerkr[a]ut, I thought you’d fallen off the band wagon. (Above three speeches almost simultaneously) S KINNY : Aw, let him alone. Now you can bring the drinks all around. E FFIE : (Singing, beating time with fork) Dutchy, Dutchy, you are my darling true, I’m half crazy all for the love of you. (Tune “Bicycle built for two”.) O MNES : For Heaven’s sake, shut up, keep still, will you? B ILL : Get us something to drink. D UTCHY : I am waiting[,] gentlemen, – would you? B ILL : Gin Fizz for me. Z IMY : Martini. D UTCHY : Tank you! Much oblige! (Exit) E VA : Where is Henry to-night? Ain[’]t he comin at all? B ILL : No, he’s busy to-night, and couldn’t get off. E VA : Well, my God, what do you think of that? S KINNY : Well, did you ever? E FFIE : Well, ain[’]t that the limit? Z IMY : I got you another one though. O [sic], I got you a great catch. From the backwoods somewhere down south. First time he’s over away from mama’s apron strings. He’s just fallen in with a bunch of money as would choke an ostrich, and he’s as innocent as, – E FFIE : Well, my God, what do you think of that? Z IMY : He’s apt to show up at any time, and kiddos[,] I want you to put your best foot forward, and don[’]t use no bum language cause he ain[’]t used to it. B ILL : Say[,] Zimy, cut out that slang. You’re getting to talk like a South-of-Market tough. Z IMY : Oh, back up, will you? E VA : INNOCENT, [i]nnocent? – and coming here? I know how innocent he is. Z IMY : Oh, [s]kiddo for yours. He’s after experience. B ILL : Yes, he wants to see for himself if it[’]s all as bad as they tell. E VA : We’ll learn him allright. E FFIE : Well, my God[,] what do you think of that? B ILL : Say, we just met him a while ago and had a drink. Z I M Y : Say[,] one highball gets him funny. He tells the story of his life, so we told him to meet us down here. Girls, he’ll give you the time of your life. Money? He eats it and say, – he’s full of bum book stuff. When he gets started, he thinks he’s George Washington and Patrick Henry all in one. He wants me to go with him to the [h]op [f]ields to-morrow [sic]. Got some crazy notion there’s something doing in a hop field. Wouldn’t that jar you? Chance for some one of you dames to go up when he does, – I can[’]t. E VA : I’ll go if he’s got money. E FFIE : Sure[,] Bill, bring him around. S KINNY : Well, did you ever! (MIKE enters from box 4, meets Dutchy bring[ing] drinks from R.U. MIKE is very flashily dressed, wears a large diamond and swings a cane. MIKE gives DUTCHY a card, and walks up and down the hallway. DUTCHY knocks at box 1) O MNES : Come in! D UTCHY : (Enters and sets tray down) E VA : Well, we get our booze at last! E FFIE : Well, my God, it’s about time. Highball was mine! (Take up drinks as they speak) 11

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D UTCHY : (To Effie, giving her card) Dere is some one waiting for you[,] miss. (Dutchy puts drinks on table, takes up tray and exits) S KINNY : OH my, Freshy’s got a mash! E VA : Well, what do you think of that? E FFIE : (Rising quickly, starting to curtains) Skuze me, I’m so sorry! S KINNY : O, that’s allright, don[’]t mind us. B ILL : Coming back soon? E F F I E : Sure[,] Mike, just going to see a friend on some business. Oh, I forgot the booze. (Takes up glass, “Here’s how”[,] takes drink) Say[,] kiddo, keep this until I call for it[.] (Kisses Bill) Goodbye. S KINNY : (Calling out after her) O, you kid! E VA : Aw, you kiddo! E FFIE : (Into box from hallway) Go on, you lemons! (They all fix curtains and peek out to watch Effie) E FFIE : (In hall) Hell[,] MIKE, how goes it? M I K E : Aw, fine for the cherries. Say, me friends in here is dippy to meet you. Can youse come? E FFIE : Sure[,] Bill, next in a minute. Where is it? M IKE : (Rapidly) Right you are[,] kidkins. [(]Calls) Into the big show here, something doing! (Opening curtains box 4) (Chorus of welcome from inside box as EFFIE enters) E VA : (After exit of EFFIE) Well, my God, what do you think of that? S KINNY : Well, now, did you ever? B ILL : Why, she shook us. I don[’]t think I like this business much. E VA : O, forget it[,] kiddo; she’s comin back. It’s Mike, he’s a cousin of ours. Got a friend or somethin as wants to meet her. Drink up and forget it[,] Bill. Z IMY : Cert [sic]. I’m on. (Zimy takes up drink) B ILL : Where’s the highball? Aw, this is it, is it? E VA : O, I heard a peach to-day! S KINNY : I got a great toast last night. My uncle – my uncle – Z IMY : One at a time, one at a time here! One at a time! E V A : Yes, I’m actin this part. Aw, it was the sweetest toast, just the loveliest thing I ever seen – Z IMY : O, River[,] how you splash! (slapping her on wrist) E VA : You under the barrel with the rest of the bugs. (Takes up drink) Here’s to you! (DUTCHY enters hallway L.U. followed by ALBERT) S KINNY : Go on[,] Shorty. E VA : (Affected dramatic tone) Once upon a curbbin sittin, While the summer lights was flittin I seen a doggie that was bitten – (DUTCHY knocks) O MNES : Come in! E VA : A doggie that was bitten, A little doggie that was bitten – (DUTCHY looks up in astonishment) Z I M Y : (To Eva) Well, hold on a while, cut it out, forget the pup. What is it[,] DUTCHY, what’s the trouble now? D UTCHY : Dere is a gentleman. 12

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B ILL : (Seeing Albert through curtains) There you are, come right in. (ALBERT enters. He is a very young unsophisticated youth, pale face, slender, very well dressed though a little old-fashioned, wears a soft hat. His hair, which should be parted on one side, and is very much longer than is fashionable at the present day, is full over the ears and at the back. He speaks with a very slight Southern accent, or none at all, merely a little softness in the voice[,] very slight slurring of r’s, “Mysef”, instead of “Myself”, a certain old-fashioned precision of speech, marking him different from that of the ordinary fairly educated man of the streets. He is now somewhat under the influence of liquor which makes him act with an overly gracious manner, and speak in measured tones.[)] Z IMY : I want you to meet me friends. These are the dames I was telling you about last night. (With grand air) Miss Marie Antoinette Marg[a]ret Del Monte (Evangeline bows), Miss Harriet Louise Martinique (Skinny bows)[.] Ladies, this is Mr. Molly of Kentucky. A LBERT : (L. of table) No, no[,] pardon me, you are mistaken in the [n]ame sir – sir, – it’s not “Molly” at all[,] sir, – Holly, Holly. Z IMY : Oh, forget it[,] Bill! This ain[’]t no confession! We ain[’]t tellin our real names. E VA : Holly, oh yes, Holly fr[o]m Kentucky. I’ve heard the name often[,] Kaintuk, – where all the booze comes from. A LBERT : (In low polite tone) Not quite all, madam, we – we – use a little of it ourselves. Z IMY : Say, Kaintuk, we were just having a toast when you broke in. A LBERT : I am very sorry if – if I interrupted. B ILL : No, not at all, come. We saw last night you were a great hand at that sort of stuff. Give us one yourself. Z IMY : Yes, have some booze, and let her out[,] Kaintuk. [A LBERT :] No sir, thank you very much[,] sir, – I’ve had two already, sir. I’m not much used to drinking if I am from Kentucky. Z IMY : Two drinks, o devils, how you flirt! A LBERT : (Looking at him calmly with the same gravity) Thank you very much. I repeat[,] sir, thank you very much. (Bows) I must confess, they have affected me slightly. Ladies and gentlemen, you will pardon me, I know, but do you know, I feel, – I feel like, – like – singing – you – a – song. Z IMY : Oh, please don[’]t, Kaintuk! B ILL : No, not now, we’ve lost our ear for music. Z IMY : Yes, give us a real old-fashioned speech[,] Kaintuk, cut loose[,] Bill, raise the roof. B ILL : Yes, that’s the stuff. Give us the George Washington gag. (This scene played with enthusiasm) Z IMY : Lay on[,] kiddo, we like to have you around. A LBERT : (Takes up a drink, stands back of the table Center, in or[a]torical manner) Ladies and gentlemen, if I am not quite myself to-night, you must pardon me. I am from Kentucky, I am. One and all, all and one, I AM (very marked and mysterious) A DEMOCRAT! DEMOCRAT, and that, ladies and gentlemen, that – is the noblest work of God. I was born in Kentucky. I say I was born in Kentucky. Z IMY : We hear you, kiddo, stay on the ground. A L B E R T : Pardon me, sir, I say I was born a Democrat, and when I was only that high, we moved to Indiana – Z I M Y : Hold on, Kaintuk, [h]old on, you said you were a Kaintuk, and now you’re from Indiana. A LBERT : (With quiet scorn) No sir, no sir, as soon as I was able to realize where I was [I] – [I] – moved back to Kentucky. 13

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Z IMY : That’s right, Kaintuck [sic], let her go. Have another drink, and tell us your past life. A LBERT : At the present moment, sir, I assure you[,] sir, I – I have no past life. Ladies and gentlemen, I stand here before you to-night and I am [pr]oud of it. My father was a Democrat, that’s why I am a Democrat, and I’m proud of it. To-morrow, I shall leave this scene of – of – I shall leave it. Then I shall go unto a far country, the wild[,] innocent[,] glorious country where grow the beautiful hops, and – I’m proud of it and here’s to the beautiful fields, the golden fields where grow – the – the – where the hops grow, and, and – that’s all. (Sits down quickly) B ILL : Shake[,] Kaintuk, you did fine! E VA : Sit down[,] kiddo[.] Say[,] bo, I like your looks. A LBERT : Thank you very much. I’m glad to hear it. Do you know, I – , I – E VA : (Interrupting) So you’re from old Kaintuk where the booze comes from. [(]SKINNY engages BILL and ZIMY’S attention at small table) A LBERT : Yes[,] I’m from Kaintuk, do you know I – I – E VA : (Interrupting volubly) Say, you know your friend, he don[’]t even know my real name. Oh, he’s a nice fellow allright, but I never took no shine to him. I’m particular who I pick up with. A LBERT : Do you know, I, – I, – E VA : O, that’s allright. I don[’]t know why, but I just am. Can[’]t [help] it. (Pauses, looks at him admiringly, leans over, elbows on table) Say, – you know, – I like you allright though, – you surely do look good to me. A LBERT : Why, I’m sure, [m]adam, I’m very much flattered. I was just going to say, – do you know – E VA : Say[,] BILL, he don[’]t know my real name. My real name was Maud. You know they kidded me so when they put Maud in the funny paper, I changed it to Marie Antoinette. Do you like Marie Antoinette? I do. I think it’s so soothin. I like soothin names. They sound so poetic and omlette [sic] suffle [sic] like. Say, what’s your real name? S KINNY : What are you doing, trying to make a mash on Kaintuk? Z IMY : Say, pardner, I don[’]t think I can go up to those [h]ops to-morrow. A LBERT : Why, sir, what’s the matter? Z IMY : Well, the old man thinks I’d better stay at home and work a little. Last night was the first night I went home at all for three weeks. Told me if I wasn’t a good boy, he’d stop the dough, so I guess it’s up to me to hang round for a while, or I’ll have to go to work in earnest. B ILLY : You don[’]t want to go up to those hop fields. It wouldn’t be no fun. You better stay here and let us take you around a bit. We could show you something. A LBERT : No, I don[’]t think I’d like it. Do you know, – do you know – [t]his gadding about don[’]t seem to suit me much. I’ve been at it for three weeks, and I’ve worked all my life. Keep working long enough, you sorter, you sorter – get used to it, so I reckon I’ll feel better working. S KINNY : What you all talking about? B ILLY : Why these two boys read an [ad] yesterday about the hop fields, and they thought they’d go up just for a lark, and see if anything was doing. E VA : What’s [h]ops? B ILL : Here, I’ll tell you all about it. (Takes out paper, looks it over searchingly) Z IMY : Hops, don[’]t you know[?] (smiling[)] Oh, it’s hay of some kind. They pick it off the trees. Every year they advertise for guys and dames and kids to camp out and pick hops. Most of them don[’]t do much picking. Sometime four or five hundred of them go up, – dancing, having a good time, – work if you want to, if you don[’]t, you don[’]t have to. 14

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E VA : Oh, I think that would be a whole lots of fun if you could get anything to eat. B ILL : Here it is now. (Reading from paper) Wanted, HOP PICKERS at Camp on Russian River; beautiful camping spot, fine bathing, dance hall, pay one dollar per 100 lbs. Splendid chance to earn a little money, free of expense and enjoy a pleasant and profitable outing. Apply AMERICAN HOP CO., #412 Sansome St., San Francisco. Z IMY : If I didn’t have nothing to do, might try that for a change. It’s a pretty place allright. S KINNY : It sounds nice in the paper. A L B E R T : Well, I’m going sir. To-morrow morning at eight o’clock, to the fields again, the golden fields, – do you know – I think they’re the most beautiful – S KINNY : So, you really are going, are you? A LBERT : Yes, [m]adam, [y]es – I – am going. So everybody drink, – drink – drink to my – I am going. D UTCHY : (Appears at curtains) Would you? A LBERT : Bring some wine, – champa[gne], ah Lums. Hurry up, sir. D UTCHY : Tank you, much oblige. (exit) (During next scene, Skinny combs Zimy’s hair, making a little curl on one side. She turns him around to Billy, and says [“]Oh[,] look ain[’]t he sweet?[”] She kisses him on the nose. Runs up the scale for 4 Ah’s, kissing him between each “Ah”. Down again, the same bus.) E VA : (To Albert) Say, you’re a funny man, you are. Billy tells me you’re innocent. Say, is that a kid? A LBERT : Why[,] sir, I mean lady, you’ll pardon me, what do you mean by “innocent”? [E V A ]: Aw, you know, just “innocent”. Say, you know I like you. I’d like to have a fellow now, like you. A LBERT : Is that so? E VA : Yes, don[’]t you think you could take a fancy to me? A LBERT : Well, I don[’]t know. I’m not just in that line of business at present. I, – I – E VA : I haven’t made no kind of hit with you, have I? A LBERT : Well, I didn’t say that but the – E VA : Oh, I’m dead wise allright. I know what sort of a one you are. Say, you think I’m too fly, don[’]t you? Say now, come and tell me the truth? A LBERT : Well, you want me to – to tell you the truth? E VA : Sure[,] Bill, out with it. A LBERT : Well, I must confess, I don[’]t know why it is, but for the life of me, I never could take any kind of interest in any woman, woman, – you know – E VA : Well, spit it out, spit it out, what is it? A LBERT : Well, to be frank with you, any woman who is friends with any man. E VA : Oh, I know. You got an idea of some girl as was never kissed before she put her rubies against yours. Well, say how’d you like me for a pardner up at the hop fields. A LBERT : (In some confusion) Well, I – I am afraid we couldn’t manage that at all. E VA : Why not, I’m willin. Guess you’d rather go alone, hey? A LBERT : Well, I’m afraid – madam – I’ll have to – this time. D UTCHY : (Enters, – sets down wine.[)] B ILL : Here’s the stuff. Here we are. Z IMY : Ah, this is the juice for you. (Bus. [p]ouring wine, passing glasses) (Albert takes out a big roll of bills, counts off a fifty. The waiter gives him the change, he takes up three tens) A LBERT : Well, ladies and gentlemen[,] probabilities are, as we’ll never meet again -– allow me to give you a little souvenir to remember me by. (Drops a $10.00 [bill] for each one of them on table) If you’ll be so kind? 15

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E VA : Do you really mean it, for me? A LBERT : Why, certainly, madam, I assure you. E VA : Well, my God, what do you think of that? S KINNY : Say, you’re allright[,] Bill. Z IMY : Cut it out[,] girls, cut it out, nothin doin. He just came down here to kid you along. We was introduced to him last night by friends of ours as the only original sports, and we volunteered to show him a little of real life. Why[,] you are part of the show[,] kiddo, don[’]t worry the gentleman. (To Albert) Ain[’]t I right, pard? A LBERT : Oh no, it isn’t exactly that. B ILL : Sure[,] Mike, don[’]t be bashful; tell em the truth; they don[’]t care. (DUTCHY enters) A L B E R T : Oh, sir, waiter, we want something to eat, bring us the bill of fare if you will. D UTCHY : Yes sir[.] (Opens curtains to box 3 from box 1) If you like something to eat, sir, dis is de best room. It’s got a big table, sir. Would you? O MNES : [Y]es, that does look pretty good in there. A LBERT : Allright, anything suits me. S KINNY : (Rushes into room) Oh, my God, do we eat? E VA : (Falls into Zimy’s arms) Help, kiddo, help! The man said EAT! Z IMY : Sure[,] Bill, come to the feed. (They all exit into box 1, Zimy’s arm around Eva’s neck) A LBERT : (Follows them, stops at door, to Billy [sic]) You first, sir. B ILLY : Thanks! (Exits followed by Albert) D UTCHY : (Closing curtains behind them). Tank you, much oblige. (Follows them into room, repeating [“]tank you, much oblige, tank you.[”)] (The waiters have been going less frequently backward and forward. One waiter [X]’s L. to R. His napkin is falling from his arm. He turns his arm so that napkin stays in its place. The orchestra has been resting. The bas[s] fiddler has fallen asleep with his arm around his fiddle and lets out an occasional snore. The stewar[d] g[o]es through conducting two people into one of the boxes. He goes back, taps the musician with napkin[;] he awakes with a lively start and begins to play a lively waltz) (An old gentleman, Mr. Snipkins, led by stewar[d], comes to box 2. Mr. Snipkins is very short, rather plump, bow legged, middle aged, bald headed with mustache turned very shortly and sharply upwards from the corner of his lips. He [...] umbrella and three newspapers in his hand, also two packages under his arm. Very dapper appearance) M R . S NIPKINS : I want a nice little room, little and nice, you understand. [S TEWARD ]: Yes sir, I understand, yes sir. M R . S N I P K I N S : There’ll be a lady. Handsome lady[.] Oh, ain[’]t we devils, you understand[.] (laughs boisterously) Large lady, tall[.] (indicating with hands) Full around the chest, you understand. (Laughs again) S TEWARD : Yes sir, yes sir, I understand. (Mr. Snipkins gives waiter money) S TEWARD : (Laughs) Yes, I understand[,] sir, yes, nice little room, sir. M R . S NIPKINS : Thanks, allright. (Looks into box) Show the lady in when she comes. Very large lady, very handsome, very full around the chest, ha ha, you devil[.] (poking steward in ribs on one side) S TEWARD : Ouch! 16

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M R . S NIPKINS : (Pokes him in ribs on other side). Let her have anything she wants. Large lady, very handsome. (Exits, talking rapidly to steward who follows him L.U.E. stops) Ah, you devil, ha ha! (Exit followed by steward) E FFIE : (In hallway, holding man’s hand through box 4) Oh[,] go on, don[’]t give me none of that. C[uc]koo little birdie, co[c]koo. I’ve heard that oft before. (Confidentially, low tone) No, really[,] kiddo, I can[’]t[,] I[’]ve got to go back to my friends. Yes[,] sure[,] Bill, in the box on the other side, my sister. I’ll see you later, goodbye. (Enters hallway, goes down to box 1 Eva enters hallway from box 3) E VA : (Hurriedly, in great excitement) Freshy, Freshy, don[’]t go in there. Nixie, off the thin ice there, Bill, it’s cracked! E FFIE : Come to[,] kiddo, speak it out. E VA : Oh, I’ve got a great game on. E FFIE : Skiddo, kid[d]o, you’ll slay me[,] child. (Opening coat and showing kitten nestling on arm) E VA : (Opening curtains box 2, looks in) Here, in here, I want to talk to you. Aw, throw that cat away. [(]EVA enters box followed by EFFIE talking baby talk to kitten.[)] E FFIE : They booze um, booze um[,] little kitty tatty, yes all the naughty people booze um, don[’]t they? E VA : Aw, cut that out, sit down. I’ve got the greatest thing you ever heard. [S TEWARD ]: (At box 2) Ladies, I’m sorry but this box is taken by a gentleman. E VA : Oh, go away, I’m busy. S TEWARD : Ladies, no, really, there is a gentleman that spoke for this box[.] He’ll be here in a few moments. E FFIE : Aw, skiddo, you. Bring us a couple of beers and forget it. S TEWARD [sic]: I say there is a gentleman – E FFIE & E VA : Get out! Get out! (STEWARD goes up hall, talking and gesticulating angrily to himself) E VA : Will you put that cat down? E FFIE : Um booze um, tunnin little tat, yes[,] nobody don[’]t like you none. Do they, cause you ain[’]t pretty. I don[’]t care, I loves um. E VA : (Looking in mirror) Oh my God, look at my hat. It’s roosting on me ear. Now, Freshy, here’s the chance of your life. You see there is a guy in the other room that’s got money to burn. Now, we want to – Oh, look at that hat. (Takes hat pins out, puts one between her teeth) (EFFIE pays no attention to her but goes on talking to cat) E FFIE : Um tunnin little tat, ain[’]t oo, oo like nice milky milk. Yes[,] oo like milk. Oo dot dam bad taste, kitty tat, oo like milk. E V A : (Who has fixed her hat) Say now[,] kiddo, it’s like this. (With great earnestness and excitement) Here now, put that cat down. Are you listening? E FFIE : Yes, I’m listening. E VA : Now, here’s a chance to get hold of some money. E FFIE : Money? No – oo [sic] – that’s different. Tell it to us. E V A : Well, I’ve got the real thing for you[,] kiddo, the real thing, I’m tellin you. Bill and Zimy came down to-night, Henry couldn’t come with them, so they brings another guy. He’s as soft as cheese on a hot day. But he won[’]t stand for me at all. I tried to make a mash on him but nothin doin. E F F I E : Well, come down off the roof. Speak it to me[,] kiddo. What is it? Tell it to me straight. What do you want? 17

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E VA : (rapidly, with enthusiasm) Well, he’s just got a whole lot of money, and he’s never been nowhere and seen nuthin. Easy money, take it from me. He’s goin up to the Russian River to-morrow with a bunch to pick hops. Now, I’ve got it all fixed up. You want to go up too. I’ll put you wise to him. I tell ye, he’s easy, and you’re just the style he’d like. Now, you want to get some white dresses and play the innocent for keeps. The lamp glued to the ground business, and never seen nuthin and wouldn’t know it if you seen it. You know that Flossie part you played over at the Alcazar when Rakkits got boosted out of the choochoo car? That’s the gag you want to do now exactly. Go home and practi[c]e up on the society conversation like you used to have to spring in the store on the swell dames before you got up i[n] the world. E FFIE : Twenty-three this mum conversation here. Come down to eart[h]. Off the roof, it’s too high, I can[’]t reach it. You want me [t]o tra[i]pse up to the country on the trail of a bum greaser that never seen me, and I never seen before? Why, he might look me over like the last horse in the race, and never know I was it at all. You been drinkin[,] bo, you been drinkin. E VA : Take it from me. I’m givin it to you straight now. Any woman could get any of them, if they go at it right, and I never seen a man yet that wouldn’t fall to you when you wa[n]ted him. Don[’]t you grasp it? It’s dead easy. There’ll be a lot of bum lookers up there with all their old calicoes on. I tell you, he’s one of them booky men just layin low for some woman to get to him. I’d a never passed him up myself, but he met me in this place and what could I do? He was on to me in a minute, but with them bum rags up there, you’ll be like the sun on a cloudy day. Kiddo, it’s a shame to take the money. I tell you what I’ll do. I’ve got fifty plunks [sic] here. I’ll put it down that within a week you’ll have him by the ear. I’ll pay the expenses if you div[v]y with me. He’s ripe for action. The first one that gets to him will get al[l] the fine feathers. I’m tellin you[,] kiddo, it’s the chance of a lifetime. E FFIE : What is it? Bunco? The paste boards, the confidential? Make it out for me[,] kiddo. I don[’]t grasp it. E VA : Lay [l]ow. I’ll take care of that. You for the inside track with the soft heart business. Next to the affections for yours. Then I’ll attend to the trimmings. E FFIE : Allright[,] kiddo, where is minute[?] Where is the rumy [sic]? EVA: We’ve got him in the next room. He’s payin for bubble water. All of it you could drink. You can swim in it[,] bo. Effie, it’s painful to see it. He throws it away. Money, money, it rains it. Look, the ten he gave me. I meets him, he given him the mit [sic], and hands me the ten, and he don[’]t like me neither, but the coin is burnin him, and he wants to throw it away. E FFIE : Well, let me look at him. Now[,] can I pipe him off without him seein me? EVA: (Going to curtains) Sure[,] Mike. He ain[’]t used to drinkin. He’s away in the fog. I guess he can[’]t see you now. I’ll get Dutchy to fix the curtains, then you can study his fiz [sic]. E FFIE : Come on[,] Bill, the water’s fine! (Crossing hall to box 1) (DUTCHY enters box 1 from 3, leaving the curtains open between[.] Has empty champa[gne] bottles, puts them down on table, gets salt and pepper shakers.[)] (SKINNY, Bill and ZIMY discovered in more or less hilarious condition. ALBERT [wi]th foot on chair, glass in one hand and bottle in the other, singing, – . ZIMY with chair against wall, asleep. Skinny holding one glass in both hands is listening and Billy has a large piece of meat on the carving fork beating time with A[l]bert, – singing, Here’s a tear for those that love us, And a sigh for those that hate, 18

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And whatever sky’s above us, There’s a tear for every fate.[)] (DUTCHY puts sugar bowl and shakers on table box 3, then closes curtains. As curtains shut, singing softens.[)] E FFIE : (In hallway at curtains leading into box 1 which give a view through box into box 3) Was that him with his foot on the chair, holding the fizz bottle? E VA : That’s the guy. (Pause) E FFIE : He sings good, doesn’t he? E VA : Sure[,] Bill, and he’s buggy with coin. Don[’]t miss it. E FFIE : I wouldn’t have to see him again. He don[’]t look like the other two, does he? E VA : Sure not. He’s got the coin. Take it from me. E FFIE : I’m on! (Giving hand to Eva) E VA : That’s the talk. Now, we’ll wait outside till they go, so we can pipe him off good. E FFIE : Oh, I think I can remember him. E VA : (Goes to box 5, looking in box, quickly in low voice) Say, there’s curtains between the two boxes, so we can see him. Come on[,] kid. (Opens curtains, starts in) (Dutchy enters Box 1 from 3, then goes into hallway) A LBERT : (Singing faintly, as curtains are opened by DUTCHY) “Here’s a sigh for those who love us”, etc. E FFIE : (Stops in doorway) He does sing good, doesn’t he? (DUTCHY comes by holding a tray poised on one hand above head) E F F I E : Hello[,] Dutchy. (She kicks the tray out of his hand, laughs and goes into curtain back of box 5) (Orchestra plays very softly an[d] feelingly, “Home Sweet Home”) (BILLY comes out of box 3 into hallway. Puts his hat down over his face. Makes a hurried exit L.U.) (ALBERT comes out, stops at curtains, bows very low to ZIMY & SKINNY and very gravely says “Goodnight”. Sways slightly, then steadies himself, and very stiffly and erectly walks in a straight [l]ine up hallway, stops again, steadies himself again, turns directly L. and exits) [(]SKINNY whose head is resting on table, raises up. Her hat tumbles off on table. She makes a couple of attempts to get up, finally succeeding. ZIMY is stretched against wall, head back, mouth wide open snoring.[)] S KINNY : (drunkenly) Zimy, come [to], come [to]. [(]ZIMY gives a snort and wakes up. SKINNY starts out door, staggering slightly but determined and exits. Z I M Y reaches up for his hat but can[’]t quite reach it. After two or three unsuccessful attempts, one hand which has fallen on the table, falls on Skinny’s hat. He utters an exclamation of pleasure, and with a satisfied grin upon his face, sticks the hat upon his head, stands wavering for a minute, then suddenly grows very stiff, and walks up with an exaggerated drunken dignity L.U. Slow Waiter X’s R., stops, watches Zimy exit, and then exits himself. Music stops. Musicians take up instruments, put covers on violins, etc.[,] exit. D UTCHY comes in room, takes up champa[gne] bottles, takes a drink out of one of them, yawns, stretches himself, and turns out the light, leaving stage in darkness.[)] CURTAIN

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ACT II S CENE : – Edge of Pickers Camp at Hop Fields, San Jose Mission, Niles Canyon, California. Rows of hops running up and down stage. Double rows frameworked [sic] to height of six feet latticed over arbor fashion with green hop vines. Rows are six feet apart. Double rows alternate with single rows. The latter rising to a height of ten feet or twelve feet upon which the vines run in “V” shape. Arbor rows R. Single or open row C. Another arbor row L. This as they are arranged in the fields, there giving an effect of transcend[e]nt beauty. Back of field, are seen the ruins of San Jose Mission. The hop [f]ields fade into hills that grow into mountains, and are painted the yellowish brown of a California summer. At rise of curtain, the fields are swarming with workers, men, women and children picking hops. The people representing the San Francisco contingent are dressed in all sorts of trumpedup outing costumes, berry [sic] plain and inexpensive, the women wearing long aprons. All have gauntlet [h]op [p]icking gloves. The Mexicans are dressed in similar fashion, with the exception that the trousers of the men are very tight fitting and both the men and women run to very bright colors. Most of them have brightly colored handkerchiefs tied around their heads, and a number of the women wear brightly colored shawls, – but everything is wornlooking. The Indians are the California Digger Tribe, wearing ordinary trousers and working shirts, one or two with blankets. The Indians do not wear gloves. Each nationality keeps entirely separate from the other. They all work in a careless, lazy sort of a way. In the doub[l]e rows, they reach up, and pick the hops, dropping them into sack which they carry tied around their waist. In single rows, they pull the hop vine down to them, and sit on the ground while they work. It is late in the afternoon. The curtain is up a few moments, when off in the distance a megaphone call is heard, – “The day is done”, “The day is done, – everybody get your sacks ready.” This cry is taken up from all parts of the field. Pickers stop work, some directly, others after they have finished with vine upon which they are working, and drag their sack L. There is heard rattle of wagon wheels, and wagon appears L. dragging scales behind it. Then again the call is heard, “The day is done, the day is done, – stop work everybody, the day is done.” Incidental characters, particularly in opening of act, give as much of the time-taking, easygoing pastoral atmosphere as possible. Down stage R. [c]amp [s]tove, built of rough stone and brick. At extreme R. is seen edge of dance platform. At end of hop rows Right and Left of Center, are piled empty hop sacks to height of 4 feet. (PICKERS at call of “DAY IS DONE” have been tying up sacks, dragging them over to the scale, some quitting directly, others finishing vines which they were working on. When scales are adjusted, they begin in succession to throw sacks on scales. Each [p]icker calls out his number which bookkeeper takes down, and gives each picker a check.) [(]C OOKY first at scale, throws sack on scale.[)] W EIGHER : 300 lbs. Well, I guess that’s pretty good for one day[’]s work. W ILLIAMS : (Very fat man) Well, Cooky, how goes it to-day? C OOKY : ([X] R.) Three hundred pounds. Guess that’s pretty good for one day’s work. W ILLIAMS : Ain[’]t bad. (The crowd is busy at scales. Old woman tries to get her sack on scale first as others fight their way in.) W ILLIAMS : (To Jones. Williams has sat carefully down on his sack L.C.) Thieves round here. Can[’]t leave your sack out of sight a minute but what you loose half your hops. I never see no such people. 20

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J ONES : (Tall, thin man) Lot of bums that’s what they are. Ain[’]t no good, none of them. W ILLIAMS : That weigher’s slow, ain[’]t he? J ONES : Slowest I ever see. Ain[’]t no good either[.] W ILLIAMS : Had a good one up here last year. J O N E S : Wasn’t up here last year. Ha[d] rheumatism. Family came up though. Only vacation they get, picking hops. (WILLIAMS puts sack on scale) W EIGHER : Eighty seven and a half pounds. W ILLIAMS : Eighty-seven and a half pounds? Well, what’s the matter with you? Can[’]t you weigh nuthin? W EIGHER : Eighty-seven and a half pounds. Can[’]t you see it? W ILLIAMS : I can seen it allright but I don[’]t see you. W EIGHER : Oh, go take a walk. (PICKERS pile sacks at end of hop rows, and take off picking gloves, and exit) M R S . M I N K : (Old woman of about 50, attempts to get her sack on scale when ALBERT comes from crowd C., picks up sack and drops it on the scale.) M RS . M INK : Thank you, mister. A LBERT : Oh, that’s allright. (He is now his own self again, unsophisticated, natural, boyish; in his scenes with EFFIE, of course, t[re]mendously in earnest) M RS . M INK : How many did you get to-day? A LBERT : Oh, I didn’t work to-day; got spring fever this morning, wore me all out. Where’s the lady? M RS . M INK : She’s round here somewheres I guess [–] (with affectation of sharpness) what’s that to you? A LBERT : (Laconically) That’s part of my business. I’m a recorder. M RS . M INK : A recorder? Recorder of what? A LBERT : Other peoples’ business. W EIGHER : One hundred and five pounds. [(]Throws sack on wagon, climbs up himself.[)] (BOOKKEEPER exits) M RS . M INK : One hundred and five pounds? E F F I E : (Who has been at end of hop row C. up stage making a pretens[e] of working desperately. Ad lib Bus. with [S]pider during the weighing up. She is dressed in simple dress of crep[e]y texture[,] cinnamon brown in color, very wide brimmed[,] soft[,] brown straw hat draped with the slender end sprays of the greenish gold [h]op [v]ines! Brown gauntlet gloves that are used for picking. One spray of hops thrown carelessly over arm.) (In her scenes with ALBERT, is a child-like, open-eyed innocent, speaking with a low pitched, slow[,] sweet drawl in contrast to her self-possessed, vivacious, intense[,] natural character). E FFIE : Hurry up, Spider[.] We’ll miss the band wagon, grab on. S PIDER : ALLRIGHT, I’m ready. (EFFIE takes hold of one end of sack, SPIDER the other, they drag it down hop row.) E FFIE : Wait a minute[,] mister. (Calling to Weigher). I’m comin, I’m comin. (She has very small sack, – at scales) Three thousand pounds of hops, by [j]iminy, ain[’]t I right, Spider? S PIDER : Sure[,] Mike. (Li[f]ts sack off ground) E FFIE : Three thousand pounds. Here we are, come on[,] country. (Sees Albert) Oh, good morning, good evening [–] (in pretended confusion) Oh, ain[’]t I awful? A LBERT : (Laughing) Yes, I’m afraid so. M RS . M INK : What’s the matter with you? I thought you were lost. 21

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E FFIE : (Very sweet) I was tryin to get a full sack before qui[t]tin time. M RS . M INK : (Calling loudly to weigher on wagon) Here you, country, country, weigh this sack. W EIGHER : (On wagon) Aw say, what’s the trouble with you all[?] Somebody’s always late? I never see no such gang. M RS . M INK : Come down. Come out of it. W EIGHER : I’ll [do] nuthin of the kin[d]. A LBERT : Come on, don[’]t keep us waiting W EIGHER : I’m not goin to weigh no old sack. Too late. E FFIE : Please[,] mister, won[’]t you? W EIGHER : (Smiles) Hello[,] miss, how are you? Want your sack weighed? E FFIE : Just a tiny little sack? (Coaxingly) W EIGHER : Sure[,] Bill, why didn’t you say so before? (Getting down and weighing sack) E FFIE : Aw, ain[’]t he nice? W E I G H E R : Fifteen pounds. Say[,] miss, you ain[’]t strainin yourself, are you? (Throwing sack up on wagon, giving ticket to Effie) M RS . M INK : What’s that to you? Get on with you now. W EIGHER : (On wagon) O, back to the laundry for yours. (Drives off) A LBERT : (To Effie) Why, I got almost as many as you and I didn’t work at all. E F F I E : I onl[y] worked a few hours to-day. (Taking off gloves, unstrapping sack from waist) M R S . M I N K : (Takes off sack and gloves) She ain[’]t hurtin herself no more than you[,] [m]ister. I don[’]t care as long as she pays her board. A LBERT : I think she’s working too hard. She looks tired enough. M RS . M INK : That’s cause you didn’t help none to-day. That’s what’s the matter. E FFIE : Aw now, Mrs. Mink, how can you talk such nonsense[?] M RS . M INK : Take it from me, children. Whatever you do, don[’]t get married. It’s the queer business. I know. I took three chances and drew three blanks. It ain[’]t no good. Come on[,] child, and get your supper if you want any. [(]X’s C., exits R.U.) (EFFIE at end of row by sacks) A LBERT : [(]Left. Eagerly) Will I see you to-night? E FFIE : (Coyly) I dunno. I’m afraid it would be too dark. M RS . M INK : (R.U.) Come on[,] hurry up, I’m hungry. (Exit R.U.) (Effie goes R.U.) A LBERT : (Following her.) Then to-night? E FFIE : I’ll see you. A LBERT : (Eagerly) Yes? Yes? E FFIE : (Whispers) Sometime. Goodbye. (Exit R.U.) A LBERT : Sometime? W ILLIAMS : (Enters R.2, looks at Albert who is looking off after Effie from R.U.) Hello there, Kaintuk. Are you lookin for somethin? A LBERT : Oh, I don[’]t know. Why do you say that? W ILLIAMS : (Going to [campfire] R.) Oh, nuthin, only you looked sort of abstracted like. A LBERT : (Good naturedly) Well, I guess if I am, I won[’]t need any assistance in finding it. (Exit R.2) W ILLIAMS : What’s your hurry? (Calling after him) (Laughs, goes to work at campfire.) J ONES : We’ve got a great stove over to our place. W ILLIAMS : Well, that’s good. J ONES : Ain[’]t that your camp there[?] (pointing to camp behind dance platform.) 22

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W ILLIAMS : Nixie, that ain[’]t nobody’s camp. The guys that had it got tired yesterday and went back to the city. Said they had a thirst for draught beer. I wouldn’t mind a schooner myself about now. How many did you get to-day? J ONES : Might come in handy. How many did you get to-day? W ILLIAMS : Didn’t do much to-day? Made about dollar and a quarter. I didn’t come up to make any money. So I pay my expenses, I’m allright. Livin good, plenty of fresh air, enough to eat, and I like it. I come up every year. J ONES : Well, I’m goin to have a ten spot when I leave. Well, I’m goin over to the house to get some milk. So long. W ILLIAMS : Well, be good, and don[’]t take no bad money. (Little girl of five or six meets little boy. L.U.E. Little girl is sucking a stick of candy. Boy eating a green apple. Little boy stops, looks at little girl. Girl looks at boy.[)] L ITTLE G IRL : Give me a bite? L ITTLE B OY : (Looks at her, then shakes his head) Nope. L ITTLE G IRL : Aw go on, just one please. L ITTLE B OY : (Shakes his head[)] Nope. L ITTLE G IRL : I’ll trade with you. L ITTLE B OY : Sure[,] Mike. (They gingerly take each other[’]s hands. She takes a bite of apple. He bites off a small piece of candy.) L ITTLE B OY : Where you goin? L ITTLE G IRL : Home. Where you goin? L ITTLE B OY : I made seventy-five cents. L ITTLE G IRL : I made forty-five cents. Where you goin? L ITTLE B OY : I made seventy-five cents. L ITTLE G IRL : Where you goin now? L ITTLE B OY : You’ll tell. L ITTLE G IRL : No, I won[’]t. Where you goin? L ITTLE B OY : I’m runnin away. L ITTLE G IRL : Runnin away? L ITTLE B OY : Yes’m, from my mama. She spanked me. (Second little boy enters) F IRST B OY : Hello! 2 ND B OY : Hello! Give me a bite? Won[’]t you? 1 ST B OY : (Shakes his head) Nope! 2 ND B OY : Please, won[’]t yer? 1 ST B OY : I’ll trade. 2 ND B OY : Ain[’]t got nuthin. Give me a bite? 1 ST B OY : Ain[’]t no bite. 2 ND B OY : (Important[ly]) I don[’]t care. Our baby died last night. L ITTLE G IRL : Your little, little baby? 2 ND B OY : Yep! Ain[’]t nobody else’s baby died like ours up here. 1 ST B OY : That ain[’]t no proudness. Police wagon came to our house onc[e]. L ITTLE G IRL : What for? 1 ST B OY : Papa. I’m runnin’ away, too. W OMAN : (Calls off stage) Billy, Billy! L ITTLE G IRL : She’s comin now. You better hide. W OMAN : (Enters R.2) Billy, where’s that brat gone to[?] Billy, Billy! (Little girl and 2nd boy run off stage R.U. Billy hides behind hop sack C.) 23

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W OMAN : Billy? O, there you are. (She is carrying a basket, sets it down) Well, look at that. Ain[’]t you a bad boy. You come on with me now. (Picks him up) I catch you out here again, I’ll fix you. (Exit carrying Billy) [(]Three MEXICANS enter over R.S., by dance platform.[)] W ILLIAMS : Hello, them Mexicano. Where you goin? 1 ST M EXICAN (De Cellis): (Quietly, smiling) Mabbie go home[.] Mabbie go none your dam business. W ILLIAMS : (Threateningly) What? Who you talking to? D E C ELLIS : (Sitting on edge of dance platform) Mabbie, friend of mine. Mabbie[,] angry gentlemans [sic]. I dunno. Ten years all dam same. W ILLIAMS : Well! Of all the damned impudence! D E C ELLIS : Me impudence? Oh Hell! (Getting up and going C.) from [sic] you, I am tired. Goodbye. W ILLIAMS : Say, Mexicano, I guess you’re allright. (Laughing) D E C ELLIS : Sure, Billy. W ILLIAMS : You goin sing some? Make Fiesta [sic] soon? D E C E L L I S : Mabbie one week from to-night, – some drink, – sing like bird. Here, dose place [–] (pointing [to] dance platform) make Fiesta. Mabbie not. Goodbye. (Saunters slowly off with others L.U.E.) [(]INDIANS ENTER, examine poles, laugh and chat, shrug shoulders, talk among themselves, and exit L.U.E.[)] M I K E : (Calling off stage L.) Come on[,] Eva. What’s the trouble? You’re always behind. (Enters followed by Eva) E VA : (L.C.) Trouble? Walking miles through all this dust? M IKE : (Turning C.) O, forget it, you’re always beefin’. M IKE : Ain[’]t it the limit? (Pointing to campfire) I wonder who’s the chef of this “Washedoff-Castoria”. E VA : Well, I hope she’s around here somewheres. If she ain[’]t, I ain[’]t goin no further. I’m goin to camp down here, that’s me. M IKE : O, I guess she’s here allright. Sure, this must be the place. E VA : Ask the man. Maybe he knows her[.] M IKE : Ask him yourself. I’m busy. E VA : Say, mister, do you know anybody by the name of “Mink”, Mrs. Mink, who has a camp around here somewhere[?] W ILLIAMS : Mink? Did you say Mink? M IKE : Sure, that’s the name, – “MINK”. W ILLIAMS : No, I don[’]t know anybody by that name. E VA : Well, who’s the guiding star of this here department store[?] W ILLIAMS : Did you say “MINK”? M IKE : Sure[,] Mike, I’ll write it out for you. W ILLIAMS : Mrs. Mink? Oh, sure, I know [her.] (Working on campfire) You just go down here until you come to a big eucalyptus tree, and on one side of the eucalyptus tree is another eucalyptus tree, and there’s another eucalyptus tree on the other side of it, and to get to the first eucalyptus tree, there’s a path between it and the second eucalyptus tree, and you follow this path and you get to the third eucalyptus tree, and you turn to your left again. M IKE : Help! Help! Help! Make it a map. W ILLIAMS : Sure[,] Bill, it’s dead easy. And right on the other side of that, you’ll find Mrs. Mink. 24

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E VA : [(]X[’]ing R.) Come on[,] Mike, we’ll make it out someway. (exit) M IKE : You climb on er – er – er – a – sip – las tree and walk over an[o]ther er – er – er – a sip – las tree and go around another er – er [–] a – sip – las tree[.] (ad lib. Exit R.2) W ILLIAMS : And if you don[’]t find it come back, and I’ll give you a map. M IKE : (off stage) Allright[,] [k]iddo. (WILLIAMS continues work at stove. Two barefoot boys about thirteen or fourteen cross stage from L. to R. carrying large basket between them. As they get C., change hands, pick up basket and go on. Old man follows with sack of flour. Another old man with packages; woman, very fat, carrying jug followed closely by a very small[,] red-nosed man.) J ONES : (Enters from L[.] [X’s] to Williams) Say, ain[’]t you done potteri[n] round here yet? W ILLIAMS : What’s that to you? J ONES : Nuthin[.] W ILLIAMS : Did you get your chalk water? J ONES : Sure. I’m goin to get somethin to eat too. It’s past my time. Ain[’]t you comin? W ILLIAMS : In a minute. I’m not very hungry. (ALBERT enters over dance platform R.S.) W ILLIAMS : (Still at stove) Hello there, Kentuck. A LBERT : Hello yourself[,] Texas. W ILLIAMS : Where you goin? A LBERT : To town to get some tobacco. W ILLIAMS : Get me a package of “Bull Durham”, will you? A LBERT : Allright[.] W ILLIAMS : Mind getting me the Sunday Examiner? A LBERT : No trouble at all. W ILLIAMS : Wait here a minute, I’ll get some money. A LBERT : Never mind the money. You can pay me any old time. W ILLIAMS : (R.2) Allright, drop it in the camp when you go by. (Exit R.2[)] (EFFIE enters R.U.) A LBERT : Allright. (knocks ashes out of pipe, puts pipe in pocket as Effie comes down between the hop rows singing) (EFFIE sings as she comes down hop row) E FFIE : Mama pin a rose on me, Two little girls in love with me, One was blind and the other can[’]t see, Mama pin a rose on me. (Kicks at vines on poles.) [(]As EFFIE picks up basket, ALBERT is at foot by row of sacks C.) E FFIE : (In confusion) I thought, – I, I didn’t think you – were – I came back to get this[.] (indicating basket) Mrs. Mink left it, – did you see me? A LBERT : See you? When? E FFIE : Just now when I first came. I mean when – back there – I – I – caught my foot in the hop vine. A LBERT : No, I didn’t see you till you came down and picked up the basket. Did you hurt yourself? E FFIE : No, but I might have. A LBERT : I am sorry. E FFIE : Where you going? A LBERT : Over to the village to get some things. E FFIE : Aw yes, over to town. 25

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A LBERT : Don[’]t think you could go with me, do you? E FFIE : Go with you? A LBERT : Oh, we can be back before dark. I’m just goin to get some tobacco, mine’s all run out. Can[’]t you come? E FFIE : Why, Mr. Holly, how could you? You know I couldn’t do any thing like that. Thank you very much, just the same, Mr. Holly. (Singing [“]La Gala Drina[”] [sic], No. 1 Mexican folk-song[,] in distance) A LBERT : It’s those Greasers going home. E FFIE : They’re always singing, aren’t they? (Leans against hop sack C.) A LBERT : Yes, it seems that way. (Pause) Just think it’s been only a week[.] (meditatively) E FFIE : A week since – A LBERT : Since the first time I saw you. (EFFIE crosses front of sacks, leans elbows on sack, and looks across to Albert who is leaning on sack on other side) E F F I E : I’m afraid I didn’t look very good tumbling out of that wagon the way I did, – so awkward my falling like that. A LBERT : Wasn’t I the fortunate one to have been there[?] E FFIE : Well, I guess it was lucky for me. If you hadn’t caught me, I don[’]t know what might have happened. A LBERT : I wouldn’t mind if it happened every day like that. E FFIE : (Deprecatingly) Oh Mr. Holly! (Then change of voice) [L]isten, – A LBERT : That thing sounds fine from here, doesn’t it? E FFIE : What was that you said last night? (This as though repeating a lesson learned) “Their hearts are not troubled with the aching heart throbs of the world.” You see I remember every word of it, – every word that you said last night. A LBERT : It sounds beautiful when you say it. Ah! But everything now is beautiful. E FFIE : Everything? A L B E R T : (In front of sacks, back to audience – slowly, earnestly) Yes, everything, – the clouds, the lights over there, and the lights here in Miss Little One[’]s [e]yes. E FFIE : (Coyly) Oh don[’]t, please don[’]t talk like this. A LBERT : Yes, I will. Something else too – when you are near me. E FFIE : Nothing very bad, I hope. A LBERT : No, something very good when [you] are near, always, always. You want to know what it is[?] (EFFIE looks up into his face, then [d]rops her head shyly.) A LBERT : A wonderful singing in my heart. Yes, do you know, I feel so, – [y]ou’ve made me different. O[,] say[,] I, – I – (in some embarrassment) you know last night when I was making those little confessions, – E FFIE : Yes, why? A LBERT : One thing I didn’t tell you. E FFIE : Something very, very awful. A L B E R T : Well, pretty bad, I guess. You see the night before I came up here, I went to a terrible sort of a place in San Francisco. Of course, living in the country all my life, I thought I’d go and see things a little. I met some people, went to a – Café, they called it, the – I guess it’s a pretty bad one. E FFIE : (Showing great interest) Yes, [y]es? A LBERT : They called it the “DOG”, – or something like that. E F F I E : You mean you just went there for a short time[?] You didn’t do nothing wrong? Drink, or nothing like that? 26

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A LBERT : There was a boy there who used a lot of new talk, and he said, he said I was “soused” – or something like that. E FFIE : Aw, terrible, terrible. A L B E R T : But it was the first time in my life. The first and the last. I’ll never do it again as long as I live. E FFIE : Aw, I know that. A LBERT : And you forgive me? E FFIE : Why[,] of course, of course. A LBERT : O, I am glad of that. E FFIE : Why[,] everybody makes mistakes sometimes, Mr. Holly. A LBERT : Mr. Holly? Would you like to make me very happy? E FFIE : Why, what do you mean? A LBERT : Don[’]t call me Mr. Holly, – just say “Albert” – it’s shorter. E FFIE : (Looks up – very low) Would it make you very happy? A LBERT : Happier than could anything else in this whole big world. E FFIE : Must I? A LBERT : (Low and earnestly) Yes! Yes! E FFIE : (After a pause, shyly and softly) Albert! (ALBERT makes movement as though to take EFFIE in his arms) E VA : (off stage) Come on[,] Mike. E FFIE : (Simultaneously, in change of voice back to her natural self) Cheese it, somebody’s comin. A LBERT : (drawing back) What is that? What did you say? E F F I E : (Recovering) Aw, aw, my hand, don[’]t squeeze it like that, and now you must go. A LBERT : Pardon me. Will I see you again to-night? E FFIE : Perhaps. A LBERT : Only perhaps? E FFIE : Oh, I must go. Mrs. Mink might want the basket. A LBERT : I won[’]t insist. Goodbye. To-night, remember. (He starts off L.) E FFIE : (By hops C. shyly) Perhaps, – Albert! A LBERT : To-night? E FFIE : (low and sentimental) To-night, to-night. A LBERT : Goodbye until then. Goodbye. E FFIE : Goodbye. A LBERT : Goodbye. (Exit L.2) (EFFIE goes up hop row C. Stop on hearing Eva’s voice. Eva comes from R.2) E VA : (Entering) Don[’]t argue, cause I seen her right here. M IKE : Maybe you seen her then, but you don[’]t see her now, do you? E V A : (Sitting [on] corner [of] dance platform) Well, I’m going to sit down here until the kinks get out of my legs. I know that much. Where’s that guy that gave us them directions[?] Guess that Mrs. Mink’s [a] pipe dream. (MIKE searches up and down rows of hops, sees Effie who is looking off L. abstractedly.) M IKE : Here she is, here she is, now! Look at her a posing away for all the world like a sweet soubrette at the Alcaz[a]r. Ef, come out of your trance. E FFIE : (Turns and comes down C.) Hello[,] kiddo, well I’m sure enough glad to see you. How’s Trix? Well, Eva Tucker, where in the hell did you get that hat[?] Well, God bless me, I never was glad to see you before, but you surely do look good to me now. E VA : I nearly fall off the ties. Two miles of hoofin it in these high-heeled dusters. 27

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E FFIE : You look good though, just the same. Say, that’s a swell waist you’re sportin. Where did you get it? E VA : Monday mornin sale. Five ninety[-]eight, marked down from six twenty[-]five. It’s a peacherino, ain[’]t it? E FFIE : It’s a little dusty now, but it looks good just the same. E VA : Say, look a here now. I didn’t come up here for no picnic. I’m here for business. Say, what’s that junk? (Pointing to hops on framework) E FFIE : What junk? E VA : The gagerines [sic] on the flagpoles there. E FFIE : That’s hops. E VA : Hops? Well, wouldn’t that freeze you[?] M IKE : It’s bum looking junk, ain[’]t it? Smells pretty good though. That’s what they make beer out of. E VA : They make beer out of that stuff? E FFIE : Sure[,] Bill! E VA : Well, wouldn’t that jar you? Say[,] Ef, how goes it? E FFIE : Oh, sort of so[-]so. E VA : Have you got him goin yet? E FFIE : Well, I got him started. Say, I call him “Albert” now. I just got rid of him when I seen you comin. E VA : Albert! O[!] Splash! E FFIE : [Yes, he asked] me to just a minute ago. Said it would make him […] Say[,] my [G]od, I nearly wear my tongue out talking that nice junk. Say, ain’t it rotten? E VA : Does he fall to it ? E FFIE : Sure[,] [B]ill. You’re right, allright. He’s a lead pipe cinch. E VA : (Confidentially) Are we ready for a touch yet? E FFIE : How do you mean? M IKE : (breaking in warmly) Oh come off. The spenduliks [sic], the cush [sic], it’s the coin we came up after. The stuff you pats down and gets the goods. Eva puts up this game, and gives you the start and now you’re renigging. Come up with some coin. E FFIE : Well, I like your nerve. When did you get on this trolley car? I’ll give you a poke in the jaw, you red-headed bean ch[ew]er. E VA : Oh, cheese it, what’s the matter with you stiffs? E FFIE : What’s the matter? [Do] you think I’m going to stand any gas like that? If your friend here wants to start something, I’ll go with him allright, you hook-nosed, cross-eyed, well, well I’ll [b]e damned. M IKE : Oh nixey [sic], I don[’]t want no trouble but it’s the coin we need, and we needs it bad, and if we don[’]t get it, why – why – E FFIE : Youse’ll have to go to work. M IKE : (Laconically) Sure[,] Mike, that’s just what’s grouchin [m]e. E VA : (In business-like manner) Well, now, look a here. Come down t[o] business. M IKE : Sure, can[’]t we spring a card deal, or an investment gag[?] From what you say, he’d fall to any old thing. E FFIE : No, none of that. E VA : Why not? E FFIE : Well, I’ve a different game on foot. E VA : Different game? E FFIE : Yes, ain[’]t my ununciater [sic] distinct? 28

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E VA : Why, what is it? E FFIE : Well, you leave it to me[,] kiddo. E VA : (with strength) Well, different game or not, I’ve got to have the coin. If you can[’]t get any cush out of it I’ll tell him who you are and call the game off. E FFIE : Nixie, you’ll do nuthin of the kind. E VA : Won[’]t I? Why not? Sure, but I will. M IKE : Introduce me as a friend or your brother, and I’ll hand this guy a d[e]al. E F F I E : (interrupting) Now, look here[,] kiddos. Give me a chance, wil[l] you? Ain[’]t no use in takin no risk or gettin into no trouble [o]ver this. E VA : Well, how can you get the coin then? All I wants is money. If we can get it easy, no use in takin chances. Come [to], come [to]! Bring me to shore, – I’m in a fog. If you are wise he’s easy for the sympathy gag, make the move, so I gets the cush, allright. Go as far as you like. Try the sympathy gag, make a touch on him. Will he stand for it? E FFIE : Maybe so[.] E VA : (With sudden assurance) Why cert, he’s dead easy for any old stall. Tell him your sis is in the hospital or little [b]rother Billy broke his leg, or mama[’]s up against it and needs some coin. E FFIE : (Reflectively) Say, that “MAMA” gag is fine! They all fall to that. E VA : Why cert, dead easy. E FFIE : Well allright, I’ll try it. I need a few plunks myself. E VA : Now that “MAMA” gag, – how can we work it[?] M IKE : (disgustedly) Aw no, nuthin like that. Say, I’ll hand him a deal. E FFIE : (exultantly) Skiddo[,] [k]iddo, we’re workin this side of the street. E VA : I’ve got it. E FFIE : Got w[h]at? E VA : The scheme! We’ll write a [s]ad letter about “mama” starving to death and [losin] her home and sign “mama’s” name. M IKE : (More disgust) Mama! Where you goin to find a mama? E F F I E : Aw, skiddo you, we ain[’]t got no mama of course, but what’s that to him[?] He can[’]t pipe her off by letter. E V A : Sure[,] Mike, then you act sad like, and when he asks what’s grouchin you, tell him mama’s up against it and needs the coin. Show him the note and it’ll be off with him. If this don[’]t work, I’ll fix – E FFIE : Aw, sure[,] Bill, that’s the junk. He’ll fall in a minute. E VA : Well, what kind of junk can we write? It’s got to be pathetic and touchin. M IKE : Sure, make it touchin. E VA : (quickly, in confidential tone) Got a letter with you with your name on it? E F F I E : (also confidential) Here’s the one you sent the FIVE in. (Takes envelope from stocking, takes out paper and bill, [p]uts them back in stocking and hands empty envelope to EVA) E VA : That’s allright. I’ll fix the flap and he’ll never know the diff. We’ll send it in to-night. I needs it bad, bo. Try to get a couple of hundred. E FFIE : Sure[,] Bill. E VA : S[’]pose he’s got it on him now? E FFIE : Sure! E VA : How do you know? E F F I E : Aw, he dropped one of them leather books, and it sorter opened up. Say, it was [baggy] with coins. He didn’t know I seen it either. Got any paper? E VA : Got any paper[,] Mike? 29

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M IKE : I’ve got a not[e]-book. This do you any good? E VA : Cert, fork it over. The bummer it looks, the better. E FFIE : You write it[,] Short[y]. You put it down and I’ll tell you what to say. E VA : (Making ready) It’s all the same to me. Say, wher[e]’s all the crowd gone to? E FFIE : Aw, they’re up to their ears in food, – it’s suppertime. E VA : That’s allright. Well, let her go. E F F I E : (Dictating) My own Dearest Baby Daughter, It pains me more to write these sad, sad words than it does you to read them. E V A : (repeats, – “it pains me more to write these sad, sad words than it does you to read them” as she writes it.[)] [E FFIE :] Now, what else am I goin to say? Want somethin soft an[d] sentimental, so as to give me a chance to [shed] some eye water. [E FFIE :] (After repetition) That sounds good. M IKE : Sure, you want somethin else. It sounds a little short as it is. E F F I E : (To Mike) Lay down, Fido, who’s writin this letter. (To Eva) Oh, now I’ve got it. (with enthusiasm) “My Own Little Baby Daugther” – M IKE : (interrupting) Why, you said that before. E FFIE : Sure[,] Bill, I want to impress it upon his mind. (Continuing dictation) My heart, my old heart is broke when I must tell you that the mortgage that h[a]s been threatening long, come [to] this morning, and your poor old mother must loose her happy, happy home. M IKE : What are you doin? Writin a song? E FFIE : Aw, play ball with a lemon, who’s writin this letter? E VA : Yes, keep out of this. (reproachfully) The ki[d]do’s doin great. E FFIE : Now, say, I want to boost myself in this letter some. E VA : Sure[,] Bill, don[’]t give it all to mama. E FFIE : Of course, – “My own darling Baby Daugher,[”] M IKE : Say, it sounds rotten, you keep saying that over again. E FFIE : If you don[’]t keep out of this, I’ll give you a poke in the goozle [sic]. M IKE : Well, it does sound rotten anyway, – “Baby daughter”! You look like a baby! E FFIE : (with great dignity) Put it down as I have spoke it. M IKE : Mama, pin a rose on me! E FFIE : When I think of my own darling baby daughter – (dictating) [(]MIKE makes despairing gesture.[)] E FFIE : (dictating) “Working and slaving her life away” – hold on, – “workin and slavin her young life away – [”] E VA : I think “sweet” would sound good in there too. M IKE : Sure, put in the “Sweet”. E FFIE : (Dictating) “Sweet young life away to save the old home, and protect your poor old mother’s dying days – [”] E VA : Do you think “DYING” sounds good? E FFIE : Sounds good to me, – it’s pathetic like, – sorter – M I K E : (unable to restrain himself) Oh hell, no, she ain[’]t dyin! How could she be writin and dyin too. You write rotten[,] Bill. E VA : You keep out of this, will you? E FFIE : Go on[,] Eva[,] with the letter. (Dictating) “Yes, my own darling daughter, i[n] spite of all your hard work, it’s no use. It’s all over now. It’s all over now.[”] M IKE : (Reproachfully, tearfully) That’s a song[,] Bill. Don[’]t put that in. E F F I E : (Looks at MIKE in indignation and he subsides) Ah, the poor are unfortunate. (Dictating) 30

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E VA : That ought to be “[i]nfortunat[e]” – ain[’]t it? E FFIE : Oh my God, how rotten you talk. “Infortunate”! They ain[’]t no such word as “[i]nfortunate”. It[’]s “[u]nfortunate”. Go on, (dictating) [“]Just think our sweet little old home is lost, and your old mother homeless just for a few maltry [sic], maltry hundred dollars.” M IKE : (Disgustedly) “Maltry” – who the hell, ever heard of that word[?] E FFIE : “Maltry” is a real word. I’ve heard it used up here a hundred times by people as isn’t ignorant as you are. M IKE : Malt is hops, and “[m]alty” is “[h]opsy”, and what you said in that letter is a “[h]opsy hundred dollars”. My opinion is, that it’s rotten. E FFIE : Well, rotten or not, – it goes. E VA : (Slowly, with emphasis) Well, how many does “[m]altry” mean? If “[m]altry” means three hundred plunks, it’s allright, and if it don[’]t, it’s bum. E FFIE : (Continuing dictation) “Hoping to see you soon, I am, Yours truly, MAW.” M IKE : No, no, that ain[’]t no good. “Yours truly, MAW”? What kind of writin is that? E VA : (Reflectively) That does sound sort of sudden like, “Hopin to see you soon, [Y]ours truly[,] [M]aw.” E FFIE : Well, you know so dam much about it, – end it up to suit yourself. E VA : Well, I don[’]t mean to be [d]ictatorial. How does this sound, – “Hoping to see youse and the three hundred soon, Yours truly, Maw.[”] M IKE : Aw, stop it up different there. Like you see in the story papers when the mamas write to their kids. It’s luvin or affectionate or respectable, – somethin like that. E VA : “Respectable” – that’s a good word. How does this sound? Your respectable Maw. E FFIE : I don[’]t like that much. E VA : Sure, that’s allright. Let him know she’s respectable. E F F I E : (Reflectively) That sounds pretty strong about the three hundred. Aw, I’ll fix that allright. (Takes letter from Eva) Now, I’ll practi[c]e it all off before you [j]ust like I am going to do it, so I don[’]t make no breaks in front of him. (Reads letter) [“]My own dearest baby daughter, It pains me more to write these sad, sad words than it does you to read them. My old heart is broke wh[e]n I must tell you that the mortgage that has been scaring us so long, came [to] this morning, and your poor old mother – [”] E VA : (breaking in) Cheese it[,] Bill, you want to work the water works by now. E FFIE : Allright[,] k[i]ddo, allright. (stops) (reading[)] “My old heart is broke when I must tell you that the – that the[”] – (Pauses, sobs, drops the letter down) Oh, I can[’]t go on, I can[’]t go on. I[,] you must know, – (reads brokenly, breaking off words) (continuing letter) “Mortgage – that – has – been – scaring – us – so – long – came – [to] – this morning and – your poor old mother – must – [lose] – her – happy – home.[”] (Controls herself) “When I think of my own darling baby daughter working and slaving her sweet – young life away to sa[v]e the old home[”] (pause) – (To Eva) [S]ay, I must work that up strong[.] (repeats very strongly) “When I think of my own darling baby daughter working and slaving her sweet young life away to save the old home, and protect her old mother’s dying days. In spite of all your hard work, it’s no use. It’s all over now. It’s all over now. Just think our sweet little home is lost, and your old mother homeless just for a few maltry, maltry hundred dollars. Hoping to see you and the three hundred soon, I am, (very high, almost a [scream]) Your respectable [M]aw.[”] (Starts to throw herself on ground) M IKE : Watch out, it’s muddy there. [(]EFFIE walks over and throws herself on hop sacks R.) E FFIE : (Continuing rehearsal) Oh[,] money, money, money. Oh, poorness, poorness, poorness! My God, how terrible it is to be poor! (ve[r]y passionate[ly]) My God, how terrible 31

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it is to be poor! How terrible[,] how terrible! Mother! Mother! Dear mother! Mother! (loud and screaming) M IKE : Come home with me now! E VA : (Applauding) Sure, that’s the junk. Can you remember it? E FFIE : Leave it to me[,] kiddo. I’ve got it allright. Don[’]t worry. E VA : (earnestly) Well, for God[’s] sake, don[’t] get excited and say nuthin about “dam” or “hell” or any of that junk, cause if you do, it’s all off. E FFIE : Leave it to me. That’s why I was rehearsing it. I have to rehearse all my talk to keep from getting twisted. My God! [H]ere[,] he’s coming! Skiddo! (sees Albert off L.2) E VA : Now don[’]t forget the eye water. M IKE : Don[’]t sing it to him, kiddo. E FFIE : Scoot you[,] lemons[.] [(]MIK[E] and EVA exit R.2) [(]EFFIE suddenly realizes she has the letter in her hand still.[)] E FFIE : Mike, the letter! You forgot the letter! (ALBERT enters L.2) (EFFIE turns quickly hiding letter in dress) A LBERT : Well, I didn’t expect to find you here. (MIKE rushes back wildly. Stops when he sees Albert) M IKE : (Whispers) Kiddo[,] the letter, the letter! (Hides behind hop vines R.U.) E FFIE : I didn’t expect to see you either. I was just watchin the sunset. Isn’t it pretty? A LBERT : Very wonderful, I should say. E FFIE : I thi[nk] sunsets are so cute, don[’]t you? A LBERT : Well, I don[’]t know as I should hardly call them “cute”. E F F I E : Aw, I don[’]t mean “cute”. I mean what you mean. You must [pa]rdon me. You know I told you, I hadn’t any education at all. It’s a terrible not to know all about things. After father died, I had to work night and day to keep my mother and my little sisters from actual starvation. A LBERT : How many brothers and sisters did you have? E FFIE : Only eight. A LBERT : Brothers and sisters? E FFIE : Yes, eight each. A LBERT : Eight brothers and eight sisters? (In slow astonishment) Sixteen brothers and sisters. E FFIE : Aw yes, it does count up, don[’]t it? A LBERT : They all living? E FFIE : Aw no, most of them died. A LBERT : Most of them? E FFIE : (Recovering herself) Aw yes, wasn’t it awful? Of course w[h]en they were quite babies. A LBERT : Then you don[’]t remember them at all? E FFIE : No, I have none at home now. Two brothers that went to sea, two sisters (sadly) [–] A LBERT : Yes? E FFIE : They, – they went into a convent. A LBERT : And now you are all alone. E FFIE : Yes[,] me – and, – and mother. A LBERT : Poor child, poor child! And you never told [me] about your mother. E FFIE : Didn’t I? Why – A LBERT : (with gentle solicitude) No, you didn’t. Where is she now? E FFIE : At home. A LBERT : In San Fran[c]isco? Your home? 32

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E FFIE : (quickly) No, no, not there, – her home. A LBERT : Oh yes, pardon my interest. You know it’s only interest, little one. E FFIE : That’s allright. I know you’d like ma if you seen her. I haven’t had a letter from her either for several days now. [S]ay, you think [I’m] awfully ignorant, don[’]t you? A LBERT : Why no, not at all. What makes you think that? I haven’t any education myself that I should quarrel with yours. E FFIE : But you have read books and things, and you talk so nice like, and sometimes I seen you look funny when [I] say things. You see I never read no books except the ones we had at home there, the Bible, and – and one or two others, – and – the Examiner, and, – the Bible. Say, it must be sorter painful for you to hear me talk. A LBERT : Why[,] child, do you think that would make any difference to me[?] [I]t’s something a thousand times better and bigger than pretty words, – you’ve got. E FFIE : No, no, – I know. A LBERT : Yes, yes, I say. Now don[’]t you contradict me again. I guess I know a few things, don[’]t I? E FFIE : Somehow, I think you know most everything, I do. A LBERT : No, I don[’]t know much of anything, but you’ve told me all about your life. Ah, it breaks my heart to think of such a beautiful soul as yours having to endure all the poverty and misery you have been through. E FFIE : Aw, that’s allright. It’s g[o]od for people to have trouble, I guess. A LBERT : Well, maybe a few don[’]t hurt, but as for all that stuff about books, you can[’]t go far on a rough road by reading books. Anyone can say beautiful words, but souls come from God, and the first one I ever saw, the first real one I ever knew, I know now. E FFIE : You see now? A LBERT : Yes, and everytime I get a chance to look close into your eyes – (EFFIE draws away from him up against hop vine where MIKE is hidden) E FFIE : O, you mustn’t say those things, look, look, there, the sun, you mustn’t. (Pointing L.) A LBERT : (Turns L. looks off) Beautiful! Beautiful! E FFIE : (passes letter to Mike and whispers – ) Twenty-three! (Mike runs [off] R.3) (The red glow of the sun fades into purple; purple lights on the stage, and on the mountain is the yellow gold of the falling sun. In the distance the ringing of cowbells and low of cattle. This latter effect, though seemingly difficult has been very successfully handled in several productions we have recently witnessed. Ringing of one farm bell heard above it all) A LBERT : Why did you say that? E FFIE : Say [w]hat? A LBERT : That I must not say those things. E FFIE : Look! Look! (pointing L.) A LBERT : And another day is done! Listen! (They both stand silent looking to L. In the distance ringing of bells and shouts of farm hands calling to the cattle.[)] E FFIE : (Slowly, in low tone. For the first time a note of seriousness in her voice) Aw, ain[’]t it all just wonderful! Why, I never seen or heard anything like that before in all my life. A LBERT : Twilight time! Twilight time! The song of eventid[e]! “The lowing herd winds slowly o’er the lea, The plowman homeward plods his weary way, And leaves the world to darkness and to me.” E F F I E : (Ca[u]ght by a n[e]w and deep emotion, simply, yet with depth) Oh, dear God, I could listen to that kind of talk just forever and ever. Say, isn’t that funny? 33

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A LBERT : What, [d]ear? E FFIE : I feel like singing all over. A LBERT : (Softly) D[ea]r [l]ittle child heart. E FFIE : (In low voice, thrilling with mystery) I feel like – I was – a little baby just born. I am afraid! I am afraid! Isn’t it terrible? A LBERT : Why, what[,] dear? What is it? E FFIE : Oh, I don[’]t know what. Something so wonderful like. (ALBERT turns puts his hand over hers) A LBERT : I never knew how wonderful it was before. The evensong of the sun. I used to see all this when I was a boy that high. (Bells jangle softly through all the scene and occasional low of cattle in distance) A LBERT : I used to know then that it was wonderful. But now, now that you are here, isn’t it funny, you being here makes it seem like something new, something I never dreamed of or I could believe was possible in the world. E FFIE : (with emotion, slowly half astonishment and half pathos) Why[,] I never saw anything like that in the world. What makes it, do you suppose? A LBERT : (Looks at her. Slowly, very quietly) Who [–] God created it little one. E F F I E : For whom did he make it? Just for some people. Not for everybody, not for just commo[n] everyday people. A LBERT : Yes, for everyone – everyone who has eyes to see. E FFIE : And you believe all this sort of thing? You believe it, don[’]t you? A LBERT : Why, why shouldn’t I believe it[?] It’s the truth! E FFIE : (as though to herself) Well, isn’t that funny! (Turns to him quickly and impulsively) Do you know, I could almost – M IKE : (Rushing on) Is this here Miss Tucker ? E FFIE : (Strong resentment) Yes, that’s my name. What do you want, coming here like this, I’ll – M IKE : I’ve got a letter for youse. It’s marked “Important”. They told me over at the camp to give it to youse. E FFIE : Well, take it back to the camp. I don[’]t want it now, – I don[’]t want it now. M IKE : It’s yours, I don[’]t want it. E FFIE : (with strength) I say I don[’]t want it now. [(]ALBERT who has gone L.U. turns and comes down at this.[)] M IKE : (Looks at her in astonishment) Why, I [s]ay[,] kid – (sees Albert[,] checks himself) I can[’]t take it back, I got something else to do. (Puts letter in her hand) E FFIE : O, – I – I – (laughs, seems to recover herself and opens letter) [(]MIKE exits.[)] E FFIE : You must think I’m awfully funny, – but I was – so – you – all thinking about things, and he came up so sudden like, I – I – O, I guess I can read this some other time. A LBERT : No, you had better read it now. They seem to think it important. E FFIE : (Opens letter, throws away envelope) Oh yes, that’s true[.] (in different ton[e], hard laugh with meaning) Certainly, what’s the matter[?] I’m foolish I am, – now I’m allright. (begins reading to herself, after reading a while, she begins crying) Oh[,] mother, mother [–] A LBERT : Why[,] Miss Tucker, Effie, why[,] little one, don[’]t, don[’]t, don[’]t do that. What is it? Tell me, what is it? E FFIE : Nothing, [n]othing, nothing – Oh, [m]other, mother – A LBERT : Why, what is it? What is it, you must tell me. Child, why[,] why – it breaks my heart to see you like this. Tell me, what is it? 34

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E FFIE : (controlling herself) Yes, yes, I can tell you. You’re the only friend I got. Don[’]t say anything, don[’]t say a word, and just wait now, just wait, – and I’ll read this letter to you. A LBERT : Is it something very terrible about your mother? EFFIE: Yes, very terrible. I’ll read it, that’s all – I’ll read it [–] (in a sad[,] slow tone) My own dearest baby daughter, It pains me more to write these sad[,] sad words tha[n] it does you to read them. My old heart is broke when I must tell you that the (sobs and breaks down) mortgage that has been scaring us so long, came [to] this morning, and your poor old mother must [lose] her happy[,] happy home. When I think of my own darling baby da[u]ghter working and slaving her sweet young life away [–] (pauses, sobs in handkerchief then goes back and repeats in a very marked tone) My own darling baby daughter working and slaving her sweet young life away to save the old home, and protect your poor old mother’s dying days, just think, our sweet little old home is lost, and your old mother homeless for just a few maltry hundred dollars. Hoping to see you soon and the three hun – (stops and repeats) Hoping to see you soon, I am – Mother! Mother! (starts to throw herself on ground, hesitates, staggers over to the hops and falls on these instead[,] passionately just as she [r]ehearsed it) Money, money, [o]h poorness, how terrible it is to be poor. (working it up very passionately) How horribl[e], horrible, oh terrible, terrible. Mother, mother [–] (screaming) A L B E R T : (catches her by the hands) Stop, stop, shant do this, you shant[,] I say. [A] few hundred dollars, why to save one tear of yours, I would spend millions. E FFIE : Yes, but you are like me, – poor. A LBERT : I? E FFIE : Yes, you told me so. A LBERT : (quickly) Yes, perhaps I am, but a few hundred isn’t much. I have here (touches pocket) five hundred dollars that I thought I was foolish to bring up here. Now, I see it was providence and you shall have what you need to-night for your mother. E FFIE : (Looks at him with indignation) How dare you, (dramatically) how dare you, I say, offer me money, money, why, what do you think I am? Oh, how, – what do you think I am? You dare to do this thing to me. A LBERT : (Working himself up into a fever of earnestness) Oh, how could you misjudge me that way[?] Can[’]t one friend be of service to another? What’s the use of friendship, then? I swear to you that if you do not accept this money from me, – E FFIE : (Breaking in) Oh Mr. Holly, Mr. Holly, how could you insult me so – how could you do it? A LBERT : (Passionately) I swear to you that you shall never see me again unless you accept this money from me to-night, this night. E FFIE : Mr. Holly, oh Mr. Holly, how could you? A LBERT : Will you accept it or will you loose my frei[nd]ship? E FFIE : This is not right of you, Mr. Holly, this is not right to put me in this fix. To take money from you, never in this world. A LBERT : I say you must. E FFIE : No, no, I can[’]t, I can[’]t. A LBERT : Yes, yes, I say you must. E FFIE : (Plaintively) Why, it was three hun, – no[,] four hundred, four hundred dollars and ninety-nine, four hundred and ninety-nine dollars. A L B E R T : Here is what you need. (Takes ou[t] pocket-book) Will you take it, or do you choose never to see me again[?] E FFIE : You know[,] Mr. Holly, this is cruel. A LBERT : I say[,] will you take this, or do you choose never to see me again[?] E FFIE : Oh, I couldn’t stand that, I couldn’t! Never to see you again! No, no, not that! 35

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A LBERT : (Drops pocket[-]book at her feet, kisses her passionately and quickly and runs off. He kisses her on her hair while her face is buried in her hands) E F F I E : (Coming back to her natural self) Well, my God[,] what do you think of that! (as she picks up pocket-book) CURTAIN ACT III One week is supposed to elapse between ACT II and ACT III. Curtain need only be down a couple of minutes. Scene same as ACT II. Curtain goes up in darkness. The evening star is in the sky. A man is lying down [o]n L. side of fireplace R. An Indian is standing with his blanket wrapped around him in Center between two rows of hops. After curtain is well up, another man enters from R. goes to fireplace R., lights his pipe deliberately. All this done in the darkness. He sits down by the [campfire]. After the match is struck, the pipe is li[t], throws away match, draws twice on the pipe, then the other stars appear in the sky. The edge of the moon [is] seen over the mountaintop. As the moon is half way up, in the distance is heard singing very softly the moon song “Ah la luz de la luna, etc.” One verse is sung. As they begin second verse, first man quietly, slowly in kee[p]ing with the music, says, – [1] ST M AN : Them Mexicans are always singing! 2 ND M AN : Great music! (slight pause) 1 ST M AN : That’s the moon song they are singing. 2 ND M AN : The [m]oon song? 1 ST M AN : Yes, they call it “luna”, – that’s what they call it. (Music dies away) 2 ND M AN : What did they stop for? 1 ST M AN : They didn’t stop. 2 ND M AN : They didn’t [s]top? 1 ST M AN : They are behind the hill in the hollow. 2 ND M AN : Behin[d] the hill? 1 ST M AN : (After pause) Yes, across the trees. (The song begins again) 2 ND M AN : They are coming over here to-night, aren’t they? 1 ST M AN : Sure, all the greasers are coming o[v]er to the shindig to-night. 2 ND M AN : Will Ferrara’s gang come too? 1 S T M A N : Yes, Ferrara, Decillis and Wan Can, all of them, all down the same road, and you’ll hear them a-singing a mile before they get here, each one trying to beat the rest, but just wait – 3 RD M AN : Listen! (Voices singing, “Ah la luz de la luna”) 1 ST M AN : The last part of it is about [losing] something. 2 ND M AN : Is that so? About [losing] something, eh? 1 ST M AN : Yes, that’s it. They are singing it now – about something they’ve lost. 2 ND M AN : What was it? 1 ST M AN : They don[’]t know themselves. I guess don[’]t nobody know. 2 ND M AN : They are nearly to the camp now. Think I’ll go over too. (Strolls off) Something they have lost, – well! (Exit R.2) 36

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1 ST M AN : I wonder what it was! (X[’s] R. [E]xit R.2) (Indian comes down stage[,] unfolds his blanket, goes up into the hop rows, throws his blanket on ground and lies down upon it as the music dies out. There is heard the sound of an automobile horn tooting wildly. Evang[e]line’s voice shouting drunkenly off L.) E VA : (Off stage) My God, Mike Dehota, what youse tryin to do? Kill us all? (The automobile is heard to stop outside) E VA : (off stage) Well, ain’t that the limit? Hurrah for the Fourth of July! Hurrah! Hurrah! (Sings) [“]My Country ‘tis of [thee], sweet land of liberty (gets off note on “ty”) and of root beer, beer, beer.[”] (Enters L.2) (To Mike, who has followed her) Mike Dehota, [h]onest to God, you oughtn’t to done this. You oughtn’t to take me out, an innocent girl like me. (in a very drunken condition) You know somethin – M IKE : Sure[,] Bill, what is it? E VA : If I had four or five more bottles of beer – of that beer – it might ‘ave gone to my head. Say, I want my sister, my own darling little baby sister, sister, sister, where are you now[?] M IKE : Sister, – sister, where are you? E VA : Mike Dehota, do you know what I am goin to do? M IKE : Sure I do, tell me. E VA : Mike[,] you surely do look good to me. Mike Dehota, I said, did you know what I was going to do to-night? M IKE : No, I don[’]t know. Who? E VA : Not who, but what? I’m goin to tell this Albert Holly a funny joke. I’m goin to tell him that this [a]ngel [c]hild of his is my sister. Then I’m goin to take Eff off in an aw-ter-mobile, and then I’ll look back scornfully at him, and say, – C[uc]koo – that’s what I’m goin to do. (Calling) Freshy, Freshy, Effie. M IKE : (Repeats) Ef-fee! Ef-fee! E VA : Say, – Mike – M IKE : Yes’m? E VA : (near R. exit) When he hears that the dame he met in the Old BULL PUP KAIF [sic], is his angel child’s sister, won[’]t that make his back teeth rattle? Come on, I’m goin to find her and take her home with me in an aw-ter-mo-beel. I don[’]t care. He insulted me, [h]e did. I don[’]t like him no how! (Exit Mike & Eva R.2) (Mexicans cross stage from L.U. to R.U. singing carelessly, end of “La Luz de la Luna”) [(]ALBERT enters from R.2, walks across stage, then comes back to hops L.C. Strikes match, knocks ashes out of pipe, refills it and lights it.) [(]EFFIE appears R.U. Comes down between rows of hops C. ALBERT goes to meet her.) A LBERT : Well? E FFIE : Well? A LBERT : I thought you were never coming. E FFIE : (At end of hops row by sacks C.) Why[,] you know I, – I, – A LBERT : (concernedly) What’s the matter with the little lady to-night? E FFIE : Nuthin much, – only – A LBERT : Well, – only what? E FFIE : Only it isn’t quite right my coming out her to meet you like this. I never did it before in all my life. A LBERT : Don[’]t you think I know that? E F F I E : I, I hope so, [b]ut then, you’ve been so good and kind to me. Aw, say, honest, I’ll never forget it. I can[’]t, – it makes me feel so, – aw, I don[’]t know how. You know when you ain[’]t used to kindness much, you remember it. 37

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A LBERT : It’s strange, isn’t it? And it makes me happy too, to know there is somebody in the world you can do things for. E FFIE : But I’ll pay you back that money you were so nice about. A LBERT : Don[’]t say anything about that. E FFIE : Yes, I will. I’ll pay you back some day, you see if I don[’]t. Isn’t it all funny, just think you are rich, too, and all the time I thought you were just poor like me. Aw, say, you know I’m awfully glad I didn’t know that before. A LBERT : Why, what difference would it have made if you had? E FFIE : Why now, you, (shyly) you know – A LBERT : Yes, go on. E FFIE : Aw, you’ll think I’m funny. A LBERT : No, no, – please tell me, what is it? E FFIE : Well, now you know I didn’t just like you because you were rich. A LBERT : Don[’]t you suppose I know that? EFFIE: Well, I, – I was a hopin you did. (she looks at him shyly, her hand falls on the hop pole just underneath his. She does thi[s] deliberately while his face is turned away so that his next movement drops his hand over hers.) Isn’t it beautiful, all that – the moon, – and everything[?] A LBERT : Why, little one, why there are tears in your eyes. (There is a slight pause, and she takes an involuntary step backwards which [p]uts her face very close to his. With an impuls[i]ve movement, he bends over and kisses her.[)] E FFIE : (with show of great indignation) Don[’]t, don[’]t, why – what do you mean? A L B E R T : Oh pardon me, pardon me, I, I really couldn’t help it. [F]orgive me[,] please, I didn’t mean to, please forgive me[,] Miss Tucker, please? E FFIE : Well, I must say – A LBERT : Please, please forgive me. E FFIE : Well, if you promise never to do it again. A LBERT : I swear I’ll never forget myself. E FFIE : Do you know something? A LBERT : Well, go on – E FFIE : Do you know – that[,] that – (stops) Oh, but you wouldn’t believe it though. A LBERT : I would believe anything in the world that you said, little one. E F F I E : (shyly and hesitatingly) The first time I, – I – (quickly and confidingly[,] dropping her head) was ever kissed! A LBERT : Honestly? Really? E FFIE : Really! You know I could trust you, you are so different. Oh, I can[’]t say how, only I trust you. A L B E R T : Tell me, Effie, tell me, don[’]t you think perhaps some day you might do a little more than trust me. E FFIE : Perhaps – some day – we don’t know what we may do. A LBERT : (tenderly, softly) Look[,] dear heart – E FFIE : Oh, now, you promised you mustn’t talk like that. A LBERT : Why, there’s nothing wrong with that, for you are a dear heart, the best, the dearest, purest heart I think that was ever made in the world. E FFIE : You’re not making fun of me? A LBERT : Now, you know I’m not. E FFIE : A poor little girl like me. You know I don[’]t know things like other girls do, the way I was brought up, and no man ever talked to me about these things before. Don[’]t say anything you don[’]t mean. A LBERT : I only wish I could find words to say a little part of what […] I do mean. 38

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E FFIE : (Looks up at him, softly, shyly) Albert! [(]ALBERT starts to take her in his arms when automobile is heard.[)] E FFIE : (In natural tone of voice) Aw, skiddie twenty-three for yours. A LBERT : What was that? E FFIE : An automobile, it sounded like. I wonder what it’s doin up here. A LBERT : No, I don[’]t mean that. I mean that strange word you said. E F F I E : Aw, that, – that was “[s]kiddie twenty-three”[.] (says this very softly and romantically) Didn’t you ever hear that before? A LBERT : No, not that I remember. E FFIE : It’s a word we girls got up in the Bible Class where I went. It isn’t very poetic[,] is it? A LBERT : (tenderly) When you say it, I think it sounds beautiful. Would you mind doing me a great favor? E FFIE : Well? A L [ B ] ERT : Say it over again. E FFIE : Must I? A LBERT : Please, please do. E FFIE : (softly with mysterious sentiment) Skiddo twenty-three. (Music of Spanish voices, singing “La Gala Drina”. Bus. of song same as before, singing and dying out in the same manner.) A LBERT : It’s the second band of Greasers, the dancing will soon begin now. E FFIE : Sounds good from here, don[’]t it? A LBERT : Yes, they sing very well. E FFIE : What makes them stop like that? A LBERT : They didn’t stop. They are behin[d] the hill in the hollow. E FFIE : In the hollow, behind the hill? A LBERT : Yes, across the eucalyptus trees. E FFIE : Oh, yes, I know now where they are. It sounds awfully pretty[,] don[’]t it? A LBERT : It’s a song of Amor! E FFIE : What does that mean? A LBERT : It’s the Mexican word for love. E FFIE : It dies out quickly, doesn’t it? A LBERT : What? E FFIE : The song! (Again the song is heard) E FFIE : There it is again, listen. A LBERT : I can[’]t quite make the words out from here. E FFIE : Do you know Spanish? A LBERT : Yes, a little. Now, there it is. E FFIE : What? A LBERT : It’s about finding something. E FFIE : Finding something? A LBERT : Yes, something beautiful they have found. E VA : (is heard from off stage) Aw[,] go on, I guess I know. (EFFIE turns in startled manner.) A LBERT : Why, what is it? (Music stops) E FFIE : Oh nothing, nothing, only I don[’]t feel quite right. (In confusion) I, – I feel sort of chilly. It does get a little cool these nights. Would you mind running over to the camp for me, and getting me a shawl? 39

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A LBERT : Why, certainly not. Any particular one? E FFIE : You can[’]t make any mistake. I’ve only got one. A LBERT : Well, do you want to wait here? E FFIE : Yes, I’ll stay right here by the dance hall. I’m tired. I don[’]t feel like walking. A LBERT : I’m awfully sorry of that. I’ll be right back – just a minute. (Eva appears with MIKE) E VA : Now, here we are, my own little – E FFIE : (angrily) Look a here[,] Eva Tucker, didn’t I tell you I didn’t want you to be bothering around[?] What do you want [t]o do? Spoil everything? And you’re drunk, both of you, drunk drunk – E VA : Sister, your giodnosis [sic] is quite correct. I am drunk, and – let me tell, you – [kiddo], I don[’]t care who knows it. E F F I E : (taking Eva by the shoulders) (Low and intense) Now look a here[,] Eva Tucker, I’m not going to put up with any of your nonsense. You got to get away from here quick. He’ll be coming back soon – he mustn’t see you, – do you understand that – he mustn’t see you. How did you get here? E VA : Kid[d]o, I came here in a blow-up machine to take you home with me[.] My own luvin sister, my own baby daughter, my own – own baby daughter. M IKE : My [G]od, they’re, they’re going to write another song. (sadly) EFFIE: Come [to,] Eva, for God[’s] sake? Say, this is serious. You don[’]t know how serious it is. (This spoken in deadly earnest) I don[’]t want him to know, no, no, no, – he mustn’t know. E VA : Mustn’t know I’m your own little sister, baby daughter, mother? E FFIE : Here, quick, he’s coming back. Here, get out of the way. Now, don[’]t speak to me. (Pushing her over to [campfire]) E VA : Sister, my sister, my own darlin baby daughter sister. E FFIE : For God[’s] sake, keep still! Lie here! (shaking her violently and forcing her down by campfire) [A]nd if you say a damn word to me, – either one of you, – I’ll, I’ll – you too[,] Mike, go on – . (Mike lays down by fire opposite Eva) Now, stay there and keep still, you, – you, – . M IKE : Allright[,] kidkins. (EFFIE goes back to sacks and sits as Albert appears with shawl) A LBERT : Well, was I gone long? I nearly ran all [the] way. E FFIE : No, I thought it seemed turible [sic] short. (ALBERT puts shawl around her.) A LBERT : (passionately) My God, how beautiful you are to-night. No, I’m not just talking. I know it does sound like an idiot[,] I suppose, but when I saw you with the moonlight shining on your face and your hair around it like that, it looked to be too beautiful to be anything on earth, too beautiful to be too beautiful. M IKE : (Softly, in injured tones) Say, kiddo, do you make songs, too? E VA : Keep still, Mike, skiddo the talk. There’s somethin doin, don[’]t you hear? A LBERT : (At sound of voices, turns and sees Mike and Eva on other side of [campfire].) E FFIE : (In confusion) Oh, – oh, they’re a couple of drunken people as had a little more than was good for them, I suppose. I was terrible scared when they first came, but they’re too far gone to hurt anything. A L B E R T : (angrily) Well, I’ll get rid of them right soon enough. It’s a shame, – a shame. The[re] are laws for such swine as that. Think of your having to look on such filthy, drunken hogs – (starts toward them when Effie stops him.) M I K E : (reproachfully to Eva) Kiddo, he says [w]e’re on the pork. I ain[’]t goin to stand through nuthin like this. (Starts to get up when Eva stops him) 40

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E F F I E : No, let them alone, Albert. Don[’]t cause them any trouble. They’re allright now, poor things! M IKE : Kiddo, they make me sad talking that way. (Shouts and laughter are heard off stage) E FFIE : (Pointing R.) Look, look, – there at the edge of camp, see there! A LBERT : So, this is what they call a “Fiesta”[,] is it? E FFIE : I guess so. Come, let’s go up here where we can see it all [–] (they go up stage) O, look there! A LBERT : The Camps, – look, now when the lights are on them. E FFIE : (impressively, touch of mystery) See there, way down the hill is a little mist. Do you see it? A LBERT : (Taking up Effie’s tone) Oh yes, I see – at the foot of the hill. E FFIE : My, it makes you feel cold, don[’]t it? A LBERT : I like it. Look, now it’s moving, it’s moving. See there, it’s caught the first row of tents. E FFIE : (Up stage, back of hops) Here, we can see it all from here. (Three young couples of ninet[een] or twenty, Americans enter, flashily dressed, rough and boisterous) 1ST YOUNG MAN: Youse don[’]t know nuthin. Hang up the lamps, let’s have a dance. [(]Each one hangs up a lantern on poles around the dance platform.[)] 1 ST G IRL : (his companion) [C’]mon. [M]ake it a two-step. 2 ND G IRL : Nixie, make it a waltz! 3 RD G IRL : Sure, a waltz. Come on, will you? [1]ST YOUNG MAN:: (calling off R.) Bring on the music, you skeedunks. 1ST GIRL: Aw, come on. Who needs music? (They begin to dance awkwardly upon the dance platform) [(]Enter De [C]ellis, three Mexicans, [1]st and 2nd Man carrying jugs and large wine cups.) D E C E L L I S : (Waving cups above his head, and shouting wildly) Fine, bullee [sic], American dance, American dance, Oh la! Ah-la, la-la. 2 ND M EXICAN : Go [h]im, go him, [l]a-la. (Enter from R. six Mexican girls and two Mexican men.) 1 ST M AN : No, no[,] Mexican waltz. Clear the planks there for Mexican dance. 2 ND M AN : Sure, right down the line here. Eat em alive! Hurrah […] for Mexico. (AMERICAN dancers clear the platform) A M E R I C A N D A N C E R S : Sure[,] Bill, go as far as you like. Allright. We’re next. Let her go! (Four Mexican musicians enter from R. with mandolins and guitars) D E C ELLIS : (To musicians) Play [Waltz] Mexicano. 2 ND M EXICAN : Waltz Mexicano. O MNES : Waltz Mexicano, etc. [(]MEXICANS form figures and dance three figures of Mexican Waltz.[)] (Crowd enters from R. as they dance) 1 ST M AN : (After 3rd figure shouts) Look, there, the lanterns (pointing L.) under the trees. D E C ELLIS : (Looking L.) Sure[,] Billy, [m]ake welcome. 2 ND M AN : De Cellis, De Cellis, look – (pointing L.) D E C ELLIS : (stopping in dance) Ferrara, Ferrara! O MNES : Ferrara, Ferrara! [(]All stop dance.[)] 41

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D E C ELLIS : Wine! Wine! Welcome, I tell you, – sing, sing, welcome[,] Ferrara, Sombrero Broncho! (They take up wine jugs and cups, and sing the music of the “Sombrero Bro[n]cho”) [(]DE CELLIS and Mexicans go L. meeting Ferrara and his band of Mexicans, exchange effusive greetings, drinking; [a]ll the time the singing is kept up as they weave in and out among the hop rows. The Americans look on chatting and laughing gaily! The Mexicans carrying lanterns hang the[m] up on poles around platform.[)] (Cries from Mexicans, “Luisa, Senorita Luisa, Senorita Luisa”) [(]SENORITA LUISA i[n] semi-Mexican costume executes a wild solo dance upon the platform, during which some of the figures on the stage move in and out between her and the front of stage chatting and drinking while watching the dancing, parting now and then so that the audience gets a full view of the dancing, and then closing up so that she is lost in the picture in order to keep away from the idea of the dance being a “specialty”.[)] (The closing dance is the [“]SOMBRERO BRONCHO” in which all the Mexicans and some of the Americans take part. At close of dance, two men beating large gongs, call out “Supper is ready[!] Supper, supper, supper!” Dancers break up very [abruptly]. Omnes take up cry, – “Supper is ready[!] Supper, etc.[”] and exit noisily and with great confusion.) M IKE : (who is still with EVA by [campfire]) Say, kiddo, there’s something doin in the hash house. We can[’]t afford to miss it. E V A : (who has taken a couple of drinks from a bottle they have passed between them) I won[’]t go without my sister. Freshy! Freshy! (EFFIE and ALBERT have been back of hops up stage during dance) (EVA and MIKE arise and start off R.) E VA : (In drunken pathos) I want my sister. I’m goin to find her[.] (going R.2) I’m goin to find my sister and take her home with me. (Calls faintly) Freshy, Freshy, sister, sis – . [(]MIKE and EVA exit R.2) EFFIE and ALBERT come down C. Effie first, looking anxiously after Evangeline off R. E FFIE : I guess you think I’m actin awfully funny. Let’s stay out here a while. I like it so much better. It’s so soft and fresh like, isn’t it? A L B E R T : Why, you needn’t offer any apologies. I like this a million times better than any place else. E FFIE : Why do you say that? A LBERT : Well, there are several reasons. Do you want me to tell you? (Shouts and laughter in distance. Faint music of guitars and mandolins playing [“]La Gala Drina[”].) E FFIE : I don[’]t know. Perhaps, – you might? A LBERT : Well, in the first place, when we are here, we are by ourselves. E FFIE : Yes? A LBERT : And then, when you are here, it[’]s the most beautiful place in the world. E FFIE : Beautiful! That means – A LBERT : All, – this around us. E FFIE : (Whose face is turned to R.) See – the mist – there, there, – A LBERT : Yes, it has caught all the tents now, hasn’t it? E FFIE : How yellow it is over where all the people are. It’s comin up the hill – fast, – fast – . Aw, I like this better, (turning L.) where it’s bright. A LBERT : Yes, isn’t it – clear – all the way up the hill tops. E FFIE : Look, the leaves there, see, they look like they were dancing[,] don[’]t they – A LBERT : Yes, isn’t it strange! I never noticed that before, they’re yellow too in the moonlight. 42

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E FFIE : Yes, yes – and they – [l]ook– why it looks almost like they were dancing in time to the music. A LBERT : Maybe it’s our hearts dancing in time to the music – under the moonlight. Doesn’t it seem strange now my coming up here and meeting you in this way[?] E FFIE : Do you ever feel like you were somebody else, – do you ever feel – like you had gotten away from yourself, and were some – A LBERT : I don[’]t know that I ever did? E FFIE : Well, isn’t it funny? That’s the way I feel to-night. It seems like a play or somethin out of a story in the newspapers only much more, much more wonderful! A LBERT : I don[’]t think a play could be beautiful like this. There was one man who made beautiful ones though. Did you ever […] any of his? Let me see, – look, – now, what is it, dear, about the moonlight[?] Ah yes, “See how he tips with silver all those fruit tree tops.” E FFIE : Who, – who wrote that? A LBERT : Why, that was Shakespeare. E FFIE : I never seen any of his plays. Oh, yes, I did see one. That was Julius C[ae]sar. Say, it was great. I can remember some of it now. That’s the only one I ever seen, I think. A LBERT : (Kindly) Little one, pardon me, but you mustn’t say “I seen”, it’s, – “I saw”. E FFIE : Oh, I know. Aw, ain[’]t I ignorant[?] You couldn’t really care [for] me. Why, if you were to meet any of your friends when you were with me, you’d be ashamed, wouldn’t you? A L B E R T : Oh, that’s nonsense you are talking now. Why[,] child, it would only take a few short months to teach you about words, but it would take until the end of time to find another you, and the soul of you, and that, – well, that’s all there is to it. E FFIE : You really think that everybody has a soul? All the bad, – the bad women that ain[’]t no good, – say, like that woman that was drunk here a few minutes ago? A L B E R T : Don[’]t speak about her, – don[’]t speak about such people as that. [Y]ou just happened no[t] to get an education, but your soul is as pure as an angel[’]s. But she, why – she’s just a – Why, child, it’s only because you’ve been poor, – why, just think, – to get even a breath of fresh air, you had to come up to this place and be with such people. When I saw that rotten excus[e] of a man and that woman, and thought that you, through poverty, should have to look on such things, in a moment, I knew that this money that had been left to me, and my coming out here and meeting you, was just the hand of Providence pointing the way where one soul was to find its mate, where one soul was to [t]each another one the little outward ways of beauty, – and, and that mine was the soul that had this work to do. E FFIE : (Passionately) Oh, aw, aw, – don[’]t, don[’]t, – it can[’]t be done! A L B E R T : Yes, yes, it can be done. Then the other soul, the really great[,] beautiful soul, yours, my little child, the untaught poet spirit something, the, – the, – now what shall I say, why, you know what I think of it like – like a sleeping angel that awakened to teach the narrow, little, prig[g]ish soul that belongs to me, the really beautiful things of the world, – (singing of [“]Une Maria[”]) Do you hear? E FFIE : Aw yes, I hear. It’s about something being found, you said. A L B E R T : Yes, something they have found. But they couldn’t dream what I hav[e] found right here when I first saw you, – everything, everything! I have been as blind as a bat all my life. E FFIE : Blind? A LBERT : (In this scen[e,] play as nat[u]rally and col[l]oquially as possible, and yet [g]ive the effect of being carrie[d] away by the music, the moonlight, beauty and perhaps, 43

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above all, his own youth.) Yes, [b]lind! I never saw anything until I came to look at all things with you. Why, do you know, I never noticed a rose, – I saw them of course ever since I was a boy, but I mean, I never noticed how pink and [red] and soft they were, and that you could be happy just looking at them for hours at a time, until you, you showed me the way, – you took away the blindness from my eyes and everything was sweet. You! You! You! I used to know there was a God. They made me kneel down when I was that high and pray to him but I never really [k]new him, you know not really, but lately, time after time, I have felt him right with me. Why[,] to-night when I was with you, I felt that you were on one side, and that on the other there was some mysterious, undreamed-of God’s arm around me, and that he was leading us on, on, over the hills, over the hills! E FFIE : (slowly, earnestly) You mean that? You mean that? You mean every word that you say? You’re not just saying words because you get started and can[’]t stop and sort of keep on saying them, but you truly mean that? A LBERT : Why[,] little one, of course I mean it. E F F I E : You think then that two souls could be made for each other, bigger than the little things of everyday living, and no matter, if somehow at first they had gotten away from each other, and one of them had gotten down, – had gotten down where it wasn’t nice, – sort of in the mud like, – and when the other soul came along, and saw it like that, and that things weren’t quite right, you don[’]t think, – it couldn’t be, could it, that the big soul could care a cent, about the little not such a nice place that the first soul had gotten into. No, you’ve said it yourself, that this world can[’]t be much, and living is only a few years, but Love and the soul is for all time, isn’t it? A LBERT : Yes, little one, just think of it, for all time! (Albert is now so far away in the land of infatuation, he does not perceive her meaning) You see those stars up there? They are worlds, little one, ten, twenty, many times bigger than this little world we live on. They never die. When their life begins to fade, they give what is left to the other worlds and they go on forever and ever. You know[,] I think our souls are older than they, – that our souls have been the masters of these worlds since nothingness, – so you see[,] little one[,] how short a time, the soul is here on earth. E FFIE : Oh, now I see! Now I see! It doesn’t make any difference about everything here. I mean the little things that everybody says are right or wrong, but the soul and love is forever and ever. Well, what do you think of that? I see everything different now. Then, there mayn’t [sic] be so much difference between us after all. Well, isn’t that funny? A LBERT : My understanding little heart! (short pause) Just think this is our last night! E FFIE : Don[’]t say that. It makes me feel so, – so lonely! A LBERT : Doesn’t it? Just like there were sunsets and roses behind you and an empty room before. No, no, I can[’]t do it, dear, I can[’]t. E FFIE : Can[’]t do what[,] Albert? A L B E R T : Go back to my old empty sort of a life. You know I told you I had to go back home right away. I, – tell me, little childheart, won[’]t you[,] can[’]t you – . Oh, I don’t know how to say it, but can[’]t we make this last all our lives? This wonderful singing happiness! We must. We will, dear, – take all the light and music and love and bottle it up in our hearts, and keep it, keep it forever. I don[’]t know how to tell you what I mean, but my little childheart, won[’]t you, when I go back home to-morrow, won[’]t you go back with me? E FFIE : Oh, I can[’]t do that. Why, after all you said, now you want me to go with you. Oh no, I can[’]t think, I can[’]t do those things. Oh, everything is different now. A LBERT : You can[’]t go home with me, – you mean, – a[f]ter this? 44

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E FFIE : You don[’]t really mean that. A LBERT : And you can[’]t, – you can[’]t be my wife? E FFIE : (in astonishment, slowly) Your what? A LBERT : My wife. E FFIE : You mean – you want to marry me? A LBERT : (eagerly, passionately) Yes, yes, my little one. That’s about all there is in the world I do want, – all that I can think about. E FFIE : Well, – well – A LBERT : You told me that all your brothers and sisters had gone away – that you had only your mother now, and I’ll make everything allright with her when you are my wife, if you only will be. Please, please[,] dear little heart, it is the – (EVA and MIKE are heard singing drunkenly) E FFIE : (with a heart-broken exclamation) Oh! A LBERT : It’s that drunken couple again. E FFIE : (Goes quickly behind hop vines) Albert, Albert, don[’]t, don[’]t let them – A L B E R T : (Takes her in his arms) Why[,] don[’]t worry, little one, no one shall harm you. They can[’]t hurt you. E FFIE : Hold me! Hold me close, close, close! Please, please! A LBERT : (Holding her closely in his arms) Little one! Little one! [(]Parties of Mexicans swinging lanterns, saunter back through the hop fields, singing [“]La Gala Drina[”]) (EVA and MIKE appear with arms around each other) E VA : I want my sister, my own little baby daughter sister, I want her. M IKE : (Sings drunkenly) Sister, oh, sister, come home with me now, The clock in the steeple, The clock in the steeple, – isn’t runnin – E VA : (Goes down in front of hop vine) Well, she’s around here somewhere. M IKE : (Soberly, s[u]bdued voice) There’s somebody there. (Looking up in hop rows.) E VA : Where? M I K E : Up there in the shade. Don[’]t you see ‘em? I’ll pipe the lemons off. (starts up stage) E VA : Better let em alone. They’re on the spoonin wagon, don[’]t butt in. No, it ain[’]t my sister cause she don[’]t answer. Sister, Freshy, aw[,] Freshy, is that you? M IKE : No, it ain[’]t her, it’s somebody else. Come on, let’s go home. I don’t want her anyhow. (They go off L.2. Toot of automobile horn is heard.) [(]Spanish voices in distance singing “La Gala Drina” which is timed in accord with dialogue) A LBERT : They have gone, – Look, [l]ook! (indicating R.) The lights are out. They’ve all gone. E FFIE : They’ve gone and they’ll never come back[.] A LBERT : Home, – that’s where they’ve gone. It’s a nice old word, isn’t it? That’s where I am going to-morrow. E FFIE : To-morrow? A LBERT : Yes, little one, will you go with me, to-morrow? E FFIE : Yes, Albert. A LBERT : My wife! My little wife! ([“]La Gala Drina[”] reaches climactic, triumphant tone, then diminuendos softly to – [)] SLOW CURTAIN 45

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ACT IV (Doorbell is heard ringing violently. Effie comes through upper C. door which is open. She is dressed in simple light grey walking [s]uit, and soft white shirtwaist. Goes to door R.2. Opens door, EVANGELINE enters hurriedly) E FFIE : (At door, – with great concern) Well – [w]ell, did you find her? E VA : (X[’]ing to L.) Say[,] my God, Effie Tucker, why did you ever send me on such a wild goose chase for[?] I can[’]t find you no mother, I can[’]t do it. (EVA is dressed in same costume as worn ACT I.) E FFIE : (Coming C. – seriously, in deadly earnest as is her attitude through all this act) Yes, but I must have her. I’ve just got to get some kind of a mother. He’s been asking about her and asking, – he’s dead anxious to see her. I had to tell him, – I had to, – somethin, so I told him she would be here at one o’clock. We are going to be married now at two o’clock. E VA : (In astonishment) At two! Why, I thought – . Say, ain[’]t you the foxy kid[?] And me getting soused the other night and near queerin the whole gag. Married! (X’s to couch R.) [T]hat never got in my cocoa, souse[d] or sober. Start one bunco and end up with another, and now it’s moved up to two o’clock, say, I’m in a fog, it gets faster and faster. E FFIE : Yes, yes, he’s got to get back right away. We’ve got to start East at six o’clock. E VA : (In subdued tone) That’s good. No chance of runnin into anybody that might tell him anything about you. E FFIE : (Rapidly, in suppressed excitement) He’s crazy to be married right off, so we could go East that way. Just think of it! I’m miserable, – and yet I’m happy too. Think of it, – me – his wife! Hasn’t it all turned out funny[?] It’s like dreaming things, sure it is. Oh, but I want to get it over, and go away from this place, and I’ll never come back, never, never. It’s terrible it is, (change of tone) but Eva you must get me some kind of a mother before one o’clock, – somebody we can trust too. There must be plenty that would fit that description I made up. I didn’t go into particulars. I just told him her hair was kind of brown like, and she was about my size. I didn’t make it particular. Then he said, “Has she got eyes like you?” and I said, [n]o, they’re blue and he remembered it. E VA : (Flopping down on couch) My God, Effie Tucker, what did you say that for[?] I can[’]t find no mother with [b]lue eyes. I walked the soles off my feet. It can[’]t be done. E FFIE : (walking up and down distractedly) Oh, what can I do? Eva Tucker, you did this. In God’s name, why did you make me have a mother? You did it, it’s all your fault, you, you made me write that letter, you made me have a mother, and now I can[’]t find her. (Drops head on dresser – despon[d]ently) E VA : (with sad reproach) Kiddo, don[’]t talk to me that way. You had to have a mama. You don[’]t know how particular these men are. That ain[’]t the fault. You oughtn’t to be so dam particular about describing her, and especially about the eyes. Now I could have blondiness [sic] and white headed ones. You remember Ant[oi]nette Kelly. She had the loveliest mother. I could have gotten her for fifty dollars too. She was an actress once. Chorus at the Tivoli eighteen per, – and she’d a done it real nice, but she had black eyes. I picked her out because I fixed some story about her getting scared to death, a[n]d her hair turning white in a night, but her eyes couldn’t turn blue in a night. It’s no use, we’ll have to skidoo the “mother” gag. E F F I E : (Tearfully, slightly raising her head, sadly, abstractedly taking up hair brush and gesturing with it) No, we won[’]t either. We can[’]t do it. That’s what I was going to do. Tell him that mama had gone fishing and got drowned, and then I’d have to go in mourning 46

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for a month, and if I puts it off any lo[n]ger, something will happen. I can[’]t sleep or eat or nuthin. He’ll find out. I don[’]t know what to do. Let’s cut it all out. E VA : Aw, cut that talk, we’ll fix it some way. Leave it to me. E FFIE : (despondently) Then after we get her now [–] [a]fter we get away and I get East, I don[’]t see how you are goin to get rid of her. (drops head on dresser) EVA: Aw now, you know we’ll fix that all right. Why[,] that’s a pipe! Just like I told you. Why[,] that Bob Suckers gag, look how it worked. Get this marrying business over, and you get away, you won[’]t have no fake mother bothering you. I’ll fix that all right. E FFIE : (turning partly to EVA, elbows on dresser, her face on hands) Say, I hate to do all this junk, – it’s rotten! Eva, I don[’]t feel about him like I did about other men. Oh, I don[’]t know, I can[’]t tell how it all seems. When I am with him, I just forget all about everything, – all that I was before, – and everything. I feel like, – oh, I don[’]t know what. (Slowly, truer note than ever before) It seems – like I, I had – died – and – been – de[a]d – a – long – time, and then sort of come [to] again in a different world. (X’s to table) Aw, Eva, take it from me, it’s great! It’s great to feel – I feel all good, good, – that’s the funny part, I mean with him, – when all the time I know what a rotten trick I’m a doin, – but then, you know, he don[’]t think about everything like other men. I don[’]t think even if I told him, he’d stop lovin me. I started to do it, – to tell him all about it, – then my head all turns around and I get sick and I can[’]t, – I can[’]t. Then I’m afraid if I did, that he’d stop loving me. (In quick fear-struck tones) Oh God, oh God, if he’d do [t]hat, if he’d stop lovin me, what could I do, what could I do! (Throws herself on floor with head in chair) I’d just have to die, that’s all, and I’m afraid to die too. I want to live. I want to live (with intense strength) with him years and years and years and forever. E V A : Aw now, don[’]t take on like that. You’re better than any of these milk and water pussycat women that never saw nuthin and wouldn’t know it if they did. Wait until after you’re married to him a long time and prove it to him that you are the real thing, then you can tell him. Do you suppose it would make any difference to him then after he knows what you are[?] E FFIE : (Hopefully, raising her head from chair) Could I do that? Would that be very wrong and rotten? If I waited till then, would it, you reck[o]n because I want to tell him everything and then [–] (breaks down in a long drawn out moan) Oh, [o]h, [o]h, if only it had been all just different. E VA : [(]X[’]ing C.) Aw, don[’]t take on like that. You ain[’]t doing nuthin wrong. Why, sure not. (As though struck by an idea) Say, has he told you all about what he has done? Has he? Has he told you? E FFIE : No, no, – of course not. E VA : There you are[,] Bill. Take it from me[,] kiddo, green as he is, he’s gone just as far as you have. (Sits) The [b]est of them at the best ain[’]t good enough for you at your worst. No sir, (with emphasis) [n]o sir, not by a dam sight. E FFIE : Don[’]t, don[’]t, don[’]t say that. Why[,] I ain[’]t fit for him to put his feet on. That’s what I wish he’d do. I wish he’d walk on me with big boots and spikes in th[e]m, long and s[h]arp, sharp, until he beat all that I have been out of me, then when I was allright, he could pick me up and tell me I was his wife, and that’s all. E VA : (co[n]solingly) Now don[’]t worry. It’s going to come out all right[,] I tell you. You’re just as good as he is or any other man. They’re a rotten lot, all of them. Who in the hell ever fixed it all up anyhow[?] They tell a woman she mustn’t move out of one spot, not to take a drink, or she couldn’t even wink her eye at a man, not even the ice man that 47

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comes every morning and don[’]t make no difference about, and then they go round the corner and do whatever they please and think it’s allright. E FFIE : (Rising, going up stage) I know all that but – E VA : Take it from me[,] kiddo, here’s a chance of [y]our life to put yourself on Easy Street. Nail it down with a hammer and spike. When you gets him married, go [E]ast and don[’]t make no breaks about coming back here again. I won[’]t never bother you none, and Mike’ll keep his mouth shut allright. Of course, if you wants to hand me a hundred or two every now and then, I won[’]t object and you won[’]t miss it. E FFIE : (Up C. turns facing EVA) When I’m his wife, take it from me[,] Eva, I’ll be as good a wife to him as he could have found anywhere, and nobody’ll ever know when they see me, and hears me talk and watches me act but what I’m just as good as anybody, nobody, – I don[’]t give a dam who they are. O, I mustn’t say that[.] (correcting herself) E VA : Sure[,] Bill, – ain[’]t it the truth. E FFIE : (Sitting chair R. of table L.C.[,] d[e]spairingly) But I must have a mother. I’ve told him about her and gotten a letter from her, and he read it, and gave me five hundred dollars for my mother and now – I can[’]t find her. E VA : Kiddo, I never dreamed mothers were so scarce. Why[,] all the books and papers are full of them, but they are scarcer than hens’ teeth when you try to find them. E FFIE : (slowly, with childish pathos) Then couldn’t you get none nowhere[?] E VA : Oh yes, I got one such as she is. E FFIE : (Quickly) You got her, where is she? E VA : (Laconically) Oh, I got her tied up out in the parlor, she’s a widow, but [s]ay, she’s a bum. I’m scared she can[’]t hold the job. E FFIE : Why, what’s wrong? E V A : Aw well, she ain[’]t sav[vy], and then her eyes are brown – that’s as near as I could match it. E F F I E : (Hopefully) Aw, if it’s just the color of her eyes, maybe, maybe we can fix that up some way allright. E VA : (with assurance) Sure[,] Bill, most people don[’]t know the difference between brown and blue, anyhow. E FFIE : Well, where is she? Bring her in. E VA : (Going to door) Right outside in the sit straight room. (Opens door, calls Mrs. Kelly) (To Effie) She’s comin[,] kiddo, get ready to meet your mother. M R S . K E L L Y : (A very fleshy woman of about forty-five, with slightly effusive manner, decided[ly] brunette. Affecting rather ingenuish [sic] style of dress much too young for her. White shirtwaist with very large polka dots of red, black and white stri[p]ed walking skirt very short, black patent leather ties with high French heels with bows, black openworkstockings, big black sailor hat, green chiffon veil, red necktie, black kid gloves, broad black leather belt with brass buckle at back.) [(]She enters –[)] Good morning[,] miss. (R. of C.[)] E FFIE : (L. of C.) Good morning – mother. (Goes to her, looks her over closely) Oh, I guess they are allright, they’re pretty near – they’re not so blue. E VA : Aw sure, he won[’]t be piking her off much. He’ll be too busy. She’s got to do. Best I could find. E FFIE : I guess we’ll have to chance it anyway, but my God – (Shaking her head at Mrs. Kelly, goes up stage) E VA : (Coming C. in quick business like tone) Now, [M]other Kelly, come down to business. This ain[’]t no crime or nuthin we are mixed up in, but my sister here’s all wrapped up 48

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in some man, and of course she ain[’]t got no mother at all but in sort of an impulsive moment, she goes and tells a long story to this guy about her mother. Now, as she’s goin to marry the gent to-day, she’s got to produce mother. Now[,] mama, you’re it. I’m not afraid, knowing the few things I happen to know in reference to you (this very marked[ly]) but what you’ll keep mum about all this. M RS . K ELLY : Aw now, Eva, you know how safe I am. E VA : Sure I do, cause you got to be. E FFIE : (quickly, coming down stage) Now, I’ve told him that we lived out in Vallejo all our life, and father died when I was a baby and you was sort of a silent woman, and never said nuthin to nobody, so remember all this and don[’]t make no breaks. E VA : Aw, I’ll take her over to the room, and put her wise allright. Don[’]t worry about her. He[’]s, he’s been told that you were comin on the 1:20 train this afternoon, so you’ll have to show up before time and spring the gag you was tryin to surprise her. Aw, I’ll fix that allright. E FFIE : My God! (To Mrs. Kelly) You’ll have to change that rig. If he sees you in that, he’ll think you’re a Fourth of July Celebration. E VA : Sure, I’ll get her into a nice black dress, one of them faded satin gags. Leave it to me. E FFIE : Well, where can she stop at u[n]til it’s time to show up? E VA : Over to the room. (To Mrs. Kelly) We’ll hunt up some nice kind of duds, and you can come over to my place til I come and get you, at the right time and start you out. E F F I E : Yes, whatever you do, don[’]t show up with that queer junk on your face, and all these glad rags on, cause that would queer the whole thing. M RS . K ELLY : Now, don[’]t you trouble[,] miss, I’ll play the part allright, be easy. E VA : Yes, don[’]t worry. Did I ever make any balks yet[?] Leave it to me. E FFIE : Now remember, when I meet you, – now how’ll you do? Now, you stand over there[,] Mrs. Kelly. M RS . K ELLY : (Goes R.) Yes, yes. E FFIE : Now you see me coming and I say, “Mother, Mother, Mother[”] – three times, [“]oh, it’s been so long since I seen you[”],– no[,] I mean [“]since I saw you[”] – and you put your arms around me, and you say, “Oh, my darling child.” E VA : (R.) I think if she put in that what we wrote in that letter it would be good, – “my own darling baby daughter” – because that’s familiar to him. If he heard you say that, he’d know you were allright. E F F I E : Well now, let’s try it out, cause if we make any breaks, it’ll look bum. You don[’]t want to say much cause I’ve been tellin him how quiet you were. Now, here I come. Mother, mother, mother, it’s been so long since I seen you, – my God[,] I will get that wrong, – saw you. Now, Mrs. Kelly – M R S . K E L L Y : Yes, I am coming. (They rush into each other’s arms) (effusively) My own darling child and baby daughter, it has been many years since I was so happy as now, and indeed this is a moment[o]us occasion. E V A : (In great disgust) Aw[,] skidoo that talk[,] [B]ill, that’s no good. You ain[’]t one of them book mothers. This ain[’]t no play you’re doin[,] you know, – this is the real thing. Just say my own darling baby daughter, and then cry, – you might fall in her arms – but don[’]t go on talking like that. That’ll be a hell of an out after we’[v]e been cracking up how quiet you were if you go on gabbing like a windmill, – and – look happy like you was glad to see her. E FFIE : (doubtfully) Well, I don[’]t think she ought to look too happy cause that would look like she wanted to [lose] me. I think she orter [sic] be kinder sad. M R S . K ELLY : Now you all needn’t worry. I’ve been a mother five times. I don[’]t think I can make any breaks after all that experience. You leave it to me. 49

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E F F I E : (a little encouraged) Now, we’ll try it over again. There’s everything in a good beginning. If we get it started allright we won[’]t have no trouble. Now, here we go. (Rushes into Mrs. Kelly’s arms) Mother, mother, mother, it’s been a long time since I saw you last. M RS . K ELLY : (Meeting Effie) My [child], my child, my own darling little baby daughter. E VA : (With great enthusiasm) Sure, that looks like the real thing. That’s allright. Now that’s all, ain[’]t it? E FFIE : (To Mrs. Kelly) Say, my God, you’ll have to change that rig. If he sees you in that, he’ll think you’re a Fourth of July Horse [sic]. E VA : Sure, I’ll get her into a nice black dress, one of those faded satin gags. Leave it to me. E FFIE : Well, where can she stop at until it’s time to show up? E VA : Over to the room. (To Mrs. Kelly) We’ll hunt up some nice kind of duds and you can come over to my place until I come and get you and start you out. E FFIE : Yes, whatever you do, don[’]t show up with that junk on your face, and all those glad rags on, cause that would queer the whole thing. M RS . K ELLY : Now, don[’]t you trouble[,] [m]iss, I’ll play the part allright, be easy. E VA : Yes, don[’]t worry. Did I ever make any balks yet[?] Leave it to me. Here, Mrs. Kelly, you wait out here [–] (goes to door R.2, opens it) I’ll be with you in a minute. M RS . K ELLY : Allright[,] miss. I hope you’ll like me[,] miss. I’ll do the best I can. (Exit R.2) E VA : (To Effie) Well, what do you think of mother? E FFIE : Oh, that’ll be allright. (Effie goes to dresser L.) E VA : (continuing) He won[’]t pay no attention to her. Nobody don[’]t pay no attention to mothers no how. Don[’]t let that trouble you[,] kiddo. What’s the matter? What[’s] paining you now? (EFFIE [i]s at dresser looking at picture, standing in a despondent attitude.) E FFIE : Oh, nothing much, I don[’]t feel good somehow or other to-day. E VA : Oh, come out of it, you look like a sick [c]at. (Sits chair R. of table) Forget it[,] Bill, it’s allright. There’s always got to be a little conniving to marry a man. Do you suppose all them swell dames as you see hooked up with some rich man just sat at home and waited for him to come around and marry them[?] Take it from me[,] kiddo, they’re wise to more tricks than you ever heard of. It’s a hard business[,] kiddo, and it takes wise heads to get ‘em. (EFFIE takes up picture and looks at it) E VA : What you looking at? E FFIE : A picture. E VA : Whose picture? E FFIE : There’s two of them. (Takes picture, comes over to table slowly, sits left of table.) (EVA is seated R. Crosses her leg and leans back in a devil may-care fashion, with hat set rakishly on one side of her head, and a satisfied expression on her face.) E FFIE : (Looking at pictures, sets them on table) Here’s a picture of his mother and his sister. His sister’s picture before she died. E VA : He hasn’t got no sister, then now. E FFIE : No, not now. And his mother is so old, she can[’]t move out of the house. He’s got a brother though. What do you think? He’s a preacher, sort of a travelling revivalist, or something, down south. E VA : Introduce him to me. Make it a family affair. E F F I E : (After long pause in which she looks at picture and then looks a[t] Eva. This bus. [r]epeated twice. Then slowly in puzzled tone) They are different. E VA : Who’s different? 50

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E FFIE : (Slowly, reflectively) These women, – from you and me. They don[’]t look like us. I wonder – what [m]akes it. E VA : (noncha[la]ntly looking at pictures) I don[’]t know. I [d]on[’]t see much difference. Guess they haven’t been used to much eating. They look sort of hungry. E F F I E : (with decisive strength) By the love of Mary Kelly, Eva Tucker, this is a dirty trick we’re playing. It’s an awfully awful dirty trick. E VA : What’s the matter with you, kiddo? You ain[’]t yourself to-day. E FFIE : Aw, I wish to God I’d never been myself. Why couldn’t I have been like somebody else[?] Why couldn’t I have been like her[?] You can[’]t look at that face, – his sister’s – and tell what she was. Why couldn’t we have been like her? E VA : Aw, splash and little raindrops, she’s a dead un now. E FFIE : Don[’]t talk like that. I’m not going to do it. Honest to God, I’m not going to do it. No sir, it’s eighty-eight for mine right now. I haven’t been wise to what I’m a doin, but I’m gettin on to myself now. (with earnest resolve) Me back to the merry harvest fields. There’ll be no weddin for me to-day, Eva Tucker. E VA : (Melodramatically) No wedding [b]ells for her! (Sings) Tho[se] Bells Shall not ring out! E FFIE : Right you are[,] kiddo. Any other man, well, – I’d – . Say[,] but this man is the real cheese. Why[,] Eva, he showed me things that I never knew was on earth. Now (gets up, goes over to get hat) I’m going to skidoo. (Bus. putting on ha[t)] E VA : (After pause) (Calm[l]y turns and looks at her, then says quietly) So you don[’]t ever want to see him again? E FFIE : Don[’]t want to see him again? E VA : Well, that’s what you just said, ain[’]t it? E FFIE : (reflectively, slowly) Won[’]t see him again. E VA : Sure[,] Bill, how can you, if you’re going to make a sneak[?] E FFIE : Well, I guess it’s up to me to do without seeing him. E VA : How do you think he’ll like it? E FFIE : My GOD[!] MY GOD[!] I wonder! I wonder! E VA : That’s the question[,] Bill. E F F I E : For he loves me. Do you hear that, Eva Tucker? He loves me, that only man who was worth […] that I ever saw, and he loves me right, Eva Tucker. He loves me like he loves his sister and his mother, only more, more, a million times more than he ever loved anybody, and I could make him the happiest man who ever drew the breath of life. E VA : (quickly) Why don[’]t you do it? You’ll regret it all you life if you don[’]t. E FFIE : (with sudden resolve) I will do it. I will do it. (Risi[n]g) O, look at that clock. Say, he’ll be back here in five minutes, – you got to be going, quick! E VA : Sure[,] kiddo, I’m going. E FFIE : Well, get a move on you. He mustn’t see you here. E VA : Mustn’t see me? E FFIE : Aw, you know what I mean. E VA : (Gets up an[d] goes quickly to door R.2, – though[t]fully and slowly) Say, you don[’]t think about nobody but him, do you? E FFIE : (X[’]ing to R.) Oh, he’s wonderful he is! E V A : (At door) Guess I won[’]t see you again after to-day, will I[?] If youse goes East tonight? E FFIE : I’ve got to get away. I can[’]t stay here a minute longer than I have to. E VA : You don[’]t remember when we was little girls, do you? You used to call me “sister” then, and I called you, – I called you “[s]is”. Say, we haven’t kissed each other for years, isn’t that funny! (quiet emotion) Would you mind calling me “sister” now, and I’ll call 51

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you “sis”, and then we’ll kiss each other just this time, and to – hell with all this junk that’s been between now and then. E FFIE : Sister! E VA : Sis! E FFIE : Now, we’ve got to go, Eva. E VA : (Slowly, with all the feeling possible) Say, little kiddo, I hopes you get through it allright. Goodbye. E FFIE : Goodbye – sister! (EVA exits) (Then re-enters quickly, at door) E VA : Don[’]t worry about our mama. I’ll put the hooks into her allright. (Exit) E FFIE : (Stands at door, holding knob in hand. After pause, she opens door quickly) (Calls) Eva, Eva. (There is no answer. She slowly closes the door. She goes over to bureau[,] raises her hands to take out hat pins, drops her head on the bureau, sobbing softly, then slowly takes off hat, puts it down on dresser, then goes to table[,] takes up pictures[,] takes the handkerchief she has been wiping her hands with, rubs off the pictures, and puts them on bureau again.) (Bell rings, she opens door R. – Albert enters) A LBERT : Well, little one? (EFFIE goes into his arms) E FFIE : Well? A LBERT : (Tenderly) You know what day this is? E FFIE : Yes, I think so. (Raises her head slowly, looks up into his face) A LBERT : (Kisses her on forehead) It is somebody’s wedding day. (EFFIE drops her head back on his shoulder) A LBERT : (Playfully, in happy boyish manner) Is somebody very happy? (EFFIE does not answer) A LBERT : My, my goodness! Has she lost her tongue. Or perhaps somebody’s very miserable. E FFIE : (Shakes her head emphatically “NO”.) A LBERT : Then I guess they must be very happy. E FFIE : (Nods her head) Yes. A LBERT : Ah, now that’s better. That’s something like it. (He puts his arm around her, they walk across the room to L. They go nearly past the mirror, when ALBERT stops). Look, look, (suddenly, softly) I see a bride and groom. Dear, dear me, – aren’t we the handsome ones[?] You know something? E FFIE : (softly, shyly) No, what is it? A LBERT : One half of me is better looking than it ever was before. (He sits her down in chair L. of table. He seats himself on footstool at her feet.) I now swear, by all that’s holy, this is the very last time I shall be at the feet of the beautiful Miss Effie Tucker. (Takes her hand in his, kisses it, then puts it between both his hands.) Do you hear that? E FFIE : (In her same soft voice) Yes. (Turns her head away) A LBERT : Why, why, look at this! What’s all the trouble about? If the little girl isn’t crying. Now, you mustn’t do that[.] Aren’t you happy? E FFIE : (Nods her head slowly, and says after a pause, tearfully) Yes. A LBERT : (Getting up, and putting his arms around her) Don[’]t you love me? E FFIE : (quickly, emphatically) Oh yes, yes, yes. A LBERT : Oh, well, that’s different. Then I think Miss Brown Eyes will live until to-morrow morning, and everybody will be as happy as a little bird. (He fixes the stool and kneels down by her side L.) No, honest, I don[’]t mean to be foolish but I am so happy! Oh, you ouldn’t [sic] believe how happy I am. 52

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E F F I E : (Lifting his face with both her hands) You are really happy? I mean is it different from all the other kinds of happiness you ever knew? A LBERT : (enthusiastically, earnestly) Yes, yes, [o]h – it’s as different as – sunlight to candlelight. E FFIE : What made you love me? I often wonder that? A L B E R T : I can[’]t tell what made me. I just know – I do. Oh, by the way, I was going to surprise you. I thought my brother was coming to-day, and I wasn’t going to tell you until he was h[e]re but he won[’]t come. Something or other has happened, I don[’]t know exactly what, so now, we’ll have to be married with no one but just ourselves and – and the preacher. E FFIE : Oh, I don[’]t mind that. You’ll be there. A LBERT : And you, you, – my little wife! E FFIE : (Kisses him on the forehead and very slowly and softly says) My husband! A LBERT : You know that i[s] the first time you ever said that. E FFIE : It isn’t the first time I ever thought it. A LBERT : It’s only two hours more before – before you belong to me forever and ever. My little wife! Then we’ll get on a train, and we’ll go home and then my tired little heart can rest. No more work, no more worry and poverty, bitterness and loneliness, no more badness of any kind for my little sweetheart. E FFIE : (with sudden tenderness) Oh, that’s what I want – Rest! We’ll go to someplace where it’s quiet like, and we’ll have nothing to bother or trouble us at all, will we? You know, I can[’]t quite get it that it is really true. It’s too good! It will be a quiet place we go to, won[’]t it, Albert, my husband? A LBERT : It’s the most quiet sort of place you ever saw in all your life, – my home. E FFIE : That sounds so funny when you say it. Home! Home! That’s where we are going to. A LBERT : Oh, forgive me[,] dear, I am selfish, – I’m afraid we are not treating her quite right. E FFIE : Who? A LBERT : Why, your mother, dear heart. E FFIE : (quickly, forgetting herself) Aw, she’ll be allright. A LBERT : Just think how terrible it must be for her to [lose] you. I am afraid she won[’]t like me much. You know how mothers hate to part with their children. E FFIE : Well, you know I think my mother’s sorter different. I don[’]t think you ever saw a mother like her in all your life. You know we have had to live away from each other a whole lots. A LBERT : You know what I am going to do? E FFIE : (in some apprehension) No[,] Albert, what? A LBERT : I thought about it last night. I thought it all over. I am going to take her, whether she will or not, right off with us this afternoon, – that’s what I’m going to do. You didn’t think I was going to let your mother be separated from her daughter like this? No siree. She’s going with us to-night. E FFIE : Why, why no, oh no, she can[’]t do that. You see the fact is – well, I’ll tell you afterwards but she can[’]t do that. A LBERT : Oh yes, she can and she must. I’m – oh, she won[’]t be in my way any. I know just what kind of a mother she is too, – my mother she is now too. E FFIE : (Coaxingly) Well, now, please can[’]t I have my way this time? A LBERT : Why certainly, dear. E F F I E : Well, now just let me manage this. (Markedly) Well, I’ve been thinking and planning – why[,] I was thinking about her just before you came in. I’ve been thinking and planning, and I have it all fixed up. N[o]w, for certain reasons she can[’]t go with us to53

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night, no, no, – I’ll tell you, but after we have been East for a few weeks, then we are going to come back and get her, won[’]t we? That is, if it isn’t too much trouble for you? A L B E R T : (Watching Effie in rapt admiration, seemingly hardly hearing her words) What nonsense! How could it be trouble for me? Just as you say[,] dear. My beautifullest [sic] little sweetheart [–] (Kissing her hand) Just think I really have you for good and all. E FFIE : And now, now you must go, and I’ll – A LBERT : [(]Rising) To give you a chance to get even more beautiful, eh? E FFIE : I’m afraid I’m not going to get much beautiful. Just that plain little white dress. A L B E R T : And did you want to have a gorgeous wedding dress, – all fluffy and v[e]ils and things? E FFIE : No, I don[’]t think I care much about it, if it’s allright to you. A LBERT : My opinion is – you couldn’t look any better – if you had all the trimmings in the world, but if I must go, – I must – so goodbye. E FFIE : (Rising) Goodbye, for just a little time. A LBERT : And then no more goodbyes at all. Never again so long as we both shall live. (Taking her in his arms) My little child wife! Goodbye! (Kisses her) (X’s to door R.2) E FFIE : Goodbye, my – (Goes to him, very softly) my husband! A L B E R T : My [w]ife! (Exit, shuts door, – immediately re-enters) I just came back to say I forgot something. (Kisses her on forehead) E FFIE : Was that what you forgot? A LBERT : No, I don[’]t want you to forget to wave to me this time. I’m going up the street, other side. E FFIE : Now tell me, – when did I forget it before? A LBERT : You had better not this time. I’ll be back in a few minutes. (Exits quickly) E FFIE : (Stands in doorway and waves handkerchief. Softly) Goodbye! (After a slight pause looking out, she shuts door, goes to window L. looks up one way, then the other, appears disappointed, then waves frantically with great joy out the window. Stops, drops her face despairingly in her hand. Bell rings, then a hurried knock. She starts, then knock again and bell rings again. She crosses to door R.[,] opens it) (EVA enters followed by MIKE, half-drunk) E FFIE : Eva! E VA : I didn’t mean to come back but I just seen him go out, and this crazy Mike is jagged to the ears. He’s got in some more trouble and the police are after him. Now, he wants money to get out of it, and God knows what all. E FFIE : Now what are you trying to do, ruin everything? What in God’s name can I tell Albert if he comes back and finds you here[?] You must go, go – he’s apt to come back any minute. He was going into the hotel office, and if I hadn’t [come along…] a raised a rumpus, then your man would a got on to it sure. I don[’t] know what to do with him. M I K E : (drunkenly, in loud voice, sitting limply on couch) Give me a couple of hundred dollars, and it’ll be all right. If you don[’]t, it’ll be all wrong. E VA : Now[,] Mike, you know you’re queering yourself. I thought if there was one soul on earth I could depend on, you was the guy. Now you’re cutting up like this and trying to throw us down. E FFIE : (Going to couch) Yes, yes and you’ll ruin everything. M IKE : Now[,] kiddos, listen to me. I’m not wanting to throw anybody down, and I ain[’]t going to say a dam word. You knows that but I’m in trouble[,] Bill[!] I’m in trouble, and you is the only one that can help me out. I didn’t come here to bully rag you to give me some more money but I needs it. It ain[’]t no life and death matter, just – . Aw, give me the two hundred and you’ll never see me again. 54

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E FFIE : I haven’t got no two hundred dollars. You think I carry a band around in my clothes? If you wait until after I get married, then I can get you a whole lots of money and I’m going to treat you allright. You butt in this way and you ruin the whole thing. No, you’ve got to get out and get ou[t] quick too! M IKE : No, don[’]t start any of that kind of talk, don[’]t do it, I say – because when it comes to a show-down, I guess I can be there with the best of you. I may be drinking a little but I ain[’]t drunk. Guess I know a man when he’s drunk. E VA : Say[,] Mike, now don[’]t raise no rumpus. (soothingly) This guy will be coming back in a minute. Now, you come on home with me, and we’ll have something to eat and drink, and then to-night, I’ll see that you get enough money [a]llright. M IKE : Are you sure? E VA : Sure[,] Mike, you know I always tells it to you straight. M IKE : (Rising, drunkenly, tearfully) Kiddo, you’re the real thing. I likes you[,] kiddo? You know I got a feelin, a feelin in my heart for you. I likes you more and more and more. I, – I, – E F F I E : (Who has been w[a]lking up and down stage in impatience – at C.) Yes, Mike, now for God’s sake, get out of it. (X’s to him) N[o]w we’ll all be up against it, if you don[’]t get away from here. Come to[,] Mike, come to. You’ve got to get out of her[e] quick. M IKE : (Takes her by the hand) Kiddo, I like you. You ain[’]t got no hard feelins against me. I didn’t mean to make no trouble but I’m up against it, and nobody don[’]t love me none or nothing. (His arm around Eva’s neck) E F F I E : (Impatiently, yet with compassion) Oh, we know that[,] Mike. I’d do [a]nything I can to help you but I can[’]t do nothing now. You’ve got to get away quick, or there’ll be trouble, don[’]t you see[?] E VA : Yes[,] Mike, come on now, that’s a good boy. (Walks slowly with him, his arm around her neck[,] to door, MIKE stops) M IKE : (at door) Well, I don[’]t want nobody to think that I was trying to make trouble for nobody for I ain[’]t one of them kind of guys. You know if you only knew me – I’m one of the best fellows, – one of the best fellows that ever lived I am. E VA : (Starts him along again) Oh yes, we know that, but come on now. Hurry up, I’ve got a thirst. Come on, we’ll have a highball that big (indicating with hands)! We’ll have two highballs! M IKE : (Stops indignantly) No, I don[’]t want no highball. I want, I want – beer [–] (laughing drunkenly) that’s what I want. E V A : (Gets MIKE over to door R.2, opens it, gets him through the door, he stops again, Effie is on the other side of room) E FFIE : (Looking out the window) There he is. I see him now. For God[’s] sake[,] Eva, get him out of the way. M IKE : No, I’m not going yet. E VA : Oy [sic] yes, Mike, now come on. M IKE : No, I ain[’]t told her goodbye yet. E VA : Oh, that’ll be allright. M IKE : You know – she’d never get over it, if I didn’t tell her goodbye. E VA : No, no[,] Mike, not now. He’s coming[.] M IKE : (swinging Eva out of the way) No, nothing of the kind. I ain[’]t goin to hurt her feelins like that. E FFIE : (Taking him by arm, starts as though attempting to force him toward door) Mike, in heaven’s name, will you go? 55

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M IKE : Just as soon as I tell you goodbye, then I’m going. (RING AT BELL) E FFIE : (low voice) My God, it’s too late! It’s him! E VA : (going over to MIKE) Now this is a hell of an out. M IKE : What’s the matter? E VA : (her hand over his mouth) Hush up! For God[’s] sake, hush! E FFIE : Well, what are you goin to do? E VA : We’ll get him out this door[.] (starting to door R.U.) E FFIE : (in frightened but subdued tone) No, no, not there. He’ll see you. He’s right there[.] (indicating R) You’ll run right into him. E VA : Ain[’]t there no place you can hide us until you get rid of him? E FFIE : I don[’]t know! I don[’]t know! Yes, up here, in my room. E VA : No, that won[’]t do, how’ll we get out without him seein us? E FFIE : Here, I might put you in this closet. E VA : Sure, that’s the gag. Then when you get him out of this room, we can make a sneak. E FFIE : Get a move on you. (P[u]ts Mike in first closet L.U.) Now[,] Mike don[’]t make any noise, and don[’]t come out of here until I come in to get you, do you hear? (M[i]ke nods his head and they shut him in closet) (EVA goes in other closet) E FFIE : (To EVA – ) I’ll let you know when the time comes. E VA : (In closet) Oh my God, I forgot Mother. E FFIE : What? EVA: Here (alluding to package) I’ve got her clothes here. She’s waiting for me over at my room. E FFIE : It’s all off now. What’s the use of trying? E VA : No, no, – tell him – E FFIE : Tell him, what? E V A : (Low voice, excitedly) Tell him you got a message. She missed the train, will be on hand at four o’clock, and when I get out, I’ll – (BELL RINGS AGAIN) E FFIE : (Despairingly) Oh, what can I do, what can I do? He might ask to see the message. I can[’]t do that. E VA : Be at the telephone, – long distance, – fake talk to mother, and when you get him out of the way, I’ll cha[s]e her up. (BELL RINGS AGAIN) E F F I E : (Runs to door, opens it quickly, very excited manner as ALBERT enters) Oh, it’s you. I was in the other room. The telephone bell is ringing too, excuse me. (Runs to phone R. jus[t] above door) (At telephone) Yes, yes, here I am now. Yes, this Miss Effie Tucker. Yes, yes. Aw, why is that you, mother? Aw yes, hello, hello, hello, what is it? You can[’]t come? Hello, hello. [(]ALBERT puts hat on table L.) (EFFIE still at phone in whisper) Aw, that’s all right[,] Central[,] nothing, keep off, keep off. (In loud voice) Oh, I’m so sorry, so you missed it. What? Superstit[ious]? Oh, I hate that. Well, if you say so. Bad luck to put it off? (reluctantly) Allright[,] mother, I’ll promise but I’m so sorry. 4 o’clock, well goodbye, goodbye. (Hangs up receiver) (To ALBERT) Oh, isn’t that terrible? Oh, I forgot, I want you to talk to her[.] (Runs back to telephone) Hello, hello[,] [C]entral, what was that number? Oh, you don[’]t know. Aw, all right. (Puts up receiver[)] (To Albert) I wanted her to talk to you too. It was from mother. Isn’t it terrible, she missed the train. (Bell rings again violently) Yes, that’s all right[,] Central, nothing at all. Thank you, thank you. 56

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A LBERT : She’ll be here at four o’clock? Well, [w]e’ll have to postpone it. E FFIE : Yes, that’s what I said but she said if I did, she wouldn’t come at all, so that’s why I promised her. Was it wrong? (with frightened timidity) A LBERT : (Assuringly) Why[,] dear, of course not. They do say it’s bad luck and if she feels that way about it, is it wrong? I don[’]t think anything you do could be wrong[,] dear. Of co[u]rse, for your sake, I wanted her, but if she feels that way about it – E FFIE : Oh yes, she’s terrible superstitious about that. She always was. A LBERT : (Tenderly) So am I superstitious about it. About not having you soon enough, little dearie heart. A L B E R T : (Setting parcel down on table) I’ll give you ten guesses to tell me what this is. (alluding to package) E FFIE : (R. of table) Oh, don[’]t make me guess, I never could do nothing like that. Tell me, what is it? A LBERT : (Opens box) Now, what do you think of that? E FFIE : Oh, aren’t they lovely? They are beautiful, aren’t they? Orange blossoms. A LBERT : Orange [b]lossoms! Blossom unto blossom! (EFFIE looks around room nervously) A LBERT : Why, what’s the matter, little one? E FFIE : Oh, I, – I am afraid I’m not good enough, for you. A LBERT : Don[’]t say that, little one. You know you mustn’t talk nonsense. E FFIE : Oh, I’m afraid it isn’t no nonsense. A LBERT : And you [d]on[’]t mind, do you, because it’s such a simple, funny[,] unconventional sort of wedding. No church, no music, nor anybody but just you and I, in this little place[.] E FFIE : Do you think that would make any difference with me? A LBERT : No, I don[’]t[,] dear. I am afraid it hasn’t been just what the world calls right in this unconventional sort of way but it doesn’t make any difference, does it dear[?] It won[’]t in an hour for then you are going to be – my wife. E F F I E : Oh, I haven’t thought about that. You know since we spoke out there in the hop fields that night when those Mexicans were singing about the two souls, one soul for one soul, one life for one life, and one God above all – you see I remember your words – I don[’]t think about those kind of things anymore, – about what’s right and what’s wrong. Everything’s wrong when you are away and everything is right when you are here. A LBERT : Dear, tell me, shall we be married in this room? E FFIE : (quickly, emphatically thinking of MIKE and EVA) No, no, [o]h no, – not this room. A LBERT : Well, why not[?] This is much the larger room. E FFIE : Oh no, the room in there. I like it so much better. I [c]all it my little room. This is too big. A LBERT : Sweetheart, just as you say. E FFIE : Would you, would you mind waiting in the other room, just a little while[?] A LBERT : Why, certainly not. (Looking at clock) Why, it’s only half an hour more. I didn’t think it was so late. E FFIE : Oh, dear me, I’ll never get ready in that time[!] Just a few moments, just a few and then – A LBERT : Forever and ever! (Exits into upper room R.) E FFIE : (Runs to closet where Eva is hidden) Sneak[,] Eva, quick! O, this is terrible. (Then goes to where Mike is concealed, opens door) Mike, Mike, come on, come out. My God, he’s asleep! Mike, Mike wake up! O, I can[’]t wake him up. A LBERT : (In other room) Oh Effie, just a moment, I forgot something. E FFIE : Not now[,] Albert. In just a minute. (To Eva) He’s asleep! My God, what shall I do? 57

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E VA : He’s drunk, you can[’]t wake him up. Let him sleep it off. As soon as you get the thing over, get some excuse to get out of the house, and then I’ll get him out. (Shuts herself in closet) E FFIE : (Shuts Mike’s door, looks quickly around, then calls to Albert in other room.) Yes, Albert, I’ll be ready in a few minutes it won[’]t take me long. (Exits into room U.C.) (Silence in room for a short while, then kick and groan from inside Mike’s closet) A L B E R T : (Calls from room) I’m coming. (Enters) I forgot – (sees that Effie is not there. Goes quickly to table, picks up his hat, starts back to room. As he is nearly at door, there is a groan and another kick from Mike. Albert stops, looks anxiously around, and then goes to door R.U. As he gets to door, noise from closet is heard louder than before. Alber[t] again stops, comes back into room, then the noise still louder is heard. Albert goes quickly to closet in which Mike is hidden, opens it[.]) (Mike is discovered on the floor wiping his forehead) A LBERT : What in the world is this? M IKE : (Placidly) Say[,] kiddo, it’s hot in here. A LBERT : Well, who are you? M IKE : (softly) My name’s Mike. A LBERT : Yes, I imagine. What are you doing here? M IKE : I needs the money, Bill. A LBERT : Well, I must confess you are the most candid burglar I ever met in all my life. M IKE : Kiddo, you does me wrong. (Comes out of closet) Kiddo, they didn’t want me to see you, they’re ashamed of me. Say[,] Bill, she’s allright. They don[’]t make them no better. (Sits limply in chair L. of table) A L B E R T : (quickly, sharply) You stay where you are now. (Goes over to telephone, takes down receiver) Is this the clerk? Send up an Officer at once. I have caught a thief in the room, – yes, a thief. O, I’ll keep him all right. (puts do[wn] receiver, goes quickly in front of door) M IKE : (Leaning across table, drunkenly) Sa[y], did you say someth[in] about – me bein a thief? A LBERT : Never mind that now, my man. You just keep still, and everything will be allright. M IKE : (Rising) I want to get out – of – here. You had better let me go. A LBERT : (Sternly, advancing toward Mike) You stay where you are. M IKE : Aw[,] to hell with that kind of talk, let me go, I say. (starting for door) [(]Albert takes Mike by throat, slight struggle. He throws Mike down in chair R. of table.[)] A LBERT : (with one hand at Mike’s throat) Drunk too. I wondered why you would be such a fool as to be here this time of day. [(]EVA comes out of closet) A L B E R T : (Seeing Eva) Oh, there’s a pair of you, I see. Well, I’ve seen you before. So you do this kind of work, eh? I thought – E VA : No, nothing of the kind. We was just – M IKE : Say[,] mister, you’re making a hell of a mistake here. Now […] here, we don[’]t want no trouble. You let us get out of here. E VA : (L[.] of table – rapidly) Yes, for God[’s] sake[,] mister, we wasn’t no burglars. We got in here by mistake. My brother was drunk, and I was trying to take him home. That’s all, and then – we came here, – and the door wasn’t locked, and then we came in, and the lady that lives here came to the door, and we hid in there. Oh[,] [m]ister, honest to God, don[’]t do nothing to us. Let us get out of here now before it’s too late. A LBERT : Too late for what? M IKE : You had better let us go that’s what you had. 58

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E VA : Don[’]t do us no harm. Let us go now. Honest to God, mister, you’ll be glad of it every day of your life. (There is ring of bell) A LBERT : Don[’]t trouble, I’ll let you go, both of you. (Goes quickly to door R.2, opens it, two police officers and clerk enter.) A C LERK : Well sir, what’s all the trouble? A LBERT : Why I just found these people in the closet of the lady’s room[,] the lady who is to be my wife at 2 o’clock. C LERK : Oh, [b]urglars, eh? A LBERT : No noise[,] please. I don[’]t want to frighten her. 1 ST O FFICER : (Goes over, stands R. of Mike. 2nd O. stands L. of Eva) Well, we’ll attend to them, sir. They won[’]t give you no trouble now. M IKE : (who is standing by Eva) Say[,] mister, cut this out. You’re making a hell of a mistake here. We ain[’]t no thieves. I am a friend – of – the – lady you are going to marry. (Officers look questioningly to Albert) E VA : (Whispering to MIKE) For God[’s] sake, keep still! M IKE : Not by a dam sight. I don[’]t want to join no parade to the lock-up. A LBERT : Officer, the man is drunk, or crazy. MIKE: (s[o]bered by fear, very intense, rapidly) I ain[’]t drunk nor crazy. I may be drinking a little but I ain[’]t drunk, and what I’m telling youse is the truth, the straight out truth, and this girl here (referring to EVA) is her sister if you wants to know, and we was here to see her before she gets married to you, and she hid us in them closets and that is all there is to it. [(]EFFIE enters from upper door C. Police step back as though undecided what to do.[)] P OLICE O FFICER : Is this the lady? Lady, do you know these two p[eo]ple[?] E FFIE : Which two people[?] E FFIE : (coming down C.) Why these people, these people – E VA : (Breaking in loudly, swaggering in front of Effie) Aw[,] Mike, what’s the use of making a bluff like this[?] You know dam well we never set eyes on this dame before in all our lives. You see it was like this. We just got a little jagged and got in the wrong house. I’ll go with you allright[,] old boy. I can prove who I am. 1 ST O FFICER : Oh, I thought so. You can, can you? We’ll see about that. (Goes to Eva) 2 ND O FFICER : Now, that’s something like it. (Puts hand on Mike’s shoulder) Come with me, my man. M IKE : No, it ain[’]t so, I tell you. It ain[’]t so. O FFICER : (In loud threatening tone) Didn’t you hear your pardner just own up to it? (Takes Mike off R. Clerk follows) E FFIE : O, this is awful, I – E VA : (Makes gesture of silence to [EFFIE] unseen by others) (Loudly) Here, Mr. Copper, I’ll go with you. You can[’]t prove no leons [sic] against me. O FFICER : Come along then. [E V A ]: (To officer) Wait a minute. (Officer stops) (To Albert) Say[,] mister, woul[d] you do me a favor? Look in that closet there that I was in. I think I dropped my pocket book in there. (Pointing to closet) A LBERT : Why certainly. (Goes to closet) E VA : (To EFFIE) Lady, I’m sorry we [b]utted in on such a day as this. Don[’]t worry about me none. I guess I have a friend as will help me out this evening some, me and my pardner O.K. (This with meaning) Don[’]t say nothing about it[,] lady, no[t] a word. (with sudden movement drops back a couple of steps putting herself close to Effie) E FFIE : (Whispers quickly) I’ll be on hand in a couple of hours. 59

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E VA : (whispering) Allright, keep the game up. (EFFIE turns up stage) (EVA back to officer who has turned towards her, to Officer) I’m with you. (In loud tone) Sure[,] lady, don[’]t you worry none[.] (as ALBERT turns from closet) A LBERT : I guess you made a mistake. There[’]s nothing there. E VA : Sure? O FFICER : You can look yourself, if you want to. E VA : Aw, now I remember, I left it at the house. I’m sorry to put you to such trouble. O FFICER : Yes, I guess you did. Come on with me[,] you. (Clerk enters from R.U. stands at doorway) E FFIE : Oh please[,] sir, don[’]t hurt her. Treat her as nice as you can[,] won[’]t you? O FFICER : Why sure[,] [m]iss, we always treats them nice – as we can. E VA : (at doorway) Much obliged to you[,] kiddo. Much obliged[,] little kiddo[.] (EXIT R.2) (ALBERT closes door R.2) (EFFIE crosses slowly to dresser, looking vacantly into space) C LERK : (coming down C.) I am very sorry sir, very sorry, and you too Madam, that such a terrible thing as this should happen, – and at such a time as this too, – but they won[’]t trouble you now. (EFFIE comes forward, looks into the mirror, brushes her hair back with her hands, turns, looks at Albert, X’s in the same abstracted manner to L.C. of table, sits, looking into space) A LBERT : Oh, I suppose it’s allright now. C LERK : You know you asked me if I could serve you as a witness. I was just getting off for the [occasion] when the trouble came up. A LBERT : We’ll be very much obliged if you will, sir, I am sure. C LERK : Allright, sir. When shall I come up? A L B E R T : Well, the time is about up unless (turning to Eff[ie]) unless this excitement has been a little much for you. (EFFIE does not answer) C LERK : (as though to break an awkward pause) I, – I am really very sorry for this unfortunate affair. I don[’]t see – If I can [help] you[,] sir[,] in any way, I’ll – A LBERT : (in some embarrassment) Thank you[,] sir. I[f] – if – you would – things are a little unconventional, if – I am expecting the minister any moment. If you would meet him, and take charge of things – a little, – I’ll – C LERK : Why gladly. A LBERT : In that room[.] (going L.U.) C LERK : (Following) Certainly[,] sir, with pleasure. A L B E R T : In just a minute, we’ll be ready. (Bell rings. Albert goes through room R.U. The clerk[,] in adjoining room, closes one of the folding doors. As he starts to close the other door, ALBERT enters accompanied by minister. They are se[e]n through open doorway in adjoining room. They all bow ceremoniously. Clerk stops in bus. of shutting other door and with minister goes L. Albert enters[,] closing door behind […] him) (At door L.U.) Well, dear, are you ready? E FFIE : In just a minute, Albert. A L B E R T : (Coming down stage) I’m so sorry this terrible thing happened. (Comes over to her, puts his arm around her) Why, dear heart, it’s all upset you. You’re as white as a sheet and there are tears in your eyes. Now we can[’]t have [t]hat on our wedding day. (He kisses her on the forehead and the eyes as she sits motionless in the chair) Why[,] dear, you forgot something. (Goes to dresser and gets orange blossoms) What sort of a bride would you be without orange blossoms? (with playful tenderness) Why, whoever heard of such a thing? (Kneels down at her side, pins the orange blossoms on her corsage) Look, 60

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I put this here, so if you do shed any tears, they’ll fall here, right into the blossoms. The wedding blossoms. They are awfully pretty aren’t they[,] [dear]? E FFIE : Yes. A LBERT : Like the blossoms in my heart that bloomed the first day I saw you[,] sweetheart. Do you know what I said then to myself? E FFIE : (though[t]fully, slowly) No? What did you say then? A L B E R T : I said to myself, that whatever might happen, I was going to have you for my – wife, and so I have. (Clock strikes two) Listen[,] dear. (Gets up, walks boyishly to door and back again, [e]xultantly, with boyish happiness) It’s two o’clock, it’s two o’clock! It’s two o[’]clock! We are going to be married now, come, come, come. Why, they say people get frightened on their wedding day. I don[’]t see why, because I’m happy, happy[,] happy as (in change of voice) as you say, I’m tickled to death. (Falls on knees beside her) (Tenderly) Come, didn’t you hear? It’s two o’clock! They are waiting for us. E FFIE : (In far-off voice) Waiting for us! Waiting for us! A LBERT : Yes, dear. Yes, dear heart! Just think they are waiting in there, waiting for us to be wedded. Oh my God, my God, I thank you for this wonderful[,] [w]onderful day! (drops his head in her lap) (EFFIE drops her hand caressingly upon it) (There is silence for a moment, then he raises his head) Do you know what I did then? E FFIE : (In soft, low tone, yet still abstracted) No[,] dear. A LBERT : (with simple earnestness) I prayed to the dear Christ that he would never let you through one single long day regret at the end of it, this day, – dear. Of course, you might for a few moments or an hour or so, but I mean, not one single entire day. E FFIE : What did you say – just – now? A LBERT : When do you mean? E F F I E : (slowly) About the first time you saw me. You said – that w[h]en you saw me, you said to yourself that no matter what might happen you would have me to be your wife. A LBERT : Yes, dear. Why, what’s the matter? Why do you look so serious about it? Is it such a terrible thing to have to be my wife? E FFIE : Did you mean that? A LBERT : Why, certainly. E FFIE : You think you really meant it? A LBERT : I know I do. E FFIE : That whatever might happen? A LBERT : Yes. E FFIE : I was thinking – how much you love and trust me. You know we’ve known each other such a short time, – and then – meeting me like that. A LBERT : (laughingly) Are you, – why[,] you foolish child, are you thinking of what that man said[?] I guess this has all upset you. Why, if I had just come into the room that moment and had never seen you before in all my life, I would have known that you two were as far apart as heaven is from – the other place. Nonsense! Come, dear, they are waiting for us. Poor dear, you look so tired. E FFIE : I[,] I do feel sorter tired. Guess all this has upset me a little. (Knock at door R.U.) (ALBERT opens it) M INISTER : (At door) Well, sir, we are waiting. Are you quite ready? A LBERT : Oh yes[,] sir, [w]e’re quite ready. We are coming now. M INISTER : (with simple dignity) Pardon me for interrupting you but I wanted you to know that I was here and everything is in readiness. A LBERT : We are coming now, sir. (MINISTER exits, shutting door behind him) 61

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A LBERT : (Puts his arms around EFFIE, lifts her from chair) Come, sweetheart, come. (They walk slowly to the door; Albert partly opens it, and EF[F]IE shuts it) E FFIE : (Shutting door and stepping back into room; passionately, quickly) No, no, no. A LBERT : Why, what’s the matter, dear? E FFIE : (At door) Don[’]t think I am acting foolish, – I guess I am, but just think, we’ll never do this again, and we are going to our own wedding. A LBERT : Yes, dear. E FFIE : Just wait a few minutes, won[’]t you, just a few? A LBERT : (Laughing) Why[,] I believe, she is a little frightened after all. E FFIE : (In attempt at light-heartedness) Yes, I [t]hink I am a little afraid. Come. (She goes down to the table) A LBERT : My little one! E F F I E : Now come, – (takes his hand) I guess this is a funny way to go, – but then, that doesn’t matter. Come now, let’s start the procession. (They walk to door) Just think we are goin[g] to my wedding, – to our wedding too, isn’t it? (Stops at door) Now, just kneel here. (She sinks down on her knees) A LBERT : (In puz[z]led tone) Why[,] dear, what do you mean? I, I – E F F I E : (Pleadingly) Come please, won[’]t you? Now don[’]t think I am foolish. Won[’]t you kneel down here with me before – Come. (ALBERT kneels, they remain here in silence for a short time, then rise) Come! (They start back to table) (Still in same lighthearted manner) O dear, you don[’]t keep in step. We are coming from our [o]wn wedding now. Albert, just think[,] dear, we are married now, aren’t we? A LBERT : But dear, why – E FFIE : (quickly, breathlessly) Don[’]t talk, don[’]t talk. Oh, I wanted to so much, and I’m no good, but I wanted to so much. But we are married, we are married now, – we were married right up there for a little time. A LBERT : (Unable to understand) Don[’]t[,] dear, why you are sobbing like your heart would break. [W]hy – E FFIE : We are married now. Now put your arms around me, and call me your wife. A LBERT : (Embraces her) My wife! My little wife! E FFIE : My [h]usband, my husband! (Turns away from him) A LBERT : But come[,] dear, they are waiting. E FFIE : (slowly, in heartbroken tones) It’s all over now. Our wedding is all over now. (Takes off the orange blossoms, puts them down on table.) Now, Albert, you stand on the other side of the table. A LBERT : Well, why? What do you mean? E F F I E : Be[ca]use now, I’ve got to be afraid of you. Yet I hope you kill me, honest to God[,] I hope you kill me, but Albert[,] [don’t do] nothing to yourself, please don[’]t, cause it ain[’]t no use, and it don[’]t make no difference after all. Won[’]t you promise me that? A LBERT : Why, what on earth is the matter with you? What are you talking about? E FFIE : Because[,] because, please don[’]t look at me cause I can[’]t say it. I can[’]t talk if you look at me. (Slowly hesitating, feeling her way) S[o] you say [sic], that woman, – that woman that was here, the man said was my sister, that woman – A L B E R T : (In quick[,] decisive tone) What do you m[e]an? Don[’]t mention that woman again. You look – I met that woman once. I know what she is; she’s nothing but the scum of the street, that’s why I – E FFIE : O don[’]t, don[’]t say anymore, please, please. I know it all now for sure. You’d die rather than take a woman like that as your wife to your – your mother. 62

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A L B E R T : A woman like that? Why[,] of course, – with a rope around my neck. A woman like that? What are you talking about? E FFIE : (Despairingly) Oh God help me, God help me to keep on because you know what that man said that was here, you thought was a burglar, every word that he said – was true, and a million times worse than he said was true, and that woman was my sister, and I ain[’]t nothing but the low-down scum of the street just like you said, and I hope I rot in hell! (In self-hurting bitterness) There now, now you’ve got it. A LBERT : You mean [–] Why[,] Effie, no, no – you – My God, my God, it can[’]t be true, – it can[’]t be true! E FFIE : Oh, yes, it can be true, and it is, every word of it. A LBERT : (Falls in chair after pause) O father in Heaven, have mercy, have mercy on me – E FFIE : Yes, this is the end of it, but Albert, Albert[,] don[’]t, don[’]t look like that. It can[’]t make any difference to you now – now that you – know – what – I – am. A LBERT : Can[’]t make any difference to me, but why[,] why all these [l]ies, lies, [w]hy, why? E FFIE : For money, that’s all, just for money, now you know. You see it all came from that night when you were in that Café, my sister met you, knew that you had money, and no woman as you know was bad could get it, so we fixed up the scheme for me to go up to the hop fields, and play that I was innocent, and all that sort of thing – and that is how it happened. A LBERT : Yes, that’s how it happened. Beautiful! [B]eautiful! O God, forgive us, God forgive us. E FFIE : Yes, yes, and all that I have said and did up there was a lie [–] my life, and way of living, everything. Why, I had to practi[c]e to talk as good as I did. The letter I got from my mother was just a scheme to get money. I haven’t got any mother, never had any mother that I know anything about – that’s all [I] know[.] And then I thought it was all a joke at first, yes, it was funny. You know you were so easy like and never talked or acted like any man I ever saw, and then all those nice things you talked about, I thought it was only junk at first, then you know – this is the funniest part of it all – I got – to – believing – in – them – myself, then I got – to see how beautiful – it all was, and how rotten I was and then, then I wasn’t happy anymore. And then you said all that about the souls being everything and this life bei[n]g nothing – up there in the hop fields – and I thought that might be the truth, really the truth, and that you might r[e]ally mean it, and then I began hoping that what I had done, didn’t make much difference after all; that what I had done, didn’t make any difference but what – I – am – now and what I would be, would make it all right for now, now, don[’]t you see, I’m good, yes, that’s true, now I’m good. Do you know that? I have felt that way in here ever since that night when you asked me to be your wife, I felt like I was your wife, like I had been your wife ever since I was born, and I would be your wife forever and ever and all time, and then again, I saw things just like they are, and that you would know what I was a[n]d would hate me, and that[,] that I was only what you said – the scum of the street, and that this about us being soul mates was only words, so many words, after all, so I sorter thought at first I would marry you, and I would be the best wife that I could be, and then it would be allright, but after I sa[w] the way you looked at my sister, after I saw what happened then, I knew [the whole] thing was all junk and nonsense. Honest to God[,] I’m sorry, but I didn’t mean it to be like this. (There is a long pause. Albert lifts his head, staring into space, then drops it again) E FFIE : Say something. Don[’]t, DON[’]T keep still like that[,] ALBERT[.] ALBERT, I just want you to know ONE THING, now and FOR ALL MY LIFE, I’ll be DIFFERENT. You believe that, know that – ALL the time – Albert[,] tell me you [BELIEVE] me. (Albert makes no reply) Albert, ALBERT[,] won[’]t you say something to me? 63

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A L B E R T : (Very quietly, in natural key weighing ever[y] word) It must have been funny to watch me being such a DAM FOOL, very amusing performance. It’s a queer world! E FFIE : (Taking Albert’s natural, commonplace tone) Yes, that’s true enough[,] God knows! A LBERT : Well, what are you going to do NOW? E FFIE : I don[’]t know exactly. I never thought about that at all. A LBERT : No, I suppose not. It doesn’t seem you have though much about anything. You, you are such a thoughtless soul. E FFIE : Yes, I guess I am, and now, now [–] (Moaningly) Oh [m]y God, THIS IS THE END OF IT ALL. A LBERT : (Springs from chair – [t]orrent-like, in terrific outbreak, yet more in suffering than vindictiveness) Yes[,] THIS is THE END OF IT, the end of it. I should thank GOD, it is the end of it. You, YOU THING, YOU – YOU BUNDLE OF LIES, – you – My God, I ought to kill you, I ought to kill you before you make more hell like you made for me now. E FFIE : (with hysterical rapidity, all possible passion and intensity) Oh Albert, Albert, that’s right, I wish you would, [h]onest to God, honest to God, I wish you would kill me now. I want to die! I want to DIE! But can[’]t you SEE, I’m not the same woman now I was then, I’m different, I’m different. YOU, YOU have made me DIFFERENT! (Throws herself at his feet, clu[t]ching wildly at his coat) A L B E R T : Different, different, – you different – all this that’s been between us has been nothing but rottenness from first to last, – and now let me go. E FFIE : Oh, but believe me[,] Albert. I don[’]t want you to marry me[.] I don[’]t want you to ever see me again. I wouldn’t have you soil yourself because I think YOU ARE LIKE GOD, YOU ARE, but please BELIEVE me. If I only knew then what I know now, oh, Albert, I never could have done it, no, no, no. Tell me you believe I am better now. A L B E R T : I tell you I wish I had died BEFORE I SAW YOU, and now let me go and tell these people that are waiting what a FOOL you’ve made of me. Take your hands off my coat. E FFIE : Tell me you believe me. A LBERT : Not one word. Take your hand off my coat. (EFFIE CATCHES hold of his hands as he takes her to throw her off. He struggles with her, going to the door.[)] E FFIE : (hysterical repetition) Don[’]t leave me like this! Please don[’]t leave me like this. You don[’]t want to kill me, don[’]t want to kill me. Don[’]t leave me like this. You’re kill[ing] me[,] Albert, you’re killing me. Just that you BELIEVE ME, [THAT’S] ALL. A LBERT : ([Losing] all control of himself) I’ll tell you nothing, nothing except I hate you. Let go of my hands, I say. (He throws her violently from him) LET GO YOU AND YOUR LIES FOREVER. (Exits slamming door violently after him) E FFIE : (Crouches on floor against door) ALBERT [–] (moaning) ALBERT, OH MY GOD! MY GOD! CURTAIN ACT V (REDDY is hanging out window L. She [is] ten or twelve years old, cheaply dressed, and very pert. Hand organ in distance, playing “In The Good Old Summertime”. REDDY is kicking her foot in time, and singing as organ plays. As she finishes verse, music stops.) (GROCER BOY, fourteen or fifteen, very fat, enters door C. [H]e has small piece of ice in tongs.) 64

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G ROCER B OY : (To Reddy) Hello, kid! R EDDY : Hello yourself! G ROCER B OY : What are you doing here? R EDDY : What’s that to you? G ROCER B OY : Smart, ain[’]t you? R EDDY : [Y]ep. G ROCER B OY : Where’s Miss Simpkins? (Bus. Puts ice in chest) R EDDY : (Points R.) In there, in the laundry room. G ROCER B OY : (Goes to door R.2, speaking into room) Say[,] [m]iss, I’d a brought it over this morning but I forgot. I want thirty-five cents. E FFIE : (Off stage) Allright, I’ll pay you to-morrow. Is that allright? G ROCER B OY : Sure, if you don[’]t forget it. E FFIE : I won[’]t forget. G ROCER B OY : Allright. (Exit door C.) R EDDY : (Leans out window, waves her hand and calls out) Say[,] Fatty, where’d you get the rig? Ah[,] go on, cha[s]e it along[.] E LIZA : (Enters C. door. She is a good-natured looking [N]egro woma[n] of forty or fifty.) Miss Simpkins, Miss Simpkins? Say, where that chile[?] (Sees Reddy) Aw, I don[’]t mean you, I want my chile. (Goes to door R.) (Calling into room) Good morning[,] Honey, how is you this morning? E FFIE : (Speaking from other room) Allright[,] mammy. L IZA [sic]: (In voluble excitement) Honey, I got news for you. Gwine get new landlord today, yes indeed, a new landlord. (Singing) [“]My soul’s a [rock]ing in the promised land, [a]h, ah me, my soul.[”] R EDDY : What’s the matter with you, you crazy? L IZA : Go on away, you brat. (Leans her arm on door talking in to Effie) Yes, indeed gwine to have a new landlord. Comin round to-day. I knows him too. He be tickled to death when he sees me here. I known him when he wasn’t nothin but a dirty-faced brat (laughs). I sure surprise him when he sees me. (Confidentially) Say[,] Honey[,] I’m goin to show him your room, cause it’s the nicest room in the building [–] that is[,] ain[’]t [e]xactly nicest, but am the cleanes[t.] Dem dirty dagoes down stairs ain[’]t no good for nothing, white trash. I[’ll] let you know[,] honey[,] when he comes, so you can spru[c]e up a bit[.] E FFIE : Allright[,] mammy. L IZA : (X to C. to REDDY) Say, chile, you tell me somethin, what you always pestering this lady foh, always hanging round? She’s busy, she ain[’]t got no time to worry with you. R EDDY : Aw[,] go on, cha[s]e it, you. I don[’]t like [n]o colored woman anyhow. L IZA : Who you talkin to[,] chile, I ain[’]t no colored woman. R EDDY : Ain[’]t no colored, – well, what are you? L IZA : I is just a plain black nig[g]er[,] I is. Say[,] chile, you dun tell your mammy clean up her house some, my lan, it surely needs it, and look a here[,] chile, I want to tell you something, don[’]t you ever go out that window no more like you do – out on that fire escape – cause it’s condemned[,] chile – until they fixes it cause you go down. That’ll be all there is to you, now mind what I tell you. (Exit C. door singing – [“]Ma soul’s a rockin in the promised land”.) M R . G RAHAM : (Appears in doorway C. He is a butcher and wears his apron) (Calling) Miss Simpkins, Miss Simpkins? E FFIE : (Answers from other room) Yes, what is it? G RAHAM : (Goes to door R.2) I want to know if you can come over and scrub up the ship to-night? 65

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E FFIE : What time? G RAHAM : Six o’clock. My other [woman’s] sick. It’s worth seventy-five cents, if you want it? E FFIE : Allright. I’ll be over at six o’clock. G RAHAM : You’re not afraid of work, I suppose. If you are, I don[’]t want you. E FFIE : No, I think not, sir. G RAHAM : Well, you’re differen[t] from most of them if you are[n]’t. They tell me you are pretty good though. I suppose you’ll be allright. Come over at six. Well, goodbye. (EXIT C. [d]oor) R EDDY : Miss Simpkins, Miss Simpkins, your dago organ man’s comin back. Miss Simpkins, Miss Simpkins [–] (running over to door) Give me a cent, give me […] play your song if you give him […] cents. E FFIE : Allright[,] dear. (REDDY goes into room, comes back humming and skipping “[In] The Good [O]ld Summer[t]ime”) R EDDY : Hello, dago, – got a dey monk. Aw[,] go on, I’ll give you a poke. Throw you a cent if you play my song. Aw[,] you know [–] (Throws money) Go on, that’s it! (Hand organ begins playing “La Gala Drina”. This instrument must be of the very best class, and skillfully handled for it[s] effect. After a few bars of the song, Effie’s hand appears on doorway above her head, only the hand being seen by audience; as the music plays, the hand slowly drops. The organ plays but one verse, the hand is down. Music stops, pause, enter [– )] E FFIE : (She looks to be a woman of about thirty-five. Is very cheaply dressed. Has a whitish streak of hair on one side of head. Looks very tired. Walks with a slight stoop and almost imp[e]rceptible limp. She carried a bundle of clothes in her arm. There is a half-finished shirtwaist on ironing board. She goes over to it and starts to work on it.[)] R EDDY : (At window L.U.) Say, don[’]t you never get tired of workin? E FFIE : Yes, once in a while. R EDDY : Say, why do you always have him play that song? E FFIE : O, I don[’]t know. No reason in particular. R EDDY : Say, it’s hot to-day? Ain[’]t it? [(]No answer, – after pause) R EDDY : Say, it’s hot to-day. E FFIE : Yes, it is rather warm. R EDDY : Say, do you like to iron? I think it’s rotten. Say, when you goin to give me that half dollar? E FFIE : Oh, I don[’]t know. Do you think the time is about due for it? R EDDY : Yes’m, I think it’s over[due.] (EFFIE finishes the shirtwaist, folds it up, puts it in ba[sket], takes out another one, gets needle and thread, goes to table R. of C. and begins to sew. When Effie is seated, Reddy speaks) R EDDY : Say, what do you do with all them books? (Pointing to books on shelf) E FFIE : (Smilingly) Read them. R EDDY : Say, do you like books? E FFIE : Sometimes. R EDDY : I see you readin um like you like um. Say, I think they are rotten. E FFIE : You do? Sometimes maybe you’ll change your mind about them. R E D D Y : Nope, never change my mind. My pa says books never done nobody no good. I guess he knows. Well, [I’m] going home. E FFIE : Reddy? 66

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R EDDY : Yes’m? E FFIE : Come here. R EDDY : Yes’m[.] (Goes over to EFFIE) E FFIE : (Puts her arms around her) Your face is dirty. R EDDY : I know it. E FFIE : (Taking REDDY tenderly in her arms, wiping her face with handkerchief) I won[’]t love you any if you don[’]t keep your face clean. R E D D Y : Aw yes, you will. That’s what you said about my slang talkin but you do just the same. E FFIE : (drawing her closer) Yes, I guess I do, dirty face, slang and all. R EDDY : G[u]ess that’s cause you know nobody else loves me. E FFIE : Now you mustn’t talk like that. There’s your mother and your father. R EDDY : Aw, nixie, they got too many, can[’]t spread it round to all of us. E FFIE : Oh yes they can. Maybe nobody loves me either. R E D D Y : (with confidence) Aw, I bet somebody does. Say[,] you’re funny, you know that? E FFIE : (Playfully) Well, I’ve had my suspicions on the subject but why in particular? R EDDY : Aw, cause. E FFIE : Just cause? R EDDY : You ain[’]t got no brothers or sisters or nobody. E FFIE : No. R EDDY : And no husband or feller, or nuthin. Guess that’s why you like me. E FFIE : (Kissing her) So you’ve reasoned it all out. Dear, dear, aren’t you the wise one[?] R EDD [ Y ]: Aw, I am pretty smart, allright. E FFIE : If I gave you a half dollar, what would you do with it? R EDDY : (noncha[l]antly) Spend it. E FFIE : What on? R EDDY : Oh, different things. E FFIE : Would you spend half of it on your mother? R EDDY : (Doubtfully) Yes, I guess so. (Very decisively) I won[’]t give pa none though. E FFIE : (Gives her hal[f] dollar) Well, go home and wash your face and you can have it. R E D D Y : Fifty coppers. O mama, ain[’]t I rich? Yours truly, I’ll member you when I get rich. E[ F ] FIE : You think you are going to get rich? R E [ DD ] Y : Sure. Well, goodbye [–] (starts down steps) I am goin. Say, (stops) I’ve got a funny joke. You know that [tow]headed woman that lives in the flat under you? E FFIE : Yes. R EDDY : Her husband’s a barber. E FFIE : Yes. R EDDY : He ran off with a dago woman last night, and she’s been car[r]ying on like she was crazy ever since. She makes me tired. I wouldn’t care a […] about no man, at least no red-headed barber. E FFIE : Now, you mustn’t talk like that. Is she down stairs now? R EDDY : Yep. Why? You goin down to see her? E FFIE : What makes you say that? R EDDY : Aw, you’re always [d]oin them kind of gags. Well, goodbye. (Reddy runs to window L.) (EFFIE bends over her work) [R EDDY ]: I got a half dollar, I got a half dollar – (She is in window when EFFIE looks up) E FFIE : (anxiously) Don[’]t use that fire escape. 67

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R EDDY : Aw, skidoo eighty-eight. I got a half dollar. I got a half dollar. (Exits onto fire escape through window L.U.) (EFFIE puts shirtwaist on which she is working into basket at foot of board, covers it up, puts on hat, takes up basket, an[d] starts to door C.) A LBERT : (In hallway outside) Well, you haven’t forgotten me then, Liza? L IZA : (Outside) Yes, indeedy, I know, [j]ust don[’]t you ever think I’d forget any of them Hollys. I’d a known if I’d never seen you before. Me forget a Holly? Go on away from me[,] chile. Don[’]t pester me like that. (EFFIE upon hearing Albert’s voice, drops basket, starts R. Slams door as she goes L. As she get L. of door, the door which does not catch, swings slowly open. As it gets nearly back to its rest, she again starts to close it when there com[e]s a loud knock at the door.) [(]It is sunset and red lights fall through the window.[)] L IZA : Miss Simpkins, Miss Simpkins, there’s the landlord here looking over the rooms. ([A]t this EFFIE looking anxiously right and left steps quickly out the window on to fire escape, looking back into room.) L IZA : I guess she’s in the other room, and can[’]t hear us. Well, that’s allright. Come in. The door is open. (Liza enters followed by ALBERT. Goes to door R.) No, she ain[’]t here. I guess she’s gone next door. She be back in a minute. A LBERT : (Looks to be a man of about forty. Somewhat changed in manner. Decidedly quickened in actions and speech, – practical and business-like) Cleanest place that you’ve got. This is. What’s her name? Who’d you say lived here? L IZA : (R.) Miss Simpkins, that’s her name. Yes, ind[e]ed. Mighty fine lady, too. She ain[’]t no white trash like the rest of them. Ain[’]t no gad about her. Ain[’]t no monkey business about that woman, no indeed. She don[’]t bother nobody, and don[’]t nobody bother her, I can tell you. A LBERT : Is that so? Well, it’s pretty hard luck to have to live in this place, if it does belong to […] shame. Dam shame. Human beings have to live in such a hole. L IZA : (laughs uproar[i]ously) Say[,] boy, you said that just like you daddy. My Lor, [c]hile, does me good to see a white Suthern gentlem[a]n down here where I don[’]t see nuthin but white trash. All crazy, crazy as beg bugs [sic] every one of them, all crazy bout money, that’s what’s the matter with em. A LBERT : (Busy with note-book, taking out papers) (Good naturedly) You ole black rascal, you, what you talking about? L IZA : I’se talkin bout you, Albert Holly. I say youse a mighty fine lookin man you are, just like your daddy. A L B E R T : (Who has looked around room, taking notes) Go on now, you can[’]t give m[e] none of that soft talk. Want me to raise your wages, I guess. L I Z A : (Laughs loudly) No sir, [n]o siree, I know I don[’]t have to ask you for nothin like that cause you goin to do that anyhow. I dun dreamed that last night. I[’]se gwine to get ten dollars more every month. A LBERT : You did, did you? Well, I guess your dream’s come true. I wonder if this lady will mind us walking in like this when she’s not here but I want to see all my tenants. I’m going to give them all three month[s] rent free. L IZA : What’s that? A LBERT : Yes sir. Free rent until I get it fit to live in. Why[,] this hole isn’t fit for cattle[.] (with sudden emphasis) It’s a dam shame, dam shame. (Writes note on paper) What’s the matter with that woman that was crying down stairs[?] What’s the matter with her? She crazy? L I Z A : Mighty neah. Say, her husband done ran away from her with another woman. Low down trash. 68

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A LBERT : What’s the matter with him? Didn’t he LOVE her? What’s the matter with men now-a-days? L IZA : Ain[’]t no good. That’s what’s the matter with them. A LBERT : It’s a dam shame. L IZA : What you talking bout[,] [m]ister? You never got married none? Youse a funny man. All the Hollys great on marryin ce[p]t you. A LBERT : (In good natured[,] off-hand manner) I never could get the right one, Liza. L IZA : [Go on,] chile. You can get any of them, you can. A LBERT : I never saw but one woman, Aunt Liza, that I’d give a snap for and I didn’t have no sense. L IZA : Wh[y] didn’t you marry her then[,] [c]hile? A LBERT : Why didn’t I marry her? L IZA : Yes, that’s what I said. A LBERT : Because, because [–] (with emphasis) I was a damned fool. L IZA : Why don[’]t you do it now? She done tied up with somebody else? A L B E R T : Aunt Liza, I never saw her since [–] (rises quickly as though to change subject) Well, I want you to post these up where everybody can read them[.] (giving her notices) I won[’]t wait to see [this lady.] L IZA : Allright[,] sir. (Starts to door) (Organ grinder is heard very faintly playing “La Gala Drina” in distance. Albert stops. Listens. He is standing above table with leather pocket book in his hands. Only a few bars of the song are played[.] The book falls from his hand on table[; he] goes quickly in great excitement to window L.U.[)] A LBERT : (quickly, excitedly) Who is that[?] Why[,] that song I’ve never heard anywhere in this part of the world. First time I have heard that for fifteen years. Why if – L IZA : (In astonishment) Say[,] man, what the matter with you[?] A LBERT : (Turning back from window) O nothing, I – , I – (recovering self-possession) You put these notices up. I must be going. (Exits) L IZA : Yes sir, yes sir, I’ll attend to it. (There is a sl[ight] pause. EFFIE appears in window. The room is dim with the evening light. EFFIE is seen distinctly in the white light from the street, which falls in latticed splashes of white upon the floor. She comes in slowly, weakly.) [(]As she gets inside, ALBERT re-enters, goes to table rapidly, picks up pocket book, turns and sees EFFIE in window. Starts toward her, then stops. There is a long pause.) A LBERT : (In hardly audible tone as though wordless under his emotion) EFFIE! ([)Another pause.(]) A LBERT : I KNEW! I KNEW it! E FFIE : (Feebly, crouching in light at window) YOU, you – A LBERT : I knew I was going to find you. E FFIE : (Still crouching at window.[)] NO! NO! A LBERT : (GOING slowly over until he stands rather close to her, – in simple earnestness) Didn’t you know that I was hunting for you? Didn’t you know[?] I don[’]t know what to say, but my God, Effie, I did love you, and I love you now, and I’ve never loved anybody else, and I don[’]t think I ever could, and I’ve been a dam fool, and please won[’]t you forgive me for what I said that day fifteen years ago, and be my wife, and make a man of what’s left of me. E FFIE : Don[’]t, don[’]t, you are talking nonsense, don[’]t. I can[’]t be, I can[’]t! [A LBE ] RT : There is no one else? E FFIE : NO! NO! NO! (She moves a little into the brighter light.) 69

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A L B E R T : (Self-reproachful tone) O, poor little child, look at you. You look near to death from all this sort of life, and this terrible place and work. E FFIE : (Resignedly) I had to work to live. I don[’]t mean […] I mean to live. A LBERT : (In horror) In this place, like this? E FFIE : They don[’]t always let us choose. A LBERT : (with great tenderness) You brave little heart, you told me the TRUTH, – think of it, the truth, and were not afraid. E FFIE : (with sad smile) Yes, when I ONCE BEGAN. A LBERT : And now [I have] found you – (advancing) E FFIE : (Firmly, in quick tones, moving a step out the window) No, [n]o, it’s just the same now as it was then. I’m not the woman to be your wife. A LBERT : No, you’re too good to be my wife – . I followed you, and followed you, and every time just when I nearly found you, you got away from me, but I know all about you. I know just what you’ve done, and what you’ve been through, and even if you had been a million times worse that you were, one little year of the life you’ve lived would have redeemed you. E FFIE : I don[’]t know, they say it’s pretty hard to redeem a – woman. A LBERT : It’s harder to redeem a man. Please won[’]t you take the job? (Music of “La Gala Drina”. While distinct giving effect of being some distance away.[)] A L B E R T : Listen, it’s OUR SONG. It brought me to you after all these years, just think! Please[,] Effie, won[’]t you? I’m trying to do a little good in the world. Look out there, all the dirt and ignorance, and poverty and suffering. They are calling, calling always – for help. Let us do what we can. The gr[eat] battle outside there NEEDS and CALLS for us. E FFIE : Ah, it is a battle, isn’t it, living! A LBERT : Yes, but a beautiful battle. Come! (suddenly, convinced of t[h]e truth) Say[,] you, you made that man play our song. E FFIE : (softly) I, I paid him to. A LBERT : MY WIFE! E FFIE : (Loudly, strongly) NO! NO! A LBERT : (Stronger than first) MY WIFE! E FFIE : (a little weaker) No! No[!] A LBERT : (stronger still) MY WIFE! MY WIFE! (steps forward so he is very close to her with arms outstretched) E FFIE : (very faintly) No! (Goes into his arms) SLOW CURTAIN

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WAR Synopsis The action of the play is set in the American colonies, specifically Massachusetts, New Jersey, and Pennsylvania, in the years between 1775–1781. ACT I In a scene before a country tavern in Haverhill, Massachusetts, Jackson White labours as a “bondman”, an indentured servant who has exchanged his liberty for five years in order to clear debts and to pay for passage to the New World. In a scene which is intended to illustrate the wide variety of colonial views – those loyal to the British crown and willing to submit to harsh British regulations and those whose impatience with the arbitrary tyranny of British domination draws them closer to defiance and rebellion – we hear of the first resistance to British taxation, the “Boston tea-party”, and, later and much more immediate, to the stand at Lexington. Arriving by coach at the inn are several Virginians who will be prominent in the Revolution and, with them, accompanying her aristocratic uncle, Jennie Randolph Graves. Jennie and Jackson White recognise one another. It is apparent that previously, in London, White rescued her from an unidentified sexual predator and that a friendship and romance subsequently developed. Then White, encumbered by debt, disappeared. Now, as volunteers are sought to form a local militia to oppose further British raids, White is among the volunteers, but his owner opposes this wish until other local people purchase his liberty. With other “minutemen”, White marches toward Concord. ACT II More than a year has passed, and now White is a member of George Washington’s Continental Army encamped on the Delaware River in New Jersey. The Army is suffering extreme privation from wintry cold and shortages of food, clothing, and shelter. The men bicker and contemplate fleeing the war zone but are also made aware of the harsh penalties for desertion. Jennie and her uncle arrive in the camp seeking passes from General Washington that will enable them to pass through American lines into Trenton, now occupied by complacent British forces, where the Graves have relatives. The Americans realise that a sudden assault on Trenton will catch the British and Hessian mercenaries unaware. White is ordered to slip into Trenton and spy out the locations of enemy units and then report his findings to Washington. The secret, difficult march on Trenton begins. ACT III SCENE I: In the British military garrison in Trenton, New Jersey, orgiastic Christmas revels are at their height. The setting is the quarters of Captain Robert Cunningham who commands the English forces. The opening carnivalesque action brings a medley of Morris-dancing, a dramatic burlesque of George Washington and his contemptible rag-tag American army, and impromptu dances and songs from drunken officers and local whores. The British expect no action from the colonial forces and intend to mount their own attack across the Delaware River in a few days’ time and thus defeat the remnant of American opposition. Cunningham and his younger cousin, Earl Cunningham, debate the nature of soldiery, Cunningham exulting in the license that war allegedly gives to rapine and savage cruelty. Cunningham’s sensual 71

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brutality is reprimanded by the Earl, who is on the point of leaving to join Howe’s forces in New York. After further displays of English crassness, Jennie is brought a captive into the room, abducted from her uncle’s side at Cunningham’s instigation. Justifying his power and mastery of the situation, Cunningham attempts to make love to Jennie, who resists and expresses contempt and dismay. Earl Cunningham attempts to intervene to protect Jennie, but he is defeated in a sword fight by his stronger cousin and sent, humiliated and powerless, from the camp. At this point White and Jones, another American, both of them disguised as Quakers, enter. White grasps the situation and the danger in which Jennie has been placed. He is confronted with the choice: either effect a rescue of Jennie and compromise his mission to bring intelligence of the British and Hessian troops back to Washington or to complete his mission and so abandon Jennie to rape by Cunningham. After additional humiliations from Cunningham which reveal the extent of White’s love for Jennie and which further whet Cunningham’s lust, White, with Jennie’s knowledge of the nature of his mission and insistence that she be sacrificed to assure its success, departs. Cunningham takes Jennie in his arms. SCENE II: A brief scene on the bank of the Delaware River. Three British soldiers, guarding the Trenton side of the riverbank against American patrols, are stalked and quietly killed by American soldiers. Signalling with lanterns back across to the American side, the Americans give the all-clear to the Continental Army. Washington and his troops, ferrying men and cannons by raft, are seen crossing the icy Delaware. SCENE III: A few hours later in Cunningham’s Trenton quarters. The detritus of the British Christmas celebrations and British officers awakening from drunken sleep establish the somnolent unpreparedness of the occupying powers. Almost immediately there is panic as other officers enter bringing news of Washington’s abrupt thrust into the city. White bursts in to confront Cunningham and to receive from Jennie acknowledgement that he has arrived too late to save her from rape. After an exchange of shots by American and British soldiers who swarm into the room, White and Cunningham fight, Cunningham dying from White’s sword. Jennie is taken into her uncle’s care. ACT IV SCENE I: The year is now 1781. White pays a visit to old comrades recuperating in a military hospital in Philadelphia. The War of Independence has reached a crucial stage with much of New York under British control and Washington’s Continental Army dwindling because there is insufficient money to pay the soldiers’ wages. Whilst visiting, White admits that he is still wracked with guilt for failing to prevent Cunningham from molesting Jennie. He has seen her only once since Trenton. Drums, flags, and military music beneath the hospital windows signal that Washington is rallying his troops for a final confrontation with British forces in Virginia. White leaves to join his regiment as a parade passes in the street. SCENE II: The same hospital room, two months later. White has been seriously wounded in the action at Yorktown, Virginia, playing a significant part in winning the battle, forcing Lord Cornwallis’ surrender, and establishing American independence. Lying in bed, he is visited by Jennie, who has travelled from Boston to see him, and by a comrade who brings a citation from Washington which adds to his battle honours a grant of Virginia land and freedom from his former bond. He asks Jennie to marry and, after some hesitation, at first arguing that she is condemned to a solitary life, she agrees. 72

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War (1906–07) is Griffith’s second surviving play. Griffith recounts in his memoirs that the money he received for performing rights to A Fool and a Girl provoked a fever of writing activity during which he attempted several plays. His wife, Linda Arvidson, recalled that Griffith had written a one-act piece entitled In Washington’s Time, but there is no direct evidence to connect this earlier piece with War. She also recalled joint intensive research into the War for American Independence at the New York Public Library but does not indicate dates when the pair collaborated, although this period is likely to have been sometime in 1906. Griffith appears to have completed this draft of War in the early spring of 1907 and applied for dramatic copyright soon thereafter. Copyright was granted on 17 May 1907. There is no indication that the manuscript was sent to agents or theatrical producers, nor are there later versions of the script which suggest that Griffith was revising his play for eventual production. As a consequence of this solitary script unrealised in production, my observations are based on readings of the script, on what I am able to surmise to have been Griffith’s understanding of contemporary play-making and theatre practice, and on the few biographical facts and contemporary events which help to establish a climate in which the drama was composed. The modern reader of War is likely to view this play as a blueprint for eventual films. Although such a reading is possible, my intent is to limit this brief essay to a consideration of War as an attempt to write a large-scale epic drama, but equally as a drama which, in critical details, bears a close resemblance to his more domestic A Fool and a Girl. Whereas Griffith dramatised elements of his own experience in A Fool and a Girl, he turns in War to popular melodrama set in the period of the American War of Independence. His choice of periods and conflicts is interesting and somewhat perplexing. If we consider the New York theatrical successes in the decade prior to the composition of War, the American Revolution figures minimally. Only three previous plays approach this subject, and only Clyde Fitch’s Nathan Hale (1899) enjoyed a substantial run. Nathan Hale does, however, offer a pattern found in Griffith’s drama: a well-bred American heroine oppressed by a loutish British officer and gently courted by the American patriot Hale. As in War, Fitch’s melodrama offers a cruel choice: betray the Revolution or the heroine, do one’s public duty or meet private responsibilities. This configuration of heroine, American patriot, and enemy villain and the moral and social choice between the lesser of evils or between the public greater good and the private individual can be found in any number of contemporary plays. It is not particular to Fitch and/or Griffith. Nevertheless, far more popular than dramas of the American Revolution were plays set in the American Civil War, only 30-odd years in the past, and – even more popular – plays set during the recent Spanish-American War. Griffith chose not to follow the well-beaten and more remunerative path. What is therefore likely as an inspiration, if not a source, for War’s subject matter and actual staging is, not a drama but a pair of paintings. In 1897 New York’s Metropolitan Museum of Art had accepted the gift of Emanuel Gottlieb Leutze’s Washington Crossing the Delaware (1851). This iconic American history painting depicts General George Washington standing upright in a skiff as he and his Continental Army cross the frozen Delaware River to surprise the unwary British at the Battle of Trenton on 26 December 1776. Significantly, Leutze eliminates other important American political figures and military heroes who were distinguished combatants at the same battle: James Madison, James Monroe, Aaron Burr, Alexander Hamilton, and John Marshall. Significantly, none of these men, two of them future American Presidents, is present in Griffith’s play. Moreover, in the brief Scene 2 of Act 3 which ends with the tableau of Washington and his forces crossing the Delaware by raft, Griffith partly “realises” Leutze’s iconography, clearly referencing, but perhaps not explicitly duplicating the painting. Further, Griffith on several occasions – the parades which end Act 1 and Scene 1 of Act 4 and the British parody of the Continental soldiery – realises another 73

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American iconic painting, Archibald Williams’ The Spirit of 1776 (1876), in which a trio of ragged American patriots are depicted marching resolutely with an anachronistic “Betsy Ross” flag, a drum, and a fife. Thus, clumsy as War is, it reveals Griffith’s theatrical sense: an ability to grasp the importance of the end-of-act tableau, a capacity to visualise a stage full of moving and grouped actors, and an understanding of how to move between large-scale action demanding a full stage and brief-but-significant scenes which are staged “in-one”, that is, downstage in front of the act curtain. What links War to A Fool and a Girl are two overriding characteristics. As with Griffith’s earlier play, his cast size is again vast, calling as it does for more than 40 speaking roles and allowing little opportunity for actors to “double” in multiple roles. Additionally, Griffith specifies numerous supernumeraries, many of whom can be doubled, but whose costuming and hand properties would nevertheless make extravagant demands on any theatrical wardrobe or armoury. In concept and in this draft, War requires a conspicuously expensive production. Were War to have been commercially produced, Griffith would have been set the task of simplifying his cast. He would have been obliged to reduce the first and second acts, both stuffed with research but neither act offering much dramatic incident – only the arrival of messengers. Even more significant as a link between A Fool and a Girl and War are Griffith’s characterisations of his hero and, more so, his heroine. Both dramas enact encounters between idealistic men and the women they love – women who must be abused and damaged, physically as well as mentally and emotionally by privation, war, rape or prostitution, and penury. The hero, too, is chastened and suffers far more verbally than the heroine, but it is the heroine who is truly beaten down and sanctified by her suffering and purged of sexual contamination before the couple can repair their differences and end their painful estrangement. David Mayer

WAR A DRAMATIC COMPOSITION IN FOUR ACTS. BY DAVID WARK GRIFFITH

Persons in the play Jackson White, – a bondman Silas Jones; Caleb Sawyer; John Berry; Samuel Snowfall; Willie Beerbug; Farmer […]ills and [f]amily 1st Farmer and family 2nd “ “ “ . Old Sitkins; Pat Mulley; Mr. Rolf William Fairfax Alexander of Nominee Carter of Virginia Mr. Randolph Graves Old Lady, – coach passenger Old Man [, –] “ “ . Fat Man [, –] “ “ . Tall Man [, –] “ “ . His Excellency, [–] General George Washington, – Commander-in Chief of the Armies of the United Colonies. 74

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General John Sullivan of the American Army Colonel William Washington of the Virginia Cavalry A.A. Aide to General Washington; Aide to General Sullivan 1st Express, William Hall; 2nd Express, Frederick Kent; 3rd Express, Jim Williams; Wagon-train Express: 1st Hospital Orderly; 2nd Hospital Orderly; Drill Sergeant; 1st American soldier; 2nd American soldier; 3rd American soldier Old Soldier Dr. Fields, American Hospital Camp Captain Robert Cunningham, – In His Majesty’s Service Lieut. Earl Cunningham of Howe’s Own Lieut. Rodney, English [L]ight [D]ragoon Lieut. Pinkney, “ “ “ . Lloyd Head, – of the British S.S. Reed, – a Tory Balcom, – a thug 1st British soldier; 2nd British soldier; 3rd British soldier 1st violin of Impromptu Orchestra at British Burlesqueing [sic] Burlesque Washington Jennie Randolph Graves, – of Virginia Mrs. Jones 1st Nurse, American Hospital Corps . 2nd “ “ “ Old demi-monde; Bess; Charity; Millie; Becky: New England farmers, Mechanics, workmen, New England farmer girls, Coachman, coach Boys, – American soldiers, – American Drummer boys, – French soldiers, Drum Corps, Military Band, – Standard Bearers, – American Civilians, Accordionists. Chorus, Impromptu Band, British Officers, British Camp Followers, and Adventurers, Men and women army rif[f]-raf[f], Impromptu Orchestr[a] Burlesquers, Dancers, Servants. ACT I

“A Day in Old New England” Haverhill, Massachusetts, April 19, 1775. ACT II Washington’s Camp in the Jerseys, near the Delaware. Night, – December 22, 1776. ACT III SCENE I – Captain Cunningham’s quarters, the “King George” Chamber of the “Red Fox” Inn at Trenton. Night, – December 24, 1776. SCENE II – British Outpost, Delaware River, the next night. SCENE III – Same as Scene I, a few hours later than Scene II. ACT IV SCENE I [–] Conservatory ante-room of the Schuyler House[,] Philadelphia. Later part of August, 1781, morning. SCENE II [–] Same as S CENE I, – two months later.

ACT I “A DAY IN OLD NEW ENGLAND” This Act represents the passing of an entire day from early morning darkness until night, – in the village of Haverhill, Mass.[,] April 19th, 1775. 75

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R. is a reproduction of an old New England Inn, – the “Palaverer” Tavern. Either side of front door is a great tree, in the spreading branches of which, a platform or balcony is built, connected by a footbridge with the second story of the Tavern. There are also steps to the Balcony running up the side of the Inn from the ground. There are tables and chairs on the bal[c]ony where food and drinks are served. Also tables and chairs beneath this balcony in front of inn. Lower part of inn is a wooden bench set against the wall. Two doors set directly against each other – one supposed to lead to the drinking-room, – the other to the Inn proper. In front of tavern, a swinging sign reading – “Palaverer” Tavern, – formerly the “Sun” Best Ale and Beer under the Sun [“]This is the bird that never flew, This is the […] that grew, This is the ship that never sails, This is the can that never fails.” Extreme R., a [m]ilepost of red sandstone with the inscription – “Post Road – Boston 34 Miles thereabouts –” [“]Samuel Snowfall.” Milepost is against Tavern. L. is a house with steps leading up to the second story entrance. Above doorway a signboard, – “Mrs. Jones takes in boarders, – ditto Mr. Jones”[.] Beneath this is a barber-shop with sign boards at random, viz: – “Ye signe of James Dandy, Barber” “King George Water, – Pink and Rose Hair Powder, – [”] “Hemmet’s Essence of Pearl for the teeth” – “Elixir Magnum Vitse”. “He also mends and covers old umbrilloes [sic] and sells sticks for ditto. Ladies may be supplied with all sizes, so small as to suit misses of six or seven years old as low as eight shillings in a piece. He has oyl [sic] cloth and near-jointed ditto for men. Also he mends instruments of music. Also he teaches the voice.” At back is an old-fashioned house in front of which is supposed to be a street running across stage. The act opens with the ordinary, sleepy atmosphere prevalent then as now in Haverhill towns whatever name they may happen to bear. CHARACTERIZATION T HE B ONDMAN was imagined as representing the state of bondage as a general condition, – afterwards awakening from the sullen[n]ess, spite and hurt of bondage into a better life by the touch of freedom. Practically, he is merely one of the many men of education and good family, who through some stroke of fate, came into the American Colonies as indentured serving men. J O N E S , – a man of good sound sense and princi[ple] whose little knowledge has been picked up from newsp[a]pers and experience. While he should carry the general New England characteris[t]ics, which were just as plainly marked then as now, – in his case, – not quite so strongly brought out as in Sitkins and the farmers. All the New England characters use practically the same tonal peculiarities as though in a modern play, – these peculiarities being commented upon in the diaries and correspondence of foreigners visiting New England then, – as they would be to-day [sic]. 1 S T W A T C H M A N : (off stage, calling in long, drawn out tones) Four o’clock in the – morning – and – all’s well; four o’clock – in – the – morning – and – all’s well; [f]our o’clock – in – the – morning and – all’s well. (Each call grows fainter) (On the stone stoop in front of the first house L., is seated a fat, round-faced, old watchman of about fifty. He has heavy eyebrows, is bald on top of head, hair growing on the sides and at the back, and is tied in a cue with a green ribbon. His clothes are of very inferior quality of 76

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brown homespun, his coat being much too large for him. His lantern is beside him, and he is sleeping, emitting occasionally a stentorian snore. After 1st Watchman’s call is heard, there is a short silence. Then enters from R.U., Silas Jones and Sawyer Jones [sic]. Silas Jones is dressed in worn brown with a large patch in back of coat, but of same color as coat and neatly patched. He has one very plain, white armlet from shoulder to wrist, the other he has lost; he wears no stock; loose brown stockings, and plain shoes with small buckles. He wears a very old, dilapidated, scrawny, gray wig powdered carelessly with white, and wears a worn beaver hat with low crown, and very broad brim. Sawyer Jones is dressed in a similar costume of gray. He wears hi[s] own hair, which should be dark brown and thin on the top, tied in the back with a green ribbon. He wears a three cornered hat of dark green with worn ribbons across the top. They are both fairly well drunk, and stand at foot of steps leading up to first house L.) SILAS JONES: (with maudlin sentiment) Home, – home – (gestures with hand indicating house) S AWYER J ONES : (same tone) Do you know sumthin? J ONES : No. What? S AWYER J ONES : I feel – I feel – like singin a song. J ONES : No, no (holding up his hand in mysterious fashion and with great emphasis) no more songs. Sung nuff songs. You know sumthin? You got ter go home with me – my – my – wife’s at home. S AWYER J ONES : (Holding on to post on one side as Jones stands leaning on the other side) A-a-h, – ah, – wife. J ONES : Ah – (repeating Sawyer’s tone) wife, – you – you never seen my wife. She’s a smiling complecshun [sic], my wife – my wife (with sudden emphasis, loud tone) sweetest woman ever lived. Come on, you – you go home with me, – we go to sleep, – my home – my wife. S AWYER : No – goin nuther way – back – preacher’s ordination and – preacher’s rum. J ONES : You know sumthin? Parson’s rum’s – grandest rum, – grandest rum – come – we go home[.] (takes Sawyer by arm, going up steps) Come on[.] (knocks loudly with knocker) My – wife, she’ll be so – so glad to see you and me, – my wife’s the sweetest – the most smilin complecshun. S AWYER : (sentimentally) Home at last! Home! J ONES : (with enthusiasm) You know my wife’s the dearest – the sweetes[t] – (Window is raised in house 2nd story, and Mrs. Jones in white night gown and four cornered[,] immense red night-cap, pokes her head out the window) M RS . J ONES : (She is large and fleshy, about fifty; in stern tone) Who’s that knocking down there? S AWYER : Wife. (Holds up right hand, weakly making effort [t]o look up) Wife – J ONES : (puts Sawyer’s hand down; in very sweet tone) It’s me. M RS . J ONES : (More sternly than before) Ah, it’s you, is it? Well, what do you want? J ONES : (mildly) I – I want to go to bed. M RS . J ONES : (with great vindictiveness and sarcasm) You want to go to bed, do you? Nice time to be coming home. Where’ve you been? J ONES : (Making bold effort to seem sober) New pastor’s ordination – Stubberfield – then – to – Liberty Meeting and, and – I want to go to bed. M RS J ONES : (In great indignation) Well, you can go to bed on the ground, you don[’]t get in this house to-night [sic], you and your drunken – loafing – and that green-plume raccoon you got with you[.] (shaking finger at Sawyer) Oh, I see you, – you needn’t hide your head, I SEE YOU. I think I would hide my head. S AWYER : (Holding on to Balcony, weakly, but with indignation) I’m – I’m NOT hidin my head. 77

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M RS . J ONES : You, and your RUM drinking ordinations, and your Liberty Meetings, you, you, YOU[.] (each one louder and stronger than the other) Goodnight. (In a final outburst and wrath of indignation, slamming window down) S AWYER : (After short pause) My wife, goo-night [sic]. J ONES : (earnestly) No, no, not your wife. My wife, – MY wife. S AWYER : (dramatically) MY wife, – your HOME. J ONES : (with stern dignity) No, no sir, MY WIFE, – YOUR home. S AWYER : (resignedly) Allright [sic]. Goo-night. (Lays down on porch) J ONES : Goo-night. (They fall limply down on porch and go to sleep) (Another short pause, and then 1st watchman is heard) 1 S T W A T C H M A N : Daylight – and – all’s well. (he comes on stage as the dawn begins to appear, and goes slowly off calling) Daylight – and – all’s well. (Again there is silence for a time, while gradually the stage is flooded with the light of day. When lights are full up, the watchman who has been asleep on steps, suddenly wakes up, and calls lustily, [“]One o’clock in the morning and all’s well[”]; then quickly realizing his mistake, calls – “Daylight – and all’s well[”]; puts on his hat, gets lantern, exits, quickly calling as though to make up for lost time – “Daylight – and all’s well; Daylight and all’s well.[”] Exits R.U. Willie Beerbug enters from L.U. Comes lazily down the stage, yawning and giving indications of having just gotten out of bed; he wears no coat; is dressed in [F]armer Brown costume in a decidedly dilapidated condition; he is under size, and has the face of an habitual drunkard with red nose, etc. He is putting on his waistcoat in a sleepy, slow manner as he comes down stage, he looks up at tavern, sees that it is not open yet, and grunts disappointedly, then sits or rather leans on the fence, looking up at the tavern; directly the tavern window opens to the R., then the one opening on the tree balcony, and Samuel Snowfall puts his head out of the window.) W ILLIE B EERBUG : (laconically calling up to Snowfall) Good morning. S AMUEL S NOWFALL : (dressed in black smallclothes; white and red waistcoat, white shirt without wristlets; white stockings – wears own hair powdered white [–] with affectation of cheerfulness common to al[l] barkeepers of all ages, – looking down) Well, if it ain[’]t Willie Beerbug. I’ll be ready for you in a minute, Willie. (Opens the windows down stairs from inside, opens door and comes on stage) Fine morning, Beerbug. W ILLIE B EERBUG : (offhan[d] colloquial tone) Yes – pretty warm. Got sort of thirsty. S NOWFALL : Well, come right in. (Both exit into inn) (A boy of seventeen or eighteen comes out of inn with a harness on his arm, goes slowly X. to L. A woman comes to pump L.U. and draws a bucket of water. Enter Farmer Jeb Wills and family[;] Wills enters first. He is thin and angular and is roughly dressed in the coarse brown homespun of the day. His course hair is tied in back with string. He is barefoot, carries shoes in han[d] with socks stuffed inside shoes. He is closely followed by his wife, also thin and angular, awkward, does not wear hoops[;] cheap sear-sucker faded dress falls clumsily around her; also barefoot and car[r]ies shoes) F ARMER W ILLS : (Calling off) Come on[,] ye pesky lazy bones. (Enter two daughters about eighteen and si[x]teen, and a boy of thirteen or fourteen. Girls wear hoops very awk[wa]rdly made, and over them white sear-sucker skirts with flaring stripes, pantelettes [sic] of white with ruffles on bottom; hair is pompadoured in ludicrous imitation of prevailing style. They are also barefoot carrying shoes) 1 ST [G] IRL : (in na[s]al drawl) Neow [sic], everybody’s up and see us barefoot. Why didn’t ye – ye let us put em on before? (They all sit on curbing and deliberately put on stockings and shoes) 78

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F ARMER W ILLS : (with indignation) Ya-as, and wear out all that shoe leather. Nearly all out neow. No sir. Nobody see you here mount to anything. (Window opens in the Jones house up stairs, – then directly the door) M R S . J O N E S : (enters, stands on stoop, to Jones and Sawyer still asleep on porch) Come, get up, get inside the house[,] you night birds, you boozers, come on, come on now. (Jones and Sawyer rise sleepily, and Mrs. Jones pushes them inside the house) (Two men go from R. to L. with spades on back, saunter off stage. Farmer Brown and Miller enter on balcony from inn. They are dressed in conventional Farmer Brown costume, [B]rown wears coat. Snowfall brings them rum. Farmer Wills and family now have on shoes. Beerbug enters from inn wiping mouth, sits on bench) F ARMER W ILLS : (to family) You go on in town, and wait for me et the store. M RS . W ILLS : We be waitin. (starts [t]o R.U.) F ARMER W ILLS : Got to see a man here on business[.] (Goes into Inn[)] (Family exit R.[U]. Beerbug follows Farmer Wills into Inn. Another family enters on horseback, all on one horse, in farmer saddle. Thin[,] weazened [sic] man of forty; wife very plump. Farmer holds a boy in front of him, boy holds large package wrapped up in newspaper; wife behind farmer holds a child of five or six in her lap. Farmer stops, looks at Inn for a moment contemplatively, then says “Giddup”, and they exit) S NOWFALL : (In doorway, calling) Jack, Jack, – where’s that Jack White? (BONDMAN enters slowly from R. below inn. Dressed in rather tight-fitting leather trousers, Indian style and moccasins. Rough woolen shirt, open at throat, arms bare from above elbows. Wears a wig, supposed to represent his own hair, which is unpowdered, and caught at back with black ribbon) S N O W F A L L : (in great anger) What’s the matter with you? Here I am busting my bellows yelling for you. Why don[’]t you come when I call? B ONDMAN : (sullenly, yet more in indifference than anything else, taking Snowfall’s vulgar tone) Well, ain[’]t I here? S NOWFALL : Yes – after I’ve been yelling here for an hour. Hurry up – get some wood for the kitchen. Pike along now, pike along. B ONDMAN : (slowly and indifferently X’s above inn[)] Well – ain[’]t I piking? (Exits) S NOWFALL : Well, of all the lazy loafing culls – that was a fine bargain when I bought you. Wish I’d bought a nigger instead. F A R M E R B R O W N : (from balcony) I told you, Sammy, I told you he wasn’t no good. You ought to bought a nigger. Niggers is best cause you can knock their heads in with a club, an[d] if ye beat [t]hese white polecats, they get the law on ye. (Berry enters with ox-driver in solid wooden-wheeled tumbril cart, hand made, very rough, one or two oxen drawing it; he is dressed in leather trousers, buckskin waistcoat, plain shirt, rough stockings, moccasins, home made cap.) B ERRY : (To oxen, jerking lines) Gee, haw there, gee, whoa, whoa there. (Calls to Snowfall) My there, Snowfall, Sam SNOW – FALL. S N O W F A L L : (Coming to door) It’s you, is it? Bout time. (To [B]ondman, off stage) Hey, you, get this meal in the kitchen, shake your bones, now shake your bones. (Bondman enters, goes to cart. Beerbug comes out of inn, sits on bench against [f]ront on inn, wiping mouth, looking wisely on) B ERRY : (Calling up to balcony) You fellows come down and help. (Farmer Brown and Silas Miller come down steps. Bondman takes the first sack in the house. Miller takes a sack on shoulder, then [B]rown, then [B]ondman comes again.[)] B E R R Y : (In loud tone) Take this meal into Jones’[s] [h]ouse, will you? (In low tone) It’s gunpowder, – be careful of it. 79

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B ONDMAN : (In serious voice) I will that. (exits into Jon[es]’s house) B ERRY : (Loud, to driver) Take this load down to the store. D RIVER : All right. (Exits with tumbril cart) B ERRY : (Jovial, lively tone, to Miller and Brown) Well, how are you? (They come down, sit at table R. in frount [sic] of inn.[)] M ILLER : Good enough. I’ve been making the run up north. They whisper there’s great excitement in Boston town. B ROWN : Yes. Don’t mean nuthin, tho. Just talk, nuthin but talk, talk, talk, nuthin else. (Snowfall enters, [s]tands. Beerbug stands close by, looking wistful as they give orders[)] B ROWN : (casually, – giving order to Snowfall) Neat. M ILLER : Neat. B ERRY : Beer for me. (Beerbug stands looking on for a moment, then exits into inn. Barbershop window opens. Then the door swings back. Isaac Dandy comes out on stoop combing a wig. He has shoes with plain buckles, faded pink stockings, trousers of the same, white shirt without wristlets; his trousers are a little large for him and he is kept busy pulling them up over hips. He has a very black Indian hair wig, powdered profusely with powder through which the black hair shows. BONDMAN enters from R.U. with 3 small sticks of wood on shoulder. Goes lazily to the door.) B ROWN : (Calls at Bondman from his chair) Why don’t you hurry? You’re the greatest lazy bones I ever saw. B ONDMAN : (sarcastically) Thank you, sir. Since when do I have to listen to you[?] B ROWN : (astonished) Well, what do you think of that? B ERRY : (Good naturedly) You’re not very well acquainted with work, are you – Jackie-GoSlow? B ONDMAN : (Looks at them, and makes no answer. Gets to corner and turns) A fudge for thee. (exits) (Snowfall brings drinks. Enter Sitkins, an old man, withered and dried up, accompanied by Old Pat. They look almost alike; are about seventy years old. Pat wears bottle green trousers and waistcoat without coat, wooden clogs. Sitkins[,] worn, faded, leather trousers, – dull green shirt and shawl, wooden clogs. Both wear beaver hats and carry canes. Come down to stage) S ITKINS : (In thin high-pitched voice) I till ye, they’s bad eggs. (sits in chair at table) [A]ny man that wears a redcoat’s ah bad egg. By granny, I think there’s goin to be war. P AT : (scratches head, takes a long draw on pipe.) Well, there do be some talk. S ITKINS : Ain[’]t got nobody down there ken talk. Ought to hear Sammy Adams, by granny, he’s the boy. (Beerbug re-enters, – merely holds handkerchief in hand) B ERRY : Pat, they tell me you heard the great speech down in Richmond? Say[,] that was the greatest speech ever made. Tell us about it, Pat[.] P AT : (with brogue) Ain[’]t much to tell. It was like this. (to Snowfall) I’ll take it, neat. There was Mr. Lee and another man, they live down on the other side. They made grand speeches. I’m telling ye they made grand speeches. I don[’]t know jist what they sid, but ‘twas grand speeches: then there was a young lad, he jumped right up where he was sittin, – he had a foine voice. His first name was Pat, – I don’t rickollect the rist of it – he had a foine voice. B ERRY : Yes, yes, – but what did he say? P AT : (scratches head) Well, it wasn’t so much what he sid, as the way he sid it. I till ye the lad had a foine voice. 80

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S ITKINS : (irritably) You’ve done said that three times now. P AT : (with indignant force) Well, he did have a foine voice, an[d] I’d like to see the man dispute it. I don[’]t know exactly what the trible waz, but he looked rale indignant, and he sid, – I don[’]t know exactly what waz the matter, – onyway, he said, far as he waz concerned (very marked[ly]) as for MY part, you are all at liberty to be dead, – loike that – he raised his right hond up in the air, and sid, all of yees (wisely) o – he wuz a brave lad. B ERRY : Aw, that’s Pat Henry you’re talking about. He didn’t say – “At liberty to be dead.” P A T : (with indignation) He didn’t, didn’t he? He said it to their faces; he told them right out, mind ye, he says, says he with his right hand up like that, all of yees, as for MY part, all of yees is at liberty to be dead. (reminiscently) He had a foine voice. B ERRY : (laughs) Well, I must get down, take off my load. (exits) (Beerbug takes hat and cane, starts as though to go home) P AT : (Taking out tobacco box, calling into inn) Bring us some coals[,] Snowfall. S NOWFALL : (from inside) Coming. [(]]3rd Farmer enters on old tubby looking horse, also gentle lookin[g.] Farmer is a medium sized man, ruddy and healt[h]y looking, wife also plump. Farmer holds a boy of nine in front of him, boy carrying a wooden cage with a s[q]uirrel in it. Wife carries a baby in her arms, and a barefoot boy of seven or eight is seated behind her, holding on to her around waist. Farmer dismounts goes into inn. Oldest boy dismounts, leads horse off. 3rd [F]armer passing by people in front of him, – “Good morning”[)] (Beerbug in center looks off L. then back to inn uncertainly, then follows farmer into inn) O MNES : Morning. (Snowfall enters with a small iron pan holding glowing coals and tongs. Jones and Sawyer enter from house, and simultaneously say “Good morning”) O MNES : (laconically) Morning. S ITKINS : (To Jones) Where you – been? J O N E S : (Takes out pipe and tobacco bag, fills pipe) Over Stubberfield. Got home a little late last night. (To Snowfall) Give me a coal. (Snowfall passes them around to all) (Jones puts a coal in pipe) Thank you. (Presses it down with finger) S ITKINS : (Pressing down coal with finger) Yes sir, hottest day I ever se[e] in April. J ONES : It do beat my recollections in Boston. S ITKINS : (wisely) Going to be trouble. J ONES : (who has sobered up) Well, we be ready for it in New England. We got sixty-three men right here in Haverhill, as fine a looking soldier boys as you ever seen. They drill every morning. Young Gimpson who boards with us, he drills. Got a bran[d] new uniform, blue and yellow on the lapels, – his mother made it for him. It fits grand. P AT : (wisely) They’ll [sic] be no war. (Beerbug re-enters, puts on hat, starts to go home again.[)] F ARMER B ROWN : (quickly, decis[i]vely) Well, I should say not. You send up two of them red-coated soldiers, and all Haverhill would swim the Merrimac [R]iver[,] the Merrimac River, and them minute-men [sic], they’d be minute-men, they’d be about a mile a minute running. (Snowfall and Brown laugh) F ARMER B ROWN : Yes, who minds a little tax on tea[?] (Willie Beerbug gets C. and stops, looks at inn, then goes back) S NOWFALL : Yes, who minds a little taxes[?] We have as good government as anybody. A tax on tea, don[’]t amount to nothing. W ILLIE B EERBUG : (Back to inn door, scornfully) Tea, – bah! (Exits into inn) 81

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S NOWFALL : Well, I tell you I think that this drilling of troops does look sort of like treason against the king. S ITKINS : (breaking in) Has anybody seen the new Jest Book, – damn[e]dest, smartest book you ever seen. Just published in Boston, – Joe Miller’s Jest Book. Well, Saturday night, I was reading about it, and there’s a joke in there about a chicken, and when the parson got to that text last [S]unday when he read about the fowls of the air, I h[a]d to laugh right out. (Mr. Rolf, a gentleman of fifty-five, scrupulously dressed with black three cornered hat, black coat and vest, breeches, white stockings, shoes with silver buckles, exquisite manners, ceremonious, stiff and formal. Enters from [h]ouse back) M R . R OLF : (with quick, bright tempo, bows) Gentlemen, I have the pleasure to wish you all the best of health this beautiful day. O MNES : Good morning. J ONES : Good morning, Mr. Rolf. S NOWFALL : Good morning, your honor. M R . R OLF : (To Snowfall) You have reserved me a seat, I hope, sir. M R . R OLF : I thank you. I thank you. S I T K I N S : [(]Putting on company manners) Well, sir, and what do you think will be the outcome of all the stir with the King, sir? M R . R OLF : Well, sir, that is quite too serious a matter for me to answer, sir. We shall soon know, sir, we shall soon know. Of course[,] [g]entlemen, we should never forget our great obligation to the mother country, nor gentlemen, should the mother country forget her duty toward us. We must be reasonable but firm, firm, firm. Gentlemen, we must give her to understand that we must be treate[d] as equals. Gentlemen, I must say I have found a true, plain, honest understanding of the matter here in this good town. (Beerbug enters from inn wiping mouth, stands at door) J ONES : We are all glad to hear you say so, sir. M R . R OLF : Thank you – gentlemen, I wish you a very good day. (exits) S ITKINS : Now that’s what I call a gentleman. Don[’]t see em now-a-days. No geminas [sic], or gollys, or jerichos, or culls and s[u]ch vile loose language. (sadly, shaking head) I till ye things is going to the bad. P AT : (shaking head, still in reverie) He had a foine voice. B ERRY : (thoughtfully, taking another drink) It’s a strange world. B EERBUG (who has started to go home again, but stops, with great earnestness, mysterious, low sad tone) It’s a sad world, sir. Mind what I’m tellin ye. There be some who dispute with me, but it’s a sad world. (No one makes a reply, all shake their heads, he looks off L. then at inn, goes to tavern door, turns in the doorway) I say there be some who dispute me, but mind what I’m tellin you, it’s a sad world. (exits into inn). (Bondman enters, picks up […].[)] P AT : Is it an easy service here, cull? B ONDMAN : As easy as it is to be a dog, sir. P AT : What happened to ye that ye got in this muss[?] Ye have the tong[u]e of better days. B ROWN : (bullying, to show off) But his face suits his name. (Sings) Mud-face, slow-foot, cull of a knave, Blue-face, glum-face, our bond slave. B O N D M A N : (comes down with wood on shoulder) I am a cull, – an indentured gilly, – I know, that – but what are you? B ROWN : (with sputtering indignation) My? Why I am a man, a freeman. B ONDMAN : (quietly) Are you? How’s that[?] I think you and I are about in the same boat. (sneering, sullen, vindictive, insinuating) Yes, I think so, all of you, – you are only here 82

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by courtesy, you are not fit to be free though, – they [sic] real people across the seas would never dream o[f] such as you making laws to govern yourself. No, no, they do that on the other side, – your betters do that – you are good to pay taxes. B ROWN : (in astonishment) Why – why – why you – B O N D M A N : The King’s soldiers should they by chance kill such as you are not even held responsible. They go back to England to be judged by their equals, [n]ot by their inferiors, Americans – like you. You are here merely for their benefit, that’s all, nothing more B ROWN : Why the impudence of talking to me like – I’ll (picks up whip) I’ll give you a good lashing for this. (strikes [B]ondman who has dropp[ed] wood and stands close by the table, Brown starts towards Bondman, lashes him with whip, Bondman takes whip from him, and throws him so that he falls in chair. Brown starts for him again, stops, calls) Snowfall, Snowfall, Snowfall. (The [B]ondman through all this, shows no spirit life, the dead ugly sullenness of bondage he typifies.) (Snowfall enters) B ROWN : Make this blue-face apologize to me. S NOWFALL : (quick temper) I’ll have him one hindred lashes on the bare back. I’ll let him ride [the] wooden horse. I’ll have him – (to [B]ondman) make your excuses to the gentleman. B ONDMAN : (in same dead tone) I’ll make my excuses to hell-fire first. (Picks up long pieces of wood, throws them over shoulder, and exits) S NOWFALL : I’ll have him up at the Meeting to-morrow [sic]. S ITKINS : Very brash young man that. My time with the Gazette. (Takes paper from Beerbug who is seated across table from him) B R O W N : (indignantly) That’s what comes of all your Liberty Meetings, and your treason against the King. There must be a master everywhere. If we don[’]t obey the King, how can we expect our servants to obey us. I tell you, the whole country is going to rack and ruin. The King is a good man, and you can[’]t do without Kings. 2 ND F ARMER : That’s right. That’s just what I say, and here’s to His Majesty, King George. (All arrange themselves co[m]fortabl[y]. Pat leans back against table, smoking; Beerbug in similar position; Brown smoking; Sitkins looks over glasses for a time, busily, then for a time nose in paper, then looks up over glasses.[)] S I T K I N S : (In same nasal, short twangy tones) I see news from Haverhill here. Always like the Haverhill column of the Boston Gazette. Says here that Pastor Makepeace had to speak right out last Sunday to Benomy Simpkins for his r[u]de and idle behavi[or] in the meeting house, such as smiling and larfing and inti[c]ing others to the same evil, – pulling the hair of his neighbor, [E]lizabeth Mullons[,] in the time of public Worship, – such as throwing Sister Penticost Perkins on the ice, it being Sabbath day, between the meeting hows [sic] and his place of abode. F A R M E R B R O W N : Serves em right. Ought to speak right out to em. I heard him, and he looked right at Benomy all the time he was talking to him[.] S I T K I N S : (raising head) Well by Jericho, they’re going to whip Moll Mitchell Friday morning fifty lashes for being a wench, – by Golly, I’ll have to see that. See here the Redcoats parading every day in Boston. By Golly, Paul Revere set up his sign for a dentist – guess the engraving business ain[’]t no good, – [s]ays the London style is to wear two watches. B ROWN : By Jericho, ain[’]t but one man in Haverhill that’s got one. S ITKINS : Says here that Isaac Milton was given sixty lashes down in Maine for courtin t[wo] gals at the same time. B ROWN : Hate to live in Maine. 83

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S I T K I N S : (in sing-s[o]ng voice, reading) Last Wednesday forty-five Daughters of Liberty met at the home of Mrs. Adams. Nothing appeared in their whole conduct but love and festivity. Their entertainment was wholly American, except a little wine. The whole was concluded by many agreeable tunes by the Liberty Sons with great judgement and fine voices. See there’s goin to be a lecture at the Meetin House this afternoon on the Eternalness of Everlasting Damnation. That’s where all the people goin, I guess. Fine lecture, go MY self, – if I wasn’t so busy. (The others have now all fallen asleep. Sitkins leans back in chair, puts paper over face, and goes to sleep himself) G IMPY : (After short pause, runs on stage. He has vivid red hair; wears heavy shoes, green breeches of cheap cloth, white stockings, wears no coat in this act but a gorgeous waistcoat, very old and worn with many colors, white ruffle down the front from which four strips[,] which he has evidently sewed on with care with his own hands, run from each side center, top one a vivid green, the next purple, the lowe[r] half of bright red; shirt of plain white, sleeves coming to just a little below the elbow.) Coach is coming. Coach is coming, – coach. (Immediately there is great excitement. Everybody rushes out on stage. Mrs. Jones and another woman put their heads out window. Two or three people appear on balcony in front of tavern and the stage is immediately filled with people of all classes and descriptions.) M ILLER : (up stage, looking off) It’s Bayshore Will, got the reins. Full coach, boys, – swells too, – here they come. B AYSHORE W ILL (Outside) Whoa, Whoa, – hey, – hey. (Great hubbub, commotion, voices, – and the coach with 4 horses comes on stage, coachman with great flourish drawing the coach to a stop. The coach is full inside, the back piled with baggage and packages. (per note) On top large gentleman and short gentleman. Coach boy drops off seat, opens the door. An old gentleman and lady get out first. Snowfall busies himself helping to open coach door, etc.[)] O LD G ENT .: (neatl[y] dressed in black) Well, wife, we’re at Haverhill. We rest our bones a while. O LD L ADY : (also neatly dressed in dark color, in squeaky voice with much concern) Caleb, – any wolves? Say[,] there are lots of wolves in this country. B ERRY : Law, madam, all the wolves is gone years and years ago. O LD G ENT .: (Looking at tavern) Very pleasing looking tavern. Best under the sun, it says. S NOWFALL : (bowing) Yes, your honor. Will you be pleased to enter[,] your honor? O LD L ADY : (in same high squeaky voice) Sure they ain[’]t no wolves around? (enters tavern) L ARGE GENT .: (getting down steps) It’s a damn hot morning. S HORT GENT .: (who is deaf) This is Haverhill. L A R G E G E N T I said it was a damn hot morning. Eighty-five in the shadows by the thermometer last stop. S HORT GENT .: Yes, that’s the name, Haverhill, – great coaching center. L ARGE GENT .: (In doorway) I didn’t say anything about Haverhill. I said it was damn hot. (Coach boy is holding door open, helping people out) (William Fairfax Alexander of Nominee Carter of Virginia comes slowly out on steps. He speaks with an affected, drawly, pronounced English accent. He has a [N]egro servant, named “Pompey.” He is dressed in red coat which comes several inches below knees in back, is full in the skirts with exaggerated pleats. He has red satin smallclothes with braid of black down sides, white silk stockings caught with two garters of vivid red silk with 84

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silver buckles, one above the knee and the other below. His shoes are of black with immense silver buckles, laced with red ribbon. Stockings have black clocks. Waistcoat of rich cream, elaborately tucked and frilled, soft and rich, instead of being buttoned, it is slashed and red silk ribbon woven through the slashes and laced. Coat sleeves come to just an inch below the elbow, and have very broad cuffs, from the elbow white wrist bands held in place with black ribbon set with golden buckles. He wears an immense emerald thumb ring on each hand. Very high stock of white; has also two very large gold watches with heavy chains on each side of waistcoat. Wears a tall, broad brimmed beaver hat set off with a red cockade. Has a small muff which he carries over wrist by a cord. Negro servant dressed in black with white [s]tockings and a white wig.) C ARTER : Pompey. P OMPEY : Yes sir. C ARTER : Put this away[.] (handing muff) P OMPEY : Yes sir. (taking muff) C ARTER : They have been telling me every day I would need it, and every day it gets hotter P OMPEY : Yes sir. C ARTER : Pompey, it’s hot. (taking off hat) P OMPEY : Yes sir. C ARTER : (takes off wig, showing own hair beneath, fans himself with wig) Pompey, this is Haverhill, – ah, Haverhill. P OMPEY : Thank you, sir. C ARTER : It is different from London[.] (Pompey makes no reply) C ARTER : (turns) I said it was different from London, Pompey. P OMPEY : Yes sir. (Carter swaggers le[is]urely across stage to inn, in dandified fashion, swinging his cane, with Pompey following close behind him) G IMPY : (Comes on quickly from R.2, sees Carter, – they meet face to face[.] Gimpy starts back in astonishment) Well, bless my curly locks. (Carter takes pinch of snuff from box in waistcoat, flips tobacco gingerly from knees, takes out a watch in each hand in a very dainty fashion) G IMPY : My golly, here’s a man got two watches. Oh, gemina. C ARTER : (regarding Gimpy a moment, [X]’s to inn door) Pompey, I should say there were a very large number of asses in Haverhill. (exits) G IMPY : Bless my curly locks, what is it? S N O W F A L L : (To driver and coach boy, busy with luggage) I say, is my harpsichord, – ah there it is, – now we shall have some music. G IMPY : (seeing harpsichord) Oh, bless my curly locks. (driver and boy take harp-piano inside inn, Gimpy follows) (An old gentleman has gotten out on the other side of the coach, accompanied by his n[ie]ce, Jennie Randolph Graves, a young girl of nineteen, and a servant with whom he has been talking, up stage, above coach. He gesticulates during foregoing scene with cane. At this point servant exits, and old gentleman comes down stage) J ENNIE : (She has reddish-brown hair in modified pompadour, clear, fresh pallor, the sought for complexion of that day. She speaks of great things with the confidence of youth, and is virile with the rebellious spirit of the times, impulsive, quick-tongued, and yet the spirit of gentleness. Wears a dress of soft green silk, delicately figured, a soft cape-like cloak with hood of a darker green than dress, w[hic]h drops about half way to the ground and is edge[d] with black silk fringe. A very low crow [sic] of green silk, color of dress. Black 85

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shoes, silver buckles and white stockings; an ornamental chatelaine hangs from waist) Oh, uncle[,] isn’t it the beautiful place? Isn’t it [q]uaint, uncle? (bright, quick tones) Uncle, oh, look up at the tables in the trees, isn’t it the quaint drinking place? Well, I never saw anything like it. M R . G RAVES : (Dressed in rich black, with black stock and white [fall, lace] at sleeves, and silver [b]uckles on shoes. He has a white wig, supposed to represent his own hair, tied in a bag at back) (In a quick, pompous tone) I see it. Comes to a pretty pass if a man has to climb a tree every time he takes a drink. Very rambunctious customs, I should say. (As they get to inn door, [B]ondman who has taken in two or three pieces of baggage, meets them as he re-enters) J ENNIE : (seeing Bondman, in astonishment) You, well, I – Uncle, Uncle [–] (in great excitement) Look here, don[’]t you see? M R . G RAVES : (who started into door, turns) Why, my child – J ENNIE : Oh, don[’]t you see? M R . G RAVES : (in surprised tone) Why, by Jove, this is a surprise. Well, well, sir. I am most happy, indeed I am, indeed. (Goes to [Bondman] in most cordial manner as he speaks.[)] (Bondman receives open hand in confusion) I suppose[,] sir, you live in this neighborhood you – B O N D M A N : (still in slightly confused manner) No, not exactly, I, I – (straightens himself, re-covers self-control, and smiles grimly) I am a bond slave to mine host, Mr. Snowfall of the good tavern here. J ENNIE : (horrified) You are what? M R . G RAVES : I don[’]t quite understand[,] sir, I – B ONDMAN : I am a – bond slave to Mr. Snowfall here, the host of the tavern just as I have said. M R . G R A V E S : (dumbfounded) But that night, sir, you were dressed as a gentleman. You had a sword, – your language – B ONDMAN : (quietly) All borrowed for the occasion, I am sorry to say, sir. M R . G RAVES : (Who in his turn, is now somewhat confused) Well, I am astonished to say the least. I, – I [–] (tersely) Ah, well, of course – ah Jennie, I think you had better go to your rooms. J ENNIE : But Uncle – M R . G RAVES : (peremptorily) At once[,] Jennie. J ENNIE : (to uncle) Yes sir. (To [B]ondman) I hope we shall meet again, sir. B ONDMAN : (bowing slightly) I thank you, lady. M R . G RAVES : (patronizingly, entire change of manner from greeting) I am sure, sir, no matter what your condition may be, I feel under great obligations for the very brave aid you gave myself and n[ie]ce on that eventful night. If there is anything I can do in return, I – B ONDMAN : (in decided, meaning tone) There is nothing at all, sir. M R . G R A V E S : I am sorry, sir. At least, I may thank you again. (Bows stiffly and exits into tavern) (Bondman stands looking off after them) S NOWFALL : (after a moment, at window upstairs) Hurry up, you lazy bones, get that luggage in. B ONDMAN : (in same indifferent tone) I’m getting it. (Takes up luggage and carries it into tavern) (There is heard a dinner bell ringing and a cry of “Dinner, Dinner, Dinner” inside the tavern. The passing to and fro of the people ceases, large number of people that have been seated on the balcony above, go quickly into the tavern) 86

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G I M P Y : (comes out of tavern, and meets Jones, in great excitement, rapidly) Oh Uncle Jonsey, that tall goggle [sic] with all the names and the two watches is going to play the harp. Can I stay and [hear] him? Latest song, just come over from London, – [“The] Banks of the Dee” – the King’s Favorite. J ONES : Better go on home and eat your dinner. (a harp starts up inside tavern playing, [“The] Banks of the Dee”) G I M P Y : Oh, listen, ain[’]t that rambunctious? I don[’]t want any dinner. Goodbye. Bless my curly locks. (Goes inside tavern) (Bondman enters, gets last piece of luggage, and as he starts back into tavern, Jennie enters from inn) J E N N I E : (In earnest tone) I wanted to see you again. I wanted to say that no matter – no matter how unfortunate you may have been, I want to thank you way down deep for your service that night. B ONDMAN : I beg o[f] you, [l]ady – it is not well that they see you talking with me after this fashion. J ENNIE : (earnest, rather quick tone) I am my own mistress, – besides they are all at dinner. You ran away that night before I really had time to thank you. I expected of course to see you the next day. Uncle said he had never seen anything, like, like your bravery, and I thought – well, I wanted to tell you how splendid I though[t] it all, Mister, – eh [–] (hesitates) B ONDMAN : (supplying name) Bondman, – that will answer as well as any. J ENNIE : Some people would make even that a brave name. (There is a roll of distant thunder and stage darkens) Oh, there’s going to be a [thunderstorm]. (Music stops) B ONDMAN : Yes, it looks that way. J E N N I E : How quickly it came up. Why i[t] was as clear as could be a moment ago, and now see how dark it is. (Comes down R. of table, stands by chair. Bondman has stopped on the other side, drops his baggage on the table, and leans on baggage.) Oh, what a beautiful day it has been. The grass was waving on the hills as we came along, just think, a month ahead of its time, an[d] the trees so green, – boh, I think this is a beautiful place, and you – (hesitates, quickly, in change of manner) By what right are you a bond slave? B ONDMAN : (quietly, concerned) By the right of the law, – the law and the powers that be, I suppose. J ENNIE : (quickly, tenderly, with feeling) They are vile laws, and it’s a vile power that makes them. We should have an end to them. Oh, if I were a man, by Jericho, oh pardon me, but I’ve just been to London, and there is so much of such language there. B ONDMAN : You said, if you were a man, lady, – if you were a man, what would you do? (Long, low rolls of thunder, a little nearer. Stage quite dark as though by passing cloud. Thunder rolls occur at intervals during scene, grow a little nearer, then die away again, never loud, always a long, sonorous roll.) J ENNIE : (confidently) I’d change these vile laws that make such things be, – that’s what I’d do if I were a man. (Harp starts again, very soft and low, “[The] Banks of the Dee”) B ONDMAN : You forget you should have to be a freeman to do these things. If you were a bond slave, you would have to obey your master. That is the only law, – the only religion that is given us, – to obey[.] (pauses, smiles) [I]t’s a vast joke, isn’t it, this world – (looks at her) That night – that was quite a beautiful night, wasn’t it[?] J ENNIE : (hardly knowing her ground) Yes, if my memory serves me right, it was. B ONDMAN : (smiling a little satirically) Yes, there was moonlight. You had roses in your hair that I had plucked for you after the danger was passed, and we were together for a time. 87

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Think of the impertin[e]nce of it, I, – a bond slave, asked you for one of the roses, and you from your gratitude, gave it so me after you had – (Jennie looks up) – you gave it to me. J ENNIE : (hardly understanding, quickly, a little piqued) Yes, of course I thought you were a different person. B ONDMAN : (smiles, nettled, yet with brave attempt to hide it) You mean a gentleman. Well, I’m sorry I had it under false pretenses. I shall return it to you. J ENNIE : Return it? How can you? B ONDMAN : (quietly, with self-hurting sarcasm) It might be that I could. Perhaps, – perhaps I have kept it like a Romeo after it was properly faded – housed it in a locket of fine gold set with pearls and precious stones. J ENNIE : (turns quickly) It is not gentleness to mock like this, sir. B ONDMAN : (In light, satirical, rather quick low tone) Pardon me, lady, if I mock, ‘tis but myself. I may at least have that little pleasure. And I – would it be of any interest to you to know what kind of a fool a man can be[?] Well, I’ll tell you anyway. After that night, I builded [sic] me a country of dreams through which I have traveled many a time, a gallant and heroic figure, properly brave and handsome, clothed in scarlet and white, carrying my bejeweled sword by my si[d]e, and wearing always, always his beautiful lady’s favor. Pardon my foolery, but I must show you what a sweetly complexioned gentleman it is, even if he is a bond servant; how once, ONCE he must have been a real gentleman, – some disappointment of LOVE [(]lowering voice in mock sadness) or great sorrow brought him to this pass – you may see all that by the melancholy in his countenance. J ENNIE : Why sir, I do not understand, I am sure I thought no such evil thing. B O N D M A N : (same manner) Pardon me, but I have often beguiled my spare moments, dreaming such moonshine, that you, yes you might think these very things concerning me, if by chance you should ever have come to know me again, so now for my own good, I shall put an end to this moonstuff [sic] for once and all, for I am none of these. I am but a poor, simple yokel, born in America, taken to England where I stole a surface education, and was going to do great things, but I found I could not show off as easy as I imagined, so just to spite the naughty world, I was sold a slave, and I assure you I deserve no pity for I get all that I need from myself. (a little softer) Did I treasure the gleaming red rose you gave me beneath that long past summer night, under the yellow moonlight when together we heard the call of the whip-poor-will from the distance? Did I treasure the faded ashes of what was once a fair, red rose – in a locket of gold set with precious stones? (Back to first tone) No, no, no, – but I borrowed a shilling from my master, thus adding two days to my service, and bought a locket of brass[.] (takes it out showing it) See how it shines, – fastened to a glorious chain of twine string – and now I am very happy hearing the golden music of my own sweet voice – [(…] change) but pardon me, – I must get in this luggage. J ENNIE : (In beginning of this speech, starts to get up as though from indignation, then s[h]e raises her head and looks at him, and smiles an understanding smile to herself. She speaks very softly and slowly, with all possible consideration and tenderness) Wait[,] please, wait, I didn’t mean – I didn’t mean to hurt you. B ONDMAN : (who has lifted up luggage, drops it quickly, and fairly jerks this speech out of him) Who said I was hurt? J E N N I E : I am glad to hear you speak like that. When I first saw you, I though you were a dead man like so many of us in this country – but I rather think you are alive. B ONDMAN : (courteously) Thank you, – but I – (starts as though to go) 88

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J ENNIE : Wait[,] please. (Harp plays very softly and sweetly “[The] Banks of the Dee”. Thunder dies out going into distance, Jennie turns as though listening to the music) J ENNIE : I heard that song the last day I was in London at a place where I also heard superior Englishmen asking in a patronizing way, what kind of people those Americans were? If I were a bond slave, I would not eat my heart out with such idle thoughts of words, I, – I [–] (quickly with some heat) B O N D M A N : (quietly) Pray, what would the little, great lady do, if – she were a bond slave? J ENNIE : (low and intense, with rapidity) If I were a red dog, I’d be the best dog that ever was. If I were a bond slave, I’d be the best bond slave that ever was until I bought my freedom, and then I’d buy the man that bought me, – that’s what I would do. Goodbye. (hesitates, then goes back to old sweetness and simplicity) I didn’t mean to say anything that was wrong, only it hurts me to see men like this. Now I didn’t give the rose to you – my rose is for no bond slave[.] ([B]ondman smiles) But you may keep it as a trust until you meet a certain freeman, bold and not afraid [of] walking a straight path beneath the trees, and when you meet this freeman, you will give him the rose. B ONDMAN : (Looks at her for a time, then earnestly, his manner changes) I will meet this man in a straight road beneath the trees, and I will give him the rose. J ENNIE : I – I leave on the next coach. Perhaps we shall never meet again. B ONDMAN : (very close beside her) Goodbye, goodbye – Lilly Lady. J ENNIE : What – what did you say? B ONDMAN : Lilly Lady. It is a name I have always called you – since that night. J ENNIE : (starts to go) You should not – (Bondman as though moved by an overwhelming impulse, suddenly takes her in his arms and kisses her so that they stand absolutely motionless for a second, she having no opportunity to offer resistance. He releases her, and stands close beside her, looking her in the face. She stands livid with rage, her hands clenched beside her, at last finding her voice, she speaks in a still passion of rage) J E N N I E : You, – you, low, low – you slave – I might have known as much, to give such as you, one good word, – and you show the blood that is in you. I shall call them. I shall have you beaten one hundred lashes on your bare back for this. B ONDMAN : (quietly) You may call them. They may beat me twice a hundred lashes, I would take ten times a hundred lashes for that which I have robbed you of. J E N N I E : (in same tone as before) You shall have them and more. (pause, they look each other straight in the eyes, her voice softens and a half smile is on her face which she tries to keep back) ‘Tis a bold bondman. B O N D M A N : (In a passionate sorrow of repentance) Forgive me, forgive me, Lilly Lady, forgive me, I have thought so much of you since that night, – of your finding me here like this, – oh, I am rotten, [f]orgive me, – forgive me. J ENNIE : I should not, and I will not. Still, you were very brave once[.] (voice softens) Give the rose to the man, – do not let it leave you. B ONDMAN : It shall never leave me, Lilly Lady. (Bondman is standing very close beside her with his head bowed as though in shame. Jennie looks at him for a moment, and says, great pity softens her face) – “POOR BONDMAN!” – [(]she kisses him quickly, and exits into tavern. Bondman stands rigid with clenched hands, looking […] doorway.) [(]Music stops) G IMPY : (after a pause, comes out of tavern) Oh, wasn’t it great? Did you hear that music? Wasn’t it wond[r]ous? 89

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B O N D M A N : (catches Gimpy by coat, lifts him from ground, and throws him in chair, as though beside himself with emotion. Holds Gimpy in chair, and speaks with all possible rapidity, and intensity, so carried away, he does not realize what he says or does) Yes, yes, but what do you know about it, you little empty-headed fool[,] what do you know? You do not hear the glory of the angels singing. You sit here and drink, and eat and guzzle, yes guzzle your little narrow lives away while the world is singing a battle song around your ears, but what do you hear, you, you think you are a freeman, you are not better than I, – all of you, are slaves – with your reverence for your rings, but we’ll have no more of them, I say it, I, I, I, – a bondman that by the everliving [sic] true God, will not be a [b]ondman more, but free, free, free as that storm cloud beating down the sky’s pale blue, do you hear, do you hear, you, you, you! (he throws Gimpy in a lump down on the chair, and exits hurriedly back of tavern) G IMPY : (r[i]ses and arranges his collar with an expression of great aston[ishment] […] (Gimpy goes into house, feeling his head. People come lazily out of inn, exit, leaving stage empty. Willie Beerbug goes to sleep in front of inn on bench) [(]Jones comes out of house at the same time that the Bondman carrying spade and grubbing hoe enters from below inn) B ONDMAN : Mr. Jones? J ONES : Yes, what is it? B ONDMAN : Mr. Jones, – Mr. Jones, – I want to ask you something before I go to the field. J ONES : Well? B ONDMAN : (very quickly, intense) This rumor, this talk of resistance to the King, – do you think anything will come of it, sir? J ONES : I’m very sure something’ll come of it. B ONDMAN : And sir, if it should come to war and America, we – that is if we should win, – how would it be for us, – for men like me, – perhaps it would be better. (with suppressed eagerness) Do you think, sir, it might be different[?] J ONES : It’ll be very different, my lad. You ought to hear the Hancocks talk. It’s the King’s laws, – the law of selling men. By God, they’d sell us all now. It’s got to be put an end to. B ONDMAN : And you think, sir, an end would be put to it if America [w]in[s]? J ONES : (in indignation) Think? Think? Don’t think anything about it, I know it. (There is a distant sound of cannon) J ONES : (Markedly) What was that? B ONDMAN : It is thunder, sir. J ONES : I[t] sounded like – it sounded not like thunder to me. B ONDMAN : Oh yes, the storm has just passed over. I must get to the garden. Thank you, sir, thank you. (exits quickly, business-like) J ONES : (in astonishment) WELL, what’s struck him? (exits into house) (There is a long time pause to indicate the passing of the afternoon, and an empty stage for a moment. Then is heard faintly, as though far off in the distance, lower of cannon, then from afar off, a church bell ringing. Then two women go by with water buckets; people with laden baskets; men with sacks over shoulder R.U. to L.U. as though bound for home. Then 1st family re-enter[s] in same order as before) F ARMER W ILLS : Put off them shoes. 1ST GIRL: Aw now, I don’t want everybody ter see us here. Wait til we get to the crossin. F ARMER W ILLS : Du it rite here. Yu getting tu stuck-up. Du as I tell yer, nobody round now, enyhow, go on. 1ST [G]IRL: Aw noow [sic]. 90

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F ARMER W ILLS : Rite here, I say. [(]Girl sits down sullenly; family also sits, take off shoes, farmer and wife with ludicrous gravity, boy very quick and off-hand; girls very sulky. 1st farmer re-enters on horseback, each one loaded down with bundles, the older people nod with much gravity[,] the two children on horseback grin widely; the boy makes grimaces at them, and pats his own bare feet mockingly. They [X] stage very slowly. Next farmer with [o]x-cart calling [“]Gee there, gee haw, you thick-skull, Gee Bess[”] – exits) 1ST [G]IRL: There, I told you, – everybody in town go by. F ARMER W ILLS : Let em go. (Then 2nd farmer mounted on horse. Each child holds a package in hand, last boy has them strapped on his back, same bus. of solemn duck of head, then exit. Then Farmer Wills and family, carrying shoes and stockings exit gravely in same manner as at first. Mr. Graves and [C]arter come out on balcony. Snowfall brings them drinks. Pat and Sitkins enter going to table beneath balcony, smoking pipes. It is now late in the afternoon) G IMPY : (run[s] on stage, up stage) An express riding this way, – he’s crossing the bridge. J ONES : (enters, stands in doorway with pipe, – to Gimpy) What’s the matter? G I M P Y : I don’t know. A special messenger is riding down the hill for dear life. He’s just turned in the street. He’s shouting something. (Up G. [sic]) Oh, gemina, look at him coming. By Golly, something’s happened, his horse is as white as a blanket of goose feathers. E XPRESS : (off stage, calling) To arms, – to arms, – to arms, – to arms. S AWYER : (up stage) He is crying – [t]o arms, to arms, – Grea[t] God, what ha[s] happened[?] J ONES : It has happened. It has happened. (Murmur of voices in great excitement off stage) E XPRESS : (calling off stage) The British are marching on Lexington – the British are marching on Lexington – TO ARMS – TO ARMS. (people come out on balconies. Cries of [“W]hat is it? What has happened?[”] Mrs. Jones and another woman and young girl in windows[.] Women in windows of houses back of street) E XPRESS : (enters on horse spotted with foam. He has no coat, and wears a wig tied in the back, – very excitedly) To arms, – to arms, – [t]he British are marching on Lexington. O MNES : (in horror, unbelief, astonishment) Yes, yes, on Lexington, – The British, No, No, – Lexington[!] E X P R E S S : (very rapidly, great excitement) Yes, [y]es. Muster your minutemen. I’ve been delayed. God knows what has happened by now. They are going to destroy Lexington and Concord. O MNES : No, no, – not that, – Concord, – Concord[!] E XPRESS : And all stores and powder in the COUNTRY. (dismounts from horse) (Omnes murmur and talk excitedly) E XPRESS : (gives reins to boy who takes horse off stage. Takes book from coat, throws chair from one side, takes table) I want all able-bodied men in this town who care for the right of home and count[r]y to immediately volunteer for service in the protection of New England. J ONES : (goes up to table) Put my name down, Silas Jones. S AWYER : (up to table) Mine too, Caleb Sawyer. ([E]xpress writes their names in book) B R O W N : (quickly) How do you know they are going to destroy the Boston stores? Just because a body of His Majesty’s troops march out of Boston – you think they are going to destroy the whole country. 91

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S NOWFALL : Yes, and what right have you to resist them? Nothing more or less than treason, – treason against the King. F ARMER B ROWN : Yes, (with strength) and you’ll all pay well for it, if you don[’]t be careful, you M[r]. Jones and Mr. Sawyer listening to this hothead, and putting your name down there. You’re putting the King’s rope around your neck, – that’s what you are doing, and he’ll hang you as dry as a red apple. M R . G RAVES : (from balcony, with regretful conviction) They’ll never do it[.] They’ll never do it. They’ll never lift their heads against the red uniform. C ARTER : (comes down steps, in suppressed excitement to landlord) I’m very glad[,] mine host, to see such sound good sense. I am an American, a Virginian, but [British] soldiers have never been beaten, – ridiculous to think of resisting them. E XPRESS : (in loud voice, strong with indignation) God have mercy on us – they’ll destroy Lexington and the whole country if they meet with the same sort of men in Lexington as I find here in Haverhill. (There is another hubbub in the distance) G IMPY : (as before) There’s another express coming. (off in distance is heard the cry of “To Arms, – to arms[”]) G IMPY : He’s riding worse than you were[,] Express, my God, but he’s going it. 2 N D E X P R E S S : (off stage, calling) To arms, – to arms, Battle at Lexington, Battle at Lexington. (people on stage repeat, – [“]A battle at Lexington[”]) J ONES : Great God, a battle at Lexington. G RAVES (in triumph) A battle, a battle, – they[,] they have fought after all. 2 ND E XPRESS : (coming nearer) [TO ARMS, – TO ARMS], – a Battle at Lexington. (sweeps on stage. He is in much worse condition than first express, his hair is untied and dishevelled around face, – he is covered with dust and dirt, clothes torn and bedraggled) (Stage begins to darken) 2 ND E XPRESS : (in terrific excitement) Battle at Lexington, – eight hundred British soldiers have destroyed all the stores in Lexington. O MNES : Yes, – well? 2 ND E XPRESS : The Lexington Militia met them on the green in front of the Meeting house. J ONES : Yes, yes? S AWYER : Well? Well? O MNES : Yes? Yes? 2 ND E XPRESS : The British Officer shouted to disperse. J ONES : What did they do? O MNES : Yes, yes, what did they do? 2 ND E XPRESS : The Americans stood their ground[.] S AWYER : Stood their ground. G RAVES : Good God. O MNES : You hear that? Stood their ground. 2 ND E XPRESS : (shouting) Wait, the Red[c]oats fired on them. O MNES : Fired on them? 2 ND E XPRESS : Yes, fired on them – and KILLED EIGHT. S AWYER : (in horror) Eight killed, – eight. 1 ST E XPRESS : Yes, [k]illed, killed, – didn’t you hear? 2 ND E XPRESS : Eight Americans killed and not – a – single – redcoat. (There is a deep silence) B ERRY : (with deep, ominous meaning, very low) Not a single redcoat. 92

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S AWYER : Not a single redcoat. J ONES : Not a single redcoat. B ERRY : (in a[n] out-break) By God, we’ll show em, – put my name down. John Berry. (It is come night, and lights appear in windows. Messengers light lanterns[.]) [(]Two church bells near at hand, begin tolling clear and strong, then the signal cannons booms [sic] until end of act. Omnes call out, “And mine”, all but Snowfall, Brown, Sitkins, Pat, and three or four others who stand talking among themselves shaking heads wisely. These names are shouted from crowd – Preacher Badger, Nathaniel Eaton, Milchen Whiticher, Ruben Sargen, Ebenezer Griffin, Job Garge, Daniel Lord, Humphrey Nicols, John Barry, Josiah Tessneden, George Marsden, and Silas West.) 2 ND E XPRESS : You’ll march from here – with the minute-men. (exits R.U.) C ARTER : (quickly, standing by [inn]) Pompey? P OMPEY : Yes sir. C ARTER : (loud, quick tone) I wonder what I ought to do, Pompey. P OMPEY : (decis[i]vely, very quick) Yes sir, Yes sir. C ARTER : Very [g]ood advice. P OMPEY : Yes sir. YES SIR. C A R T E R : (with great excitement, very loud) Put my name down too, William Fairfax Alexander of Nominee Carter of Virginia. B ONDMAN : (comes down quickly to Snowfall) Sir, may I – may I go with them[?] S NOWFALL : Well, I like your impudence. May you go? Yes, if you pay me for the five years still due me. B O N D M A N : You know I can[’]t do that. I’ll give you, I’ll give you ten years when I come back. S NOWFALL : You might not come back. B ONDMAN : Sir, I – I – S N O W F A L L : Not another word, – unless you give me the hundred pounds, you stay right here. (Graves makes movement on balcony as though to speak, Jennie restrains him) J ONES : I’ll give you fifty pounds. I’d give more but that’s all I got [–] let h[im] go. S NOWFALL : (firmly) I will not. S I T K I N S : (in excited squeak) Let him go, let him go. Here’s your hundred pounds. (To [B]ondman) You bring me a redcoat, – by Golly, you go free. B O N D M A N : Thank you. Thank you. (goes up to sign, calls name in low voice[:] Jackson White[.] Jones, Bondman and few other men exit) (3 RD EXPRESS , Nathan Williams, is heard calling off stage – [“]Battle at Concord. Battle at Concord.[”)] 2 ND E XPRESS : What’s that? There’s been a battle at Concord. Another express, – another [e]xpress. 3 RD E XPRESS : (off stage) Battle at Concord. (rushes wildly on stage, he has a white handkerch[ief] tied around head which is stained with bloo[d.] His shirt is only a ribbon over his left shoulder, and he is covered with dirt and dust. His eyes are sunken and haggard. He swings a lantern above his head. Calls, [“]Battle at Concord, American soldiers met the British on the green.[”]) O MNES : Yes, yes, – what happened? 3 RD E XPRESS : The British fired upon the American minutemen. O MNES : Yes, yes, and what did the Americans do? 3 RD E XPRESS : They stood their ground and fired back. O MNES : (shouting triumphantly) Do you hear that[?] They fired back, – what then? 93

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3 R D E X P R E S S : Then there was a battle, and they RAN, THEY RAN, THEY RAN LIKE HELL. HUNDREDS, HUNDREDS of THEM LIE on THE LEXINGTON TURNPIKE. B ROWN : WHO? The AMERICANS? 3 RD E XPRESS : HELL, NO, THE BRITISH, YOU [DAMNED] OLD BALDHEAD. O MNES : The British, – the BRITISH. (they go rushing wildly off stage, shouting and gesitculating [sic]. Bells still ringing, and roll of drums. Squad of six men cross stage from L. to R. with muskets and powder horns, then four or five others rush wildly across with lanterns. The Bondman with musket and powder horn over his shoulder comes from Jones’s house. In his left hand, he car[r]ies a lantern. Gets C. looks up and sees Jennie, who had taken lantern from maid’s hand, and holds it up to her face. Bondman starts over towards steps, she comes about half way down the steps) J ENNIE : I heard – goodbye, – goodbye. B O N D M A N : Goodbye – Lilly Lady, – I SHALL ALWAYS REMEMBER. (drops lantern, takes her right hand, kisses it reverently. He is below her on the step) J ENNIE : GIVE THE ROSE TO THE MAN. (signal cannon booms close at hand, then others in distance, then the roll of drums and fife coming nearer. Then a voice off stage – [“]Forward March[”]) B ONDMAN : GOODBYE, LILLY LADY, GOODBYE . (Regiment of [m]inute-men with muskets and powder horns, swinging lighted lanterns, march quickly across. Bondman swings into line with the rest. Women, children and old men in balconies[,] windows and doorways, in silence – tolling of bells and roll of drums.[)] CURTAIN ACT II Washington’s Camp in the Jersies [sic], – near the Delaware, – Nighttime – December 22nd, 1776. Up stage R. & L. are two rough shacks of fence rails, boughs of trees, – covered with straw. Down stage R. partly on stage a rough tent made of sacking which is torn and ragged. L. are two smaller tents, one above the other. In front of tent R. is a [campfire]. [Campfire] in front of tent L. Bleak, barren and cheerless. (At rise of curtain, there is a low mournful wail of wind; fitful flurries of snow, then again a wail of wind. Then is heard faintly the moan of suffering voices pitifully calling, but so faintly as to be hardly more than a suggestion, so that the next wail of wind, blots out the moan completely. The dismal figures around the campfires remain motionless, then as the wind dies down, – again the faint pitiful voices) E XPRESS W ILLIAMS : (dressed in worn hunting shirt, and worn leather coat, sleeves gone, ragged leather trousers, shoes tied up with strips of sacking) (At [c]ampfire L. C. – in low, awed voice) Listen, do you hear? (In opening of act, time between speeches) B ERRY : (dressed in torn trousers, dirty[,] stained, once-white shirt; coat from which lower half has been torn off, feet and ankles tied up in sacking. Taking Williams[’s] pitch) Hospital Camp. (A wail of wind, – voices moaning, cease) E X . W ILLIAMS : (same tone) God, God help em. 94

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B ERRY : (dead, lifeless voice) Hell, help em, – nothing to eat, – no clothes, no doctors, no medicine, – nothing. Ex. W ILLIAMS : (In strong voing [sic] with sudden horror) Saw em carry out twenty – frozen stiff. J ONES : (rough sacking waistcoat, sacking also tied over trousers, heavy worn shoes) Hush, not so loud, – Sawyer’s gone to sleep. B ERRY : (in same dead voice) Watch out, he don[’]t keep on sleepin. How long is it going to keep up I wonder[?] E X [.] W ILLIAMS : Not much longer. Won[’]t be anybody left to keep up on. B ERRY : (same voice) It’s a crime, that’s what it is. By God, we can[’]t stand it any longer. Why don[’]t His Excellency give in now before it[’]s too late[?] We don’t stand any more chance than a pigeon in hell. I’m tired of it all. JONES: (low voice, leaning over towards them) It ain[’]t His Excellency’s fault. His Excellency don[’]t make the things to eat. It’s [t]hat damned go-to-sleep Congress, – politics, nothing but politics, politics and money. I could tell you a thing or two. It’s treason that[’s] starving us to death, – treason and jealousy; they all hate [H]is Excellency, but just you watch him, starve, but hold on; freeze, but keep going. I fought under His Excellency before in the Wilderness – and they think they’ve finished him, but watch His Excellency, – that’s all. E XPRESS K ENT : (who is R. of fire with others) (whispers to Bondman) Jack White? B ONDMAN : (wears tattered old leather trousers, torn moccasins, old handkerchief around head. A coarse, ragged half blanket is fastened roughly around his body which otherwise is naked from the waist up) Well? E X . K ENT : I’ve got something. B ONDMAN : (in suppressed tone) Nothing to EAT, is it? E X . K ENT : (in cautious tone) A piece of raw bacon, – stole it. (reaches in clothes, and gets piece of raw bacon, takes it in his hands, and tears it in two, – does this so that the others do not see him) Be careful, don[’]t let em see. B ONDMAN : (takes his piece, starts munching on it with head muffled in blanket, stops, looks at Jones, goes over to him, in low voice) Here[,] Jones, here’s a piece of hog hide. (Jones takes it eagerly[)] Better cut it in half, save a little for to-morrow. (Jones cuts piece in half, puts one piece in pocket quickly. Bondman takes knife, and cuts his own piece in half) (Williams has been stealthily watching this like a hungry beast. As the Bondman runs his knife through the meat, Williams snatches one piece away from him. Bondman quickly swings around, catches him, and trips him so he falls. Puts his knee on his neck) B ONDMAN : (fiercely) Give it up. W ILLIAMS : (desp[e]rately) I’m starvin. I’m starvin. B ONDMAN : (same vicious[,] hard tone) No. You had your shirt full of hoecakes yesterday, and you stuffed your belly full without a word. We[’]ll div[v]y to the last grain with the square ones, but nothing for your kind. Up, or I’ll cut your throat. (Lifts him to his feet, throws him across knee with elbow jammed in throat in the strangle-hold, takes the bacon from his hand, and throws him roughly from him, so that he falls on the ground) W ILLIAMS : (crawling on stomach toward Bondman, begging piteously) Say, cull, for God’s sake, just a bite, for God’s sake, for God’s sake. I know I was a hog yesterday but I won[’]t do it again, I won[’]t, I’m starving, God help me, I’m starving. B ONDMAN : I’ll beat your pig brains in with this, that’s what you need. (Picks up a stick of wood, then he lifts the bacon up in front of the light, and throws it to Williams) W ILLIAMS : (catches it. Earnestly) You’re as square as they be, Jack White, by God, I won[’]t forget this. (turns quickly with head down, as though hiding the action, munching like a dog) 95

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B ONDMAN : (Good naturedly) Oh, milk the pigeons. (Again the voices moaning, – then the wail of wind, as at first) J ONES : (after pause. Same low key) Jack? B ONDMAN : (goes to him, stands close beside him) Yes? J ONES : I[’]m afraid, – I’m afraid for him. Maybe he’d be better off there[.] (indicating R.) B ONDMAN : (firmly) Keep him here. J ONES : I’m afraid. I’m afraid. See if there’s a decent place at the hospital camp, will you? B ONDMAN : Yes, but it’s no good, I know. (to carrier) Tell them he’s sleeping if they ask any questions. (exits) (Wind increases, – flurries of snow) S A W Y E R : (on ground, has rough piece of sacking over him, raises head up from ground. In horror-struck, feverish tone, but with that commonplace, low, natural, almost off-hand tone common to delirium) Don[’]t, DON[’]T, DON[’]T, – now in God’s name, Don[’]t. J ONES : (in quieting voice) Hush, now, hush, hush. S AWYER : It’s a damn lie. Get me something to eat, and I’ll be allright. That’s all, just something to eat. Ain[’]t you got any heart in your guts[?] You’re like a string of wolves, that’s what you are, all of you. I’m starvin, and you got everything in the world to eat right here, and you won[’]t let me have it. (very earnest, quiet, simple tone) Oh, it’s terrible, terrible, God will judge you some day, you’ll have to answer for this, then what will happen? You’ll have to answer to God. (When he first starts up, Jones has caught him, so that he sinks down weakly on the ground, with Jones kneeling above him, holding him) J ONES : (quieting him) You’ll be allright, old man. You’ll be allright. S AWYER : (in same simple[,] child-like tone) Are you the Doctor? J ONES : Yes, yes, I’m the doctor. S A W Y E R : Oh, I know, you are the man that is going to take me home up in Haver[h]ill; that’s wher[e] my home is. For Christ’s sake, I want to get there pretty soon cause it’s hell to die away from home. (laughs weakly) Ain[’]t that funny[?] J ONES : Now, now – S AWYER : (weakly hums) O doodle doo, O doodle doo, I see em standing in the doors, O doodle doo, And the town is full of fops and whores O doodle doo. (breaks into murmuring doo-oo-oo) J ONES : (consolingly) Now, now, you’re allright. S AWYER : (in same key as before, looking up at Jones) Yes, I’m allright. I’m allright. J ONES : Now, – lay down like a good boy. S AWYER : (in a childish voice) Right across the street from the best tavern under the sun. Ex. W ILLIAMS : That man’s dying. Why don’t you take him to the hospital? B ERRY : Hospital? Hell, – they’ll kill him there. We take care of him here, steal something for him once in a while. Get him over there, God know what’ll happen to him. Got the surgeon to let us keep him here. J ONES : Don’t make any difference anyway. He’s shot through the guts, – and his leg is frozen and rotten from the hip down (with plaintive bitterness) and the bachelor’s son would starve to death anyhow. (Three soldiers lean over inquiringly. In tone of vindictive bitterness as the others crowd around) Damn you, can[’]t you give a man room to die? (To Sawyer, in low tone like one talking to a baby) Hello[,] Sawyer, say[,] Sammy, Sammy – 96

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S AWYER : (same voice) Yes, that’s my name. For Christ[’s] sake, can[’]t you get me a little warm[?] I’ll tell you something. I’m dying, that’s what I’m a doing. (he [breaks] again into the song [“]Oh doodle doo[”], natural, slightly strained tone, absolutely low and commonplace, then a horrible, sharp quick, – [“]Oh, Hell, – Hell[”] – turns out of Jones’s arms, falls on his face on the ground[)] J ONES : (bends down over him) Sammy, Sammy [–] (pauses, looks at him[)] (in low tone) He’s dead allright enough. ([Loses] control of himself) The damn monkey-face fools, don[’]t you hear me? I said he was dead, dead, DEAD, – don[’]t you know [w]hat that means? He’s rotten dead. Get out of my way, I’m going to get out of this. (starts wildly across stage when he meets Bondman entering) B ONDMAN : (quietly) Well? J ONES : I’m going home. (He is beside himself, Bondman catches his hands) B ONDMAN : Wait a minute, old man, – here. What’s the matter? (Long wail of wind) J ONES : They have killed him. Why, it wasn’t yesterday, – now, he’s dead – as – hell. Come here, I’ll show you (takes Bondman in half crazed manner over above body) There he is, – you see, that’s fighting, – it[’]s a brave business, ain[’]t it[?] (very quiet, and natural) You see here [–] (runs hand down over Sawyer’s leg) It’s rotten, all rotten because he kept going when ought to have stopped. You see here, – that’s a damn Dutch [b]ullet tore his guts out. No more fighting for me. (pitifully) He’ll be stinking dirt in just a few minutes, rotten dirt in the ground, – and then what good is it? That’s what I want to know, what good is it then? B ONDMAN : (with gentle strength) Jones, Jones, – don[’]t, that’s not the way. J ONES : (controls himself) I know, I know. B O N D M A N : (quietly) He isn’t dead, – you can[’]t kill men like that. You ought to thank God to the last day he gives you breath for having a man of your blood like this man here. J ONES : (quickly) I know all that but he’s dead now. B ONDMAN : (reverently, in quiet[,] dominating tone) Yes, he died, that other people might live, – do you know what that means? Think, – think of the men who have done that, – well, he’s one of them. J ONES : (braces himself) It’s allright, – it’s allright. We must take him away, that’s all now, take – him – away. O R D E R L Y enters: (calls) Six o’clock – Post number seven – and – all’s well. (sees group, comes down) What’s the trouble? B ONDMAN : There. (indicating body) (Off stage a strong voice is heard, – “Fifty lashes on his bare back for insubordination[”]. As the Orderly is bending over the body, squad of soldiers with Present – [sic] bayonets, and a man bare to the waist between them, orderly carrying lantern in one hand and leather thonged whip in the other, [c]ross from the L.U. to R.U. Officer in command of squad, calls “Whipping Post Number two[”]. Prisoner stops, they present bayonets against him, and he moves rebelliously on) O R D E R L Y : (after a careless, almost rough turning over of Sawyer’s body) Private White, Private Jones, Private Hill, Private Williams, carry this body to the morgue tent. (They salute, take up body so that this action is simultaneous with the stopping of the insubordinate soldier on way to the whipping post. Insubordinate soldier exits just before Sawyer’s body is carried off.) O RDERLY : (exits after body, – calls as he exits) Six o’clock [–] Post Number Seven and all’s well. (Wind again) 97

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(Three of the soldiers who have been sitting on the other side of campfire, rise and beat their arms against bodies with their back close against the fire, standing close together) 1 ST S OLDIER : (to 2nd Soldier) Another one. Your turn next. 2 ND S OLDIER : By God, no, – they won[’]t kill me. 1 ST S OLDIER : Don[’]t be so cock sure about it. (soldiers pass in and out, all with a dejected, worn, sullen expression. A sentry comes to R.U. corner. Has blanket around him and musket over shoulder. He turns and walks back. The 1st soldier moves suddenly against 2nd soldier, and they stand there in silence. The 1st soldier stops rigid, then looks stealthily at the 2nd soldier, very marked[ly] and deliberate[ly], – the 2nd soldier is looking off so he does not see the 1st soldier. 1st soldier raises his left hand, reaches his fingers out so he touches coat of 2nd soldier – coat short with tails off – then he presses against this coat, then he suddenly turns the 2nd soldier around with both hands.[)] 1 ST S OLDIER : (in low tone) You’ve got rum, – rum, – and you didn’t tell me. 2 ND S OLDIER : Why – how could I get any rum[?] 1 ST S OLDIER : (rapidly) Never mind that, you’ve got it, now div[v]y with me, my belly’s froze. 2 ND S OLDIER : I haven’t got no rum. 1 ST S OLDIER : You’re a bloody liar. (turns quickly to 2nd Soldier, reaches hand inside coat, takes out a small brown bottle) 2 ND S OLDIER : Damn you, give me that. 1 ST S OLDIER : When we get to heaven. (throws 2nd soldier off, makes a mad effort to take drink when the 2nd soldier rushes back at him, and strikes him. They start to fight, and 3rd soldier throws his arm in between them) 3 RD S OLDIER : Orderly’s coming. 1 S T S O L D I E R : (Turns his back, takes a swig of the rum, the 3rd soldier jerks it out of his hand, and before 2nd soldier can get across the campfire, the 3rd soldier drains the bottle, and throws it away) You sneak, bringing in your booze on the quiet. (Gen. Sullivan enters from L.U. His uniform is in very d[i]lapidated condition, spotted with dry mud and stains; has about half a ragged coat over his shoulder; is accompanied by an Aide whose uniform is in worse condition) 1 ST S OLDIER : (in low warning tone) General Sullivan. H OSPITAL O RDERLY : (enters from R.2, meets the General and salutes) General Sullivan. G EN . S ULLIVAN : (returning salute) Well, sir? Hos. O R D E R L Y : (Business-like manner) Surgeon Wilson presents his compliments, and wishes to know what has been done concerning the supplies. G EN . S ULLIVAN : (in rapid, sharp tones) Present my compliments to Surgeon Wilson, and assure him we are doing everything in our power. The last reports by the Express, tell us the wagons are eight miles outside of camp with some provisions, a little clothing, and hospital supplies; – the condition of the teams and roads, they will not be here for five or six hours, s[i]r. Hos. O RDERLY : (salutes) Beg your pardon, General, the Surgeon wants you to fully understand [the] horrible condition the wounded are in. They are dying by the score, sir[,] from lack of food, – and freezing, sir, freezing. General, it’s beyond belief, – it’s horrible. Pardon me, General. (salutes) I shall report your message, sir. (salutes, exits quickly) (Gen. Sullivan exits R.U.) C ARTER : (enters quickly from R.U. He is mournful-voiced, and entirely changed. Has on a coat which though in very bad condition is a little better than most of them.) I say, this is a most damnable place. I have been frozen three times in three days. Every time I wake up, I, – I freeze. (to 1st soldier) I shall be transferred. 98

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1 ST S OLDIER : (grimly) We’ll all be transferred pretty soon. C ARTER : (very pleased) Ah, really. You know I’m exceedingly hungry and exceedingly cold. I assure you it puts one out distressingly, this fighting business. You delight me. We shall be transferred[?] Where, may I ask? 1 ST S OLDIER : (grimly) To hell – in pretty short order. C ARTER : (crestfallen) Ah! 2 ND S OLDIER : Where’s your partner, the runt? C A R T E R : Ah, I left him trying to steal a pair of shoes, – rather I left him thinking, that’s a better word, – thinking, – thinking how he could annex a pair of shoes. Oh damn my left arm, – my left arm and my right leg are always colder than the rest of me. (Five or six soldiers come on with Gimpy so that he isn’t seen until he is directly above the campfire. He comes down quickly in same busy manner as in Act I. He has on a shirt with elbow sleeves, and armful of straw and string he carries, and is walking on currycombs which he was tied to his feet with strips of blanket.) G I M P Y : (boyish irrepressibility) Ah ha, ha[,] ha, the brain has been buzzing. Look, – the great question is how to keep your feet out of the snow. I have solved it, I, Gimpy Runt who could never keep still, – I[,] Gimpy Runt of Haver[h]ill [sic]. Look [–] (holds up foot and shows currycombs) Gentlemen, without brains, we shall all be froze. Now watch. I am suffering from ice on the ribs, also on the breadbasket. I shiver too much, I shake out my teeth. Ah, Skinny, (to Carter) watch me, Virginia Wild Flower, watch me ere you wilt. They didn’t treat you like this down in old Virginia, did they[,] Carter? C ARTER : I should rather think not, old fellow. G IMPY : Now listen, Virginia Creeper[,] and watch the Massachusetts Lilly. (he is taking big wisps of straw and tying them in small bundles loosely so they are three or four inches broad.[)] Watch the Massachusetts wild flower. ‘Tis very easy, a few turns of the string, there we have it. (he quickly makes four or five bundles of straw and ties them around his waist) Ah, see [–] (gives the string to Carter) Now[,] Virginia Carter, run me around three times. (Carter runs the string around his body so that the straw makes a solid mass around him, and then ties it) Here, fix this fat piece over my puddin-box[.] (indicates his stomach) Ah ha, the soldiers’ delight. 1 ST S OLDIER : By Halifax, you got more sense than you look. 2 ND S OLDIER : Say, that’s a good idea. I’ll try that myself. GIMPY: Nothing like straw, only it’s damn hard to digest. I tried it on Carter here, and he got the straw fever. Yes, gave him the pip, so we’ll have to stick to the same old grub, – snowballs. C ARTER : You know I must say, Runty, it’s very chaste food. G IMPY : Oh bless my curly locks, yes. ([O]rderly goes by) G IMPY : Don’t let him see me, don’t let him see me. Every time that man sees me, he makes me chop wood. (Orderly passes on) Well, come on[,] Virginia, let’s go to supper. C ARTER : (in questioning tone) Supper[?] G IMPY : Certainly. Snowballs, and we are going to fry them. Snowballs hard to digest, fried – but very filling. [(]Gimpy and Carter exit into tent) (Bondman and Jones re-enter, go to [c]ampfire L. General Sullivan re-enters from R. Orderly stops him from [R].2) O RDERLY : General Sullivan, Surgeon Wilson presents his compliments, and begs you in the name of God to see if something can[’]t be done for the men. His exact words, [G]eneral. In the name of God, can[’]t you do something for the men[?] G EN . S ULLIVAN : (impatiently) Damn it[,] man, I’m doing everything I can. Does he think I’m [Al]mighty God? Tell the Surgeon that all of us realize the condition of the men. We are doing everything in our power. We can[’]t make bread out of the rocks. 99

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O RDERLY : Very well, sir. (Both salute, Orderly exits quickly) G E N . S U L L I V A N : (beating his arms as are the other men. – To Aide coming down R.2) Well[,] boy, we’re at the last ditch[.] A IDE : It looks it, General. G E N E R A L S U L L I V A N : (roughly, in great disgust) A fine looking lot of men to expect to fight. Half of them know about as much about fighting as I do about sailing a ship. Damnable, – damnable, – no more discipline in this camp than in a corn husking. Great God, look at it[s] short term of enlistments, – but worse them all, – treason. A IDE : Not so bad as that, General, – not so bad as that. G EN . S ULLIVAN : Yes, damn me, every bit as bad as that. Treason against [H]is Excellency. ‘Tis an evil day for Washington, and I am afraid his star is set. Five thousand starved out[,] naked troops against an army of twenty-five thousand of the best soldiers in the world. (change of tone) Well, well, where’s my man? The rottenest, hardest-headed, gutter-devil of a bachelor[’]s son you’ve got, – just so he’s not a liar. A IDE : There he is, General. (indicates Bondman) G ENERAL S ULLIVAN : Which one? A IDE : The man with the blanket. G EN . S ULLIVAN : Call him. (Aide steps over [campfire], calls – “Private White”, – Bondman rises, [goes] over to him) (Bondman salutes) A IDE : General Sullivan wishes to speak to you. B ONDMAN : (in astonishment) To me, sir? General Sullivan? A IDE : (sharply) Yes, to you. (Bondman starts over to Gen. Sullivan. Aide stands between them) A IDE : General Sullivan, this is Private Jack White of whom I have spoken[.] (steps back) G EN . S ULLIVAN : (sharp low tone) Your name? B ONDMAN : Jackson White, Haverhill, Massachusetts. Formerly Bond-servant – G EN . S ULLIVAN : I didn’t ask your history. What’s the matter with your head? B ONDMAN : A sword out, General. [G EN .] S ULLIVAN : I hope it was from the enemy, sir. B ONDMAN : (in quiet, steady tone) No, General, it has the honor to be a mark left [by] the sword of [H]is Excellency, General George Washington. G EN . S ULLIVAN : (astonished, [brusquely]) How’s that? How’s that? B ONDMAN : I was one of the mutineers last week. My belly got the better of me. We were starving. It was the first time I had met [H]is Excellency. We were talking to the Commis[s]ary when His Excellency rode out. His Excellency spoke to us, General. He spoke to me with his sword. [G EN .] S ULLIVAN : (gruffly) He should have cut your head off. B ONDMAN : (quietly) Quite right, General. G EN . S ULLIVAN : (sarcastically) Have you been hungry since, sir? B ONDMAN : Not to speak of, sir. G E N . S U L L I V A N : They tell me you are a sullen, pig-headed, irrepressible dog, but that o[t]herwise you’re not a bad sort. B ONDMAN : Thank you, General. G EN . S ULLIVAN : You can go on a bit of work if care to volunteer[.] B ONDMAN : Very glad to, sir. G ENERAL S ULLIVAN : You admire [H]is Excellency? B ONDMAN : (quickly, with enthusiasm) I am a dog before [H]is Excellency, sir. He has the great stare, sir, and he is the only man I ever knew who swear ahead of me, sir. 100

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G ENERAL S ULLIVAN : Sir[!] B ONDMAN : (salutes) Pardon me, sir. G EN . S ULLIVAN : This is a dangerous piece of business. There is about one chance that you get back, and nine that you go to hell. B ONDMAN : Thank you, sir. When shall I start? G EN . S ULLIVAN : You don[’]t ask about the work. It’s more dangerous than you believe. B ONDMAN : I wasn’t thinking of that part of it, General. (quickly, forgetting himself) If I get out of this camp, by God, I’ll get something to eat, – to hell with the rest. G EN . S ULLIVAN : (sharply) What? B ONDMAN : Pardon me, sir. (salutes) G EN . S ULLIVAN : Report in ten minutes […] to my tent. (Bondman salutes, goes slowly to campfire L.C.[,] adjusts blanket, wipes off shoes as though making toilet) (Soldiers passing back and forward bring wood for fires.[)] (Orderly meets Col. Wm. Washington who is dressed in worn and stain tattered uniform o[f] the Virginia Cavalry, – comes from L.U.) O RDERLY : (sharp, rapid tone) (salutes) A gentleman desires to see [H]is Excellency, Colonel. He also mentioned your name, sir. C OL . W ASHINGTON : (R.2) Who is it, Orderly? O RDERLY : Mr. Randolph Graves. He says he was an old neighbor of the General, sir. C OL . W ASHINGTON : Conduct Mr. Graves to the Waiting tent. ([O]rderly salutes) Is he alone? O RDERLY : No, Colonel. There is a lady with him, a Miss Graves and servant, sir. C OL . W ASHINGTON : Very well, let them wait for me at the tent, and tell Mr. Graves Col. William Washington presents his compliments, and will speak in person [o]n his behalf to His Excellency. (Orderly salutes and exits) (Four men carrying a stretcher cross from L.U. to R.U. – three men X stage from L.U. to R.U. with a captured spy strapped to a horse, one soldier leading horse, and one on each side. Two soldiers X stage L.U. to R.U. with a tub with iron handles, through which are run heavy sticks, by which means they carry tub between them. Bondman pulling his blanket around him so as to make the best possible showing goes up stage, turns to R. so that he follows a small group of soldiers who X from L. to R. As [B]ondman turns, Mr. Graves, Orderly, Jennie and servant enter R.U. Jennie sees Bondman but Bondman does not see her. Bondman exits L.3. Jennie comes down a step. Col. Washington re-enters from R. of C. by tent) (Mr. Graves calls to Col. Washington who is about to X R. 3rd [sic], – “Colonel Washington”) [C O L . W A S H I N G T O N ]: (with ceremonious courtesy) Mr. Graves, Mr. Graves, I am delighted[,] sir, indeed I am, sir. (Bows) M R . G RAVES : (returning bow ceremoniously) Colonel Washington, I am [h]onored[,] sir. C O L . W A S H I N G T O N : (To Jennie) (She is a trifle below them) And Miss Graves. We are honored, I am sure. (Bows) (Jennie is looking off, does not see him) M R . G RAVES : Jennie, Jennie. (Jennie turns quickly in some confusion) M R . G RAVES : Colonel Washington is here, Jennie. J ENNIE : ([curtsies] in confusion) Colonel Washington, pardon me. C O L [.] W A S H I N G T O N : It is nothing, Miss Graves. I am exceedingly sorry you see us at such a disadvantage. 101

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M R . G RAVES : (earnestly, quickly) This has been a terrible affair, Colonel. I want to see [H]is Excellency on a matter of great importance. Also I wish to get a pass into Trenton. I mean, of course, through your lines. I shall be able to manage on the other side. The Hessians have destroyed everything. My brother is in Trenton, you know. C O L . W A S H I N G T O N : Mr. Graves, I am very sorry indeed for your misfortune. Will you come with me, now? This way. (he leads up stage) My tent is just off here. (Sound of wind. Soldiers enter carrying sacks over shoulders) (1st soldier staggers and falls on knees, lies on the ground. 2nd soldier stops, drops his sack, also 3rd soldier) 2 ND S OLDIER : I can[’]t go no further. (exhaustedly, desp[e]rate) 3 RD S OLDIER : Nor me either. I’m done for. O FFICER : (sternly, – takes out sword) Pick up you[r] sa[c]ks, these are important supplies. 1 ST S OLDIER : I can[’]t go on. Can[’]t go any further, – don[’]t care what they are. 2 ND S OLDIER : Me neither. Get us something to eat if you want us to work. 3 RD S OLDIER : Yes, get us something to eat. O MNES : (in desp[e]rate, dead, mechanical reiteration) Yes, we’re STARVING to death. For God[’s] sake, get us something to eat, eat, EAT. S E R [ G ] E A N T I N C H A R G E O F S Q U A D : You have all to eat, there is. Can[’]t have this mutiny. (calls) Corporal of the guard, Post Ten – 1 ST S OLDIER : Call your damned corporals and your guards. We’d just as soon be shot as starved to death. 2 ND S OLDIER : Yes, – quick death is better than a slow one. (Three men enter from R.2. – 2 aid[e]s followed by another officer, – they have long and tattered coats, very roughly dressed, bespotte[d] with dried mud, – all [uniforms] in same condition) A IDE : What’s the trouble, Sergeant? S ERGEANT : Mutiny, sir. The men refuse to go any further. 1 ST A ND 2 ND S OLDIERS : We are starving, sir, we can[’]t. (The last figure that of Gen. George Washington is seen by light of campfire R.) S OLDIERS : (in awed voice) His Excellency, General Washington, – His Excellency. A IDE : Call the officer of the guard. We must not have these mutin[i]es at any cost. By God, we’ll [–] (angry, loud tone) (General Washington puts his hand on his shoulder rest[rai]ning him, stoops down, picks up a sack, throws it over his own shoulder) S OLDIERS : No[.] No. 1 ST S OLDIER : (in ashamed tone) No, no, [Y]our Excellency. (rushes forward, puts his hand on sack) NO, NO, YOUR EXCELLENCY. (takes the sack from General Washington’s shoulder) GENERAL WASHINGTON, YOUR EXCELLENCY. (The men pick up their sacks, straighten up, start X stage, saying “Your Excellency”. The General and Aide stand and salute as they go by. They exit and General Washington follows, exits L.U.) B ONDMAN [(]enters[)]: Jones? J ONES : Yes? B ONDMAN : (in quick, enthusiastic, low tones) I am going to Trenton tomorrow night. J ONES : (surprised) Trenton? B ONDMAN : Yes. Trenton. You are to go with me. I got fifty big, hard dollars from His Excellency, secret service money, – real money. If we can get where he thinks [–] (with great enthusiasm) Jones, old man, – by God, it’s a chance – of – J ONES : You spoke with [H]is Excellency himself? 102

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B ONDMAN : I did. J ONES : Did he speak of that? (pointing to wound on Bondman’s [h]ead.) B ONDMAN : He did. His Excellency grinned at me. Think of that, w[i]ll you? Remembered that I had gotten into New York once, also, he said, while he was grinning, mind you, – he thought I could be truste[d] if I had a full stomach – told me to be sure and attend to that first. I couldn’t do any harm even if I didn’t come back. (determinedly) By God, I’ll show em. I’ll show em this time. We go in as Quakers selling tobacco or pies or something. Easy to get into Trenton, – they think the war’s over anyhow, – the red butchers, the lobster backs, – but it won[’]t be so easy to get where we have to go. All in my hands. Jones, I need you, – (moans off stage, – Bondman in solemn[,] earnest voice) Poor devils, God help them, Jones, they all mustn’t go like – like he did – just think we’ve got a chance to help them. J ONES : Why, what do you mean? B ONDMAN : Wait. First I must have a Marbleheader, – here[,] John [–] (calling to man sitting back of campfire, he rises and X’s over) (Whipping squad enter with William Hall. X from R.U. to L.U. All look on at this) O RDERLY : (calls) Whipping Post Number […] (Hall has blanket over shoulders) W I L L I A M S : (close behind Orderly who follows soldiers, in low half-whisper, fearful with pleading) Light, light for him[,] Corporal, light, he’s all worn out. (Orderly does not show signs of hearing, they exit with Williams still whispering, [“]Light, please light[,] Corpor[a]l, [l]ight.[”)] B ONDMAN : (low voice) Billy, – they got him, – . Well, (turns to John, quick) got five hard dollars for you, and a chance to get out of camp, – no danger. F ISHER J OHN : (same manner and tone) I’m with you. B O N D M A N : (same quick, earnest tone) To-morrow night take us across the River, below the Ferry, then wait at the Mill the next day and night – F ISHER J OHN : All day, – all night. (Clear voice, off stage, – “One hundred lashes on his bare back for insubordination[”]) B ERRY : (upstage, looking off L.[,] comes down, – in low voice) It’s Billy Hall[,] our post, – he’ll get it hard too. V OICE OFF STAGE : Ready – NOW. (There is heard sound of a lashing whip, then an agonizing scream) B ONDMAN : (in strained voice, with suppressed horror) He screams, – In God’s name why does he do that? W ILLIAMS : (off stage, in terrible voice) Don[’]t, – don[’]t, don[’]t scream like that. H A L L : (off stage, screams in agony) WAIT, WAIT, give me a bullet[,] a bullet for my teeth. (The sound of blows ceases for a second, then the lashing begins again, – sound of wind) B ONDMAN : Well, well, – no good listening to that[.] (in quick, determined tone as though to shake off emotion) All got to be. (bus. to John) Here, listen to me, I say – not that off there. F ISHER J OHN : Well, I’m listening, go on. B ONDMAN : Wait til one o’clock that night, and the next til, no twelve o’clock’s late enough. Cross over at daylight, – if I don[’]t get it before ten o’clock at night, can[’]t get it til the next day, – give you plenty of time for sleep. F ISHER J OHN : Til twelve. Then I go over until daylight. B ONDMAN : We’ll arrange that to-morrow. Is it allright? F ISHER J OHN : Yes. Yes[.] (shake hands) B ONDMAN : To-morrow. (sound of whipping off stage, stops) 103

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B ONDMAN : Well, it’s over now. (Fisher John X’s back to old place at campfire. Bondman L. of campfire L. turns as though to speak to Jones. Jennie and Wilkins enter R.U. by tent. Bondman sees her, stops in astonishment, the wind grows louder, and snow falls more heavily) J ENNIE : (to Capt.) I thank you, Captain, this is the place. (Captain bows. As Jennie starts to go down stage, Whipping Squad with corporal marches by intercepting her. Hall and Williams enter at the same time below them. Hall is bare to the waist, and his back is red with blood and livid stripes. Williams above Hal[l] up stage holding blanket as though to cover him. Hall in low voice, mad with agony) H ALL : For Christ[’s] sake, – Christ[’s] sake, – my back – i[t’]s burning up, – [put] snow on it. (He falls weakly on knees, wildly trying to put snow on back) W ILLIAMS : (Hard, quick, low voice) What did you holler for? What did you holler for? First man in our camp that ever broke. H A L L : I couldn’t help it. I’m starved out – Christ[’s] sake [–] (shaking head still chewing bullet in his mouth.[)] W ILLIAMS : Well, spit the bullet out, – spit it out, I say. (Ha[ll] rises weakly, staggers towards tent R.3. Williams throws blanket around him, takes him into tent) H ALL : (in same tone) My back – it burns, – oh for Christ[’s] sake, it burns[,] (exit into tent R.3.) it burns so. (Jennie in beginning of this scene, drops her face in her hands unable look on it. Bondman goes quickly up to her, after Hall’s exit, meets her as she comes down stage) B ONDMAN : Lady, you, – you should not see these things. J ENNIE : (trying to possess herself) I – Oh, it is horrible, horrible. B ONDMAN : (gently) Lady – J E N N I E : I have seen so much, – nothing hardly seem to – oh, that man, that man, – God help him [–] (looks at [B]ondman) God help you all. B ONDMAN : Thank you, [l]ady. J ENNIE : There has been so much. We have been in Jersey since the war; everything has been destroyed, we are going to Trenton now, – I saw you as we passed through. I want to tell you how great and brave – I am glad to see you still here, through all this starvation and misery, – and oh, everything, everything you have had to endure. B ONDMAN : There is nothing to do[,] lady, – but to stay here. J ENNIE : I – I had your beautiful letter. I would have written in return but I thought it were better – not to – I don[’]t know what to say, – everything seems so different from the old days, – you said that I, I had been of some service to you (modestly) that the – the remembrancer [sic] had helped you – B ONDMAN : I have it with me, always, lady. J ENNIE : (with surprise and solicitude seeing scar on Bondman’s head) Oh, look there [–] (indicating bandaged head) tell me – B ONDMAN : It’s a sword wound, and nothing serious. J ENNIE : How did it happen? What battle was it? They tell me, – I heard you captured the enemy’s standards at New York, – was that where you received that? B ONDMAN : I am sorry, lady. J ENNIE : (quickly) Ah, I am too, but I am more proud than sorry. B ONDMAN : The sword mark you see[n,] [l]ady, was – made – by General Washington. J ENNIE : (indignantly) What? Does he strike his own men? B ONDMAN : Yes, when they are mutineers and – traitors. J ENNIE : YOU – a traitor? 104

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B ONDMAN : My stomach was. J ENNIE : You mean it, – really? B ONDMAN : (seriously) I have told you the truth, lady. J ENNIE : (indignant[tly]) Oh, I read in the Gazette of the terrible time that [H]is Excellency had with the rebellious and cowardly soldiers but I never thought you’d be one. You only stay here and fight, (sudden outbreak) because you’re afraid, afraid, afraid not to fight. That’s it, – now I understand. B ONDMAN : [I] wanted to lie to you[,] lady, very much. I’m not proud of it, indeed, – but I, – I told you the truth. I am very sorry. You know I try to be different, but it don[’]t seem to do much good, – something seems to – always happen. J ENNIE : (in cold voice) Goodbye. B ONDMAN : Goodbye, [l]ady. J ENNIE : (going up stage) I am ready now, Captain. (Captain bows) (Drill Sergeant and squad of soldiers enter from R.U. Drill Sergeant calls “SECURE FIRE-LOCKS[”]; soldiers bring [f]ire-locks to position) (Jennie [e]xits C.) (Drill Sergeant calls “SHOULDER FIRE-LOCKS[”], – soldiers change arms to FireLock, – march in quick time, exit L.U.) (Bondman stands looking after Jennie, then X’s quickly as though to exit L.2. From tent L.3, which is half on stage, a faint call is heard. Bondman stops[.] Flap of this tent is opened, a grizzled and emaciated old man of about sixty-five with a week old beard and claw-like fingers, dressed in leather trousers, [worn] shoes and ragged shirt, – thin grey[,] matted hair around face.) O LD M AN : (Calling weakly) Jackie, is that you[,] [Jackie]? B ONDMAN : You? Where’ve you been? O LD M AN : Say[,] Jackie, slip me something to eat, that’s it – something to eat. B ONDMAN : I haven’t anything. O LD M AN : (with piteous cunning) Oh now, now you always gits it for me [–] now, now you can always get it for old daddy. I’ve been sleepin[,] missed the grub, – now, now, – (he is on elbow and knees in the straw of the tent) B O N D M A N : (quickly) I can[’]t, there’s nothing to eat. Damn ye, what did you come for[?] O LD M AN : (whispering) Now, please, – I tell you – steal it for me like you did afore. (He moves as though to leave tent) B ONDMAN : Keep still, – keep still, – I’ll try. (Gen. Sullivan enters from C. by big tent, is met by Hospital [O]rderly from R.2.) O LD M AN : That’s it. That’s it. B ONDMAN : Hush. Hush. Hos. O RDERLY : (To Gen. Sullivan, quick, eager voice, saluting) General, Surgeon presents his compliments, and wishes to know about the supplies. (Wind and snow increase from now on until end of act) W A G O N - T R A I N E X P R E S S : (enters from L.U. hurriedly. In disheveled condition, covered with dry mud. [S]alutes) General Sullivan, Colonel Woodford presents his compliments, and says that the wagons have fallen through the Culvert at Dobb’s Crossing, the teams have fallen one by one by the wayside. Will be impossible to go any further with the wagons or guns. G EN . S ULLIVAN : ([losing] control of himself) Damn me, don[’]t tell me that. It’s a lie, – it’s a damn lie. 105

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E XPRESS : (in indignation) General[,] you, – (recovers himself, salutes) General, I have given you the message[.] G EN . S ULLIVAN : (recovers composure) Great God[,] man, they are dying by the hundreds there in the hospital camp, and you tell me this – where are the wagons? E XPRESS : About two miles outside of camp, sir. S ULLIVAN : Two [m]iles? E XPRESS : Yes sir. (The men at the campfires have been listening through all this. Jones shows great interest) 2 N D H O S P I T A L O R D E R L Y : (enters from R.U.[,] salutes, very rapidly) General Sullivan, Surgeon Milrose of the Eastern Wing presents his compliments and begs you in God’s name to get supplies to his division as soon as possible. G E N . S U L L I V A N : DO YOU HEAR? DO YOU HEAR? – on every side. (To [E]xpress) Your wagons and the best guns mired in the swamps, and we here helpless[.] (Williams opens tent flap in tent R.2[,] showing men huddled in straw on the ground. They c[r]awl to the opening so as to look out up on the stage. Other men huddled around [campfires] R. & L. Jones goes in a very humble manner to the General, salutes and stands silent close before him) G EN . S ULLIVAN : (testily) Well, what do you want? J ONES : (saluting) Excuse me, General, might I suggest? G EN . S ULLIVAN : (irritably) Suggest, hell. (turns on heels) Aide, present my compliments to General Washington and tell him the wagons and guns are stalled at the Culvert outside the camp. (Aide salutes and exits quickly. Gen. Sullivan starts up stage, then turns quickly to Jones) G EN . S ULLIVAN : (in quick though less stern tone) Well, what is it? J ONES : (quickly) Excuse me, General, I didn’t mean no impudence. I used to be a waggoner on the hills up in my country, – when we had trouble with log teams, we used to sort of help the horses out, – some of us get in and push, – some of us get in and pull and that way fetch things along a mite. G EN . S ULLIVAN : (impatiently) Well, well, my man, what are you driving at? I haven’t time to be [wasting] here on you. J ONES : Well, General, we was just thinking that – G EN . S ULLIVAN : (harshly) Well, don’t think, – but speak out. J ONES : (quietly) We was thinking that us men that are able-bodied in camp might go down, and – and – take the mule’s places. G EN . S ULLIVAN : (in astonishment) What’s that? J ONES : Excuse me, General, but seeing things is kind of urgent, I just – G EN . S ULLIVAN : (sharply) What’s your name? J ONES : Jones, sir, Silas Jones of Haverhill. G EN . S ULLIVAN : Silas Jones, eh? Well[,] let me tell you something, Silas Jones. J ONES : Yes sir. G EN . S ULLIVAN : It’s a pretty damn good name. (Carter, Gimpy and other soldiers in opening of tent L.C. [A] number of soldiers have come on stage, and are around the campfire) G E N . S U L L I V A N : (in loud, quick tone to soldiers) My men, Private Jones here, has just suggested that perhaps there might be enough volunteers to bring up a wagon or so of the hospital supplies and drag up a few of the guns. I couldn’t ask any man to do this work, in the condition you are in. If you choose to volunteer, it will be in a great cause, but this is not a duty I could require of any man. (To Orderly) Report this to the Mary106

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land and Virginia Regiments. ([O]rderly salutes and exits) My men, I leave it [w]ith you. (Gen. Sullivan retires up stage, men talk among themselves) J ONES : (with assured unconcern) Well, boys, are you ready? W ILLIAMS : (quickly) I’m with you, father. (X’s to L.2) (1st and 2nd soldiers of the mutiny squad and a half dozen others also [c]ross, quietly, and take their places L.2 by Jones) G IMPY : I don[’]t want to, – but I guess I will. (takes place with others) B ERRY : I’d like to go but I can[’]t. I can[’]t. K ENT : That’s me too. O THER SOLDIERS And me, – and me. (This entire scene[,] while full of virility, must be played absolutely in a low, confidential key, as though arguing it out among themselves, out of rea[c]h of the General’s ears, as while it is taken from an actual occur[re]nce at this very place, it is too full of hero[i]sm to stand anything but this treatment. This is also necessary as a contrast to the ending of the other acts[.]) J ONES : We’ve got to have more than this. B ERRY : (indignantly) We can[’]t do a horse’s work. 1 ST S OLDIER : Give us something to eat first. 2 ND S OLDIER : I’ve got no clothes S OLDIER IN TENT R .: Me neither. E XPRESS K ENT : (by campfire) No shoes, either. (decisively) Can[’]t go down there barefooted. G IMPY : Oh, shoes. (Lifts up foot, showing curry-combs) 1 ST S OLDIER : Barefooted in the snow, – not by a damn sight. (Strong wind and swirling snow) (Bondman has gone silent with the others L.2.[)] O LD M AN : (at tent) I’ll go. (starts, staggers and falls, – Bondman goes quickly to him) Hell, that’s funny. Got a cramp in my leg, I’m allright, I’ll go. B O N D M A N : Yes, by God, back to this tent. (takes him back to tent.) (To other soldiers) You’re a fine lot of buzzards to let this old – you damn cowards, you’ll stay here and rot until the redcoats stir up your gut with their bayonets. 1 ST S OLDIER : (jeeringly) Oh, look at the bond cull. 2 ND S OLDIER : (fiercely) Yes, what the hell have you got to do with it[?] 3 RD S OLDIER : Yes, and his head cut open from being a mutineer. (they laugh and jeer) B ONDMAN : (in intense excitement) Yes, yes, yes[,] I am a bond slave, and when you look at me and think, – think that men, men are sold like so much hog meat in the market, – that’s [why] we are here, – that’s why we are naked and starving to death, – that’s [the] reason, – to put and end to this, – and by God we got to carry it through, – we’ve started it, and when you start a thing that’s right, – you’v[e] got to carry it through if it takes you through hell – and back again. J ONES : Hush, Jack, – not so […]. B ONDMAN : Well, they – You, Berry, I didn’t think you were a Hang-back [sic]. B ERRY : Look at my feet, will you, – look at them, – can I go like that through the snow[?] You’re crazy as a mad dog. (General Geo. Washington and Aide appear R.U.[,] stand silently. Gen Sullivan salutes. Gen. Washington returns salute. Jennie and Mr. Graves enter stand C. by tent.) (wind and snow storm at height) G EN . S ULLIVAN : Your Excellency. (salutes) (To the men) His Excellency is looking on to see, – who are the volunteers for this great [w]ork. 107

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O MNES in tent: We got no clothes, – no shoes. S O L D I E R in tent: (by fire, is beating hi[s] arms, has a rem[n]ant of a thin white shirt, eames[t]ly) We can[’]t go, – we’re naked, – naked, – naked, – naked. B ONDMAN : (takes off his blanket, tears it in two so that he stands naked above the waist[.] Wraps half the blanket around his naked body over shoulder, throws the other part to man in tent.) There, – now you’re as good as I am. ([Seven] or eight men go over to Jones’s side) K ENT : Very well for you – but look here. (indicating bare feet) B ONDMAN : Damn the shoes, here take mine. I won[’]t be the only one with bare hoofs[.] (points to the other men with their feet thinly tied up, takes off m[o]ccasins[,] throws them to Kent who puts them on) Now, damn ye, what excuse have you got? (Other men fall in line) S ERGEANT : Lead the way, Exp[r]ess. Fall in line, march. (They fall into line, marching off) (Bondman by log on campfire, tying up feet with strips of blanket[)] J ONES : You’ll freeze, you fool, but LOOK at [H]is EXCELLENCY’S FACE. B ONDMAN : (excitedly, quickly, low voice) DAMN HIS EXCELLENCY, IT’S THE GIRL I AM SHOWING OFF FOR. (Jones and Bondman fall into line with the rest) (Voice off stage – Double quick) CURTAIN 2ND CURTAIN, men dragging cannon on carriage wagon like beasts of burden, pulling and tugging in front at pole and chain, others on top spokes on front wheels, others with shoulders to the wheels[.] Move slow X stage, – supply wagon seen just disappearing. ACT III – SCENE I Nighttime, December 24th, 1776, – The “King George” Chamber of the “Red Fox” Inn at Trenton, – built according to the old houses in Trenton at that day. Captain Cunningham’s [q]uarters. Rough, t[hi]ck, stone wall around room to about two feet from floor; rest of wall up to ceiling, of wood. Where the woodwork begins, leaves an inset in the wall, thus making a wall seat around entire room. Door L.2 leading into another room. Small door L.U. leading into bedchamber. R.2 door. R.U. corner, broad, low window. L. of C. by pillar another window. Massive wooden pillars L. of C. and R. of C. From pillar L. is an improvised curtain running to door L. At rise of curtain this is partly open, showing behind it, plunder, – silver plate, pictures, stacks of clothing, bolts of cloth, etc. Room gives appearance of having been stripped of its best furniture. Here and there about the room, torn pictures, curtains, etc. One framed picture R. dangling from a wire which has been broken. Small pillar by table L. and one by pillar R. Large table L. Room is lighted with great candelabra set in walls R. & L. holding lighted candles, giving the soft, flickering lights that make shadows in the room, as the bright glare of the ordinary foot-lights would destroy the atmosphere of the act. Opening of act, all possible brightness, and wild half-drun[ken] hilarity. In the center of stage, six men and six women dancing the Morris Dance to the air of the “Beggar Daughter of Bednal Green” – around the figure of a Hobby Horse which is fantastically made up over a man, – musicians, two violins, a horn, an accordi[o]n, and a mouth-harp, are playing wildly. The accordi[o]nist is standing on table L.2. The Hobby Horse has bells around neck and cavorts in time to the music, the women in the dance also have bells in their clothes which [j]angle as they move. Musicians all excepting First Violin are dressed in plain dark costumes, 108

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all with powdered hair. On wall seat, extreme R. is a civilian, fair well dressed, rather dishevelled [sic], without coat. A girl gaudily dressed, highly rouged, patched and powdered has her head resting on a pillow which he holds in his arms; they seem reasonably happy. A young boy of eighteen or twenty, and a young girl on wall seat L. of first couple, holding hands and talking earnestly. Table against pillar R. four men and two women rolling dice with dice cup. C. on wall seat, a man with head in a woman’s lap. Table L. by pillar, a small fervent youth of nineteen or twenty making excited gestures and talking with great earnestness to a large, fleshy, exceedingly highly made-up, curled and frizzled old demi[-]monde of about fortyei[g]ht or fifty. Cunningham with girl seated on his lap, pillar L. A very small diss[i]pated looking old man of about sixty is being driven around the room by a young girl of about eighteen; she has bridle reins around his neck, and she strikes him with driving whip, calling “Get up, get up, get up horsie, kick nice horsie, kick”, at which the old man squeals kicking up on[e] leg and then the other in imitation of a horse. Two men carrying an immense metal punch bowl half full of punch pass in and out among the crowd, all of them have pewter mugs which they dip into the bowl and drink at pleasure. Two red-faced, fleshy middle aged men, decidedly much the worse for liquor, follow the punch bowl, singing in time to the music, – Oh my Beak, Oh my [B]eak, The Punch is wet, [And] the punch is weak. Making ridicu[l]ous gestures to members of the crowd as they [follow] the bowl, repeating these words with ridiculous consistency. A man with his arms around the girl’s neck against door R., hold a mug of punch. Occasionally he puts it to her mouth, while another man much older, and unfavored-looking is sitting on a stool in front of them, gaily singing to the girl, shouting in time to music, – Oh my love, Oh my love, Sold her faith for a turtledove, Oh my love, oh my love, Sold her faith for a turtledove. They dance two figures of the Morris Dance singing wildly all the time, – a medl[e]y of laughter and shouts. Dance finishes with women in men’s arms and a kiss. L IEUT . R ODNEY : (in immaculate uniform of English Light Dragoon, shouting in [m]ock heroics) A pledge, – a pledge, (stopping before Hobby Horse) [a] pledge to Hi[s] Most High and Mighty Excellency, Lord HIGH EMPORER [sic] HOCUS POCUS, – KING of MISRULE[.] (kneels and drinks) (Horse returns bow, – all drink) O MNES : (Kneel, shout madly) TO HOCUS POCUS, KING OF MISRULE, – KING of MISRULE. (Horse bows again) O MNES : (laughter, loud shouts) More music. Play it over again, yes, yes, again. (Dance music starts again midst shouting and laughing, women in men’s arms, – all possible abandon) 1 ST V IOLIN : (Holds up hand stopping music) Hush, hush! (Long light hair unbound falls around his face. Dressed in white satin small clothes [sic], white stockings, – wears no coat, waistcoat of white; soft white shirt underneath; slender, pale spiritu[al] face. German accent, voice soft with inspirational enthusiasm) No, no[,] it ist not good, – please, please let me play you something deeferent, – deeferent. R ODNEY : Well, what is it, young worm-dust? O MNES : Yes, yes, go on, let us hear[,] Dutch face. 109

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1 ST V IOLIN : (with touch of mystery, great seriousness, enthusiasm) It is a song the moon angels sang down through my window last night. O MNES : (mockingly) Moon angels? He’s drunk[.] 1 ST V IOLIN : No, no, listen, listen [–] (begins playing. All are still. With inspired face plays softly and with all possible beauty and tenderness Mendelssohn’s [“]Spring Song[”]. Omnes listen for a short time in silence, then pose as though ready to start the dance. Only a few bars are played, then Rodney and girl try to dance, then omnes take a few awkward steps.[)] R ODNEY : (indignantly) We can[’]t dance to that. O MNES : No. No. C U N N I N G H A M : (Powerful frame, massive head, dark, brutal, animal, contemptuou[s,] sensual; elegantly dressed, with white wig. Cavalry breeches, boots, sword, waistcoat silk, shirt fine lace and ruffles, magnificent, loose lounging coat) Stop, – stop that thing, I say. (1st violin stops playing) C UNNINGHAM : Play the other one. O MNES : Yes, yes, the other one. (shout wildly) ([M]usic changes to jig step: all dance wildly once around Hobby Horse, – Hobby Horse kicks heels high up in air, then rearing as up as though on its hind legs, squeals – “To the Wine Cellar, – To the Wine Cellar,[”] – starts to L.2. Omnes, [“Y]es, yes to the wine cellar.[”] Hobby Horse exits L.2 – all follow singing and dancing, the [“]Beggar Daughter of Bednal Green[”]) L I E U T [.] E A R L C U N N I N G H A M : (young man, uniform Howe’s own. In quiet sarcasm) (stopping at doorway to Capt. Cunningham) So this is the reason you stayed over in Trenton. C A P T . C U N N I N G H A M : (returning the sarcasm) Perhaps – I’ll tell you why, – just this – because it suits me to stay – because I’ve met some good fellows here, and some handsome women; I’ll be far away from that damn meddling Howe, and I’ll do as I damn please, – (pauses, looks him over calmly) Does this shock you, cousin? E A R L C U N N I N G H A M : Not from you. And then, I suppose, whatever outrages you may commi[t], will be laid on these ignorant Dutch soldiers. C APT . C UNNINGHAM : (sarcastically) Perhaps you’ll stay here to guard me. E ARL C UNNINGHAM : Not at all. I go to New York to-morrow. You know – well, I’ll say it. [C APT .] C UNNINGHAM : (carelessly) By all means. E A R L C U N N I N G H A M : This sort of thing, you know, – I am no damn-me prude, – I like women and drink, and all that, as well as any man, – but these men, – by God, there’s hardly a man among them, who makes even a pretense at being a gentleman, – and I – (again hesitates) C APT . C UNNINGHAM : (same attitude as before) Well, go on – E ARL C UNNINGHAM : (quickly, with some heat) There have been whispers that some of the horrid unmentionable outrages done here by Dutch soldiers were on several occasions, other people’s evils, – there are men here to-night, if you wish to know, whose names were mentioned – who are a disgrace to the greatest army on earth, – God [b]less it. C APT . C UNNINGHAM : (same careless manner) Still peddling camp gossip. E ARL C UNNINGHAM : Perhaps, but what I want to know is why you choose such men for your companions. C APT . C UNNINGHAM : If you’ll pardon me, – in the first place, [n]one of your damn business. In the second (in great disgust, has taken enough liquor merely to flare out and slightly exaggerate his real nature) Good God, what a sickly thing you are. Since you put 110

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the matter to me, I’ll speak something that will shock you, cousin. Here’s the “Man” [–] (drains cup, throws it in corner) God, this coat is hot and stuffy [–] (takes off coat, throws it into corner) that’s better. Do you know what that means, cousin? The red, untrammeled blood of the good BEAST MAN? I was born a thousand years too late, cousin, I should have been hairy and naked, – a son of Thor, fighting the seas with a heavy oar, – burning our way from the North into the half-civilized, lyingized [sic] cities of the South with club and sword and rapine and fire, and – NOWADAYS, – bah, you’ve wrapped the hairy, grunting wild hog in silks and satins like this (touching waistcoat and ruffles) and hypocr[it]ical lying words, but the hair and the hog [are] underneath the silk[,] the satin, and the nice sweet words just the same, but now, I’m going to throw of[f] the silks and satins, – [n]ow I can be whatever I damn please, and there’s nobody to stop me. This country is conquered and I am one of the conquerors, and [of] all the hypocrites, these smug-faced Americans are the worst, – and I hate them joyously, so I am glad it is they – luck has put beneath my heel. E A R L C U N N I N G H A M : Why, what horrid nonsense is all this[?] Well, this is not a thousand years ago but civilized to-day. You are not a son of Thor, but an Englishman, – a gentleman. (First violin begins to play Mendels[sohn’s] [“]Spring Song[”] very softly outside) C APT . C UNNINGHAM : (Contemptuously laughing) [An] Englishman, – a gentleman, – what are these? Only different names for the same hairy drooly-mouth beast. These names are the lies of civilization, but damn me now I’m throwing off the lies, and I am going to root and grunt in my native pasture as it damn well fits me. Bah for this, lie number one (takes off stock of silk and crumples it up) that hides [–] (naturally and light) see, – the bull tendons and cords of the man-beast neck; [w]hitened sepulcher number two, this[.] (taking off white wig and showing coarse hair which falls around his face) Now I feel better, – now[,] cousin, I can forget (bitterly, contemptuously biting out each word) all the piggy, squealy [sic] race of men, – wild hogs creeping away from their styey [sic] home, with ble[a]ry wet eyes looking up to the stars, grunting melancholy grunts at the far-away moon, hypnotizing themselves into a futile dream that the moonbeams bring him a SPECIAL MESSAGE FROM THE MOON, and the star rays a drunken dream of impossible things. Art shocked now, cousin? Look [–] (goes quickly across room, opens door L.2) [(]Shouts) Stop that music, stop I say, – play the other one, – the other one, – the other one. (Music changes as before) There they are, do you see, – a few drops of liquor dethrones this great God Man, – makes him forget and be himself for a moment. There you se[e] him, – look at them, with little hungry eyes so long denied, rooting noses together in their own native mire, reeking in self-gratification [–] (with mad enthusiasm) By God, [h]ow I love them, – they are being true to themselves, just as I intend to be now that I have the chance. Forget the STARS, you [–] (snatches up cup[,] holding up high) No longer dream of the moon, but root and grunt and wallow with me, and be ourselves. Here’s to you. (drinks) (Omnes shout off stage [“]Cunningham, Cunningham[”]) Now, cousin, now art thou shocked? E ARL C UNNINGHAM : (at door) No, no, – but – C APT . C UNNINGHAM : But what? E ARL C UNNINGHAM : A little too affectionate with the rum, cousin, – try something softer. (Opens door) It might – (Omnes appear, Capt. Cunningham X’s to door. Sounds of laughter and shouts. Two s[o]ldiers enter driving two girls in dishevelled and suggestive costumes follow by Omnes. Two other men have taken off coats. Earl Cunningham exits) O MNES : Make way for the parade. Here comes the procession. (Musicians enter playing “Yankee Doodle”) 111

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R ODNEY : Halt! Make ready everybody! T HE O LD D EMI - MONDE : Oh wait, wait, just wait. R ODNEY : (shouts in mock heroic tone) Prepare to do all homage to the great Army, – General George Washington and the American Army. O MNES : Washington! Washington[!] (There enters a very small drummer boy, dirty face and in rags, beating a drum, followed by a soldier dressed in American uniform with wooden leg, – a[n]other soldier lame, all marching in solemn procession. Then a man dressed as an old woman waving a tiny American flag about six inches across, and then a very tall thin man in faded American uniform with an immense false nose who marches with exaggerated dignity) L I E U T . P I N K N E Y : (very young, – English [L]ight Dragoon. In mock heroism) Ah ha, he hath come. Kneel dogs. (They all kneel down) R ODNEY : (To Burlesque Washington) What is thy name, most Excellency Majesty? B URLESQUE W ASHINGTON : (in ridiculous, high effeminate voice) My name is – Georgy Washington. [P] INKNEY : What have you done, Georgy Washington? B U R L E S Q U E W A S H I N G T O N : Oh, Goodness, don[’]t ask me. I’ve done so many things. You know I was at Boston, and I stayed there for a whole year, and the naughty British soldiers got so tired of looking at me, they ran right out of the town. And at New York, gracious [–] (sighs and looks very sad) L IEUT . R ODNEY : What ails thee, [S]ir Washington? Art thou in distress? B U R L E S Q U E W A S H I N G T O N : Mercy, I should say so. Them British soldiers, laws a mercy. L IEUT . R ODNEY : What did them British soldiers do to thee, Georgie [sic]? B U R L E S Q U E W A S H I N G T O N : Oh mother, you know I met em like a gentleman at New York and Brooklyn too. See my army, – this is the army, – Ho[,] Brave Amer[i]cans, salute your General. (The American army salutes) Me and my Army drilled SO LOVELY right in front of them at Harlem Heights. And the naughty redcoats – the devils, they shot right at us. L IEUT . R ODNEY : And what did you do, most munificent General? B URLESQUE W ASHINGTON : Oh, I retired, – and then [a]t Fort Lee, and Washington, – they came right into [the] Fort[.] L IEUT . R ODNEY : Again what did you do? B URLESQUE W ASHINGTON : (Holding his head down) Oh, how can you ask? I wan [sic] like hell. R ODNEY : And what have you done since, most munificent General? B URLESQUE W ASHINGTON : I’ve been running like hell ever since. L IEUT . R ODNEY : And where are you now, most Illustrious General? B URLESQUE W ASHINGTON : Oh, I am sleeping. L IEUT . R ODNEY : Sleeping? B URLESQUE W ASHINGTON : Yes, – me and my army in the mud by the flowing waters of the river. When I get out, I’m going back to dear old Virginia. Goodness, I’ll never fight them British no more. Forward Army, let us retreat some more. The Redcoats will get you if you don[’]t hurry. (Army turns and marches off solemnly. Everybody laughs uproar[i]ously) C APT . C UNNINGHAM : (Sits in chair all this time back of table, looking on contemptuously. He sho[o]ts off stage) More [p]unch. (Charity, young woman of twenty-five in vivid pink with exaggerated pompadour rushes on followed by Hartin and Reed) 112

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C HARITY : (In mock tragic tone to Cun[n]ingham) […] C A P T . C U N N I N G H A M : (sternly) What is this you do in my house, sir[?] (To Reed and Hartin) (Reed and Hartin fall back) C HARITY : Oh thank you, my protector. C APTAIN C UNNINGHAM : Tell me, little American girl, what would they do to thee? W OMAN : Oh sir, they wanted me to drink, drink beer, sir, me, a pure, little virginous [sic] girl. O[h] sir, I have not the complexion of one who would do such tricks. So I said “Fie upon [t]hee” like that, “Fie upon thee”[.] C APT . C UNNINGHAM : You did quite right to say “Fie upon thee”. Do not touch the vile beer. (The two men carrying punch bowl enter) Thou shalt drink only punch. C HARITY : (Pretense of great gratitude) Oh, thank you, sir. C U N N I N G H A M : (To men carrying punch) Here, – (Men come over and Charity dips her face down into bowl, then he lifts her onto his lap, kisses her and put[s] her down) R EED : [U]pon my soul, I thought the [h]ussy meant it. Oh where is my girl gone to[?] (Goes to door) Look, s[h]e’s taken off her bodice before the men. Oh my God. (Crowd rushes on again with Burlesque Washington) 1ST GIRL: Oh General Snashington [sic], give me a kiss? B URLESQUE W ASHINGTON : I will not – I’m too busy running. (Enter soldier driving four girls who have masks across eyes, short skirts[.] Dance wildly on. The driver has a long whip and he touches them on the ankles with it. He cries “Get up, get up” – As he flips them with the whip, the girls stop and neigh, and kick up their heels) B URLESQUE W ASHINGTON : Oh the petticoats, – goodness how I love petticoats. (gallops like a horse, catches hold of one of the girl’s skirts, then gives a terrific scream.) L IEUT . P INKNEY : What’s the matter, General? B URLESQUE W ASHINGTON : Oh mercy, I thought I saw a redcoat. (They gallop off laughing uproar[i]ously and exit) (Enter Head of the S.S.) C APT . C UNNINGHAM : Well, you’re late. H EAD : Oh, I have been in Washington’s camp. It is too ridiculous. They are barefoot. (laughs) Give me a drink. They have nothing to eat. I saw two soldiers chasing a stray dog, – dog, – they eat dog[.] (laughs, takes another drink) Oh, it’s too ridiculo[us]. An[y]body can go in, – no discipline. They don[’]t surrender because they are afraid to, – so frightened they are afraid to surrender. By Jericho, who can beat that[?] Ah, little canary bird [–] (To demi-monde up in corner) (Two men enter escorting three women with hooded cloaks over their head, – Mill[ie], Becky and Bess) S ERVANT : (To Cunningham) Sir, I have some more petticoats here. C UNNINGHAM : Good, let’s see em. (Takes off hoods) M I L L [ I E ]: Oh rambunctious, it’s the gallant Captain we met last Monday. Aw, laws my blushes. B ECKY : (in mock modesty) I never dreamed I was coming to such a terrible place. The man told us it was to be a blue tea and no soldiers. I just hate soldiers. B ESS : (very young and pretty. Quaker greycoat over bright red dress.[)] (In affected, sweet drawl) Thou wilt not harm me[,] sir. Thou dost know I am but a poor Quaker lass. Mother told me to beware of soldier men. C APTAIN C UNNINGHAM : Mother is given with infinite wisdom, friend. 113

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B E S S : (in natural, low voice throwing off affectation) I shall give a kick to thee thou dost trouble me. (Raises skirt, gives a high kick, laughs) Oh, look at the fat gentleman with the glowing complexion. (Throws herself in arms of Reed) (Bald-headed man carrying wig in hand enters followed by two or three others with big pewter mugs. They go solemnly to the punch bowl singing slowly) Do you remember my mother-in-law, She countenanced an unsmiling jaw, She picked her teeth with a cross-cut saw, And what she said, it was the law, Until the day when she was dead, With a curry-comb she combed her head. (They all march in time and exit solemnly. Captain Cunningham[,] Reed and two women drinking at a table by window. Rodney, Pinkney and others enter. Rodney sees Bess who has just left Reed on [w]all seat going to punch bowl) R ODNEY : (To Bess) Ah, a new one, – here[,] pretty eyes. B ESS : (gaily, – runs to him) Oh – I like you. (Pinkney steps in front of Rodney so that Bess runs into his arms) P INKNEY : Hello, sweetheart. B ESS : (coyly) Hello, nice man. R ODNEY : Wait there, she belongs to me. P INKNEY : No sir, to me. R ODNEY : (Good naturedly) By hell, no, – I saw her first. P INKNEY : (smiling quietly, still holding girl in his arms) Well, I got her first. (all laugh) R ODNEY : Leave it to the girl. PINKNEY: (Holding Bess at arms length, wheedling tone) Who do you love most, little dove eyes? B ESS : (hesitates, looks at both) I, – I – both of you. R ODNEY : The dice – they’ll decide. (Picks up dice cup, brings it to table L.) P INKNEY : (shouts) Good enough. M ILLIE : (pouting, leaning on shoulder of Becky) I don[’]t think she’s got dove eyes. B ECKY : I don[’]t like this place nohow. Wish I’d staid [sic] home. R EED : (putting arm around Millie) Now[,] Lovie. (Hartin takes other girl. They gather around table. Others on wall seat. Door is open into the other room and music begins playing) R ODNEY : (shouts) One throw decides. (throw dice) P INKNEY : (Kissing Bess) Wish me luck[,] sweetheart, tis for you[r] own little red pigeonheart, I throw. (throws dice) (In triumph) Three fives. (Open[s] arms to [Bess]) Mine, mine. (Bess runs into his arms) B ESS : Oh, I’m so glad. (Musicians enter with others, playing as before) R ODNEY : (shouts in mock sorrow) Make it a funeral march. (Music plays very loud, First [V]iolin drops violin down by side) 1 ST V IOLIN : Hush, now, it is for me – to play you someting deeferent, – deeferent. O MNES : Go on, – yes, yes, – very well[,] old pickle face. R ODNEY : Yes, what is it, young worm dust? 1 S T V I O L I N : (same manner as before, [s]ame earnest, inspirational enthusiasm) Listen, listen, – I hear it the night we leave the Fadderland. Yes, yes, close by where the boats sail, – a beeg garden of roses yellow in the moonlight, – listen, sea [a]irs blow soft among them. So the rose petals sigh to one to [a]nodder – like dis – 114

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O MNES : Hear him talk. R ODNEY : He’s drunk, – he’s drunk. 1 ST V IOLIN : (earnestly, same manner as before) No, – no – listen, – the yellow rose petals, listen, sing soft, so soft, one to another [–] (plays as before with all possible sweetn[ess] and tenderness a few bars of Mendels[sohn’s] [“]Spring Song[”] when omnes shout to him) O MNES : (shouting) Stop, stop, – [s]omething lively, lively, different, different – (Musicians play “Beggar Daughter of Bednal Green”. All exit laughing and dancing except Cunningham who goes with girl to door L.2 – as he gets to door, there is a knock door R.) C APT . C UNNINGHAM : (stops, putting girl through doorway) I’ll be with you in a minute, dearie. (closes door, X’s quickly to R.) (Balcom and another thug of rough dress and manner – enter, carrying girl between them. [S]he is wrapped in a great black coat. They place her in chair back of table L.C.) B ALCOM : She’s a wildcat, your honor. C A P T . C U N N I N G H A M : (bending over her, – in low tones) I’m glad of that. (To Balcom) Send your man away. [(]Balcom makes gesture to man who exits R.2. Cunningham puts arm around [g]irl’s neck) B ALCOM : ‘Twas an easy job, sir; back of the Dutch quarters, – they’ll get all the blame, sir. C APT . C UNNINGHAM : Be quiet. B ALCOM : Yes sir. C A P T . C U N N I N G H A M : (unfastens coat, discovers Jennie in gray undercoat, her head enveloped in great scarf, her hands fastened behind her. – In same low, half-breathless voice) You must forgive m[e] for this, [b]y God, I couldn’t help it. I have been watching you since I saw you this morning. I had to do this. You, little one, you can[’]t be blamed for this, so let roses be upon your countenance. (He is holding one arm close around her neck as he unfastens the scarf, when the scarf is u[n]fastened, he moves behind the chair a little. Jennie slips quickly out from chair so that table is between them. At this there is an overwhelming sound of voices in the next room) J E N N I E : (Looks around her in bewilderment, – then in quiet steady tones) Sir, – you, – I don[’]t understand the meaning of all this, – this [–] (There is another outbreak of voices and drunken laughter) I see[,] sir, you have made a most serious mistake. This is a soldier lark but I, – I – you have made a great mistake, sir. I am Jennie Randolph Graves, a lady[,] sir, – so I know you – you will send me home. C UNNINGHAM : (Gloating over her) Little one. J ENNIE : (intensely) Now, now, sir, immediately. C U N N I N G H A M : (Comes in front of her, – she stares him bravely in the face, – he in the same low voice) Not if I go to Hell this night for it. This i[s] your home to-night, [l]ittle dear heart. J ENNIE : No, – no, no, you don[’]t know what you are saying, – you, you must know I – I would kill myself before, before [I] – that should happen. C APT . C UNNINGHAM : Now don[’]t, don[’]t, – that is book-talk, – not real life. J E N N I E : (desp[e]rately) No, no, no, you can[’]t. General Howe is a gentleman, he would have you hung if – C APT . C UNNINGHAM : Great God, are you like all the rest? Why you can never be blamed – even that foolish little con[s]cience you are afraid of, can never sit in some little corner of your heart and say, “Great God, what have I done?” So stop your lies. We are together (familiar, confidential tone) man and woman, tell me now, isn’t there something born of a thousand years of passion and red blood way down deep in you, shrieking – “This – is 115

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a man.[”] Tell me, isn’t there some wild primordial joy, that fight as much as you will, breaks like great ho[t] winds against your very soul, now, now, – hearing me say these things. (Earl Cunningham with pewter mug in hand enters and stands in doorway. At first slightly drunken-dazed manner as though hardly understanding.) J ENNIE : There is nothing, but this – that shrieks out you are a drunken, besotted[d] beast. You, – you, – oh, Father in heaven, help me, help me. C APT . C UNNINGHAM : There you are begging the moon to send a legion of angels to help you. Throw away these moonshine dreams and come like the wild true woman of old. Gad, you women must d[es]pise these pimply faced cowards of to-day who eternally grovel on their knees and ask – ask, fearfully for favors, instead of taking, taking as I shall do. (Jennie falls back so they are at window) YOU, YOU WONDERFUL MYSTERY OF SOFT PINK AND WHITE, You [–] (with a quick movement, he takes her in his arms which are still tied behind her, so that he seems to literally carry her a few feet across the stage as she struggles. In sharp outburst) I’d be damned in twenty hells for you. (kisses her violently and she runs away from him, rushes quickly to window, dashes herself against pane so that it breaks. He stands and laughs a low, passion-crazed laugh) I’m sorry but there are iron bars outside that window. Now if you had tried the other – (She rushes to other window when Balcom stops her, simultaneously Cunningham throws the scarf over her face, then slips rope around her, and binds her quickly to pillar L.2.) (Earl starts up at this business to inte[r]fere when Reed and two girls come to doorway loudly laughing and singing. Earl goes quickly back to doorway, stops them in door) E ARL C UNNINGHAM : (To crowd) Wait, wait – just a moment. O MNES : Well, – what for? E ARL C UNNINGHAM : (lightly) Oh, a horrid jest. Wait, gentlemen, I beg of you. O MNES : (reluctantly) Well, for a minute. (They drop back) (Earl shuts door.) C A P T . C U N N I N G H A M : (Places Jennie so that she is safely hidden by curtains on wall seat, – pulls curtains into place over broken window) You’ll freeze us with your dramatics. E A R L C U N N I N G H A M : (swings hotly up stage) Don[’]t, you – you can[’]t do this sort of thing, you know. All this – with these kind of women (indicating off stage) is well enough, but this is a different matter, – even these men, – my[,] our friends – C A P T . C U N N I N G H A M : Would never ask a question when I tell them it is a jest with my mistress, or I’ll tell them the truth for that matter, – call it the “Spoils of War” or blame the “Lord of Misrule”. Cousin, call them in, – tell them – E ARL C UNNINGHAM : (hotly) General Howe shall know – C APT . C UNNINGHAM : Nothing about it. E ARL C UNNINGHAM : I myself will tell him – C APT . C UNNINGHAM : Not a word while our names are the same, [c]ousin. E ARL C UNNINGHAM : You are a disgra[c]e to our name, sir (quickly ripping ou[t] sword, with warm determination) and this thing shall not be. (Reed enters quietly) C APT . C UNNINGHAM : (draws sword, in temper) No? Well, we’ll see about that. R EED : (expostulating) Gentlemen, gentlemen, – my God, no, no[,] you can[’]t do this. C APT . C UNNINGHAM : (as they touch swords contemptuously) There is no danger, – not for me at least. (They fight, Reed closes door L. stands with back against door. Balcom stands looking stolidly on from Window R. Reed talks excitedly through it all) 116

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R EED : Gentlemen, gentlemen, – I beg you, gentlemen – (There are only a few sword thrusts when Capt. Cunningham disarms Earl and holds sword at breast.) C APT . C UNNINGHAM : Now I ought to let the candle light through you for your impudence. E ARL C UNNINGHAM : (quietly) Well – C APT . C UNNINGHAM : You should learn something of swordplay before speaking so bravely. You have lost, my friend, – so are honor bound to silence. E ARL C UNNINGHAM : (drops head in admission of defeat) Yes – I have lost. C APT . C UNNINGHAM : (drops sword sharply) Goodnight, sir. EARL CUNNINGHAM: (X’s quickly to door L.2, stops in doorway, turns) Still you should – C APT . C UNNINGHAM : (sternly) Goodnight, sir. (Earl Cunningham exits quickly, leaving door open. As he opens door, omnes heard off stage) O MNES : Sing us a song. R ODNEY : Yes, or by the devil, you stay in here all night. O MNES : Yes, – sing, Birdie Quaker. B ONDMAN : (off stage, sings) Oh thou, lover of my soul, R ODNEY : (breaking in) Take him to the Captain, he’ll buy your pies. (Two girls sing to hymn tune, “Let the Quaker in, Let the Quaker in[”]) C APT . C UNNING HAM : (at Earl’s exit, has drawn curtains in front of Jennie, and opened door. In doorway laughing) Yes, bring them in, I’ll buy[.] (Omnes rush on dragging Bondman made up as a [Q]uaker. He has tray with cloth cover, filled with pies. Tray is made of wood and is held in front against body with strap around neck) R ODNEY : Cunny, – wilt have [t]arts or pies? P INKNEY : Or his ears? C APT . C UNNINGHAM : A little of each, thank you. These Quakers make lovely pastry. Their pies are as sweet as their faces are sour. B ONDMAN : (In quiet, low voice) Thou art a wise man, thou mighty man of valor. C HARITY : How now, s[w]eet youth, dost love the ladies? Art fond of white apple dumplings? (Puts her arms around [B]ondman’s neck who stands immovable) Give me a kiss, it’ll brighten thy sour face. R EED : (snatching Charity away) Come here[,] wench, let the Quaker boy be[.] R ODNEY : (mocking voice) Here[,] Quaker, drink with us. Thou art a good loyalist. B ONDMAN : Indeed thou dost speak the truth, friend. I am ever loyal to the King’s annointed [sic]. C APT . C UNNINGHAM : (seated back of table) Yes, they are all loyal to the King, now when he’s won. I’ll venture you would have been as loyal to Washington were he victorious. (Omnes bring liquor to Bondman) B ONDMAN : It were a serious offense if I drink of the liquor. R ODNEY : Pour it down his throat. (Omnes crowd around him. After pretense of resistance, Bondman takes drink) C APT . C UNNINGHAM : How do you like it, old “Thee-and-Thou”? B ONDMAN : ‘Tis not so bad, sir. I might become used to it in time. (Reed and others enter with Jones. He is also made up as a Quaker, carries tray with tobacco twists. He seems very worn, an[d] drags one foot limping painfully) R EED : Here’s another. R ODNEY : (lifting cover off Jones’s tray) Tobacco, – oh! (Gong is heard and voices cry – “Supper is served, – Supper is served”) 117

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R ODNEY : Ah, I am starved to death. R EED : Never was so hungry in my life. P INKNEY : Ach Gott, that is a good sound. G IRLS (rush to door) Oh my gemina, just look. (All exit. Capt. Cunningham stops at door, beckons, three soldie[rs] enter. Two soldiers exit into room R.2, one stops at window with Balcom. Capt. Cunningham whispers to 1st soldier, then points to R.2, gestures toward Jennie. Balcom salutes) C APT . C UNNINGHAM : (calls to Bondman and Jones) Here, old dirt-bones, – come, unload your pies. C H A R I T Y : (takes Bondman by arm) Pretty Quaker, pretty [Q]uaker – (exits holding to Bondman’s arm) (Door is left partly open. Omnes heard off stage shouting and laughing. After crowd exits, Balcom fills two cups with punch, offers one to soldier, takes the other himself. They sit by window R.) R ODNEY : (off stage, in mock rapture) Oh, look a side of beef! B ESS : (also off stage) Pigs, pigs, – four pigs. R EED : (off stage) Piggie, Piggie, Piggie. B ESS : I’ll eat em all. (Laughter, banging of forks, etc.) [P] INKNEY : (off stage) Pigeon pie, – Pigeon pie, – takes my eye. O MNES : Pigeon pie. Pigeon pie. C APT . C UNNINGHAM : (shouts) Music, damn those lazy dogs, play something. (Music begins.) (Bondman re-enters[,] X’s over to door R.) B ALCOM : Where are you going? B ONDMAN : (indicating door R.) I would away from these revellers [sic]. Is not this the way to the street? S O L D I E R : No, old dirt face, it is the way to Captain Cunningham’s private rooms. You’ll have to pass out the other way. (Soldier and Balcom chat at window. Bondman goes back towards door and meets Jones) J ONES : Ah brother, ‘tis time we were on our way. B O N D M A N : (looking around) Thou art right, brother. (in natural, low voice, quickly) I’ve had great luck. Only sixteen hundred men here. All off their guard, – could be taken by a thousand, – Cornwallis plans to attack Washington in three days – getting rafts in preparation – been waiting for it to freeze – and His Excellency will be caught if he doesn’t move quickly. Gathered that much at Rahl’s quarters this evening. J ONES : Damned good. B ONDMAN : You go to the old Dutch Road. I’ll try the new. Remember in three days. […] [not] a moment to be lost. I must get back to the Mill before twelve. By the great Continental, Jones, we’ve done it, we saved em, – think of it, – we. J ONES : Hush, – not yet. B ONDMAN : The window. J ONES : Not these, – second story. You’ll have to go alone. My leg’s gone. Twisted from the bone – Hell. B ONDMAN : Damnation, I thought you were playing possum. B ONDMAN : (resolutely) Well, – you get to the Dutch barn, I’ll come back for you. By God, His Excellency and the whole army will come with me. W ATCHMAN : (outside) Ten o’clock – and all’s well. J ONES : Hush. B ONDMAN : (in surprise) Ten [o]’clock! (determined) I must clear for home[.] 118

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J ONES : (emphatically) Yes, you’ll have to split hell to get to the Ferry by twelve. (Jennie gives low moan. They both pause) B ONDMAN : Did you hear? (turns facing curtains) J ONES : Like as not some innocent girl mistreated. This Cunningham and his crew here (indicating L.) – the greatest monsters living. B O N D M A N : It’s in the room. (goes quickly up, draws back curtain, and discovers Jennie leaning against the curtain so that she is only partly seen[.] She has loose[ne]d the scarf which was around her face) You[!] – why? (Jennie who is standing easily in the curtains, straightens herself) B ONDMAN : Why, – is this house the place that you – (in quick, eager[,] low voice, moves closer) Why[,] lady, do you know this – this Cunningham is the greatest fiend, – you must go back to your rooms[,] lady[.] You must not be seen [–] (looks up, in horror-struck tone) Why[,] good God, I thought it was a stairway. Why you – (very loud so that the soldier turns from his position in window[, but] [c]urtained pillar R. hides him from [p]illar L. where Jennie is concealed) J ONES : Be careful, remember. B ALCOM : (quickly, harshly, coming from window) Damnation, come away from that wench. B ONDMAN : (turning quickly to Balcom) I, – I meant no harm. (Jones goes cautiously to [d]oor L. – all this very quickly) B ALCOM : (angrily) Harm, – the devil. I’ll have you in the lock-up, you meddling fool. B ONDMAN : Hush. (quickly offers him money) Cease the loud words, friend? B ALCOM : If the Governor knew this – B O N D M A N : (taking out more money) Here [–] (offering money) For just one moment – (Balcom looks at it, hesitates) (offering money again) I beg you, ‘[t]is all I have. B ALCOM : (taking money) Well, hurry, he’ll be through in a minute, – if he caught you, I’d pay for it. His arm is as long as hell. Hurry up, keep your distance too. (X’s back to window) J ONES : ([…] Very low, quick, intense) You must HASTEN[.] They’ll be coming back in a minute. In their drunken humor, it may be hard to get away. C HARITY : (off stage) Where’s my Quaker[?] O MNES : (off stage) Where are the Quakers[?] Bring them in and get them drunk. Fill them full of booze, – the Quakers. J ONES : They’re coming. J ENNIE : (as though worn into a state of dazed exhaustion) Bondman, this beast had me brought here half an hour ago, – do you understand, you can help me. Oh Bondman, I know you will help me. (She reels[)] Bondman, at last you will save me. (sinks limply in sitting posture) B ONDMAN : Yes, I will, I will, – I will stay here. J ENNIE : Oh, oh, I knew you would. (in low voice, very simply like one whose troubles are at an end) I know you would, O thank God, thank God for you, Bondman. B ONDMAN : (same quick, desperate intensity) I’ll wait til they go, – I’ll kill him, – and get you away. I’ll do it somehow. J ONES : (in quick, firm telling tones) It’s late now. You must go. B ONDMAN : Those men (turns toward Balcom and soldier at window) I could get rid of them [–] (steps forward impulsively, Jones stops him) J ONES : (low, stern voice) Stop – the room there is full of redcoats – all these people, – they’d blow you to hell in a flash. B ONDMAN : Let them, – I’ll try, – I’ll – J ONES : (quickly) It’s not your life (slower, impressively) but the thousands waiting on the other side the river – for you[.] B ONDMAN : (mechanical, horror-struck tone) God! God! God! God! 119

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J ONES : (same relentless tone) Your DUTY – SWORN ON THE BOOK OF GOD. (shouts and laughter offstage) J ENNIE : Be careful, Bondman. B ONDMAN : (in agony of indecision) I, I – (pulling himself resolutely to the truth) NO, NO, I MUST GO, now, this minute [–] (raises curtains[,] sees window barred, – desperately) Lady, tell me, – help me. J ENNIE : (quietly) Yes, yes. B ONDMAN : (in horror-struck voice) The WHOLE ARMY WAITS. I have new[s] that will SAVE THEM, – ALL the DAMNED, STARVING, DYING – I haven’t a single moment, – in God’s holy name, I must go, now, now you understand. J ENNIE : Yes – yes, – Oh yes, I understand[.] B ONDMAN : (very quick) Now – they are waiting at the river bank, – If I miss them – J ENNIE : (interrupting) No, no, – you must not. Go, go quickly – Have you a w[ea]pon? B ONDMAN : Nothing – as Quakers, it would have meant destruction. J ONES : (sternly) You must hasten – you can get out there. (pointing L.2) J ENNIE : Not even a knife? B ONDMAN : (desperately) Nothing. J ENNIE : (rapidly, eagerly, in low tones) Bondman, Bondman, remember before you were a bond slave, think, – you understand what a woman’s honor is. B ONDMAN : Do I understand? J ENNIE : Yes, yes, this you must do[:] kill me, kill me in some way before you go. B ONDMAN : Kill, – kill you. J ENNIE : Yes, yes, pretend you are my lover, jealousy, anything – only do it. (Bondman looks at her in speechless horror) J ENNIE : You must, – you must. O MNES : (off stage) Find em, – bring em in. B ONDMAN : (in tense quiet) I will, – then when my work is done, I shall come back to him. J ONES : Come, come, COME. (shouts, 2nd soldier, Reed and Cunningham with goblets in their hands break through door) O MNES : Where are the “Thee-and-thou” Dogs? C APT . C UNNINGHAM : Oh, they are talking to my lass. Have to put an end to that. (swings up stage, catches Bondman by throat, turns him around down stage) B ONDMAN : (starts up toward him, threateningly) By God, I’ll – J ONES : (screams) Friend. (Capt. Cunningham draws sword; soldier lifts musket; Balcom puts hand on pistol; Rodney hand on sword. Two other men stand in doorway) B ONDMAN : I, – I – C APT . C UNNINGHAM : This is a strange kin[d] of Quaker. B ONDMAN : (turns, Jones has caught his arms, breathlessly) I beg you, sir, thou wilt forgive me. Thou art a man of war and valor, but thou wilt not do this thing. C APT . C UNNINGHAM : Wilt not do what thing? B ONDMAN : (falls on knees in passion of entreaty) This maid – thou, – thou does not mean harm to her, sir. Thou art mistaken, sir. She is not like these women, – she is to be my wife, sir, – thou wilt not, oh God in heaven, thou wilt not soil her, – thou wilt not, thou wilt not harm her. C APT . C UNNINGHAM : (laughs) Harm her? Why of course not, – not for a thousand pounds. B ONDMAN : Thou, – thou hast women dear to thee, – think[,] sir, their souls, it is more than – her soul, – thou couldst not bring hurt to her? 120

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C A P T . C U N N I N G H A M : (quickly, brutally) Get up, you damned hypocritical dog, or I’ll make a river through you. This is a time of war, – we are the victors, – we take that which we want. None of your moonshine talk to me, – or I’ll cut your throat here and now. B ONDMAN : (Looking around room, appealing to the other men) Some of you help me, – help me, – it is the truth, – the truth, I say. C APT . C UNNINGHAM : (fiercely) Cease your talk. J ONES : (sternly, steps forward, stands close by Bondman as though to restrain him) Friend, it is late. (action here practically simultaneous) J ENNIE : (screams) No, no, no. C APT . C UNNINGHAM : (rapidly, with strength) It is the joke I told you, – my sly wild mistress who came to me in secret, – this must be her jealou[s] lover of whom she told me. (Bondman makes slight movement. Jones restrains him) R ODNEY : [(]Mockingly, to Bondman) Oh, thou jealousy. P INKNEY : Romeo Gogel. (Cunningham has put scarf over Jennie’s mouth again. Pinkney and Rodney come between Bondman and Cunningham) B ONDMAN : (in desperate, quiet resolve) Let me speak with her, but one word. C A P T . C U N N I N G H A M : (mockingly) But one word, listen, – our Quaker friend disguised as a Romeo. Here [–] (in commanding tone to men R.) Lock him up. [(]Balcom and soldier start toward Bondman) (Three girls and others enter) C H A R I T Y : Oh where is my sweet Quaker? (knowing nothing of what has occur[red,] absolutely natural, so that the crowd’s bright, offhand unconcern brutally contrasts the shadows of the tragedy that if for the Bondman) B ESS : (very quick) Here[,] John We[sl]ey Wuaker [sic], like [p]iggie bone, nice piggie bone? (Has bone on which she is munching, and she thrusts it against his face) C HARITY : (has piece of pastry in hand) Here, fatten him on his own pies. Quaker, [Q]uaker, dance with me. (thrusts pie in his face, – they all take hold of him dancing around him once) B ESS : Now sing us a John We[sl]ey [h]ymn like a good Quaker. M ILLIE : Yes. Yes. C APT . C UNNINGHAM : (sternly – to his men) Lock him up. (action here very quick) R ODNEY : Now, now[,] Cunny, let’s jest with the jokel [sic]. P INKNEY : Yes, Cunny, yes, then we’ll throw them out the window. C APT . C UNNINGHAM : (gestures to men to withdraw) As you say. B ESS GIRL [sic]: Sing us a song that will save our souls. (Three girls on R. – Bondman up stage C. below Jennie who is L. of table. – Capt. Cunningham & Rodney L. – Re[e]d and Hartin on wall seat back of [B]ondman. Head and another man come on, – they have been peeling oranges, – as Head passes by table L. he drops the knife, – Bondman sees this) B ESS : Quaker[,] sing, – sing[,] Quaker. (Bondman with eyes on knife, Jennie also sees knife and makes gestures to throat) B ONDMAN : (half c[r]azed, thinking of what he has to do) God have mercy! God have mercy! (Omnes laugh) R ODNEY : (mocking) Sing your song, we’ll talk about that later. (Bondman looks at Jennie, then with eyes fastened on knife, begins to sing, – “Oh, thou lover of my soul” (makes almost imperceptible move to table) “Let me to [thy] bosom 121

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fly”, – again moves – “While the nearer waters roll, while the tempest still is high” – moving almost imperceptibly all the while towards knife on table) R ODNEY : (breaking in on song, mockingly) ‘Tis a [Q]uaker love song, by God[.] C A P T . C U N N I N G H A M : (laughing) He’s singing to the girl. ‘Tis as good as a play. (takes chair and sits) I shall have a place in the Pit. R ODNEY : (with sword) Go on, [S]ir Quaker. J ONES : (who has kept close behind Bondman) Remember. (Bondman has staggered a couple of steps towards knife on table) P INKNEY : By God, – he’s drunk. (Omnes laugh uproar[i]ously) R ODNEY : Let him finish the song. (Bondman is by table; puts right hand stealthily on table close to knife, begins to sing again – “[Guide] me, [oh, my saviour [sic] guide”], gets knife, – “[Till] the [storm of life] is [past]” [–] still nearer Jennie who throws back her head indicating bare throat, Bondman springs forward with upraised arm to kill her, Pinkney and Head who have been watching him back of pillar by wall seat spring forward in time to save her. Cunningham twists knife out of his hand, they throw Bondman down stage. Jennie falls forward fainting, held by the rope so that she is nearly hidden by the curtains against pillar) J ONES : (warningly) Remember. C A P T . C U N N I N G H A M : (fiercely) By God – (stops, laughs) Ah, ‘[t]is a melodrama, well done. Thou shalt have the lead in the next play we put on. Thou art not a Quaker, thou art a second Virginius [sic]. A fudge to thee [–] (applauds boisterously) J O N E S : Dost thou not see, sir, – he is beside himself. It is the liquor. (To [B]ondman,) Remember[,] friend, thou must go. CAPT. CUNNINGHAM: Lock him up til he sobers off. The punch is heavy on his head. W ATCHMAN : (calls) Eleven o’clock – and all’s well. (Bondman and Jones look up) J ONES : Let him go home, sir, – ‘tis late. B ONDMAN : (last desperate determination) Yes, yes, let me go home. It is the liquor, – thou art quite right. C APT . C UNNINGHAM : Well, – throw them into the street. B ONDMAN : (a last look at Jennie, then turns, – in suppressed mad scream) Yes, I must go, – I must go, – I must, go, – go, go [–] (staggers out doorway) (Omnes laugh, take Jones by the scruff of the neck, throw him out the door, – some of the omnes following) C A P T . C U N N I N G H A M : Kick them both out into the street. [(]Omnes inside laugh and shout, – yes, yes, – some go to window) C HARITY : (at window) Oh look, here they come. The old one, look at him. R ODNEY : (at window) Look, look, – he fell. C HARITY : (in horror) Oh God, his head, – the blood is running[.] R ODNEY : He won[’]t get up for sometime. The other one, look, my [Q]uaker hero is running, – hear him screaming like a girl. (There is sound of horrible screaming) C APT . C UNNINGHAM : (down stage, to Balcom in low voice) Follow that Quaker[.] (touches pistol in belt) See that there is no talk. (Balcom salutes, exits quickly door R.2. A couple of soldiers who came in with the omnes have fallen in drunken sleep in chairs; Reed and Millie with arms around each other’s necks, get up from chair and stagger to wall seat, she lies limply on wall seat; Reed falls on floor with head on wall seat; two other men are stretched on wall seat, fast asleep) 122

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C HARITY : (closing window curtains) Oh, I didn’t finish my supper. (runs gaily to door L.2, calls to Rodney) Come, come. R ODNEY : (laughingly, alluding to drunken figures) Look, the white flag’s run up to the lead storm of rum. (exit together gaily) C APT . C UNNINGHAM : (R.2, looking up stage) Mad, – all, all of them with the wine madness, – mad[,] you Quaker fool with your moon dreams (goes to Jennie, standing above her with gloating face close against hers) and I – I am mad too, mad with the warm blood that makes you, – my soft mystery of pink and white, – ANOTHER ERIC THE RED HATH CROSSED THE SEAS – FOR YOU – YOU – YOU [–] (takes her in his arms, with his lips against her face) CURTAIN ACT III – S CENE II Delaware River[,] the next night. A snowstorm is raging, and between the intervals of storming wind, is hear[d] the grinding, creaking and rolling of the ice which fills the river. R.2 there is a campfire, around which three British soldiers are seated, – their muskets stacked, and a lantern hung from one of the muskets. At rise of curtain, a Sentry is just disappearing L.2. Scene opens in rather slow, marked tempo, though offhand and [c]olloquial. 1 ST B RITISH S OLDIER : Great affair in town tonight. Wish I was there. 2 ND B RITISH S OLDIER : Hellish luck – get this outpost duty, – this bloody weather. 1 ST B RITISH S OLDIER : Well, the war’s over. 2 ND B RITISH S OLDIER : It wasn’t no war. Nothing but a run. 1 ST B RITISH S OLDIER : These Americans[,] bloody good runners. 3 R D B R I T I S H S O L D I E R (an old man): Think we’ll be home by Spring [sic]? I want to be home by Spring. 1 ST B RITISH S OLDIER : Cold, – ain[’]t it? 2 ND B RITISH S OLDIER : (with ominous premonition) What was that? 1 ST B RITISH S OLDIER : What? 2 ND B RITISH S OLDIER : I thought I heard something. 1 ST B RITISH S OLDIER : I didn’t hear nothing 3 R D B R I T I S H S O L D I E R : Be mighty glad to get back to the old country. Wrote home yesterday, we’d be back by Spring. 1 ST B RITISH S OLDIER : (takes out brown bottle and takes a drink) 2 ND B RITISH S OLDIER : Pass it around[,] Bob, pass it around. (takes bottle) Here’s to a quick going home. S E N T R Y : (gets to R.2, turns) Yes, I’ll take a drink on that, – as how we gets home quick. (Goes over, takes bottle, drops gun, takes drink) As to how we gets home quick. (Beats his hands together to warm them, picks up musket, turns as he gets L.2, a sack comes over his head, and then a knife flashes in the air, and he falls without a sound.) 2 ND B RITISH S OLDIER : I heard something. 1 ST B RITISH S OLDIER : You’re spooky to-night . 2 ND B RITISH S OLDIER : Wish I was on duty at town. (There is seen crawling along the ground, four figures, – they worm along for a moment, and then pause) 1 S T B R I T I S H S O L D I E R : Give us a swig of the bottle. My turn for guard duty next. My [G]od, it’s cold. (steps back, takes up pieces of wood and throws them on the fire) 2 ND B RITISH S OLDIER : That’s right, stir up the fire. 123

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(1st British soldier throws two pieces over to the fire, – as he goes back for the third to R.U. by entrance, two of the figures on the ground, repeat same bus. with him, – then all of them creep closer to the [c]ampfire.[)] 2 ND B RITISH S OLDIER : (in frightened voice) THERE – THERE it was. 3 RD B RITISH S OLDIER : I think we’ll get home by Spring allright. No more of – (2nd British soldier starts up, – two men bear him down; same bus. [Repeated] with the 3rd British soldier who utters a low gurgling […], – the only one that makes a sound. Then Williams and five Americans are seen) W ILLIAMS : (grimly) GOOD WORK. THEY’LL GIVE NO WARNING. (Then there is silence for a time, and they light a lantern, put it on a pole, and wave it in the air three times. Then a light is seen in the distance on the water, and immediately afterwards two great rafts filled with American soldiers pushing and pulling their way through the ice. They wear the same pitiful, non-descript clothes as in Act Two, – some with blankets fastened around them, – others half naked, – two men with feet tied up in sacking as mass of floating ice, working with shoulders against raft. Second raft has small cannon on carriage. Then third boat appears. As it gets center, lantern bearers in front lift up lanterns as though peering out into the darkness, – thus discovering Washington with his staff around him.[)] CURTAIN ACT III – SCENE III A few hours later. Scene same as Scene 1, Act III. The room is in great disorder, chairs turned over, tables upside down, the curtains L.U. have been torn down, exposing the piles of plunder, – bolts of silk, cloth, clothing, silver plate, etc. Pinkney, Reed and Rodney discovered as though just awakening from drunken sleep. Gray early morning lights. R ODNEY : (stretched on wall seat with coat over him, – to Pinkney) I’ve been drunk for two days. When’s time to get sober? P INKNEY : (in chair with feet on table, rug thrown over him) Maddest time ever had in my life. R EED : (stretched on plunder L.U. corner of room) Christmas night, – Christmas night. P INKNEY : I dispute you – Christmas morning, – morning. H E A D (O F T H E S.S.): (enters from L.2, shouts in great excitement) Where’s Captain Cunningham? R ODNEY : Don[’]t know, – what’s more, don[’]t give a damn. H EAD : You will g[i]ve a damn – the Americans, – Washington has crossed the river. R ODNEY : Crossed the river? That old sleepy-head couldn’t cross a spring less he was running. You’re drunk, man, – drunk. H EAD : (at door L.2) Drunk am I[?] – (In the distance is heard roar of cannon. All spring to their feet) Do you hear? Do you hear? R ODNEY : Listen, – by the devil [–] C UNNINGHAM : (at doorway L.2, without coat, has sword and pistol in hand) The Americans, – the Americans are on the outpost, – to your qua[r]ters, – to your quarters. (Exits L.2, all follow him) (Off stage are heard shouts, [“]The Americans, the Americans[”]; closer at hand, a roar of cannon and small arms. Six British soldiers with muskets enter hurriedly from R.2, – two of them without coats. They bar the door. The other four cross stage, exit L.2, – two go to window R. As 1st soldier gets to window, there is a shot outside, – he reels backward, then 124

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falls forward on face[.] 2nd soldier fires through window. There is another shot, he falls forward in the window. Then the Bondman springs through the window. He is dressed as in Scene 1, excepting he wears his own hair, and has [no] coat. He rushes to door L.U., attempts to open the door, it does not open, takes up musket, and with the butt of it, breaks in the door. Then there is a terrific report as though a cannon ball has struck the house, and bricks and clouds of dust fall from L. of window R. leaving a jagged hole in the wall, through which the snow swirls in. Jennie staggers into doorway L.U.) B ONDMAN : (seeing her, knowing the truth) God! God! J ENNIE : (faintly) You! B ONDMAN : (in breathless voice) Then – this – this beast? J ENNIE : (nods her head “yes”) (faintly) Yes. (Jennie staggers, Bondman takes her in his arms, quickly places her on wall seat. Picks up sword from wall seat, screams with the blood list wild in his voice, – “CUNNINGHAM, CUNNINGHAM, CUNNINGHAM[”]) [(]goes to door L.U. when four soldiers, Rodney and Cunningham rush on from L.2, they cross stage, – Bondman turns in doorway L.U. Cunningham, Rodney and one soldier turn. Rodney shouts “The QUAKER[”], – soldier lifts musket and fires on Bondman, Bondman fires with pistol at the same time, the soldier falls, then he rushes for Cunningham but Rodney bars the way by meeting him with a sword. They fight, – the Bondman calling through it all like a madman, “CUNNINGHAM, CUNNINGHAM, CUNNINGHAM”. Door R.2 is battered in, – one of the British soldiers is shot, – he turns, falls forward on face in doorway. Two American soldiers, Berry[,] Jones and Mr. Graves enter. The British soldiers drop guns in token of surrender) C APT . C UNNINGHAM : […] (Bondman disarms Rodney, rushes past him to Cunningham) B O N D M A N : No, no, you go to hell, here and now. Damn you, damn you. (turns to Cunningham who is thus caught unawares, throws him down stage, then takes sword from Jones, throws it to Cunningham. Sword falls at Cunningham’s feet who stands for the moment as though dumbfounded) B O N D M A N : (in same mad voice) THE SWORD – THE SWORD, – I’LL CARVE HER DISHONOR OUT OF YOUR FOUL HEART, – THE SWORD, – I SAY. (Cunningham snatches up sword, the[y] fight furiously. Jones and Graves go quickly to Jennie L.U. Private soldiers take captives off stage. Berry at window R. with musket. The sound of guns and the roar of battle outside ceases. Immediately afterwards in the distance is heard the Fife and Drum Corps playing triumphantly, quickened parodied version of “[The] Banks of the Dee”. Williams rushes on R.2. Does not see [B]ondman and Cunningham. Shouts – “WE’VE WON, – WE’VE WON THE BATTLE, – DO YOU HEAR JONES, – WE’VE WON THE BATTLE”[)] (Sees Bondman and Cunningham, stops, – Jones bars [d]oor R.2, – Bondman kills Cunningham) B ONDMAN : (over Cunningham’s [b]ody) DAMN YOU, DAMN YOU, (up to Jennie who is in uncle’s arms) YOU SEE, – YOU SEE, – YOU SEE – HE’S DEAD, – HE’S DEAD – (in final outburst) GOD TAKE HIS SOUL, I’VE KILLED HIM. CURTAIN ACT IV Latter part of August, 1781. Morning. Conservatory ante-room of the Schuyler House, Philadelphia, which [h]as bee[n] turned into a temporary hospital. It is a long, shallow room. Door R. and door L. leading into other rooms. L.U. corner is the foot of stairway. Back in C., great window-doors, level with the floor, on each side of which are other glass 125

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doors, ar[r]anged as regular conservatory windows that can be pushed out, upward or down according to practicability, – making it possible to open out all the back of the room. One of the window[s], doors is open at rise of curtain. A long and narrow table against wall below door L. An empty invalid’s chair R.U. corner; an empty cot against wall R. below door. ACT IV – SCENE I At rise of curtain, 2nd nurse is wheeling an old-fashioned invalid’s chair from R. to door L. in which is seated a young man with blankets over him. Jones is seated in invalid’s chair by window L. of C. He is wrapped in a blanket, and seems very much older, as though pretty well worn. Is supposed to have had leg amputated. His chair is set with the side to the audience, and he seems to be looking out the window. He is humming in a slow unconcerned manner, (according to the supposed rather nasal New England manner, so as to bring out in a colloquial way, every word) Oliver Arnold’[s] [p]arody on “The Banks of the Dee”. J ONES : (humming) “Twas winter and blue Tory noses were freez – zin –” (Doctor, an old man of sixty comes down steps L.U. carrying an old-fashioned saddleba[g]. Stops at foot of steps, fastens more securely one of the bags, throws it over his arm, as he passes by Jones going to door R.2, he speaks to him) J ONES : (singing) “As they marched – o’er the land where they ought – not to [–”] D OCTOR : Good morning J ONES : (singing) “The Redcoats –” (to Doctor) Morning, Doctor. (Doctor exits) J ONES : (only stopping long enough to say “Morning”, continues song) “The Redcoats complained at the snowing – an freezing – an [w]isht they’d remained on – the Banks of ther [sic] Dee.” (1st nurse enters by stairway. She is a gentle-mannered, middle-aged woman.) N URSE : (cheerily) Good morning. J ONES : (same unconcerned manner, singing) “Lead on, thou paid Captain[!”] Morning[,] nurse. N URSE : How’s the leg, today? J ONES : (singing) “Tramp on – thou proud minion” – bout the same, – any news? N URSE : No, – nothing new. J ONES : “Thou proud minion –” (Dr. Fields enters, – nurse goes to table L., takes off old cover, puts on a new one which she has thrown over her arm.) J ONES : (singing) “Thy ranks basest men –” D R . F IELDS : Good morning. J ONES : (singing) “Shall be strung –” Morning[,] Doctor – “Shall be strung like ripe onions.” (Doctor smiles, X’s to nurse [at] table L. –) D OCTOR : (to Jones) You seem to feel pretty good this morning. J ONES : (not hearing, continuing song) “For Amerikee has heads with warlike opinions – On shoulders on nobles who ne’er seen the Dee[.]” D R . F IELDS : (puts saddle bag down on table, takes out small packages as though of wrapped up instruments) [(]To Nurse) Good morning. N URSE : (has picked up a newspaper upon changing table cover) Good morning, Doctor. D R . F IELDS : ([brusque], staccato-like way of speaking) Is that the Gazette? N URSE : Yes, I was reading the war news. 126

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D R . F IELDS : […] same – inaction – inaction – seven years now [o]f fighting, – we’re in a worse position than when we began – Fabian policy of Washington, – “Do-nothing” Policy, I call it – and Cornwallis, – Cornwallis has got his heel on the South, – he’s wiping it all out, – we’ll come next. Washington and the army sleep, sleep in New York. (is taking out packages, wrapping them more securely, putting them back in saddle-bag all through this) How’s the new case this morning? N URSE : Very well. Bandage needs attention. D R . F IELDS : That so[?] Be on hand promptly at three o’clock this afternoon. N URSE : Yes, Doctor. (Dr. Fields starts up steps, as he gets to the first step, Jones calls out to him) J ONES : Doctor, I overheard what you said. So you don[’]t have much hope for things? D R . F IELDS : None at all. (exits) N U R S E : (coaxingly to Jones) Now, why don[’]t you take a nice, little slee[p] and don[’]t worry about things. (wheels him very gently a little away from window so that he faces the audience) J ONES : Don’t feel like sleepin, – rather stay awake and talk to somebody, – ain[’]t been no Expresses from the army to-day, – has there? N URSE : Not that I’ve heard of. J O N E S : You know my regiment, – Massachusetts regiment that is, – they’re in New York [–] (has a crumpled letter in his hand, – holds up letter) I got this from there, – last week – they just doing the same, it says, always waiting, waiting – this is a nice letter – nice letter, – Jack White – he wrote it, – he was out with me when this leg all froze up at Valley Forge, – and there was Gimpy, – Gimpy Runt, – he had a friend from Virginia, – Virginia Creeper he called him. N URSE : (busy fixing cover around him. In conciliatory tone) Well, well, now that’s allright. J O N E S : (looking off as though talking more to himself than nurse, – naturally) Guess I’ll never see him no more, – don[’]t look that way now, I’m old, – and it’s made me older, – and I wanted to see the work finished – before I march off for good. N URSE : Well, well, – don[’]t talk like that. (Sound of voices, confused hubbub and excitement outside, then bells ringing in distance. Nurse goes into door C.) J ONES : What’s the matter, nurse, – what is it? What’s the matter? N URSE : I don’t know. I see people running down King [S]treet. Something’s happening. (roll of drums is heard) J ONES : Listen, listen. N URSE : You [hear]. You [hear]. J ONES : Drums, – there’s a regiment marching. (Drum music swells and increases in volume) That’s more than a regiment. (excitedly) Nurse[,] why don[’]t you find out what it’s about? N URSE : (in doorway) They’re shouting “Washington”, – the Army, – it’s our army, – don[’]t you hear? J ONES : Where can they be going? I wonder if my regiment is with them. If I didn’t have to sit here. N URSE : I’ll find out for you. Now keep still just a moment. (exits hurriedly R.2. There is a long pause, music stops, – the hurrahing again, – it stops, long silence. Nurse re-enters quietly, opens door R.2) J ONES : Well, well, – what is it? What is it? N URSE : (with affected unconcern) [Oh, just a parade.] J ONES : Must have been a big parade. You’re fooling with me, nurse. N URSE : Here’s somebody will tell you. (Opens door, [motions,] Gimpy enters hurriedly) 127

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G IMPY : (same breezy manner as of old) Well, Jonsey, Jonsey, Jonsey – Bless my curly locks. J ONES : Gimpy, – well, well. (shake hands effusively) G IMPY : Jonsey, I never saw you look so well. You get better looking every day. J ONES : Where you going? Is the whole army here? The whole army? (seeing dog – a forlornlooking cur tied to a string which Gimpy holds, – dog is plastered from head to tail with paper money) For God[’s] sake, what are you doing with that dog? G IMPY : (breezily) Oh, it’s an American-money-dog, – just to show naughty Congress what we thin[k] of its money. Hey there[,] Pa[nsy], Pansy, Pansy, – be a good dog now. J ONES : Well, where are you going? What are you doing here? G I M P Y : We’re not certain yet where we’re going, – find out here. Think the whole army’s going to disband and go home. J ONES : (in consternation) Disband? G I M P Y : Yes. Never have any money to pay nobody, – cepting Dog-money, – everybody’s disgusted. I think we’re going, – I don[’]t know – oh, bless my curly locks. (during speech has make a circle around Jones, pulling dog with him. X’s to door R. Calls out door) Hurry up[,] [V]irginia Creeper, you’re slow as Halifax. C A R T E R : (enters followed by Williams) Be reasonable – I walk so monstrous quick. Well, dear Jones, you know this is monstrous good to see you. J ONES : How are you, Carter? C ARTER : Oh I’m well, – haven’t been hungry for quite a time. J ONES : Hello[,] Williams. W ILLIAMS : Hello[,] Jones. G IMPY : (taking orange out of pocket) Look[,] papa Jonsey, – all for you, – cost ten thousand dollars in American money, – had to make two trips to pay for it, – but I’ve got one piece of French money, all gold, – I’m going to buy all Philadelphia with this. ([tosses] up coin) Carter, why look you so rambunctious this morning? C ARTER : You know, dear fellow, it’s taken me horribly by surprise – this – this moving about so. G IMPY : Come with me, Virginia Creeper, I’m going to buy some breakfast, – see you again[,] Jonsey. Think we’ll stay over for a day or two. C ARTER : (over to Jones) I’m sorry[,] old chap[,] for all this, – anything I can do[?] J ONES : That’s allright. Run along and get your breakfast. God bless you both. G IMPY : (at door) Farewell[,] Jonsey, see you soon. C ARTER : Goodbye. Goodbye. J ONES : Say, where’s Jack White, – isn’t he coming around? G IMPY : Oh, he’ll be around. Had some work to do. – Goodbye. J ONES : (to Williams) What’s this I hear about disbanding? W ILLIAMS : Well, I’m afraid that’s what it will come to. J ONES : (interrupting, – hotly) After all these years? I didn’t want to die til I’d seen it through with, – why His Excellency ought to shoot down every man that speaks about quitting. W ILLIAMS : (quickly) Well[,] we get marching orders at New York. Nobody knows where we are going or why. We leave people at home that depend on us, to starve – or at the Brown skin’s mercy – every step we make, takes us further away from them. J ONES : Well, if we’d end this war. W ILLIAMS : (quickly interrupting, with great earnestness) End the war, – hell, – I’ve stuck by, haven’t I? All that’s left at home now is the old one, and my two sisters, now they are working like niggers in the field, but they can[’]t do it. By God, they’re starving, – that’s what they are doing. And I can[’]t [send them] money or do anything for them, and I’m damn well tired of the whole mess. Better to live under the King than die – oh 128

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well, (stops, changes tone) it’s a pretty bad mess. Maybe the French King will send us enough gold. J ONES : You’ll be whip[p]ed by a little thing like money, eh? W ILLIAMS : No, but by a little thing like starvation – well, I suppose if His Excellency calls, I’ll go just the same. I’ll come in again. I’ve got to write some letters here, – goodbye. (X’s to door C) J ONES : Goodbye, – if you see anything of Jack White, – W ILLIAMS : (in doorway) All good, – I’ll tell him to come. [G]oodbye (exits C.[)] J ONES : Nurse? Nurse? (There is no reply. After a pause, the Bondman enters from R.[,] goes quickly over to Jones, – they shake hands in silence. Then Bondman takes both of Jones’s hands in his, and pats them with the other) J ONES : Well, – well, well, well – (Bondman does not speak. He is much older looking. Has little of the swing and swagger of the old days and does not hold himself so straight. Voice much quieter, and abstracted air about him, – a little listlessness – [like] a man who had seen a little too much of life.) J ONES : Say (is visibly overcome, as though to hide his emotion) say, it’s hot to-day, ain[’]t it? B ONDMAN : Yes, – that’s why I – Jones, damn your foolish old heart, how are you? J ONES : Gimpy and Carter came, – thought you weren’t coming. B ONDMAN : Jones, you’re a horrid liar, aren’t you? J O N E S : (jokingly) If I wasn’t a crippled old man, you wouldn’t talk that way to me, you mutton-headed, block-headed, mud-faced, clod-ho[ofed] cull, I – damn you, Jack White, it’s good to see you. I was just thin[k]ing of that last raid we made, – that’s where they got me, didn’t they? (pause) I heard you – you – are going to disband. B ONDMAN : I’m afraid – J ONES : And all the dying and misery for nothing, – nothing. B ONDMAN : I don[’]t know, – we’ve had no notice, – secret march orders, – we don[’]t know where we are going, and the men are leaving everything they have behind – so that’s been the trouble – all for little piece of hard dirt they call “money” Jones. J ONES : (with woeful resignation) Well – well – what’s coming – coming, I guess – and how’s everything with you? B ONDMAN : (has drawn up small stool and sits by invalid chair) Oh, it’s pretty well, I guess. J ONES : Pretty well, eh? I mean (leans over and taps with back of hand on Bondman’s chest) I mean – the inside works here. B ONDMAN : Oh, I don’t know. J ONES : (seriously) You’re wrong, Jack White, – you’re wrong to yourself, never to get away – from that night in Trenton. B ONDMAN : Well, perhaps I am – but one thing is certain, – I’ll never go so high in heaven, or so low in hell, Jones, – as to get away from that night in Trenton, – I’m a great Continental success, Jones, always when I’m most needed, I have to run away. J ONES : Tell me one thing, Jack White? Don’t you think she’s just as straight as you are? B ONDMAN : Why, – what do you mean? J ONES : I mean just this. Do you – do you suppose that woman would have had any respect for you if you hadn’t done just what you did[?] B ONDMAN : Oh well, perhaps, – but it seems hell anyhow. Of course, Jones, she could never have been for me, – a bond slave, (reverently) but by the one true and just God, Jones, – I would have died for her[.] (pause) There I go again – I can’t keep my foolish tongue still. (short silence) J ONES : Have you, – have you seen her since? 129

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B ONDMAN : Yes[,] once, – I have seen her once. J ONES : She was a brave heart, Jack White, – God, she was a brave little heart. (pauses, then puts his hand on Bondman’s which is resting on chair) Jack, when all’s said and done, – after all, there’s something deeper down than life, and greater than death. B ONDMAN : (Lifts his head, re[p]eats slowly as though struck with the idea) Something after all – deeper than life, and greater than death. (There is a pause, – then is heard the roll of drums and bugles blowing the muster. A few soldiers and civilians rush past the window.) B ONDMAN : The muster call, – I must go. W I L L I A M S : (stops at window C. [E]xcitedly, in window) We are going to Virginia, – all settled, – we are going to Virginia. B ONDMAN : (X’s up stage) To Virginia? W ILLIAMS : Yes, – after Cornwallis, – after Cornwallis[.] (another crowd of people goes by window, civilians, – loud shouts are heard, – “To Virginia, – to Virginia, – marching on Virginia.”) B ONDMAN : Did you hear, Jones? We are going after Cornwallis. J ONES : (exultantly) His Excellency, – His Excellency, – God bless him. B ONDMAN : Goodbye, old man, goodbye. J ONES : Goodbye, – boy, – I wish you were going to march by here instead of King Street – goodbye. (Bondman shakes hands stiffly, goes to door) J ONES : (calling after him) Goodbye, boy – goodbye. (Bondman comes back very quickly, puts his arm around Jones[’s] neck, holds his face against his own for a quick moment, then runs quickly out) (There is heard the drums’ roll, and after the drums, four signal guns, – then a pause, – then a pause, – then another bugle, – then in the distance a band playing martial music. Nurse enters from L.2.[)] J ONES : Nurse, move me to the window? N URSE : Yes, yes. (Moves his chair L. of C. by windows) J ONES : Oh, there they come. It’s the allies, – the allies, look at them, it’s the French, – oh, haven’t they the gorgeous uniforms. Oh God, I wish they’d come by here. I’ve never seen the French soldiers[,] Nurse. They say they are fine men. (despairingly) Oh, they are going down King Street, – no, no, no, open the window, nurse, open the window, wide [–] (nurse opens the window so as to leave all the back of the room open. He clasps his hands joyously like a child) The music of the Fife and Drum Corps comes steadily nearer. Through the window, in the houses opposite, are seen women and children, and people rushing along the side of the street, waving hats and handkerchiefs, and shouting “Hurrah for the French, Three cheers for the French, – God bless the King of France, – God bless the King of France, Rochambeau, Lafayette – Pulaski, Pulaski.” At first these shouts are very loud and heard above the music, – then gradually the music begins to sound above the voices. Then is seen the French Fife and Drum Corps, followed by the French soldiers who sweep [by] with splendid precision. They are much smaller than the Americans but are magnificently uniformed, – well-fed looking, ruddy-faced and dapper, and march with sprightly swaggering jauntiness. They chatter in French as they go by, – “La belles Americaines, – Les dames dans les balconnes, – le diable, – les jolis – ah, le diable, – mais je l’aime – A Virginia, – mon dieu, – Je veux restez ici un moment, – longue marche, – longue marche – [.”] Lastly comes the French banners, new and of magnificent color, silky rich and splendid. The last of them go by, and the music dies away. 130

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Then there is hear[d] a low, ominous[,] steady swirl of drums, – no flourishes, dogged, – resistless, – beating like a march of death, – drawing steadily nearer. A long pause, then are seen drummer-boys in patched and faded American uniforms, with men’s faces and the figures of starved children, – eyes set directly before them, – beating doggedly. They are followed by a regiment from Massachusetts, flying the “Don’t-trea[d]-on-me[”] flags, – tall, g[au]nt, haggard-faced men, yet vividly suggesting strength, uniforms, faded, patched, and soiled with dirt and dust, – but they march with splendid soldiery bearing. Next comes the New Hampshire regiment with the New Hampshire flag. Then, the Banner of the Stars and Stripes, – old, worn and tattered, – then Washington and his staff, – no music, but the roll of drums. CURTAIN ACT IV – SCENE II Same scene as Scene I – Act IV. Two months later, – nighttime [sic]. An empty cot down stage against wall R. Jones asleep in cot R.U. against wall. Bondman – [c]ot R. of C. Small table front of Bondman’s [c]ot. On table below door L., candleholder with five candles, – two of which are lighted – subdued lights, – no foot-lights right. 1 ST N URSE : (busy with papers and medicine in front of table – to 2nd Nurse) How is he? 2 ND N URSE : (hand on door L.) He goes home tomorrow. 1 ST N URSE : No, – I mean the young man. 2 ND N URSE : He gets better every day. (yawning) Well[,] good night, I’[m] sleepy[.] 1 ST N URSE : Good night. (2nd Nurse exits) J ONES : (wakes and moves restlessly) Is that you, nurse? 1 ST N URSE : Yes, it’s me. J ONES : Any news? Any news? N URSE : (soothingly) No, no, – now you must go to sleep. J ONES : (disappointedly) I – I had a sort of dream and I – I thought there would be new[s] by this time. 2 ND N URSE re-enters: There’s a visitor to see Jackson White. 1 ST N URSE : This time of night, – fine time to – Who is it? [2 ND N URSE ] A lady, – I didn’t get the name. The Doctor gave his consent. 1 ST N URSE : O[h] very well, if the doctor says so. (2nd [N]urse exits – 1st Nurse goes up to window – opens it a little[,] arranges covers on Jones’s cot. – 2nd Nurse re-enters, holds door open, Jennie enters and 2nd [Nurse] exits) J ENNIE : (she is dressed in brown, and her hair is fixed so that it is in some confusion around her face instead of the old stiff pompadour. The pride of old is gone, so that she seems a little frail, wistful woman-girl. In natural low voice to 1st Nurse who comes to meet her) Is he dangerously ill? Is it, – is it very serious? 1 ST N URSE : No, not now. J ENNIE : (stops, looks around her in a dumb way, – starts to go back, – then turns again) Oh may I – see him without – without his seeing me? 1 ST N URSE : He cannot see you now. He is asleep. (indicates Bondman’s cot. Jennie goes down below it, stands and looks at Bondman as one might look on one who is dead, turns to nurse) You are quite sure – quite sure – he is out of danger? 1 ST N URSE : Quite, madam. He passed the crisis four days ago. J ENNIE : I saw his [name] in the – in the Gazette as being dangerously wounded. He was a dear friend of mine – that was a very long time ago, – but i[f] he is – if he is past all danger 131

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– I – I [–] (turns to Bondman, looks down upon him, falls on her knees by the bedside, and is there for sometime. Then she leans over as though to kiss him on the forehead, stops, starts to go, when the Bondman awakens. His hand closes over her hand that is on the coverlet, but he does not see her face. She stops so that she is hidden from him at the head of the cot.) B ONDMAN : (after a pause) Well? (Jennie makes movement to escape) B ONDMAN : (in slow, spaced tones) Who – who is this? (Jennie starts to speak, – makes gesture to nurse who is standing close beside her, – whispers in her ear) 1 ST N URSE : It’s the nurse. You must let me go. B ONDMAN : (holding Jennie’s hand in both of his without speaking for a moment) Let me see your face, nurse. 1 ST N URSE : I will in just a moment. My dress is caught, – let go of my hand, please. B ONDMAN : Let me see your face. (Gently draws Jennie to him until she stands before him. She drops her head) (There is silence for a time) B ONDMAN : Isn’t it [strange?] I thought it was you all the time. I thought it was you, – well, well. J ENNIE : Yes, I, – I saw [–] (stops) B ONDMAN : (in same slow voice) Well, go on, what did you start to say? J ENNIE : I saw your name as being in the list of those dangerously ill in the Massachusetts regiment. I couldn’t help but come, I didn’t want [you to see me]. I – B ONDMAN : (holds both her hands in his left hand, petting them with the other) Beautiful Lilly Lady, – Brave-heart Lilly Lady, – oh just think, you are here – (incredulously) you don[’]t mean – you didn’t come all the way from Boston to see me[?] Is that what you said[?] – you know I feel a little strange yet. I’ve been sick, quite sick. Is that what you said? From Boston to see me? J ENNIE : Why yes, – yes[,] I did. (Nurse quietly and understandingly exits L.) B O N D M A N : (in childlike simplicity) (pauses) Oh, that’s beautiful, isn’t it[?] – that’s very beautiful, – that’s very beautiful. Why then you must – have been THINKING – you must have […] SOMETHING YOU – J ENNIE : Don[’]t, don[’]t say anything, about – about – B ONDMAN : (quickly, with sudden determination) Yes, I will, – I am going to say everything, – everything I’ve been thinking all these years. Now, I’m going to be as bold as – it’s only a sick man so you mustn’t be angry. Yesterday they brought me a bounty grant from Virginia, – an Aide to his Excellency had it all fixed for me, – they have given me a double grant of land way west of the mountains and – my freedom. You see – my head’s – O[h], it feels so good to be getting well again – and you came way from Boston. Oh beautiful brave heart, just think, just think (short pause, [B]ondman looking steadily at Jennie all the while) I’m going to ask you – do you think sometime, if I do well there, – I might – might ask you – to be – MY WIFE? J ENNIE : (in anguish, – drops her head) Don[’]t, don[’]t, don[’]t, don[’]t. B O N D M A N : Forgive me, but you know I wasn’t a [b]ond slave always, – I have some education. I came from very good family. I told you about it, – I didn’t mean to – to say it – but you being here – and nobody there will know I was ever – ever a bond slave. J ENNIE : Don[’]t, don[’]t, don[’]t. 132

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B ONDMAN : Oh, it’s beautiful country. I was there before, new worlds of woods and plains, – rivers and mountains, – and I won[’]t be so poor now, and I’ll work and work – J ENNIE : (slowly) Don[’]t, – that isn’t it. You of all men, know that I MUST GO THE PATH ALONE UNTIL THE END. You know why, Bondman. B ONDMAN : Do you look at the stars at night, Lilly Lady[?] Do you watch the stars at night when it is still and cool, when the sky is blossoming with stars, – all night long in the tents have I watched them swinging – swinging. Have you done this, Lilly Lady? Then you wouldn’t speak like that[.] J ENNIE : (resolutely) I can never be. Please don[’]t talk like this any more. B ONDMAN : Hush. Then you come to know and to believe, – . It takes a long while for a hard-headed heart like [mine]to believe, – only in the last three years. Ah, Lilly Lady, I know it. I’m no better than I used to be, but you’ve taught me to think better, and the old man said it, – there is something deeper than life and greater than death. You are thinking about the little smudge, like the mark on my face, but you’re not thinking about your soul, – and[,] and my soul that must go [on] and on and on. You know, I don[’]t know how to say it, but it’s true, – it’s true, deeper than life and a thousand times greater than death. You said it, way back in Haverhill. “Make a straight path beneath the trees[,] Bondman, and when you meet the free-man there, – give the rose to the man –” There in my new home, – your new home on the edge of the mountain, we’ll make a straight path beneath the trees, and we’ll walk down it all the way[,] brave heart, together. J E N N I E : (in suppressed outburst, trying to control herself.) No, no, no, no, – i[t] can[’]t be, I say, have mercy on me, don[’]t you think I feel – since the first night we met, – I – I – you are breaking my heart[,] oh, I’ve had so much, – so much – I only – should die. B O N D M A N : Hush, hush, there must be no talk of dying. Please, please, if you only knew how lonely it all had been, – oh Merciful God, make her see the right, make her see the right. Have mercy on us, Father who art in heaven, Hallowed by the name, Thy will be done, – help her – to see – the right, – help her. (Jennie falls on her knees) B ONDMAN : Don[’]t you see now, – doesn’t his peace tell you[?] Oh there is a great peace, a great still for us both, – there in the straight road beneath the trees, little brave heart, little lilly, – flower of the world, – please, please? (Jennie raises one hand and puts it over Bondman’s) B O N D M A N : That’s it, – that’s it. (breathlessly) It belongs to me, – that’s what you mean? That’s what you mean? (Jennie nods head and lets it fall on the counterpane) W ATCHMAN : (from distance – calls) Pas dree o’clock-in der morning – und Cornvallis – iss daken – . (The call is steady, firm, even tone, faintly heard yet distinct. Deep silence on stage. A pause, then again it comes –) Pas dree o’clock-in der morning – und Cornvallis – iss daken. B ONDMAN : (in awed voice) Jones, do you hear that? Do you hear? W ATCHMAN : (clear and distinct, triumphantly) Past three o’clock – in the morning – and Cornwallis is taken. (There is heard a great roar of voices, bells ringing, people screaming, “Cornwallis is taken, Cornwallis is taken, Cornwallis is taken[”]) B ONDMAN : (excitedly) Do you hear, dear heart? Do you hear? Cornwallis is taken, – Cornwallis is taken. (The two nurses are at the window) 133

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W ILLIAMS : (off stage L. in great excitement) Yes, Jackson White. Well, I must, – that doesn’t make any difference. (2nd Nurse, runs to door L., opens door) W ILLIAMS : (rushes in loud voice, excitedly) Jackson White, Jackson White[,] where is he? 2 ND N URSE : (indignantly, very quick, strong) Hush, hush, – not so loud, – this is a hospital. W ILLIAMS : (very marked[ly]) It’s the convalescent ward, isn’t it? 2 ND N URSE : Yes but – W ILLIAMS : (same voice) Well, damnation[,] woman, if they are convalescent now[,] by God, they’ll be well when they hear what I’ve got to tell em. B ONDMAN : (from cot) Jim, – Jim Williams, is that you? W I L L I A M S : (goes quickly over, seeing Bondman, – in great voice) Jack, Jack White, – by God [–] B ONDMAN : Williams, Williams [–] W ILLIAMS : Jack White, I’m from Yorktown, me, – I’ve carried the greatest news any man ever carried in the world, – me, Jim Williams of Haverhill, Massachusetts. B ONDMAN : Yes, I heard, I heard, – and you brought the news? (Booming of cannon, voices, shouting, laughing, singing) W I L L I A M S : Yes, I brought it, – and I have something for you – special letters. I knew if I left them here, you would get them tomorrow, – but you’ve got to have them now. They are from [H]is Excellency [–] (giving letters) B ONDMAN : (fearfully) His Excellency? W I L L I A M S : Yes, yes. It must be something great for you. (very rapidly) Open it, open it, open it, man. [(]Bondman starts as though to open item, Williams takes it out of his hands) W ILLIAMS : Here, let me see. I know what it is. That’s why I brought it to you quick. (Opens it, hands parchment to Bondman, he starts as though to read it, – Williams holds one side) There you see, (reads for him) “To Jackson White of the Haverhill, Massachusetts Regiment. Dear sir, Hearing of your serious illness, I wish personally to thank you for your brave services rendered to our cause. I have especially recommended that the Congress of these United States tender you a vote of thanks for these services, particularly at Trenton, and the deed on the march here. (signed) George Washington, Commander-in-chief of the American Army[”] B ONDMAN : (overcome) Well, well, well. W ILLIAMS : (triumphantly) Just for that you di[vvi]ed your bacon with me, Jackson White. [L]ook out there, look. (red lights flare against the window, great swell of voices, bells still ringing, – cannons boom louder) J ONES : I heard it all, Jack White. Listen, listen. Open the window there, – let us see, – let us see. B ONDMAN : Yes, open the window, – in God’s name, open the windows. (Williams starts to open windows. All this very quick, strong tem[po]) 2 ND N URSE : No, no, – you mustn’t let in that air. W ILLIAMS : It’s not cold tonight. B ONDMAN : Cold, cold, cold, – great God in heaven, do you think I could be cold now[?] Open that window or [I]’ll open it myself. (raises up in bed, – Jennie puts arm around him) J ENNIE : Hush! Hush! B ONDMAN : I – I must see. J ONES : Open the window. 1 ST N URSE : Cover them up good with blankets, it won[’]t hurt them. 134

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W ILLIAMS : (Williams bangs down conservatory window. There are seen people in all sorts of costumes as though they had hastily put on their clothes; men in shirt sleeves; women with shawls over their heads and shoulders; others wrapped up in great coats running by the window, shouting and laughing, swinging lanterns and torches. Nurse gets blanket from over cot and throws it around Jones, propping him up in cot.) B O N D M A N : (Calling to Williams) I can[’]t see from here, – I can[’]t see. Can[’]t you get me closer? W ILLIAMS : By God, I’ll get you closer; – you’ve got to see this[,] Jack White[,] any[how]. (starts as though to move the cot to window, thus giving an excuse to move the cot against wall R. to clear stage, which he does. He snatches the blanket which the 1st Nurse had put over the bed, quickly pulls the bed clothes around the Bondman, and takes him up in his arms) No, this is better. 1 ST N URSE : (starts to window) Look, – look. B ONDMAN : That’s right. That’s right. (Jennie helps put clothes around him. He still holds her hand, while his arm is around Williams’[s] neck.[)] 2 ND N URSE : Cover his head; you’ll kill him in that draft, – a handkerchief. W I L L I A M S : This is better. (has one foot up on chair by left of window, supporting the Bondman, quickly puts his hat on Bondman’s head. Jennie L. as though supporting his head.) (The Bondman i[n] his right hand still has the paper which he waves through this scene) (First comes a ring of ten or fifteen people dancing around two accordionists playing “Yankee Doodle”, waving hats and handkerchiefs in manifestations of great joy. A party of men and boys have dragged out boxes and barrels and made a bon-fire.) B ONDMAN : Look, – look the bon-fires. The lights, – the skyrockets, look, – they’re all crazy. (The crowd following the accordionists stops for a second in front of the window, shouting – “Hurrah for the wounded, hurrah for the wounded soldiers, – three cheers for the wounded soldiers.” Next comes an impromptu brass band playing martial music wildly, magnificently, followed by crowds of people waving flags, shouting “Washington, Washington, Long Live Washington, Long [L]ive Washington”. Red fires as though from [bonfires] throw a vivid glare over the scene. Then last of all, is hear[d] a great swell of voices, full with joy, – reverent – singing the second stanza of the Doxology, [“]Praise God from whom all blessings flow, Praise him all creatures here below –[”] Slowly it comes nearer, swelling mightily, – as appears a solid mass of people, with heads uplifted, and reverent faces, – cres[c]endo – “Praise him above, ye Heavenly Host, Praise Father, Son and Holy Ghost” They pass on and the song diminuendos gradually. 1 ST N URSE : (To Williams) You had better take him back now. (Williams takes Bondman back to cot as the last of the procession is marching by, puts the covers over him. Then they shut the windows, but the music of the Doxology continues through until the finish.) W ILLIAMS : Good night, boy. B ONDMAN : (steadily) Good night, Jim Williams. W ILLIAMS : (X’s quickly to Jones) Good night, old man. J ONES : Good night. (Williams goes to door, – “Good-night” – exits quickly) (1st Nurse is by Jones) 135

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J ONES : Good night, everybody. J E N N I E : (X’s to Jones, leans over him, kisses him on the forehead, takes his hands, puts them under the cover, – all very gently and tenderly, – comes down to Bondman, kneels by the bed) Good night, dear heart, – O thank God, – I thank you for such a brave true, – the bravest and the best in the world, – my, – my husband. B ONDMAN : You’ll come early in the morning? Early in the morning? Please? J ENNIE : Long before you are awake, I’ll be here. Good night. (kisses him) B ONDMAN : Very early, remember. J ENNIE : Very early. Good night. (X’s to door, – at door) Good night[,] Nurse. N U R S E : Good night, lady. (Goes over, blows out the candles all excepting one by door) Good night. B ONDMAN : Good night, nurse. (Nurse exits leaving stage in semi-darkness) B ONDMAN : (in low voice) Father Jones? J ONES : Yes? B ONDMAN : Good night. J ONES : Good night. B ONDMAN : His Excellency got him, – didn’t he? J ONES : He got him. B ONDMAN : (with voice full of peace and rest and final content) He surely did. SLOW CURTAIN

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THE RISE AND FALL OF FREE SPEECH IN AMERICA The Rise and Fall of Free Speech in America can only be read as a schizoid text. Not that there is anything especially bizarre or irrational about it (other than touches of hypocrisy, spiced with a bit overt exaggeration, and some subtle distortion). Rather, it straddles a number of different forms of discourses and takes on the appearance of a variety of types of documents. It initially appears as a pamphlet arguing against governmental film censorship, especially federal film censorship, and often offers a strong and classically libertarian argument against governmental pre-publication censorship, a form of censorship forbidden in the United States for printed matter. It also offers an important plea that cinema, while a new medium involving new technology and a new visual language, certainly deserves the same protection against censorship given to more traditional forms of speech and writing. But if this pamphlet makes a claim to contribute to public discourse, anything other than superficial reading realizes it is also a work of commercial publicity by an ambitious and innovative filmmaker. The Griffith organization distributed copies of this small book to newspapers across the country, bearing a note on the back of the cover reading: “This book is not copyrighted. The press is invited to freely use its contents.” On the cover is a legend reading “This copy is for —”, with a blank space where a name of an editor or reporter could be inscribed. One sees a different practice here than a simple political pamphlet offered as part of a public debate. While Griffith undoubtedly hoped to convince journalists and others with his arguments against federal or any type of censorship of film, the format makes it clear he hoped that – rather than argue with him – newspapers would simply lift quotes, cartoon images or whole paragraphs from the work and reprint them in their publications. In other words, Griffith brought to political argument a practice that was becoming part of film publicity, by which journalists would be supplied with press kits that included such items as human-interest stories about the film’s production, as well as articles and even reviews that could be reprinted in toto. The Rise and Fall of Free Speech in America appeared between Griffith’s two most famous and ambitious films, The Birth of a Nation (1915) and Intolerance (1916), and serves as publicity for both. The main argument targets the first film and its reception. The Birth of a Nation, with its blatant racist presentation of the Reconstruction period after the Civil War, excited widespread opposition from such organizations as the National Association for the Advancement of Colored People (NAACP) which denounced the film’s racism and distortion of history. In many instances this opposition called for government censorship of the film, usually at the local level (it was banned in a number of localities, such as the State of Ohio), while the controversy it caused renewed calls for censorship at the federal level, an institution the nascent American film industry had opposed for nearly a decade. The Birth of a Nation is referred to in this booklet when the text refers to specific segments of the population objecting to their portrayal on the screen and calling for censorship. The pamphlet quotes rather disturbing statements supporting The Birth of a Nation from local newspapers, including a Texas paper that sounds an alarm that standards of thought or taste would be set by “the [N]egro [sic] citizenship”, and a Rhode Island paper that compares the agitation against The Birth of a Nation to objections to Shakespeare’s The Merchant of Venice by “a small element of the public” (i.e., Jews). Thus, under the cover of a liberal argument against government censorship, the pamphlet continues an apologia for the racism of The Birth of a Nation. 137

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If Griffith’s defense of his film’s racist distortions of American history remains an important undertone of this, the longest work published under his name, the pamphlet also functions as publicity for his new film, Intolerance. Although the film, as a film, is never specifically mentioned, every second page bears a head title beginning with the word “Intolerance”. The rubric “Intolerance the Root of All Censorship” is repeated more than a dozen times, followed by a number of titles that trace examples of the role of intolerance in history (e.g., “Intolerance Murdered Socrates”; “Intolerance Crucified Christ”; “Intolerance Martyred Joan of Arc”; “Intolerance Smashed the First Printing Press”). Toward the end of the book these titles begin to refer to the contemporary world situation, primarily World War I (“Intolerance Prostrated Poland”; “Intolerance Crushed Ireland”; “Intolerance Has Made Europe a Shambles”). Thus the basic theme of Griffith’s transhistorical epic, that intolerance has persisted through history and still determines crucial events in the modern world, is sketched (at one point the text discusses the problem of filming the Crucifixion of Christ or the St. Bartholomew’s Massacre if censorship is allowed, two of the four historical stories narrated in Intolerance). The first illustration within the book shows a figure representing Intolerance hiding behind the mask of “reform”, visualizing one of the basic claims his film would make, especially in the Modern Story in which he attacked the intolerance and prudery of “reformers”, whom he undoubtedly associated with figures such as urban reformer Jane Addams who had attacked The Birth of a Nation. Thus beyond making an argument against film censorship, this pamphlet would imprint the title and the basic theme of his newest film, as well as hinting at its most unusual aspect, its transhistorical narrative that traced the influence of intolerance through historical periods. In addition, as Miriam Hansen and others have noted, the pamphlet’s largest editorial cartoon, a two-page spread titled “The Three Fates” showing a triumvirate of a film censor, a policeman (referring to the fact that many municipalities, including Chicago, placed film censorship under the police department) and “Mrs. Grundy”, the traditional figure of female prudery, examining a strip of film as the censor prepares to cut it, recalls the recurring allegorical figures in Intolerance of the three Fates who sit behind Lillian Gish as she rocks the cradle of history. If I have tried to show Griffith’s strongly commercial motivation in issuing this pamphlet, attempting to protect his investment in one film while paving the way for the reception of the next one, this does not exhaust the small book’s purpose. Nor does Griffith’s disturbing and somewhat cloaked defense of his racist portrayals mean that the pamphlet does not offer an interesting and passionate, if not always consistent defense of the new medium of film. Grifith’s defense of cinema takes several tacks, most of them defensive responses to criticisms that advocates of film censorship had been making for some decades. Anti-film reformers (who were by no means always the same as the groups who attacked The Birth of a Nation, the former tending to be conservative clerics; the latter, social progressives) claimed that film exerted a dangerous influence on its audiences, especially given film’s popularity among the working-class patrons, women, and children. In contrast to the traditional arts and literature, film, it was claimed, tended to be violent or silly and to stimulate unhealthy and anti-social responses. Griffith answers this criticism with a rubric that was commonly claimed by the film industry: that film was, to quote the book’s first title heading, “the laboring man’s university”. Further, he claims (not always making clear the balance between these two roles) film also brings “diversion to the masses”. Writing as Europe plunged into the first Great War, Griffith claimed that both as a form of education and of entertainment “[t]he motion picture is war’s greatest antidote”, indicating somewhat oddly that the main causes of war were ignorance and “monotony”. Rather than denying that film had a special relation to the “masses”, Griffith embraced this relation as a mission given to film to uplift and improve its audience, claiming the movies: 138

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[s]often the hard life of the plain people with beauty and sweetness. It keeps men away from saloons and drink, because it gives them a space of recreation in pleasant surroundings, it brings to the poor who are unable to travel away from their own dingy surroundings, the beauty and poetry of living foreign scenes, of people, of flowers and waving grasses.

Besides bringing this pleasant diversion to the masses, Griffith claimed cinema not only could be educational, but that, “in the future history will speak through the mouthpiece of the moving picture”, providing a superior mode of educating the young than books and lectures. The court judgment in the case of Mutual vs. Ohio issued in 1916 against the company which distributed The Birth of a Nation and had sued the State of Ohio over its censorship law had made two major points: first that film was not a form of press or speech and therefore not subject to the constitutional protection of the First Amendment, and second that by communicating through moving images rather than words, motion pictures provided a new form of expression whose vivid nature could effect viewers in a new and intense manner. The intensity of the effect that motion pictures exerted on the most impressionable sections of the population justified censorship, the court claimed. Griffith tried to counter both these points in his booklet. First, he claimed cinema was indeed the equivalent of the press, “a pictorial press performing in a modern and entertaining and instructive manner, all the functions of the printed press”, and therefore “within the meaning of the constitutional guarantee”. It would take the U.S. court system more than thirty years to finally recognize Griffith’s point and grant motion pictures protection under the First Amendment. Interestingly, Griffith does not deny the unique visual power of motion pictures (an appeal it could be claimed he worked hard to increase throughout his career): “It is said the motion picture tells its story more vividly than any other art. In other words we are to be blamed for efficiency, for completeness.” Miriam Hansen in her brilliant discussion of Intolerance [in her book Babel and Babylon: Spectatorship in American Silent Cinema (Cambridge, MA: Harvard University Press, 1991)] relates Griffith’s almost millennial proclamation of film as a new language to the long fascination with hieroglyphic as a form of “picture writing”, a universal language that would speak directly to the viewer, unlike conventional language, bound to specific populations or nations. Interestingly, The Rise and Fall of Free Speech in America combines traditional written text (generally on the left pages of the book) with words emphasized by bold and enlarged typography and allegorical pictures in the form of editorial cartoons (generally on the right pages of the booklet). This innovative design of the book seems to place almost as much faith in images and slogan as in a written argument. In layout nearly every page of text on the left is paired to a page on the right in which certain phrases (either excepts or summaries of the text on the left) appear in bold print with a caricature that illustrates the main point of the argument taking up the bottom part of the right-hand page. This collision of words, slogans, and pictures gives the booklet a peculiarly modern quality that reflects what poet and film critic Vachel Lindsay was calling during this era “America’s hieroglyphic culture”, a tendency he found exemplified in comic strips, billboards, and the motion pictures. Griffith undoubtedly supplied the right-hand texts and images as quick summaries of his argument, and saw the left as providing the highly transportable elements a newspaper could reproduce easily and with Griffith’s blessing. Like Griffith’s filmmaking, The Rise and Fall of Free Speech in America takes place within a highly calculated commercial strategy aimed at accruing profits. But also like Griffith’s key films, the booklet presents an argument rooted in Griffith’s deepest convictions. And finally, like his filmmaking, it shows an interest in innovative and visual ways of grabbing the attention of readers and possibly changing their opinions, through a combination, perhaps even a collision, of words and images. Tom Gunning 139

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[1921] MOTION PICTURES, THE MIRACLE OF MODERN PHOTOGRAPHY Soon after the release of my first war picture “Hearts of the World”, I received a letter from an eminent historian. I shall always treasure the letter, especially for this paragraph: “History must hereafter be divided into four epochs: The Stone Age, The Bronze Age, the Age of the Printed Page – and the Film Age. In a single picture you have produced a vital human record that embodies the spirit and the soul of war with deeper reality than all the books combined.” You remember, during the spring of 1917, the dire reports that came from the battle front. The Premier, summoning the gifted men of Britain, is reported to have consulted with them as to the best and quickest way to stiffen the nation’s morale. Barrie, Wells, Shaw, Bennett, Galsworthy, Chesterton, came to that meeting. How were they to open the eyes of the world to what was actually taking place on that blood-red battle-line? How inspire America with the ardor for a just war? Should they pool their talents in the writing of a book? Or a play of mighty import? It was the judgment of that conference that the most effective medium for the purpose of England and the allied nations was a drama of humanity, photographed in the battle area. I shall always be glad to remember that the cablegram dispatched to America was addressed to me. Like the Macedonians to Paul, they sent out the message, “Come over and help us.” The wires brought back word that I was in London, at the Savoy Hotel. On the very day I had expected to sail for America, I went instead to No. 10 Downing Street to meet David Lloyd George, Premier of England. I was proud that I had been elected to record and dramatize the stupendous events that were then making history. Most of all, I was thrilled at this acknowledgment of the power of the moving picture to narrate, to stimulate, and to perpetuate. Of the hundred impressions received by the mind, eighty-seven are conveyed through the eyes. The love of movement is instinctive in us. We like to see the world go by. And the world, and his wife, and his children give universal pleasure when they act out their lives on the “vertical stage” of the screen. A learned man tells us that when we look on a motion picture we are doing the easiest thing a man can do, “so far, at least, as concerns the intellectual reactions aroused by the presence of an outer world. The movie eye is primeval. The movies were born almost in the mud of the world’s first seas. To attend the movie is to be primitive. Because the movie demands for its understanding and enjoyment the use of little more than the most primitive of all man’s faculties, it wins a frightful popularity.” Mr. Dana does not assume, of course, that all moving pictures are “easy to look at”. I am sure he agrees that many of them are very hard on the eyes, and on the intelligence. Pictures were man’s first means of transcribing thought. On the walls of cave dwellings, on lofty cliffs, we find these primitive thoughts cut into the rock. The image of a horse is as easily understood by a Finn as by a Turk. A picture is the universal symbol, and a picture that moves is a universal language. Moving pictures, someone suggests, “might have saved the situation when the Tower of Babel was built”. The cinema camera is the agent of Democracy. It levels barriers between races and classes. Visual demonstration is the most impressive means of teaching. Propagandists know this. Educators say that lessons learned with the aid of the moving picture are the least easily forgot. Motography unfolds the petals of the flower, discovers the secrets of the butterfly. It even brings us face to face with great events. It carries us to the peaks of mountains, to the bottom of the sea, and to the poles – literally to the ends of the earth. 171

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The camera often tells the story of a popular novel better than the pen does. I think this is true of many pictures that have been made from famous books. On the screen Ibsen, Hugo, Barrie, Mark Twain, have risen to new triumphs. Naturally, a director must know what is appropriate to the pantomime play and what is not. In translating the theme of a play to the silversheet [sic], the moving picture director has several obvious advantages over the stage director. Scenes and backgrounds that can only be referred to in dialogue can be shown in the photographed play. The “close-up” supplies the photodrama with a tool more effective for revealing character than any device of the theater stage. The “flash-back” is useful in knitting together the episodes of a story and in explaining motivation. Who invented the movies? Few of the thirteen million patrons who daily attend America’s thirty thousand moving picture theaters realize how long and imposing is the gallery of cinema inventors. Many men of different nationalities have shared in the mechanical development of this most popular form of dramatics. It was Lucretius, a Roman physicist, born about 96 B.C., who first recorded the scientific principle of moving pictures, or, rather, of pictures that appear to move. Motion in pictures is an illusion. You have seen a boy whirl a stone at the end of a string, and you recall that you saw a continuous circle. The eye retains the impression of an object approximately onesixteenth of a second after the object passes on or disappears. When the boy swings the stone, the vision of the beholder retains the reflection of the image a fraction of a second after each successive degree of revolution. Vision, in other words, persists. The picture of one position blends into the next. When a strip of film is run through a camera, and is thrown on a screen by means of light, you get the effect of uninterrupted action. Look at the ribbon-like film after [it] has been developed and printed, and you will observe a series of images. Only by following carefully from one to the other can a change in pose [be] observed. A “moving picture” is actually a series of “still” photographs of changing poses, magnified approximately 35,000 times by a projection lantern. The principle of persistence of vision was applied to the blending of successive positions of a moving object about a century ago, in a crude experiment called a “Thaumatrope”. A forward step in moving picture invention was Plateau’s Phenakistoscope. Quite a group of foreign inventors were engaged at this time on similar efforts. The Phenakistoscope utilized the principle of the intermittent shutter used today. The “Wheel of Life”, invented in 1834, is still turned out by toy makers for the amusement of boys and girls. This was the first animated-picture machine that had a popular sale. Many others followed, some of them of serious intent. The inventor of the Kinematoscope was a Philadelphian, Dr. Coleman Sellers. His application for patents made it clear that each image should be stationary for the moment [it] was in view. It was vital to the success of the invention that the reflection of one picture should be timed to remain on the retina of the eye until the next one came into view. Dr. Sellers was also the first to use the plate bath of glycerine, predecessor of the now familiar dry-plate process. A red letter date in the evolution of motion-analysis by photography was the year 1872. To prove whether or not a running horse had all four feet off the ground at one time, an English surveyor, [Eadweard] Muybridge, made a series of pictures of a California race horse. First he lined up twenty-four cameras a few inches apart. Strings were attached from the camera shutters across the track. When the horse came by, his hoofs caught the strings, and exposed the plates by releasing the shutters. The experiment determined that at periodic moments the horse was entirely clear of the ground. A few years later Muybridge startled the world by photographing the beating of a dog’s heart. 172

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The invention of the roll film was a development as necessary to the future of the industry as the invention of the needle-point eye was to Elias Howe’s sewing machine. About thirty years ago an Englishman, W. Friese-Greene, demonstrated its use in a picture twenty feet long, showing the traffic at Hyde Park Corner, London. You will smile at the idea of a moving picture that consumed a third of a minute in the “running”. But, said Mr. Friese-Greene (the cable brings news of his death as [I] write), “It was a triumph and a sensation, I assure you.” The flexible film used in a motion picture camera of standard type is the same size as the one introduced by Edison thirty years ago. The roll is one and three-eighths of an inch wide; a thousand feet make up a “reel”. The film is gauged by perforations on the sides to catch the sprockets that guide the strip through the camera and projection machine. It takes thirteen or fourteen minutes to run off a reel. Thomas Edison, inventor of the celluloid film, first exhibited his Kinetoscope in 1893. Edison, the American, Lumiere, the Frenchman, Paul, the Englishman, all had a part in furnishing amusement to a world-audience of picture patrons. On a June day in 1894, an amateur inventor named Jenkins arrived at his home town in Indiana on vacation from his job in the Treasury Department, Washington. A mysterious box had preceded him. When it was unpacked, the neighbors were called in to see what was to be known in history as “the first movie show” – the first exhibition of motion pictures projected on a screen. When Jenkins exhibited his motion pictures at an Atlanta exposition, people refused to put the admission fee in advance. The exhibitor had to let his patrons go in first and see the miracle, before they could be convinced that it was not a swindle. A combination of the Edison and Jenkins-Armat interests resulted in the creation of the Vitascope, a radical improvement over the picture machines into which one looked through an eye-piece or “peep-hole”. Even those of us are not very old can remember the names of some of the first motion picture stories, – “The Buffalo Horse Market”, “The Black Diamond Express”, “Niagara Falls”, “The Pillow Fight”, “Feeding the Pigeons”. The first “long” film was “The Great Train Robbery”. It consumed 1800 feet of film, and cost four hundred dollars to produce. Great was the public’s astonishment in the viewing of it. A dozen years ago “picture acts” became a part of the program of popular vaudeville houses, and at the Eden Musee, in New York, Edison “topicals” were shown. It was about that time that I began to make film plays at the old Biograph Studio on Fourteenth Street, New York. In the thirteen years that have passed, I have made five hundred pictures. Some of my early phototales were created under strenuous conditions. When I proposed making a tworeel drama, my backers declared that people would never sit through such a long picture. We compromised by cutting the first two-reel picture in half. We named the first part “His Faith” [His Trust], and the second, “His Faith Fulfilled” [His Trust Fulfilled]. The public liked it and asked for more. Not long afterwards I made a five-reel picture, “The Escape”, and then the first ten-reel drama, “The Birth of a Nation”. Most screen plays are now five reels (5,000 feet) long. A few “master productions” run to ten reels. Weeks of research, experiment, rehearsal; the talent and patient industry of authors, continuity writers, directors and actors, of artisans, artists, decorators, costumers, lighting experts, “location scouts”, cameramen and their assistants, contribute to the finished picture. When the film has gone through a series of laboratory processes, it comes back to the dramatic director to be “cut”, that is, to be assembled in relation to the sequence of time and climactic effect. The director, with a man or woman cutter at his side, spends days in a projection room. The film is clipped and joined according to his instructions. The success of a picture may depend upon the skill of a director in cutting. The highest standards of picture production now demand backgrounds, lighting and photography as expert as the acting and direction. With the help of powerful lights, the indoor 173

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studio can be flooded with rays stronger than sunlight and more easily regulated. Rain never interferes with the making of scenes under a studio roof. Every day is a sunny day where the Sun Arc burns. My studio at Orienta Point, Long Island Sound, has no outdoor stage. Even in California, directors are forsaking the sunlit stage for the studio equipped with the latest “Kliegs” and “Cooper-Hewitts”. Exteriors are often built in the studio with better results than if made on the “lot” or “on location”. The world moves fast; and nothing in the world has moved so fast as the moving pictures. In a decade and a half they have advanced from an experiment to a tremendous industry. Half a billion dollars is spent in the United States every year in making photodramas, comedies, educational films, animated cartoons, and news reels. Besides the investment in production, there is the cost of experiment in the machine work. We are still improving the super-camera that takes the motion picture snapshots, still trying to increase the speed of the lens, to shorten the focus, to perfect that important piece of mechanism, the tripod. The superiority of modern motion picture photography is due entirely to the short focus of the lens, which permits actors to move about the scene at will, without blurring the outlines. Today, the director has many novel devices at his command – the “fade-in” and “fadeout”, the “flash[-]back”, the “close-up”, “mist photography”, the vignette, double exposure, the multiple print. Had I had the business discernment to patent certain of these effects, I would have realized more money that I could have earned in a hundred years by making pictures. When I first photographed players at close range, my management and patrons decried a method that showed only a face of the story characters. Today the close-up is employed by nearly all directors to bring a picture audience to an intimate acquaintance with an actor’s emotions. When, during the filming of “Birth of a Nation”, I proposed making a “long shot” of a valley filled with soldiers, I met flat opposition from my staff. Until that time a screen army had numbered a dozen uniformed men. The rest of the forces were left to the imagination. I adopted the “flash-back” to build up suspense, which till then had been a missing quantity in picture dramas. Instead of showing a continuous view of a girl floating down stream in a barrel, I cut the film by flashing back to incidents that contributed to the scene and explained it. The photoplay of the present would be counted an arid thing without the diversion supplied by these now familiar aids. Within late years a daylight screen has been perfected. The combination of the voice and the motion picture has long been an ideal of Mr. Edison and other inventors. I adapted parts of “Dream Street” to the use of improved “talking pictures”. I believe there are great opportunities in the field of the phonograph-projector. Colored photography offers fascinating possibilities. By the use of processes recently patented, subdued natural colors are accurately registered, without the “jumping” that formerly marred the beauty of the tinted picture. There is a big margin for improvement in the methods of distributing and exhibiting pictures. I hope the time will come when patrons will not be allowed to enter a theater except at the beginning of a photoplay – that the casual hospitality of the picture theater of today will not exist. The public will then regard the performance with the respect they now show for stage plays. This is one phase of the problem that engages us all – how to translate a manufacturing industry into an art, and meet the ideals of cultivated audiences. For paraphrasing Walt Whitman, “To have great motion pictures, we must have good audiences, too.” The Mentor, vol. 9, no. 6, July 1, 1921, pp. [3]–12

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[1924] THE MOVIES 100 YEARS FROM NOW They say I am a realist – a man who functions best when reproducing in the films life as he sees it or knows it. Whereupon the editor promptly assumes that fantasy will be perfectly easy for me, and propounds a question that scarcely can be answered by anything other than a dream. Fortunately, I have my fancies. “What,” asks the editor in substance, “will be the status of the motion pictures one hundred years hence?” I have wondered that very thing many times myself, and since I am one of those persons who sometimes respond to their own imagery with answers, I can at least give an opinion. I may qualify this by adding that it is the opinion of one who has devoted a large part of his life to the subject. In the year 2024 the most important single thing which the cinema will have helped in a large way to accomplish will be that of eliminating from the face of the civilised world all armed conflict. Pictures will be the most powerful factor in bringing about this condition. With the use of the universal language of moving pictures the true meaning of the brotherhood of man will have been established throughout the earth. For example, the Englishman will have learned that the soul of the Japanese is, essentially, the same as his own. The Frenchman will realize that the American’s ideals are his ideals. All men are created equal. It is not to be presumed that I believe one hundred years from now the pictures will have had time to educate the masses away from discord and unharmony. What I do mean to say is, by that time war, if there is such a thing, will be waged on a strictly scientific basis, with the element of physical destruction done away with entirely. My theory is that conflict, if any when it arises, will find itself governed by scientific rules and regulations to which both sides of the controversy will subscribe. Armies outfitted with boxing gloves, man to man, may, I think, go into “battle” to determine the victor. I am not smiling with you now. I am quite sincere. It will be a matter of science and fair play to the last letter. I am just as sincere when I predict that after the “battle” the warriors will repair to a prearranged cold-drink canteen and have grape juice. Just as the old English debtors’ prison was wiped out by education, so will armed conflict be wiped out by education. There is little question that a century ahead of us will find a great deal more of the socalled intimate drama presented on the screen, although there will always be a field set apart for the film with a vast background such as The Birth of a Nation and America. You will walk into your favourite film theatre and see your actors appearing in twice the size you see them now, because the screens will be twice as large, and the film itself twice as large also. With these enlargements, “close-ups” will be almost eliminated, since it will be relatively easy to picture facial expression along with the full figure of the performer. It will always be necessary to picture the face in pictures. It is the face which reflects the soul of a man. Our “close-ups”, or “inserts”, as I call them, are sometimes cumbersome and disconcerting. I invented them, but I have tried not to overuse them, as many have done. It is a mechanical trick, and is of little credit to anyone. We shall say there are now five elaborate first-run picture theatres on one New York street, Broadway. In 2024 there will be at least forty. Cities of 1,000 will average at least six. Cities of 20,000 and thereabout will have over a hundred. By virtue of its great advantage in scope, 175

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the motion picture will be fitted to tell certain stories as no other medium can. But I must add that the glory of the spoken or written word in the intimate and poetic drama can never be excelled by any form of expression. In the year 2024 our directors of the better order will be men graduated from schools, academies, and colleges carrying in their curriculum courses in motion-picture direction. Our actors and actresses will be artists graduated from schools and colleges either devoted exclusively to the teaching and study of motion-picture acting or carrying highly specialized courses in acting before the camera. This is inevitable. I am well aware of the fact that the present cumbersome and haphazard method by which screen talent is selected (an[d] by screen talent I mean to say directors, designers, actors, and cameramen) will not endure long. Time will find this matter adjusted upon a basis of merit and equipment. Probably on an average of a dozen times each week persons ask me if I think color photography in the motion pictures will be perfected and made practical. Most assuredly, I do think so. Certainly all color processes and tint methods at present in use are wrong. They are not arrived at with any degree of inventiveness, and they cannot last. At present the colored pictures we see are made by the use of gelatines on the film or by the use of varicoloured lenses which fly before the film. Thus we find a great lack of harmony and accuracy. I am willing to confess that I have tried them. But I should be the last to speak of my color effects seriously. We have been merely exploring and speculating. Only through one method will color be naturally and properly given to objects and persons in the motion pictures. This is a method which will develop a film so sensitive that it will record the natural tints and colours as the picture is being photographed. Of course, to the man or woman untrained in these lines, this seems remote and hardly possible. Still, consider the conquering of the air – the discovery of a means whereby the human voice may be projected through air three thousand miles! When we realize what has been done in the wireless it seems utter folly to suppose that color photography – natural, permanent color photography – may not be found for the films. One hundred years from now the color of a woman’s eyes and hair, the tint of the sea, the hues of the rainbow itself will be a natural part of every motion-picture play. On the other hand, I am quite positive that when a century has passed, all thought of our so-called speaking pictures will have been abandoned. It will never be possible to synchronize the voice with the pictures. This is true because the very nature of the films foregoes not only the necessity for but the propriety of the spoken voice. Music – fine music – will always be the voice of the silent drama. One hundred years from now will find the greatest composers of that day devoting their skill and their genius to the creation of motion-picture music. There will be three principal figures in the production of a picture play – the author first, the director and music composer occupying an identical position in importance. We do not want now and we never shall want the human voice with our films. Music, as I see it within that hundred years, will be applied to the visualization of the human being’s imagination. And, as in your imagination those unseen voices are always perfect and sweet, or else magnificent and thrilling, you will find them registering upon the mind of the picture patron, in terms of lovely music, precisely what the author has intended to be registered there. There is no voice in the world like the voice of music. To me those images on the screen must always be silent. Anything else would work at cross purposes with the real object of this new medium of expression. There will never be speaking pictures. Why should there be when no voice can speak so beautifully as music? There are no dissonant r’s and twisted consonants and guttural slurs and nasal twangs in beautiful music. Therefore the average person would 176

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much prefer to see his pictures and let the voice which speaks to him be the voice of music – one of the most perfect of all the arts. I seem a little emphatic on this particular point, and I mean to be. In the year 2024 we shall have orchestras of many kinds playing for the pictures. Each motion-picture theatre will have several orchestras of diversified character. The big, robust, outdoor pictures will have more than one orchestra in attendance at all times. String quartets will play for the mood of string quartet; sighing guitars and thumpety banjos will play for their mood in the picture plan; symphonic orchestras of greater proportions than we now dream of will be employed for moods to fit the sublime and the grand. We have scarcely an inkling of what the development of music is going to be in the film play. It really seems to me a little bit humorous now to realize how narrow a place in our everyday life the film is playing, despite the great rise in attendance in the last few years. One hundred years hence, I believe, the airplane passenger lines will operate motion-picture shows on regular schedule between New York and Chicago and between New York and London. Trains, which will be travelling twice or three times as fast as they do now, will have film theatres on board. Almost every home of good task will have its private projection room where miniatures, perhaps, of the greater films will be shown to the family, and, of course, families will make their albums in motion pictures instead of in tintypes and “stills”. Steamships will boast of first runs, which will be brought to them in mid-ocean by the airplanes, and I may add that almost all subjects in our schools will be taught largely with the use of picture play and the educational animated picture. By the time these things come to pass, there will be no such thing as a flicker in your film. Your characters and objects in pictures will come upon the screen (which by then may not even be white, and certainly may not be square, or look anything like what it does now), and they will appear to the onlookers precisely as these persons and objects appear in real life. That much-discussed “depth” in pictures, which no one as yet has been able to employ successfully, will long since have been discovered and adopted. The moving canvas will not appear flat, but if a character moves before a fireplace you will recognize the distance as between the character and the fireplace. Likewise, in landscapes, you will feel the proper sense of distance. Your mountain peaks will not appear to rise one on top of other other, but will appear exactly as if you stood and looked a them. Of course these are merely details that will require long and intense study and experiment, but they will come. In other words, from the standpoint of naturalness, motion pictures one hundred years from now will be so nearly like the living person or the existing object pictured that you will be unable, sitting in your orchestra seat, to determine whether they are pictures or the real thing. By a perfection of the studio lighting system, film will be as smooth before the eye as if it were a stationary lighted picture. By that time the studios will have changed greatly, and instead of actors being forced to work before great blinding lights, which now at times register 117 degrees of heat, we shall have “cold” lights. We are experimenting in these already. Our studios will be great spreading institutions, as large as many of the cities surrounding New York. I think that one hundred years from now there will be no concentrated motion-picture production such as our Hollywood of today. Films will be made in various cities, most of which will be located near to New York. It nettles me at times when I am asked if I do not think that in time the popularity of the motion pictures will subside. It seems to me ridiculous. As ridiculous as to assume that the popularity of music, or painting, or acting on our spoken stage will go out. No. I not only do not think the popularity of motion pictures will decrease; I am already on record as predicting that the popularity of pictures will increase and keep on increasing. 177

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Consider my own Birth of a Nation. It was revived two years ago, after having been off for ten years, and it was as great a success in revival as in the original. The popularity of motion pictures (which are a natural form of dramatic expression) will ride higher and higher as the quality of motion pictures rises higher and higher. One hundred years from today we shall have novelists devoting all their energies toward creating motion-picture originals. By this I mean that the novelists giving their exclusive time to the films will create characters and situations and dramatic plots in terms of pictures. Motion-picture historians will have been developed, and they will be a great help to production. Motion-picture artists of all kinds will have grown up. It will all make for a more natural, dignified, sincere result because we shall have all our different branches devoting their time and efforts toward the completion of a single object – a motion picture. I have no hesitancy in saying that the radio has claimed its share of amusement audiences. Unquestionably it has kept many persons away from both the films and the spoken stage. It is a great, useful discovery – a glorious medium. One hundred years from now there will be no confusion as between the radio and the motion picture. There cannot possibly be a connection nor a conflict. It is just possible there may be a conflict as between radio and spoken stage, but never between radio and film. Each occupies its own exclusive place in our lives. Now let us prepare for a small-sized shock. One hundred years from today it will cost perhaps twice as much as it costs today to see the really first-class cinema. It is perfectly proper that it should. Time, effort, energy, and preparation put into pictures at that time will have advanced greatly. I am just honest enough to say that I do not at the moment understand how more time, effort, energy, and preparation could have been put into my own pictures; but, then, for the average large picture play this will hold true. The average supposedly highclass film play in 2024 will be on view at not less than $5 a seat. In looking into the crystal I have seen many things which I have not touched upon here. Perhaps they would be too tedious to bring out and discuss. But of one thing I may place myself on record plainly and without qualification. The motion picture is a child that has been given life in our generation. As it grows older it will develop marvelously. We poor souls can scarcely visualize or dream of its possibilities. We ought to be kind with it in its youth, so that in its maturity it may look back upon its childhood without regrets. Collier’s, May 3, 1924, pp. 7, 28; reprinted in Harry M. Geduld (ed.), Film Makers on Film Making (Bloomington, Indiana, and London: Indiana University Press, 1967; first Midland Book Edition: 1969, pp. 49–55)

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[1926] HOW DO YOU LIKE THE SHOW? In one of his earlier successful motion pictures Charles Ray, as a young baseball player whose head had been turned by promotion to the majors, snubs the home-town folks who have come to honor him in the big city. Beside me in the theater where I watched that film there was a pleasant old lady. At the snubbing scene she turned to me – a stranger – and, with voice full of apology as though the youth on the screen were her own son, excused him: “But he’s such a boy!” That spontaneous remark, born of sympathy for the boy hero and apology for his shortcomings, was a tribute to the power of the picture. It left no doubt that the film had stirred the woman. It is not often that you who flock to the movies give us such concrete and striking evidence of your reaction to a screen production. But we who make the movies, who must constantly feel the pulse of the film fans, recognize countless other signs by which you tell us whether the fruits of our efforts bore or please, thrill or amuse. You are an unusual theatergoer, indeed, if you watch either a motion picture or a play without giving abundant indication of your unconscious reaction to what you are seeing. Upon the ability of motion-picture producers to learn and correctly interpret the signs you give [of] approval or disapproval rest your chance of having, each year, better pictures than you have ever had before. One of the most dependable signs is coughing. If you cough frequently during the unreeling of a film, I know that you are not keenly interested. Throughout the northern part of this country, and to a slighter extent in the southern states, coughs and colds are, of course, often prevalent. At most New York and Chicago thea[tres], in winter, there is an almost continuous firecracker chorus of coughing – here, there, all over the house. But as interest increases the coughing stops. Let the interest die down, let the director or playwright lose his hold on the audience by ever so little, and the coughs begin again. Listen for yourself the next time you are in a theatre. By the way you play with your program I know whether a picture is registering with you. If a house is warm, you will undoubtedly use the pamphlet as a fan, joining in a waving sea that fills the auditorium. As interest rises the movement lessens, becomes imperceptible and, at an effective dramatic climax, ceases altogether. The picture is “getting” you then. As the interest decreases the waving recommences, becoming subconsciously less restrained. Silence is always sure sign of attention. Before the curtain rises at a play, before a picture is thrown on the screen, people are getting busy with this or that – getting into more comfortable positions, stowing away wraps, looking over programs, talking with the friends who have come to the theatre with them. As the performance starts, this noise suddenly lowers, dying gradually away. Conversations drop at once to lowered tones or whispers, barely audible – or cease abruptly. But you will be surprised to note, if you listen for it, how the undercurrent of sound continues. No particular conversation, no outstanding rustle of paper or shifting of position, but a movement here, an added whisper there, one more look at a program beyond, combining to form a fraction of the same stir and hum that were so much more noticeable before the curtain went up. In one of the plays that ran for only a short time recently in New York, but that has done much better in London, “The Man with a Load of Mischief”, the fir[st] character to appear, 179

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[a]n innkeeper, sang to himself as he went about lighting candles. The result was almost instantaneous. There was a quick gain in audience attention. The house became quiet much more quickly than is ordinarily the case, in order to catch the words of the song, half sung, as if unconsciously, so quietly that ears were strained to follow. Conversation stops before movement does. It takes more than passing interest in what is happening on the stage or screen to stop all movement. The alertness with which an audience follows the details of a story, pouncing upon the explanation or comedy, is another sure gauge of interest and enjoyment. Let a really funny situation or joke come to the surface in a dull picture, and, while it will get a laugh, the response is neither as hearty nor as immediate as would be the case if the performance were going over well. There are signs of still higher degrees of interest. Here and there people in an audience will begin to hold their breath. They will unconsciously lean forward in their seats. Unconscious of their automatic actions, they are carried along entirely by the sweep of the story they are watching. Let the situation begin to clear itself, allow the tensions to relax, and you can observe an instantaneous reaction as they sit back again, relax, begin again the ceaseless shifting into slightly different positions. The undercurrent of movement and sound, like a barometer, begins rising again to show that interest has waned. A great tribute is paid when the unconscious response of an individual in an audience to what he sees reaches a point of actual expression. Sometimes, as when in “The Birth of a Nation”, a black fiend is creeping closer to the tragic little girl of the story, played by Mae Marsh, the call takes the form of a definite warning to an actor on the screen: “Look out!” At my own studios every single subtitle, every situation, every shift in scene or change in a sequence that is made in editing a film, has to go before an audience for its test before being accepted as part of the completed product. So I have learned to watch audiences closely. But it is far more difficult for exhibitors, unversed in reading the signs so closely, to judge audience approval. Children, for instance, applaud or laugh more readily than grown-ups. The most childlike part of an audience, accordingly, is most apt to express its hilarity or lose interest in the picture. The most intelligent part of an audience, the most critical, is the least demonstrative. This is almost tragically important. It is owing to this fact that many exhibitors, relying only [o]n the superficial evidences of audience approval, the laughter or noise that can be heard from the little box-office window outside the theatre, neglect the most valuable portion of their patronage, the 10 to 15 percent that constitutes the leadership element in the community and that in the long run frequently determines whether or not the theatre will be a real “first-run” house or merely one of the minor places able to draw only cheaper audiences, catering to the noisy element that will lose them in the end more money than it can ever bring in. One of the directors whom I employed made a practice, when any picture that he had produced was to be tried out before an audience, of standing half a block or so away from the theatre just before the performance began and personally asking every child that came along if he wanted to see a movie. Then he would hand out fifteen of twenty-five cents necessary to pay the youngster’s admission and tell him to go ahead and enjoy himself. That little system usually insured a couple of rows, at least, of very enthusiastic young auditors, who would collectively raise the roof at every bit of comedy that appeared on the screen, no matter how fragile. The innocent exhibitor, not knowing that I was aware of his trick, happily believed that his confidence was passed on to me. Ordinarily film makers get the idea of what audiences like best in a picture from the eighteen thousand or more exhibitors who rent films from the big distributing corporations. They have to take their audience opinions second-hand. They trust the other fellow’s judgment of what people really want. And that is dangerous. 180

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Few producers take their pictures, as I have come to believe it is important to do, while they are still in the making, to audiences themselves. Those of us who do, have, I believe a big advantage. We take no exhibitor’s word for what audiences are supposed to want. We take no distributor’s word for what exhibitors think their audiences want. Even the box-office returns, the gross rentals of a picture, that would seem to be the absolute guide of popular opinion, can be in some measure thrown aside. That must come afterward. A picture has to stand or fall in the ultimate analysis on whether or not people like it. You and I both want “better pictures”. So, for the matter of that, does everybody. Only they MUST also please. They must be entertaining. Personally, I believe it is far easier to make an artistic picture, such as would please those whom the majority consider “highbrows” than to make one that will be popular. I would enjoy making beautiful films – but how many of you would pay to see them? I consider “Sentimental Tommy”, for instance, as a fine example of a truly artistic picture. But it was not a box-office success. The beautiful and sincere picture version that Paramount has recently made of Conrad’s famous novel “Lord Jim” is another illustration. Now, how to combine those two things, excellence and genuine entertainment. That is where the technique of “making the audience enjoy it” comes in. And it’s an exceedingly delicate and complicated technique, so difficult that the road to motion-picture successes that are at once worth-while and deservedly popular is long and hard. “Tell [’]em that you’re going to do it; do it; then tell [’]em you’ve done it,” David Belasco is reported to have said in giving the rules for successful play production. In one of the most successful pictures that was released in 1920–21, “Humoresque”, there is an early scene sequence in which a little Jewish boy attempts to show off before the small maiden of his choice. Finally, as a climax, he wiggles his ears. It is shown on the screen in a big close-up that audiences find irresistibly funny. For quite a while there is only a series of grimaces as the stubborn ears refuse to wiggle. Then, suddenly, the right muscles are found, and the ears work up and down splendidly. It is all done so earnestly, so confidently, with the unconscious absorption of a child, that the humor is absolutely genuine. But to the average movie fan who laughed [at] that little bit it will be a surprise to learn that until the film was edited the humor of the wiggling ears did not get over at all. It was this way: one of my former scenario editors was working at the Cosmopolitan studio at the time. In the projection-room, he tells me, the boy’s close-up was funny, but not nearly funny enough to laugh at. It was too hard to tell what he was doing. Just as a game of making “funny faces” it was too close to a failure. The audience had to be told what he was trying to do, so they could laugh with him at his efforts. One title did it. “For nothing I wiggle my ears,” they made him say – and the trick was turned. The longer they had to wait before the ears began to wiggle, the funnier, instead of more tiresome, the bit became. And when at last those ears actually did wiggle, there was a big laugh! Take the trumpet calls in “The Birth of a Nation” at the gathering of the Klans [sic]. It added immeasurably to the gripping power of the picture. Take the plaintive little theme melody for Miss Lillian Gish in “Broken Blossoms”. On the other hand, one of the great boxoffice handicaps of “Intolerance” was that the music did not in itself have enough emotional appeal. It was too coldly classical. Most motion-picture producers hesitate about going too near the limit of popular approval. Naturally. With s[o] much invested in a single film, it is o[b]vious that only disaster could attend t[h]e making of many photoplays that failed t[o] please. And since [no] one knows exactly [w]hat the limit of approval in any particu[la]r instance is, the ten[d]ency of producers is, [of] course, to broaden [th]e appeal, even if it [m]eans cheapening the [ch]aracter parts and story [va]lue of the production. 181

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That is where those of [u]s who make a practice of [tr]ying pictures out and study[in]g audiences with almost [sc]ientific care have a great [ad]vantage. For, since the [re]ally great returns are [th]ose which come to the [ph]otoplays that combine the [gr]eatest amount of worth[w]hile material and leader[sh]ip with genuine popularity, [tha]at knowledge pays big div[id]ends. We learn, for example, that [it] is not necessary for a pic[tu]re to have “everything”. You will respond to a com[bi]nation of dramatic situa[ti]on, suspense, excitement, [hu]mor, and pathos. Or to [an]y one of those things. [L]aughter and tears are, of [co]urse, the two great tributes [th]at are most readily detected. But interest, in the long run, will accomplish wonders at the box office, and the key to interest is suspense. Suspense alone will often carry an entire picture. I took “Broken Blossoms” for a tryout to Santa Ana, Cal. The story is a tragic one, in which a fragile girl of the slums dies from the effects of a beating she receives at the hands of her brutal father, a prize fighter. I have never seen an audience more nearly stunned by the picture than were those people of Santa Ana. It had beauty, but it had also grief, agony, horror. The exhibitor at whose theatre the picture was shown told me he had never had such an impossible reaction. “I’ve had pictures that most people liked and a few people criticized,” he said, “and I’ve had pictures that a few people liked and most people criticized. But this is the first time I’ve ever run a picture that nobody liked!” Yet, unconsciously, the Santa Ana audiences gave the evidence on which I was able, later, to build a tremendously wide distribution for the picture; from start to finish of the film each audience sat motionless. I remember seeing one man leaning forward throughout a performance. So far as I was able to observe, he never once touched the back of his seat during the hour or more that it took to run the six short reels. The picture had suspense. On another tryout of that same film an amusing instance of its gripping power was afforded by the musicians in the orchestra pit. They followed the story on the screen so intently that it interfered with their best efforts in the orchestra. Finally the orchestra leader lost nearly all semblance of self-control. Over the hea[ds] of the audience his voice cracked like a whip: “Never mind the damn picture – come on with that drum!” When we develop to a still higher point the technique of putting basically fine material across, our progress toward pictures that will please more frequently the intelligent as well as the purely popular element of our ten million patrons a day will be more rapid. And the more you and your friends, who go to the motion pictures because you like them, express your opinions, the better we shall serve you. “How Do You Like the Show?” by David Wark Griffith, as told to Myron M. Stearns, Collier’s, April 24, 1926, pp. 8–9

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[1927] THE GREATEST THEATRICAL FORCE Can it be twenty years since motion pictures first sneaked into the theaters, only to stay and become the biggest theatrical force in the world? The worries then were pretty much the worries now: better stories, finding actors who could be natural and interesting; struggling to put into pantomime effects which your imagination painted. No one ever satisfied with anything. Everyone wanted more salary then, as they do today. Then it was forty dollars a week; now it is four thousand dollars a week. When some little novelty of treatment came up, everyone was excited, remarking it as a great step forward in the work. But tricks are never important. To tell a story sincerely, vividly, and simply: that was the big effort then and is the big effort now. Many useful new tools for the making of pictures have been created since those early perplexities, but the big implement was then and always will be the mind-power to narrate a story in the medium. Technique is only experience, it is not force. No two stories should ever be told alike, but that requires genius and where can you buy that? The motion picture is an important medium; perhaps the most important. The people who pride themselves upon their culture and education spurned it in the beginning, for that is the conservative class, always bucking everything new. Kings who were illiterate made reading and writing unpopular in their day. But pictures have now snipped all croakers aside. And now that the form is somewhat stable, this mighty force is claiming the authority and dominance due it. The Moving Picture World, vol. 85, March 26, 1927, p. 408

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[1928] HOW MOVIES ARE MADE “How are the ‘movies’ made?” Like everything else that is elemental and primitive and progressive – by the trial and error method. Optimistically speaking, there are fewer errors today and more trials than there were twenty years ago when I first became interested in motion pictures, which is conclusive and satisfying proof that the fifth great industry in the world is following the law of evolution. Long before the printing press deluged the world with a Niagara of words, PICTURES were employed to record the deeds deemed worthy to endure for the instruction or entertainment of future generations. We are more dependent upon our eyes than upon any other senses. This accounts for the universal appeal of motion pictures; also, it places upon those who produce motion pictures a heavy responsibility. Granted that motion pictures are still imperfect, as our manifold critics delight in pointing out, can any of the gentlemen who dip their pens in acid suggest any other form of entertainment that has made tremendous strides forward in the same time as measured by years? Motion pictures are based on things elemental – so is youth. Struggle, sex, hope, despair, faith, tears and smiles – life. The history of the evolution of “moving pictures” reads like a fairy story. Back in the dawn of the sixteenth century Leonardo da Vinci, intrepid experimenter, was groping for stark realism in pictures, puzzling over the laws of perspective with glass plates and images reflected through circular holes cut in his window shutters. Trial and error, through an imposing list of pioneers down to our own Edison and his Kinetoscope. Starting with my own entrance into motion pictures, and the making of movies in the year 1907 – pictures had been moving for some time. The first experiment in running through the projection machine and creating the illusion of movement had been tried out on trained bears, famous dancers, contortionists and acrobats – anything that was guaranteed to keep moving. Trains in motion, boys diving from a spring board, a Chinaman chasing an unpaid bill had grown leaps and bounds into regular screen stories – fifty feet in length! The “studios” had “graduated down” from the roofs of tall buildings where everything depended upon old Sol to spacious (by comparison) floor space in rented buildings – some of them reformed barns. A language of the studio had sprung into being even at this early date – the term “set” was used to designate two walls of compoboard [sic], gaily papered, with a door in one and a window in another, ending abruptly about seven feet overhead, which were all that was necessary to create the illusion of reality unless the cameraman was careless and “shot” an inch beyound [sic] his line. We still have “sets”, but they frequently consist of three walls twenty-five feet high, with decorated ceilings, spread out over the entire studio space; for instance one set in “The Battle of the Sexes” occupied studio floor space three hundred and fifty feet long and one hundred feet wide. It was approximately 40 feet high, this being necessary to enable our cameras to photograph from a great distance. On this set we used one hundred and thirteen rotary and fixed carbon lamps for our lighting. Twenty years ago the scenario for a story was most frequently an idea jott[ed] down hurriedly on any scrap of paper that happened to be lying about. Fifty feet was the length of the first so-called stories, then they developed into five hundred, which was considered quite enough film to tell any story in – even “Ben Hur.” When one thousand feet was reached (still the footage for one reel of film today) the industry settled down to business. Now the scenario 184

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was quite a formidable affair – it required sometimes two hundred and fifty words to tell a story, although more often seventy-five or one hundred would do. There was a cast of characters – for the most part three principals were sufficient – hero, heroine and villain; if a mother or father were thrown in or a hard riding bunch of cowboys it was more in the nature of grand gesture than because they were really essential. The actual scenario was usually in twenty-five or so scenes. Stage technic [sic] was followed. The entire action of the scene was played in what we now call a “long shot”, taking in the entire set and all the actors. The results were most unsatisfactory. Owing to poor lighting and amateurish photography, the faces were frequently hard to see plainly, therefore all play of expression was lost. On the stage, even if you are so far back in the house that you cannot see faces clearly you can hear the voice. But there was no voice to interpret the meaning of the interminable mouthings [sic], so wordy titles had to be flashed on the screen, interrupting the action. In an attempt to remedy this glaring fault I first introduced what is now called the “close up,” because literally that is what it is – the camera is moved close up to the subject, resulting in the same view one would get if talking to another person across a small table, say. But this method cut off the subject’s legs – and up to this time only full length actors had been projected upon the screen. Even my cameraman objected; it was unnatural to show people without legs. I knew what I wanted, but the flood of protests had its effects; perhaps I was wrong. I went to the Metropolitan Museum and studied paintings from a new angle and with a new interest. Painters did not always paint their subjects full length – in fact they seldom did. It all depended upon what they wanted to show. So I boldly wasted film on the experiment – and, after a good deal of argument and objection, the picture was allowed to be shown with limbless ladies and legless gentlemen – and immediately the “close up” became a popular innovation. The “flash-back”, which is simply cutting from one scene to another to get synchronized action, was another innovation which speedily became popular. The “fade-out” helped get away from long explanatory titles and “most photography” helped bring me a little nearer to the goal of genuine motion pictures – PAINTING rather. In “Drums of Love” we have come closer than ever before to PAINTING WITH LIGHT. It was while I was with Biograph that I made a picture in two thousand feet – just twice the length of the usual feature film. It was called “His Trust Fulfilled” and I could not cut it down to one thousand feet without ru[i]ning it. There were some stormy executive sessions and I finally refused to run it at all if it had to be cut to the thousand feet requirement. So we had arrangements with exhibitors to run one reel one week and the second reel the week following. This was the first two-reel motion picture, but in a very short time all the companies were making them. The greatest stride forward in the making of motion pictures has been in the METHOD of telling the story, and that includes that very important instrument with which it is told – the motion picture camera. We had just as good actors and actresses twenty years ago as we have today; we had the same priceless wealth of stories on which to draw. The crudities of those first motion pictures lay in the way in which the story was transferred to the screen – in the way in which it was directed. The error there was in confusing a distinctly new method of expression with old forms – the motion picture is not merely another way of showing a stage play or novel – it is a separate and individual art. Screen Chatter, vol. 1, no. 23, November 23, [penciled in year: 1928], pp. 17–18, 20

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[1930] GRIFFITH PICKS FIFTY FINEST ALL-TIME FILMS FOR N.Y. EVENING POST Modesty, under ordinary circumstances, would dictate that one should not include his own works in such a list, but I have included those of my own which I think rightfully belong, not because I think they are great, but because the public and the press have generally acclaimed them as such. [1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12]

[13] [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] [30] [31] [32]

The Birth of a Nation [D.W. Griffith, 1915] The Avenging Conscience [D.W. Griffith, 1914] Intolerance [D.W. Griffith, 1916] Broken Blossoms [D.W. Griffith, 1919] Way Down East [D.W. Griffith, 1920] Orphans of the Storm [D.W. Griffith, 1921] Stella Maris [Charles J. Brabin, 1925] War Brides [Herbert Brenon, 1916] Quo Vadis [Gabriellino d’Annunzio and Georg Jacoby, 1925/Enrico Guazzoni, 1912] The Four Horsemen of the Apocalypse [Rex Ingram, 1921] The Miracle Man [George Loane Tucker, 1919] Passion [probably Madame Dubarry, Ernst Lubitsch, 1919; a film with the same title was directed by Richard Ridgely in 1919] The Mark of Zorro [Fred Niblo, 1920] The Dark Angel [George Fitzmaurice, 1925] Driven [Charles J. Brabin, 1923] The White Sister [Henry King, 1923] Greed [Erich von Stroheim, 1925] Smilin’ Through [Sidney A. Franklin, 1922] Tol’able David [Henry King, 1921] Robin Hood [Allan Dwan, 1922] The Covered Wagon [James Cruze, 1923] Merry-Go-Round [Rupert Julian/Erich von Stroheim, 1923] The Hunchback of Notre Dame [Wallace Worsley, 1923] Down to the Sea in Ships [Elmer Clifton, 1922] Little Old New York [Sidney Olcott, 1923] The Sea Hawk [Frank Lloyd, 1924] Monsieur Beaucaire [Sidney Olcott, 1924] The Marriage Circle [Ernst Lubitsch, 1924] The Ten Commandments [Cecil B. DeMille, 1923] The Kid [Charlie Chaplin, 1921] The Merry Widow [Erich von Stroheim, 1925] The Last Laugh [Der letzte Mann, Friedrich Wilhelm Murnau, 1924] 186

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[33] [34] [35] [36] [37] [38] [39] [40] [41] [42] [43] [44] [45] [46] [47] [48] [49] [50]

The Big Parade [King Vidor, 1925] The Valiant [William K. Howard, 1929] Wings [William A. Wellman, 1929] Variety [Varieté, Ewald Andre Dupont, 1925] Beau Geste [Herbert Brenon, 1926] Stella Dallas [Henry King, 1925] What Price Glory [Raoul Walsh, 1926] The Way of All Flesh [Victor Fleming, 1927] Ben-Hur [Fred Niblo, 1925] Seventh Heaven [7th Heaven, Frank Borzage, 1927] The Patriot [Ernst Lubitsch, 1928] Sunrise [Friedrich Wilhelm Murnau, 1927] The Crowd [King Vidor, 1928] The King of Kings [Cecil B. DeMille, 1927] Disraeli [Alfred E. Green, 1929/Henry Kolker, 1921] Hallelujah [King Vidor, 1929] Grass [Merian Cooper, Ernest B. Schoedsack, 1925] All Quiet on the Western Front [Lewis Milestone, 1930]

Originally published as “D.W. Griffith’s Selection of the ‘Best Fifty’ Pictures Opens a Rich Field for Discussion”, by Thornton Delehanty. The New York Evening Post, vol. 129, no. 226, August 12, 1930, p. 12. The version reproduced here is from The Exhibitors Herald-World, August 16, 1930, p. 34. Linda Shah to the Editor, e-mail dated 16 November 2002: “Yesterday I found the article referred to as being in the paper ‘last week’. It was the Movie Talk column by Thorton Delehanty, titled ‘Further Remarks on and by D.W. Griffith, With Particular Reference to the Writing and Casting of “Abraham Lincoln”’ (The New York Evening Post, vol. 129, no. 222, August 7, 1930, p. 6). The making of the sound release of The Birth of a Nation was featured in the entertainment section on 4 August. I’m assuming that Thorton Delehanty must have had an interview with Griffith and stretched it into three articles including Griffith’s pick of the best 50 films to be part of The New York Evening Post’s ‘Best of...’ series started in August 1930.”

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[1935] FILM MASTER IS NOT PROUD OF FILMS: “THEY DO NOT ENDURE” “I am prouder that a magazine printed a two-verse poem of mine, for which they paid me fifteen dollars, many years ago, than I am of any film I have made.” So says great director, conversationalist, and arch-sentimentalist [D.W.] Griffith, who reached the Savoy from far places last night. “The movie is not an art,” says Griffith. “It is a beautiful business. So transient it cannot endure for a year. Why, the greatest films of the greatest masters of movie, made five years ago, shown today look ridiculous. I haven’t made a film myself that can endure. Words, painting, sculpture last.” It is three years since the greatest [D.W.] made a picture. When he goes to the cinema now, which is rarely, he finds that the masters of the talkie art are just creeping up to the standard of photographic ingenuity again that he had perfected a decade ago. Talk has made the whole thing so simplified. He has come to London to see about the making of his famous silent film “Broken Blossoms” into a modern talkie. He doesn’t know as yet whether he will direct it himself. “After all,” says [D.W.], “a shadow’s a shadow….” Daily Express, May 24, 1935

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CORRECTIONS AND ADDITIONS TO VOLUMES 1–10 61 TAMING OF THE SHREW Archival sources: Library of Congress, 28mm diacetate positive (Phoenix Public Library Collection), ca. 635 ft.; preserved 1999 (35mm acetate negative, ca. 690 ft.). 115 “AND A LITTLE CHILD SHALL LEAD THEM” Archival sources: National Film and Sound Archive, Canberra, 35mm nitrate positive (Corrick Collection). Note: In the plot summary (print viewed) of “And A Little Child Shall Lead Them” (The Griffith Project, vol. 2, p. 51), the first line should read as follows: “The film opens with the death of a young child. Eight years later, and having grown apart, the parents decide to divorce.” 150 THE LONELY VILLA Archival sources: National Film and Sound Archive, Canberra, 35mm nitrate positive 170 THE MENDED LUTE Note: The meaning of the title in relation to the film’s plot is unclear. In an e-mail to the Editor, 25 May 2006, Russell Merritt wrote: “There are no stringed instruments of any kind [in the film] that need or receive mending. Further, American Indians don’t play lutes: a flute, sure. The only way the title even vaguely makes sense is if Griffith or the title editor is misunderstanding a secondary meaning of the word. ‘Lute’ is a clayish paste that is used to caulk and mend pots. I could picture one of the poetic Biograph scribes, carried away by the beauty of the phrase, figuring it might apply to Kirkwood’s broken heart as he agrees to give up Florence because Owen has proven so brave.” Eileen Bowser, in an e-mail to the Editor, 25 May 2006, offers the following hypothesis: “I don’t have a specific answer. But a broken lute is part of the iconography of art history for ages past. Sometimes it turns up in poetry. It signifies death or at the least love lost. So I suppose a mended lute is suited to a story like this, where death threatens the lovers but then there is a happy resolution for them.” 176 THE MILLS OF THE GODS Archival sources: The Museum of Modern Art 35mm nitrate positive is from the Anthony Saffrey Collection, London. 209 THE MOUNTAINEER’S HONOR Archival sources: National Film and Sound Archive, Canberra, 35mm nitrate positive 216 A CORNER IN WHEAT Archival sources: MUSIC – The Library of Congress (The Museum of Modern Art Collection) holds a cue sheet (1 page, ms.) titled Corner in W. (microfilm edition: Library of Congress, Music 3236, Item 230), and the photocopy of a printed piano conductor score titled Corner in Wheat, published by Kalmus Filmusic Edition, New York, in 1928 (no microfilm). 240 IN OLD CALIFORNIA Archival sources: 35mm nitrate positive (source undetermined): “LOST AND FOUND – The American Mutoscope and Biograph Company, founded in 1895, announced that it has 189

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found a film once thought lost, what Biograph describes as ‘the first movie made in Hollywood’, entitled ‘In Old California’. The 1910 film, directed by D.W. Griffith, is now undergoing digital remastering. It’s about the dramas of Mexico-owned California. Biograph hopes to erect a monument to the film on Hollywood Boulevard sometime in 2003, and the company is also planning a gala event and screening of the restored work.” (IndieWIRE internet press release, May 23, 2003) [Editor’s note: A 35mm paper print of the film is preserved at the Library of Congress.] 255 RAMONA Archival sources: MUSIC – Two documents in the Music Division at the Library of Congress refer to this title: a) piano score by Hugo Riesenfeld [?], 32 pages, ms.; location: LC M1527.R26; microfilm edition: Library of Congress, Music 3212, Item 108; b) cue sheet (typescript), 1 page (The Museum of Modern Art Collection); microfilm edition: Library of Congress, Music 3236, Item 598. The first document may refer to one of the other film versions of Ramona produced in the United States during the silent era; the second may have been compiled after the initial release of Griffith’s film. 263 THE FACE AT THE WINDOW Archival sources: Library of Congress, 35mm nitrate positive, 850 feet, AFI/Jack Pill Collection 267 MUGGSY’S FIRST SWEETHEART Cast: Flora Finch (Uplift woman) (see Bo Berglund, “Hello, Mabel!”, Griffithiana, vol. 24, no. 71, 2001, p. 133) 279 THE SORROWS OF THE UNFAITHFUL Archival sources: Bob Geoghegan, Archival Film Agency, 35mm nitrate positive, 924 ft. 280 THE USURER Cast: Henry [“Pathé”] Lehrman (Waiter at luncheon) (see Bo Berglund, “Hello, Mabel!”, Griffithiana, vol. 24, no. 71, 2001, p. 133) 315 THE DIAMOND STAR Author: M.B. Havey; Cast: Mabel Normand; Henry [“Pathé”] Lehrman; Jack Dillon [= John Thomas Dillon]. (see Bo Berglund, “Hello, Mabel!”, Griffithiana, vol. 24, no. 71, 2001, p. 133) 316 WHAT SHALL WE DO WITH OUR OLD The title on the available prints is WHAT SHALL WE DO WITH OUR OLD? – with a question mark. 349 FIGHTING BLOOD Cast: Gladys Hulette? 350 THE LAST DROP OF WATER Cast: Gladys Hulette? 360 THE SQUAW’S LOVE Cast: Claire McDowell [not Dorothy West] (Silver Fawn) 190

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365 THE MAKING OF A MAN Cast: Walter Hiers 366 HER AWAKENING Cast: Walter Hiers 370 THE BATTLE Cast: Gladys Hulette? Archival sources: Bob Geoghegan, Archival Film Agency, 35mm nitrate positive 374 A WOMAN SCORNED Cast: Inez Seabury (Child of the doctor) 375 THE MISER’S HEART Cast: delete Edith Haldeman; add Inez Seabury (Little child) 376 THE FAILURE Cast: Walter Hiers? (Waiter) 384 FOR HIS SON Cast: Walter Hiers (At soda fountain) 389 THE TRANSFORMATION OF MIKE Cast: Max Davidson? (Landlord) 391 THE SUNBEAM Cast: Inez Seabury, Priscilla Dean (Among children in hallway); delete W. Christy Cabanne and add “?” to (Health inspectors) 392 A STRING OF PEARLS Cast: Priscilla Dean? (Sister of neighbor with unbuttoned cuffs) 393 THE MENDER OF NETS Cast: Dell Henderson (The little mender’s brother); W. Chrystie Miller (The little mender’s father); Frank Opperman (Fisherman); Mabel Normand; Marguerite Marsh [not Margaret Loveridge] 410 HOME FOLKS Note: The author of the entry saw a print from the Library of Congress (Paper Print Collection) with no intertitles. A 35mm print with intertitles is preserved at the BFI National Film and Television Archive in London (the print was screened at the 2002 Pordenone Silent Film Festival in Sacile) 418 THE MASSACRE Archival sources: Anthony Saffrey Collection, London, 35mm nitrate positive (tinted) 422 THE NARROW ROAD Cast: J. Waltham? (Third prison guard); Joseph McDermott (Policeman); ? (Warden) 440 THE UNWELCOME GUEST Cast: J. Waltham 191

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441 THE NEW YORK HAT Archival sources: MUSIC – Fédération Internationale des Archives du Film (FIAF), Brussels, score (3 copies) by Alden Beach; Library of Congress (The Museum of Modern Art Collection), cue sheet (1 page, photocopy of typescript; microfilm edition: Library of Congress, Music 3236, Item 537), probably compiled after the film’s initial release. The document also includes partial listing of music cues for the film Queen Elizabeth. 443 THE BURGLAR’S DILEMMA Cast: Bud Ross (One of household’s friends) 444 A CRY FOR HELP Archival sources: Library of Congress, 16mm acetate positive, Spanish intertitles (“Flicker Flashbacks” series). Note: The author of the entry saw an incomplete print from the Museum of Modern Art. A 35mm print from the Library of Congress (Pickford Collection) was screened at the 2002 Pordenone Silent Film Festival. 446 THREE FRIENDS Cast: add Bess Meredyth? (In office) 448 OIL AND WATER Cast: Reggie Morris? (Beside a hurdy-gurdy) 451 A CHANCE DECEPTION Cast: Reggie Morris (In restaurant) 452 FATE Cast: Reggie Morris (One of the two hunters, outside a cottage) 453 A FATHER’S LESSON Vol. 6, p. 239, 13th line from bottom: replace “Dorothy West” with “Charles West”. 460 A GIRL’S STRATAGEM Archival sources: Bob Geoghegan, Archival Film Agency, 35mm nitrate positive 462 A WELCOME INTRUDER Director: Anthony O’Sullivan? Note: According to Russell Merritt, in an e-mail to the Editor, 16 April 2003, there is circumstantial evidence that the film was not directed by D.W. Griffith. “Circumstance # 1: A Welcome Intruder is released on Monday, 24 March 1913. Two days later, Biograph releases its weekly pair of split reel comedies; that Saturday, it releases The Sheriff’s Baby, which we know is a Griffith film. I examined Biograph release patterns from 13 January 1913, when the company first started releasing non-DWG dramatic films, through the beginning of August, and the consistent rule is one-Griffith, one non-Griffith, and two split reels per week. I can’t say this is the law, because there are a few weeks when we’re not sure whether the “non-Griffith” was in fact directed by him. But the pattern is the same for all weeks in which we know for certain who directed what: Biograph releases no more than one Griffithdirected film per week up until the week of 11 August 1913 when the regular run of Griffith-directed releases dry up altogether. Circumstance # 2: If O’Sullivan didn’t direct it, what was he doing for that week? Circumstance # 3: A Welcome Intruder looks like an O’Sullivan film, particularly his preoccupation with billboards, sign posts, walls with painted adverts, 192

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and windows with placards to lend atmosphere to the West Coast landscape. His close-ups also come in closer than the 1913 Griffith films, and the staging of some of the scenes – particularly the exteriors – seems a little odd for DWG. Of course all of this is subjective.” 485 THE MISTAKE Archival sources: The Museum of Modern Art, 35mm nitrate positive from the Anthony Saffrey Collection, London 487 [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] Cast: William J. Dean? Note: According to Russell Merritt, the film was shot in November 1912. Kevin Brownlow has provided an article by David Belasco, “When Mary Pickford Came to Me”, Photoplay Magazine, December 1915, pp. 27–34. Two images from the film (one of them showing Pickford and Belasco) are reproduced on p. 34, with the following caption: “Reproductions from the Belasco-Pickford film, no part of which has ever been seen. You will note that to both young persons this was a very merry affair”. On page 33 of the article, Belasco writes: “I remember once Mary asked David W. Griffith, who was her first motion picture director, if she could do a picture with me. And one of the things that I value very highly is a reel, the only one which I possess, and which I have in my studio and treasure greatly. We did the picture, along with Mr. Griffith and the late William J. Dean, who was my general stage director at the time.” Russell Merritt to the Editor, e-mail dated 28 January 2003: “Before I forget, Kevin Brownlow called me before Christmas asking for a correction to the note he wrote for the Belasco-Pickford footage…. FYI: here’s my e-mail [to Patrick Stanbury for Kevin Brownlow]. The date in Kevin’s entry is certainly wrong (Griffith was 3000 miles away from the East Coast at that time). But it’s impossible to nail down the actual date and circumstance without the sources I’ve been trying to get. Or did it all fall into place and all mysteries resolve themselves?” Russell Merritt to Patrick Stanbury for Kevin Brownlow, e-mail dated 6? February 2003: “1) can Kevin cite source for Griffith and Bitzer shooting the 1913 “home movie” with Belasco and Pickford? In Mary Pickford Rediscovered he has the shoot at the Biograph studio; in The Grittith Project he has them filming at the Famous Players studio on 26th Street. 2) I’ve been going nuts trying to locate my copy of a one-page Photoplay article showing Belasco on the Biograph set with Pickford. The title refers to Belasco as ‘Elijah’ meeting with Griffith. Does Kevin have a reference for the article? Is this his source for the ‘home movie’? The Photoplay article may be the key. Griffith and Bitzer were nowhere near Pickford and Belasco in winter-spring 1913. They were in California from late December 1912 through 28 June 1913.” 492 JUDITH OF BETHULIA Steven Higgins to Elena Beltrami, Cineteca del Friuli, 10 September 2003: “Our records clearly show that the print we are sending you – the best we have – derives from the original one-hole camera negative and an exhibition print, the latter having been step-printed from the original negative in 1914. Both elements were part of the D.W. Griffith Collection, and we received them in 1938. We made our preservation fine grain master from that negative in 1970 and, since the negative was incomplete, a brief sequence was taken from the print, as were the titles, to complete the subject.” Russell Merritt to the Editor, e-mail dated 11 September 2003: “I want to be sure we’re talking about the same MoMA print. I’m working from MoMA’s 16mm Circulation print, the one with the MoMA intro followed by the eagle head title, the Aldrich credit, a prefatory note, a cast list, then a visual prologue introducing the principal cast members. If it is the same print that Steven is 193

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describing, is the visual prologue the ‘brief sequence’ that Steven indicates was added on from the exibition print? And am I right in assuming that all titles in the print he describes come from the exhibition print, not from the MoMA neg?” Russell Merritt to the Editor, e-mail dated 13 September 2003: “My suggestion, based on current information. Credit MoMA [35mm viewing] print as ‘modified 1922 reissue print’. We still need to confirm the relationship between MoMA’s 16mm circulation print and the restored 35mm print that MoMA is sending the Giornate, but even if they are different, it is all but certain that the MoMA 16mm print [the one we’ve all studied] is from the materials Griffith donated to the Museum in 1938. Allora: Steven’s valuable message, establishing that both the original Biograph negative and a 16mm print were donated by Grififth personally as part of the March 1938 gift, reinforces the claim for a 1922 edition. Griffith – or, more precisely, D.W. Griffith, Inc. – bought the Biograph negative in November 1921 in order to reissue it through United Artists in early 1922. The details are in MoMA’s [D.W.] Griffith Papers. As J.B. [Kaufman] reminded me, Griffith’s lab also had to buy a special Biograph printer to accomodate the one-hole camera negative that Steven refers to. By the time Griffith bought the negative, it had already been revised for the six-reel version that George Kleine issued in 1917 (this, too, is mentioned in the 1922–1923 correspondence), so the Griffith lab further modified the negative, eliminating the Kleine additions to approximate the earlier four-reel Biograph release. I gather from Steven’s message that the negative, characteristic of Biograph, contains no intertitles, and that the titles in MoMA’s restored print derive from the 35mm exhibition print that Griffith also donated. If it is an exhibition print, it is most likely one that UA distributed in the ’20s, though the edge codes would settle the issue (UA was distributing Judith of Bethulia from 1922 through at least 1924). I’m also assuming (pace, Paolo: until we get further information, we are at the mercy of common sense) that MoMA’s 16mm Circulation print derives from this 35mm. (Why is this commonsensical? Where else would the MoMA 16mm Circulation print have come from?) If so, it is definitely the 1922 reissue with a hodgepodge of typefaces, abbreviated Kleine add-ons, and a few re-edits made at Mamaroneck. The good news: if the print was created in 1922, it more or less matches the 1922 negative, allowing for the possibility that Griffith tinkered with the movie in the course of its 1920s reissue. If the donated exhibition print derives from 1914 and the titles were cut into the 1922 negative, we have an archival mess. Since the original copyright print survives at the Library of Congress, it’s a simple matter to confirm all this by comparing the two prints.” 520 THE SABLE LORCHA Archival sources: Suomen Elokuva-Arkisto, 35mm nitrate positive (Finnish intertitles) 536 LITTLE MEENA’S ROMANCE Cast: Marguerite [not Margaret] Marsh; Maisie [not Mazie] Radford (Wid’s, March 23, 1916, p. 455). Archival sources: “It should be pointed out, whenever 9.5mm is mentioned, that these versions were brutally abridged and their titles changed. I believe this one ended up as 2 x 60 ft. reels. Otherwise it looks as though the film survives intact (the BFI [was] going to publish a catalogue of 9.5mm films with their original titles; the work has been done but the BFI backed out)” (Kevin Brownlow to the Editor, February 23, 2006 e-mail reproduced in e-mail dated March 3, 2006). 538 THE HABIT OF HAPPINESS Location: Triangle Studios, Yonkers and Fort Lee (according to Adolpe Menjou’s autobiography, It Took Nine Tailors). Cast: Adolphe Menjou. Note: The directorial and scriptwriter 194

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credits on the Boltons Trading Corp. print are spurious. “They would have been added by [Raymond] Rohauer. Enough said” (Kevin Brownlow to the Editor, February 23, 2006 email reproduced in e-mail dated March 3, 2006). 540 THE GOOD BAD MAN Filming date, location, premiere: “I saw Bessie Love’s photo album of this film, and she had noted in white ink on the black paper beside the photos that rehearsals started 4 February 1915 (an error for 1916) and the entire picture ‘was taken in 8 days’ (this was written at the time). ‘Taken in Mojave and the desert’ (Cinemagazine 33, August 14, 1925, p. 273 repeats this location. Robert Florey supplied information to this magazine and he worked for Fairbanks). It opened [at the] Liberty Theatre, Long Beach.” (Kevin Brownlow to the Editor, February 23, 2006 e-mail reproduced in e-mail dated March 3, 2006). Archival sources: Cinémathèque française, 35mm acetate negative. “The duplicate negative for this sole surviving 35mm version was incorrectly developed by the Cinémathèque, probably during [Henri] Langlois’ era in the 1950s, and the only prints that can be obtained are unacceptably dark” (Kevin Brownlow to the Editor, e-mail dated March 3, 2006). 543 INTOLERANCE Vol. 8, p. 40, line 25: It is highly unlikely that the Handschiegl process was used in Intolerance (unless this was done on later releases of the film), as in 1916 the system had just been developed for Cecil B. DeMille and introduced in Joan the Woman (released on 25 December of that year). In an e-mail dated 1 November 2005, Russell Merritt indicates that The Moving Picture World mentioned the name of Jack Bloom in connection with the coloring of the film, but “damned if I can find out anything more about him. [The Moving Picture World] may be misspelling his name”. 551 THE MARRIAGE OF MOLLY-O Note: According to Richard Koszarski, An Evening’s Entertainment, p. 147, cameraman John Leezer employed the Struss Pictorial Lens. Koszarski’s footnote ascribes this to a number of sources, including American Cinematographer, February 1, 1922, p. 12, and Susan and John Harwith, Karl Struss, A Man With a Camera (Bloomfield Hills, MI: Cranbrook Academy of Art/Museum, 1976), pp. 10–11. 554 FIFTY FIFTY Archival sources: Suomen Elokuva-Arkisto, 35mm nitrate positive. “Preserved at the Museum of Modern Art, ca. 1990” (Antti Alanen to the Editor, October 13, 2005). 556 MANHATTAN MADNESS Location, set design: “dining room set was shot at the Paragon Studio, Fort Lee, and was designed by Ben Carré according to his unpublished memoirs, p. 196”. Release length: “The greatest mystery about this film is its length. Triangle sold it as a five reeler and the current version barely runs past three. Was it severely abridged for reissue by S.A. Lynch, or was it always this length? George Eastman House’s nitrate negative did not produce a print with any more footage in it – but presumably the negative would have been cut for reissue.” Scenario: “according to Allan Dwan, the film had no scenario. See his article in Picture Play, August 1918, p. 241. However, Photoplay (October 1918, p. 81) says Charles Dazy, retired playwright, wrote it with his son.” Camera: Victor Fleming. Cast: Adolphe Menjou. “He appears in club and nightclub scenes. This is confirmed in Menjou’s It Took Nine Tailors (New York: Whittlesey House, 1948, p. 85). ‘John’ Richmond was later known as Warner Richmond 195

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(Tol’able David, Henry King 1921)” (Kevin Brownlow to the Editor, February 23, 2006 e-mail reproduced in e-mail dated March 3, 2006). 558 AMERICAN ARISTOCRACY Location: “Watch Hill, Rhode Island is correct – this was the home of Fairbanks’ wealthy wife Beth Sully; add Ocean House Hotel (still there). Interiors shot at the Willat studio, Fort Lee (Eastern Triangle) (Richard Dyer MacCann, First Film Makers, Metuchen, NJ: Scarecrow Press; Iowa City, Iowa: Image & Idea, 1989, p. 48). The naval vessel used in the chase of the private steam yacht was the U.S. Torpedo Destroyer Patterson (The Bioscope, February 8, 1917)”. Director: “according to Robert Florey (Cinemagazine 34, August 21, 1925, p. 299) Allan Dwan started it, Lloyd Ingraham took over”. Camera: Victor Fleming. Story: Anita Loos. Scenario: Anita Loos. Property boy: Richard Rosson. Cast: Douglas Fairbanks, Jr. (“he is the 5-year old in sailor suit who runs in to sell a newspaper to Douglas Fairbanks [Sr.]”); Charles Stevens (“the Mexican handyman who writes a note”); Albert Parker’s character is Percy Peck, not Horton; Charles DeLima: read “de Lima”; “[the character of Geraldine] Hicks has to be right rather than Hick, because of the advertisement visible at the end of the film, “Hicks – The Man Who Put the Hump in the Hatpin”; for Arthur Ortego read Arturo Ortiega”. Archival sources: “the 9.5mm version was 3 x 60 ft. reels. The title The First Man is correct. This was the film that turned me into a collector and historian. Blackhawk reduced Don Malkames’ tinted and toned 28mm copy to a black and white l6mm, and all l6mm prints in archives emanate from this source. George Eastman House have now carried out a 35mm blowup from 28mm, but this hasn’t been noted. Shots are out of order – have these still to be adjusted and reel parts removed?” (Kevin Brownlow to the Editor, February 23, 2006 email reproduced in e-mail dated March 3, 2006). 563 GRIFFITH AT THE FRONT Roger Smither to the Editor, e-mail dated 5 October 2006: “My entry was based largely on my own and others’ interpretation of the pattern of Griffith’s involvement in and work on the project that was to become Hearts of the World (DWG Project #565), together with circumstantial evidence such as the records of the movements of some of Griffith’s party in and out of the Savoy Hotel, London (Griffith’s own record does not survive). This led me to provide the date of May 1917 for Griffith at the Front, and involved me in some further discussion of dating that was included in the entry for [Film pour les Américains, I, II, III] (DWG Project #562). Subsequent research in the Beaverbrook Papers at the House of Lords Record Office (HLRO) in London shows clearly that the date I gave in my entry was incorrect, and that it was actually a visit by Griffith to France in mid- or late September 1917 that resulted in Griffith at the Front. This revision casts some extra light on – though it does not finally resolve – the questions about the nature, the timing and the people involved in Griffith’s various presumed or demonstrable visits to France that were explored on page 152 of Volume 9 [of The Griffith Project]. The new evidence may be summarised as follows. File BBK E/2/9 of the Beaverbrook Papers contains a number of items which point to a September date for a filmed visit by Griffith to France. The subject is first raised by a memorandum from a Captain Holt-White of the Canadian War Records Office to Lord Beaverbrook, dated 3 September. This asks Beaverbrook (in his capacity as head of the British Government’s Cinematograph Committee): ‘If the Griffiths [sic] film is going to be taken over and exploited by the Cinematograph Committee later, would you care to have a short strip of film showing Griffiths filming the film, as this would boom the long film later?’ Beaverbrook’s reply is not on file, but three days later, Holt-White writes again (with the memorandum headed ‘Re: Filming Griffiths Filming’): ‘Griffiths is very 196

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pleased with the idea, and, as you approve, he is arranging to get his own man to take the strip.’ Further material in the file includes letters to France setting up various aspects of the visit, as well as a letter dated 3 October which shows that Griffith was back in England filming Canadian troops by the end of September. The Beaverbrook Papers also confirm that the film was taken by Frank Bassill, one of the War Office’s team of Official Cinematographers. (As noted in Volume 9 [of The Griffith Project], arrangements for Griffith to use his ‘own man’ – Billy Bitzer – fell through, allegedly because of Bitzer’s unfortunately German-sounding name.) Confirmation of a September date resolves the problem noted in Volume 9, that Bassill was not actually on the War Office list as early as May 1917. A second HLRO file, BBK E/12/13, contains a transcript of what are described as ‘Operator’s suggested titles’, undated but attributed to F A Bassill, which record the shooting of two 300-foot rolls of film on topics which exactly match the film held at the Imperial War Museum: Mr D.W. Griffiths at the Front. At a Dressing Station – At an Observation Post in the reserve trenches – Passing a working party – Within 50 yards of the enemy – The Guard gate – With the War Correspondents (300 ft) Cassel Square – With a French working party at a German concrete emplacement – Boesinge – Fixing Gas Masks. (300 ft).” 564 [GRIFFITH MEETS SOCIETY LADIES] Roger Smither to the Editor, e-mail dated 5 October 2006: “In addition to providing information clarifying the date of Griffith at the Front (DWG Project #563 – see above), File BBK E/2/9 in the House of Lords Record Office in London contains a document which appears to throw additional light on a further entry in Volume 9 [of The Griffith Project] – [Griffith Meets Society Ladies]. The document in question this time is a letter written by Sir Reginald Brade, Secretary to the War Office, to Lord Beaverbrook on 15 September 1917. The letter reads, in part, as follows: I lunched yesterday with Lady Paget and had a long conversation with her about our friend Griffith. It appears that some time ago he approached her to secure her good-will and active co-operation in obtaining material for the film which you and I have been discussing with him. Lady Paget obtained for him pictures of Queen Alexandra and of a number of Society Ladies, who allowed themselves to be filmed in various capacities as doing hospital work, munition work, and so on, and the understanding was that Lady Paget did this for him in the interests of Red Cross funds, that is to say Griffith was to give her for these funds a share in the profits of the exhibition of this film.

The balance of the letter conveys Sir Reginald’s displeasure at Griffith for having misled the ‘Society Ladies’ in this way – there was no prospect of any share in the profits being available for the Red Cross – and he notes of Lady Paget that ‘She seems to me to have been taken in by [Griffith’s] plausible manner and glib tongue.’ I do not know whether the fragment of film that survives as described in DWG Project#564 would confirm the identity of either Lady Paget or Queen Alexandra, but it certainly seems reasonable to surmise that the film is a fragment of that described in the letter just quoted. (Queen Alexandra [1844–1925] was the widow of King Edward VII, who had died in 1910, and mother to his successor, George V. Various Society Ladies might qualify for the title ‘Lady Paget’, but the most likely candidate in terms of age, social standing, and presumed ability to act as contact between 197

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Griffith and the Queen is probably the American-born Mary Paget, wife of General the Right Honourable Sir Arthur Paget.)” 565 HEARTS OF THE WORLD Production advisor: Curt Rehfeld. Property boy: Fred Guiol. Press agent: Maggie Ettinger. Additional cameraman (France): Marc Bujard (see Cinémagazine, July 27, 1923, p. 17). Locations in England: Shere village, Surrey, and Stanton, near Broadway, Worcestershire; interiors in England: Twickenham (“which was set up for [Billy] Bitzer by Ernest Palmer”). Assistant editor: Alma Reville. Additional footage purchased from: Capt. [von?] Kleinschmidt. Cast: Erich von Stroheim (revised role: German officer); Sir Edward Grey’s role as himself in the film is in question (Kevin Brownlow to the Editor, February 23, 2006 e-mail reproduced in e-mail dated March 3, 2006.) 568 THE GREAT LOVE Music arrangements/Archival sources: In an e-mail to the Editor dated 17 September 2005, David Robinson writes: “I just acquired a little item that adds an odd little detail to our knowledge of the Gottschalk/Elinor score, which was obviously quite a big deal. This is a little booklet which was given to the audience at the premiere release at the New York Strand Theatre, with the words and music of The Star-Spangled Banner, and suggesting that the audience actually joined in community singing as part of the actual performance.” 576 BROKEN BLOSSOMS “Broken Blossoms was made as an Artcraft, but Griffith bought it back when [Adolph] Zukor didn’t like it (‘everybody in it dies’). So it became Griffith’s first United Artists production” (Russell Merritt to the Editor, December 1, 2005). 585 THE WORLD AT COLUMBUS Alternate title: The Wayfarer [?] Filming date: June–July 1919 Location: Columbus, Ohio Producer: D.W. Griffith Release date: not known Release length: six reels? Copyright date: not copyrighted Supervision: A.P. Hamberg for D.W. Griffith? (according to contemporary newspaper accounts) Director: A.P. Hamberg? (according to contemporary newspaper accounts) Photographer: J.C. Bitzer (according to contemporary newspaper accounts) Archival Sources: none known A six-reel picture which visualizes the Methodist Exposition held in Columbus last June and its ambitious program for reconstruction at home and abroad, and gives an abbreviation of “The Wayfarer”.

Literary Digest, May 15, 1920 At the time of this writing, no viewing material of this film is known to survive. But even “lost” films are supposed to leave traces of their existence, right? Some indication that the 198

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film was completed? That someone saw it? One would be ready to assume that this film, which definitely was planned and apparently shot, was perhaps later abandoned before completion. But that option is problematic because of the above reference in the Literary Digest. Unfortunately, while the article, as well as contemporary advertising material, does clearly mention a film titled The World at Columbus, the reference makes no mention of D.W. Griffith or anyone else as having directed it. So what do we know about this mysterious entry in the Griffith canon? At first, the trail is an easy one to follow. Letters found in The D.W. Griffith Papers, and contemporary newspaper and magazine articles, tie Griffith to the Methodist Church and its plans for the upcoming Centenary of Methodist Missions. Griffith’s principal contact within the Methodist community seems to have been Christian F. Reisner, pastor of the Grace Methodist Church in New York City and one of the organizers of the Centenary. Reisner had used motion pictures in his church for several years (starting with Kalem’s 1912 film From the Manger to the Cross); and, in a letter dated 27 March 1919, he tells Griffith, “How I rejoice in the fine work you are doing for humanity with your pictures!” He writes again to Griffith in late May to remind the director of “our arrangement to meet in Columbus Tuesday, June 3rd”. Griffith was to view a rehearsal of the pageant that was to be the centerpiece of the Centenary and to discuss “the exhibits and the plans to take Motion Pictures of the daily events”. We learn that this was bigger than just a private arrangement between Griffith and the church. There is also a letter, dated 31 May 1919, from the executive secretary of the “National Association of the Motion Picture Industry”. It requests an acknowledgment of a previous letter (not found in The D.W. Griffith Papers) about “the special committee representing the Producers and Distributors which was appointed to cooperate” with the Centenary Committee. The popular press was also aware of these proceedings. An article headlined “Griffith to Advise Church on Films” (The New York Times, May 11, 1919, p. 22) says that “the motion picture producer is to become the advisor of the Methodist Church in its plan to spread its religious and moral teaching by use of the screen” and will be going to Columbus, Ohio, to confer “with the church’s committee in charge of motion picture activities”. By the time the Centenary celebration had begun, on 20 June, many papers had picked up the story. The Methodist publication Zion’s Herald (June 25, 1919, p. 821) provides the most detailed account of Griffith’s thoughts regarding the project. It states that Griffith had offered “to preserve the Methodist Centenary Celebration in celluloid so that the great exposition at Columbus, O. [sic], might be shown to the world for years to come” and says that he made the offer “as a memorial to his mother, who was a Methodist”. The article mentions that Griffith had been in Columbus a few weeks earlier and had “enthusiastically asserted he found great motion picture possibilities there and that he would turn his best directing and photographing talent to the big task of preserving the story” of the exposition and showing it to the “millions of Methodists who are unable to attend”. It goes on to quote Griffith: What particularly impressed me was the wonderful opportunity the Methodist Centenary Celebration gives the people to visit the entire world. Extraordinarily impressive are the foreign villages represented where not ‘supers’ but real natives brought from foreign lands demonstrate the daily existence in those countries. I am astounded beyond depth by the magnificence of the prospect. The last Methodist celebration I attended was in Kentucky in my youth where we had ice cream in a thirty-byfifty-foot church room and where the entertainment consisted of an organ and a soloist, the whole expense being about $7.50. 199

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And here you are giving a celebration that resembles a world’s fair on a scale as great as though a nation were behind it – the reawakened idealism and faith that are to bind up the wounds of a torn and outraged world.

More about the staff talent Griffith assigned to the task is found in the Ohio State Journal (July 8, 1919, p.10). In an article titled “Motion Pictures to Spread Exposition”, readers are told that Griffith had sent “two of his outdoor experts, A.P. Hanburg [sic] and J.C. Bitzer, from his studios in Los Angeles. They arrived at the grounds with orders from Mr. Griffith to carry out all the promises and arrangements Mr. Griffith made when he was in Columbus several weeks ago”. The Ohio State Journal says that Griffith had estimated a production cost of $30,000, and that “the cost was considered worthwhile in view of the fact that this was the best way to take the celebration to those shut-ins all over the world, who will not be permitted … to attend the centenary in person”. Alfred P. Hamberg was Griffith’s personal assistant at Artcraft, and, according to a personal communication from Russell Merritt, was on the payroll since some time in 1918. Johannes C. Bitzer (Billy Bitzer’s cousin and brother-in-law, also according to Russell Merritt) had started in 1912 as a Biograph cameraman, with the non-Griffith units. Bitzer was misidentified by the Ohio State Journal (July 14, 1919, p. 3) as the cinematographer of The Birth of a Nation, Hearts of the World and Intolerance. These two men apparently were in Columbus for the full 24 days of the Centenary. The Ohio State Journal (June 20, 1919, p. 3) has Hamberg, described as Griffith’s “right-hand man”, shooting the opening ceremonies which began at 11 a.m. on 20 June with a parade from City Hall into the exposition grounds. The Columbus Evening Dispatch (June 26, 1919, p. 3), describing still more filming, identifies Hamberg as the director and Bitzer as the cameraman. And the Ohio State Journal, at the end of the Centenary (July 14, 1919, p. 3), says that Hamberg and Bitzer had shot “more than 10,000 feet” of the pageants, special events, Centenary officials and special visitors such as Adolph Zukor, former President William Howard Taft, William Jennings Bryan, Secretary of the Navy Josephus Daniels, former Secretary of the Treasury William Gibbs McAdoo and Sergeant Alvin C. York! The Centenary Celebration truly was an amazing event. The basic reason for the gathering was to commemorate the 100th anniversary of the founding of the Missionary Society of the Methodist Episcopal Church, organized 5 April 1819, and to raise money for future mission work. A brochure put out a year before the convocation described plans for “an unsurpassed program of lectures, pageants, stereopticon lectures” which would give thousands of American Methodists “the opportunity to visit and study the World’s races as they are brought together in Columbus at this time…. Everywhere will be found large models and panoramas of city and country, forests and lake, mission buildings and activities”. They were serious when they described the upcoming event as “The World at Columbus”. The Centenary was held on the Ohio State Fair Grounds. Columbus was chosen as the locale because it was considered a convenient destination to reach by train or private automobile. It was also a city with a strong Methodist presence – in 1919 there were twenty-nine Methodist Episcopal churches in Columbus plus ten “colored” M.E. churches. And it was within driving distance of the site of the first Methodist mission in the United States, where an African-American preacher named John Stewart had converted members of the Wyandot Indian tribe. The fairgrounds were large enough (54 acres, or approximately 22 hectares) to comfortably accommodate some 50,000 visitors a day. Besides a lot of open space for strolling and picnicking, there were nine large exhibition halls, a coliseum (where pageants were performed) and a large oval amphitheater (about the size of two football fields and used at other times 200

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as a race track). There were worship services, band concerts, vocal recitals, parades and fireworks displays. The exhibition spaces contained lecture halls and photo galleries along with such exhibits as a Japanese street and garden, Shinto shrine, recreation of the Ganges River (with funeral pyres burning at the water’s edge!), Hindu temple, “Lepers Mission” house, recreations of roads in Peking, Chungking and Shanghai, Confucian temple, African Kraal, Bedouin tent, recreations of different areas in the United States such as the mountain regions, Latino communities, rural “Negro” cabins – and most of the halls had tea rooms and curio shops! Maps and detailed descriptions of all the exhibits and activities of the Centenary Celebration are found in the official brochures, copies graciously provided by Carol Holliger of Ohio Wesleyan University (see note at the end of this text). The amphitheater was the site of a huge movie screen, approximately 100 by 75 feet (the Ohio Avenue United Methodist Church’s 1972 yearbook/directory states that it was 136 by 166 feet). It was erected by representatives of the movie business, “to advertise their ‘wares’ to the religious community leaders” (Terry Lindvall, The Silents of God, Lanham, MD and London: The Scarecrow Press 2001, p. 215) The motion picture industry also provided films – among them was Griffith’s A Romance of Happy Valley (1919), along with two other films with at least a tangential connection to Griffith: the Dorothy Gish feature Boots (1919) and the Donald Crisp-directed Johnny Get Your Gun (1919). There were also travelogues, documentaries and stereopticon slides. Various aspects of the Columbus exposition caught the attention of the entertainment press. The Moving Picture World (September 6, 1919, p. 1450), Photoplay (September 1919, pp. 46–48) and Variety (June 20, 1919, p. 12) all ran articles on the Centenary Celebration, its use of film, and the possible impact it would have on the future of religious work and teaching. The [NY] Christian Advocate (July 17, 1919, p. 915) raved that “it has been proved to multitudes of ministers that there are plenty of films now available which are fitted for use with Sunday evening congregations”. Besides the movie presentations, the other most remarked-on feature of the Centenary was “The Wayfarer – A Pageant of the Kingdom”. As with the rest of the exposition, this pageant was done on a very grand scale – worthy of the director of Intolerance himself. The play, written by a Methodist minister, was “sweeping in scope. Framed by scenes of refugees of the recently completed Great War and a scene of the final blessing which included children of twenty-four nations and representatives of the armed forces as well as Abraham Lincoln and George Washington, this pageant/spectacle/morality play covered history from the Babylonian captivity to the discovery of the Resurrection” (Nancye Van Brunt, “Pageantry at the Methodist Centenary”, Methodist History, vol. 35, no. 2 (January 1997), p. 107). The cast consisted of at least 1,000 actors (both amateurs and professionals, such as Blanche Yurka), a “seated chorus” of 1,500, a “stage chorus” of 100 and 75 members of the Cincinnati Symphony Orchestra. The score combined new compositions with portions of Handel’s “Messiah” and similar classical-religious music. There was, additionally, scenery shipped from New York, a huge cyclorama and a $50,000 pipe organ. Records show that there were 140,800 tickets sold for the twenty-three performances of the three-hour-long play. Thousands of people were turned away each night (Van Brunt, op. cit., pp. 108–09). Part of Hamberg and Bitzer’s assignment was to film “The Wayfarer”, which they did on a specially built outdoor stage. The stage “was laid on tracks in order to maintain the best lighting angles” (Van Brunt, op.cit., p. 118). At the end of the Centenary, the Ohio State Journal (July 14, 1919, p. 3) once again mentions Griffith and company’s participation in recording the exposition, saying that “preparations are already underway in Griffith’s California studios for work to begin in making this new film…. Griffith’s leading scenario writer is weaving together the features of the exposi201

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tion into a wonderful story”. Neither Griffith nor Hamberg nor anyone else is specifically quoted in the article, but the implication is that plans for the film are definitely going forward. And that’s where the trail goes cold. There are follow-up articles on various uses of motion pictures by the Methodist Church (The New York Times, June 27, 1920, p. 7; The Moving Picture Age, August 1920, p. 20; Literary Digest, February 21, 1920, p. 38), but none of these articles mention Griffith. A second Literary Digest article (May 15, 1920, pp. 46–47) talks about a Methodist “Division of Stereopticons, Motion Pictures, and Lectures, from which pastors may rent pictures at cost” and says that the “first movie sent out under the auspices of this new board was The World at Columbus”. The article goes on to describe a film that sounds much like the one Griffith had planned to make. But no director is mentioned. Is it possible that while Griffith was getting space in magazines and newspapers throughout the country (American Magazine in April 1921 called him the “greatest moving picture producer in the world”), his name would knowingly have been omitted from this article? It doesn’t seem likely. So does this lead to the inference that Griffith never completed the film that he started with such promise and hoopla? Perhaps he lost interest in it and let Hamberg and others finish it for him. Maybe he wanted nothing to do with the end product for some unknown reason. The researcher longs to see a rental catalogue from the aforementioned Division of Stereopticons, etc., but none of the major Methodist archives has such a catalogue among its holdings. There are hints to be found of negative feelings on both sides. An article written by Paul Hutchinson for The [NY] Christian Advocate (July 17, 1919, p. 915) says: To read much of the newspaper material that has come out of the Centenary Celebration one would believe that the pictures being taken by Mr. Griffith represent the most important features from the moving-picture standpoint. Nothing could be farther from the truth. Mr. Griffith’s venture is purely a side issue. What it will eventuate in no one knows and everybody seems content to leave the question to the man who produced The Birth of a Nation.

And a letter in The D.W. Griffith Papers from Christian Reisner (dated 31 July 1919) gives further hints of trouble: I am almost ashamed to face you with a letter after waiting so long to acknowledge your helpful kindness and your delightful friendliness as shown through the work of your men at Columbus. I fear one or two of my telegrams may have seemed to have a wrong note in them, but I feel sure you know me well enough to understand the spirit of them. When they were sent I did not know exact conditions of affairs.

Reisner goes on to suggest helping out with the production of the film, perhaps coming out to California to “co-operate with [Griffith]”. There is no record of the director’s reply to Reisner, and no more letters from Reisner in The D.W. Griffith Papers. Reisner wrote several books after this period, but in none of them does he mention Griffith or the film about the Centenary. One might reason that if the film were actually completed and shown, and if the trade publications didn’t pick up the story, local papers would have made some mention of the film being screened in area churches. There is nothing in The New York Times. There is nothing in the Dallas Times Herald, although that paper in the 1919–20 period was full of mentions of local religious happenings and also often contained articles on Griffith and ads for his films. A similar search of the Dallas Morning News had to be abandoned when the microfilm proved too faded and scratched to read. Calls to the Dallas Morning News led to the revelation that there are no actual archival copies of the paper maintained locally – apparently, all those newspapers have been shipped to a warehouse in Scotland. 202

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The researcher’s frustration only increases upon the discovery of a student paper written at Ohio Wesleyan University in 1995. The unnamed student (the relevant page of whose paper was supplied by Carol Holliger) wrote that in 1920 “when D.W. Griffiths [sic] showed his film, called ‘The Wayfarer’, in Nashville, observers pronounced the film a failure”. Besides not knowing how to spell the director’s name, the student didn’t cite any references to back up his statement. And inquiries made to various libraries in Nashville brought no answers. In addition to the mention in the Literary Digest, however, there are two other artifacts that lend arguable proof that a film called The World at Columbus was completed and most likely shown. These artifacts reside at Drew University and were unearthed by archivist Mark Shenise in aid of doctoral candidate Christopher Anderson, who is currently finishing up his dissertation on this very same 1919 Methodist Exposition. One item is a photograph, taken in Japan in 1921, which shows a sign written in Japanese in front of a building. An appended note translates the sign as the title of the film, The World at Columbus. The other artifact is even more interesting but no more helpful in establishing a Griffith connection. It’s a poster advertising the film. At the bottom of the poster we see a film crew (most of whose heads are turned or too much in shadows to be recognizable) shooting an actress in costume for the pageant. But the written copy on the poster implies that the film was conceived and produced solely by the church. It reads: The Centenary Commission of the M.E. Church S. presents “The World at Columbus” The world-wide parish of Methodism visualized A Six Reel Motion Picture Portraying the development of Methodist Missions in every clime, The Centenary Celebration and the Marvelous Christian Pageant “The Wayfarer”

So we remain in the dark. If the film Griffith planned and had Hamberg and Bitzer shoot was never completed, and if the film The World at Columbus was made by someone else, how did that title end up in the Griffith filmography? If there is proof out there somewhere that the film called The World at Columbus was indeed the film made by D.W. Griffith, why is that proof so elusive? And the most confounding question of all: if the foremost American filmmaker of that period made a film for the Methodist Church, why does no Methodist archive have any record of that fact, much less a copy of the film itself? It’s as if a famous artist had painted a mural on a church wall, only to have that mural painted over and completely forgotten. Perhaps further research in local newspapers or through local churches will lead to substantive information about this lost film. Until then, we can only wonder. I wish to express special thanks for the very generous help provided in my research by Carol Holliger, Acting Curator of the Archives of Ohio United Methodism at Ohio Wesleyan University, Delaware, Ohio; Page Thomas of the Bridwell Library at Perkins School of Theology, Southern Methodist University, Dallas, Texas; L. Dale Patterson and Mark Shenise of the 203

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United Methodist Church Archives at Drew University, Madison, New Jersey; Dr. Rob Sledge, Distinguished Professor Emeritus of History, McMurry University, Abilene, Texas; Linda Grimm of the Dept. of Anthropology, Oberlin College, Oberlin, Ohio; and for additional, last-minute, run-to-the rescue help from Christopher J. Anderson, PhD candidate at Drew University. Thanks also to Madeline Matz of the Library of Congress and to J.B. Kaufman, who tried their best. Karen Latham Everson 589 SCARLET DAYS David Mayer to the Editor, e-mail dated 13 November 2006: “Eileen Bowser’s essay on Scarlet Days calls attention to some of the ambiguities of authorship surrounding its screenplay. In particular, she cites Stanner E.V. Taylor’s disclaimer that the plot draws directly on previously published California legends, insisting that Griffith had commissioned a ‘western’ and that Scarlet Days is the inevitable result. The addition of the Richard Barthelmess-Clarine Seymour sub-plot further draws attention away from what, to my mind, is a significant and entirely unacknowledged source. Scarlet Days is, not by coincidence but possibly by deliberate design, a re-working (a rip-off is an equally appropriate term) of George Bernard Shaw’s Mrs. Warren’s Profession, the action and setting carried from the London of 1894 to a mining settlement during the California gold rush. There is no gun-play in Shaw’s work, but there is the intense cut-and-thrust of economic debate and moral argument as the ethics of wealth funded by vice is hotly argued. Mrs. Warren, in Shaw’s original, a former prostitute and brothel proprietor, is rendered by Taylor-Griffith as Rosy Nell, a working prostitute and dance hall performer. Vivie, Mrs. Warren’s daughter, sequestered and Cambridge-educated and unaware of the source of her mother’s prosperity, translated to film becomes a self-reliant innocent educated in an Eastern boarding school. Sir George Crofts, a coarse, debauched co-proprietor of brothels, is now Baguely, the proprietor of a gambling saloon and frontier bordello. Freddie, in Shaw’s version an innocent and ineffectual young man and, unknown to Vivie, Vivie’s half-brother, is in Scarlet Days a naive Eastern prospector. And the Rev. Samuel Gardner, a bumbling vicar and one of Mrs. Warren’s former lovers, is, in the TaylorGriffith version, the film’s benign, ineffectual sheriff. The action of Shaw’s play turns on the gradual revelation of the tainted sources of Mrs. Warren’s income and on Vivie’s growing awareness that her expensive rearing and education were paid by the sexual exploitation of other young women. Vivie’s decision is not to disown her mother – although she repudiates her life – but to strike out on her own, hereafter earning her own keep. As in Scarlet Days, she has had to fend off Crofts’ unwelcome attentions. Both Taylor and Griffith would have been well aware of Mrs. Warren’s Profession and of the furore the play’s publication and New York premiere occasioned. Denied performances in London because of the alleged indecency of its subject, Mrs. Warren’s Profession was published as a single play in 1894, then republished in Plays Unpleasant, a gathering of Shaw’s other early plays on the corrosiveness of economic exploitation. In 1898 Plays Unpleasant was published in America and, widely read by American intellectuals, was condemned by conservative critics and moralists. In 1905 an attempt was made by Arnold Daly to stage Mrs Warren’s Profession as a part of a Shaw repertory season in New Haven, Connecticut, but the performance was banned by civic authorities. With the production relocated to New York, a single performance, with scalpers selling tickets at $30.00, was allowed before the reformer Anthony Comstock brought an injunction against Daly. Eventually, the play reopened, but to a diminished response. Mrs. Warren’s Profession was again staged in New York, from 11 March until 20 April 1918, at the Comedy Theatre as a part of the Washington Square Players’ season. It is not improbable that both Taylor and Griffith witnessed performances. The play’s supposed scandalous and prurient subject matter assured that Shaw’s name remained before the public.” 204

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603 ORPHANS OF THE STORM Construction carpenter: Joe Dibuono. Cast: add Nellie Battipaglia (Extra). The full name of the “Jacques Forget-Not” character is Jean Setain. Vol. 10, p. 127, starting at line 8, should read as follows: “Pity for Louise is intensified by her plaintive begging song, the lyrics unrecovered at the time of this writing, but Henry Tissington’s melody is remembered and recycled in the andante passages of Louis F. Gottschalk’s and William Frederick Peters’ 1921 film score.” 607 THE WHITE ROSE Vol. 10, p. 148, starting at line 5, should read as follows: “Joseph’s tortured sense of both sexuality and guilt strongly engaged Griffith, and the performance as an updated Arthur Dimmesdale by English actor Ivor Novello, while perhaps not totally successful, nonetheless provides Griffith’s most multi-layered investigation of male sexuality.” Vol. 10, p. 158, starting at line 9 of the penultimate paragraph, should read as follows: “In many ways, especially politically and socially, the 1920s can be seen as a period of reaction and polarization as the political activism and idealism of such figures as Vachel Lindsay or Lewis W. Hine fell out of favor with established institutions and appeared increasingly irrelevant to progressive forces after the Russian Revolution.” 609 AMERICA Cast: James Crane (Extra) Catherine Surowiec to the Editor, e-mail dated 1 August 2007: “One morning last week I watched the BFI’s print of America with Bryony Dixon and David Mayer. David Mayer brought with him a Kino Video VHS tape of the Film Preservation Associates version, which he was kind enough to loan to me. I watched the video the following evening, so I saw both versions very close together, and did a bit of comparison. I used to be a film cataloguer, so I have an eye for that. Anyway, the two prints (BFI vs Kino) do have some major differences. I’m glad I saw them almost back-to-back. Basically, the BFI’s print (entitled simply Love and Sacrifice) seems to have more of the Hamilton-Dempster romance, more British-biased titles, and alternate takes of some of the material in the Kino print. The Kino version – entitled America, or Love and Sacrifice – is much more American. It has much more footage of Paul Revere’s ride (which is very truncated in the BFI print), and the Battles of Lexington, Concord, and Bunker Hill (especially a much longer sequence of the heroics of Charles Montague/Charles Emmett Mack with a powder keg), and a slightly longer sequence of Charles’ death, with more of Dempster preparing his body with the Union Jack for her father. It also has the surrender of the British army to George Washington at Yorktown, which the BFI print doesn’t have at all (!), and more footage of Walter Butler’s (Lionel Barrymore’s) death (in the Kino print he falls ignominiously face-down into a puddle, and some Indians with tomahawks are standing over his body, obviously ready to scalp him – none of this is in the BFI’s print). In the Kino print there are also more atrocities by Louis Wolheim in warpaint. What the Kino print doesn’t have, surprisingly, is a bit with Lucille LaVerne sewing an American flag (David Mayer opined that she may be Betsy Ross, but she definitely is not – she plays “a refugee mother”, who just happens to be preparing a flag for the soldiers at the fort under siege). The Kino print ends with the same footage as the BFI’s print, with Washington about to take the oath of office, years later, watched by Neil Hamilton, Carol Dempster, and Erville Alderson. Neither print has the patriot orator Patrick Henry, who is sometimes mentioned in cast lists for the film. […] According to Bryony, who looked at Harold Brown’s old notes and acquisition records about the BFI’s print, it came over around 1956 for a Film Society memorial screening for Theodore Huff, and since it had the British title Love and 205

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Sacrifice it seems to have stayed in London as a gift. (It came from George Eastman House apparently, but it appears the material was originally made from MoMA’s DWG material. Who really knows now, half a century later?) The Kino print, whatever David Shepard’s source, and whoever put it together, appears to be much more an approximation of the original American release. Unless there is something else out there we don’t know about? The BFI print lasted almost 150 minutes at 20 fps, while the Kino video runs 141 minutes (adjusted at various silent speeds, with a synthesizer score).” David Shepard to Livio Jacob, e-mail dated 2 August 2007: “We did not run the film at sound speed in the video transfer; rather, the speed was varied according to the metronome markings in the original music score, which is what we recorded. We also tinted the video edition, whereas the fine grain is of course straight b&w, and the print as well. I gave my copy of the music to the Niles Silent Film Museum.” 610 ISN’T LIFE WONDERFUL Vol. 10, p. 168, starting at the fourth line from the bottom of the page, should read as follows: “Documentary filmmaker John Grierson, writing in 1946, linked its box-office failure to the precocious style of its social exposé: ‘Epic, too, can have its way if it is as roughshod as The Covered Wagon, as sentimental for the status quo as Cavalcade, as heroic in the face of hunger as Nanook. But heaven defend it, if, as once happened in Griffith’s Isn’t Life Wonderful, the hunger is not of Eskimos but of ourselves’ (Grierson on Documentary, 1946, 1st ed., pp. 103–104).” P. 170, line 1, should read as follows: “Working out of the swank Hotel Bristol…” P. 170, fourth paragraph, should read as follows: “Apprehensive, Griffith pared the film down to nine reels, booked the film into a New York grind house (the Rivoli Theatre), attracting an opening night audience that included Fritz Lang, Ufa producer Erich Pommer, and CEO Felix Kallman, and then waited for reviews.” The second, third, and fourth sentences of the fifth paragraph on p. 170, should read as follows: “Calling it a ‘depressingly drab little tale’, the Moving Picture World reviewer wrote that ‘we seriously doubt its appeal to the masses’ (December 13, 1924); The Moving Picture News concurred. The Exhibitor’s Trade Review called the film ‘a genuine screen jewel’ (December 13, 1924, n.p.) but pronounced it all but unsellable. The coup de grâce came from Photoplay’s editor James R. Quirk…” 611 SALLY OF THE SAWDUST Vol. 10, p. 179, third line from bottom, should read as follows: “Dorothy Donnelly’s Poppy would provide the same security as Lottie Blair Parker’s Way Down East had in 1920.” On p. 183, first full paragraph, read as follows: “…who so often finds her arms twined around his neck and her body pressed tight to his own.” 613 THE SORROWS OF SATAN In Kristin Thompson’s analysis of the film, the author argues (vol. 10, p. 195) that the film might have been influenced by “E.A. Dupont’s Varieté (1925) – assuming he saw that film”. While published four years later, the article “D.W. Griffith’s Selection of the ‘Best Fifty’ Pictures Opens a Rich Field for Discussion” by Thornton Delehanty (The New York Evening Post, vol. 129, no. 226, August 12, 1930, p. 12) seems to support this hypothesis. In the article, D.W. Griffith lists fifty notable films of his choice. Varieté is mentioned as no. 36 in the list.

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THE LOST FILMS OF D.W. GRIFFITH Note: The following list includes titles for which no moving image material is known to survive. Several titles of the Biograph period are documented by individual 35mm frames held by the Library of Congress. 333 339 381 435 442 449 450 455 468 487

489 503 505 568 569 572 612

HOW SHE TRIUMPHED THE WHITE ROSE OF THE WILDS A TALE OF THE WILDERNESS HEREDITY MY HERO AN ADVENTURE IN THE AUTUMN WOODS THE TENDER-HEARTED BOY BROTHERS THE LITTLE TEASE [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] TWO MEN OF THE DESERT THE BATTLE OF THE SEXES (Note: a brief fragment is extant.) THE ESCAPE THE GREAT LOVE LILLIAN GISH IN A LIBERTY LOAN APPEAL THE GREATEST THING IN LIFE THAT ROYLE GIRL

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FILMS DIRECTED BY D.W. GRIFFITH NOT AVAILABLE FOR VIEWING AT THE TIME OF PUBLICATION 152 177 233 315 322 331 342 344 346 347 353 354 357 359 361 363 364 367 372 377 379 386 410

427 453 454 456 457 460 464 467 473 480

THE FRIEND OF THE FAMILY “OH, UNCLE” ONE NIGHT, AND THEN— THE DIAMOND STAR THE HEART OF A SAVAGE MADAME REX A SMILE OF A CHILD THE JEALOUS HUSBAND HER SACRIFICE THE THIEF AND THE GIRL OUT FROM THE SHADOW THE SORROWFUL EXAMPLE THE STUFF HEROES ARE MADE OF DAN, THE DANDY THE REVENUE MAN AND THE GIRL ITALIAN BLOOD THE OLD CONFECTIONER’S MISTAKE THE UNVEILING THE TRAIL OF BOOKS SUNSHINE THROUGH THE DARK SAVED FROM HIMSELF A SISTER’S LOVE HOME FOLKS [Note: Ben Brewster based his essay on a Library of Congress print (with no intertitles) from the Paper Print Collection. A 35mm print from the National Film and Television Archive (London) with intertitles was shown at the Giornate del Cinema Muto in 2002.] TWO DAUGHTERS OF EVE A FATHER’S LESSON A MISAPPROPRIATED TURKEY DRINK’S LURE WHEN LOVE FORGIVES A GIRL’S STRATAGEM THE HERO OF LITTLE ITALY THE LEFT-HANDED MAN THE STOLEN LOAF THE RANCHERO’S REVENGE

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FILMS FORMERLY ATTRIBUTED TO D.W. GRIFFITH BY MAN’S LAW Production company: Biograph; Filming date: finished 5 October 1913; Release date: 22 November 1913; Director: W. Christy Cabanne. Note: Russell Merritt to the Editor, e-mail dated 21 February 2003: “I think you don’t have to worry about an addendum. […] [Y]ou have chosen to include only those Griffith-supervised titles claimed by earlier historians which current research cannot rule out. You’re safe in excluding By Man’s Law because it hasn’t been claimed until now, and the underlying basis for including it runs counter to the prevailing theory of how Griffith worked as a supervisor at Biograph. Besides, enough is enough. True, I’ve come to believe the prevailing theory is wrong. And as for By Man’s Law, I’m simply doing the math and making what I hope are common-sense assumptions. Because George Eastman House has a copy, let me try the logic out on you. The film is a three-reeler, it is delivered Sunday, 5 October 1913, a few days after Griffith’s last working day on the prior Wednesday, 1 October. It is directed by his number-one son, the highest paid of all Griffith protégé directors, and stars one of the two actresses that in a few days he will put under personal contract at Mutual. It has all the earmarks of a prestige production, big budget and the Griffith all-stars – Mae [Marsh], [Robert] Harron, [Donald] Crisp, [Alfred] Paget, Charles Hill Mailes, J.J. [Lanoe], Dorothy Gish. William Wing is credited with the script. He is Frank Woods’ chief protégé at Biograph’s comedy unit (Woods is the comedy unit’s script supervisor). It looks enough like The Mother and the Law, dominated by Woods’ patented anti-reformer theme, that at the very least the script feels like a collaboration. Both Woods and Wing are also immediately lured to Griffith’s Mutual unit. In short, a high profile swan song trumpeting the shape of Griffith things to come. My underlying assumption is that upon his return from California in July, Griffith was relieved of directing responsibilities in order to supervise all Biograph productions, just as Bitzer stopped shooting in order to oversee the growing number of Biograph cameramen and lab technicians. I know this runs counter to the picture of a sulky Griffith retreating Achilles-like into his tent because of the Klaw & Erlanger dispute, emerging only to supervise his favorites. But this has never made any sense. The 1910 and 1911 Griffith contracts both refer to Biograph’s right to hire other directors, and mention Griffith was expected to ‘cooperate’ (or some such madden[ing]ly fuzzy word) with them. Unfortunately, Griffith’s 1912–1913 contract is missing, but there’s no reason to believe it was any different in this regard from its predecessors, or that Griffith would have been given the option of choosing which films or directors to oversee. And if he’s not supervising, what is he doing? Over the three months that Griffith stays on payroll after finishing Judith of Bethulia and The Adopted Son, Biograph makes 26 one-reelers and 20 split reel farces. I’m willing to believe our man let Woods do all the work with the farces, but that leaves only eight or nine one-reelers per month – two or three films a week, plus the longterm Klaw & Erlanger features. This seems to me a reasonable workload for ‘the highest salaried man in movies’.” DOPE Production company: Direct-From-Broadway Feature Film Co., 1914; Distribution: State Rights; Mutual Film Corp.; Continental Feature Film Corp.; Release date: 1 June 1914; Release length: six reels; Director: Herman Lieb; Scenario: Herman Lieb; Source: Dope, the play (1909) by Joseph Medill Patterson; Cast; Laura Nelson, Ernest Truex, William H. Tooker, Gaston 209

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Mervale, Christine Blessing, Herman Lieb. Note: D.W. Griffith is listed as supervisor in Patrick Brion, Filmographie de D.W. Griffith (in Brion, D.W. Griffith Paris: L’Equerre/Centre Georges Pompidou, 1982), p. 208. See the note on Moths, below. FROU FROU Production company: Thanhouser Film Corp.; Distribution: Mutual Film Corp.; Release date: 1 January 1914; Release length: four reels; Director: not known; Adaptation: Lloyd F. Lonergan; Source: Froufrou, the play (1869) by Henri Meilhac and Ludovic Halévy; Frou-Frou, the play (1870) by Augustin Daly; Cast: Maude Fealy, Phyllis Bostwick, Harry Benham, James Cruze, The Thanhouser Kidlet [Helen Badgley]. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208. See the note on Moths, below. Mike Mashon, email to the Editor, 9 May 2000: “My records indicate this is a Thanhouser title, but the copyright book says it was registered by Feature Film Sales with Deutsche Biograph as the author. We do have nitrate and a print for this.” HIS LESSON Production company: Majestic; Filming date: 14?–20? November 1914 (four days of production); Location: Realiance-Majestic studio, Los Angeles; Distribution: Mutual Film Corporation; Release date: 2? 5? January 1915; Release length: one or two reels; Director: Donald Crisp (according to production ledgers); Cast: George Siegmann, Billie West, Vester Perry, Olga Gray; D.W. Griffith (In crowd). Note: D.W. Griffith is listed as an extra in Brion, Filmographie de D.W. Griffith, p. 208. HOW STARS TWINKLE AWAY FROM THE STUDIOS Production company: not known; Release (?) date: 1918; Director: not known; On camera: D.W. Griffith?. Note: This title is listed in Patrick Brion, Filmographie de D.W. Griffith, p. 209, where Griffith is listed as appearing in front of the camera. Neither the Editors nor the contributors to The Griffith Project have been able to locate any primary source confirming this information. AN INDIAN’S LOYALTY Production company: Biograph; Filming date: finished 5 June 1913; Release date: 16 August 1913; Director: W. Christy Cabanne. Note: Russell Merritt to the Editor, 4 June 2003: “Notice that An Indian’s Loyalty, attributed to W. Christy Cabanne, has a question mark after his name. Who knows why the question mark is [in Cooper Graham et al., Griffith at Biograph, p. 194], but if there’s a possibility he didn’t direct it, it means either Griffith or O’Sullivan did.” THE LIFE OF GENERAL VILLA Preoduction company: Mutual Film Corp.; Distribution: Mutual Film Corp.; Mexican War Film Corp.; Release date: May 1914; Release length: seven reels; Supervision: D.W. Griffith [actual participation spurious]; Director: Christy Cabanne. Note: See American Film Institute Catalog: Feature Films, 1911–1920, p. 514. Probably reissued by Mutual 15 April 1915 as The Outlaw’s Revenge. Individual shots might be included in La venganza de Pancho Villa (aka The Outlaw’s Revenge/The Life of Pancho Villa), compilation work (ca. 1930) by Edmundo Padilla (preservation material at the Library of Congress/University of Texas at El Paso). THE LITTLE COUNTRY MOUSE Production company: Majestic; Release date: 14 November 1914; Director: Donald Crisp; Cast: Blanche Sweet, Mary Alden, Wallace Reid, Raoul A. Walsh; Archival sources: Library of 210

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Congress (New Zealand Film Archive Collection), 35mm nitrate positive, 1 r. of 2. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208. MOTHS Production company: Thanhouser Film Corp.; Distribution: Mutual Film Corp.; Release date: September? 1913; Release length: four reels; Scenario: Lloyd Lonergan; Cast: Maude Fealy, William Russell, Gerda Holmes, Harry Benham, Mrs. Lawrence Marston, Lila Chester. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208. This film is part of a group of titles (see below) listed as being supervised by D.W. Griffith in Eileen Bowser’s filmography for the 1965 reprint of Iris Barry, D.W. Griffith, American Film Master (New York: Garland, 1985), p. 44. According to Russell Merritt, “these titles were mentioned, together with others, in a trade journal advertisement (The Moving Picture World or The New York Dramatic Mirror) in which Mutual, which just hired D.W. Griffith, claimed he was responsible for these titles. An ‘auteurist’ move” (Conversation with Russell Merritt, January 29, 2004). Eileen Boswer to the Editor, e-mail dated 31 January 2004: “I still think Griffith had very little if anything to do with any of those films, but they were produced under his name. They really are not worth bothering about. The first group includes the first of the Reliance-Majestic productions released by Mutual, and my source must have been The Moving Picture World, because the [D.W.] Griffith Papers do not really cover this period (maybe the Aitken papers in Wisconsin are more detailed). Look in The Moving Picture World index for the first half of 1914 for Majestic, there is a news story about its founding which named Griffith as in charge of all production. Probably the index for the last quarter of 1913 will show some of the films. I easily found a reference for Ruy Blas, February 1914, p. 874, I think the synopsis, and also an ad for Ruy Blas which mentioned Sapho as an earlier ‘success’. No mention of Griffith’s role, however. These titles could also appear in some Majestic publicity of this period and not be indexed – and maybe not even appear in the release charts – because the new company had not yet established the routine of sending info to the trade press. I’m afraid it is a page-by-page search of The Moving Picture World that is needed. I chose not to list later Majestic productions because I felt sure Griffith had other things on his mind by that time.” THE MUTUAL GIRL Producer: Harry Aitken; Distribution: Mutual; Release date: January 1914; Director: D.W. Griffith? Cast: Norma Phillips. Note: D.W. Griffith is listed as director of the first episode in Brion, Filmographie de D.W. Griffith, p. 208. Mike Mashon to the Editor, e-mail dated 11 May 2000: “Here’s what I know about the Mutual Girl from The Moving Picture World: ‘Mutual Girl Series’ (December 27, 1913, p. 1525): ‘Series of films announced starring Norma Phillips as the Mutual Girl, focusing on her glamorous adventures in New York. Isn’t Miss Phillips lovely!’; ‘Mutual Girl Entertains Broadway’ (January 31, 1914, p. 523): “First installment of Mutual Girl films delights crowd with amusing first half, but receives only polite applause at end.’ That’s it. My guess is that the Griffith rumor is just that – some public relation stunt ginned up by Harry Aitken in the manner of the Imp Girl, so he trots out the name of his most famous employee as being associated with the series. I see no other references to this series in 1913–1915 articles about Griffith or Aitken, and no copyright claims either. I think the author of the Beaubourg filmography [Patrick Brion] must have seen something in a trade journal and Richard Schickel [D.W. Griffith, An American Life, New York: Simon Schuster, 1984, p. 206] repeated it.” Paul Spehr to the Editor, e-mail dated 27 April 2001: “Our Mutual Girl, a 52 film series released by Mutual between January 1914 and January 1915. Norma Phillips was the ‘Mutual Girl’, at least in the early productions. It was a promo211

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tional short filmed in a number of cities across the U.S. and it usually had one or more prominent celebrity to attract attention from the movie audience. I can’t imagine that Griffith directed any of them and I doubt very much that he had anything to do with supervising it. I’ll be glad to collect info on it if you want.” Paul Spehr to the Editor, e-mail dated 16 May 2003: “I have no doubt that Griffith put his stamp on the Reliance and Majestic short film production. His crew begins arriving at the end of 1913 and when after he takes them to California in January 1914 the whole character of production changes – crews, cast and types of films being made. For most of 1914 there was very little production in the East – the major release was the strange docu-drama, semi-serial Our Mutual Girl. Episodes appeared weekly and there’s no sign Griffith had anything to do with it. The Mutual Girl ended in January 1915 and was replaced with a shorter and more conventional serial, Runaway June, when that ceases in early 1915, then some production resumed at Reliance’s Eastern studios (there were two of them). Except for Mae Marsh’s sister Marguerite Marsh (working as Marguerite Loveridge), no names associated with Griffith are in the Eastern productions.” Paul Spehr to the Editor, e-mail dated 4 December 2003: “[Y]ou don’t need to add Our Mutual Girl to the mix. I’ve a pretty good file on it. It was always a New York production and seems to have been something of a favorite of Harry Aitken. It was started while Griffith was in New York and nominally in charge of Mutual productions. That’s the extent of his involvement. He left for Los Angeles about the time of the first release and while most Mutual production shifted to Los Angeles, Our Mutual Girl continued to be made in New York. It’s an interesting production, however, and I may do a paper on it sometime. It was a quasi-documentary or an early docu-drama. Our Mutual Girl was played by Norma Phillips. The character she played was a country girl who goes to New York to live with her rich aunt. Most of the early episodes involve her going shopping at New York boutiques, meeting prominent persons (the Mayor, well-known writers, artists, baseball players) and visiting prominent tourist sites. There were various plot quirks and some linking characters, but it was a series rather than a serial (no continuing story from weekly chapter to chapter). Towards the end of the 52 episodes it became more of a story based series with less documentary material. Some interesting people show up in it. Irving S. Cobb wrote some episodes and appeared in it; members of the New York Giants baseball team; some British aviators; James Montgomery Flagg and other popular illustrators; Conan Doyle may have appeared; etc. But you’d search hard to find any D.W. Griffith.” THE OLD MAID Production company: Majestic; Alternate title: Dorothy in the Garret; Release date: 12 December 1914; Release length: two reels; Director: John O’Brien; Author: George Patullo; Source: “Dorothy in the Garret”, the poem by John Townsend Trowbridge; Cast: Blanche Sweet, Mary Alden, Spottiswode Aitken, Jack Conway, Billie West. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208, and Einer Lauritzen & Gunnar Lundquist, American Film-Index: 1908–1915, pp. 442–443. THE OLE SWIMMIN’ HOLE Note: This title is listed in Brion, Filmographie de D.W. Griffith, p. 209, and in the filmography by Eileen Bowser in Iris Barry and Eileen Bowser, D.W. Griffith, American Film Master (reprint of the 1965 edition, New York and London: Garland, 1985), p. 54. On the line following the entry, Bowser writes: “production #13, no record of release”. Eileen Bowser to the Editor, e-mail dated 31 January 2004: “The Ole Swimmin’ Hole and ‘production #13’ are the same film: the production code for the Dorothy Gish comedy series, C-13. You are not likely to find any record in the trade press, as it was not released. Perhaps this one bears 212

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the invisible traces of DWG’s production, maybe he said it could not be released! Most likely my source was the assignment of 15 films from the Griffith producing company to Famous Players-Lasky; see end of the file for September 1922 in the [D.W.] Griffith Papers. The Dorothy Gish films were contracted for Famous Players-Lasky release, and the contract was ended by this assignment: the Griffith company gave up ownership of the films.” The title should not be confused with The Old Swimmin’ Hole (Charles Ray Productions, 1921), directed by Joseph De Grasse. PIRATE GOLD Production company: Biograph; Filming date: finished October 1912; Location: Québec, Canada; Release date: 13 January 1913; Director: Wilfred Lucas. Note: See the foreword to The Griffith Project, vol. 6, p. vii; André Gaudreault (ed.), in collaboration with Germain Lacasse and Jean-Pierre Sirois-Trahan, Au pays des ennemis du cinema… Pour une nouvelle histoire des débuts du cinéma au Québec (Québec: Nuit Blanche éditeur, 1996). RUY BLAS Production company: Majestic; Release date: 14 February 1914; Release length: three reels; Supervision: D.W. Griffith?; Director: Lucius Henderson; Author: Elmer Harris; Source: Ruy Blas, the novel by Victor Hugo; Cast: William Garwood. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208, and in Lauritzen & Lundquist, p. 526; however, the latter do not mention Griffith as supervisor. See the note on Moths, above. SAPHO Production company: Majestic; Distribution: Sapho Feature Film Co.; State Rights; Release date: October? 1913; Scenario: Daniel Carson Goodman; Cast: Florence Roberts, Shelly Hull. Note: A photograph in The Moving Picture World, September 27, 1913, p. 1397, identifies the film as a Thanhouser production. D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208. See the note on Moths, above. THE SECOND MRS. ROEBUCK Production company: Majestic; Location: Reliance-Majestic studio, 4500 Sunset Blvd., Los Angeles; Distribution: Mutual Film Corp.; Release date: 8 August 1914; Release length: two reels; Directors: Jack O’Brien, W. Christy Cabanne; Author: George Patullo; Source: “Smart Set”, the short story by W. Carey Wonderly; Cast: Blanche Sweet, Raoul A. Walsh, Mary Alden, Wallace Reid. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208, and in Lauritzen & Lundquist, p. 537. “T[he] young actor deserts his wife and child. Yea[rs] later when his daughter is grown and marri[ed] she serves her husband’s sister a turn by p[re]venting her from marrying her father” (The Motion Picture News, vol. X, no. 9, September 15, 1914, p. 63). See the note on Moths, above. SILENT SANDY Production company: Reliance; Release date: 13 June 1914; Release length: two reels; Director: James Kirkwood; Authors: H.R. Durant, Russell E. Smith; Cast: Dorothy Gish, Fred Kelsey. Note: D.W. Griffith is listed as supervisor in Brion, Filmographie de D.W. Griffith, p. 208. See the note on Moths, above.

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OTHER FILMS ABOUT D.W. GRIFFITH OR CONTAINING FOOTAGE FROM HIS FILMS WAR IS A RACKET Production company: Eureka Productions; Producer: Samuel Cummins, Jacques Koerpel; Distribution: State Rights; Eureka Productions; Release date: 8 December 1934; Release length: 68 minutes; Compiled by: Samuel Cummins, Jacques Koerpel?; Narration by: Vincent Valentini; Narrator: A.L. Alexander; Cast: Colonel Harry K. Eustace; Hershall Mayall; Gertrude Clemens; Frank Jacquet; June Leslie; Willard Dashiell; Jacques Koerpel; Paul Owen; A.L. Alexander. Note: see American Film Institute Catalog: Feature Films, 1911–1920, p. 2355. “Newsreel compilation in story form. […] Plot is that an editor sends out an inquiring reporter to ask the questions ‘Is war a racket?’ […] People interviewed are a munitions maker, economist, a Gold Star mother, a minister, a young wife, a business man and an ex-service man. Each is asked the question and starts to speak, the [film] clips start […] while the voices of the interviewee is [sic] supposed to supply running comment. There are authentic war clips, most of them used in earlier productions of a similar nature, litters of puppies, submarines and their victims, flocks of sheep, tanks, plump little children, Zeps [sic], emaciated children, tanks, bread lines, crowds in Rome, Moscow, Berlin, London and points south, munition dumps, rolling mills, the Chicago stockyards fire (not offered as such), factories, stores to let, freight yards and some medieval clips apparently taken from ‘The Fall of Babylon’ and ‘The Woman God Forgot’” (Variety, December 11, 1934). Karen Latham Everson to the Editor, e-mail dated 6 August 2003: “Since it’s not at any archive and I was never able to view it, I can’t say exactly how The Fall of Babylon footage was used and if it seems as much a throwaway sort of thing as the America footage does in Land of Liberty. But I know that there’s no mention of the film in the [D.W.] Griffith Papers and no indication that he was even aware that the footage was used. In fact, since this was a commercial film (unlike Land of Liberty), it seems like something Griffith would have protested against if he’d been aware of it – since the footage seems to have been used with no acknowledgement of the source.” THE MEMORY LINGERS ON Production company: Screen Memories, Inc.?; Release date: 1936 [according to Library of Congress records] or 1946 [according to UCLA Film & Television Archive records]; Release length: two reels [UCLA]; Copyright date: not copyrighted; Presentation and commentary: Bert Ennis [1936]; Verbally illustrated by: John S. Martin; Music embellishments by: James C. Bradford; On camera: D.W. Griffith?; Archival sources: Library of Congress, 16mm acetate positive (322 ft.), Harry Wright Collection; UCLA Film & Television Archive, 35mm nitrate positive [location: F46-L19-2], Note: “A newsreel compilation, which includes reminiscences and clips of Mary Pickford, Amelia Earhart, Charles Chaplin, Teddy Roosevelt, Douglas Fairbanks, D.W. Griffith, Jack Dempsey and Henry B. Walthall” [UCLA cataloguing record]. LAND OF LIBERTY Production company: Motion Picture Producers and Distributors of America, Inc.; Filming date: assembly of footage began December 1938; Distribution: Loew’s, Inc.; New York 214

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premiere: 15 June 1939; San Francisco premiere: 15 June 1939; Release date: 24 January 1941; Release length: 14 reels, 138 minutes; Copyright date: 1 January 1941; Narration written by: Jeanie MacPherson, Jesse L. Lasky, Jr.; Film editor: Cecil B. DeMille; Assistant editors: Herbert L. Moulton, William H. Pine; Assistants to the assistant editors: Francis Stuart Harmon, Arthur H. DeBra; Sound system: Western Electric Mirrophonic Recording; Music: the songs “Old Man River”, words by Oscar Hammerstein II, music by Jerome Kern; “My Country ‘Tis of Thee”, words by Samuel Francis Smith, music based on “God Save the Queen” by Henry Carey; Historical consultant: James T. Shotwell; Archival sources: Library of Congress, 35mm nitrate picture and track negatives (Teaching Custodians Collection) […] a cavalcade of American history, largely composed of deft portions of historical features made in the last few years by both major and independent producers. […] Production is bound together with interruptions by unknown narrators, but the strongest portions of the vehicle are the clips from noted features – all having to do with the history of the U.S. Film has been brought up to date on its world war and latter-day events, with stress placed on freedom of religion, creed and race in this country. […]

Variety, January 15, 1941 (In file – Dialogue Cutting continuity, stamped January 27, 1941, CIL 10199; not in copyright catalogue) Karen Everson to the Editor, e-mail dated 2 August 2003: “The only real Griffith connection (such as it is) is that Cecil B. DeMille used extremely brief clips from America. You’ll remember that this film is a compilation of clips from all sorts of Hollywood films, cut together to tell the history of the United States (produced for the 1939 World’s Fair). Most of the clips are from sound films and most are from films made in the mid-to-late 1930s. The America clips are in no way highlighted nor are they identified as such (or any mention made of Griffith). They were just footage that DeMille found useful in constructing his narrative. They are used under narration and intercut with other footage. […] There are no recognizable cast members in the clips. […] I found no reference to Land of Liberty in the [D.W.] Griffith Papers nor did I find any mention of correspondence between DeMille and Griffith about this film in the DeMille papers. We cut The Real Glory (1939) because it had even less than a slight tangential connection to Griffith.” [D.W. GRIFFITH’S FUNERAL – THEODORE HUFF HOME MOVIE] Filming date: 27 July 1948; Location: Hollywood Masonic Temple, 6840 Hollywood Blvd., Hollywood, California; Length: 61 ft. (16mm, Kodachrome); Camera: Theodore Huff; Editor: Theodore Huff; On camera: Will Hays, Cecil B. DeMille, Louis B. Mayer, Charles Chaplin, Mack Sennett, Monte Blue, Frank Borzage, Dell Henderson, Hedda Hopper, Jack Mulhall, Raoul Walsh, Walter Long; Archival sources: George Eastman House, 16mm acetate positive; Ted Larson/Rusty Casselton Collection, 16mm acetate reversal positive WU LU131 DL PD WEST HOLLYWOOD CALIF JUL 26 1948 131P THEODORE HUFF CARE CINEMA DEPT UNIVERSITY OF SOUTHERN CALIF MEMORIAL SERVICES FOR DAVID WARK GRIFFITH UNDER AU[S]CPICES OF ACADEMY MOTION PICTURE ARTS AND SCIENCES WILL BE HELD 2:00 P.M. TUESDAY, JULY 27TH, HOLLYWOOD MASONIC TEMPLE. 215

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6840 HOLLYWOOD BOULEVARD. WE HOPE YOU CAN ATTEND AS AN HONORARY PALLBEARER[.] MARGARET HERRICK ACADEMY EXECUTIVE SECRETARY 305P Western Union Telegram to Theodore Huff, July 26, 1948 George Eastman House, Stills, Posters and Paper Collections, Motion Picture Department, Folder “D.W. Griffith/Theodore Huff” D.W. GRIFFITH RITES TUESDAY Hollywood Notables to Offer Tributes to Noted Director Hollywood film notables – actors, actresses and executives – will pay tribute to David Wark Griffith, “The Master”, Tuesday at Hollywood Masonic Temple. They will gather at 2 p.m. to take part in the rites sponsored by the Academy of Motion Picture Arts and Sciences. An invocation to be given by the Rev. Emil [sic] Brininstool will open the ceremonies. Charles Brackett, academy vice president, will present a spoken tribute for the film industry. Donald Crisp will speak for those who worked with and under Griffith during the days he created a new art form. The Mitchell Boy Choir [sic] will sing hymns. PALLBEARERS – Honorary pallbearers will include those who were associated with him in the historic early days. There will be Lionel Barrymore, Richard Barthelmess, Monte Blue, Harry Brand, Charlie Chaplin, Cecil B. [DeMille]. Others on the list are John Ford, Samuel Goldwyn, Sid Grauman, Carl Gregory, Alan Hale, Will Hays, Joseph Henaberry [sic], Dell Henderson, Jean Hersholt. Walter Huston, Theodore Huff, Rex Ingram, Raymond Klune, Jesse L. Lasky, William LeBaron, Elmo Lincoln, Frank Lloyd, Jack Lloyd, Louis B. Mayer. Marshall Neilan, Eugene Pallette, Hal Roach, Joseph Ruttenberg, Joseph M. Schneck, Joseph Schildkr[a]ut, Mack Sennett, Albert E. Smith, James Smith. Herb Stern[e], Seymour Sterne [sic], Karl Struss, Eric[h] von Stroheim, Arthur Ungar, Raoul Walsh, L[l]oyd Wright, S. Earl Wright and Adolph Zukor. TO KENTUCKY – After the memorial services, the body will be taken to Crestwood, Kentucky, for interment in the family plot. The body of Mr. Griffith will lie in state today and tomorrow at the W.A. Brown Mortuary, 1815 South Flower [S]treet. He leaves his widow, Mrs. Evelyn B. Griffith; a brother, Albert Griffith[;] four nieces and two nephews. Unidentified newspaper clipping, George Eastman House, Stills, Posters and Paper Collections, Motion Picture Department, Folder “D.W. Griffith” Dear [***] Yesterday was the day of Griffith’s funeral. It was quite an event. I was an honorable pallbearer among 48 other “veterans of the screen”. However, I took pictures with my movie camera most of the time – in color. There were, oddly enough no news reel men – just still. I had another guy take long shots while I concentrated on close-ups. And I got real close too. There was a man taking for the Academy but I got three to his one as I was quicker in recog216

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nizing them, etc. Here are some of the people I caught: C.B. DeMille, Louis B. Mayer, Joseph Schildkraut, Walter Long, Tom Lincoln (cop in “Kid”), Elmo “Tarzan” Lincoln, Blanche Sweet (made her turn and pose for good ou [sic]), Monte Blue, Dell Henderson, Creighton Hale, Herbert Rawilinson, Raoul Walsh, Hedda Hopper, Will Hays, Rex Ingram (easily the handsomest director and still), Jack Mulhall, Sidney Olcott, Lloyd Ingraham, Frank Borzage, Chris[-Pin] Martin, Fred Kelsey, Jean Renoir, [Samuel] Goldwyn, Herb Stearne [sic], Mack Sennett, C[h]arlie Chaplin, Preston Sturges, etc., etc. Mae Marsh was supposed to be there, but didn’t see myself. J. Searle Dawley came too early – the old man now in Actor’s [H]ome who was Edwin S. Porter’s assistant and who gave [D.W.] his first job – in [“]Eagles’s [sic] Nest[”]. Many relatives including Gerrie Griffith, his grand niece who was in Washington during the war. It was all very emotional – very flattering eulogies. Donald Crisp’s voice broke at the end and a [N]egro woman (Yes), who played in the [“]Birth[”], became hysterical and sobbed over the bi[e]r [sic]. Many were visibly and sincerely moved. After all he gave work to many and started so many to fame and fortune. Guess who was being very [o]fficious and letting people in, etc.?? None other than the Little Man who in 1942 wouldn’t have known a single one of the above people if they bumped into him. He ALONE was at the door to the ceremony chamber. However, I did not accept the last indignity by having him open the door for me, but walked toward him, then opened a side door. Unbelievable [!] I mean his career – After the service I got some coming out. I shot about 30 feet of Chaplin and Sennett clowning a bit – very close, full face, made them face the light even. Body sent on to Kentucky. Headlines in this town have been 3 inches high. Well, I am glad I saw him once more about a month ago – even though he was so cockeyed that every now and then he would say, “Where am I?” Some of the footage I took for the next film I may make with Mumson – if he gets out here. A satire on getting a job in Hollywood. Will show […] of MGM studio, here lurking at gate, a car driving up, carpet rolled, people bowing, then L.B. Mayer steps out of car, our hero approaches, is pushed back by a cop, [L.B.] goes on (Pudvokin cutting!). Same with [DeMille] only he laughs when hero offers script. Also business with Chaplin, etc. Will call for trick cutting and matching. Classes are over [t]his week. All has gone well and I am glad I had the experience. I will stay for 3 weeks or so to see more of the sights and look up some people. Also rest up after getting up every day at 6 A.M. Imagine. Wonderful place, but getting a little homesick for the Big City. I suppose, tho [sic], when I get back I will yearn for Cal. and the wonderful climate. Hope you are bearing up. Best wishes, [Theodore Huff] 2825 Orchard Ave., Los Angeles 7, Cal., July 28, 1948 “Form letter written by [Theodore] Huff, and sent to many friends”. George Eastman House, Stills, Posters and Paper Collections, Motion Picture Department, Folder “D.W. Griffith/Theodore Huff” The setting is the sidewalk area immediately outside the Hollywood Masonic Temple on Hollywood Boulevard. Crowds of people have gathered, some to pay their respects to the great man’s passing, some to see the élite of Hollywood, and at least one to also capture the occasion on 16mm film. This record provides a glimpse of the “event”, of the people and the times, as an industry laments the passing of David Wark Griffith. Filmmaker, historian and 217

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author Theodore Huff photographed this film. Huff had written extensively on Chaplin and Griffith, and made a number of avant-garde film in the 1930s. Huff was an honorary pallbearer at the funeral. The Los Angeles Herald Express (July 26, 1948) notes: “for his last sleep Griffith wears morning clothes – a black coat, gray-striped trousers, an Ascot tie with pearl stickpin and a gray vest”. Griffith’s body laid in state for two days at the W.A. Brown & Sons Mortuary. According to Variety (July 27, 1938): “All day long they filed slowly past the casket in which the body of the film genius lay in state. From all walks of life they came, thousands of them, to pay final tribute.” Harold “Rusty” Casselton [D.W. GRIFFITH’S FUNERAL – BOB CHATTERTON HOME MOVIE] Filming date: 27 July 1948; Location: Hollywood Masonic Temple, 6840 Hollywood Blvd., Hollywood, California; Length: 88 ft. (16mm, black and white); Camera: Bob Chatterton; Editor: Bob Chatterton; On camera: Will Hays, Cecil B. DeMille, Louis B. Mayer, Charles Chaplin, Mack Sennett, Monte Blue, Dell Henderson, Hedda Hopper, Madame Sul-TeWan, Jack Mulhall, Walter Long; Archival sources: Ted Larson/Rusty Casselton Collection, 16mm acetate positive The Other Room “In my Father’s House there are many rooms” – John 14:2 No, [not] cold beneath the grasses, Not close-walled within the tomb; Rather, in my [F]ather’s mansion, Living in another room. Living, like the one who loves me, Like yon child with cheeks abloom, Out of sight, at desk or school-book, Busy in another room. Nearer than the youth whom fortune Beckons where the strange lands loom; Just behind the hanging curtain, Serving in another room. Shall I doubt my Father’s mercy? Shall I think of death as doom, Or stepping o’er the threshold To a bigger, brighter room? Shall I blame my Father’s wisdom? Shall I sit enswathed in gloom, When I know my love is happy, Waiting in the other room? – Robert Freeman 218

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Memorial Services for DAVID WARK GRIFFITH Born January 22, 1875 La Grange, Kentucky Passed Away July 23, 1948 Services At The Hollywood Masonic Temple 6840 Hollywood Boulevard Hollywood, California Tuesday, July 27, 1948 2 p.m. Officiating Rev. M.O. Brininstool Vocal Selections The Lord’s Prayer Beautiful Isle of Somewhere Ah Sweet Mystery of Life by The Robert Mitchell Boys’ Choir Robert Mitchell, organist Interment Mount Tabor Cemetery La Grange, Kentucky David Wark Griffith’s memorial card, George Eastman House, Stills, Posters and Paper Collections, Motion Picture Department, Folder “D.W. Griffith” FILM GREATS TO BE AT GRIFFITH RITES Hollywood will bid David Wark Griffith farewell at memorial services tomorrow. The rites will be held at 2p.m. at Hollywood Masonic Temple, 6840 Hollywood Blvd., under sponsorship of the Academy of Motion Picture Arts and Sciences. Griffith’s body, which has been at the W.A. Brown & Sons Mortuary, 1815 S. Flower St., will be flown to Crestwood, Ky., following the ceremony here, for interment in the family plot – far from his beloved Hollywood. Only a few of the veteran producer’s old friends have called at the mortuary to pay their respects. The services will open with an invocation by the Rev. Merrill O. Brininstool. Charles Brackett, academy vice president, will deliver a tribute on behalf of Griffith’s coworkers in the film industry. A second eulogy will be given by Donald Crisp, actor in the “Birth of a Nation”, the film which earned Griffith his greatest fame. The Mitchell Boy Choir [sic] will sing hymns. 219

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Honorary pallbearers are Lionel Barrymore, Richard Barthelmess, Monte Blue, Harry Brand, Charles Chaplin, Jean Hersholt, Crisp, Cecil B. [D]eMille, John Ford, Samuel Goldwyn, Sid Grauman, Carl Gregory, Alan Hale, Will Hays, Joseph Henaberry [sic], Dell Henderson, Theodore Huff; Walter Huston, Rex Ingram, Raymond Klune, Jesse L. Lasky, William LeBarron, Elmo Lincoln, Frank Lloyd, Jack Lloyd, Louis B. Mayer, Marshall Neilan, Eugene Pallette, Hal Roach, Joseph Ruttenberg, Joseph M. Schenck. Joseph Schildkraut, Mack Sennett, Albert E. Smith, James Smith, Herb Stern, Seymour Sterne [sic], Karl Strauss, Eric[h] von Stroheim, Arthur Ungar, Raoul Walsh, L[l]oyd Wright, S. Earl Wright and Adolph Zukor. All the honorary pallbearers were actively associated with Griffith during the years of his great contribution to motion pictures as one of its most illustrious figures. Griffith’s estate, exclusive of literary properties and scripts, probably will range between $25,000 and $50,000, the Academy of Motion Picture Arts and Sciences reported. His will, written June 25, provides that his nephews, nieces and grandnieces, most of whom live in Kentucky, shall receive his estate in such amounts as his widow, Mrs. Evelyn Baldwin Griffith, and his executor, L[l]oyd Wright, shall determine. Unidentified newspaper clipping, George Eastman House, Stills, Posters and Paper Collections, Motion Picture Department, Folder “D.W. Griffith” HOLLYWOOD, July 26. – (U.P.) – Charlie Chaplin says Hollywood owes D.W. Griffith, who died Friday, its very existence. Yet D.W. made movies for only about 15 years, and then the parade passed him by. Somehow, between some bad press notices and personal troubles, Griffith got edged out of the movies 20 years ago. The experts say the movies haven’t progressed any since; some of his films are better than anything today. But Hollywood said he was washed up. He couldn’t get a job. He was ignored. Columnist Sydney Skolsky, who made “The Jolson Story”, planned a movie about Griffith several months ago. No studio would buy it. Griffith, a few years back, wanted to film “Faust” in color. Hollywood shrugged. He wrote 30 stage plays and countless movies during his retirement. They’re stacked, unsold, in his hotel room. Most big movie makers got their start with Griffith. Not one since sought his advice; most forgot his teachings. His technical achievements are still here – the close-up, the fade-out, etc. But, he lamented, Hollywood forgot that movies should have reality and movement, and a love of life, not a love of the box office. He once said: “The simple things, the human things, are important in pictures. The few basic plots of movies are relatively unimportant. The most important thing is humanity.” Griffith thought modern movies were mechanized and commercial. He liked only a few – Orson Welles’ “Citizen Kane”, and Preston Sturges’ “Miracle of Morgan’s Creek”. Movies, except for some foreign films, have forgotten how to move, he recently said. “Movies have not improved since the old days. The modern movie lacks the beauty of movement. They have forgotten that no still painting was anything but a pallid, still picture. The movie is all still and stale. They have taken beauty and exchanged it for stilted voices.” Hollywood may have snubbed Griffith professionally, but the people he put on top still invited him to their parties. He was dapper in society, too. If the invitation called for a dinner jacket, the tall director showed up in white tie and tails. 220

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Occasionally with friends [like Mae] Marsh and the Gish sisters, he showed his old pictures. He would say, “God, how I wish I could do them over again!” If he had, they’d never have got by the censors. People still line up to see them, and gasp at their force and brilliant reality. One on liquor, “The Struggle”, makes “The Lost Weekend” look like a soft drink ad. His “Birth of a Nation”, the first epic, still is attacked for its unflattering picture of Negroes. At this Griffith was indignant. He insisted he only mirrored the post-Civil War South. To show he wasn’t prejudiced, Griffith poured the money he made from “Birth” into “Intolerance”, and the title explains the movie. That powerful film violated every modern censor’s rule. It showed seduction, suicide, decapitation, nudity, abnormal sex. Practically all his villains went unpunished. He lived comfortably alone, while Hollywood praised his work yet ignored its methods. D.W. wasn’t bitter that his genius was wasted in retirement. He just couldn’t understand why. Aline Mosby (United Press Hollywood Correspondent), “Box office Hollywood Passed Poetic Griffith”, Unidentified newspaper clipping, George Eastman House, Stills, Posters and Paper Collections, Motion Picture Department, Folder “D.W. Griffith” The setting is similar to the Theodore Huff film on the same event: the outside of the Hollywood Masonic Temple on Hollywood Boulevard. However, Chatterton (nephew of actress Ruth Chatterton) captures more of the event and the overall size of the crowd that had gathered to pay their respects to the “great man”. His camera eventually takes a full 360-degree view of the exterior from his sidewalk position in front of the Masonic Temple. It is also interesting to note that you can see at least two other 16mm film cameras shooting footage of the event. By noting camera angles it seems that neither of the additional cameras caught on the Chatterton film shot the Huff film of the same event. Bob Chatterton was a film enthusiast in the Los Angeles area. He had for many years compiled special theme programs of 16mm film and presented “film talks” at local venues. Chatterton was well known and respected in the Los Angeles film circle from the 1940s until his death in the 1980s. Harold “Rusty” Casselton [D.W. GRIFFITH MEMORIAL] Filming date: 14 May 1950; Location: LaGrange, Louisville, Kentucky [Crestwood?]; Production company: Pathé News/Hearst Newsreel?; Release date: 1950; Length: 47 ft. (31 seconds); Camera: not known; On camera: Richard Barthelmess, Mary Pickford, Lillian Gish, Evelyn Baldwin Griffith; Archival sources: Pathé Newsreel Archive, London, 35mm nitrate negative D.W. GRIFFITH MEMORIAL – Louisville, May 23. Family, friends and silent screen stars took part in dedication last week of a memorial to David Wark Griffith. Present were Mary Pickford, Lillian Gish and Richard Barthelmess, each of whom Griffith had directed at one time. Griffith, native Kentuckian, and pioneer film director, died in Hollywood, July 23, 1948. His body was brought to La Grange, Ky., near Louisville. Monument was erected by the Screen Directors Guild. Variety, May 24, 1950, p. 2 221

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DIRECTORS GUILD TO UNVEIL SHAFT TO D.W. GRIFFITH A marble shaft will be erected Sunday afternoon to the memory of David Wark Griffith, perhaps the greatest of Hollywood directorial great, who died in a Hollywood hotel room a few months ago. The memorial, to go on his grave in the Mt. Tabor Church Cemetery at Eminence, Ky., will be dedicated with the full Hollywood treatment. Mary Pickford, Lillian Gish and Richard Barthelmess – all stars of other years connected closely with Griffith’s sensational career – will fly to Eminence for the unveiling. The shaft, seven feet high, will bear two bronze medallions of the Screen Directors Guild of America, whose members have erected the monument. One medallion will represent the Annual Award for Directorial Achievement, once won by Griffith, and the other, the official emblem of the guild. The monument was ordered by the guild directorate who appointed Merian C. Cooper, Raoul Walsh and David Butler as a committee to arrange the monument. At the unveiling, Albert S. Rogell, president of the Screen Directors, Inc., will represent the guild. Also present will be Mrs. Griffith, widow of the director and Marie G. Duncan, his niece and next of kin. The Los Angeles Times, May 11, 1950 Al Rogell attended the dedication ceremony as official representative of the Screen Directors Guild. The attendance of Pickford, Gish, and Barthlemess can probably be attributed to at least two reasons: first, each of these stars’ success was directly linked to working with Mr. Griffith. As the narration on the newsreel states, “the stars he made great pay tribute to the great director”. The other reason may be that both Pickford and Gish were unable to attend the Hollywood memorial service of 28 July 1948. Pickford was out of the country and Gish on the East Coast. One might speculate this was a fitting opportunity to pay their last respects to a friend and mentor. The Warner-Pathé news story covering the dedication of the memorial consists of eight shots with a fast paced announcer narrating this silent footage. Harold “Rusty” Casselton NEWS OF THE DAY [VOL. 21, NO. 275] – FILM PIONEER HONORED Sub-title: Film Pioneer Honored; Filming date: 14 May 1950; Production company: Hearst Metrotone News; Location: La Grange, Louisville [Crestwood?], Kentucky; Length: 82 feet (SG 206 in UCLA Film & Television Archive cataloguing records) [outtakes: 378 ft. (SG 9041) in UCLA Film & Television Archive records]; On camera: Mary Pickford, Al Rogell, Richard Barthelmess, Evelyn Baldwin Griffith, Lillian Gish; Archival sources: UCLA Film & Television Archive, 35mm nitrate negative (picture and sound); 35mm nitrate negative (picture only) In attendance, Mary Pickford, Al Rogel[l], Richard Barth[el]mess, Evelyn Baldwin Griffith, and Lillian Gish. The Reverend Lloyd Moody presided over the dedication and Al Rogel[l], representing the Screen Directors Guild, provided words of tribute and the dedication of the monument. The Hearst News of the Day story is traditional coverage of an event: orientation to setting, qualities of newsworthiness, high profile attendees and poignant moments (Gish, Pickford and Barthelmess paying tribute to their fallen mentor). Lillian Gish in her autobiography, The Movies, Mr. Griffith and Me, comments on the 1950 event dedicating the monument to 222

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Mr. Griffith: “Two years later he was laid to rest in a new grave, surrounded by old rails removed from the Griffith farm and marked with a new stone given by the Screen Directors Guild.” She later continues with a personal recollection of the day’s events: “I glanced up at the crowd that had collected and looked into the faces of the young. They were bewildered by the reactions of the older people, who were pressing handkerchiefs to their eyes. How I wished then that they could someday know the beauty and faith that David Wark Griffith had bequeathed to them.” By all accounts and supported by the newsreel coverage, this was a dignified and heartfelt tribute honoring the great film pioneer. The footage held in the Hearst Newsreel Collection at the UCLA Film & Television Archive consists of both the original released newsreel version of 55 seconds and the cuts and outs negative running 3 minutes 18 seconds. The cuts and outs are far more interesting than the actual newsreel material in that they present a look at the shooting of repeated action, medium close shots of rose petals falling from Pickford’s hand as she looks on sorrowfully. Harold “Rusty” Casselton

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INDEX OF CREDITS Edited by Brian T. Meacham, with the collaboration of the students of the L. Jeffrey Selznick School of Film Preservation: Magnus Rosborn, Diana Little, Brent Phillips, Benjamin Tucker, Susan Busam, May Dea, Ember Lundgren, Alexandra Terziev, Brianne Merkel, Daniela Currò, Celine Ruivo, Inés Toharia Terán and Alice Moscoso. Note: Titles marked with an asterisk (*) refer to credits added in the “Corrections and Additions” section in this volume. Titles with a question mark indicate that participation in a given film is uncertain or disputed. 1–90: Vol. 1, 1907–08. 91–168: Vol. 2, January–June 1909. 169–233: Vol. 3, July–December 1909. 234–319: Vol. 4, 1910. 320–392: Vol. 5, 1911. 393–457: Vol. 6, 1912. 458–501: Vol. 7, 1913. 502– 533: Vol. 8, 1914–1915. 534–576: Vol. 9, 1916–1918. 577–633: Vol. 10, 1919–46. Abbreviated words: act = actor; adapt = adaptation; add = additional; assoc = associate; asst = assistant; au = author; d = director; ed = editor; mgr = manager; m = music; ph = photography; pr = producer; prod = production; sc = script; st = story; tech = technical.

A Abbe, Charles (act) 505 THE ESCAPE Abel, David (ph) 566 THE HUN WITHIN Acker, Edward (sc) 144 WHAT DRINK DID 364 THE OLD CONFECTIONER’S MISTAKE 380 A TERRIBLE DISCOVERY 426 AN UNSEEN ENEMY 444 A CRY FOR HELP 447 THE TELEPHONE GIRL AND THE LADY 454 A MISAPPROPRIATED TURKEY Adams, Sarah F. (m) 629 SAN FRANCISCO Adrian (costume designer) 629 SAN FRANCISCO Aichele, Jack (2nd asst d) 627 THE STRUGGLE Aitken, Harry E. 509 HOME, SWEET HOME (sc) 542 MACBETH (pr)

Aitken, Spottiswoode same as Aitken, Spottiswood (act) 499 LIBERTY BELLES 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION 533 THE FLYING TORPEDO 542 MACBETH 543 INTOLERANCE 546 AN INNOCENT MAGDALENE 557 THE OLD FOLKS AT HOME 561 THE AMERICANO Alden, Mary (act) 496 LORD CHUMLEY 503 THE BATTLE OF THE SEXES 509 HOME, SWEET HOME 513 THE BIRTH OF A NATION 515 GHOSTS 516 PILLARS OF SOCIETY 521 THE LILY AND THE ROSE 540 THE GOOD BAD MAN 542 MACBETH 543 INTOLERANCE 546 AN INNOCENT MAGDALENE 575 THE MOTHER AND THE LAW 224

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Alderson, Erville (act) 607 THE WHITE ROSE 610 ISN’T LIFE WONDERFUL 611 SALLY OF THE SAWDUST Aldrich, Thomas Bailey (source) 492 JUDITH OF BETHULIA Alexander, Ben (act) 565 HEARTS OF THE WORLD Alexandra, Queen of England (act) 568 THE GREAT LOVE Allen, Paul H. same as Allen, Paul (ph) 591 THE LOVE FLOWER 592 THE IDOL DANCER 598 WAY DOWN EAST 603 ORPHANS OF THE STORM Allen, Ricca (act) 631 ONE MILLION B.C. Alley, Norman (ph) 633 [ACADEMY AWARDS, 18TH] Allworth, Frank (act) 612 THAT ROYLE GIRL Alvarado, Don (act) 618 THE DRUMS OF LOVE 619 THE BATTLE OF THE SEXES [1928] Anders, Glenn (act) 611 SALLY OF THE SAWDUST Anderson, Augusta (act) 494 CLASSMATES [1913] Anderson, Erville 609 AMERICA (act) 611 SALLY OF THE SAWDUST (asst d) Anderson, Robert (act, unless otherwise noted) 543 INTOLERANCE (makeup asst, tech d asst) 546? AN INNOCENT MAGDALENE 565 HEARTS OF THE WORLD 566 THE HUN WITHIN 574 THE FALL OF BABYLON (makeup asst, tech direction asst) Apfel, Oscar (act) 624 ABRAHAM LINCOLN Apling, Bert (act) 590 MARY ELLEN COMES TO TOWN Applegate, Roy (act) 611 SALLY OF THE SAWDUST Arbuckle, Andrew (act) 570 A ROMANCE OF HAPPY VALLEY

Arbuckle, Franklin (act) 519 OLD HEIDELBERG Archer, Juanita (act) 515 GHOSTS 516 PILLARS OF SOCIETY Armetta, Henry (act) 621 LADY OF THE PAVEMENTS Armstrong, Paul (source) 505 THE ESCAPE Arthur, George K. (act) 606 PADDY – THE-NEXT-BEST-THING Arthur, Timothy Shay (source) 144 WHAT DRINK DID Arvidson, Linda same as Arvison, Linda (act, unless otherwise noted) 004 CLASSMATES [1908] 006? THE PRINCESS IN THE VASE 012 KING OF THE CANNIBAL ISLANDS 015 THE KING’S MESSENGER 026 THE STAGE RUSTLER 027 THE ADVENTURES OF DOLLIE 030 THE REDMAN AND THE CHILD 031 THE BANDIT’S WATERLOO 032 A CALAMITOUS ELOPEMENT 035 THE GREASER’S GAUNTLET 036 THE MAN AND THE WOMAN 038 THE FATAL HOUR 039 BALKED AT THE ALTAR 040 FOR A WIFE’S HONOR 043 THE RED GIRL 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 055 THE STOLEN JEWELS 060 A WOMAN’S WAY 061 TAMING OF THE SHREW 063 THE PIRATE’S GOLD 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE 069 THE FEUD AND THE TURKEY 072 THE CLUBMAN AND THE TRAMP 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 080 A WREATH TIME 082 A RURAL ELOPEMENT 225

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Arvidson, Linda–cont. 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 086 EDGAR ALLEN POE 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 091 LOVE FINDS A WAY 092 THOSE BOYS! 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 099 POLITICIAN’S LOVE STORY 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 103 HIS WARD’S LOVE 108 A FOOL’S REVENGE 109 I DID IT, MAMMA 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 116 JONES AND HIS NEW NEIGHBORS 118 A DRUNKARD’S REFORMATION 119? THE WINNING COAT 123 THE EAVESDROPPER 126 TWIN BROTHERS 128 LUCKY JIM 131 CONFIDENCE 133 THE DRIVE FOR A LIFE 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 140 RESURRECTION 142 THE CRICKET ON THE HEARTH 146 THE PEACHBASKET HAT 176 THE MILLS OF THE GODS 178 THE SEALED ROOM 179? PRANKS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 183 IN OLD KENTUCKY 184 COMATA, THE SIOUX 186 THE CHILDREN’S FRIEND

189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 191 LEATHER STOCKING 199 LINES OF WHITE ON A SULLEN SEA 216 A CORNER IN WHEAT 220 THE DAY AFTER 221 TO SAVE HER SOUL 229 THE HONOR OF HIS FAMILY 231 THE WOMAN FROM MELLON’S 234 THE ENGLISHMAN AND THE GIRL 239 THE THREAD OF DESTINY 242 THE CONVERTS 246 GOLD IS NOT ALL 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 252 THE UNCHANGING SEA 256 THE TWO BROTHERS 286 IN LIFE’S CYCLE 292 THE BROKEN DOLL 303 A CHILD’S STRATAGEM 320 FISHER FOLKS 333 HOW SHE TRIUMPHED (au) 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 388 A BLOT IN THE ’SCUTCHEON (sc) 500 A FAIR REBEL 501 THE WIFE Ashbrook, Florence (act) 500 A FAIR REBEL Asquith, Miss Elizabeth (act) 568 THE GREAT LOVE Asther, Nils (act) 617 TOPSY AND EVA Auer, Florence (act) 016? THE SCULPTOR’S NIGHTMARE 024 AT THE CROSSROADS OF LIFE 025 THE KENTUCKIAN 029 THE FIGHT FOR FREEDOM 033 THE TAVERN-KEEPER’S DAUGHTER 038? THE FATAL HOUR 612 THAT ROYLE GIRL August, Edwin (act) 294 THE MESSAGE OF THE VIOLIN 296 WAITER NO. 5 226

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August, Edwin–cont. 297 SIMPLE CHARITY 298 THE FUGITIVE 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 314 FATE’S TURNING 321 HIS DAUGHTER 323 CONSCIENCE 331 MADAME REX 352 A COUNTRY CUPID 353 OUT FROM THE SHADOW 357 THE STUFF HEROES ARE MADE OF 361 THE REVENUE MAN AND THE GIRL 362 THE ETERNAL MOTHER 369 THE LONG ROAD 370 THE BATTLE 372 THE TRAIL OF BOOKS 376 THE FAILURE 381 A TALE OF THE WILDERNESS 383 THE VOICE OF THE CHILD 385 THE OLD BOOKKEEPER 388 A BLOT IN THE ’SCUTCHEON 394 UNDER BURNING SKIES 400 FATE’S INTERCEPTION 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 405 THE OLD ACTOR 407 HIS LESSON 409 A BEAST AT BAY 412 LENA AND THE GEESE 414 THE SCHOOL TEACHER AND THE WAIF 420 THE SANDS OF DEE 423 A CHILD’S REMORSE Ault, Marie (act) 606 PADDY – THE-NEXT-BEST-THING Austin, William (act) 618 THE DRUMS OF LOVE Avery, Charles (act) 051 FATHER GETS IN THE GAME 061 TAMING OF THE SHREW 071 THE VALET’S WIFE 077 THE HELPING HAND

080 A WREATH TIME 091 LOVE FINDS A WAY 095 TRAGIC LOVE 111 THE SALVATION ARMY LASS 116 JONES AND HIS NEW NEIGHBORS 118 A DRUNKARD’S REFORMATION 125 THE FRENCH DUEL 126 TWIN BROTHERS 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 137 THE JILT 138 HER FIRST BISCUITS 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 150 THE LONELY VILLA 154 WAS JUSTICE SERVED? 155 THE NECKLACE 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 164 A STRANGE MEETING 172 WITH HER CARD 182 THE LITTLE DARLING 410 HOME FOLKS

B Backus, George (act) 538 THE HABIT OF HAPPINESS Badgley, Frank (act) 600 THE GHOST IN THE GARRET Bailey, Consuelo (act) 504 THE GANGSTERS Baird, Hugh (act) 609 AMERICA Baker, Charles E. same as Baker, Charlie 576 BROKEN BLOSSOMS (art d) 568? THE GREAT LOVE (set designer) Baker, George (prod script) 631 ONE MILLION B.C. 227

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Baker, Newton (on camera) 580 THE GIRL WHO STAYED AT HOME Baker, Robert M. 533 THE FLYING TORPEDO (sc) 548 FLIRTING WITH FATE (st) Bakewell, William (act) 619 THE BATTLE OF THE SEXES [1928] 621 LADY OF THE PAVEMENTS Baldwin, Evelyn same as Griffith, Evelyn Baldwin; Griffith, Evelyn 627 THE STRUGGLE (act) 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] (on camera, ph?) Balmer, Edwin (source) 612 THAT ROYLE GIRL Bambrick, Gertrude (act) 427 TWO DAUGHTERS OF EVE 432 THE ONE SHE LOVED 434 THE MUSKETEERS OF PIG ALLEY 441 THE NEW YORK HAT 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 455 BROTHERS 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 461 NEAR TO EARTH 465 THE PERFIDY OF MARY 478 THE MOTHERING HEART 490 THE REFORMERS 492 JUDITH OF BETHULIA 499 LIBERTY BELLES Bancroft, George (act) 614 [SCREEN SNAPSHOTS] Bantel, William J. (construction director) 609 AMERICA Banzhaf, Albert H.T. (on camera) 578? [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] 579? THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART

Barbier, Jules (m) 629 SAN FRANCISCO Barker, Florence (act) 222 CHOOSING A HUSBAND 224 THE DANCING GIRL OF BUTTE 225 HER TERRIBLE ORDEAL 226 THE CALL 233 ONE NIGHT, AND THEN – 238 THE NEWLYWEDS 241 THE MAN 243 FAITHFUL 248 UNEXPECTED HELP 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 256 THE TWO BROTHERS 258 THE IMPALEMENT 261 A VICTIM OF JEALOUSY 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 271 SERIOUS SIXTEEN 287 THE OATH AND THE MAN 308 A WREATH OF ORANGE BLOSSOMS 315 THE DIAMOND STAR 321 HIS DAUGHTER Baron, William Le see Le Baron, William Barr, Clarence L. (act) 480 THE RANCHERO’S REVENGE Barry, J.A. (executive and prod asst) 513 THE BIRTH OF A NATION 543 INTOLERANCE 574 THE FALL OF BABYLON Barry, Mr. (act) 005 CUPID’S PRANKS Barry, Viola (act) 465 THE PERFIDY OF MARY 466 A MISUNDERSTOOD BOY 468 THE LITTLE TEASE 469 THE LADY AND THE MOUSE 475 HIS MOTHER’S SON 478 THE MOTHERING HEART 480 THE RANCHERO’S REVENGE 533 THE FLYING TORPEDO Barrymore, Lionel (act, unless otherwise noted) 370 THE BATTLE 428 FRIENDS 429 SO NEAR, YET SO FAR 432 THE ONE SHE LOVED

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Barrymore, Lionel–cont. 433 THE PAINTED LADY 435 HEREDITY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 443 THE BURGLAR’S DILEMMA (also au) 444 A CRY FOR HELP 445 THE GOD WITHIN 446 THREE FRIENDS 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 450 THE TENDER-HEARTED BOY (also au) 451 A CHANCE DECEPTION 452 FATE 458 LOVE IN AN APARTMENT HOTEL 461 NEAR TO EARTH 463 THE SHERIFF’S BABY 465 THE PERFIDY OF MARY 466 A MISUNDERSTOOD BOY 468 THE LITTLE TEASE 469 THE LADY AND THE MOUSE 471 THE WANDERER 472 THE HOUSE OF DARKNESS 474 JUST GOLD 476 A TIMELY INTERCEPTION 477 DEATH’S MARATHON 479 THE YAQUI CUR 480 THE RANCHERO’S REVENGE 484 THE ENEMY’S BABY 494 CLASSMATES [1913] 495 STRONGHEART 497 MEN AND WOMEN 609 AMERICA 618 THE DRUMS OF LOVE Barthelmess, Richard (act, unless otherwise noted) 573 THE HOPE CHEST 576 BROKEN BLOSSOMS 577 BOOTS

580 THE GIRL WHO STAYED AT HOME 581 PEPPY POLLY 582 I’LL GET HIM YET 589 SCARLET DAYS 591 THE LOVE FLOWER 592 THE IDOL DANCER 595 A GREAT FEATURE IN THE MAKING (on camera) 598 WAY DOWN EAST Bartley, Nalbro Isadorah (source) 596 THE COUNTRY FLAPPER Barton, Grace (au) 473 THE STOLEN LOAF Basevi, James (earthquake sequence) 629 SAN FRANCISCO Bassill, Frank (ph) 563 GRIFFITH AT THE FRONT Batten, John (act) 619 THE BATTLE OF THE SEXES [1928] Battipaglia, Nellie (extra) 603* ORPHANS OF THE STORM Bayer, T.P. 367 THE UNVEILING (au) 445 THE GOD WITHIN (au) 459 BROKEN WAYS (sc) Beach, Rex (on camera) 604 [PERSONALITIES OF THE TWENTIES] Beard, A.J. (m) 543 INTOLERANCE Beaufort, Duchess of (act) 568? THE GREAT LOVE Bechtel, William (act) 373 THROUGH DARKENED VALES 382 THE BABY AND THE STORK 384 FOR HIS SON Beck, John (act) 535 BETTY OF GREYSTONE Beggs, Lee (act) 609 AMERICA Belasco, David (source, unless otherwise noted) 487 [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] (act) 497 MEN AND WOMEN 501 THE WIFE 229

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Bell, Edward (sc) 463 THE SHERIFF’S BABY Bell, Hank (act) 624 ABRAHAM LINCOLN Belmont, Joseph (act) 517 THE MARTYRS OF THE ALAMO Belmont, Mrs. Morgan (act) 598 WAY DOWN EAST Benét, Stephen Vincent (adapt, continuity-dialogue) 624 ABRAHAM LINCOLN Bennett, Arnold same as Bernot, Arnold; Bernot, Arthur (au) 571 BATTLING JANE Bennett, Belle (act) 619 THE BATTLE OF THE SEXES [1928] Bennett, Charles (act) 609 AMERICA Bennett, Frank (act) 507 THE DISHONORED MEDAL 537 SOLD FOR MARRIAGE 543 INTOLERANCE 544 REGGIE MIXES IN Beranger, George (André) same as Beringer, J. A.; Beranger, George A.; Berringer, George (act, unless otherwise noted) 457 WHEN LOVE FORGIVES 493 THE ADOPTED BROTHER 509? HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION (asst d) 516 PILLARS OF SOCIETY 540 THE GOOD BAD MAN 543 INTOLERANCE 548 FLIRTING WITH FATE 550 THE HALF-BREED 556 MANHATTAN MADNESS 574 THE FALL OF BABYLON 576 BROKEN BLOSSOMS Berlin, Irving (m) 621 LADY OF THE PAVEMENTS Bernard, Barney (act) 543 INTOLERANCE 575 THE MOTHER AND THE LAW Bernard, Dorothy (act) 235 HIS LAST BURGLARY 236 THE FINAL SETTLEMENT

237 TAMING A HUSBAND 312 THE TWO PATHS 314 FATE’S TURNING 376 THE FAILURE 377 SUNSHINE THROUGH THE DARK 381 A TALE OF THE WILDERNESS 382 THE BABY AND THE STORK 383 THE VOICE OF THE CHILD 384 FOR HIS SON 386 A SISTER’S LOVE 388 A BLOT IN THE ’SCUTCHEON 390 THE ROOT OF EVIL 392 A STRING OF PEARLS 395 A SIREN OF IMPULSE 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 401 THE FEMALE OF THE SPECIES 403 ONE IS BUSINESS; THE OTHER CRIME 407 HIS LESSON 408 WHEN KINGS WERE THE LAW 417 HEAVEN AVENGES Bernard, Josephine (act) 598 WAY DOWN EAST Bernot, Arnold; Bernot, Arthur see Bennett, Arnold Berringer, George see Beranger, George (André) Berthelon, Arthur (asst d) 543 INTOLERANCE Besserer, Eugenie (act) 587 TURNING THE TABLES 588 THE GREATEST QUESTION 589 SCARLET DAYS 618 THE DRUMS OF LOVE Bird, Evelyn (act) 505 THE ESCAPE 506 THE FLOOR ABOVE Bishop, Sir Henry Rowley (source) 509 HOME, SWEET HOME Bitzer, G.W. (ph, unless otherwise noted) 001 PROFESSIONAL JEALOUSY 002 FALSELY ACCUSED! 004 CLASSMATES [1908] 006 THE PRINCESS IN THE VASE 007 THE YELLOW PERIL 230

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Bitzer, G.W.–cont. 008 HER FIRST ADVENTURE 009 CAUGHT BY WIRELESS 010 OLD ISAACS, THE PAWNBROKER 011 A FAMOUS ESCAPE 012 KING OF THE CANNIBAL ISLANDS 013 THE MUSIC MASTER 014 HULDA’S LOVERS 015 THE KING’S MESSENGER 016 THE SCULPTOR’S NIGHTMARE 017 WHEN KNIGHTS WERE BOLD 018 MIXED BABIES 019 ’OSTLER JOE 020 THE INVISIBLE FLUID 021 THE MAN IN THE BOX 022 THE OUTLAW 023 AT THE FRENCH BALL 024 AT THE CROSSROADS OF LIFE 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 028 THE BLACK VIPER 029 THE FIGHT FOR FREEDOM 032 A CALAMITOUS ELOPEMENT 034 DECEIVED SLUMMING PARTY 036 THE MAN AND THE WOMAN 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 049 THE ZULU’S HEART 050 THE VAQUERO’S VOW 051 FATHER GETS IN THE GAME 052 THE BARBARIAN, INGOMAR 053 THE PLANTER’S WIFE 054 THE DEVIL 055 THE STOLEN JEWELS 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS 058 THE CALL OF THE WILD 059 CONCEALING A BURGLAR 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 063 THE PIRATE’S GOLD 064 THE GUERRILLA 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE (also st) 067 MRS. JONES ENTERTAINS

068 THE INGRATE 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 076 THE TEST OF FRIENDSHIP 078 THE MANIAC COOK 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 081 THE HONOR OF THIEVES 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 086 EDGAR ALLEN POE 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 090 THE HINDOO DAGGER 091 LOVE FINDS A WAY 092 THOSE BOYS! 093 THE FASCINATING MRS. FRANCIS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 100 JONES AND THE LADY BOOK AGENT 101 HIS WIFE’S MOTHER 102? THE GOLDEN LOUIS 103 HIS WARD’S LOVE 104 THE PRUSSIAN SPY 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 109 I DID IT, MAMMA 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 113 THE WOODEN LEG 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 231

THE GRIFFITH PROJECT: VOLUME 11

Bitzer, G.W.–cont. 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 120 A RUDE HOSTESS 121 A BURGLAR’S MISTAKE 123 THE EAVESDROPPER 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 127 THE NOTE IN THE SHOE 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 133 THE DRIVE FOR A LIFE 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 148 A NEW TRICK 149 HIS DUTY 150 THE LONELY VILLA 151 THE FADED LILLIES 152 THE FRIEND OF THE FAMILY 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 156 THE MEXICAN SWEETHEARTS 157 THE MESSAGE 158 THE COUNTRY DOCTOR 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN

162 TENDER HEARTS 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 165 MRS. JONES’ LOVER; OR, “I WANT MY HAT” 166 THE RENUNCIATION 167 SWEET AND TWENTY 168 THE SLAVE 169 JONES’ BURGLAR 170 THE MENDED LUTE 171 THE INDIAN RUNNER’S ROMANCE 172 WITH HER CARD 173 THE BETTER WAY 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 177 “OH, UNCLE” 178 THE SEALED ROOM 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 184 COMATA, THE SIOUX 185 GETTING EVEN 186 THE CHILDREN’S FRIEND 187 THE BROKEN LOCKET 188 THE AWAKENING 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 192 FOOLS OF FATE 193 WANTED, A CHILD 194 A CHANGE OF HEART 195 THE LITTLE TEACHER 196 HIS LOST LOVE 197 THE EXPIATION 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 205 A MIDNIGHT ADVENTURE 232

THE GRIFFITH PROJECT: VOLUME 11

Bitzer, G.W.–cont. 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 208 SWEET REVENGE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 217 THE TEST 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 222 CHOOSING A HUSBAND 223 THE ROCKY ROAD 224 THE DANCING GIRL OF BUTTE 225 HER TERRIBLE ORDEAL 226 THE CALL 227 ON THE REEF 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 235 HIS LAST BURGLARY 236 THE FINAL SETTLEMENT 237 TAMING A HUSBAND 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 241 THE MAN 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 247 A RICH REVENGE 248 UNEXPECTED HELP 249 A ROMANCE OF THE WESTERN HILLS 250 THOU SHALT NOT 251 THE WAY OF THE WORLD

252 THE UNCHANGING SEA 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES 255 RAMONA 256 THE TWO BROTHERS 257 OVER SILENT PATHS 258 THE IMPALEMENT 259 IN THE SEASON OF BUDS 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 270 A CHILD’S FAITH 271 SERIOUS SIXTEEN 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 278 A SALUTARY LESSON 279 THE SORROWS OF THE UNFAITHFUL 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY 233

THE GRIFFITH PROJECT: VOLUME 11

Bitzer, G.W.–cont. 298 THE FUGITIVE 299 SUNSHINE SUE 300 THE SONG OF THE WILDWOOD FLUTE 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 305 WHEN A MAN LOVES 306 THE LESSON 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 310 HIS TRUST 311 HIS TRUST FULFILLED 312 THE TWO PATHS 313 THREE SISTERS 314 FATE’S TURNING 315 THE DIAMOND STAR 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 320 FISHER FOLKS 321 HIS DAUGHTER 322 THE HEART OF A SAVAGE 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 331 MADAME REX 332 HIS MOTHER’S SCARF 333 HOW SHE TRIUMPHED 334 THE TWO SIDES 335 IN THE DAYS OF ’49 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 339 THE WHITE ROSE OF THE WILDS 340 A ROMANY TRAGEDY 341 THE CROOKED ROAD

342 A SMILE OF A CHILD 343 THE PRIMAL CALL 344 THE JEALOUS HUSBAND 345 THE INDIAN BROTHERS 346 HER SACRIFICE 347 THE THIEF AND THE GIRL 348 THE BLIND PRINCESS AND THE POET 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 352 A COUNTRY CUPID 353 OUT FROM THE SHADOW 354 THE SORROWFUL EXAMPLE 355 THE RULING PASSION 356 THE ROSE OF KENTUCKY 357 THE STUFF HEROES ARE MADE OF 358 SWORDS AND HEARTS 359 DAN, THE DANDY 360 THE SQUAW’S LOVE 361 THE REVENUE MAN AND THE GIRL 362 THE ETERNAL MOTHER 363 ITALIAN BLOOD 364 THE OLD CONFECTIONER’S MISTAKE 365 THE MAKING OF A MAN 366 HER AWAKENING 367 THE UNVEILING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 371 LOVE IN THE HILLS 372 THE TRAIL OF BOOKS 373 THROUGH DARKENED VALES 374 A WOMAN SCORNED 375 THE MISER’S HEART 376 THE FAILURE 377 SUNSHINE THROUGH THE DARK 378 AS IN A LOOKING GLASS 379 SAVED FROM HIMSELF 380 A TERRIBLE DISCOVERY 381 A TALE OF THE WILDERNESS 382 THE BABY AND THE STORK 383 THE VOICE OF THE CHILD 384 FOR HIS SON 385 THE OLD BOOKKEEPER 234

THE GRIFFITH PROJECT: VOLUME 11

Bitzer, G.W.–cont. 386 A SISTER’S LOVE 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 389 THE TRANSFORMATION OF MIKE 390 THE ROOT OF EVIL 391 THE SUNBEAM 392 A STRING OF PEARLS 393 THE MENDER OF NETS 394 UNDER BURNING SKIES 395 A SIREN OF IMPULSE 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 399 THE PUNISHMENT 400 FATE’S INTERCEPTION 401 THE FEMALE OF THE SPECIES 402 JUST LIKE A WOMAN 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 407 HIS LESSON 408 WHEN KINGS WERE THE LAW 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 413 THE SPIRIT AWAKENED 414 THE SCHOOL TEACHER AND THE WAIF 415 MAN’S LUST FOR GOLD 416 AN INDIAN SUMMER 417 HEAVEN AVENGES 418 THE MASSACRE 419 MAN’S GENESIS 420 THE SANDS OF DEE 421 A PUEBLO LEGEND 422 THE NARROW ROAD 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 425 A CHANGE OF SPIRIT 426 AN UNSEEN ENEMY 427 TWO DAUGHTERS OF EVE 428 FRIENDS 429 SO NEAR, YET SO FAR

430 A FEUD IN THE KENTUCKY HILLS 431 IN THE AISLES OF THE WILD 432 THE ONE SHE LOVED 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 442 MY HERO 443 THE BURGLAR’S DILEMMA 444 A CRY FOR HELP 445 THE GOD WITHIN 446 THREE FRIENDS 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 450 THE TENDER-HEARTED BOY 451 A CHANCE DECEPTION 452 FATE 453? A FATHER’S LESSON 454? A MISAPPROPRIATED TURKEY 455 BROTHERS 456? DRINK’S LURE 457? WHEN LOVE FORGIVES 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 460? A GIRL’S STRATAGEM 461 NEAR TO EARTH 462? A WELCOME INTRUDER 463 THE SHERIFF’S BABY 464? THE HERO OF LITTLE ITALY 465 THE PERFIDY OF MARY 466 A MISUNDERSTOOD BOY 467? THE LEFT-HANDED MAN 468 THE LITTLE TEASE 469 THE LADY AND THE MOUSE 470? IF WE ONLY KNEW 471 THE WANDERER 472 THE HOUSE OF DARKNESS 473? THE STOLEN LOAF 474 JUST GOLD 475 HIS MOTHER’S SON 235

THE GRIFFITH PROJECT: VOLUME 11

Bitzer, G.W.–cont. 476 A TIMELY INTERCEPTION 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 480? THE RANCHERO’S REVENGE 481 HER MOTHER’S OATH 482 THE SORROWFUL SHORE 483 THE BATTLE AT ELDERBUSH GULCH 485 THE MISTAKE 486 THE COMING OF ANGELO 487 [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] 488 BRUTE FORCE 489 TWO MEN OF THE DESERT 490 THE REFORMERS 491 [JUDITH OF BETHULIA (OUTTAKES)] 492 JUDITH OF BETHULIA 493 THE ADOPTED BROTHER 503 THE BATTLE OF THE SEXES 505 THE ESCAPE 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION 543 INTOLERANCE 559 A DAY WITH GOVERNOR WHITMAN 565 HEARTS OF THE WORLD 568 THE GREAT LOVE 570 A ROMANCE OF HAPPY VALLEY 572 THE GREATEST THING IN LIFE 574 THE FALL OF BABYLON 575 THE MOTHER AND THE LAW 576 BROKEN BLOSSOMS 580 THE GIRL WHO STAYED AT HOME 583 TRUE HEART SUSIE 588 THE GREATEST QUESTION 589 SCARLET DAYS 591 THE LOVE FLOWER 592 THE IDOL DANCER 595 A GREAT FEATURE IN THE MAKING (on camera)

598 WAY DOWN EAST 603 ORPHANS OF THE STORM 607 THE WHITE ROSE 609 AMERICA 618 THE DRUMS OF LOVE (asst ph) 619 THE BATTLE OF THE SEXES [1928] 621 LADY OF THE PAVEMENTS (asst ph) 627? THE STRUGGLE Bitzer, J.C. (ph) 585 THE WORLD AT COLUMBUS Bitzer, Louis same as Bitzer, Louis C. (ph) 594 ROMANCE Black, Harry (wardrobe supervisor) 631 ONE MILLION B.C. Black, William (act) 599 FLYING PAT Blake, Loretta (act) 515 GHOSTS 516 PILLARS OF SOCIETY 520 THE SABLE LORCHA 530 HIS PICTURE IN THE PAPERS Blake, Tom (act) 599 FLYING PAT 600 THE GHOST IN THE GARRET Blanc, Paul Le see Le Blanc, Paul Blaydon, Richard A. (asst d) 627 THE STRUGGLE Bloom, Jack (color technician) 543*? INTOLERANCE Blue, Monte, same as Blue, G.M. (act, unless otherwise noted) 513 THE BIRTH OF A NATION (asst d) 543 INTOLERANCE (also asst d) 549 THE LITTLE SCHOOL MA’AM 560? THE MATRIMANIAC 575 THE MOTHER AND THE LAW 603 ORPHANS OF THE STORM Bodanzky, Artur (m) 532 DAPHNE AND THE PIRATE Bond, R.L. (au) 365 THE MAKING OF A MAN Booth, Elmer (act) 287 THE OATH AND THE MAN 301? A PLAIN SONG 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 236

THE GRIFFITH PROJECT: VOLUME 11

Booth, Elmer–cont. 422 THE NARROW ROAD 426 AN UNSEEN ENEMY 427 TWO DAUGHTERS OF EVE 428 FRIENDS 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS 431 IN THE AISLES OF THE WILD 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 456 DRINK’S LURE 493 THE ADOPTED BROTHER Boss, Charles E. (scenic artist) 609 AMERICA Bosworth, Hobart (act) 624 ABRAHAM LINCOLN Boucicault, Nina (act) 606 PADDY – THE-NEXT-BEST-THING Boucicault, Rene (act) 530 HIS PICTURE IN THE PAPERS Bousen, Henry Van (act) 609 AMERICA Bowers, Frederick (source) 128 LUCKY JIM Bowers, John (act) 614 [SCREEN SNAPSHOTS] Boyd, William (act) 614 [SCREEN SNAPSHOTS] 621 LADY OF THE PAVEMENTS Boyle, John W. (ph) 617 TOPSY AND EVA Bracey, Clara same as Bracey, Clara T. (act) 260 A CHILD OF THE GHETTO 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 269 WHAT THE DAISY SAID 270 A CHILD’S FAITH 271 SERIOUS SIXTEEN 274 THE CALL TO ARMS 276 HER FATHER’S PRIDE

280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 284 LITTLE ANGELS OF LUCK 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 292? THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 298 THE FUGITIVE 299 SUNSHINE SUE 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 311 HIS TRUST FULFILLED 312 THE TWO PATHS 317 A DECREE OF DESTINY 319 THE LILY OF THE TENEMENTS 434 THE MUSKETEERS OF PIG ALLEY 437 MY BABY 438 THE INFORMER 439 BRUTALITY 441 THE NEW YORK HAT 445 THE GOD WITHIN 446 THREE FRIENDS 448 OIL AND WATER 450 THE TENDER-HEARTED BOY 455 BROTHERS 458 LOVE IN AN APARTMENT HOTEL 492 JUDITH OF BETHULIA 500 A FAIR REBEL 501 THE WIFE Bradbury, James, Sr. (act) 624 ABRAHAM LINCOLN Bradford, James C. (m) 566 THE HUN WITHIN 611 SALLY OF THE SAWDUST Bragdon, John (act) 543 INTOLERANCE Brammall, Jack same as Brammel, Jack; Brammall, Jack J. (act) 500 A FAIR REBEL 501 THE WIFE 527 THE MISSING LINKS 542 MACBETH 549 THE LITTLE SCHOOL MA’AM

237

THE GRIFFITH PROJECT: VOLUME 11

Breil, Joseph Carl same as Breil, Joseph C. (m) 513 THE BIRTH OF A NATION 517 THE MARTYRS OF THE ALAMO 520 THE SABLE LORCHA 521 THE LILY AND THE ROSE 522 DOUBLE TROUBLE 524 THE PENITENTES 527 THE MISSING LINKS 529 THE WOOD NYMPH 543 INTOLERANCE 575 THE MOTHER AND THE LAW 607 THE WHITE ROSE 609 AMERICA Brennan, John (act) 552 THE DEVIL’S NEEDLE Brockwell, Gladys (act) 522 DOUBLE TROUBLE Brodine, Norbert (ph) 631 ONE MILLION B.C. Bronti, Mrs. Adelaide (act) 472 THE HOUSE OF DARKNESS 475 HIS MOTHER’S SON 481 HER MOTHER’S OATH Brower, Robert (act) 624 ABRAHAM LINCOLN Brown, Karl (ph, unless otherwise noted) 509 HOME, SWEET HOME (also act) 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION 532 DAPHNE AND THE PIRATE 533 THE FLYING TORPEDO (miniatures) 543 INTOLERANCE 545 THE MYSTERY OF THE LEAPING FISH 565 HEARTS OF THE WORLD 568 THE GREAT LOVE 570 A ROMANCE OF HAPPY VALLEY 571 BATTLING JANE 574 THE FALL OF BABYLON 576 BROKEN BLOSSOMS Brown, Lucille (act) 543 INTOLERANCE 575 THE MOTHER AND THE LAW Brown, Nacio Herb (m) 629 SAN FRANCISCO

Brown, William same as Brown, William A.; Brown, William H. (act) 528 DON QUIXOTE 534 HOODOO ANN 536 LITTLE MEENA’S ROMANCE 543 INTOLERANCE 575 THE MOTHER AND THE LAW Browning, Robert (source) 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 388 A BLOT IN THE ’SCUTCHEON 471 THE WANDERER Browning, Tod 539? SUNSHINE DAD (sc, st) 543 INTOLERANCE (asst d, act) 545? THE MYSTERY OF THE LEAPING FISH (sc, st) 554 FIFTY FIFTY (sc) 575 THE MOTHER AND THE LAW (act) Brownlee, Frank same as Brownlie, Frank (act) 537 SOLD FOR MARRIAGE 543 INTOLERANCE 550 THE HALF-BREED 575 THE MOTHER AND THE LAW Bruce, Kate (act) 149 HIS DUTY 158 THE COUNTRY DOCTOR 164 A STRANGE MEETING 168 THE SLAVE 173 THE BETTER WAY 175 THEY WOULD ELOPE 181 “1776” OR, THE HESSIAN RENEGADES 183 IN OLD KENTUCKY 185 GETTING EVEN 187 THE BROKEN LOCKET 188 THE AWAKENING 190 A FAIR EXCHANGE 193 WANTED, A CHILD 194 A CHANGE OF HEART 195 THE LITTLE TEACHER 196 HIS LOST LOVE 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 238

THE GRIFFITH PROJECT: VOLUME 11

Bruce, Kate–cont. 201 WHAT’S YOUR HURRY? 203 THE LIGHT THAT CAME 204 THE RESTORATION 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 221 TO SAVE HER SOUL 222 CHOOSING A HUSBAND 223 THE ROCKY ROAD 226 THE CALL 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 235 HIS LAST BURGLARY 238 THE NEWLYWEDS 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 249 A ROMANCE OF THE WESTERN HILLS 252 THE UNCHANGING SEA 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES 255 RAMONA 256 THE TWO BROTHERS 258 THE IMPALEMENT 259 IN THE SEASON OF BUDS 260 A CHILD OF THE GHETTO 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 289 THE ICONOCLAST

290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY 298 THE FUGITIVE 300 THE SONG OF THE WILDWOOD FLUTE 301 A PLAIN SONG 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 313 THREE SISTERS 318 HEART BEATS OF LONG AGO 321 HIS DAUGHTER 325 TEACHING DAD TO LIKE HER 327 THE SPANISH GYPSY 330 A KNIGHT OF THE ROAD 332 HIS MOTHER’S SCARF 334 THE TWO SIDES 335 IN THE DAYS OF ’49 338 THE NEW DRESS 341 THE CROOKED ROAD 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 352 A COUNTRY CUPID 355 THE RULING PASSION 356 THE ROSE OF KENTUCKY 358 SWORDS AND HEARTS 360 THE SQUAW’S LOVE 362 THE ETERNAL MOTHER 366 HER AWAKENING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 373 THROUGH DARKENED VALES 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 383 THE VOICE OF THE CHILD 389 THE TRANSFORMATION OF MIKE 391 THE SUNBEAM 392 A STRING OF PEARLS 396 IOLA’S PROMISE 399 THE PUNISHMENT 239

THE GRIFFITH PROJECT: VOLUME 11

Bruce, Kate–cont. 402 JUST LIKE A WOMAN 403 ONE IS BUSINESS; THE OTHER CRIME 405 THE OLD ACTOR 408 WHEN KINGS WERE THE LAW 410 HOME FOLKS 412 LENA AND THE GEESE 413 THE SPIRIT AWAKENED 416 AN INDIAN SUMMER 423 A CHILD’S REMORSE 430 A FEUD IN THE KENTUCKY HILLS 432 THE ONE SHE LOVED 433 THE PAINTED LADY 435 HEREDITY 438 THE INFORMER 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 447 THE TELEPHONE GIRL AND THE LADY 450 THE TENDER-HEARTED BOY 456 DRINK’S LURE 460 A GIRL’S STRATAGEM 463 THE SHERIFF’S BABY 465 THE PERFIDY OF MARY 466 A MISUNDERSTOOD BOY 468 THE LITTLE TEASE 471 THE WANDERER 472 THE HOUSE OF DARKNESS 473 THE STOLEN LOAF 474 JUST GOLD 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 483 THE BATTLE AT ELDERBUSH GULCH 484 THE ENEMY’S BABY 490 THE REFORMERS 492 JUDITH OF BETHULIA 535 BETTY OF GREYSTONE 541 SUSAN ROCKS THE BOAT 543 INTOLERANCE 551 THE MARRIAGE OF MOLLY-O 565 HEARTS OF THE WORLD 566 THE HUN WITHIN 569 LILLIAN GISH IN A LIBERTY LOAN APPEAL 570 A ROMANCE OF HAPPY VALLEY

572 THE GREATEST THING IN LIFE 574 THE FALL OF BABYLON 575 THE MOTHER AND THE LAW 580 THE GIRL WHO STAYED AT HOME 583 TRUE HEART SUSIE 589 SCARLET DAYS 590 MARY ELLEN COMES TO TOWN 592 THE IDOL DANCER 598 WAY DOWN EAST 599 FLYING PAT 603 ORPHANS OF THE STORM 607 THE WHITE ROSE 608 HIS DARKER SELF Bruillier, Nigel de; Brulier, Nigel de see de Brulier, Nigel Budd, Norman (act) 631 ONE MILLION B.C. Bujard, Marc (add ph) 565* HEARTS OF THE WORLD Buller, Mrs. same as Elsie, Lily (on camera) 568 THE GREAT LOVE Burke, Joseph (act) 607 THE WHITE ROSE Burke, Marie (act) 593 REMODELING HER HUSBAND 597 LITTLE MISS REBELLION Burke, Thomas (source) 576 BROKEN BLOSSOMS 601 DREAM STREET Burns, Beulah (act) 526 LET KATIE DO IT Burns, Ed (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Burns, Fred (act) 493 THE ADOPTED BROTHER 509 HOME, SWEET HOME 513 THE BIRTH OF A NATION 517 THE MARTYRS OF THE ALAMO 523 JORDAN IS A HARD ROAD 537 SOLD FOR MARRIAGE 540 THE GOOD BAD MAN Burns, James (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Burns, Thelma (act) 542 MACBETH 240

THE GRIFFITH PROJECT: VOLUME 11

Buskirk, Bessie (act) 542 MACBETH Busrach, William (source) 627 THE STRUGGLE Butler, Charles (act) 530 HIS PICTURE IN THE PAPERS Butler, David (act) 572 THE GREATEST THING IN LIFE 580 THE GIRL WHO STAYED AT HOME 584 NUGGET NELL Butler, Fred J. (act) 533 THE FLYING TORPEDO 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT Butler, Kathleen (act) 402 JUST LIKE A WOMAN 427 TWO DAUGHTERS OF EVE 434 THE MUSKETEERS OF PIG ALLEY 441 THE NEW YORK HAT 446 THREE FRIENDS 448 OIL AND WATER 453 A FATHER’S LESSON 458 LOVE IN AN APARTMENT HOTEL 461 NEAR TO EARTH 464 THE HERO OF LITTLE ITALY 467 THE LEFT-HANDED MAN 474 JUST GOLD 475 HIS MOTHER’S SON 481 HER MOTHER’S OATH 486 THE COMING OF ANGELO 490 THE REFORMERS 492 JUDITH OF BETHULIA Butler, William J. (act, unless otherwise noted) 168 THE SLAVE 169 JONES’ BURGLAR 172 WITH HER CARD 173? THE BETTER WAY 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 178 SEALED ROOM, THE 181 “1776” OR, THE HESSIAN RENEGADES 183 IN OLD KENTUCKY 216 A CORNER IN WHEAT 217 THE TEST 218 A TRAP FOR SANTA CLAUS 241

219 IN LITTLE ITALY 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 271 SERIOUS SIXTEEN 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 278 A SALUTARY LESSON (au) 279 THE SORROW OF THE UNFAITHFUL 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY 299 SUNSHINE SUE 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 308 A WREATH OF ORANGE BLOSSOMS 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS

THE GRIFFITH PROJECT: VOLUME 11

Butler, William J.–cont. 320 FISHER FOLKS 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 327 THE SPANISH GYPSY 334 THE TWO SIDES 335 IN THE DAYS OF ’49 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 340 A ROMANY TRAGEDY 341 THE CROOKED ROAD 349 FIGHTING BLOOD 351 BOBBY, THE COWARD 356 THE ROSE OF KENTUCKY 358 SWORDS AND HEARTS 359 DAN, THE DANDY 360 THE SQUAW’S LOVE 365 THE MAKING OF A MAN 366 HER AWAKENING 367 THE UNVEILING 369 THE LONG ROAD 370 THE BATTLE 373 THROUGH DARKENED VALES 375 THE MISER’S HEART 379 SAVED FROM HIMSELF 381 A TALE OF THE WILDERNESS 382 THE BABY AND THE STORK 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 389 THE TRANSFORMATION OF MIKE 390 THE ROOT OF EVIL 392 A STRING OF PEARLS 396 IOLA’S PROMISE 399 THE PUNISHMENT 400 FATE’S INTERCEPTION 408 WHEN KINGS WERE THE LAW 415 MAN’S LUST FOR GOLD 417 HEAVEN AVENGES 425 A CHANGE OF SPIRIT 430 A FEUD IN THE KENTUCKY HILLS 431 IN THE AISLES OF THE WILD 433 THE PAINTED LADY 436 GOLD AND GLITTER 439 BRUTALITY 445 THE GOD WITHIN 448? OIL AND WATER

464 THE HERO OF LITTLE ITALY 467 THE LEFT-HANDED MAN 472 THE HOUSE OF DARKNESS 476 A TIMELY INTERCEPTION 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 484 THE ENEMY’S BABY 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA 495 STRONGHEART 496 LORD CHUMLEY 501 THE WIFE Butterworth, Ernest (act) 543 INTOLERANCE 572 THE GREATEST THING IN LIFE 576 BROKEN BLOSSOMS

C Cabanne, W. Christy same as Cabanne, William Christy; Cabanne, Christy; W. Christy Cabanne (act, unless otherwise noted) 340? A ROMANY TRAGEDY 370 THE BATTLE 373 THROUGH DARKENED VALES 376 THE FAILURE 384 FOR HIS SON 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 389 THE TRANSFORMATION OF MIKE 392 A STRING OF PEARLS 394 UNDER BURNING SKIES 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 399 THE PUNISHMENT 402 JUST LIKE A WOMAN 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 408 WHEN KINGS WERE THE LAW 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 242

THE GRIFFITH PROJECT: VOLUME 11

Cabanne, W. Christy–cont. 417 HEAVEN AVENGES 421 A PUEBLO LEGEND 422 THE NARROW ROAD 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 427 TWO DAUGHTERS OF EVE 429 SO NEAR, YET SO FAR 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 438 THE INFORMER 442 MY HERO 444 A CRY FOR HELP 445 THE GOD WITHIN 449 AN ADVENTURE IN THE AUTUMN WOODS (au) 451 A CHANCE DECEPTION (au) 453 A FATHER’S LESSON (au) 461 NEAR TO EARTH 466 A MISUNDERSTOOD BOY (also au) 471 THE WANDERER 472 THE HOUSE OF DARKNESS 475 HIS MOTHER’S SON (also au) 476 A TIMELY INTERCEPTION (au) 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 482 THE SORROWFUL SHORE (also sc) 488 BRUTE FORCE (prod asst) 493 THE ADOPTED BROTHER (d, au) 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART (d) 507 THE DISHONORED MEDAL (d) 513 THE BIRTH OF A NATION (asst d) 514 ENOCH ARDEN (d) 517 THE MARTYRS OF THE ALAMO (d, st, sc) 518 THE LAMB (d) 522 DOUBLE TROUBLE (d, sc) 532 DAPHNE AND THE PIRATE (d) 533 THE FLYING TORPEDO (d) 537 SOLD FOR MARRIAGE (d) 543 INTOLERANCE (asst d) 544 REGGIE MIXES IN (d) 548 FLIRTING WITH FATE (d) 555 DIANE OF THE FOLLIES (d)

Cadman, Charles Wakefield (m) 618 THE DRUMS OF LOVE Caesar, Arthur (adapt, st) 608 HIS DARKER SELF Cahill, Lily (act) 294 THE MESSAGE OF THE VIOLIN 298 THE FUGITIVE 301 A PLAIN SONG 303 A CHILD’S STRATAGEM 376 THE FAILURE Campeau, Frank (act) 523 JORDAN IS A HARD ROAD 529 THE WOOD NYMPH 543 INTOLERANCE 574 THE FALL OF BABYLON 624 ABRAHAM LINCOLN Cannon, Doc (act) 540 THE GOOD BAD MAN Cannon, Pomeroy (act) 540 THE GOOD BAD MAN Cannon, Raymond (act) 577 BOOTS 583 TRUE HEART SUSIE 584 NUGGET NELL 586 NOBODY HOME 587 TURNING THE TABLES 590 MARY ELLEN COMES TO TOWN Carew, Ora (act) 517 THE MARTYRS OF THE ALAMO Carey, Harry (act) 426 AN UNSEEN ENEMY 427 TWO DAUGHTERS OF EVE 428 FRIENDS 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS 431 IN THE AISLES OF THE WILD 432 THE ONE SHE LOVED 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 436 GOLD AND GLITTER 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 442 MY HERO 443 THE BURGLAR’S DILEMMA 444 A CRY FOR HELP 446 THREE FRIENDS 243

THE GRIFFITH PROJECT: VOLUME 11

Carey, Harry–cont. 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 451 A CHANCE DECEPTION 454 A MISAPPROPRIATED TURKEY 455 BROTHERS 457 WHEN LOVE FORGIVES 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 463 THE SHERIFF’S BABY 464 THE HERO OF LITTLE ITALY 467 THE LEFT-HANDED MAN 470 IF WE ONLY KNEW 480 THE RANCHERO’S REVENGE 482 THE SORROWFUL SHORE 484 THE ENEMY’S BABY 488 BRUTE FORCE 492 JUDITH OF BETHULIA Carleton, Lloyd B. (act) 297 SIMPLE CHARITY Carleton, William (source) 199 LINES OF WHITE ON A SULLEN SEA Carlyle, Thomas (source) 603 ORPHANS OF THE STORM Carmen, Jewel same as Carmen, Jewell (act) 532 DAPHNE AND THE PIRATE 539 SUNSHINE DAD 543 INTOLERANCE 548 FLIRTING WITH FATE 550 THE HALF-BREED 556 MANHATTAN MADNESS 558 AMERICAN ARISTOCRACY 574 THE FALL OF BABYLON Carney, Augustus (act) 517 THE MARTYRS OF THE ALAMO Carney, Daniel (act) 609 AMERICA Carpenter, Francis same as Carpentier, Francis (act) 526 LET KATIE DO IT 531 MARTHA’S VINDICATION 542 MACBETH 549 THE LITTLE SCHOOL MA’AM

Carr, Barnard (asst d) 631 ONE MILLION B.C. Carr, Harry 582 I’LL GET HIM YET (st) 596 THE COUNTRY FLAPPER (sc, adapt) 597 LITTLE MISS REBELLION (st) 599 FLYING PAT (sc) Carr, Percy (act) 605 ONE EXCITING NIGHT Carr, Thomas (act) 592 THE IDOL DANCER Carré, Michel (m) 629 SAN FRANCISCO Carroll, James (sc) 270 A CHILD’S FAITH 368 THE ADVENTURES OF BILLY Carroll, William (act) 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 400 FATE’S INTERCEPTION 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 414 THE SCHOOL TEACHER AND THE WAIF 415 MAN’S LUST FOR GOLD 459 BROKEN WAYS 462 A WELCOME INTRUDER 466 A MISUNDERSTOOD BOY 467 THE LEFT-HANDED MAN 473 THE STOLEN LOAF 475 HIS MOTHER’S SON 483 THE BATTLE AT ELDERBUSH GULCH 492 JUDITH OF BETHULIA 493 THE ADOPTED BROTHER Carter, Dorothy Elizabeth see Gish, Dorothy and Gish, Lillian Caruso (act) 571 BATTLING JANE 244

THE GRIFFITH PROJECT: VOLUME 11

Case, Miss (act) 611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL Castleman, Mary (st) 570 A ROMANCE OF HAPPY VALLEY Cervantes Saavedra, Miguel de (source) 528 DON QUIXOTE Chambers, Marie (act) 554 FIFTY FIFTY 612 THAT ROYLE GIRL Chambers, Robert W. (st, titles) 609 AMERICA Chaney, Lon, Jr. (act) 631 ONE MILLION B.C. Chaplin, Charlie same as Chaplin, Charles 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (on camera) 579 THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART (on camera) 614 [SCREEN SNAPSHOTS] (act) Chaston, Fred (ph, unless otherwise noted) 596 THE COUNTRY FLAPPER 599 FLYING PAT (also au) 600 THE GHOST IN THE GARRET (also sc?) Chichester, Emily (act) 581 PEPPY POLLY 584 NUGGET NELL 586 NOBODY HOME Child, Master Ogden same as Child, O. (act) 504 THE GANGSTERS Chief Dark Cloud see Dark Cloud Claire, Gertrude (act) 251 THE WAY OF THE WORLD 255 RAMONA 256 THE TWO BROTHERS Clapp, Chester B. (sc) 520 THE SABLE LORCHA Clarges, Verner (act) 172? WITH HER CARD 173 THE BETTER WAY 176 THE MILLS OF THE GODS 178 THE SEALED ROOM 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING

183 IN OLD KENTUCKY 184 COMATA, THE SIOUX 185 GETTING EVEN 186 THE CHILDREN’S FRIEND 190 A FAIR EXCHANGE 206? TWO WOMEN AND A MAN 227 ON THE REEF 229 THE HONOR OF HIS FAMILY 258 THE IMPALEMENT 261 A VICTIM OF JEALOUSY 262? IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 277 THE HOUSE WITH CLOSED SHUTTERS 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 297 SIMPLE CHARITY 304 THE GOLDEN SUPPER 305 WHEN A MAN LOVES 306 THE LESSON 307 WINNING BACK HIS LOVE 311 HIS TRUST FULFILLED 320 FISHER FOLKS 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 331 MADAME REX 351 BOBBY, THE COWARD 358 SWORDS AND HEARTS Clark, Dowling same as Clark, Downing see Clarke, Downing Clark, Mamo (act) 631 ONE MILLION B.C. Clarke, Betty Ross (act) 594 ROMANCE 245

THE GRIFFITH PROJECT: VOLUME 11

Clarke, Downing same as Clark, Downing; Clark, Dowling (act) 593 REMODELING HER HUSBAND 600 THE GHOST IN THE GARRET 609 AMERICA Clarke, Lillian (act) 566 THE HUN WITHIN Clarke, Marion (sc) 527 THE MISSING LINKS Clary, Charles (act) 524 THE PENITENTES Clifton, Adele (act) 555 DIANE OF THE FOLLIES Clifton, Elmer (act, unless otherwise noted) 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION (asst d) 520 THE SABLE LORCHA 521 THE LILY AND THE ROSE 527 THE MISSING LINKS 543 INTOLERANCE (also asst d) 549 THE LITTLE SCHOOL MA’AM 557 THE OLD FOLKS AT HOME 571 BATTLING JANE (d) 573 THE HOPE CHEST (d) 574 THE FALL OF BABYLON 577 BOOTS (d) 581 PEPPY POLLY (d) 582 I’LL GET HIM YET (d) 584 NUGGET NELL (d) 586 NOBODY HOME (d) 587 TURNING THE TABLES (d) 590 MARY ELLEN COMES TO TOWN (d) 591 THE LOVE FLOWER (prod asst) 592 THE IDOL DANCER (prod asst) 598 WAY DOWN EAST (d of some exteriors) Clifton, Lotta (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Clinton, B.F. (au) 484 THE ENEMY’S BABY Clune, Raymond A. (prod mgr) 627 THE STRUGGLE Coad, Joyce (act) 618 THE DRUMS OF LOVE

Coffin, Estelle (act) 506 THE FLOOR ABOVE Coffman, Joe W. (sound recording) 627 THE STRUGGLE Cohan, George M. (m) 572 THE GREATEST THING IN LIFE Cohen, Octavius Roy (st) 560 THE MATRIMANIAC Cohen, Sol (m) 618 THE DRUMS OF LOVE Cole, Thornton (act) 496 LORD CHUMLEY 498 MAN’S ENEMY Collier, Constance (act) 542 MACBETH Collier, Fern (act) 549 THE LITTLE SCHOOL MA’AM Collins, Kathleen same as Collins, Catherine (act) 596 THE COUNTRY FLAPPER Comstock, F. Ray (prod mgr) 565 HEARTS OF THE WORLD Conde, Syn De see De Conde, Syn Considine, John W., Jr. (ed supervisor, st and prod advisor) 624 ABRAHAM LINCOLN Conti, Albert (act) 621 LADY OF THE PAVEMENTS Conway, John same as Conway, Jack 524 THE PENITENTES (d) 542 MACBETH (act) 543 INTOLERANCE (asst d) Cook, Warren (act) 608 HIS DARKER SELF Cooke, Joe (unit mgr) 629 SAN FRANCISCO Cooper, Claude (act) 627 THE STRUGGLE Cooper, D.P. (ph) 565 HEARTS OF THE WORLD Cooper, James Fenimore (source) 191 LEATHER STOCKING 285 A MOHAWK’S WAY Cooper, Lenore (act) 513 THE BIRTH OF A NATION Cooper, Miriam (act) 507 THE DISHONORED MEDAL 509 HOME, SWEET HOME 246

THE GRIFFITH PROJECT: VOLUME 11

Cooper, Miriam–cont. 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION 543 INTOLERANCE 575 THE MOTHER AND THE LAW Cooper, Rosemary (act) 618 THE DRUMS OF LOVE Coppée, François (source) 141 THE VIOLIN MAKER OF CREMONA Corelli, Marie (source) 613 THE SORROWS OF SATAN Cormon, Eugène (source) 603 ORPHANS OF THE STORM Cornish, John R. (st) 584? NUGGET NELL Corrado, Gino (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Cortez, Ricardo (act) 613 THE SORROWS OF SATAN Cortez, Stanley (asst ph) 626? [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Cortland, Charles van see van Cortland, Charles Cosgrove, Jack (act) 532 DAPHNE AND THE PIRATE 543 INTOLERANCE 565 HEARTS OF THE WORLD 574 THE FALL OF BABYLON Cotton, Lucy (act) 298 THE FUGITIVE Courtwright, William (act) 470 IF WE ONLY KNEW 472 THE HOUSE OF DARKNESS 480 THE RANCHERO’S REVENGE 482 THE SORROWFUL SHORE 484 THE ENEMY’S BABY 490 THE REFORMERS Coventry, Tom (act) 606 PADDY – THE-NEXT-BEST-THING Coward, Noel (act) 565 HEARTS OF THE WORLD Coxen, Ed (act) 631 ONE MILLION B.C. Craig, Miss B. (act) 504 THE GANGSTERS

Craig, Charles (act) 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 217 THE TEST 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 221 TO SAVE HER SOUL 222 CHOOSING A HUSBAND 223 THE ROCKY ROAD 224 THE DANCING GIRL OF BUTTE 225 HER TERRIBLE ORDEAL 226 THE CALL 227 ON THE REEF 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 246 GOLD IS NOT ALL 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 263 THE FACE AT THE WINDOW 265 A CHILD’S IMPULSE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 275 AN ARCADIAN MAID 278 A SALUTARY LESSON 280 THE USURER 281 WILFUL PEGGY 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 289 THE ICONOCLAST 247

THE GRIFFITH PROJECT: VOLUME 11

Craig, Charles–cont. 290? EXAMINATION DAY AT SCHOOL 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 307 WINNING BACK HIS LOVE Crane, Frank (act) 497 MEN AND WOMEN Crane, James (extra) 609* AMERICA Crawford, Ashton (sc) 314 FATE’S TURNING Crisp, Donald (act, unless otherwise noted) 213 THROUGH THE BREAKERS 299 SUNSHINE SUE 301 A PLAIN SONG 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 312 THE TWO PATHS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 323 CONSCIENCE 353 OUT FROM THE SHADOW 358 SWORDS AND HEARTS 360 THE SQUAW’S LOVE 362 THE ETERNAL MOTHER 365 THE MAKING OF A MAN 366 HER AWAKENING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 375 THE MISER’S HEART 376 THE FAILURE 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART 503 THE BATTLE OF THE SEXES 505 THE ESCAPE 508 THE MOUNTAIN RAT 509 HOME, SWEET HOME 511 THE PAINTED LADY (d) 513 THE BIRTH OF A NATION (asst d) 543 INTOLERANCE

574 THE FALL OF BABYLON 576 BROKEN BLOSSOMS 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] (on camera) Crocker-King, C.H. same as Croker-King, C.H. (act) 605 ONE EXCITING NIGHT Crockett, Charles (act) 624 ABRAHAM LINCOLN Croker-King, C.H. see Crocker-King, C.H. Cronjager, Henry (ph) 496 LORD CHUMLEY Crow, Tote Du see Du Crow, Tote Crowder, E.H. (on camera) 580 THE GIRL WHO STAYED AT HOME Crowell, Josephine same as Crowell, Josephine B. (act) 508 THE MOUNTAIN RAT 509 HOME, SWEET HOME 511 THE PAINTED LADY 513 THE BIRTH OF A NATION 516 PILLARS OF SOCIETY 524 THE PENITENTES 531 MARTHA’S VINDICATION 543 INTOLERANCE 549 THE LITTLE SCHOOL MA’AM 557 THE OLD FOLKS AT HOME 565 HEARTS OF THE WORLD 581 PEPPY POLLY 588 THE GREATEST QUESTION Cummings, Richard (act) 522 DOUBLE TROUBLE 532 DAPHNE AND THE PIRATE Cumpson, John R. (act) 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 048 A SMOKED HUSBAND 049 THE ZULU’S HEART 055 THE STOLEN JEWELS 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS 058 THE CALL OF THE WILD 067 MRS. JONES ENTERTAINS 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 248

THE GRIFFITH PROJECT: VOLUME 11

Cumpson, John R.–cont. 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 090 THE HINDOO DAGGER 091 LOVE FINDS A WAY 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 100 JONES AND THE LADY BOOK AGENT 101 HIS WIFE’S MOTHER 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 113 THE WOODEN LEG 114 THE VOICE OF THE VIOLIN 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 122 THE ROAD TO THE HEART 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 138 HER FIRST BISCUITS 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT

150 THE LONELY VILLA 154 WAS JUSTICE SERVED? 160 THE CARDINAL’S CONSPIRACY 164 A STRANGE MEETING 165 MRS. JONES’ LOVER; OR, “I WANT MY HAT” 169 JONES’ BURGLAR 172 WITH HER CARD 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 185 GETTING EVEN 190 A FAIR EXCHANGE Curley, James (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Currier, Frank (act) 554 FIFTY FIFTY Cushing, Catherine Chisholm (source) 617 TOPSY AND EVA Cutts, Graham (d) 606 PADDY – THE-NEXT-BEST-THING

D Dale, Margaret (act) 605 ONE EXCITING NIGHT Daly, Augustin (source) 627 THE STRUGGLE Dalya, Jacqueline (act) 631 ONE MILLION B.C. Dark Cloud same as Chief Dark Cloud; Dark Cloud, William (act) 292? THE BROKEN DOLL 300 THE SONG OF THE WILDWOOD FLUTE 360 THE SQUAW’S LOVE 381 A TALE OF THE WILDERNESS 507 THE DISHONORED MEDAL 513 THE BIRTH OF A NATION 524 THE PENITENTES 543 INTOLERANCE 574 THE FALL OF BABYLON Darling, Ruth (act) 543 INTOLERANCE 554 FIFTY FIFTY 556 MANHATTAN MADNESS 574 THE FALL OF BABYLON 249

THE GRIFFITH PROJECT: VOLUME 11

Darling, Scott (continuity) 617 TOPSY AND EVA Daube, Harda (act) 593 REMODELING HER HUSBAND Davenport, Dorothy (act) 285 A MOHAWK’S WAY 287 THE OATH AND THE MAN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 292 THE BROKEN DOLL 295 TWO LITTLE WAIFS 296 WAITER NO. 5 304 THE GOLDEN SUPPER Davidson, Dore (act) 612? THAT ROYLE GIRL Davidson, John (act) 594 ROMANCE Davidson, Max (act) 389*? THE TRANSFORMATION OF MIKE 422 THE NARROW ROAD 528 DON QUIXOTE 539 SUNSHINE DAD 543 INTOLERANCE 566 THE HUN WITHIN 575 THE MOTHER AND THE LAW Davies, Marion (act) 614 [SCREEN SNAPSHOTS] Davis, Bette 628 HEARST METROTONE NEWS [VOL. 7, NO. 250] (on camera) Daw, Marjorie (act) 617 TOPSY AND EVA Dawley, J. Searle (d) 003 RESCUED FROM AN EAGLE’S NEST 005 CUPID’S PRANKS Dazey, C.T. same as Dazey, Charles T. (st) 556 MANHATTAN MADNESS Dazy, Charles (sc) 556*? MANHATTAN MADNESS Dean, Priscilla (act) 391* THE SUNBEAM 392*? A STRING OF PEARLS Dean, William J. (on camera) 487*? [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL]

Deane, Sydney (act) 609 AMERICA de Brulier, Nigel same as de Bruillier, Nigel; De Brulier, Nigel (act) 515 GHOSTS 543 INTOLERANCE 574 THE FALL OF BABYLON 631 ONE MILLION B.C. de Cervantes Saavedra, Miguel see Cervantes Saavedra, Miguel de De Conde, Syn (act) 580 THE GIRL WHO STAYED AT HOME Deering, Edgar (act) 624 ABRAHAM LINCOLN De Garde, Adele same as de Garde, Adele (act) 079 THE CHRISTMAS BURGLARS 088 THE ROUE’S HEART 102 THE GOLDEN LOUIS 105 THE DECEPTION 109 I DID IT, MAMMA 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 118 A DRUNKARD’S REFORMATION 121 A BURGLAR’S MISTAKE 126 TWIN BROTHERS 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 144 WHAT DRINK DID 150 THE LONELY VILLA 158 THE COUNTRY DOCTOR 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 215 IN A HEMPEN BAG de Grasse, Sam same as De Grasse, Sam (act) 513 THE BIRTH OF A NATION 517 THE MARTYRS OF THE ALAMO 525 CROSS CURRENTS 540 THE GOOD BAD MAN 543 INTOLERANCE 546 AN INNOCENT MAGDALENE 550 THE HALF-BREED 555 DIANE OF THE FOLLIES 250

THE GRIFFITH PROJECT: VOLUME 11

de Grasse, Sam–cont. 573 THE HOPE CHEST 575 THE MOTHER AND THE LAW DeLacy, Ralph (property man) 509 HOME, SWEET HOME 543 INTOLERANCE 574 THE FALL OF BABYLON Delaro, Hattie (act) 458? LOVE IN AN APARTMENT HOTEL 497 MEN AND WOMEN DeLima, Charles same as de Lima, Charles (act) 558* AMERICAN ARISTOCRACY Delmar, Kenny (act) 603 ORPHANS OF THE STORM de Lorde, André (source) 150 THE LONELY VILLA de Maupassant, Guy (source) 155 THE NECKLACE DeMille, Cecil B. (on camera) 616 [D.W. GRIFFITH ON THE SET OF THE KING OF KINGS] DeMille, Henry C. same as de Mille, Henry C. (source) 496 LORD CHUMLEY 497 MEN AND WOMEN 501 THE WIFE de Mille, William C. (source) 494 CLASSMATES [1913] 495 STRONGHEART Dempster, Carol (act) 543 INTOLERANCE 569 LILLIAN GISH IN A LIBERTY LOAN APPEAL 570 A ROMANCE OF HAPPY VALLEY 573 THE HOPE CHEST 574 THE FALL OF BABYLON 578 THE GIRL WHO STAYED AT HOME 582 TRUE HEART SUSIE 588 SCARLET DAYS 591 THE LOVE FLOWER 601 DREAM STREET 603 ONE EXCITING NIGHT 605 THE WHITE ROSE 608 AMERICA 609 ISN’T LIFE WONDERFUL

611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL 613 THE SORROWS OF SATAN Denishawn Dancers, The (dancers) 543 INTOLERANCE d’Ennery, Adolphe Phillippe (source) 603 ORPHANS OF THE STORM de Nowskowski, L. (act) 542 MACBETH De Putti, Lya (act) 613 THE SORROWS OF SATAN de Rue, Carmen same as De Rue, Carmen (act) 526 LET KATIE DO IT 549 THE LITTLE SCHOOL MA’AM de Sellen, Grace D. (au) 464 THE HERO OF LITTLE ITALY De Titta, Arthur 612 THAT ROYLE GIRL (asst ph) 613 THE SORROWS OF SATAN (ph) de Tolignac, M. Gaston see Griffith, D.W. De Vall, Samuel (tech d) 505? THE ESCAPE (also construction) 513 THE BIRTH OF A NATION DeVaull, William same as de Vaull, William (act) 513 THE BIRTH OF A NATION 520? THE SABLE LORCHA 546 AN INNOCENT MAGDALENE 555 DIANE OF THE FOLLIES Dewey, Arthur (act) 609 AMERICA De Wolf Hopper, William see Hopper, William De Wolf De Wolf Hopper, William, Jr. see Hopper, William De Wolf, Jr. Dexter, Elliott (act) 532 DAPHNE AND THE PIRATE Dibuono, Joe (construction carpenter) 603* ORPHANS OF THE STORM Dickens, Charles (source) 142 THE CRICKET ON THE HEARTH 603 ORPHANS OF THE STORM Diem, Frank J. same as Diem, Frank 609 AMERICA (still ph) 611 SALLY OF THE SAWDUST (add ph) Dietz, Howard (press agent) 629 SAN FRANCISCO 251

THE GRIFFITH PROJECT: VOLUME 11

Dillon, Edward (act, unless otherwise noted) 002 FALSELY ACCUSED! 004 CLASSMATES [1908] 006 THE PRINCESS IN THE VASE 009 CAUGHT BY WIRELESS 010 OLD ISAACS, THE PAWNBROKER 016 THE SCULPTOR’S NIGHTMARE 018 MIXED BABIES 019 ’OSTLER JOE 020 THE INVISIBLE FLUID 021 THE MAN IN THE BOX 022 THE OUTLAW 023 AT THE FRENCH BALL 024 AT THE CROSSROADS OF LIFE 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 028 THE BLACK VIPER 029 THE FIGHT FOR FREEDOM 033 THE TAVERN-KEEPER’S DAUGHTER 034 DECEIVED SLUMMING PARTY 047 WHERE THE BREAKERS ROAR 194 A CHANGE OF HEART 195 THE LITTLE TEACHER 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 278 A SALUTARY LESSON 279 THE SORROWS OF THE UNFAITHFUL 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN

290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY 298 THE FUGITIVE 299 SUNSHINE SUE 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 306 THE LESSON 309 THE ITALIAN BARBER 313 THREE SISTERS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 320 FISHER FOLKS 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 331 MADAME REX 337 ENOCH ARDEN – PART TWO 349 FIGHTING BLOOD 351 BOBBY, THE COWARD 352 A COUNTRY CUPID 365 THE MAKING OF A MAN 369 THE LONG ROAD 375 THE MISER’S HEART 376 THE FAILURE 377 SUNSHINE THROUGH THE DARK 382 THE BABY AND THE STORK 383? THE VOICE OF THE CHILD 384 FOR HIS SON 385 THE OLD BOOKKEEPER 388 A BLOT IN THE ’SCUTCHEON 390 THE ROOT OF EVIL 392 A STRING OF PEARLS 413 THE SPIRIT AWAKENED 418 THE MASSACRE 438 THE INFORMER 458 LOVE IN AN APARTMENT HOTEL 468 THE LITTLE TEASE 478 THE MOTHERING HEART 509 HOME, SWEET HOME 252

THE GRIFFITH PROJECT: VOLUME 11

Dillon, Edward–cont. 528 DON QUIXOTE (also d) 539 SUNSHINE DAD (d) 543 INTOLERANCE (also asst d) 548? FLIRTING WITH FATE (d) 575 THE MOTHER AND THE LAW Dillon, Jack (act) [Note: The names of John Francis Dillon and John Thomas Dillon (both sometimes referred to as “Jack”) are the source of frequent confusion. No claim of complete accuracy can be made in the context of this Index. Separate entries for Jack Dillon and John Dillon have been created for some titles where the identity of the actor is unclear, pending further analysis of the extant prints. For details, see the article by Bo Berglund, “Hello Mabel” in Griffithiana 71, 2001, Cineteca del Friuli: pp. 132–133.] 504 THE GANGSTERS 506 THE FLOOR ABOVE Dillon, John (act) [**See note above for Dillon, Jack.] 509 HOME, SWEET HOME Dillon, John Francis same as Dillon, John; Dillon, Jack (act) [**See note above for Dillon, Jack.] 517? THE MARTYRS OF THE ALAMO Dillon, John Thomas same as Dillon, John T.; Dillon, John; Dillon, Jack (act) [**See note above for Dillon, Jack.] 262 IN THE BORDER STATES 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 285 A MOHAWK’S WAY 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS

309 THE ITALIAN BARBER 311 HIS TRUST FULFILLED 312 THE TWO PATHS 314 FATE’S TURNING 315* THE DIAMOND STAR 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 320 FISHER FOLKS 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 331 MADAME REX 334 THE TWO SIDES 335 IN THE DAYS OF ’49 338 THE NEW DRESS 341 THE CROOKED ROAD 343 THE PRIMAL CALL 344 THE JEALOUS HUSBAND 345 THE INDIAN BROTHERS 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 353 OUT FROM THE SHADOW 355 THE RULING PASSION 389 THE TRANSFORMATION OF MIKE 390 THE ROOT OF EVIL 391 THE SUNBEAM 392 A STRING OF PEARLS 434 THE MUSKETEERS OF PIG ALLEY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 439 BRUTALITY 441 THE NEW YORK HAT 442 MY HERO 443 THE BURGLAR’S DILEMMA 444 A CRY FOR HELP 445 THE GOD WITHIN 446 THREE FRIENDS 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 450 THE TENDER-HEARTED BOY 451 A CHANCE DECEPTION 452 FATE 454 A MISAPPROPRIATED TURKEY 253

THE GRIFFITH PROJECT: VOLUME 11

Dillon, John Thomas–cont. 458 LOVE IN AN APARTMENT HOTEL 462 A WELCOME INTRUDER 463 THE SHERIFF’S BABY 464 THE HERO OF LITTLE ITALY 471 THE WANDERER 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 484 THE ENEMY’S BABY 488 BRUTE FORCE 496 LORD CHUMLEY 509? HOME, SWEET HOME 517? THE MARTYRS OF THE ALAMO Dion, Hector (act) 402 JUST LIKE A WOMAN 406 A LODGING FOR THE NIGHT 453 A FATHER’S LESSON 456 DRINK’S LURE Dixon, Thomas (source) 513 THE BIRTH OF A NATION Dodd, Rev. Neal same as Dodd, Father (religious advisor) 543 INTOLERANCE Dolly, Roszika same as Roszika, Dolly (act) 521 THE LILY AND THE ROSE Donahue, Charles P. (on camera) 604 [PERSONALITIES OF THE TWENTIES] Donaldson, Arthur (act) 609 AMERICA Donnelly, Anthony (sc) 307 WINNING BACK HIS LOVE Donnelly, Dorothy (sc, source) 611 SALLY OF THE SAWDUST Donovan, Michael (act) 609 AMERICA Doro, Marie (act) 529 THE WOOD NYMPH d’Orsay, Lawrence (act) 613 THE SORROWS OF SATAN Doucet, H. Paul (act) 609 AMERICA Douglas, Lillian (act) 606 PADDY – THE-NEXT-BEST-THING Douglas, Tom same as Douglas, Tommy (act) 596 THE COUNTRY FLAPPER

Drew, Cora (act) 521 THE LILY AND THE ROSE 529 THE WOOD NYMPH Drogheda, Countess of (act) 568 THE GREAT LOVE Drouet, Robert (act) 500 A FAIR REBEL 501 THE WIFE Du Crow, Tote (act) 561 THE AMERICANO Dufort, Alphonse (act) 565 HEARTS OF THE WORLD Dull, Orville O. (prod mgr) 624 ABRAHAM LINCOLN Dumercier, Jean (act) 565 HEARTS OF THE WORLD Duncan, Rosetta (act) 617 TOPSY AND EVA Duncan, Ted (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Duncan, Vivian (act) 617 TOPSY AND EVA Dunn, Josephine (act) 613 THE SORROWS OF SATAN Dunton, John (act) 609 AMERICA Durling, E.V. (st) 556 MANHATTAN MADNESS Duvoisin, Yvette (act) 565 HEARTS OF THE WORLD Dwan, Allan (d, unless otherwise noted) 523 JORDAN IS A HARD ROAD (also sc) 535 BETTY OF GREYSTONE 538 THE HABIT OF HAPPINESS (also sc) 540 THE GOOD BAD MAN 543 INTOLERANCE (prod advisor) 546 AN INNOCENT MAGDALENE 550 THE HALF-BREED 554 FIFTY FIFTY 556 MANHATTAN MADNESS Dyer, Madge (act) 542 MACBETH Dyer, Ralph (art d) 543 INTOLERANCE Dyke, W.S. Van see Van Dyke, W.S.

254

THE GRIFFITH PROJECT: VOLUME 11

E Eagle Eye same as Eagle Eye, Charles (act) 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART 513 THE BIRTH OF A NATION 518 THE LAMB 543 INTOLERANCE 574 THE FALL OF BABYLON Eagle, James (act) 624 ABRAHAM LINCOLN Earl, Miss (act) 003 RESCUED FROM AN EAGLE’S NEST Early, Dudley (titles) 617 TOPSY AND EVA Edwards, Edgar (act) 631 ONE MILLION B.C. Egan, Gladys (act) 044 BEHIND THE SCENES 049 THE ZULU’S HEART 057 ROMANCE OF A JEWESS 062 AFTER MANY YEARS 144 WHAT DRINK DID 150 THE LONELY VILLA 151 THE FADED LILLIES 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 157 THE MESSAGE 158 THE COUNTRY DOCTOR 159 THE SEVENTH DAY 161 JEALOUSY AND THE MAN 163 A CONVICT’S SACRIFICE 175 THEY WOULD ELOPE 180 THE HEART OF AN OUTLAW 186 THE CHILDREN’S FRIEND 190 A FAIR EXCHANGE 193 WANTED, A CHILD 195 THE LITTLE TEACHER 196 HIS LOST LOVE 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 223 THE ROCKY ROAD 226 THE CALL

227 ON THE REEF 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 238 THE NEWLYWEDS 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 248 UNEXPECTED HELP 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 252 THE UNCHANGING SEA 260 A CHILD OF THE GHETTO 262 IN THE BORDER STATES 265 A CHILD’S IMPULSE 270 A CHILD’S FAITH 273 AS THE BELLS RANG OUT! 277 THE HOUSE WITH CLOSED SHUTTERS 278 A SALUTARY LESSON 279 THE SORROWS OF THE UNFAITHFUL 280 THE USURER 284 LITTLE ANGELS OF LUCK 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 292 THE BROKEN DOLL 296 WAITER NO. 5 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 311 HIS TRUST FULFILLED 321 HIS DAUGHTER 323 CONSCIENCE 334 THE TWO SIDES 340 A ROMANY TRAGEDY 341 THE CROOKED ROAD 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 355 THE RULING PASSION 365 THE MAKING OF A MAN 391 THE SUNBEAM 423? A CHILD’S REMORSE 433 THE PAINTED LADY 452 FATE Elinor, Carli Densmore same as Elinor, Carli (m) 513 THE BIRTH OF A NATION 565 HEARTS OF THE WORLD 568 THE GREAT LOVE 255

THE GRIFFITH PROJECT: VOLUME 11

Eliot, George (source) 190 A FAIR EXCHANGE Elliott, William (prod mgr) 565 HEARTS OF THE WORLD Elmer, William (act) 467 THE LEFT-HANDED MAN 472 THE HOUSE OF DARKNESS 478 THE MOTHERING HEART 490 THE REFORMERS Elmore, Pearl same as Elsmore, Pearl; Elmore, Pearle (act) 529 THE WOOD NYMPH 532 DAPHNE AND THE PIRATE 534 HOODOO ANN 537 SOLD FOR MARRIAGE 543 INTOLERANCE 575 THE MOTHER AND THE LAW Elsie, Lily see Buller, Mrs. Elsky, H. (act) 500 A FAIR REBEL Elsmore, Pearl see Elmore, Pearl Emerson, John (d, unless otherwise noted) 515 GHOSTS (adapt) 519 OLD HEIDELBERG (also sc) 530 HIS PICTURE IN THE PAPERS (also sc) 533 THE FLYING TORPEDO (sc, act) 542 MACBETH (also adapt) 545 THE MYSTERY OF THE LEAPING FISH 553 THE SOCIAL SECRETARY (also sc) 560 THE MATRIMANIAC (sc) 561 THE AMERICANO (also sc) 627 THE STRUGGLE (sc, st) 629 SAN FRANCISCO (pr) Emmett, Katherine (act) 603 ORPHANS OF THE STORM Emmons, Marion (act) 565 HEARTS OF THE WORLD English, Shorty (carpenter) 543 INTOLERANCE 574 THE FALL OF BABYLON Ettinger, Maggie (press agent) 565* HEARTS OF THE WORLD Evans, Frank (act) 172 WITH HER CARD 190 A FAIR EXCHANGE 191 LEATHER STOCKING 196 HIS LOST LOVE

197 THE EXPIATION 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 205 A MIDNIGHT ADVENTURE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 223 THE ROCKY ROAD 224 THE DANCING GIRL OF BUTTE 226 THE CALL 227 ON THE REEF 228 THE LAST DEAL 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 238 THE NEWLYWEDS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 262 IN THE BORDER STATES 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 270 A CHILD’S FAITH 275 AN ARCADIAN MAID 277 THE HOUSE WITH CLOSED SHUTTERS 280 THE USURER 282 THE MODERN PRODIGAL 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 256

THE GRIFFITH PROJECT: VOLUME 11

Evans, Frank–cont. 298 THE FUGITIVE 303 A CHILD’S STRATAGEM 307 WINNING BACK HIS LOVE 312 THE TWO PATHS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 323 CONSCIENCE 352 A COUNTRY CUPID 355 THE RULING PASSION 358 SWORDS AND HEARTS 365 THE MAKING OF A MAN 366 HER AWAKENING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 374 A WOMAN SCORNED 375 THE MISER’S HEART 376 THE FAILURE 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 387 BILLY’S STRATAGEM 389 THE TRANSFORMATION OF MIKE 394 UNDER BURNING SKIES 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 406 A LODGING FOR THE NIGHT 408 WHEN KINGS WERE THE LAW 410 HOME FOLKS 411 A TEMPORARY TRUCE 417 HEAVEN AVENGES 422 THE NARROW ROAD 424 THE INNER CIRCLE 428 FRIENDS 430 A FEUD IN THE KENTUCKY HILLS 434 THE MUSKETEERS OF PIG ALLEY 439 BRUTALITY 440 THE UNWELCOME GUEST 442 MY HERO 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 446 THREE FRIENDS 448 OIL AND WATER

452 FATE 454 A MISAPPROPRIATED TURKEY 458 LOVE IN AN APARTMENT HOTEL 464 THE HERO OF LITTLE ITALY 467 THE LEFT-HANDED MAN 476 A TIMELY INTERCEPTION 479 THE YAQUI CUR 481 HER MOTHER’S OATH 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA Evelyn, Mildred (act) 606 PADDY – THE-NEXT-BEST-THING Everton, Paul (act) 612 THAT ROYLE GIRL

F Fair, Florence (act) 611 SALLY OF THE SAWDUST Fairbanks, Douglas (act, unless otherwise noted) 517 THE MARTYRS OF THE ALAMO 518 THE LAMB 522 DOUBLE TROUBLE 530 HIS PICTURE IN THE PAPERS 538 THE HABIT OF HAPPINESS 540 THE GOOD BAD MAN (also sc, st) 543 INTOLERANCE 544 REGGIE MIXES IN 545 THE MYSTERY OF THE LEAPING FISH 548 FLIRTING WITH FATE 550 THE HALF-BREED 556 MANHATTAN MADNESS 558 AMERICAN ARISTOCRACY 560 THE MATRIMANIAC 561 THE AMERICANO 574 THE FALL OF BABYLON 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (on camera) 579 THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLES CHAPLIN AND W.S. HART (on camera) 615 [D.W. GRIFFITH RETURNS TO LOS ANGELES] (on camera)

257

THE GRIFFITH PROJECT: VOLUME 11

Fairbanks, Douglas, Jr. (act) 558* AMERICAN ARISTOCRACY Farley, James (act) 584 NUGGET NELL Farnham, Joseph W. (ed, add titles) 596 THE COUNTRY FLAPPER Fawcett, George (act, unless otherwise noted) 535 BETTY OF GREYSTONE 538 THE HABIT OF HAPPINESS 543? INTOLERANCE 565 HEARTS OF THE WORLD 566 THE HUN WITHIN 567 GAUMONT NEWS, VOL. XVI, NO. 2-L 568 THE GREAT LOVE 569 LILLIAN GISH IN A LIBERTY LOAN APPEAL 570 A ROMANCE OF HAPPY VALLEY 573 THE HOPE CHEST 574? THE FALL OF BABYLON 580 THE GIRL WHO STAYED AT HOME 582 I’LL GET HIM YET 583 TRUE HEART SUSIE 586 NOBODY HOME 587 TURNING THE TABLES 588 THE GREATEST QUESTION 589 SCARLET DAYS 597 LITTLE MISS REBELLION (d) 621 LADY OF THE PAVEMENTS Faye, Julia (act) 528 DON QUIXOTE 539? SUNSHINE DAD Ferguson, Myrtle (act) 617 TOPSY AND EVA Ferguson, W.J. (act) 601 DREAM STREET Fields, W.C. (act) 611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL Fife, Shannon (sc) 538 THE HABIT OF HAPPINESS Fildew, William E. (ph) 514 ENOCH ARDEN 517 THE MARTYRS OF THE ALAMO 518 THE LAMB 522 DOUBLE TROUBLE

532 DAPHNE AND THE PIRATE 537 SOLD FOR MARRIAGE 544 REGGIE MIXES IN 548 FLIRTING WITH FATE Filson, Al W. (act) 515 GHOSTS Finch, Flora (act) 067 MRS. JONES ENTERTAINS 077 THE HELPING HAND 080 A WREATH TIME 087 MR. JONES HAS A CARD PARTY 094 THOSE AWFUL HATS 100 JONES AND THE LADY BOOK AGENT 153 THE WAY OF MAN 267* MUGGSY’S FIRST SWEETHEART 603 ORPHANS OF THE STORM Fink, Adolph (m) 609 AMERICA Fischbeck, Harry (ph) 611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL 613 THE SORROWS OF SATAN Fisher, Mary Gale (act) 631 ONE MILLION B.C. Fitzroy, Emily (act) 598 WAY DOWN EAST Fleming, Bob (act) 584 NUGGET NELL Fleming, Caryl (act) 506 THE FLOOR ABOVE Fleming, Charles (act) 501 THE WIFE Fleming, Victor (ph, unless otherwise noted) 540 THE GOOD BAD MAN 543 INTOLERANCE (asst d) 556* MANHATTAN MADNESS 558* AMERICAN ARISTOCRACY 561 THE AMERICANO Flinn, John C. (prod mgr) 559 A DAY WITH GOVERNOR WHITMAN Flynn, Emmett (asst d) 530 HIS PICTURE IN THE PAPERS Foote, Courtenay (act) 429 SO NEAR, YET SO FAR 509 HOME, SWEET HOME 525 CROSS CURRENTS 258

THE GRIFFITH PROJECT: VOLUME 11

Ford, Harrison (act) 612 THAT ROYLE GIRL Ford, John (act) 513? THE BIRTH OF A NATION Forde, Victoria (act) 479 THE YAQUI CUR Formes, Carl, Jr. same as Formes, Karl, Jr. (act) 515 GHOSTS 519 OLD HEIDELBERG 542 MACBETH Foster, Darby (act) 606 PADDY – THE-NEXT-BEST-THING Foster, Edna (act) 351 BOBBY, THE COWARD 352 A COUNTRY CUPID 355 THE RULING PASSION 364 THE OLD CONFECTIONER’S MISTAKE 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 384 FOR HIS SON 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 389 THE TRANSFORMATION OF MIKE 391 THE SUNBEAM 454 A MISAPPROPRIATED TURKEY Fovieri, Ninon (act) 526 LET KATIE DO IT 549 THE LITTLE SCHOOL MA’AM Foxe, Earle (act) 506 THE FLOOR ABOVE 509? HOME, SWEET HOME Foy, Mary same as Foy, Mrs. Marie (act) 600 THE GHOST IN THE GARRET 607 THE WHITE ROSE Frank, Herbert (act) 553 THE SOCIAL SECRETARY Franklin, Chester M. same as Franklin, C.M. (d) 526 LET KATIE DO IT 531 MARTHA’S VINDICATION 549 THE LITTLE SCHOOL MA’AM Franklin, Sidney A. same as Franklin, S.A. (d)

526 LET KATIE DO IT 531 MARTHA’S VINDICATION 549 THE LITTLE SCHOOL MA’AM Freed, Arthur (m) 629 SAN FRANCISCO Freeland, Thornton (asst d) 618 THE DRUMS OF LOVE Freeman, Helen (act) 624 ABRAHAM LINCOLN Freeman, William (act) 513 THE BIRTH OF A NATION Fremont, Marian same as Fremont, Marion? (st) 583 TRUE HEART SUSIE French, John see Stanley, Maxfield French, Park (set designer) 618 THE DRUMS OF LOVE 624 ABRAHAM LINCOLN Frickert, Joseph (prod script) 631 ONE MILLION B.C. Fruen, Patricia (act) 598 WAY DOWN EAST Fuehrer, Bobbie (act) 539? SUNSHINE DAD Furst, William (m) 526 LET KATIE DO IT

G Gable, Clark (act) 629 SAN FRANCISCO Garbutt, Frank E. (st) 581? PEPPY POLLY Garmes, Lee (ph) 573 THE HOPE CHEST 582 I’LL GET HIM YET 584 NUGGET NELL 586 NOBODY HOME Gaudio, Tony (ph) 494 CLASSMATES [1913] 495 STRONGHEART 497 MEN AND WOMEN Gauntier, Gene 014? HULDA’S LOVERS (st) 021 THE MAN IN THE BOX (act) Gaye, Howard (act, unless otherwise noted) 509 HOME, SWEET HOME 513 THE BIRTH OF A NATION (also asst d) 259

THE GRIFFITH PROJECT: VOLUME 11

Gaye, Howard–cont. 532 DAPHNE AND THE PIRATE 543 INTOLERANCE 548 FLIRTING WITH FATE 549 THE LITTLE SCHOOL MA’AM 552 THE DEVIL’S NEEDLE 555 DIANE OF THE FOLLIES Gayer Mackay, Edith same as Ord, Robert (source) 606 PADDY – THE-NEXT-BEST-THING Gayer Mackay, W. (source) 606 PADDY – THE-NEXT-BEST-THING Gebhardt, George same as Gebhard, George (act) 021 THE MAN IN THE BOX 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 028 THE BLACK VIPER 029 THE FIGHT FOR FREEDOM 030 THE REDMAN AND THE CHILD 032 A CALAMITOUS ELOPEMENT 033 THE TAVERN-KEEPER’S DAUGHTER 034 DECEIVED SLUMMING PARTY 035 THE GREASER’S GAUNTLET 036 THE MAN AND THE WOMAN 037 FOR LOVE OF GOD 038 THE FATAL HOUR 039 BALKED AT THE ALTAR 040 FOR A WIFE’S HONOR 041 THE GIRL AND THE OUTLAW 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 043 THE RED GIRL 044 BEHIND THE SCENES 045 THE HEART OF O YAMA 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 049 THE ZULU’S HEART 050 THE VAQUERO’S VOW 051 FATHER GETS IN THE GAME 052 THE BARBARIAN, INGOMAR 053 THE PLANTER’S WIFE 054 THE DEVIL 055 THE STOLEN JEWELS 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS 058 THE CALL OF THE WILD

059 CONCEALING A BURGLAR 060 A WOMAN’S WAY 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 063 THE PIRATE’S GOLD 064 THE GUERRILLA 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE 068 THE INGRATE 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 078 THE MANIAC COOK 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 081 THE HONOR OF THIEVES 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 089 THE WELCOME BURGLAR 090 THE HINDOO DAGGER 091 LOVE FINDS A WAY 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 100 JONES AND THE LADY BOOK AGENT 102 THE GOLDEN LOUIS 106 AT THE ALTAR 111 THE SALVATION ARMY LASS 507 THE DISHONORED MEDAL Geldert, Clarence H. (act) 523 JORDAN IS A HARD ROAD 543 INTOLERANCE Geneva, Florence (act) 427 TWO DAUGHTERS OF EVE 429 SO NEAR, YET SO FAR 260

THE GRIFFITH PROJECT: VOLUME 11

Georg, Victor (titles) 598 WAY DOWN EAST George, David Lloyd see Lloyd George, David George White’s Scandals (dancers) 612 THAT ROYLE GIRL Gerard, Charles see Gerrard, Charles Gerrard, Charles same as Gerard, Charles (act) 566 THE HUN WITHIN 590 MARY ELLEN COMES TO TOWN Gest, Morris (prod mgr) 565 HEARTS OF THE WORLD Gibbons, Cedric (art d) 629 SAN FRANCISCO Gibbs, Philip (act) 563? GRIFFITH AT THE FRONT Gibson, James (act) 519 OLD HEIDELBERG Giesy, J.U. (st) 560 THE MATRIMANIAC Gilbert, Paul (act) 612 THAT ROYLE GIRL Gillespie, Arnold (assoc art d) 629 SAN FRANCISCO Gilmore, Paul (act) 524 THE PENITENTES Gilson, Charles (asst ph) 612 THAT ROYLE GIRL Gish, Dorothy same as Carter, Dorothy Elizabeth (act, unless otherwise noted) 426 AN UNSEEN ENEMY 429 SO NEAR, YET SO FAR 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 442 MY HERO 448 OIL AND WATER 459 BROKEN WAYS 465 THE PERFIDY OF MARY 469 THE LADY AND THE MOUSE 474 JUST GOLD 475 HIS MOTHER’S SON 481 HER MOTHER’S OATH 490 THE REFORMERS 492 JUDITH OF BETHULIA

493 THE ADOPTED BROTHER 499 LIBERTY BELLES 500 A FAIR REBEL 501 THE WIFE 506 THE FLOOR ABOVE 508 THE MOUNTAIN RAT 509 HOME, SWEET HOME 511 THE PAINTED LADY 519 OLD HEIDELBERG 523 JORDAN IS A HARD ROAD 535 BETTY OF GREYSTONE 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 549 THE LITTLE SCHOOL MA’AM 565 HEARTS OF THE WORLD 566 THE HUN WITHIN 571 BATTLING JANE 573 THE HOPE CHEST 577 BOOTS 581 PEPPY POLLY 582 I’LL GET HIM YET 584 NUGGET NELL 586 NOBODY HOME 587 TURNING THE TABLES 590 MARY ELLEN COMES TO TOWN 593 REMODELING HER HUSBAND (also sc and st as Dorothy Elizabeth Carter) 596 THE COUNTRY FLAPPER 597 LITTLE MISS REBELLION 599 FLYING PAT 600 THE GHOST IN THE GARRET 603 ORPHANS OF THE STORM Gish, Lillian same as Carter, Dorothy Elizabeth (act, unless otherwise noted) 426 AN UNSEEN ENEMY 429 SO NEAR, YET SO FAR 431 IN THE AISLES OF THE WILD 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 436 GOLD AND GLITTER 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 443 THE BURGLAR’S DILEMMA 444 A CRY FOR HELP 448 OIL AND WATER 466 A MISUNDERSTOOD BOY 261

THE GRIFFITH PROJECT: VOLUME 11

Gish, Lillian–cont. 467 THE LEFT-HANDED MAN 469 THE LADY AND THE MOUSE 472 THE HOUSE OF DARKNESS 474 JUST GOLD 476 A TIMELY INTERCEPTION 478 THE MOTHERING HEART 483 THE BATTLE AT ELDERBUSH GULCH 492 JUDITH OF BETHULIA 496 LORD CHUMLEY 498 MAN’S ENEMY 503 THE BATTLE OF THE SEXES 509 HOME, SWEET HOME 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION 514 ENOCH ARDEN 521 THE LILY AND THE ROSE 532 DAPHNE AND THE PIRATE 537 SOLD FOR MARRIAGE 543 INTOLERANCE (also research asst) 546 AN INNOCENT MAGDALENE 555 DIANE OF THE FOLLIES 565 HEARTS OF THE WORLD 567 GAUMONT NEWS, VOL. XVI, NO. 2-L 568 THE GREAT LOVE 569 LILLIAN GISH IN A LIBERTY LOAN APPEAL 570 A ROMANCE OF HAPPY VALLEY 572 THE GREATEST THING IN LIFE 574 THE FALL OF BABYLON (research asst) 576 BROKEN BLOSSOMS 583 TRUE HEART SUSIE 588 THE GREATEST QUESTION 598 WAY DOWN EAST 593 REMODELING HER HUSBAND (sc and st as Dorothy Elizabeth Carter; d, set design supervisor, costumes supervisor, props supervisor) 595 A GREAT PICTURE IN THE MAKING (on camera) 603 ORPHANS OF THE STORM Gish, Mrs. Mary (act) 565 HEARTS OF THE WORLD Gleason, Adda (act) 631 ONE MILLION B.C.

Golden, Olive Fuller (act) 465? THE PERFIDY OF MARY 482 THE SORROWFUL SHORE Goldstein, Robert (costumes) 513 THE BIRTH OF A NATION Good, F.B. 513 THE BIRTH OF A NATION (asst ph) 526 LET KATIE DO IT (ph) Goodman, Daniel Carson 503 THE BATTLE OF THE SEXES [1914] (sc) 505? THE ESCAPE (add footage) 619 THE BATTLE OF THE SEXES [1928] (source) Gorman, Charles (act) 348 THE BLIND PRINCESS AND THE POET 380 A TERRIBLE DISCOVERY 385 THE OLD BOOKKEEPER 394 UNDER BURNING SKIES 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 404 THE LESSER EVIL 407 HIS LESSON 408 WHEN KINGS WERE THE LAW 410 HOME FOLKS 411 A TEMPORARY TRUCE 418 THE MASSACRE 422 THE NARROW ROAD 424 THE INNER CIRCLE 433 THE PAINTED LADY 445 THE GOD WITHIN 452 FATE 457 WHEN LOVE FORGIVES 459 BROKEN WAYS 467 THE LEFT-HANDED MAN 476 A TIMELY INTERCEPTION 479 THE YAQUI CUR 481 HER MOTHER’S OATH 483 THE BATTLE AT ELDERBUSH GULCH 485 THE MISTAKE 490 THE REFORMERS 493 THE ADOPTED BROTHER 526 LET KATIE DO IT 262

THE GRIFFITH PROJECT: VOLUME 11

Gosden, Alfred same as Gosden, A.G.; Gosden, Alfred G. (ph) 528 DON QUIXOTE 539 SUNSHINE DAD Gottschalk, Louis F. (m) 568 THE GREAT LOVE 574 THE FALL OF BABYLON 575 THE MOTHER AND THE LAW 576 BROKEN BLOSSOMS 603 ORPHANS OF THE STORM Goudal, Jetta (act) 621 LADY OF THE PAVEMENTS Gounod, Charles (m) 629 SAN FRANCISCO Gowland, Gibson (act) 513 THE BIRTH OF A NATION 617 TOPSY AND EVA Graham, Fred (act) 529 THE WOOD NYMPH Grandon, Francis J. same as Grandon, Francis (act, unless otherwise noted) 203 THE LIGHT THAT CAME 206 TWO WOMEN AND A MAN 224 THE DANCING GIRL OF BUTTE 226? THE CALL 229? THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 235 HIS LAST BURGLARY 237 TAMING A HUSBAND 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 241 THE MAN 243 FAITHFUL 246 GOLD IS NOT ALL 247 A RICH REVENGE 248 UNEXPECTED HELP 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES 255 RAMONA 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO

262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 266 THE PURGATION 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 271 SERIOUS SIXTEEN 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 294 THE MESSAGE OF THE VIOLIN 297 SIMPLE CHARITY 298 THE FUGITIVE 299 SUNSHINE SUE 300 THE SONG OF THE WILDWOOD FLUTE 304 THE GOLDEN SUPPER 308 A WREATH OF ORANGE BLOSSOMS 310 HIS TRUST 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 331 MADAME REX 334 THE TWO SIDES 335 IN THE DAYS OF ’49 263

THE GRIFFITH PROJECT: VOLUME 11

Grandon, Francis–cont. 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 343 THE PRIMAL CALL 345 THE INDIAN BROTHERS 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 358 SWORDS AND HEARTS 525 CROSS CURRENTS (d) Grassby, Bertram same as Grasby, Bertram (act) 570 A ROMANCE OF HAPPY VALLEY 571 BATTLING JANE 573 THE HOPE CHEST Grasse, Sam de; Grasse, Sam De see de Grasse, Sam Grauman, Sid (on camera) 615 [D.W. GRIFFITH RETURNS TO LOS ANGELES] Graver, Ben (act) 592 THE IDOL DANCER Graves, Ralph (act) 582 I’LL GET HIM YET 586 NOBODY HOME 588 THE GREATEST QUESTION 589 SCARLET DAYS 590 MARY ELLEN COMES TO TOWN 597 LITTLE MISS REBELLION 601 DREAM STREET Gray, Olga see Grey, Olga Gray, Ray same as Grey, Ray (act) 600 THE GHOST IN THE GARRET Graybill, Joseph (act, unless otherwise noted) 261 A VICTIM OF JEALOUSY 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID

277 THE HOUSE WITH CLOSED SHUTTERS 286 IN LIFE’S CYCLE 292 THE BROKEN DOLL 306 THE LESSON 307 WINNING BACK HIS LOVE 309 THE ITALIAN BARBER 310 HIS TRUST 317 A DECREE OF DESTINY 320 FISHER FOLKS 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 331 MADAME REX 333 HOW SHE TRIUMPHED 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 339 THE WHITE ROSE OF THE WILDS 340? A ROMANY TRAGEDY 341 THE CROOKED ROAD 343 THE PRIMAL CALL 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 352 A COUNTRY CUPID 363? ITALIAN BLOOD 365 THE MAKING OF A MAN 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 371 LOVE IN THE HILLS 373 THROUGH DARKENED VALES 376 THE FAILURE 379 SAVED FROM HIMSELF 383 THE VOICE OF THE CHILD 388 A BLOT IN THE ’SCUTCHEON 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY (au) 436 GOLD AND GLITTER 438 THE INFORMER 439 BRUTALITY 445 THE GOD WITHIN 460 A GIRL’S STRATAGEM Greenwald, Sanford (ph) 628 HEARST METROTONE NEWS [VOL. 7, NO. 250] 264

THE GRIFFITH PROJECT: VOLUME 11

Grey, A. Griffith (prod advisor) 627 THE STRUGGLE Grey, Albert L. (prod mgr, unless otherwise noted) 598 WAY DOWN EAST 601 DREAM STREET 603 ORPHANS OF THE STORM 608 HIS DARKER SELF (presented by, pr) 610 ISN’T LIFE WONDERFUL Grey, Sir Edward (act) 565*? HEARTS OF THE WORLD Grey, Jane (act) 526 LET KATIE DO IT Grey, Olga same as Gray, Olga (act) 513 THE BIRTH OF A NATION 516 PILLARS OF SOCIETY 522 DOUBLE TROUBLE 542 MACBETH 543 INTOLERANCE 547 THE WILD GIRL OF THE SIERRAS Grey, Ray see Gray, Ray Griffin, C. Elliott (act) 516? PILLARS OF SOCIETY Griffith, Corinne (act) 614 [SCREEN SNAPSHOTS] Griffith, D.W. same as de Tolignac, M. Gaston; Guilio, Dante; Marier, Captain Victor; Maurier, Captain Victor; Sinclair, Roy; Warwick, Granville; Sinclair, Irene (in capacities other than director) 001 PROFESSIONAL JEALOUSY (act) 002 FALSELY ACCUSED! (act) 003 RESCUED FROM AN EAGLE’S NEST (act) 004 CLASSMATES [1908] (act) 005 CUPID’S PRANKS (act) 006 THE PRINCESS IN THE VASE (act) 007 THE YELLOW PERIL (act) 008? HER FIRST ADVENTURE (act) 009 CAUGHT BY WIRELESS (act) 010 OLD ISAACS, THE PAWNBROKER (act) 011 A FAMOUS ESCAPE (act) 012 KING OF THE CANNIBAL ISLANDS (act) 013? THE MUSIC MASTER (act) 014? HULDA’S LOVERS (act)

015 THE KING’S MESSENGER (act) 016 THE SCULPTOR’S NIGHTMARE (act) 019 ’OSTLER JOE (act) 020 THE INVISIBLE FLUID (act) 021 THE MAN IN THE BOX (act) 023 AT THE FRENCH BALL (act) 024 AT THE CROSSROADS OF LIFE (act) 025 THE KENTUCKIAN (act) 026 THE STAGE RUSTLER (act) 028 THE BLACK VIPER (act) 032 A CALAMITOUS ELOPEMENT (act) 034 DECEIVED SLUMMING PARTY (act) 038 THE FATAL HOUR (act) 043 THE RED GIRL (act) 045? THE HEART OF O YAMA (act) 055 THE STOLEN JEWELS (act) 097 THE GIRLS AND DADDY (act) 368 THE ADVENTURES OF BILLY (act) 427 TWO DAUGHTERS OF EVE (act) 487 [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] (act) 491 [JUDITH OF BETHULIA (OUTTAKES)] (act) 518 THE LAMB (source, as Granville Warwick) 521 THE LILY AND THE ROSE (sc, as Granville Warwick) 522? DOUBLE TROUBLE (sc and st, as Granville Warwick) 526 LET KATIE DO IT (st, as Granville Warwick) 527 THE MISSING LINKS (source and au, as Granville Warwick) 529 THE WOOD NYMPH (st and source, as Granville Warwick) 532 DAPHNE AND THE PIRATE (sc, as Granville Warwick) 534 HOODOO ANN (sc, as Granville Warwick) 543 INTOLERANCE (m, titles) 545? THE MYSTERY OF THE LEAPING FISH (st, as Granville Warwick) 546 AN INNOCENT MAGDALENE (st, as Granville Warwick) 265

THE GRIFFITH PROJECT: VOLUME 11

Griffith, D.W.–cont. 551 THE MARRIAGE OF MOLLY-O (st, as Granville Warwick) 552? THE DEVIL’S NEEDLE (act) 555 DIANE OF THE FOLLIES (sc, as Granville Warwick) 562 [FILM POUR LES AMÉRICAINS I, II, III] (ph) 563 GRIFFITH AT THE FRONT (act) 564 [GRIFFITH MEETS SOCIETY LADIES] (act) 565 HEARTS OF THE WORLD (sc, as M. Gaston de Tolignac; translation, as Captain Victor Marier; m) 566 THE HUN WITHIN (sc, as Granville Warwick; pseudonym co-attributed to Stanner E.V. Taylor) 567 GAUMONT NEWS, VOL. XVI, NO. 2-L (act) 568 THE GREAT LOVE (act; sc and st, as Captain Victor Marier; pseudonym co-attributed to Stanner E.V. Taylor) 569? LILLIAN GISH IN A LIBERTY LOAN APPEAL (au) 570 A ROMANCE OF HAPPY VALLEY (sc, as Captain Victor Marier) 572 THE GREATEST THING IN LIFE (sc, as Captain Victor Maurier; pseudonym co-attributed to Stanner E.V. Taylor) 574 THE FALL OF BABYLON (ed, titles) 575 THE MOTHER AND THE LAW (ed, titles) 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (on camera) 579 THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART (on camera) 580 THE GIRL WHO STAYED AT HOME (pr) 581 PEPPY POLLY (supervision) 582 I’LL GET HIM YET (supervision) 583 TRUE HEART SUSIE (presented by) 584 NUGGET NELL (supervision) 585 THE WORLD AT COLUMBUS (pr, supervision?)

586 NOBODY HOME (supervision) 587 TURNING THE TABLES (supervision) 588 THE GREATEST QUESTION (presented by, sc) 589 SCARLET DAYS (presented by, pr) 591 THE LOVE FLOWER (adapt, pr) 593 REMODELING HER HUSBAND (supervision) 594 ROMANCE (pr) 595 A GREAT FEATURE IN THE MAKING (on camera) 596 THE COUNTRY FLAPPER (presented by, pr, supervision) 597 LITTLE MISS REBELLION (supervision) 598 WAY DOWN EAST (presented by) 600 THE GHOST IN THE GARRET (supervision) 601 DREAM STREET (sc as Roy Sinclair; presented by, pr) 602 [PROLOGUE TO DREAM STREET] (act) 603 ORPHANS OF THE STORM (sc as Marquis [Gaston] de Tolignac; presented by, pr) 604 [PERSONALITIES OF THE TWENTIES] (on camera) 605 ONE EXCITING NIGHT (st as Irene Sinclair) 607 THE WHITE ROSE (sc and st as Irene Sinclair; presented by) 609 AMERICA (presented by, pr) 610 ISN’T LIFE WONDERFUL (pr, sc) 611 SALLY OF THE SAWDUST (pr) 612 THAT ROYLE GIRL (pr) 613 THE SORROWS OF SATAN (pr) 614 [SCREEN SNAPSHOTS] (act) 615 [D.W. GRIFFITH RETURNS TO LOS ANGELES] (on camera) 616 [D.W. GRIFFITH ON THE SET OF THE KING OF KINGS] (on camera) 617 TOPSY AND EVA (d-add scenes, ed-revisions) 618 THE DRUMS OF LOVE (presented by, pr; titles uncredited) 620 [UNIDENTIFIED NEWSREEL EXCERPT: BEAUTY CONTEST?] (on camera) 266

THE GRIFFITH PROJECT: VOLUME 11

Griffith, D.W.–cont. 622 [TELEVISION BROADCAST: D.W. GRIFFITH TALKS ABOUT SUCCESS IN THE MOVIES] (on camera) 623 [MARY PICKFORD AND GUESTS] (on camera) 625 [D.W. GRIFFITH AT PREMIERE OF THE FLORODORA GIRL] (on camera) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] (act, pr) 627 THE STRUGGLE (sc uncredited, m) 628 HEARST METROTONE NEWS [VOL. 7, NO. 250] (on camera) 630 [D.W. GRIFFITH MEETS HAL ROACH] (on camera) 631 ONE MILLION B.C. (pr, st, casting – all uncredited) 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] (on camera) 633 [ACADEMY AWARDS, 18TH] (on camera) Griffith, Evelyn Baldwin see Baldwin, Evelyn Grismer, Joseph R. (source) 598 WAY DOWN EAST Griswold, Grace (act) 605 ONE EXCITING NIGHT Guilio, Dante see Griffith, D.W. Guiol, Fred (property boy) 565* HEARTS OF THE WORLD Guissart, Rene (ph) 606 PADDY – THE-NEXT-BESTTHING Günther, Dr. Felix (m) 543 INTOLERANCE

H Hackett, Albert (act) 596 THE COUNTRY FLAPPER Hackett, Raymond (act) 596 THE COUNTRY FLAPPER Hagan, Edna same as Hagen, Edna (act) 627 THE STRUGGLE

Hagney, Frank (act) 600 THE GHOST IN THE GARRET Haines, Rhea (act) 587 TURNING THE TABLES 589 SCARLET DAYS 590 MARY ELLEN COMES TO TOWN Haldeman, Edith same as Halderman, Edith (act) 190 A FAIR EXCHANGE 191 LEATHER STOCKING 193 WANTED, A CHILD 195 THE LITTLE TEACHER 207 THE OPEN GATE 212 THE DEATH DISC 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 223 THE ROCKY ROAD 228 THE LAST DEAL 230 THE CLOISTER’S TOUCH 236 THE FINAL SETTLEMENT 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 295 TWO LITTLE WAIFS 310 HIS TRUST 312 THE TWO PATHS 382 THE BABY AND THE STORK 423 A CHILD’S REMORSE Hale, Alan (act) 495 STRONGHEART 497 MEN AND WOMEN 614 [SCREEN SNAPSHOTS] Hale, Creighton (act) 592 THE IDOL DANCER 598 WAY DOWN EAST 603 ORPHANS OF THE STORM 631 ONE MILLION B.C. Hale, William (st) 588 THE GREATEST QUESTION Hall, Ben (act) 631 ONE MILLION B.C. Hall, Charles D. (art d) 631 ONE MILLION B.C. Hall, Ella (act) 414? THE SCHOOL TEACHER AND THE WAIF 267

THE GRIFFITH PROJECT: VOLUME 11

Hall, Emmett Campbell (au, unless otherwise noted) 277 THE HOUSE WITH CLOSED SHUTTERS 288 ROSE O’ SALEM-TOWN 291 THAT CHINK AT GOLDEN GULCH 310 HIS TRUST (sc) 311 HIS TRUST FULFILLED (sc) 324 WAS HE A COWARD? (sc) 325 TEACHING DAD TO LIKE HER 343 THE PRIMAL CALL 353 OUT FROM THE SHADOW 358 SWORDS AND HEARTS 384 FOR HIS SON (sc) Hall, George (act) 545 THE MYSTERY OF THE LEAPING FISH Hall, May (act) 571 BATTLING JANE Hall, Walter L. (set design) 543 INTOLERANCE 574 THE FALL OF BABYLON Halliday, Jackson (act) 627 THE STRUGGLE Halm, Friedrich (source) 052 THE BARBARIAN, INGOMAR Halsey, Forrest 611 SALLY OF THE SAWDUST (adapt, sc) 613 THE SORROWS OF SATAN (sc) Hamberg, A.P. 585 THE WORLD AT COLUMBUS (d?, supervision) Hamer, Fred (asst d) 513 THE BIRTH OF A NATION Hamilton, Harley (m) 570 A ROMANCE OF HAPPY VALLEY Hamilton, Lloyd (act) 608 HIS DARKER SELF Hamilton, Neil (act) 567? GAUMONT NEWS, VOL. XVI, NO. 2-L 607 THE WHITE ROSE 609 AMERICA 610 ISN’T LIFE WONDERFUL Hammond, Charles (act) 611 SALLY OF THE SAWDUST

Hammond, Kay (act) 624 ABRAHAM LINCOLN Handforth, Ruth same as Handford, Ruth (act) 543 INTOLERANCE Handyside, Clarence (act) 530 HIS PICTURE IN THE PAPERS Hanley, Thomas (prod advisor) 559 A DAY WITH GOVERNOR WHITMAN Hann, Harry (act) 524 THE PENITENTES Hansen, Juanita (act) 517 THE MARTYRS OF THE ALAMO Harlan, Kenneth (act) 629 SAN FRANCISCO Harlan, Macey same as Harlam, Macey (act) 535 BETTY OF GREYSTONE 538 THE HABIT OF HAPPINESS 556 MANHATTAN MADNESS Harley, Edwin (act) 531 MARTHA’S VINDICATION 541 SUSAN ROCKS THE BOAT 551 THE MARRIAGE OF MOLLY-O Harris, Caroline (act) 155? THE NECKLACE Harris, Leonore (act) 535 BETTY OF GREYSTONE Harris, Marcia (act) 610 ISN’T LIFE WONDERFUL 613 THE SORROWS OF SATAN Harris, Mildred (act) 534 HOODOO ANN 543 INTOLERANCE 557 THE OLD FOLKS AT HOME 561 THE AMERICANO 574 THE FALL OF BABYLON Harris, Theodosia (st) 517 THE MARTYRS OF THE ALAMO Harrison, Irma (act) 605 ONE EXCITING NIGHT 608 HIS DARKER SELF Harron, Jessie (act) 565 HEARTS OF THE WORLD Harron, Johnny (act) 565 HEARTS OF THE WORLD Harron, Mary (act) 565 HEARTS OF THE WORLD Harron, Mrs.? (act) 565 HEARTS OF THE WORLD 268

THE GRIFFITH PROJECT: VOLUME 11

Harron, Robert same as Herron, Robert (act) 001 PROFESSIONAL JEALOUSY 008 HER FIRST ADVENTURE 018 MIXED BABIES 023 AT THE FRENCH BALL 024 AT THE CROSSROADS OF LIFE 032 A CALAMITOUS ELOPEMENT 039 BALKED AT THE ALTAR 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 044 BEHIND THE SCENES 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 059 CONCEALING A BURGLAR 065 THE SONG OF THE SHIRT 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 080 A WREATH TIME 087 MR. JONES HAS A CARD PARTY 089 THE WELCOME BURGLAR 090 THE HINDOO DAGGER 094 THOSE AWFUL HATS 095 TRAGIC LOVE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 100 JONES AND THE LADY BOOK AGENT 101 HIS WIFE’S MOTHER 106 AT THE ALTAR 111 THE SALVATION ARMY LASS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 121 A BURGLAR’S MISTAKE 127 THE NOTE IN THE SHOE 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 133 THE DRIVE FOR A LIFE 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 146 THE PEACHBASKET HAT 149 HIS DUTY 157 THE MESSAGE 175 THEY WOULD ELOPE 179 PRANKS

181 “1776” OR, THE HESSIAN RENEGADES 183 IN OLD KENTUCKY 187 THE BROKEN LOCKET 208 SWEET REVENGE 213 THROUGH THE BREAKERS 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 221 TO SAVE HER SOUL 225 HER TERRIBLE ORDEAL 226 THE CALL 238 THE NEWLYWEDS 242 THE CONVERTS 251 THE WAY OF THE WORLD 265 A CHILD’S IMPULSE 282 THE MODERN PRODIGAL 283 A SUMMER IDYL 299 SUNSHINE SUE 301 A PLAIN SONG 305 WHEN A MAN LOVES 306 THE LESSON 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 337 ENOCH ARDEN – PART TWO 339 THE WHITE ROSE OF THE WILDS 343 THE PRIMAL CALL 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 352 A COUNTRY CUPID 366 HER AWAKENING 367 THE UNVEILING 369 THE LONG ROAD 370 THE BATTLE 375 THE MISER’S HEART 376 THE FAILURE 384 FOR HIS SON 387 BILLY’S STRATAGEM 389 THE TRANSFORMATION OF MIKE 392 A STRING OF PEARLS 394 UNDER BURNING SKIES 396 IOLA’S PROMISE 398 THE GIRL AND HER TRUST 400 FATE’S INTERCEPTION 402 JUST LIKE A WOMAN 269

THE GRIFFITH PROJECT: VOLUME 11

Harron, Robert–cont. 403 ONE IS BUSINESS; THE OTHER CRIME 404? THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 414 THE SCHOOL TEACHER AND THE WAIF 415 MAN’S LUST FOR GOLD 418 THE MASSACRE 419 MAN’S GENESIS 420 THE SANDS OF DEE 421 A PUEBLO LEGEND 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 425 A CHANGE OF SPIRIT 426 AN UNSEEN ENEMY 427 TWO DAUGHTERS OF EVE 428 FRIENDS 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 438 THE INFORMER 441 THE NEW YORK HAT 442 MY HERO 443 THE BURGLAR’S DILEMMA 444 A CRY FOR HELP 450 THE TENDER-HEARTED BOY 452 FATE 454 A MISAPPROPRIATED TURKEY 455 BROTHERS 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 461 NEAR TO EARTH 463 THE SHERIFF’S BABY 465 THE PERFIDY OF MARY 466 A MISUNDERSTOOD BOY 468 THE LITTLE TEASE 469 THE LADY AND THE MOUSE 472 THE HOUSE OF DARKNESS 475 HIS MOTHER’S SON 476 A TIMELY INTERCEPTION

477 DEATH’S MARATHON 479 THE YAQUI CUR 481 HER MOTHER’S OATH 482 THE SORROWFUL SHORE 483 THE BATTLE AT ELDERBUSH GULCH 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA 493 THE ADOPTED BROTHER 503 THE BATTLE OF THE SEXES 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART 509 HOME, SWEET HOME 505 THE ESCAPE 510 THE AVENGING CONSCIENCE 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION 527 THE MISSING LINKS 534 HOODOO ANN 543 INTOLERANCE 547 THE WILD GIRL OF THE SIERRAS 551 THE MARRIAGE OF MOLLY-O 565 HEARTS OF THE WORLD 568 THE GREAT LOVE 570 A ROMANCE OF HAPPY VALLEY 572 THE GREATEST THING IN LIFE 575 THE MOTHER AND THE LAW 580 THE GIRL WHO STAYED AT HOME 583 TRUE HEART SUSIE 588 THE GREATEST QUESTION Hart, Ruth (act) 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210? THE TRICK THAT FAILED 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 217 THE TEST

270

THE GRIFFITH PROJECT: VOLUME 11

Hart, Ruth–cont. 219 IN LITTLE ITALY 221 TO SAVE HER SOUL 226 THE CALL 227 ON THE REEF 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 237 TAMING A HUSBAND 238 THE NEWLYWEDS 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 272 A FLASH OF LIGHT Harte, Bret (source) 335 IN THE DAYS OF ’49 414 THE SCHOOL TEACHER AND THE WAIF 550 THE HALF-BREED Hastings, Seymour (act) 542 MACBETH 546 AN INNOCENT MAGDALENE Hastings, Wells (sc, unless otherwise noted) 587 TURNING THE TABLES (st) 590 MARY ELLEN COMES TO TOWN 594 ROMANCE 597 LITTLE MISS REBELLION 600 THE GHOST IN THE GARRET (st) Hatch, William Riley same as Hatch, Riley (act) 597 LITTLE MISS REBELLION 609 AMERICA Hatton, Raymond (act) 095? TRAGIC LOVE 108? A FOOL’S REVENGE 121? A BURGLAR’S MISTAKE 131? CONFIDENCE 154? WAS JUSTICE SERVED? Haver, Phyllis (act) 619 THE BATTLE OF THE SEXES [1928] Havey, M.B. (au) 302 HIS SISTER-IN-LAW 315* THE DIAMOND STAR 376 THE FAILURE

Hay, Mary (act) 565 HEARTS OF THE WORLD 598 WAY DOWN EAST Haydel, Dorothy (act) 548 FLIRTING WITH FATE Hazeline, Horace see Wayne, Charles Stokes Healy, Ted (act) 629 SAN FRANCISCO Hearn, F. same as Hearn, Fred G. (act) 497 MEN AND WOMEN Hedlund, Guy (act) 093 THE FASCINATING MRS. FRANCIS 111 THE SALVATION ARMY LASS 191 LEATHER STOCKING 197? THE EXPIATION 203 THE LIGHT THAT CAME 204 THE RESTORATION 210 THE TRICK THAT FAILED 219? IN LITTLE ITALY 228 THE LAST DEAL 231 THE WOMAN FROM MELLON’S 237 TAMING A HUSBAND 238 THE NEWLYWEDS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 265 A CHILD’S IMPULSE 270 A CHILD’S FAITH 272 A FLASH OF LIGHT 274 THE CALL TO ARMS 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 283 A SUMMER IDYL 285 A MOHAWK’S WAY 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 296 WAITER NO. 5 298 THE FUGITIVE 299 SUNSHINE SUE 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 271

THE GRIFFITH PROJECT: VOLUME 11

Hedlund, Guy–cont. 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 305 WHEN A MAN LOVES 306 THE LESSON 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 310 HIS TRUST 311 HIS TRUST FULFILLED 313? THREE SISTERS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 318? HEART BEATS OF LONG AGO 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 330 A KNIGHT OF THE ROAD 334 THE TWO SIDES 335 IN THE DAYS OF ’49 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 341 THE CROOKED ROAD 345 THE INDIAN BROTHERS 348 THE BLIND PRINCESS AND THE POET 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 355 THE RULING PASSION 358 SWORDS AND HEARTS 362 THE ETERNAL MOTHER 365 THE MAKING OF A MAN 369? THE LONG ROAD 370 THE BATTLE Heins, Grace (act) 555 DIANE OF THE FOLLIES Heisler, Betsy (act) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Held, Tom (ed) 629 SAN FRANCISCO Hellis, Lieut. W.R see Hills, W.R. Henabery, Joseph (act, unless otherwise noted) 513 THE BIRTH OF A NATION 524 THE PENITENTES

543 INTOLERANCE (also ph, asst d, research asst) 574 THE FALL OF BABYLON (ph, research asst) Henderson, Dell (act, unless otherwise noted) 228 THE LAST DEAL 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232? THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 237 TAMING A HUSBAND 238 THE NEWLYWEDS 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 246 GOLD IS NOT ALL 248 UNEXPECTED HELP 249 A ROMANCE OF THE WESTERN HILLS 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 252 THE UNCHANGING SEA 253 THE GOLD-SEEKERS 255 RAMONA 256 THE TWO BROTHERS 257 OVER SILENT PATHS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 278 A SALUTARY LESSON 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL (also sc) 284 LITTLE ANGELS OF LUCK 287 THE OATH AND THE MAN 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 296 WAITER NO. 5 272

THE GRIFFITH PROJECT: VOLUME 11

Henderson, Dell–cont. 297 SIMPLE CHARITY 298 THE FUGITIVE 300 THE SONG OF THE WILDWOOD FLUTE 301 A PLAIN SONG 303 A CHILD’S STRATAGEM 305 WHEN A MAN LOVES 306 THE LESSON (also sc) 308 A WREATH OF ORANGE BLOSSOMS 310 HIS TRUST 312 THE TWO PATHS 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD (also au) 334 THE TWO SIDES 335 IN THE DAYS OF ’49 337 ENOCH ARDEN – PART TWO 341 THE CROOKED ROAD 343 THE PRIMAL CALL 344 THE JEALOUS HUSBAND 349 FIGHTING BLOOD 351 BOBBY, THE COWARD (sc) 365 THE MAKING OF A MAN 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 371 LOVE IN THE HILLS (au) 373 THROUGH DARKENED VALES 376 THE FAILURE 384 FOR HIS SON 391 THE SUNBEAM 392 A STRING OF PEARLS 393* THE MENDER OF NETS 418 THE MASSACRE 460 A GIRL’S STRATAGEM 478 THE MOTHERING HEART 488 BRUTE FORCE (prod asst) 499? LIBERTY BELLES (d) 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] (on camera)

Henderson, Mrs. Dell 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] (on camera) Henderson, Grace (act, unless otherwise noted) 213 THROUGH THE BREAKERS 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 261 A VICTIM OF JEALOUSY 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 280 THE USURER 281 WILFUL PEGGY 284 LITTLE ANGELS OF LUCK 289 THE ICONOCLAST 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY 304 THE GOLDEN SUPPER 305 WHEN A MAN LOVES 308 A WREATH OF ORANGE BLOSSOMS 311 HIS TRUST FULFILLED 312 THE TWO PATHS 313 THREE SISTERS 314 FATE’S TURNING 317 A DECREE OF DESTINY 324 WAS HE A COWARD? 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS (sc) 341 THE CROOKED ROAD 343 THE PRIMAL CALL 346 HER SACRIFICE 348 THE BLIND PRINCESS AND THE POET 351 BOBBY, THE COWARD 273

THE GRIFFITH PROJECT: VOLUME 11

Henderson, Grace–cont. 364 THE OLD CONFECTIONER’S MISTAKE 365 THE MAKING OF A MAN 367 THE UNVEILING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 373 THROUGH DARKENED VALES 376 THE FAILURE 377 SUNSHINE THROUGH THE DARK 382 THE BABY AND THE STORK 384 FOR HIS SON 389 THE TRANSFORMATION OF MIKE 392 A STRING OF PEARLS 402 JUST LIKE A WOMAN 405 THE OLD ACTOR 407 HIS LESSON 412 LENA AND THE GEESE 414 THE SCHOOL TEACHER AND THE WAIF 417 HEAVEN AVENGES 420 THE SANDS OF DEE 423 A CHILD’S REMORSE 426 AN UNSEEN ENEMY Hendler, Bert (act) 411? A TEMPORARY TRUCE 414? THE SCHOOL TEACHER AND THE WAIF 416? AN INDIAN SUMMER Hendrie, Anita (act) 077 THE HELPING HAND 078 THE MANIAC COOK 080 A WREATH TIME 081 THE HONOR OF THIEVES 083 THE JONESES HAVE AMATEUR THEATRICALS 085 THE CRIMINAL HYPNOTIST 086 EDGAR ALLEN POE 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 091 LOVE FINDS A WAY 092 THOSE BOYS! 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS

095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 109 I DID IT, MAMMA 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 120 A RUDE HOSTESS 122 THE ROAD TO THE HEART 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 133 THE DRIVE FOR A LIFE 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 142 THE CRICKET ON THE HEARTH 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 150 THE LONELY VILLA 274

THE GRIFFITH PROJECT: VOLUME 11

Hennessy, George (au, unless otherwise noted) 374 A WOMAN SCORNED 375 THE MISER’S HEART 378 AS IN A LOOKING GLASS 379 SAVED FROM HIMSELF 382 THE BABY AND THE STORK 383 THE VOICE OF THE CHILD (sc) 387 BILLY’S STRATAGEM 390 THE ROOT OF EVIL 391 THE SUNBEAM (sc) 398 THE GIRL AND HER TRUST 399 THE PUNISHMENT 400 FATE’S INTERCEPTION 402 JUST LIKE A WOMAN 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 407 HIS LESSON 409 A BEAST AT BAY 411 A TEMPORARY TRUCE 415 MAN’S LUST FOR GOLD 416 AN INDIAN SUMMER 417 HEAVEN AVENGES 422 THE NARROW ROAD 423 A CHILD’S REMORSE (also act) 424 THE INNER CIRCLE 427 TWO DAUGHTERS OF EVE 429 SO NEAR, YET SO FAR 432 THE ONE SHE LOVED 435 HEREDITY 436 GOLD AND GLITTER 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 456 DRINK’S LURE 460 A GIRL’S STRATAGEM (sc) 465 THE PERFIDY OF MARY 470 IF WE ONLY KNEW Henry, O. (source) 084 THE SACRIFICE 105 THE DECEPTION 117 TRYING TO GET ARRESTED Herbert, A.J. (act) 594 ROMANCE Herbert, Sidney (act) 603 ORPHANS OF THE STORM

Herbert, Victor (m) 572 THE GREATEST THING IN LIFE Hernandez, Anna (act) 534 HOODOO ANN Herron, Robert see Harron, Robert Hersholt, Jean (act) 619 THE BATTLE OF THE SEXES [1928] Hertel, Richard (camera crew) 627 THE STRUGGLE Herzog, F. (act) 497 MEN AND WOMEN 504 THE GANGSTERS Heymann, Werner R. (m) 631 ONE MILLION B.C. Hicks, Eleanor (au) 256 THE TWO BROTHERS Hiers, Walter (act) 365* THE MAKING OF A MAN 366* HER AWAKENING 376*? THE FAILURE 384* FOR HIS SON Higby, Wilbur same as Higby, William; Higby, Walter; Highby, Wilbur (act) 527 THE MISSING LINKS 534 HOODOO ANN 543? INTOLERANCE 544 REGGIE MIXES IN 548 FLIRTING WITH FATE 555 DIANE OF THE FOLLIES 557 THE OLD FOLKS AT HOME 560 THE MATRIMANIAC 576 BROKEN BLOSSOMS 583 TRUE HEART SUSIE 584 NUGGET NELL Higginson, Percy (ph) 175 THEY WOULD ELOPE 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 328 THE BROKEN CROSS 355 THE RULING PASSION 360 THE SQUAW’S LOVE Hill, George same as Hill, George William; Hill, George W. (ph, unless otherwise noted) 530 HIS PICTURE IN THE PAPERS 542 MACBETH 543 INTOLERANCE (asst d) 587 TURNING THE TABLES 275

THE GRIFFITH PROJECT: VOLUME 11

Hill, George–cont. 590 MARY ELLEN COMES TO TOWN 593 REMODELING HER HUSBAND Hill, Violette (act) 005 CUPID’S PRANKS Hill, Walter (ph) 597 LITTLE MISS REBELLION Hills, W.R. same as Hellis, Lieut. W.R.? (ph) 587 TURNING THE TABLES Hinckley, William (act) 521 THE LILY AND THE ROSE 531 MARTHA’S VINDICATION Hirsch, Edmund S. (au) 184? COMATA, THE SIOUX Hively, Wells (m) 618 THE DRUMS OF LOVE Hoch, Emil (act) 609 AMERICA Hodge, Earl (au) 293 THE BANKER’S DAUGHTERS Hoffman, John (2nd unit d, montage of effects) 629 SAN FRANCISCO Hoffman, Otto (act) 624 ABRAHAM LINCOLN Hoffman, Walter (special effects) 513 THE BIRTH OF A NATION Holderness, Fay (act) 565 HEARTS OF THE WORLD Holland, Edwin (act) 609 AMERICA Holt, Jack (act) 629 SAN FRANCISCO Honkers, Mrs. William L. (au) 452 FATE Hood, Thomas (source) 065 THE SONG OF THE SHIRT Hope, Gloria (act) 568 THE GREAT LOVE Hopkins, Clyde same as Hopkins, Clyde E. (act) 541 SUSAN ROCKS THE BOAT 543 INTOLERANCE 560 THE MATRIMANIAC 575 THE MOTHER AND THE LAW Hopkins, Robert (st) 629 SAN FRANCISCO

Hopper, William De Wolf same as Hopper, De Wolf (act) 528 DON QUIXOTE 539 SUNSHINE DAD 543 INTOLERANCE Hopper, William De Wolf, Jr. (act) 539 SUNSHINE DAD Horine, Alice (act) 504 THE GANGSTERS Horwitz, Charles (source) 128 LUCKY JIM House, Chandler (act) 542 MACBETH 543 INTOLERANCE Howard, Arthur (act) 576 BROKEN BLOSSOMS Howard, Harold (act) 631 ONE MILLION B.C. Howe, Julia Ward (m) 629 SAN FRANCISCO Hubbard, Hazel H. (sc) 478 THE MOTHERING HEART Hubbard, John (act) 631 ONE MILLION B.C. Huber, Harold (act) 629 SAN FRANCISCO Hudson, Eric (source) 498 MAN’S ENEMY Hughes, Dorothy (act) 613 THE SORROWS OF SATAN Hughes, Rupert (st, source) 557 THE OLD FOLKS AT HOME Hugo, Victor (source) 108 A FOOL’S REVENGE Hulette, Gladys (act) 349*? FIGHTING BLOOD 350*? THE LAST DROP OF WATER 370*? THE BATTLE Hull, George (adapt) 613 THE SORROWS OF SATAN Hull, Henry (act) 605 ONE EXCITING NIGHT Hunt, Homer (act) 530 HIS PICTURE IN THE PAPERS Hunt, Irene (act) 508 THE MOUNTAIN RAT 509 HOME, SWEET HOME 524 THE PENITENTES 276

THE GRIFFITH PROJECT: VOLUME 11

Hunt, J. Roy 611 SALLY OF THE SAWDUST (add ph) 612 THAT ROYLE GIRL (asst ph) Hunt, Madge (act) 519 OLD HEIDELBERG Hunter, Alice (script girl) 627 THE STRUGGLE Hunter, Glenn (act) 596 THE COUNTRY FLAPPER Huntley, Luray (act) 526 LET KATIE DO IT 543 INTOLERANCE 549 THE LITTLE SCHOOL MA’AM 575 THE MOTHER AND THE LAW Huston, Walter (act) 624 ABRAHAM LINCOLN 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Hutton, Lucille (act) 476 A TIMELY INTERCEPTION Hyde, Harry (act) 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 311 HIS TRUST FULFILLED 312 THE TWO PATHS 313 THREE SISTERS 365 THE MAKING OF A MAN 366 HER AWAKENING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 373 THROUGH DARKENED VALES 376 THE FAILURE 384 FOR HIS SON 385 THE OLD BOOKKEEPER 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 390 THE ROOT OF EVIL 392 A STRING OF PEARLS 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 399 THE PUNISHMENT

400 FATE’S INTERCEPTION 402 JUST LIKE A WOMAN 404 THE LESSER EVIL 407 HIS LESSON 408 WHEN KINGS WERE THE LAW 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 416 AN INDIAN SUMMER 418 THE MASSACRE 421 A PUEBLO LEGEND 427 TWO DAUGHTERS OF EVE 430 A FEUD IN THE KENTUCKY HILLS 458 LOVE IN AN APARTMENT HOTEL 465 THE PERFIDY OF MARY 469 THE LADY AND THE MOUSE 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 485 THE MISTAKE 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA Hyman, Bernard W. (pr) 629 SAN FRANCISCO Hymer, Warren B. (act) 629 SAN FRANCISCO

I Ibsen, Henrik (source) 515 GHOSTS 516 PILLARS OF SOCIETY Imhof, Roger (act) 629 SAN FRANCISCO Ingraham, Lloyd (d, unless otherwise noted) 520 THE SABLE LORCHA 527 THE MISSING LINKS 534 HOODOO ANN 543 INTOLERANCE (act) 558 AMERICAN ARISTOCRACY 575 THE MOTHER AND THE LAW (act) Inslee, Charles (act, unless otherwise noted) 024 AT THE CROSSROADS OF LIFE 027 THE ADVENTURES OF DOLLIE 277

THE GRIFFITH PROJECT: VOLUME 11

Inslee, Charles–cont. 030 THE REDMAN AND THE CHILD 031 THE BANDIT’S WATERLOO 032 A CALAMITOUS ELOPEMENT 034 DECEIVED SLUMMING PARTY 035 THE GREASER’S GAUNTLET 036 THE MAN AND THE WOMAN 040 FOR A WIFE’S HONOR 041 THE GIRL AND THE OUTLAW 043 THE RED GIRL 044 BEHIND THE SCENES 047 WHERE THE BREAKERS ROAR 049 THE ZULU’S HEART 050 THE VAQUERO’S VOW 051? FATHER GETS IN THE GAME 052 THE BARBARIAN, INGOMAR 055 THE STOLEN JEWELS 056 MR. JONES AT THE BALL 058 THE CALL OF THE WILD 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 063? THE PIRATE’S GOLD 064 THE GUERRILLA 069 THE FEUD AND THE TURKEY 073 MONEY MAD 074 ONE TOUCH OF NATURE 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 085 THE CRIMINAL HYPNOTIST 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 091 LOVE FINDS A WAY 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 111 THE SALVATION ARMY LASS

112 THE LURE OF THE GOWN 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 121 A BURGLAR’S MISTAKE 123 THE EAVESDROPPER 125 THE FRENCH DUEL 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 131 CONFIDENCE 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 480 THE RANCHERO’S REVENGE (au) Irving, Margaret (act) 629 SAN FRANCISCO Israel, Walter J. (costume designer) 624 ABRAHAM LINCOLN

J Jackson, Harry (asst ph) 618 THE DRUMS OF LOVE Jackson, Helen Hunt (source) 255 RAMONA Jackson, N. Hart (source and adapt) 603 ORPHANS OF THE STORM Jackson, Peaches (act) 572 THE GREATEST THING IN LIFE James, George (act) 543 INTOLERANCE James, Gladden (act) 553 THE SOCIAL SECRETARY James, Walter (act) 592 THE IDOL DANCER James, William (act) 591 THE LOVE FLOWER Jeannie (baby) (act) 003 RESCUED FROM AN EAGLE’S NEST Jefferson, Thomas (act) 494 CLASSMATES [1913] 515 GHOSTS 520 THE SABLE LORCHA 527 THE MISSING LINKS Jefferson, William (act) 498 MAN’S ENEMY 538 THE HABIT OF HAPPINESS 278

THE GRIFFITH PROJECT: VOLUME 11

Jenkins, Uncle Tom (act) 607 THE WHITE ROSE Jennings, Al (prod advisor) 523 JORDAN IS A HARD ROAD Jim, the Lion (act) 611 SALLY OF THE SAWDUST Johann, Zita (act) 627 THE STRUGGLE Johnson, Arthur (act) 027 THE ADVENTURES OF DOLLIE 035 THE GREASER’S GAUNTLET 039 BALKED AT THE ALTAR 040 FOR A WIFE’S HONOR 041 THE GIRL AND THE OUTLAW 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 049 THE ZULU’S HEART 050 THE VAQUERO’S VOW 052 THE BARBARIAN, INGOMAR 053 THE PLANTER’S WIFE 054 THE DEVIL 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS 058 THE CALL OF THE WILD 059 CONCEALING A BURGLAR 060 A WOMAN’S WAY 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 064 THE GUERRILLA 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE 068 THE INGRATE 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 081 THE HONOR OF THIEVES 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 086 EDGAR ALLEN POE 087 MR. JONES HAS A CARD PARTY

088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 090 THE HINDOO DAGGER 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 103 HIS WARD’S LOVE 104 THE PRUSSIAN SPY 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 120 A RUDE HOSTESS 121 A BURGLAR’S MISTAKE 122 THE ROAD TO THE HEART 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 133 THE DRIVE FOR A LIFE 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 279

THE GRIFFITH PROJECT: VOLUME 11

Johnson, Arthur–cont. 142 THE CRICKET ON THE HEARTH 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 148 A NEW TRICK 149 HIS DUTY 150 THE LONELY VILLA 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN 162 TENDER HEARTS 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 168 THE SLAVE 169 JONES’ BURGLAR 170 THE MENDED LUTE 171 THE INDIAN RUNNER’S ROMANCE 172 WITH HER CARD 173 THE BETTER WAY 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 178 THE SEALED ROOM 179 PRANKS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 184 COMATA, THE SIOUX 185 GETTING EVEN 187 THE BROKEN LOCKET 188 THE AWAKENING 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 194 A CHANGE OF HEART 195 THE LITTLE TEACHER 197 THE EXPIATION 198 THE GIBSON GODDESS 202 NURSING A VIPER 203 THE LIGHT THAT CAME 205 A MIDNIGHT ADVENTURE

206 TWO WOMEN AND A MAN 208 SWEET REVENGE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 217 THE TEST 220 THE DAY AFTER 221 TO SAVE HER SOUL 230 THE CLOISTER’S TOUCH 236 THE FINAL SETTLEMENT 237 TAMING A HUSBAND 238 THE NEWLYWEDS 240 IN OLD CALIFORNIA 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 248 UNEXPECTED HELP 249 A ROMANCE OF THE WESTERN HILLS 252 THE UNCHANGING SEA 254 LOVE AMONG THE ROSES 256 THE TWO BROTHERS 257 OVER SILENT PATHS Johnson, Julian (ed, titles) 613 THE SORROWS OF SATAN Johnson, Min (act) 105 THE DECEPTION 110 THE MEDICINE BOTTLE Johnson, Noble (act) 617 TOPSY AND EVA Johnson, Orrin (act) 524 THE PENITENTES Johnston, J.W. (act) 554 FIFTY FIFTY Jones, Carl H. (ph) 628 HEARST METROTONE NEWS [VOL. 7, NO. 250] Jones, F. Richard (d, unless otherwise noted) 596 THE COUNTRY FLAPPER 599 FLYING PAT (also sc) 600 THE GHOST IN THE GARRET Jones, Grover (descriptive narration) 631 ONE MILLION B.C. 280

THE GRIFFITH PROJECT: VOLUME 11

Jones, W.W. (act) 609 AMERICA Judels, Charles same as Judells, Charles (act) 629 SAN FRANCISCO Jurman, Walter same as Jurmann, Walter (m) 629 SAN FRANCISCO

K Kahn, Gus (m) 629 SAN FRANCISCO Kaper, Bronislau (m) 629 SAN FRANCISCO Katterjohn, Monte (sc) 529 THE WOOD NYMPH Keane, Doris (act) 594 ROMANCE Keith, Ian (act) 624 ABRAHAM LINCOLN Kelly, Anthony Paul same as Kelly, Anthony P. 511 THE PAINTED LADY (au) 598 WAY DOWN EAST (au, sc) Kennedy, Edgar (act) 629 SAN FRANCISCO Kennedy, Tom (act) 518 THE LAMB 522 DOUBLE TROUBLE Kent, Crauford (act) 591 THE LOVE FLOWER Kern, Hal C. (ed, historical advisor) 624 ABRAHAM LINCOLN Kern, Jerome (m) 572 THE GREATEST THING IN LIFE Kershaw, Elinor (act) 233 ONE NIGHT, AND THEN – 237 TAMING A HUSBAND Kid, Jim (act) 523 JORDAN IS A HARD ROAD King, Leslie (act) 603 ORPHANS OF THE STORM King, Owen (source) 611 SALLY OF THE SAWDUST King, Rose (act) 155 THE NECKLACE 158 THE COUNTRY DOCTOR 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 162 TENDER HEARTS

Kingdon, Frank (act) 593 REMODELING HER HUSBAND Kingsley, Charles (source) 252 THE UNCHANGING SEA 420 THE SANDS OF DEE Kippel, Miss Violet (act) 568 THE GREAT LOVE Kirby, Frank (still ph) 627 THE STRUGGLE Kirby, Madge (act) 432 THE ONE SHE LOVED 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 437 MY BABY 439 BRUTALITY 441 THE NEW YORK HAT 443 THE BURGLAR’S DILEMMA 447 THE TELEPHONE GIRL AND THE LADY Kirk, Charles M. same as Kirk, Charles (art d, unless otherwise noted) 601 DREAM STREET (set designer) 603 ORPHANS OF THE STORM 605 ONE EXCITING NIGHT (set designer) 607 THE WHITE ROSE (set designer) 609 AMERICA 611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL 613 THE SORROWS OF SATAN Kirkwood, James (act, unless otherwise noted) 150 THE LONELY VILLA 151 THE FADED LILLIES 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 156 THE MEXICAN SWEETHEARTS 157 THE MESSAGE 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN 162 TENDER HEARTS 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 166 THE RENUNCIATION 167 SWEET AND TWENTY 281

THE GRIFFITH PROJECT: VOLUME 11

Kirkwood, James–cont. 168 THE SLAVE 170 THE MENDED LUTE 171 THE INDIAN RUNNER’S ROMANCE 173 THE BETTER WAY 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 177 “OH, UNCLE” 179 PRANKS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 184 COMATA, THE SIOUX 185 GETTING EVEN 187 THE BROKEN LOCKET 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 192 FOOLS OF FATE 194 A CHANGE OF HEART 196 HIS LOST LOVE 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 206 TWO WOMEN AND A MAN 209 THE MOUNTAINEER’S HONOR 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 223 THE ROCKY ROAD 226 THE CALL 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 235 HIS LAST BURGLARY

236 THE FINAL SETTLEMENT 261 A VICTIM OF JEALOUSY 263 THE FACE AT THE WINDOW 494 CLASSMATES [1913] (d) 495 STRONGHEART (d) 496 LORD CHUMLEY (d) 497 MEN AND WOMEN (d) 504 THE GANGSTERS (d, sc) 506 THE FLOOR ABOVE (d) 508 THE MOUNTAIN RAT (d) 509 HOME, SWEET HOME 612 THAT ROYLE GIRL Kleinschmidt, Capt. von see von Kleinschmidt, Capt Klune, Mr. [Raymond A.?] (on camera) 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] Klune, Raymond A. (prod staff) 624 ABRAHAM LINCOLN Knight, Harlan (act) 596 THE COUNTRY FLAPPER Knowland, Alice (act) 531 MARTHA’S VINDICATION 551 THE MARRIAGE OF MOLLY-O Kohlmar, Lee (act) 603 ORPHANS OF THE STORM Kolomoku, Walter (act) 592 THE IDOL DANCER Koser, H. (act) 609 AMERICA Kotani, Henry (asst ph, asst d) 520 THE SABLE LORCHA Kwan, Moon (tech advisor) 576 BROKEN BLOSSOMS

L LaBadie, Florence (act) 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 330 A KNIGHT OF THE ROAD 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 343 THE PRIMAL CALL 346 HER SACRIFICE 347 THE THIEF AND THE GIRL 349 FIGHTING BLOOD 351 BOBBY, THE COWARD 282

THE GRIFFITH PROJECT: VOLUME 11

Lacy, Madison (still ph) 543 INTOLERANCE Laidley, Alice (act) 612 THAT ROYLE GIRL Lambert, C. (act) 504 THE GANGSTERS Lamkoff, Paul (vocal instructor) 629 SAN FRANCISCO Landau, Mrs. David (act) 598 WAY DOWN EAST 600 THE GHOST IN THE GARRET Landis, Carole (act) 631 ONE MILLION B.C. Landry, Martin (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Lane, Lupino (act) 610 ISN’T LIFE WONDERFUL Langdon, Charles H. (source) 498 MAN’S ENEMY Langdon, Lillian (act) 518 THE LAMB 522 DOUBLE TROUBLE 543 INTOLERANCE 544 REGGIE MIXES IN 548 FLIRTING WITH FATE 555 DIANE OF THE FOLLIES 561 THE AMERICANO Lanning, Frank (act) 442 MY HERO Lanoe, J. Jiquel (act) 287? THE OATH AND THE MAN 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 296 WAITER NO. 5 298 THE FUGITIVE 299 SUNSHINE SUE 300 THE SONG OF THE WILDWOOD FLUTE 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 307 WINNING BACK HIS LOVE 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD

317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 351 BOBBY, THE COWARD 358 SWORDS AND HEARTS 362 THE ETERNAL MOTHER 363 ITALIAN BLOOD 365 THE MAKING OF A MAN 366 HER AWAKENING 369 THE LONG ROAD 370 THE BATTLE 373 THROUGH DARKENED VALES 376 THE FAILURE 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 384 FOR HIS SON 385 THE OLD BOOKKEEPER 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 389 THE TRANSFORMATION OF MIKE 390 THE ROOT OF EVIL 392 A STRING OF PEARLS 396 IOLA’S PROMISE 399 THE PUNISHMENT 402 JUST LIKE A WOMAN 404 THE LESSER EVIL 405 THE OLD ACTOR 408 WHEN KINGS WERE THE LAW 409 A BEAST AT BAY 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 418 THE MASSACRE 421 A PUEBLO LEGEND 422 THE NARROW ROAD 424 THE INNER CIRCLE 430 A FEUD IN THE KENTUCKY HILLS 440 THE UNWELCOME GUEST 442 MY HERO 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 446 THREE FRIENDS 448 OIL AND WATER 458 LOVE IN AN APARTMENT HOTEL 464 THE HERO OF LITTLE ITALY 465 THE PERFIDY OF MARY 469 THE LADY AND THE MOUSE 472 THE HOUSE OF DARKNESS 477 DEATH’S MARATHON 283

THE GRIFFITH PROJECT: VOLUME 11

Lanoe, J. Jiquel–cont. 478 THE MOTHERING HEART 479 THE YAQUI CUR 482 THE SORROWFUL SHORE 485 THE MISTAKE 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA LaRue, Fontaine (act) 577 BOOTS Lasky, Jesse L. (presented by) 612 THAT ROYLE GIRL 613 THE SORROWS OF SATAN LaVarnie, Mrs. same as La Varnie, Mrs. (act) 496 LORD CHUMLEY 501 THE WIFE La Verne, Lucille (act) 603 ORPHANS OF THE STORM 607 THE WHITE ROSE 608 HIS DARKER SELF 609 AMERICA 624 ABRAHAM LINCOLN Lavery, Lady John (act) 568 THE GREAT LOVE Lawler, Robert same as Lawlor, Lawrence (act) 527 THE MISSING LINKS 534 HOODOO ANN 536 LITTLE MEENA’S ROMANCE 543? INTOLERANCE 574 THE FALL OF BABYLON Lawlor, Lawrence see Lawler, Robert Lawrence, Florence (act) 041 THE GIRL AND THE OUTLAW 043 THE RED GIRL 044 BEHIND THE SCENES 045 THE HEART OF O YAMA 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 049 THE ZULU’S HEART 050 THE VAQUERO’S VOW 051 FATHER GETS IN THE GAME 052 THE BARBARIAN, INGOMAR 053 THE PLANTER’S WIFE 054 THE DEVIL 055 THE STOLEN JEWELS 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS

058 THE CALL OF THE WILD 059 CONCEALING A BURGLAR 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE 067 MRS. JONES ENTERTAINS 068 THE INGRATE 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 081 THE HONOR OF THIEVES 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 091 LOVE FINDS A WAY 092 THOSE BOYS! 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 100 JONES AND THE LADY BOOK AGENT 101 HIS WIFE’S MOTHER 103 HIS WARD’S LOVE 104 THE PRUSSIAN SPY 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 113 THE WOODEN LEG 116 JONES AND HIS NEW NEIGHBORS 284

THE GRIFFITH PROJECT: VOLUME 11

Lawrence, Florence–cont. 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 122 THE ROAD TO THE HEART 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 127 THE NOTE IN THE SHOE 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 133 THE DRIVE FOR A LIFE 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 153 THE WAY OF MAN 158 THE COUNTRY DOCTOR 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN 162 TENDER HEARTS 165 MRS. JONES’ LOVER; OR, “I WANT MY HAT” 167 SWEET AND TWENTY 168 THE SLAVE 169 JONES’ BURGLAR 170 THE MENDED LUTE Lawrence, William E. same as Lawrence, W.E. (act) 503 THE BATTLE OF THE SEXES 509 HOME, SWEET HOME 511 THE PAINTED LADY 532 DAPHNE AND THE PIRATE 533 THE FLYING TORPEDO 543 INTOLERANCE 548 FLIRTING WITH FATE 557 THE OLD FOLKS AT HOME Le Baron, William (assoc pr) 613 THE SORROWS OF SATAN

Lebedeff, Ivan (act) 613 THE SORROWS OF SATAN Le Blanc, Paul (act) 552 THE DEVIL’S NEEDLE Lee, Alberta (act) 513 THE BIRTH OF A NATION 531 MARTHA’S VINDICATION 536 LITTLE MEENA’S ROMANCE 543 INTOLERANCE 544 REGGIE MIXES IN 575 THE MOTHER AND THE LAW Lee, Charles (act) 516 PILLARS OF SOCIETY 520 THE SABLE LORCHA 534 HOODOO ANN Lee, Florence (act) 325 TEACHING DAD TO LIKE HER 329 THE CHIEF’S DAUGHTER 336 ENOCH ARDEN – PART ONE Lee, Jennie (act) 475 HIS MOTHER’S SON 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 482 THE SORROWFUL SHORE 483 THE BATTLE AT ELDERBUSH GULCH 486 THE COMING OF ANGELO 488 BRUTE FORCE 489 TWO MEN OF THE DESERT 490 THE REFORMERS 492 JUDITH OF BETHULIA 513 THE BIRTH OF A NATION 516 PILLARS OF SOCIETY 546 AN INNOCENT MAGDALENE Leezer, John same as Leezer, John W. (ph) 521 THE LILY AND THE ROSE 529 THE WOOD NYMPH 541 SUSAN ROCKS THE BOAT 545 THE MYSTERY OF THE LEAPING FISH 551 THE MARRIAGE OF MOLLY-O 573 THE HOPE CHEST 577 BOOTS 581 PEPPY POLLY 582 I’LL GET HIM YET 584 NUGGET NELL 586 NOBODY HOME 285

THE GRIFFITH PROJECT: VOLUME 11

Lehrman, Henry same as Henry “Pathe” Lehrman (act) 202 NURSING A VIPER 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216? A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 223 THE ROCKY ROAD 228? THE LAST DEAL 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 265 A CHILD’S IMPULSE 270 A CHILD’S FAITH 272? A FLASH OF LIGHT 273? AS THE BELLS RANG OUT! 275 AN ARCADIAN MAID 280* THE USURER 281? WILFUL PEGGY 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 288 ROSE O’ SALEM-TOWN 294 THE MESSAGE OF THE VIOLIN 299 SUNSHINE SUE 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 309 THE ITALIAN BARBER 312? THE TWO PATHS 315* THE DIAMOND STAR 323 CONSCIENCE 328 THE BROKEN CROSS 330 A KNIGHT OF THE ROAD 331 MADAME REX 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 396? IOLA’S PROMISE 409 A BEAST AT BAY Leist, Bernardine R. (au, unless otherwise noted) 289 THE ICONOCLAST 296 WAITER NO. 5 359 DAN, THE DANDY 363 ITALIAN BLOOD

369 THE LONG ROAD (sc) 392 A STRING OF PEARLS Lemontier, Jules (act) 565 HEARTS OF THE WORLD Leo (act) 539 SUNSHINE DAD Leonard, Jack (act) 542 MACBETH Leonard, Marion (act) 024 AT THE CROSSROADS OF LIFE 031 THE BANDIT’S WATERLOO 033 THE TAVERN-KEEPER’S DAUGHTER 035 THE GREASER’S GAUNTLET 069 THE FEUD AND THE TURKEY 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 078 THE MANIAC COOK 079 THE CHRISTMAS BURGLARS 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 090 THE HINDOO DAGGER 091 LOVE FINDS A WAY 093 THE FASCINATING MRS. FRANCIS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098? THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 102 THE GOLDEN LOUIS 104 THE PRUSSIAN SPY 106 AT THE ALTAR 108 A FOOL’S REVENGE 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 286

THE GRIFFITH PROJECT: VOLUME 11

Leonard, Marion–cont. 119 THE WINNING COAT 120 A RUDE HOSTESS 121 A BURGLAR’S MISTAKE 123 THE EAVESDROPPER 127 THE NOTE IN THE SHOE 128 LUCKY JIM 133 THE DRIVE FOR A LIFE 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 137 THE JILT 138 HER FIRST BISCUITS 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 145 TWO MEMORIES 146 THE PEACHBASKET HAT 148 A NEW TRICK 149 HIS DUTY 150 THE LONELY VILLA 153 THE WAY OF MAN 172 WITH HER CARD 176 THE MILLS OF THE GODS 178 THE SEALED ROOM 180 THE HEART OF AN OUTLAW 184 COMATA, THE SIOUX 186 THE CHILDREN’S FRIEND 187 THE BROKEN LOCKET 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 191 LEATHER STOCKING 192 FOOLS OF FATE 196 HIS LOST LOVE 197 THE EXPIATION 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 208 SWEET REVENGE 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 217 THE TEST 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY

220 THE DAY AFTER 227 ON THE REEF 230 THE CLOISTER’S TOUCH 232 THE DUKE’S PLAN 240 IN OLD CALIFORNIA 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 250 THOU SHALT NOT 254 LOVE AMONG THE ROSES 256 THE TWO BROTHERS 257 OVER SILENT PATHS 274 THE CALL TO ARMS Le Picard, Marcel (ph) 609 AMERICA Lester, Kate (act) 553 THE SOCIAL SECRETARY Lestina, Adolphe same as Lestina, Adolph (act, unless otherwise noted) 227 ON THE REEF 228 THE LAST DEAL 229? THE HONOR OF HIS FAMILY 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 310 HIS TRUST 311 HIS TRUST FULFILLED 312 THE TWO PATHS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 323 CONSCIENCE 373 THROUGH DARKENED VALES 374 A WOMAN SCORNED 375 THE MISER’S HEART 376 THE FAILURE 380 A TERRIBLE DISCOVERY 385 THE OLD BOOKKEEPER 391 THE SUNBEAM 392 A STRING OF PEARLS 406 A LODGING FOR THE NIGHT 422 THE NARROW ROAD 424 THE INNER CIRCLE 426 AN UNSEEN ENEMY 428 FRIENDS 429 SO NEAR, YET SO FAR 287

THE GRIFFITH PROJECT: VOLUME 11

Lestina, Adolphe–cont. 430 A FEUD IN THE KENTUCKY HILLS 434 THE MUSKETEERS OF PIG ALLEY 437 MY BABY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 442 MY HERO 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 451 A CHANCE DECEPTION 452 FATE 455 BROTHERS 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 462 A WELCOME INTRUDER 469 THE LADY AND THE MOUSE 471 THE WANDERER 472 THE HOUSE OF DARKNESS 474 JUST GOLD 475 HIS MOTHER’S SON 476 A TIMELY INTERCEPTION 477 DEATH’S MARATHON 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 482 THE SORROWFUL SHORE 486 THE COMING OF ANGELO 490 THE REFORMERS 492 JUDITH OF BETHULIA 493 THE ADOPTED BROTHER 565 HEARTS OF THE WORLD 566 THE HUN WITHIN 570 A ROMANCE OF HAPPY VALLEY 571 BATTLING JANE 572 THE GREATEST THING IN LIFE 580 THE GIRL WHO STAYED AT HOME 589 SCARLET DAYS 590 MARY ELLEN COMES TO TOWN 591 THE LOVE FLOWER 592 THE IDOL DANCER 603 ORPHANS OF THE STORM Levy, Morris (act) 543 INTOLERANCE Lewis, Grace (act) 436 GOLD AND GLITTER

Lewis, Ralph (act) 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART 504 THE GANGSTERS 505 THE ESCAPE 506 THE FLOOR ABOVE 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION 523 JORDAN IS A HARD ROAD 526 LET KATIE DO IT 531 MARTHA’S VINDICATION 533 THE FLYING TORPEDO 542 MACBETH 543 INTOLERANCE 575 THE MOTHER AND THE LAW 624 ABRAHAM LINCOLN Lewis, Sheldon (act) 603 ORPHANS OF THE STORM Lewis, Vera (act) 525 CROSS CURRENTS 543 INTOLERANCE 575 THE MOTHER AND THE LAW Lewis, Walter P. same as Lewis, Walter; Lewis, Walter T. (act) 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 436 GOLD AND GLITTER 437 MY BABY 439 BRUTALITY 441 THE NEW YORK HAT 442 MY HERO 446 THREE FRIENDS 447 THE TELEPHONE GIRL AND THE LADY 449 AN ADVENTURE IN THE AUTUMN WOODS 450 THE TENDER-HEARTED BOY 452 FATE 454 A MISAPPROPRIATED TURKEY 455 BROTHERS 458 LOVE IN AN APARTMENT HOTEL 496 LORD CHUMLEY 500 A FAIR REBEL 600 THE GHOST IN THE GARRET 288

THE GRIFFITH PROJECT: VOLUME 11

Lewyn, Louis (pr) 595 A GREAT FEATURE IN THE MAKING Lincoln, Elmo (act) 483 THE BATTLE AT ELDERBUSH GULCH 488 BRUTE FORCE 490 THE REFORMERS 513 THE BIRTH OF A NATION 523 JORDAN IS A HARD ROAD 534 HOODOO ANN 543 INTOLERANCE 572 THE GREATEST THING IN LIFE 574 THE FALL OF BABYLON Lipson, Arthur (act) 627 THE STRUGGLE Lisette, Madame (costume designer) 598 WAY DOWN EAST Lloyd George, David (act) 565 HEARTS OF THE WORLD Lloyd, Gerrit same as Lloyd, Gerrit J. (titles, unless otherwise noted) 618 THE DRUMS OF LOVE (also adapt) 619 THE BATTLE OF THE SEXES [1928] (also adapt) 621 LADY OF THE PAVEMENTS (also sc) 624 ABRAHAM LINCOLN (continuity-dialogue) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] (sc) London, Jack (source) 037 FOR LOVE OF GOD 073 MONEY MAD Long, Sally (act) 608 HIS DARKER SELF Long, W.H. same as Long, Walter (act) 505 THE ESCAPE 509 HOME, SWEET HOME 513 THE BIRTH OF A NATION 517 THE MARTYRS OF THE ALAMO 523 JORDAN IS A HARD ROAD 526 LET KATIE DO IT 532 DAPHNE AND THE PIRATE 537 SOLD FOR MARRIAGE 543 INTOLERANCE 551 THE MARRIAGE OF MOLLY-O 575 THE MOTHER AND THE LAW 589 SCARLET DAYS

Longfellow, Stephanie (act) 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 173 THE BETTER WAY 219? IN LITTLE ITALY 223 THE ROCKY ROAD 235 HIS LAST BURGLARY 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 276 HER FATHER’S PRIDE 278 A SALUTARY LESSON 281 WILFUL PEGGY 283 A SUMMER IDYL 286 IN LIFE’S CYCLE 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 303 A CHILD’S STRATAGEM 306 THE LESSON 307 WINNING BACK HIS LOVE 314 FATE’S TURNING 315 THE DIAMOND STAR 323 CONSCIENCE 329 THE CHIEF’S DAUGHTER 331 MADAME REX 341 THE CROOKED ROAD Looney, Jere F. same as Looney, J.F. (sc) 472 THE HOUSE OF DARKNESS Loos, Anita (au, unless otherwise noted) 441 THE NEW YORK HAT 496 LORD CHUMLEY 500? A FAIR REBEL 504? THE GANGSTERS (sc) 516? PILLARS OF SOCIETY (titles) 518? THE LAMB (titles) 522 DOUBLE TROUBLE (titles) 530 HIS PICTURE IN THE PAPERS (sc) 534 HOODOO ANN (titles) 540 THE GOOD BAD MAN (sc) 543 INTOLERANCE (titles) 545 THE MYSTERY OF THE LEAPING FISH (titles) 547 THE WILD GIRL OF THE SIERRAS (sc) 550 THE HALF-BREED (asst d) 553 THE SOCIAL SECRETARY (sc) 558* AMERICAN ARISTOCRACY (sc, st, titles) 560 THE MATRIMANIAC (sc, titles) 289

THE GRIFFITH PROJECT: VOLUME 11

Loos, Anita–cont. 561 THE AMERICANO (sc, titles) 574 THE FALL OF BABYLON (titles) 575 THE MOTHER AND THE LAW (titles) 627 THE STRUGGLE (sc, st) 629 SAN FRANCISCO (sc) Lord, Del (d) 617 TOPSY AND EVA Losee, Frank (act) 603 ORPHANS OF THE STORM Love, Bessie (act) 513 THE BIRTH OF A NATION 533 THE FLYING TORPEDO 540 THE GOOD BAD MAN 544 REGGIE MIXES IN 543 INTOLERANCE 544 REGGIE MIXES IN 545 THE MYSTERY OF THE LEAPING FISH Love, Dorothea (act) 612 THAT ROYLE GIRL Lovell, Maria (source) 052 THE BARBARIAN, INGOMAR Loveridge, Leslie (act) 483 THE BATTLE AT ELDERBUSH GULCH Loveridge, Margaret see Marsh, Marguerite Loveridge, Marguerite see Marsh, Marguerite Low, Joe (asst ph) 612 THAT ROYLE GIRL Lowe, Edmund (act) 614 [SCREEN SNAPSHOTS] Lowell, Helen (act) 610 ISN’T LIFE WONDERFUL Lowery, William E. same as Lowery, W.A.; Lowery, W.E. (act) 518 THE LAMB 522 DOUBLE TROUBLE 537 SOLD FOR MARRIAGE 544 REGGIE MIXES IN Lowry, L. (act) 565 HEARTS OF THE WORLD Loyer, Georges (act) 565 HEARTS OF THE WORLD Lucas, Wilfred (act, unless otherwise noted) 035 THE GREASER’S GAUNTLET 264 THE MARKED TIME-TABLE

299 SUNSHINE SUE (sc) 307 WINNING BACK HIS LOVE 310 HIS TRUST 311 HIS TRUST FULFILLED 312 THE TWO PATHS 313 THREE SISTERS 315 THE DIAMOND STAR 316 WHAT SHALL WE DO WITH OUR OLD 318 HEART BEATS OF LONG AGO 320 FISHER FOLKS 324 WAS HE A COWARD? 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 332 HIS MOTHER’S SCARF 335 IN THE DAYS OF ’49 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 339 THE WHITE ROSE OF THE WILDS 343 THE PRIMAL CALL 345 THE INDIAN BROTHERS 347 THE THIEF AND THE GIRL 354 THE SORROWFUL EXAMPLE 355 THE RULING PASSION (also au) 356 THE ROSE OF KENTUCKY 358 SWORDS AND HEARTS 359 DAN, THE DANDY 363 ITALIAN BLOOD 364 THE OLD CONFECTIONER’S MISTAKE 365 THE MAKING OF A MAN 369 THE LONG ROAD 371 LOVE IN THE HILLS 374 A WOMAN SCORNED 375 THE MISER’S HEART 376 THE FAILURE 378 AS IN A LOOKING GLASS 380 A TERRIBLE DISCOVERY 386 A SISTER’S LOVE 387 BILLY’S STRATAGEM 389 THE TRANSFORMATION OF MIKE (also au) 394 UNDER BURNING SKIES 398 THE GIRL AND HER TRUST 400 FATE’S INTERCEPTION 402 JUST LIKE A WOMAN 290

THE GRIFFITH PROJECT: VOLUME 11

Lucas, Wilfred–cont. 408 WHEN KINGS WERE THE LAW (also au) 410 HOME FOLKS 411 A TEMPORARY TRUCE 418 THE MASSACRE 419 MAN’S GENESIS 421 A PUEBLO LEGEND 446 THREE FRIENDS 521 THE LILY AND THE ROSE 529 THE WOOD NYMPH 542 MACBETH 543 INTOLERANCE 547 THE WILD GIRL OF THE SIERRAS 574 THE FALL OF BABYLON Lummis, Charles F. (historical advisor) 524 THE PENITENTES Lunt, Alfred (act) 611 SALLY OF THE SAWDUST Lusk, Calyton R. (on camera) 604 [PERSONALITIES OF THE TWENTIES] Luther, Mark Lee (source) 573 THE HOPE CHEST Lyle, Eugene P., Jr. (source) 561 THE AMERICANO

M MacDonald, Jeanette (act) 629 SAN FRANCISCO MacDonald, Katherine (act) 571 BATTLING JANE Mace, Fred (act) 366 HER AWAKENING 369 THE LONG ROAD 373 THROUGH DARKENED VALES Machin, Alfred (ph, supervision) 562 [FILM POUR LES AMÉRICAINS I, II, III] Mack, Charles Emmett same as Mack, Charles E. (act) 601 DREAM STREET 605 ONE EXCITING NIGHT 607 THE WHITE ROSE 609 AMERICA Mack, Helen (act) 627 THE STRUGGLE

Mackay, Edith Gayer see Gayer Mackay, Edith Mackay, W. Gayer see Gayer Mackay, W. Mackley, Mrs. Arthur (act) 543 INTOLERANCE 575 THE MOTHER AND THE LAW MacLean, Douglas (act) 566 THE HUN WITHIN MacPherson, Jeannie (act) 056 MR. JONES AT THE BALL 059 CONCEALING A BURGLAR 061 TAMING OF THE SHREW 066 THE CURTAIN POLE 067 MRS. JONES ENTERTAINS 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 085 THE CRIMINAL HYPNOTIST 119? THE WINNING COAT 138 HER FIRST BISCUITS 146 THE PEACHBASKET HAT 207 THE OPEN GATE 208 SWEET REVENGE 210 THE TRICK THAT FAILED 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 270 A CHILD’S FAITH 278 A SALUTARY LESSON 280 THE USURER 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 287 THE OATH AND THE MAN 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 298 THE FUGITIVE 299 SUNSHINE SUE 301 A PLAIN SONG 291

THE GRIFFITH PROJECT: VOLUME 11

MacPherson, Jeannie–cont. 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 306 THE LESSON 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 310 HIS TRUST 311 HIS TRUST FULFILLED 312 THE TWO PATHS 318 HEART BEATS OF LONG AGO 320 FISHER FOLKS 323 CONSCIENCE 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329? THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 331 MADAME REX 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 341 THE CROOKED ROAD 348 THE BLIND PRINCESS AND THE POET 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 353 OUT FROM THE SHADOW 355 THE RULING PASSION 362 THE ETERNAL MOTHER MacQuarrie, Albert (act) 556 MANHATTAN MADNESS MacQuarrie, George (act) 591 THE LOVE FLOWER 592 THE IDOL DANCER 624 ABRAHAM LINCOLN Mahr, John (ph) 360 THE SQUAW’S LOVE Mailes, Charles Hill (act) 151? THE FADED LILLIES 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 303? A CHILD’S STRATAGEM

353 OUT FROM THE SHADOW 358 SWORDS AND HEARTS 362 THE ETERNAL MOTHER 365 THE MAKING OF A MAN 366 HER AWAKENING 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 373 THROUGH DARKENED VALES 374 A WOMAN SCORNED 375 THE MISER’S HEART 376 THE FAILURE 379 SAVED FROM HIMSELF 380 A TERRIBLE DISCOVERY 381 A TALE OF THE WILDERNESS 382 THE BABY AND THE STORK 384 FOR HIS SON 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 390 THE ROOT OF EVIL 391 THE SUNBEAM 392 A STRING OF PEARLS 394 UNDER BURNING SKIES 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 400 FATE’S INTERCEPTION 402 JUST LIKE A WOMAN 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 408 WHEN KINGS WERE THE LAW 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 414 THE SCHOOL TEACHER AND THE WAIF 415 MAN’S LUST FOR GOLD 418 THE MASSACRE 419 MAN’S GENESIS 420 THE SANDS OF DEE 421 A PUEBLO LEGEND 422 THE NARROW ROAD 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 425 A CHANGE OF SPIRIT 428 FRIENDS 292

THE GRIFFITH PROJECT: VOLUME 11

Mailes, Charles Hill–cont. 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS 431 IN THE AISLES OF THE WILD 433 THE PAINTED LADY 439 BRUTALITY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 442 MY HERO 445 THE GOD WITHIN 449 AN ADVENTURE IN THE AUTUMN WOODS 451 A CHANCE DECEPTION 452 FATE 454 A MISAPPROPRIATED TURKEY 455 BROTHERS 457 WHEN LOVE FORGIVES 462 A WELCOME INTRUDER 464 THE HERO OF LITTLE ITALY 466 A MISUNDERSTOOD BOY 471 THE WANDERER 472 THE HOUSE OF DARKNESS 473 THE STOLEN LOAF 474 JUST GOLD 478 THE MOTHERING HEART 479 THE YAQUI CUR 480 THE RANCHERO’S REVENGE 481 HER MOTHER’S OATH 483 THE BATTLE AT ELDERBUSH GULCH 485 THE MISTAKE 486 THE COMING OF ANGELO 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA 496 LORD CHUMLEY 499? LIBERTY BELLES 618 THE DRUMS OF LOVE Manley, Dave (act) 627 THE STRUGGLE Mann, Ned (special effects) 621 LADY OF THE PAVEMENTS Manners, Audrey (act) 631 ONE MILLION B.C. Manners, Lady Diana (act) 568 THE GREAT LOVE Manning, Jack (act) 591 THE LOVE FLOWER

Manning, Mildred (act) 451 A CHANCE DECEPTION March, General Peyton Conway (act) 580 THE GIRL WHO STAYED AT HOME Marier, Captain Victor see Griffith, D.W. and Taylor, S.E.V. Marion, Ernest (act) 571 BATTLING JANE Marion, Francis (act) 565 HEARTS OF THE WORLD Marsh, Betty (act) 509 HOME, SWEET HOME 517 THE MARTYRS OF THE ALAMO Marsh, Mae (act) 395 A SIREN OF IMPULSE 402 JUST LIKE A WOMAN 404 THE LESSER EVIL 406 A LODGING FOR THE NIGHT 407 HIS LESSON 408 WHEN KINGS WERE THE LAW 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 413 THE SPIRIT AWAKENED 414 THE SCHOOL TEACHER AND THE WAIF 416 AN INDIAN SUMMER 419 MAN’S GENESIS 420 THE SANDS OF DEE 439 BRUTALITY 441 THE NEW YORK HAT 446 THREE FRIENDS 447 THE TELEPHONE GIRL AND THE LADY 449 AN ADVENTURE IN THE AUTUMN WOODS 450 THE TENDER-HEARTED BOY 452 FATE 458 LOVE IN AN APARTMENT HOTEL 460 A GIRL’S STRATAGEM 461 NEAR TO EARTH 465 THE PERFIDY OF MARY 468 THE LITTLE TEASE 471 THE WANDERER 475 HIS MOTHER’S SON 481 HER MOTHER’S OATH 293

THE GRIFFITH PROJECT: VOLUME 11

Marsh, Mae–cont. 482 THE SORROWFUL SHORE 483 THE BATTLE AT ELDERBUSH GULCH 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA 496? LORD CHUMLEY 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART 505 THE ESCAPE 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 512 [PRODUCTION FOOTAGE OF THE BIRTH OF A NATION] 513 THE BIRTH OF A NATION 534 HOODOO ANN 543 INTOLERANCE 547 THE WILD GIRL OF THE SIERRAS 551 THE MARRIAGE OF MOLLY-O 575 THE MOTHER AND THE LAW 607 THE WHITE ROSE 606 PADDY – THE-NEXT-BEST-THING Marsh, Marguerite same as Loveridge, Margaret; Loveridge, Marguerite (act) 343? THE PRIMAL CALL 393* THE MENDER OF NETS 394 UNDER BURNING SKIES 395 A SIREN OF IMPULSE 402 JUST LIKE A WOMAN 405 THE OLD ACTOR 441 THE NEW YORK HAT 536* LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 543 INTOLERANCE 552 THE DEVIL’S NEEDLE 575 THE MOTHER AND THE LAW Marsh, Mildred (act) 593 REMODELING HER HUSBAND 596 THE COUNTRY FLAPPER Marsh, Oliver T. (ph) 629 SAN FRANCISCO Marshall, Tully (act) 520 THE SABLE LORCHA 526 LET KATIE DO IT 531 MARTHA’S VINDICATION 543 INTOLERANCE 552 THE DEVIL’S NEEDLE

574 THE FALL OF BABYLON 575 THE MOTHER AND THE LAW 580 THE GIRL WHO STAYED AT HOME 618 THE DRUMS OF LOVE Marston, William M. (sc) 458 LOVE IN AN APARTMENT HOTEL Martin, J. (act) 500 A FAIR REBEL Marvin, Arthur (ph) 001 PROFESSIONAL JEALOUSY 004 CLASSMATES [1908] 021 THE MAN IN THE BOX 024 AT THE CROSSROADS OF LIFE 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 027 THE ADVENTURES OF DOLLIE 028 THE BLACK VIPER 029 THE FIGHT FOR FREEDOM 030 THE REDMAN AND THE CHILD 031 THE BANDIT’S WATERLOO 032 A CALAMITOUS ELOPEMENT 033 THE TAVERN-KEEPER’S DAUGHTER 034 DECEIVED SLUMMING PARTY 035 THE GREASER’S GAUNTLET 036 THE MAN AND THE WOMAN 037 FOR LOVE OF GOD 038 THE FATAL HOUR 039 BALKED AT THE ALTAR 040 FOR A WIFE’S HONOR 041 THE GIRL AND THE OUTLAW 043 THE RED GIRL 044 BEHIND THE SCENES 045 THE HEART OF O YAMA 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 058 THE CALL OF THE WILD 060 A WOMAN’S WAY 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 063 THE PIRATE’S GOLD 064 THE GUERRILLA 068 THE INGRATE 069 THE FEUD AND THE TURKEY 071 THE VALET’S WIFE 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 294

THE GRIFFITH PROJECT: VOLUME 11

Marvin, Arthur–cont. 077 THE HELPING HAND 091 LOVE FINDS A WAY 092 THOSE BOYS! 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 099 POLITICIAN’S LOVE STORY 101 HIS WIFE’S MOTHER 106 AT THE ALTAR 108 A FOOL’S REVENGE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 113 THE WOODEN LEG 114 THE VOICE OF THE VIOLIN 117 TRYING TO GET ARRESTED 121 A BURGLAR’S MISTAKE 122 THE ROAD TO THE HEART 123 THE EAVESDROPPER 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 126 TWIN BROTHERS 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 133 THE DRIVE FOR A LIFE 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 139 ELOPING WITH AUNTY 140 RESURRECTION 142 THE CRICKET ON THE HEARTH 143 ERADICATING AUNTY 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 149 HIS DUTY 150 THE LONELY VILLA 151 THE FADED LILLIES 152 THE FRIEND OF THE FAMILY 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 157 THE MESSAGE

162 TENDER HEARTS 166 THE RENUNCIATION 169 JONES’ BURGLAR 179 PRANKS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 191 LEATHER STOCKING 195 THE LITTLE TEACHER 205 A MIDNIGHT ADVENTURE 217 THE TEST 221 TO SAVE HER SOUL 223 THE ROCKY ROAD 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 236 THE FINAL SETTLEMENT 238 THE NEWLYWEDS 243 FAITHFUL 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES 256 THE TWO BROTHERS 258 THE IMPALEMENT 259 IN THE SEASON OF BUDS 260 A CHILD OF THE GHETTO 265 A CHILD’S IMPULSE 271 SERIOUS SIXTEEN 297 SIMPLE CHARITY Mason, Lowell (m) 629 SAN FRANCISCO Massarene, Countess of (act) 568 THE GREAT LOVE Mature, Victor (act) 631 ONE MILLION B.C. Maurier, Captain Victor see Griffith, D.W. and Taylor, S.E.V. Mawson, Harry (source) 500 A FAIR REBEL Maxfield, Stanley see French, John McAfee, Harry (assoc art d) 629 SAN FRANCISCO McCarty, J.P. same as McCarthy, J.P. (act, unless otherwise noted) 543 INTOLERANCE 545 THE MYSTERY OF THE LEAPING FISH (patented by?) 548 FLIRTING WITH FATE 575 THE MOTHER AND THE LAW 295

THE GRIFFITH PROJECT: VOLUME 11

McClung, Hugh C. (ph) 520 THE SABLE LORCHA 521 THE LILY AND THE ROSE McClure, Rev. A.W. same as McClure, J.C. (act) 543 INTOLERANCE 575 THE MOTHER AND THE LAW McConville, Bernard 526 LET KATIE DO IT (sc) 527 THE MISSING LINKS (sc) 541 SUSAN ROCKS THE BOAT (st) 549 THE LITTLE SCHOOL MA’AM (st) McCoy, Bessie (act) 201? WHAT’S YOUR HURRY? McCoy, Kid (act) 535 BETTY OF GREYSTONE McCutcheon, Wallace, Jr. (d) 024 AT THE CROSSROADS OF LIFE 025? THE KENTUCKIAN 026? THE STAGE RUSTLER 028? THE BLACK VIPER 034? DECEIVED SLUMMING PARTY McCutcheon, Wallace, Sr. (d) 001? PROFESSIONAL JEALOUSY 002? FALSELY ACCUSED! 004 CLASSMATES [1908] 006 THE PRINCESS IN THE VASE 007 THE YELLOW PERIL 008 HER FIRST ADVENTURE 009 CAUGHT BY WIRELESS 010 OLD ISAACS, THE PAWNBROKER 011 A FAMOUS ESCAPE 012 KING OF THE CANNIBAL ISLANDS 013 THE MUSIC MASTER 014 HULDA’S LOVERS 015 THE KING’S MESSENGER 016 THE SCULPTOR’S NIGHTMARE 017 WHEN KNIGHTS WERE BOLD 018 MIXED BABIES 019 ’OSTLER JOE 020 THE INVISIBLE FLUID 021 THE MAN IN THE BOX 022 THE OUTLAW 023 AT THE FRENCH BALL 025? THE KENTUCKIAN 026? THE STAGE RUSTLER 028? THE BLACK VIPER 034? DECEIVED SLUMMING PARTY

McDermott, Joseph same as McDermott, J.W. (act) 385 THE OLD BOOKKEEPER 389 THE TRANSFORMATION OF MIKE 391 THE SUNBEAM 422* THE NARROW ROAD 424 THE INNER CIRCLE 425 A CHANGE OF SPIRIT 446 THREE FRIENDS 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 451 A CHANCE DECEPTION 452 FATE 454 A MISAPPROPRIATED TURKEY 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 461 NEAR TO EARTH 462 A WELCOME INTRUDER 466 A MISUNDERSTOOD BOY 467 THE LEFT-HANDED MAN 469 THE LADY AND THE MOUSE 471 THE WANDERER 472 THE HOUSE OF DARKNESS 474 JUST GOLD 475 HIS MOTHER’S SON 476 A TIMELY INTERCEPTION 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 481 HER MOTHER’S OATH 483 THE BATTLE AT ELDERBUSH GULCH 488 BRUTE FORCE 490 THE REFORMERS 519 OLD HEIDELBERG McDonagh, John (au) 298 THE FUGITIVE McDonald, Francis (act) 543 INTOLERANCE McDowell, Claire, same as McDowell, Clare (act) 053 THE PLANTER’S WIFE 054 THE DEVIL 058 THE CALL OF THE WILD 296

THE GRIFFITH PROJECT: VOLUME 11

McDowell, Claire–cont. 272 A FLASH OF LIGHT 280 THE USURER 281 WILFUL PEGGY 283 A SUMMER IDYL 285 A MOHAWK’S WAY 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY 298 THE FUGITIVE 302 HIS SISTER-IN-LAW 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 309 THE ITALIAN BARBER 310 HIS TRUST 311 HIS TRUST FULFILLED 313 THREE SISTERS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 320 FISHER FOLKS 323 CONSCIENCE 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 335 IN THE DAYS OF ’49 340 A ROMANY TRAGEDY 341 THE CROOKED ROAD 343 THE PRIMAL CALL 352 A COUNTRY CUPID 354 THE SORROWFUL EXAMPLE 355 THE RULING PASSION 358 SWORDS AND HEARTS 360* THE SQUAW’S LOVE 365 THE MAKING OF A MAN 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 374 A WOMAN SCORNED 378 AS IN A LOOKING GLASS 382 THE BABY AND THE STORK 387 BILLY’S STRATAGEM 388 A BLOT IN THE ’SCUTCHEON 391 THE SUNBEAM 392 A STRING OF PEARLS

394 UNDER BURNING SKIES 401 THE FEMALE OF THE SPECIES 405 THE OLD ACTOR 408 WHEN KINGS WERE THE LAW 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 414 THE SCHOOL TEACHER AND THE WAIF 418 THE MASSACRE 419? MAN’S GENESIS 420 THE SANDS OF DEE 423 A CHILD’S REMORSE 427 TWO DAUGHTERS OF EVE 429 SO NEAR, YET SO FAR 431 IN THE AISLES OF THE WILD 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 444 A CRY FOR HELP 445 THE GOD WITHIN 447 THE TELEPHONE GIRL AND THE LADY 453 A FATHER’S LESSON 454 A MISAPPROPRIATED TURKEY 456 DRINK’S LURE 462 A WELCOME INTRUDER 471 THE WANDERER 472 THE HOUSE OF DARKNESS 480 THE RANCHERO’S REVENGE 484 THE ENEMY’S BABY McEvoy, Tom (act) 495 STRONGHEART McGinnis, Vera (act) 586 NOBODY HOME McGlynn, Frank, Jr. (act) 609 AMERICA McIntosh, Burr (act) 598 WAY DOWN EAST McKee, Scott (act) 542 MACBETH McKenzie, George (act) 542 MACBETH McLaglen, Victor (act) 614 [SCREEN SNAPSHOTS] 628 HEARST METROTONE NEWS [VOL. 7, NO. 250] (on camera) McMahon, Henry I. (press representative) 513 THE BIRTH OF A NATION 297

THE GRIFFITH PROJECT: VOLUME 11

McNeil, Norman (act) 586 NOBODY HOME 587 TURNING THE TABLES Mechtold, Mary Rider (st) 508 THE MOUNTAIN RAT Meeker, Mary (act) 612 THAT ROYLE GIRL Menjou, Adolphe (act) 538* THE HABIT OF HAPPINESS 556* MANHATTAN MADNESS 613 THE SORROWS OF SATAN Menzies, William Cameron (set designer, unless otherwise noted) 618 THE DRUMS OF LOVE 621 LADY OF THE PAVEMENTS 624 ABRAHAM LINCOLN (art d) Meredyth, Bess same as Meredith, Bess (act) 446*? THREE FRIENDS Merkel, Una (act) 624 ABRAHAM LINCOLN Mersereau, Violet (act) 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 146 THE PEACHBASKET HAT 149 HIS DUTY 150 THE LONELY VILLA 153 THE WAY OF MAN 196 HIS LOST LOVE 201 WHAT’S YOUR HURRY? Meyer, Arthur (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Meyer-Förster, Wilhelm (source) 519 OLD HEIDELBERG Meyers, Carmel see Myers, Carmel Meyers, Rabbi see Myers, Rabbi Mike, the bulldog (act) 600 THE GHOST IN THE GARRET Milaidy, James same as Milady, James (act) 609 AMERICA Miles, David (act, unless otherwise noted) 077 THE HELPING HAND 080 A WREATH TIME

081 THE HONOR OF THIEVES 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 085 THE CRIMINAL HYPNOTIST 086 EDGAR ALLEN POE 088? THE ROUE’S HEART 089 THE WELCOME BURGLAR 091 LOVE FINDS A WAY 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 101 HIS WIFE’S MOTHER 104 THE PRUSSIAN SPY 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 113 THE WOODEN LEG 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 121 A BURGLAR’S MISTAKE 122 THE ROAD TO THE HEART 123 THE EAVESDROPPER 125 THE FRENCH DUEL 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 298

THE GRIFFITH PROJECT: VOLUME 11

Miles, David–cont. 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 147 THE SON’S RETURN 149 HIS DUTY 150 THE LONELY VILLA 151 THE FADED LILLIES 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 500 A FAIR REBEL 501 THE WIFE (d) Miller, Walter (act) 425 A CHANGE OF SPIRIT 426 AN UNSEEN ENEMY 427 TWO DAUGHTERS OF EVE 428 FRIENDS 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 437 MY BABY 438 THE INFORMER 439 BRUTALITY 444 A CRY FOR HELP 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 461 NEAR TO EARTH 464 THE HERO OF LITTLE ITALY 465 THE PERFIDY OF MARY 468? THE LITTLE TEASE 471 THE WANDERER 472 THE HOUSE OF DARKNESS 475 HIS MOTHER’S SON 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 486 THE COMING OF ANGELO 489 TWO MEN OF THE DESERT 490 THE REFORMERS 496 LORD CHUMLEY

Miller, William (“Bill”) (asst ph) 612 THAT ROYLE GIRL Miller, William Chrystie same as Miller, W. Chrystie; Miller, W.C. (act) 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 223 THE ROCKY ROAD 224 THE DANCING GIRL OF BUTTE 225 HER TERRIBLE ORDEAL 226 THE CALL 227 ON THE REEF 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 248 UNEXPECTED HELP 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 255 RAMONA 256 THE TWO BROTHERS 257 OVER SILENT PATHS 259 IN THE SEASON OF BUDS 260 A CHILD OF THE GHETTO 262 IN THE BORDER STATES 264 THE MARKED TIME-TABLE 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 279 THE SORROWS OF THE UNFAITHFUL 281 WILFUL PEGGY

299

THE GRIFFITH PROJECT: VOLUME 11

Miller, William Chrystie–cont. 283 A SUMMER IDYL 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 297 SIMPLE CHARITY 298 THE FUGITIVE 299 SUNSHINE SUE 301 A PLAIN SONG 306 THE LESSON 310 HIS TRUST 316 WHAT SHALL WE DO WITH OUR OLD 319 THE LILY OF THE TENEMENTS 320 FISHER FOLKS 321 HIS DAUGHTER 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 332 HIS MOTHER’S SCARF 335 IN THE DAYS OF ’49 338 THE NEW DRESS 339 THE WHITE ROSE OF THE WILDS 341 THE CROOKED ROAD 343 THE PRIMAL CALL 351 BOBBY, THE COWARD 365 THE MAKING OF A MAN 368 THE ADVENTURES OF BILLY 370 THE BATTLE 385 THE OLD BOOKKEEPER 391 THE SUNBEAM 393* THE MENDER OF NETS 394 UNDER BURNING SKIES 397 THE GODDESS OF SAGEBRUSH GULCH 405 THE OLD ACTOR 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 413 THE SPIRIT AWAKENED 416 AN INDIAN SUMMER 417 HEAVEN AVENGES 418 THE MASSACRE 419 MAN’S GENESIS

420 THE SANDS OF DEE 437 MY BABY 440 THE UNWELCOME GUEST 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 450 THE TENDER-HEARTED BOY 454 A MISAPPROPRIATED TURKEY 460 A GIRL’S STRATAGEM 462 A WELCOME INTRUDER 468 THE LITTLE TEASE 475 HIS MOTHER’S SON 476 A TIMELY INTERCEPTION 481 HER MOTHER’S OATH 483 THE BATTLE AT ELDERBUSH GULCH 490 THE REFORMERS 492 JUDITH OF BETHULIA 493 THE ADOPTED BROTHER Mitchell, Dodson (act) 554 FIFTY FIFTY Mitchell, Rhea (act) 528 DON QUIXOTE Modjeska, Felix (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Molnar, Ferenc (source) 054 THE DEVIL Monaco, Princess of (act) 568 THE GREAT LOVE Montagne, E.J. (au) 448 OIL AND WATER Montague, Hon. Mrs. (act) 568 THE GREAT LOVE Montran, Donna (act) 513 THE BIRTH OF A NATION Montrose, Vivian (act) 586 NOBODY HOME Mooney, Margaret (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Moore, Owen (act) 081 THE HONOR OF THIEVES 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 085 THE CRIMINAL HYPNOTIST 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 300

THE GRIFFITH PROJECT: VOLUME 11

Moore, Owen–cont. 100 JONES AND THE LADY BOOK AGENT 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 103 HIS WARD’S LOVE 104 THE PRUSSIAN SPY 105 THE DECEPTION 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 120 A RUDE HOSTESS 121 A BURGLAR’S MISTAKE 123 THE EAVESDROPPER 124 SCHNEIDER’S ANTI-NOISE CRUSADE 125 THE FRENCH DUEL 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 149 HIS DUTY 150 THE LONELY VILLA

151 THE FADED LILLIES 152 THE FRIEND OF THE FAMILY 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 157 THE MESSAGE 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 168 THE SLAVE 169 JONES’ BURGLAR 170 THE MENDED LUTE 171 THE INDIAN RUNNER’S ROMANCE 172 WITH HER CARD 173 THE BETTER WAY 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 178 SEALED ROOM, THE 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 186 THE CHILDREN’S FRIEND 187 THE BROKEN LOCKET 188 THE AWAKENING 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 194 A CHANGE OF HEART 196 HIS LOST LOVE 197 THE EXPIATION 199 LINES OF WHITE ON A SULLEN SEA 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 301

THE GRIFFITH PROJECT: VOLUME 11

Moore, Owen–cont. 221 TO SAVE HER SOUL 224 THE DANCING GIRL OF BUTTE 225 HER TERRIBLE ORDEAL 228 THE LAST DEAL 230 THE CLOISTER’S TOUCH 232 THE DUKE’S PLAN 503 THE BATTLE OF THE SEXES 505 THE ESCAPE 509 HOME, SWEET HOME 523 JORDAN IS A HARD ROAD 535 BETTY OF GREYSTONE 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 543 INTOLERANCE 574 THE FALL OF BABYLON Moore, Scott (act) 627 THE STRUGGLE Moore, Tom (act) 075? AN AWFUL MOMENT 076? THE TEST OF FRIENDSHIP 077 THE HELPING HAND 079 THE CHRISTMAS BURGLARS 085? THE CRIMINAL HYPNOTIST 114 THE VOICE OF THE VIOLIN 118 A DRUNKARD’S REFORMATION Moreno, Antonio same as Moreno, Tony (act) 396 IOLA’S PROMISE 426 AN UNSEEN ENEMY 427 TWO DAUGHTERS OF EVE 429 SO NEAR, YET SO FAR 434 THE MUSKETEERS OF PIG ALLEY 448 OIL AND WATER 466 A MISUNDERSTOOD BOY 495 STRONGHEART 497 MEN AND WOMEN 614 [SCREEN SNAPSHOTS] Morgan, Jeanne (act) 613 THE SORROWS OF SATAN Morosco, Walter (act) 614 [SCREEN SNAPSHOTS] Morris, Clara (act) 555 DIANE OF THE FOLLIES Morris, David same as Morris, Dave (act) 490 THE REFORMERS 499? LIBERTY BELLES Morris, Reggie (act) 448*? OIL AND WATER 451* A CHANCE DECEPTION

452* FATE 499? LIBERTY BELLES Moses, Alfred Huger, Jr. (sc) 553 THE SOCIAL SECRETARY Moss, Geoffrey same as Moss, Major Geoffrey (source) 610 ISN’T LIFE WONDERFUL Mulhall, Jack (act) 299? SUNSHINE SUE 303? A CHILD’S STRATAGEM 495 STRONGHEART Mulford, Ted (act) 513? THE BIRTH OF A NATION Murphy, Johnny (electrician) 627 THE STRUGGLE Murray, Charles (act) 478 THE MOTHERING HEART 490 THE REFORMERS Murray, Mae (act) 614 [SCREEN SNAPSHOTS] Murray, Miss (act) 005 CUPID’S PRANKS Myers, Carmel same as Meyers, Carmel (act) 543 INTOLERANCE 560? THE MATRIMANIAC 574 THE FALL OF BABYLON Myers, Rabbi same as Meyers, Rabbi (religious advisor) 543 INTOLERANCE

N Nagel, Conrad (narration) 631 ONE MILLION B.C. Nally, William (act) 600 THE GHOST IN THE GARRET Neilan, Marshall (act, unless otherwise noted) 494 CLASSMATES [1913] 497 MEN AND WOMEN 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (d for interiors, on camera) 579? THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART (on camera) Nella (m) 629 SAN FRANCISCO 302

THE GRIFFITH PROJECT: VOLUME 11

Nelson, Edgar (act) 598 WAY DOWN EAST Neville, George (act) 598 WAY DOWN EAST 601 DREAM STREET Newburg, Frank (act) 498 MAN’S ENEMY Newcombe, Warren A. (set designer) 609 AMERICA Newman, Jim (asst carpenter) 543 INTOLERANCE 574 THE FALL OF BABYLON Newman, Joseph (asst d) 629 SAN FRANCISCO Newton, Marie (act) 352 A COUNTRY CUPID 355 THE RULING PASSION 434 THE MUSKETEERS OF PIG ALLEY Niblo, Fred (act) 614 [SCREEN SNAPSHOTS] Nicholls, George O. same as Nicholls, George; Nichols, George (act, unless otherwise noted) 044 BEHIND THE SCENES 045? THE HEART OF O YAMA 134 ONE BUSY HOUR 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 142 THE CRICKET ON THE HEARTH 144 WHAT DRINK DID 178 THE SEALED ROOM 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 185 GETTING EVEN 187 THE BROKEN LOCKET 188 THE AWAKENING 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 193 WANTED, A CHILD 194 A CHANGE OF HEART 195 THE LITTLE TEACHER 196 HIS LOST LOVE 197 THE EXPIATION 198 THE GIBSON GODDESS 303

199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 211 IN THE WINDOW RECESS 212 THE DEATH DISC 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 223 THE ROCKY ROAD 225 HER TERRIBLE ORDEAL 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 235 HIS LAST BURGLARY 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 242 THE CONVERTS 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 247 A RICH REVENGE 248 UNEXPECTED HELP 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 260 A CHILD OF THE GHETTO 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH

THE GRIFFITH PROJECT: VOLUME 11

Nicholls, George O.–cont. 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 280 THE USURER 282 THE MODERN PRODIGAL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 296 WAITER NO. 5 299 SUNSHINE SUE 303 A CHILD’S STRATAGEM 305 WHEN A MAN LOVES 306 THE LESSON 307 WINNING BACK HIS LOVE 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 321 HIS DAUGHTER 323 CONSCIENCE 324 WAS HE A COWARD? 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 335 IN THE DAYS OF ’49 336 ENOCH ARDEN – PART ONE 343 THE PRIMAL CALL 349 FIGHTING BLOOD 355 THE RULING PASSION 515 GHOSTS (d) 516 PILLARS OF SOCIETY (d) 543 INTOLERANCE (asst d) 565 HEARTS OF THE WORLD 570 A ROMANCE OF HAPPY VALLEY 571 BATTLING JANE 588 THE GREATEST QUESTION

Noble, John W. [Jack] (d) 608 HIS DARKER SELF Noble, Milton (act) 609 AMERICA Nolte, H.M.L. (au) 455 BROTHERS Norcross, Frank M. (act) 497 MEN AND WOMEN Normand, Mabel (act) 315* THE DIAMOND STAR 360 THE SQUAW’S LOVE 362 THE ETERNAL MOTHER 365 THE MAKING OF A MAN 366 HER AWAKENING 367 THE UNVEILING 379 SAVED FROM HIMSELF 393* THE MENDER OF NETS 408 WHEN KINGS WERE THE LAW Norris, Frank (source) 216 A CORNER IN WHEAT North, Bobby (prod mgr) 618 THE DRUMS OF LOVE Northpole, John (act) 631 ONE MILLION B.C. Northrup, H.S. same as Northrup, Harry (act) 554 FIFTY FIFTY Nourse, Dorothy (act) 613 THE SORROWS OF SATAN Novak, Mickell (prod script) 631 ONE MILLION B.C. Novello, Ivor (act) 607 THE WHITE ROSE Nowskowski, L. de see de Nowskowski, L.

O O’Brien, Dennis (on camera) 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] 579? THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART O’Brien, John B. (d) 533 THE FLYING TORPEDO O’Brien, Thomas E. 505? THE ESCAPE (prod asst) 513 THE BIRTH OF A NATION (asst d) 304

THE GRIFFITH PROJECT: VOLUME 11

O’Connor, Loyola same as O’Conner, Loyola (act) 521 THE LILY AND THE ROSE 527 THE MISSING LINKS 534 HOODOO ANN 543 INTOLERANCE 574 THE FALL OF BABYLON 583 TRUE HEART SUSIE O’Connor, Mary H. (sc) 523 JORDAN IS A HARD ROAD 524 THE PENITENTES 525 CROSS CURRENTS O’Day, Dawn same as Shirley, Anne (act) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Ogden, Vivian same as Ogden, Vivia (act) 553 THE SOCIAL SECRETARY 595 A GREAT PICTURE IN THE MAKING (on camera) 598 WAY DOWN EAST Olson, Jerome J. (au) 372 THE TRAIL OF BOOKS O’Malley, Tom (act) 608 HIS DARKER SELF O’Neil, Sally (act) 619 THE BATTLE OF THE SEXES [1928] O’Neill, Alice (costume designer) 618 THE DRUMS OF LOVE 621 LADY OF THE PAVEMENTS O’Neill, Harry (act) 609 AMERICA Oppenheim, E. Phillips (source) 506 THE FLOOR ABOVE Opper, Frederick Burr (source) 125 THE FRENCH DUEL Opperman, Frank (act) 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 247 A RICH REVENGE 248 UNEXPECTED HELP 251 THE WAY OF THE WORLD 252? THE UNCHANGING SEA 253 THE GOLD-SEEKERS 255 RAMONA

335 IN THE DAYS OF ’49 343 THE PRIMAL CALL 345 THE INDIAN BROTHERS 350 THE LAST DROP OF WATER 393* THE MENDER OF NETS 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 399 THE PUNISHMENT 400 FATE’S INTERCEPTION 402 JUST LIKE A WOMAN 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 408 WHEN KINGS WERE THE LAW 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 414 THE SCHOOL TEACHER AND THE WAIF 415 MAN’S LUST FOR GOLD 416 AN INDIAN SUMMER 418 THE MASSACRE 420 THE SANDS OF DEE 430 A FEUD IN THE KENTUCKY HILLS 449 AN ADVENTURE IN THE AUTUMN WOODS 459 BROKEN WAYS 461 NEAR TO EARTH 462 A WELCOME INTRUDER 464 THE HERO OF LITTLE ITALY 466 A MISUNDERSTOOD BOY 468 THE LITTLE TEASE 469 THE LADY AND THE MOUSE 471 THE WANDERER 472 THE HOUSE OF DARKNESS 474 JUST GOLD 475 HIS MOTHER’S SON 476 A TIMELY INTERCEPTION 479 THE YAQUI CUR 481 HER MOTHER’S OATH 482 THE SORROWFUL SHORE 483 THE BATTLE AT ELDERBUSH GULCH 492 JUDITH OF BETHULIA 500 A FAIR REBEL 305

THE GRIFFITH PROJECT: VOLUME 11

Ord, Robert see Gayer Mackay, Edith Ormonde, Eugene (act) 535 BETTY OF GREYSTONE 556 MANHATTAN MADNESS Orr, James (au) 461 NEAR TO EARTH Ortego, Arthur same as Ortiega, Arturo (act) 558* AMERICAN ARISTOCRACY Orth, Louise (act) 498 MAN’S ENEMY Ortiega, Arturo see Ortego, Arthur Osborne, Sir Hugh R. (st) 584 NUGGET NELL O’Shea, James (act) 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 547 THE WILD GIRL OF THE SIERRAS 551 THE MARRIAGE OF MOLLY-O O’Sullivan, Anthony same as O’Sullivan, Tony (act, unless otherwise noted) 007 THE YELLOW PERIL 011 A FAMOUS ESCAPE 012 KING OF THE CANNIBAL ISLANDS 014 HULDA’S LOVERS 016 THE SCULPTOR’S NIGHTMARE 019 ’OSTLER JOE 020 THE INVISIBLE FLUID 021 THE MAN IN THE BOX 024 AT THE CROSSROADS OF LIFE 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 028 THE BLACK VIPER 029 THE FIGHT FOR FREEDOM 034 DECEIVED SLUMMING PARTY 035 THE GREASER’S GAUNTLET 038 THE FATAL HOUR 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 126 TWIN BROTHERS 127 THE NOTE IN THE SHOE 128 LUCKY JIM 129 A SOUND SLEEPER 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE

137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 150 THE LONELY VILLA 151 THE FADED LILLIES 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 157 THE MESSAGE 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 165 MRS. JONES’ LOVER; OR, “I WANT MY HAT” 166 THE RENUNCIATION 169 JONES’ BURGLAR 171 THE INDIAN RUNNER’S ROMANCE 172 WITH HER CARD 173 THE BETTER WAY 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 178 THE SEALED ROOM 179 PRANKS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 185 GETTING EVEN 187 THE BROKEN LOCKET 188 THE AWAKENING 189? PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 193? WANTED, A CHILD 194 A CHANGE OF HEART 196 HIS LOST LOVE 197 THE EXPIATION 306

THE GRIFFITH PROJECT: VOLUME 11

O’Sullivan, Anthony–cont. 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 211 IN THE WINDOW RECESS 212 THE DEATH DISC 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 217 THE TEST 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 220 THE DAY AFTER 222 CHOOSING A HUSBAND 223 THE ROCKY ROAD 225 HER TERRIBLE ORDEAL 226 THE CALL 228 THE LAST DEAL 229 THE HONOR OF HIS FAMILY 231 THE WOMAN FROM MELLON’S 234 THE ENGLISHMAN AND THE GIRL 236 THE FINAL SETTLEMENT 237 TAMING A HUSBAND 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 247 A RICH REVENGE 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 255 RAMONA 256 THE TWO BROTHERS 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 265 A CHILD’S IMPULSE 269 WHAT THE DAISY SAID

272 A FLASH OF LIGHT 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 280 THE USURER 282 THE MODERN PRODIGAL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 293 THE BANKER’S DAUGHTERS 453? A FATHER’S LESSON (d) 454? A MISAPPROPRIATED TURKEY (d) 456? DRINK’S LURE (d) 457? WHEN LOVE FORGIVES (d) 460? A GIRL’S STRATAGEM (d) 462*? A WELCOME INTRUDER (d) 464? THE HERO OF LITTLE ITALY (d) 467? THE LEFT-HANDED MAN (d) 470? IF WE ONLY KNEW (d) 473? THE STOLEN LOAF (d) 480? THE RANCHERO’S REVENGE (d) 484? THE ENEMY’S BABY (d) Owen, Seena (act) 518 THE LAMB 524 THE PENITENTES 531 MARTHA’S VINDICATION 543 INTOLERANCE 574 THE FALL OF BABYLON

P Page, Gertrude (au, source, st) 606 PADDY – THE-NEXT-BEST-THING Paget, Alfred (act) 168 THE SLAVE 170 THE MENDED LUTE 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 244 THE TWISTED TRAIL 307

THE GRIFFITH PROJECT: VOLUME 11

Paget, Alfred–cont. 246 GOLD IS NOT ALL 248 UNEXPECTED HELP 249 A ROMANCE OF THE WESTERN HILLS 251 THE WAY OF THE WORLD 252 THE UNCHANGING SEA 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES 256 THE TWO BROTHERS 257 OVER SILENT PATHS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 270 A CHILD’S FAITH 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 278 A SALUTARY LESSON 280 THE USURER 281 WILFUL PEGGY 282 THE MODERN PRODIGAL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 294 THE MESSAGE OF THE VIOLIN 295 TWO LITTLE WAIFS 296 WAITER NO. 5 297 SIMPLE CHARITY

298 THE FUGITIVE 300 THE SONG OF THE WILDWOOD FLUTE 301 A PLAIN SONG 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 306 THE LESSON 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 310 HIS TRUST 312 THE TWO PATHS 313 THREE SISTERS 314 FATE’S TURNING 316 WHAT SHALL WE DO WITH OUR OLD 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 320 FISHER FOLKS 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 327 THE SPANISH GYPSY 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 331 MADAME REX 332 HIS MOTHER’S SCARF 334 THE TWO SIDES 335 IN THE DAYS OF ’49 336 ENOCH ARDEN – PART ONE 338 THE NEW DRESS 341 THE CROOKED ROAD 343 THE PRIMAL CALL 345 THE INDIAN BROTHERS 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 352 A COUNTRY CUPID 353 OUT FROM THE SHADOW 356 THE ROSE OF KENTUCKY 358 SWORDS AND HEARTS 360 THE SQUAW’S LOVE 368 THE ADVENTURES OF BILLY 369 THE LONG ROAD 370 THE BATTLE 374 A WOMAN SCORNED 375 THE MISER’S HEART 376 THE FAILURE 308

THE GRIFFITH PROJECT: VOLUME 11

Paget, Alfred–cont. 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 384 FOR HIS SON 385 THE OLD BOOKKEEPER 387 BILLY’S STRATAGEM 390 THE ROOT OF EVIL 392 A STRING OF PEARLS 394 UNDER BURNING SKIES 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 408 WHEN KINGS WERE THE LAW 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 413 THE SPIRIT AWAKENED 414 THE SCHOOL TEACHER AND THE WAIF 418 THE MASSACRE 421 A PUEBLO LEGEND 422 THE NARROW ROAD 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 427 TWO DAUGHTERS OF EVE 431 IN THE AISLES OF THE WILD 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 439 BRUTALITY 441 THE NEW YORK HAT 442 MY HERO 443 THE BURGLAR’S DILEMMA 444 A CRY FOR HELP 447 THE TELEPHONE GIRL AND THE LADY 448 OIL AND WATER 449 AN ADVENTURE IN THE AUTUMN WOODS 450 THE TENDER-HEARTED BOY 456 DRINK’S LURE

459 BROKEN WAYS 460 A GIRL’S STRATAGEM 463 THE SHERIFF’S BABY 466 A MISUNDERSTOOD BOY 467 THE LEFT-HANDED MAN 472 THE HOUSE OF DARKNESS 474 JUST GOLD 476 A TIMELY INTERCEPTION 477 DEATH’S MARATHON 478 THE MOTHERING HEART 479 THE YAQUI CUR 481 HER MOTHER’S OATH 483 THE BATTLE AT ELDERBUSH GULCH 488 BRUTE FORCE 489 TWO MEN OF THE DESERT 490 THE REFORMERS 492 JUDITH OF BETHULIA 514 ENOCH ARDEN 517 THE MARTYRS OF THE ALAMO 518 THE LAMB 543 INTOLERANCE 557 THE OLD FOLKS AT HOME 574 THE FALL OF BABYLON Palange, Inez (act) 631 ONE MILLION B.C. Pallette, Eugene (act) 513 THE BIRTH OF A NATION 539 SUNSHINE DAD 543 INTOLERANCE Palmer, Albert Marshman (source, adapt) 603 ORPHANS OF THE STORM Pangborn, Franklin (act) 621 LADY OF THE PAVEMENTS Park, William, E. (act) 600 THE GHOST IN THE GARRET Parker, Albert (act) 558 AMERICAN ARISTOCRACY Parker, Dorothy (titles) 593 REMODELING HER HUSBAND Parker, Gilbert (source) 523 JORDAN IS A HARD ROAD Parker, Henry (m) 629 SAN FRANCISCO Parker, Lottie Blair (source) 598 WAY DOWN EAST Parks, Frances (act) 580 THE GIRL WHO STAYED AT HOME 309

THE GRIFFITH PROJECT: VOLUME 11

Payne, John Howard (source) 509 HOME, SWEET HOME Pearce, George same as Pierce, George (act) 520 THE SABLE LORCHA 526 LET KATIE DO IT 531 MARTHA’S VINDICATION 532 DAPHNE AND THE PIRATE 536 LITTLE MEENA’S ROMANCE 549 THE LITTLE SCHOOL MA’AM Pearce, Georgia see Talmadge, Constance Pearce, Peggy (act) 478 THE MOTHERING HEART Pearl, Lloyd (act) 526 LET KATIE DO IT Peil, Edward (act) 572 THE GREATEST THING IN LIFE 576 BROKEN BLOSSOMS 577 BOOTS 580 THE GIRL WHO STAYED AT HOME 581 PEPPY POLLY 582 I’LL GET HIM YET 601 DREAM STREET Pell, John L.E. (sc) 609 AMERICA Pember, Clifford (art d) 598 WAY DOWN EAST Perley, Charles (act) 086 EDGAR ALLEN POE 156? THE MEXICAN SWEETHEARTS 228 THE LAST DEAL 500? A FAIR REBEL 501 THE WIFE Perry, Lester same as Perry, Vester (act) 523 JORDAN IS A HARD ROAD Perry, Vester see Perry, Lester Pesce, Albert (m) 588 THE GREATEST QUESTION 591 THE LOVE FLOWER 605 ONE EXCITING NIGHT 607 THE WHITE ROSE Peters, George (asst ph) 612 THAT ROYLE GIRL Peters, T.K. (historical consultant) 513 THE BIRTH OF A NATION Peters, William Frederick same as Peters, William F. (m) 598 WAY DOWN EAST 603 ORPHANS OF THE STORM

Philbin, Mary (act) 618 THE DRUMS OF LOVE Pickford, Jack (act) 157 THE MESSAGE 179 PRANKS 193 WANTED, A CHILD 215 IN A HEMPEN BAG 221 TO SAVE HER SOUL 226 THE CALL 238 THE NEWLYWEDS 255 RAMONA 282 THE MODERN PRODIGAL 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 290 EXAMINATION DAY AT SCHOOL 292 THE BROKEN DOLL 295 TWO LITTLE WAIFS 296 WAITER NO. 5 301 A PLAIN SONG 303 A CHILD’S STRATAGEM 311 HIS TRUST FULFILLED 314 FATE’S TURNING 411 A TEMPORARY TRUCE 414 THE SCHOOL TEACHER AND THE WAIF 415 MAN’S LUST FOR GOLD 416 AN INDIAN SUMMER 418 THE MASSACRE 421 A PUEBLO LEGEND 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 430 A FEUD IN THE KENTUCKY HILLS 433 THE PAINTED LADY 434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 437 MY BABY 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 442? MY HERO 452 FATE 454 A MISAPPROPRIATED TURKEY 458 LOVE IN AN APARTMENT HOTEL 499 LIBERTY BELLES 504 THE GANGSTERS 509 HOME, SWEET HOME 513? THE BIRTH OF A NATION 310

THE GRIFFITH PROJECT: VOLUME 11

Pickford, Lottie (act) 160 THE CARDINAL’S CONSPIRACY 162 TENDER HEARTS 164 A STRANGE MEETING 168 THE SLAVE 171? THE INDIAN RUNNER’S ROMANCE 173 THE BETTER WAY 185 GETTING EVEN 196? HIS LOST LOVE 213? THROUGH THE BREAKERS 231 THE WOMAN FROM MELLON’S 292 THE BROKEN DOLL 297 SIMPLE CHARITY 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 304 THE GOLDEN SUPPER 309 THE ITALIAN BARBER 310 HIS TRUST 312 THE TWO PATHS 313 THREE SISTERS Pickford, Mary (act, unless otherwise noted) 138 HER FIRST BISCUITS 141 THE VIOLIN MAKER OF CREMONA 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 149 HIS DUTY 150 THE LONELY VILLA 151 THE FADED LILLIES 153 THE WAY OF MAN 155 THE NECKLACE 158 THE COUNTRY DOCTOR 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 162 TENDER HEARTS 166 THE RENUNCIATION 167 SWEET AND TWENTY 168 THE SLAVE 171 THE INDIAN RUNNER’S ROMANCE 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 177 “OH, UNCLE” 178 THE SEALED ROOM 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES

182 THE LITTLE DARLING 183 IN OLD KENTUCKY 185 GETTING EVEN (also st) 187 THE BROKEN LOCKET 188 THE AWAKENING (also st) 195 THE LITTLE TEACHER 196 HIS LOST LOVE 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 203 THE LIGHT THAT CAME 204 THE RESTORATION 205 A MIDNIGHT ADVENTURE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 217 THE TEST 220? THE DAY AFTER (st) 221 TO SAVE HER SOUL 231 THE WOMAN FROM MELLON’S 234 THE ENGLISHMAN AND THE GIRL 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 247 A RICH REVENGE 249 A ROMANCE OF THE WESTERN HILLS 252 THE UNCHANGING SEA 254 LOVE AMONG THE ROSES 255 RAMONA 256 THE TWO BROTHERS 259 IN THE SEASON OF BUDS 261 A VICTIM OF JEALOUSY 265 A CHILD’S IMPULSE 267 MUGGSY’S FIRST SWEETHEART 269 WHAT THE DAISY SAID 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 279 THE SORROWS OF THE UNFAITHFUL 281 WILFUL PEGGY 296 WAITER NO. 5 297 SIMPLE CHARITY 300 THE SONG OF THE WILDWOOD FLUTE 311

THE GRIFFITH PROJECT: VOLUME 11

Pickford, Mary–cont. 301 A PLAIN SONG 305 WHEN A MAN LOVES 309 THE ITALIAN BARBER 313 THREE SISTERS 317 A DECREE OF DESTINY 331 MADAME REX (au) 393 THE MENDER OF NETS 395 A SIREN OF IMPULSE 396 IOLA’S PROMISE 400 FATE’S INTERCEPTION 401 THE FEMALE OF THE SPECIES 402 JUST LIKE A WOMAN 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 409 A BEAST AT BAY 410 HOME FOLKS 412 LENA AND THE GEESE (also au) 414 THE SCHOOL TEACHER AND THE WAIF 416 AN INDIAN SUMMER 421 A PUEBLO LEGEND 422 THE NARROW ROAD 424 THE INNER CIRCLE 428 FRIENDS 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS 432 THE ONE SHE LOVED 437 MY BABY 438 THE INFORMER 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 487 [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] 567 GAUMONT NEWS, VOL. XVI, NO. 2-L 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (on camera) 579 THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART (on camera) 623 [MARY PICKFORD AND GUESTS] (on camera)

Pierce, George see Pearce, George Pierce, Grace A. same as Pierce, G. (act) 492 JUDITH OF BETHULIA 500 A FAIR REBEL Pierson, Mrs. E.C. (sc) 386 A SISTER’S LOVE Pierson, F.M. 535 BETTY OF GREYSTONE (sc) 536 LITTLE MEENA’S ROMANCE (st) 539? SUNSHINE DAD (sc, st) 547 THE WILD GIRL OF THE SIERRAS (sc) Pinero, Arthur Wing (source) 555 DIANE OF THE FOLLIES Pittman, Martha (st) 577 BOOTS Pixley, Gus (act) 228? THE LAST DEAL 384 FOR HIS SON 389 THE TRANSFORMATION OF MIKE 429 SO NEAR, YET SO FAR 439 BRUTALITY 442? MY HERO 478 THE MOTHERING HEART 490 THE REFORMERS 496 LORD CHUMLEY Plimmer, Walter, Jr. (act) 610 ISN’T LIFE WONDERFUL Poe, Edgar Allan (source) 510 THE AVENGING CONSCIENCE Pope, Patricia (act) 631 ONE MILLION B.C. Porter, Edwin S. (ph, unless otherwise noted) 003 RESCUED FROM AN EAGLE’S NEST 005 CUPID’S PRANKS 487 [MARY PICKFORD AND DAVID BELASCO ON THE SET OF A GOOD LITTLE DEVIL] (act) Pouyet, Eugène (act) 565 HEARTS OF THE WORLD Powell, Baden (act) 341 THE CROOKED ROAD 342 A SMILE OF A CHILD 347 THE THIEF AND THE GIRL 312

THE GRIFFITH PROJECT: VOLUME 11

Powell, Frank (act, unless otherwise noted) 147 THE SON’S RETURN 149 HIS DUTY 151 THE FADED LILLIES 152 THE FRIEND OF THE FAMILY 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 157 THE MESSAGE 158 THE COUNTRY DOCTOR 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 162 TENDER HEARTS 164 A STRANGE MEETING 168 THE SLAVE 169 JONES’ BURGLAR 170 THE MENDED LUTE 171 THE INDIAN RUNNER’S ROMANCE 172 WITH HER CARD 174 HIS WIFE’S VISITOR 176 THE MILLS OF THE GODS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 183 IN OLD KENTUCKY 186 THE CHILDREN’S FRIEND 187 THE BROKEN LOCKET 191 LEATHER STOCKING 192 FOOLS OF FATE 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 202 NURSING A VIPER 203 THE LIGHT THAT CAME 206 TWO WOMEN AND A MAN 208 SWEET REVENGE 212 THE DEATH DISC 216 A CORNER IN WHEAT 223 THE ROCKY ROAD 228 THE LAST DEAL 238 THE NEWLYWEDS 240 IN OLD CALIFORNIA 241 THE MAN 258 THE IMPALEMENT 498? MAN’S ENEMY (d) Powell, Paul (d) 500 A FAIR REBEL 521 THE LILY AND THE ROSE

529 THE WOOD NYMPH 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 547 THE WILD GIRL OF THE SIERRAS 551 THE MARRIAGE OF MOLLY-O 560 THE MATRIMANIAC Power, Tyrone Frederick (act) 601 DREAM STREET Predmore, Lester (act) 282 THE MODERN PRODIGAL Prescott, Jack (act) 517 THE MARTYRS OF THE ALAMO Prescott, Vivian (act) 263 THE FACE AT THE WINDOW 265 A CHILD’S IMPULSE 268 A MIDNIGHT CUPID 272 A FLASH OF LIGHT 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 278 A SALUTARY LESSON 307 WINNING BACK HIS LOVE 309 THE ITALIAN BARBER 310 HIS TRUST 312 THE TWO PATHS 313 THREE SISTERS 316 WHAT SHALL WE DO WITH OUR OLD 320 FISHER FOLKS 325 TEACHING DAD TO LIKE HER 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 331 MADAME REX 333 HOW SHE TRIUMPHED 338 THE NEW DRESS 343 THE PRIMAL CALL 344 THE JEALOUS HUSBAND 346 HER SACRIFICE 363 ITALIAN BLOOD 365 THE MAKING OF A MAN 366 HER AWAKENING 374 A WOMAN SCORNED 385 THE OLD BOOKKEEPER 405 THE OLD ACTOR 498 MAN’S ENEMY Price, Oscar (on camera) 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] 313

THE GRIFFITH PROJECT: VOLUME 11

Price, Oscar–cont. 579? THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART Prior, Herbert (act) 083 THE JONESES HAVE AMATEUR THEATRICALS 099 POLITICIAN’S LOVE STORY 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108? A FOOL’S REVENGE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 116? JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 121 A BURGLAR’S MISTAKE 124 SCHNEIDER’S ANTI-NOISE CRUSADE 126 TWIN BROTHERS 128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 143 ERADICATING AUNTY 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 148 A NEW TRICK 150 THE LONELY VILLA 151 THE FADED LILLIES 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE

“Private Peat” (act) 571 BATTLING JANE Props, the Dog (act) 548 FLIRTING WITH FATE Prudhomme, Cameron (act) 624 ABRAHAM LINCOLN Puglia, Frank (act) 603 ORPHANS OF THE STORM 610 ISN’T LIFE WONDERFUL

Q Quick, Herbert (source) 522 DOUBLE TROUBLE Quimby, Harriet (au, unless otherwise noted) 320 FISHER FOLKS (sc) 328 THE BROKEN CROSS 332 HIS MOTHER’S SCARF 335 IN THE DAYS OF ’49 342 A SMILE OF A CHILD 348 THE BLIND PRINCESS AND THE POET (sc) 377 SUNSHINE THROUGH THE DARK Quirk, William A. same as Quirk, Billy (act) 151 THE FADED LILLIES 154 WAS JUSTICE SERVED? 155 THE NECKLACE 156 THE MEXICAN SWEETHEARTS 160 THE CARDINAL’S CONSPIRACY 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 166 THE RENUNCIATION 167 SWEET AND TWENTY 172 WITH HER CARD 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 177 “OH, UNCLE” 179 PRANKS 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 185 GETTING EVEN 187 THE BROKEN LOCKET 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 314

THE GRIFFITH PROJECT: VOLUME 11

Quirk, William A.–cont. 191 LEATHER STOCKING 194 A CHANGE OF HEART 195 THE LITTLE TEACHER 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 216 A CORNER IN WHEAT 217 THE TEST 219 IN LITTLE ITALY 222 CHOOSING A HUSBAND 224 THE DANCING GIRL OF BUTTE 226 THE CALL 228 THE LAST DEAL 231 THE WOMAN FROM MELLON’S 233 ONE NIGHT, AND THEN – 238 THE NEWLYWEDS 243 FAITHFUL 247 A RICH REVENGE 256 THE TWO BROTHERS 263 THE FACE AT THE WINDOW 267 MUGGSY’S FIRST SWEETHEART 268 A MIDNIGHT CUPID 271 SERIOUS SIXTEEN 281 WILFUL PEGGY 543 INTOLERANCE 575 THE MOTHER AND THE LAW

R Radcliffe, Violet (act) 526 LET KATIE DO IT 549 THE LITTLE SCHOOL MA’AM Radford, Maisie same as Radford, Maizie; Radford, Mazie (act) 520? THE SABLE LORCHA 536* LITTLE MEENA’S ROMANCE 547 THE WILD GIRL OF THE SIERRAS Radford, Mazie see Radford, Maisie Radford, Maizie see Radford, Maisie

Ralph, Jessie (act) 629 SAN FRANCISCO Randall, William (sound recording) 631 ONE MILLION B.C. Randolph, Anders same as Randolf, Anders (act) 591 THE LOVE FLOWER 592 THE IDOL DANCER Rankin, Arthur (act) 594 ROMANCE Rankin, Grace (act) 535 BETTY OF GREYSTONE 538 THE HABIT OF HAPPINESS Raset, Val (dances staged by) 629 SAN FRANCISCO Raymond, Earle (act) 520 THE SABLE LORCHA Raynale, Marjorie (st) 581 PEPPY POLLY Raynes, J.A. (m) 520 THE SABLE LORCHA 521 THE LILY AND THE ROSE 523 JORDAN IS A HARD ROAD 525 CROSS CURRENTS 533 THE FLYING TORPEDO Reardon, M.S. (au) 446 THREE FRIENDS Red Wing (act) 170 THE MENDED LUTE Reed, Wallace see Reid, Wallace Rehfeld, Curt same as Rehfelt, Curt 537 SOLD FOR MARRIAGE (act) 565* HEARTS OF THE WORLD (prod advisor) Rehfelt, Curt see Rehfeld, Curt Rehkopf, Paul (act) 610 ISN’T LIFE WONDERFUL Reid, Wallace same as Reed, Wallace (act) 513 THE BIRTH OF A NATION 514 ENOCH ARDEN 519 OLD HEIDELBERG 543 INTOLERANCE 574 THE FALL OF BABYLON Remisoff, Nicolai (assoc art d) 631 ONE MILLION B.C. Rennie, James (act) 593 REMODELING HER HUSBAND 599 FLYING PAT 315

THE GRIFFITH PROJECT: VOLUME 11

Reubens, Alma same as Reuben, Alma; Rubens, Alma (act) 513 THE BIRTH OF A NATION 543 INTOLERANCE 544 REGGIE MIXES IN 545 THE MYSTERY OF THE LEAPING FISH 550 THE HALF-BREED 561 THE AMERICANO 574 THE FALL OF BABYLON Reville, Alma (asst ed) 565* HEARTS OF THE WORLD Reynolds, Isobel M. (au) 344 THE JEALOUS HUSBAND Ricciardi, William same as Riccardi, William (act) 629 SAN FRANCISCO Rice, Roy Hiram (asst d) 521 THE LILY AND THE ROSE 529 THE WOOD NYMPH Richman, Charles (act) 627 THE STRUGGLE Richmond, John (act) [See note to entry #556 in the Corrections and Additions section.] 556* MANHATTAN MADNESS Richmond, Warner P. same as Richmond, W.P. (act) [See note to entry #556 in the Corrections and Additions section.] 535 BETTY OF GREYSTONE 554 FIFTY FIFTY 556 MANHATTAN MADNESS Richtel, Rose see Smith, Rose Riesenfeld, Hugo (m) 255 RAMONA 532 DAPHNE AND THE PIRATE 619 THE BATTLE OF THE SEXES [1928] 621 LADY OF THE PAVEMENTS 624 ABRAHAM LINCOLN Rigas, George (act) 612 THAT ROYLE GIRL Riley, R. same as Riley, P. (act) 504 THE GANGSTERS Rising, W. (act) 609 AMERICA Ritchie, Franklin (act) 498 MAN’S ENEMY Ritz, Louis (act) 543 INTOLERANCE

Ritzau, Erik von see von Ritzau, Erik Ritzau, Gunther von see von Ritzau, Gunther Rivero, Lorraine (act) 631 ONE MILLION B.C. Riviere, Gaston (act) 565 HEARTS OF THE WORLD Roach, Bert (act) 629 SAN FRANCISCO Roach, Hal 630 [D.W. GRIFFITH MEETS HAL ROACH] (on camera) 631 ONE MILLION B.C. (d, presented by) Roach, Hal, Jr. (d) 631 ONE MILLION B.C. Robards, Jason (act) 624 ABRAHAM LINCOLN Roberts, Casey (set decoration) 618 THE DRUMS OF LOVE Robinson, Daisy (act) 543? INTOLERANCE 574? THE FALL OF BABYLON Robinson, Clark (set builder) 598 WAY DOWN EAST Robinson, George (act) 498 MAN’S ENEMY Robinson, Gertrude (act) 069 THE FEUD AND THE TURKEY 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 100 JONES AND THE LADY BOOK AGENT 116 JONES AND HIS NEW NEIGHBORS 121 A BURGLAR’S MISTAKE 133 THE DRIVE FOR A LIFE 145? TWO MEMORIES 153 THE WAY OF MAN 175 THEY WOULD ELOPE 178 SEALED ROOM, THE 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 316

THE GRIFFITH PROJECT: VOLUME 11

Robinson, Gertrude–cont. 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 185 GETTING EVEN 187 THE BROKEN LOCKET 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 195 THE LITTLE TEACHER 196 HIS LOST LOVE 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 204 THE RESTORATION 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 212 THE DEATH DISC 213 THROUGH THE BREAKERS 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 238 THE NEWLYWEDS 266 THE PURGATION 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 270 A CHILD’S FAITH 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 278 A SALUTARY LESSON 279 THE SORROWS OF THE UNFAITHFUL 280 THE USURER 281 WILFUL PEGGY 283 A SUMMER IDYL 285 A MOHAWK’S WAY 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 290 EXAMINATION DAY AT SCHOOL

291 THAT CHINK AT GOLDEN GULCH 292 THE BROKEN DOLL 494 CLASSMATES [1913] 495 STRONGHEART 497 MEN AND WOMEN Robinson, W.C. (act) 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 278 A SALUTARY LESSON 279 THE SORROWS OF THE UNFAITHFUL 280 THE USURER 281 WILFUL PEGGY 283 A SUMMER IDYL 284 LITTLE ANGELS OF LUCK 285 A MOHAWK’S WAY 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 291 THAT CHINK AT GOLDEN GULCH 294 THE MESSAGE OF THE VIOLIN 296 WAITER NO. 5 298 THE FUGITIVE 301 A PLAIN SONG 303 A CHILD’S STRATAGEM 304 THE GOLDEN SUPPER 306 THE LESSON 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 309 THE ITALIAN BARBER 310 HIS TRUST 312 THE TWO PATHS 313 THREE SISTERS 316 WHAT SHALL WE DO WITH OUR OLD 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 320 FISHER FOLKS 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 330 A KNIGHT OF THE ROAD 331 MADAME REX 337 ENOCH ARDEN – PART TWO 317

THE GRIFFITH PROJECT: VOLUME 11

Robinson, W.C.–cont. 338 THE NEW DRESS 341 THE CROOKED ROAD 343 THE PRIMAL CALL 345 THE INDIAN BROTHERS 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 355 THE RULING PASSION 358 SWORDS AND HEARTS 365 THE MAKING OF A MAN 366 HER AWAKENING 369 THE LONG ROAD 370 THE BATTLE 375 THE MISER’S HEART 376 THE FAILURE 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 384 FOR HIS SON 385 THE OLD BOOKKEEPER 387 BILLY’S STRATAGEM 389 THE TRANSFORMATION OF MIKE 394 UNDER BURNING SKIES 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 405 THE OLD ACTOR 406 A LODGING FOR THE NIGHT 407 HIS LESSON 409 A BEAST AT BAY 410 HOME FOLKS 411 A TEMPORARY TRUCE 412 LENA AND THE GEESE 417 HEAVEN AVENGES 418 THE MASSACRE 419 MAN’S GENESIS 421 A PUEBLO LEGEND 422 THE NARROW ROAD 424 THE INNER CIRCLE 425 A CHANGE OF SPIRIT 427 TWO DAUGHTERS OF EVE 428 FRIENDS 429 SO NEAR, YET SO FAR 430 A FEUD IN THE KENTUCKY HILLS

434 THE MUSKETEERS OF PIG ALLEY 435 HEREDITY 436 GOLD AND GLITTER 437 MY BABY 438 THE INFORMER 439 BRUTALITY 440 THE UNWELCOME GUEST 441 THE NEW YORK HAT 442 MY HERO 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 446 THREE FRIENDS 450 THE TENDER-HEARTED BOY 452 FATE 458 LOVE IN AN APARTMENT HOTEL 465 THE PERFIDY OF MARY 466? A MISUNDERSTOOD BOY 469 THE LADY AND THE MOUSE 472 THE HOUSE OF DARKNESS 475 HIS MOTHER’S SON 477 DEATH’S MARATHON 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 483 THE BATTLE AT ELDERBUSH GULCH 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA 493 THE ADOPTED BROTHER 495 STRONGHEART Rogalli, Nick (camera crew) 627 THE STRUGGLE Rogalli, Paul (camera crew) 627 THE STRUGGLE Rogan, Barney (ed) 627 THE STRUGGLE Rogan, Rita (act) 603 ORPHANS OF THE STORM Roland, Gilbert (act) 614 [SCREEN SNAPSHOTS] Romaine, Louis (act) 543 INTOLERANCE Roseman, Ed (act) 609 AMERICA Ross, Bud (act) 443* THE BURGLAR’S DILEMMA Ross, Shirley (act) 629 SAN FRANCISCO 318

THE GRIFFITH PROJECT: VOLUME 11

Rosson, Richard (property boy) 558* AMERICAN ARISTOCRACY Rostand, Edmond (source) 160 THE CARDINAL’S CONSPIRACY Rothapfel, S.L. (m) 510 THE AVENGING CONSCIENCE Rothschild, Baroness (act) 568 THE GREAT LOVE Rozsika, Dolly see Dolly, Roszika Ruben, José (act) 496 LORD CHUMLEY Rubens, Alma see Reubens, Alma Ruby, Irving B. (add ph) 605 ONE EXCITING NIGHT Rue, Carmen de see de Rue, Carmen Russell, John (adapt) 613 THE SORROWS OF SATAN Ruttenberg, Joseph (ph) 627 THE STRUGGLE Ryan, Mrs. James H. same as Ryan, Mrs. James (sc) 295 TWO LITTLE WAIFS 300 THE SONG OF THE WILDWOOD FLUTE

S Sack, Nathaniel (act) 553 THE SOCIAL SECRETARY Sagee, Byron (act) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Salemsen, Harold (French diction instructor) 629 SAN FRANCISCO Salisbury, Monroe (act) 518 THE LAMB 522 DOUBLE TROUBLE Sampson, Teddy (act) 509 HOME, SWEET HOME 525 CROSS CURRENTS Sardou, Victorien (source) 045 THE HEART OF O YAMA Sarle, Regina (act) 584 NUGGET NELL Sarno, Hector V. (act) 435 HEREDITY 442 MY HERO 485 THE MISTAKE 498 MAN’S ENEMY

Sartov, Henrik same as Sartov, Hendrick; Sartov, Hendrik (ph, unless otherwise noted) 572 THE GREATEST THING IN LIFE (add ph) 576 BROKEN BLOSSOMS (special effects) 580? THE GIRL WHO STAYED AT HOME (add ph) 598 WAY DOWN EAST 601 DREAM STREET 603 ORPHANS OF THE STORM 605 ONE EXCITING NIGHT 607 THE WHITE ROSE 609 AMERICA 610 ISN’T LIFE WONDERFUL Saunders, Jackie (act) 373 THROUGH DARKENED VALES 385 THE OLD BOOKKEEPER Savage, Nellie (act) 613 THE SORROWS OF SATAN Scammon, P.R. (act) 609 AMERICA Scanlon, E. (act) 609 AMERICA Scanlon, Ed same as Scanlon, Edward (supervisor to makeup) 627 THE STRUGGLE Scarborough, George (dialogues) 621 LADY OF THE PAVEMENTS Scardon, Paul (act) 220? THE DAY AFTER 221 TO SAVE HER SOUL Scheib, Philip (m) 627 THE STRUGGLE Schenk, Joseph M. same as Schenk, Joseph 615 [D.W. GRIFFITH RETURNS TO LOS ANGELES] (on camera) 619 THE BATTLE OF THE SEXES [1928] (presented by) 621 LADY OF THE PAVEMENTS (presented by) 624 ABRAHAM LINCOLN (presented by) Schildkraut, Joseph (act) 603 ORPHANS OF THE STORM Schildkret, R. (m) 619 THE BATTLE OF THE SEXES [1928] 319

THE GRIFFITH PROJECT: VOLUME 11

Schlettow, Hans von (act) 610 ISN’T LIFE WONDERFUL Schneiderman, George (ph) 568 THE GREAT LOVE Schofield, Paul (sc) 612 THAT ROYLE GIRL Scholl, Edward 603 ORPHANS OF THE STORM (set designer) 605 ONE EXCITING NIGHT (special effects) 607 THE WHITE ROSE (special effects) 609 AMERICA (special effects) Scholz, Robert (act) 610 ISN’T LIFE WONDERFUL Schultz, “Dutch” (miniatures) 533 THE FLYING TORPEDO Schumann-Heink, Ernestine (on camera) 623 [MARY PICKFORD AND GUESTS] Scott, Howard (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Scott, Leigh R. (tech d) 582 I’LL GET HIM YET Seabury, Inez (act) 372 THE TRAIL OF BOOKS 374* A WOMAN SCORNED 375* THE MISER’S HEART 383 THE VOICE OF THE CHILD 384 FOR HIS SON 387 BILLY’S STRATAGEM 390 THE ROOT OF EVIL 391* THE SUNBEAM 392 A STRING OF PEARLS Sears, A.D. (act) 517 THE MARTYRS OF THE ALAMO 524 THE PENITENTES 537 SOLD FOR MARRIAGE 543 INTOLERANCE 544 REGGIE MIXES IN 545 THE MYSTERY OF THE LEAPING FISH 555 DIANE OF THE FOLLIES Sears, Allan (act) 513 THE BIRTH OF A NATION Seawright, Roy (photographic effects) 631 ONE MILLION B.C. Seessel, Charles O. (art d) 598 WAY DOWN EAST

Selby, Norman (act) 576 BROKEN BLOSSOMS Selznick, Myron (prod advisor) 617 TOPSY AND EVA Semels, Harry (act) 609 AMERICA Sennett, Mack (act, unless otherwise noted) 010? OLD ISAACS, THE PAWNBROKER 015 THE KING’S MESSENGER 016 THE SCULPTOR’S NIGHTMARE 020 THE INVISIBLE FLUID 021 THE MAN IN THE BOX 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 028 THE BLACK VIPER 034 DECEIVED SLUMMING PARTY 038 THE FATAL HOUR 041? THE GIRL AND THE OUTLAW 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 043 THE RED GIRL 044 BEHIND THE SCENES 045 THE HEART OF O YAMA 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 050 THE VAQUERO’S VOW 051 FATHER GETS IN THE GAME 052 THE BARBARIAN, INGOMAR 054 THE DEVIL 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS 058 THE CALL OF THE WILD 059 CONCEALING A BURGLAR 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 063 THE PIRATE’S GOLD 064 THE GUERRILLA 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 320

THE GRIFFITH PROJECT: VOLUME 11

Sennett, Mack–cont. 077 THE HELPING HAND 078 THE MANIAC COOK 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 081 THE HONOR OF THIEVES 082 A RURAL ELOPEMENT 083 THE JONESES HAVE AMATEUR THEATRICALS 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 091 LOVE FINDS A WAY 093 THE FASCINATING MRS. FRANCIS 094 THOSE AWFUL HATS 095 TRAGIC LOVE 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 100 JONES AND THE LADY BOOK AGENT 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 104 THE PRUSSIAN SPY 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 113 THE WOODEN LEG 114 THE VOICE OF THE VIOLIN 115 “AND A LITTLE CHILD SHALL LEAD THEM” 116 JONES AND HIS NEW NEIGHBORS 117 TRYING TO GET ARRESTED 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 120 A RUDE HOSTESS 121 A BURGLAR’S MISTAKE 122 THE ROAD TO THE HEART 125 THE FRENCH DUEL 127 THE NOTE IN THE SHOE

128 LUCKY JIM 129 A SOUND SLEEPER 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 138 HER FIRST BISCUITS 139 ELOPING WITH AUNTY 140 RESURRECTION 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 144 WHAT DRINK DID 145 TWO MEMORIES 146 THE PEACHBASKET HAT 147 THE SON’S RETURN 148 A NEW TRICK 150 THE LONELY VILLA (also st) 151 THE FADED LILLIES 153 THE WAY OF MAN 154 WAS JUSTICE SERVED? 155 THE NECKLACE 156 THE MEXICAN SWEETHEARTS 157 THE MESSAGE 159 THE SEVENTH DAY 160 THE CARDINAL’S CONSPIRACY 161 JEALOUSY AND THE MAN 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 168 THE SLAVE 169 JONES’ BURGLAR 170 THE MENDED LUTE 171 THE INDIAN RUNNER’S ROMANCE 172 WITH HER CARD 173 THE BETTER WAY 174 HIS WIFE’S VISITOR 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 178 SEALED ROOM, THE 180 THE HEART OF AN OUTLAW 181 “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 321

THE GRIFFITH PROJECT: VOLUME 11

Sennett, Mack–cont. 185 GETTING EVEN 187 THE BROKEN LOCKET 188 THE AWAKENING 189 PIPPA PASSES OR, THE SONG OF CONSCIENCE 190 A FAIR EXCHANGE 191 LEATHER STOCKING 194 A CHANGE OF HEART 196 HIS LOST LOVE 197 THE EXPIATION 198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 213 THROUGH THE BREAKERS 214 THE REDMAN’S VIEW 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 222 CHOOSING A HUSBAND 224 THE DANCING GIRL OF BUTTE 226 THE CALL 228 THE LAST DEAL 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 237 TAMING A HUSBAND 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE

246 GOLD IS NOT ALL 247 A RICH REVENGE 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 255 RAMONA 256 THE TWO BROTHERS 259 IN THE SEASON OF BUDS 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 266 THE PURGATION 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 271 SERIOUS SIXTEEN 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 281 WILFUL PEGGY 290 EXAMINATION DAY AT SCHOOL 292 THE BROKEN DOLL 309 THE ITALIAN BARBER 310 HIS TRUST 320 FISHER FOLKS 326 THE LONEDALE OPERATOR (au) 327 THE SPANISH GYPSY 344? THE JEALOUS HUSBAND (d) Seward, Edward (head electrician) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Seymour, Clarine (act) 580 THE GIRL WHO STAYED AT HOME 583 TRUE HEART SUSIE 589 SCARLET DAYS 592 THE IDOL DANCER Shakespeare, William (source) 061 TAMING OF THE SHREW 542 MACBETH Shamroy, Leon (on camera) 633 [ACADEMY AWARDS, 18TH] Shannon, Effie (act) 611 SALLY OF THE SAWDUST Shean, Al (act) 629 SAN FRANCISCO 322

THE GRIFFITH PROJECT: VOLUME 11

Shearer, Douglas (recording engineer) 629 SAN FRANCISCO Shearer, Norma (act) 598 WAY DOWN EAST Sheldon, Edward (source) 111 THE SALVATION ARMY LASS 594 ROMANCE Sheridan, Frank (act) 605 ONE EXCITING NIGHT Sherman, Lowell (act) 598 WAY DOWN EAST Shirley, Anne see O’Day, Dawn Shirley, Robert (sc) 554 FIFTY FIFTY Shockey, Cash (miniatures) 533 THE FLYING TORPEDO Short, Florence (act) 591 THE LOVE FLOWER 592 THE IDOL DANCER 598 WAY DOWN EAST Shotwell, Marie (act) 611 SALLY OF THE SAWDUST Shumann Heink, Ernestine see SchumannHeink, Ernestine Siebert, Mike (asst d) 543 INTOLERANCE Siebert, William (act) 537 SOLD FOR MARRIAGE Siegmann, George same as Siegmann, George A. (act, unless otherwise noted) 127 THE NOTE IN THE SHOE 131 CONFIDENCE 140? RESURRECTION 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 168 THE SLAVE 178 THE SEALED ROOM 181 “1776” OR, THE HESSIAN RENEGADES 183 IN OLD KENTUCKY 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 509? HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION (also chief asst d) 515 GHOSTS (art d) 543 INTOLERANCE (also asst d)

559 A DAY WITH GOVERNOR WHITMAN (d) 565 HEARTS OF THE WORLD 568 THE GREAT LOVE 574 THE FALL OF BABYLON 597 LITTLE MISS REBELLION Siegmann, Wilhelmina (act) 555 DIANE OF THE FOLLIES Silvers, Louis (m) 598 WAY DOWN EAST 601 DREAM STREET 610 ISN’T LIFE WONDERFUL 611 SALLY OF THE SAWDUST Simone, Charles (sc) 286 IN LIFE’S CYCLE Simpson, Russell (act) 624 ABRAHAM LINCOLN 629 SAN FRANCISCO Sims, George R. (source) 019 ’OSTLER JOE Sinclair, Irene see Griffith, D.W. Sinclair, Roy see Griffith, D.W. Singh, Ah (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Singh, Ranji (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Singleton, Joseph (act) 523 JORDAN IS A HARD ROAD 532 DAPHNE AND THE PIRATE 540 THE GOOD BAD MAN 544 REGGIE MIXES IN Sintzenich, Hal, same as Sintzenich, Hal S.; Sintzenich, Harold S. (ph) 607 THE WHITE ROSE 609 AMERICA 610 ISN’T LIFE WONDERFUL 611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL Skelly, Hal (act) 627 THE STRUGGLE Slattery, Charles (act) 601 DREAM STREET 611 SALLY OF THE SAWDUST Smith, Art (miniatures) 513 THE BIRTH OF A NATION Smith, Helen G. (st) 590 MARY ELLEN COMES TO TOWN 323

THE GRIFFITH PROJECT: VOLUME 11

Smith, James (ed, unless otherwise noted) 503 THE BATTLE OF THE SEXES 505 THE ESCAPE 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION 543 INTOLERANCE 565 HEARTS OF THE WORLD 568 THE GREAT LOVE 570 A ROMANCE OF HAPPY VALLEY 572 THE GREATEST THING IN LIFE 574 THE FALL OF BABYLON (asst ed) 576 BROKEN BLOSSOMS 583 TRUE HEART SUSIE 588 THE GREATEST QUESTION 589 SCARLET DAYS 592 THE IDOL DANCER 598 WAY DOWN EAST 601 DREAM STREET (film continuity) 603 ORPHANS OF THE STORM (also act) 607 THE WHITE ROSE 609 AMERICA 611 SALLY OF THE SAWDUST 612 THAT ROYLE GIRL 618 THE DRUMS OF LOVE 619 THE BATTLE OF THE SEXES [1928] 621 LADY OF THE PAVEMENTS 624 ABRAHAM LINCOLN Smith, Leigh R. same as Smith, Leigh (asst d, unless otherwise noted) 581 PEPPY POLLY (techn d) 582 I’LL GET HIM YET 584 NUGGET NELL 586 NOBODY HOME 598 WAY DOWN EAST (prod asst for some exteriors) Smith, Mr. [James?] (on camera) 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] Smith, Mrs. [Rose?] (on camera) 632 [HOME MOVIES OF D.W. GRIFFITH AND EVELYN BALDWIN GRIFFITH] Smith, Rose same as Richtel, Rose (ed, unless otherwise noted) 503 THE BATTLE OF THE SEXES 505 THE ESCAPE

509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION 543 INTOLERANCE 565 HEARTS OF THE WORLD 574 THE FALL OF BABYLON (asst ed) 598 WAY DOWN EAST 601 DREAM STREET (film continuity) 603 ORPHANS OF THE STORM (also act) 607? THE WHITE ROSE 609 AMERICA Smith, Russell E. (sc) 515 GHOSTS Smith, Vola (act) 499 LIBERTY BELLES Snyder, Matt B. (act) 448 OIL AND WATER 456 DRINK’S LURE 458 LOVE IN AN APARTMENT HOTEL Snyder, Ray (ed) 631 ONE MILLION B.C. Sodero, Cesare see Sudero, Caesare Solter, Harry (act) 011 A FAMOUS ESCAPE 012 KING OF THE CANNIBAL ISLANDS 014 HULDA’S LOVERS 016 THE SCULPTOR’S NIGHTMARE 017 WHEN KNIGHTS WERE BOLD 019 ’OSTLER JOE 025 THE KENTUCKIAN 026 THE STAGE RUSTLER 030 THE REDMAN AND THE CHILD 031 THE BANDIT’S WATERLOO 032 A CALAMITOUS ELOPEMENT 033 THE TAVERN-KEEPERS DAUGHTER 034 DECEIVED SLUMMING PARTY 035 THE GREASER’S GAUNTLET 036 THE MAN AND THE WOMAN 037 FOR LOVE OF GOD 038 THE FATAL HOUR 040 FOR A WIFE’S HONOR 041 THE GIRL AND THE OUTLAW 042 MONDAY MORNING IN A CONEY ISLAND POLICE COURT 043 THE RED GIRL

324

THE GRIFFITH PROJECT: VOLUME 11

Solter, Harry–cont. 045? THE HEART OF O YAMA 046 BETRAYED BY A HANDPRINT 047 WHERE THE BREAKERS ROAR 048 A SMOKED HUSBAND 049 THE ZULU’S HEART 050 THE VAQUERO’S VOW 051 FATHER GETS IN THE GAME 052 THE BARBARIAN, INGOMAR 053 THE PLANTER’S WIFE 054 THE DEVIL 055 THE STOLEN JEWELS 056 MR. JONES AT THE BALL 057 ROMANCE OF A JEWESS 058 THE CALL OF THE WILD 059 CONCEALING A BURGLAR 060 A WOMAN’S WAY 061 TAMING OF THE SHREW 062 AFTER MANY YEARS 064 THE GUERRILLA 065 THE SONG OF THE SHIRT 066 THE CURTAIN POLE 067 MRS. JONES ENTERTAINS 069 THE FEUD AND THE TURKEY 070 THE RECKONING 071 THE VALET’S WIFE 072 THE CLUBMAN AND THE TRAMP 073 MONEY MAD 074 ONE TOUCH OF NATURE 075 AN AWFUL MOMENT 076 THE TEST OF FRIENDSHIP 077 THE HELPING HAND 078 THE MANIAC COOK 079 THE CHRISTMAS BURGLARS 080 A WREATH TIME 081 THE HONOR OF THIEVES 082 A RURAL ELOPEMENT 084 THE SACRIFICE 085 THE CRIMINAL HYPNOTIST 087 MR. JONES HAS A CARD PARTY 088 THE ROUE’S HEART 089 THE WELCOME BURGLAR 090 THE HINDOO DAGGER 091 LOVE FINDS A WAY 093 THE FASCINATING MRS. FRANCIS 095 TRAGIC LOVE 096 THE CORD OF LIFE 098 THE BRAHMA DIAMOND

100 JONES AND THE LADY BOOK AGENT 104 THE PRUSSIAN SPY 105 THE DECEPTION 106 AT THE ALTAR 108 A FOOL’S REVENGE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 118 A DRUNKARD’S REFORMATION 119 THE WINNING COAT 121 A BURGLAR’S MISTAKE 125 THE FRENCH DUEL 128 LUCKY JIM 134 ONE BUSY HOUR 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 136 A BABY’S SHOE 137 THE JILT 141 THE VIOLIN MAKER OF CREMONA 142 THE CRICKET ON THE HEARTH 144 WHAT DRINK DID 147 THE SON’S RETURN 154 WAS JUSTICE SERVED? 163 A CONVICT’S SACRIFICE 166 THE RENUNCIATION 168 THE SLAVE 175 THEY WOULD ELOPE Somerville, Roy 544 REGGIE MIXES IN (st) 546 AN INNOCENT MAGDALENE (sc) 552 THE DEVIL’S NEEDLE (sc) Southern, Eve (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Sparks, Frances (act) 570 A ROMANCE OF HAPPY V ALLEY Spence, Ralph (ed, titles) 608 HIS DARKER SELF Sperl, Edna May (act) 608 HIS DARKER SELF Stanley, Sir Henry (act) 568 THE GREAT LOVE Stanley, Maxfield same as French, John (act) 513 THE BIRTH OF A NATION 543 INTOLERANCE 568 THE GREAT LOVE 325

THE GRIFFITH PROJECT: VOLUME 11

Stannard, Eliot (sc) 606 PADDY – THE-NEXT-BESTTHING Starke, Pauline same as Stark, Pauline (act) 543 INTOLERANCE 574 THE FALL OF BABYLON St. Denis, Ruth (act?, choreography) 543 INTOLERANCE 574 THE FALL OF BABYLON Stearns, M.M. same as Stearns, William M. (sc, unless otherwise noted) 573 THE HOPE CHEST (sc, adapt) 577 BOOTS 581 PEPPY POLLY Steffe, William (m) 629 SAN FRANCISCO Stevens, Charles (act) 513 THE BIRTH OF A NATION 558* AMERICAN ARISTOCRACY Stevens, Charlie (act) 545 THE MYSTERY OF THE LEAPING FISH 561 THE AMERICANO Stevens, W.L. (set decoration) 631 ONE MILLION B.C. Stevenson, Robert Louis (source) 406 A LODGING FOR THE NIGHT Stewart, Eldean (act) 432 THE ONE SHE LOVED 437 MY BABY Stewart, Lucille Lee (act) 295? TWO LITTLE WAIFS Stock, Ralph (source) 591 THE LOVE FLOWER Stockdale, Carl (act) 528 DON QUIXOTE 534 HOODOO ANN 543 INTOLERANCE 561 THE AMERICANO 574 THE FALL OF BABYLON 624 ABRAHAM LINCOLN Stone, Elinor (act) 527 THE MISSING LINKS Stone, George (act) 526 LET KATIE DO IT 531 MARTHA’S VINDICATION 549 THE LITTLE SCHOOL MA’AM Stothart, Herbert (m) 629 SAN FRANCISCO

Stoughton, Mabel (act) 039 BALKED AT THE ALTAR 057? ROMANCE OF A JEWESS Stradling, Harry (on camera) 633 [ACADEMY AWARDS, 18TH] Stroheim, Erich von see von Stroheim, Erich Strong, Porter (act) 531 MARTHA’S VINDICATION 570 A ROMANCE OF HAPPY VALLEY 582 I’LL GET HIM YET 586 NOBODY HOME 587 TURNING THE TABLES 592 THE IDOL DANCER 598 WAY DOWN EAST 599 FLYING PAT 600 THE GHOST IN THE GARRET 601 DREAM STREET 605 ONE EXCITING NIGHT 607 THE WHITE ROSE Struss, Karl (ph) 618 THE DRUMS OF LOVE 619 THE BATTLE OF THE SEXES [1928] 621 LADY OF THE PAVEMENTS 624 ABRAHAM LINCOLN 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] Stuart, Sir Simeon (act) 606 PADDY – THE-NEXT-BEST-THING Stuart-Wortley, Miss Bettina (act) 568 THE GREAT LOVE Stubbs, Chuck (act) 631 ONE MILLION B.C. Stubbs, Harry (assoc dialogue d) 624 ABRAHAM LINCOLN Sudero, Caesare same as Sodero, Cesare (m) 610 ISN’T LIFE WONDERFUL Sul-Te-Wan, Madame (act) 513 THE BIRTH OF A NATION 534 HOODOO ANN 543 INTOLERANCE 574 THE FALL OF BABYLON Sullivan, Frederick (d) 511 THE PAINTED LADY Sullivan, Hal (special effects and asst property) 543 INTOLERANCE 574 THE FALL OF BABYLON Summerville, Amelia (act) 594 ROMANCE 326

THE GRIFFITH PROJECT: VOLUME 11

Sunshine, Marion (act) 056? MR. JONES AT THE BALL 299 SUNSHINE SUE 309 THE ITALIAN BARBE 311 HIS TRUST FULFILLED 313 THREE SISTERS 314 FATE’S TURNING 317 A DECREE OF DESTINY 353 OUT FROM THE SHADOW 356 THE ROSE OF KENTUCKY 357 THE STUFF HEROES ARE MADE OF 359 DAN, THE DANDY 499 LIBERTY BELLES Sutch, Herbert same as Sutch, Bert (act, unless otherwise noted) 513 THE BIRTH OF A NATION (asst d) 565 HEARTS OF THE WORLD 566 THE HUN WITHIN 589 SCARLET DAYS 592 THE IDOL DANCER 598 WAY DOWN EAST (prod asst for some exteriors) 603 ORPHANS OF THE STORM (also asst ph) 605 ONE EXCITING NIGHT 607 THE WHITE ROSE (also asst d) 609 AMERICA (asst d) 618 THE DRUMS OF LOVE (asst d) 624 ABRAHAM LINCOLN (prod staff) 626 [PROLOGUES TO THE BIRTH OF A NATION REISSUE] (asst d) Sweet, Blanche (act) 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 222 CHOOSING A HUSBAND 223 THE ROCKY ROAD 324 WAS HE A COWARD? 326 THE LONEDALE OPERATOR 333 HOW SHE TRIUMPHED 336 ENOCH ARDEN – PART ONE 338 THE NEW DRESS 339 THE WHITE ROSE OF THE WILDS 342 A SMILE OF A CHILD 345 THE INDIAN BROTHERS

348 THE BLIND PRINCESS AND THE POET 350 THE LAST DROP OF WATER 352 A COUNTRY CUPID 353 OUT FROM THE SHADOW 357 THE STUFF HEROES ARE MADE OF 362 THE ETERNAL MOTHER 365 THE MAKING OF A MAN 369 THE LONG ROAD 370 THE BATTLE 371 LOVE IN THE HILLS 373 THROUGH DARKENED VALES 383 THE VOICE OF THE CHILD 384 FOR HIS SON 385 THE OLD BOOKKEEPER 389 THE TRANSFORMATION OF MIKE 392 A STRING OF PEARLS 394 UNDER BURNING SKIES 397 THE GODDESS OF SAGEBRUSH GULCH 399 THE PUNISHMENT 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 411 A TEMPORARY TRUCE 413 THE SPIRIT AWAKENED 415 MAN’S LUST FOR GOLD 418 THE MASSACRE 425 A CHANGE OF SPIRIT 433 THE PAINTED LADY 445 THE GOD WITHIN 446 THREE FRIENDS 448 OIL AND WATER 451 A CHANCE DECEPTION 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 464 THE HERO OF LITTLE ITALY 470 IF WE ONLY KNEW 477 DEATH’S MARATHON 485 THE MISTAKE 486 THE COMING OF ANGELO 489 TWO MEN OF THE DESERT 491 [JUDITH OF BETHULIA (OUTTAKES)] 492 JUDITH OF BETHULIA 494 CLASSMATES [1913] 495 STRONGHEART 327

THE GRIFFITH PROJECT: VOLUME 11

Sweet, Blanche–cont. 497 MEN AND WOMEN 505 THE ESCAPE 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 511 THE PAINTED LADY Sydney, Basil (act) 594 ROMANCE

T Taggart, Earl (third unit d) 629 SAN FRANCISCO Talbot, Irving (m) 631 ONE MILLION B.C. Talmadge, Constance same as Pearce, Georgia (act) 527 THE MISSING LINKS 543 INTOLERANCE 560 THE MATRIMANIAC 574 THE FALL OF BABYLON Talmadge, Natalie (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Talmadge, Norma (act) 527 THE MISSING LINKS 531 MARTHA’S VINDICATION 552 THE DEVIL’S NEEDLE 553 THE SOCIAL SECRETARY 554 FIFTY FIFTY 614 [SCREEN SNAPSHOTS] Tansey, John (act) 030 THE REDMAN AND THE CHILD 038? THE FATAL HOUR 159 THE SEVENTH DAY Tashman, Lilyan (act) 614 [SCREEN SNAPSHOTS] Tavernier, Albert (act) 535 BETTY OF GREYSTONE Taylor, Belle (au, unless otherwise noted) 292 THE BROKEN DOLL 303 A CHILD’S STRATAGEM 308 A WREATH OF ORANGE BLOSSOMS 318 HEART BEATS OF LONG AGO (sc) 321 HIS DAUGHTER (sc) 385 THE OLD BOOKKEEPER

396 IOLA’S PROMISE 462 A WELCOME INTRUDER Taylor, Estelle (on camera) 615 [D.W. GRIFFITH RETURNS TO LOS ANGELES] Taylor, Sam (sc, adapt) 621 LADY OF THE PAVEMENTS Taylor, Stanner E.V. same as Taylor, S.E.V. (au, unless otherwise noted) 068? THE INGRATE (st) 150? THE LONELY VILLA (st) 235 HIS LAST BURGLARY 241 THE MAN 247 A RICH REVENGE 258 THE IMPALEMENT 259 IN THE SEASON OF BUDS 260 A CHILD OF THE GHETTO (sc) 261 A VICTIM OF JEALOUSY (sc) 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 265 A CHILD’S IMPULSE 266 THE PURGATION (sc) 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID (sc) 271 SERIOUS SIXTEEN (sc) 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 275 AN ARCADIAN MAID 276 HER FATHER’S PRIDE 279 THE SORROWS OF THE UNFAITHFUL (sc) 285 A MOHAWK’S WAY 287 THE OATH AND THE MAN 301 A PLAIN SONG 340 A ROMANY TRAGEDY (sc) 360 THE SQUAW’S LOVE 373 THROUGH DARKENED VALES 431 IN THE AISLES OF THE WILD 479 THE YAQUI CUR 566 THE HUN WITHIN (sc, st) 568 THE GREAT LOVE (sc, as Victor Marier; pseudonym co-attributed to D.W. Griffith) 572 THE GREATEST THING IN LIFE (sc) 577 BOOTS (st) 580 THE GIRL WHO STAYED AT HOME (sc) 328

THE GRIFFITH PROJECT: VOLUME 11

Taylor, Stanner E.V.–cont. 588? THE GREATEST QUESTION (sc) 589 SCARLET DAYS (sc, st) 592 THE IDOL DANCER 621 LADY OF THE PAVEMENTS Taylor, Tom (source) 108 A FOOL’S REVENGE Temple, Jean (act) 530 HIS PICTURE IN THE PAPERS Tennyson, Alfred Lord (source) 062 AFTER MANY YEARS 304 THE GOLDEN SUPPER 336 ENOCH ARDEN – PART ONE 337 ENOCH ARDEN – PART TWO 514 ENOCH ARDEN Terry, Ethel same as Terry, Ellen (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Terry, Ethel Grey (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Terry, June Ellen same as Terry, June Eileen (act) 594 ROMANCE Terwilliger, George W. (au) 305 WHEN A MAN LOVES Theby, Rosemary same as Thebe, Rosemary (act) 568 THE GREAT LOVE 631 ONE MILLION B.C. Thomas, Jane (act) 607 THE WHITE ROSE Thompson, Charles S. (source) 511 THE PAINTED LADY Thompson, Nick (act) 530 HIS PICTURE IN THE PAPERS Thompson, Tommy (miniatures) 533 THE FLYING TORPEDO Thorne, W.L. (act) 624 ABRAHAM LINCOLN Thorpe, Gordon (act) 624 ABRAHAM LINCOLN Tincher, Fay (act) 503 THE BATTLE OF THE SEXES 505? THE ESCAPE 509 HOME, SWEET HOME 528 DON QUIXOTE 539 SUNSHINE DAD

Titus, Lydia Yeamans (act) 570 A ROMANCE OF HAPPY VALLEY Tolignac, M. Gaston de see Griffith, D.W. Tolstoi, Lev (source) 140 RESURRECTION Toncray, Kate same as Toncray, Kate V. (act) 230? THE CLOISTER’S TOUCH 272 A FLASH OF LIGHT 278 A SALUTARY LESSON 284 LITTLE ANGELS OF LUCK 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 304 THE GOLDEN SUPPER 308 A WREATH OF ORANGE BLOSSOMS 310? HIS TRUST 313? THREE SISTERS 314 FATE’S TURNING 317 A DECREE OF DESTINY 318 HEART BEATS OF LONG AGO 320 FISHER FOLKS 323 CONSCIENCE 324 WAS HE A COWARD? 325 TEACHING DAD TO LIKE HER 327 THE SPANISH GYPSY 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 334 THE TWO SIDES 338 THE NEW DRESS 341 THE CROOKED ROAD 343 THE PRIMAL CALL 345 THE INDIAN BROTHERS 349 FIGHTING BLOOD 350 THE LAST DROP OF WATER 351 BOBBY, THE COWARD 355 THE RULING PASSION 356 THE ROSE OF KENTUCKY 365 THE MAKING OF A MAN 366 HER AWAKENING 369 THE LONG ROAD 370 THE BATTLE 371 LOVE IN THE HILLS 373 THROUGH DARKENED VALES 375 THE MISER’S HEART 376 THE FAILURE 384 FOR HIS SON 385 THE OLD BOOKKEEPER 392 A STRING OF PEARLS 394 UNDER BURNING SKIES 329

THE GRIFFITH PROJECT: VOLUME 11

Toncray, Kate–cont. 396 IOLA’S PROMISE 403 ONE IS BUSINESS; THE OTHER CRIME 407 HIS LESSON 408 WHEN KINGS WERE THE LAW 410 HOME FOLKS 416 AN INDIAN SUMMER 417 HEAVEN AVENGES 418 THE MASSACRE 420 THE SANDS OF DEE 423 A CHILD’S REMORSE 424 THE INNER CIRCLE 425 A CHANGE OF SPIRIT 458 LOVE IN AN APARTMENT HOTEL 462 A WELCOME INTRUDER 464 THE HERO OF LITTLE ITALY 469 THE LADY AND THE MOUSE 471 THE WANDERER 488 BRUTE FORCE 490 THE REFORMERS 492 JUDITH OF BETHULIA 499? LIBERTY BELLES 518 THE LAMB 519 OLD HEIDELBERG 522 DOUBLE TROUBLE 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 571 BATTLING JANE 573 THE HOPE CHEST 577 BOOTS 581 PEPPY POLLY 586 NOBODY HOME 587 TURNING THE TABLES Totheroh, Roland H. 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (d for exteriors?, on camera) 579 THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLIE CHAPLIN AND W.S. HART (on camera) Tracy, Spencer (act) 629 SAN FRANCISCO Tree, Sir Herbert Beerbohm (act) 542 MACBETH 543 INTOLERANCE 557 THE OLD FOLKS AT HOME

Treves, Sir Frederick (act) 568 THE GREAT LOVE Trevor, Norman (act) 594 ROMANCE Truax, Sarah (act) 523 JORDAN IS A HARD ROAD Trunelle, Mabel (act) 060? A WOMAN’S WAY 202 NURSING A VIPER 203 THE LIGHT THAT CAME 206 TWO WOMEN AND A MAN Tucker, Virginia K. (au) 317 A DECREE OF DESTINY Turnbull, Margaret (source) 494 CLASSMATES [1913] Turner, Fred A. same as Turner, Fred; Turner, F.A.(act) 505 THE ESCAPE 509? HOME, SWEET HOME 524 THE PENITENTES 536 LITTLE MEENA’S ROMANCE 541 SUSAN ROCKS THE BOAT 543 INTOLERANCE 552 THE DEVIL’S NEEDLE 575 THE MOTHER AND THE LAW Twain, Mark (source) 212 THE DEATH DISC Tylden, L. (act) 542 MACBETH

V Valentine, Rudolph same as Valentino, Rudolph; Valentine, Rodolph (act) 586 NOBODY HOME Valentine, Vangie (act) 594 ROMANCE Valentino, Rudolph see Valentine, Rudolph Vall, Samuel De see De Vall, Samuel Van Bousen, Henry see Bousen, Henry Van Van Buren, Mabel (act) 271 A FLASH OF LIGHT 277 THE HOUSE WITH CLOSED SHUTTERS 280 THE USURER 281 WILFUL PEGGY 507 THE DISHONORED MEDAL 330

THE GRIFFITH PROJECT: VOLUME 11

van Cortland, Charles (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Van Dyke, W.S. (act, unless otherwise noted) 543 INTOLERANCE 629 SAN FRANCISCO (d, pr) Varesi, Gilda (act) 594 ROMANCE Vaughan, Bernard (act) 606 PADDY – THE-NEXT-BESTTHING Vaull, William de see DeVaull, William Velez, Lupe (act, m) 621 LADY OF THE PAVEMENTS Verdi, Giuseppe (source) 108 A FOOL’S REVENGE Victor, Henry (act) 617 TOPSY AND EVA Viviani, René Raphael (act) 565 HEARTS OF THE WORLD Vizard, Harold (act) 599 FLYING PAT Vollmer, Lulu S. (st) 457 WHEN LOVE FORGIVES Vollmoeller, Karl Gustav (source) 621 LADY OF THE PAVEMENTS von Kleinschmidt, Capt. (add footage purchased from) 565* HEARTS OF THE WORLD von Ritzau, Erik (act) 519 OLD HEIDELBERG von Ritzau, Gunther (act) 543 INTOLERANCE von Stroheim, Erich (act, unless otherwise noted) 513? THE BIRTH OF A NATION (also asst d) 515 GHOSTS (also asst d) 519 OLD HEIDELBERG (also asst d, tech advisor) 530 HIS PICTURE IN THE PAPERS (also asst d, set decorator) 533 THE FLYING TORPEDO 542 MACBETH (asst d, set decorator) 543 INTOLERANCE (asst d, prod asst) 553 THE SOCIAL SECRETARY (asst d)

565 HEARTS OF THE WORLD (also prod asst) 566 THE HUN WITHIN 574 THE FALL OF BABYLON (prod asst) 615 [D.W. GRIFFITH RETURNS TO LOS ANGELES] (on camera) von Winther, Baron (asst d) 513? THE BIRTH OF A NATION

W Wagner, Richard (m) 572 THE GREATEST THING IN LIFE Walcott, Helen (act) 555 DIANE OF THE FOLLIES Wales, R. Ellis 524 THE PENITENTES (source, historical advisor) 542 MACBETH (art d) 543 INTOLERANCE (set design asst, costumes asst, research asst, historical authorization) 574 THE FALL OF BABYLON (set design asst, costumes asst) Wall, David (act) 498? MAN’S ENEMY Wallace, Morgan (act) 599 FLYING PAT 601 DREAM STREET 603 ORPHANS OF THE STORM 605 ONE EXCITING NIGHT Waller, Fred, Jr. (miniatures) 613 THE SORROWS OF SATAN Wallin, [?] (ph) 604 [PERSONALITIES OF THE TWENTIES] Walsh, Frank 609 AMERICA (act) 611 SALLY OF THE SAWDUST (asst d) Walsh, George (act) 528 DON QUIXOTE 543 INTOLERANCE Walsh, Raoul same as Walsh, Raoul A. (act, unless otherise noted) 502 THE GREAT LEAP; OR, UNTIL DEATH DO US PART 507 THE DISHONORED MEDAL 331

THE GRIFFITH PROJECT: VOLUME 11

Walsh, Raoul–cont. 513? THE BIRTH OF A NATION (also asst d) 516 PILLARS OF SOCIETY (d) Walthall, Anna Mae (act) 543 INTOLERANCE 565 HEARTS OF THE WORLD 574 THE FALL OF BABYLON Walthall, Henry B. (act) 163 A CONVICT’S SACRIFICE 164 A STRANGE MEETING 168 THE SLAVE 170 THE MENDED LUTE 172 WITH HER CARD 173 THE BETTER WAY 175 THEY WOULD ELOPE 176 THE MILLS OF THE GODS 178 THE SEALED ROOM 179 PRANKS 180 THE HEART OF AN OUTLAW 181? “1776” OR, THE HESSIAN RENEGADES 182 THE LITTLE DARLING 183 IN OLD KENTUCKY 185 GETTING EVEN 187 THE BROKEN LOCKET 190 A FAIR EXCHANGE 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 217 THE TEST 218 A TRAP FOR SANTA CLAUS 219 IN LITTLE ITALY 220 THE DAY AFTER 222 CHOOSING A HUSBAND 226 THE CALL 227 ON THE REEF 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 233 ONE NIGHT, AND THEN – 235 HIS LAST BURGLARY 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 246 GOLD IS NOT ALL 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES

255 RAMONA 256 THE TWO BROTHERS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 274 THE CALL TO ARMS 277 THE HOUSE WITH CLOSED SHUTTERS 279 THE SORROWS OF THE UNFAITHFUL 280 THE USURER 281 WILFUL PEGGY 283 A SUMMER IDYL 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 289 THE ICONOCLAST 293 THE BANKER’S DAUGHTERS 425 A CHANGE OF SPIRIT 427 TWO DAUGHTERS OF EVE 428 FRIENDS 430 A FEUD IN THE KENTUCKY HILLS 431 IN THE AISLES OF THE WILD 432 THE ONE SHE LOVED 433 THE PAINTED LADY 437 MY BABY 438 THE INFORMER 439 BRUTALITY 442 MY HERO 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 446 THREE FRIENDS 448 OIL AND WATER 458 LOVE IN AN APARTMENT HOTEL 459 BROKEN WAYS 463 THE SHERIFF’S BABY 465 THE PERFIDY OF MARY 468 THE LITTLE TEASE 469 THE LADY AND THE MOUSE 470 IF WE ONLY KNEW 471 THE WANDERER 473 THE STOLEN LOAF 477 DEATH’S MARATHON 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 332

THE GRIFFITH PROJECT: VOLUME 11

Walthall, Henry B.–cont. 483 THE BATTLE AT ELDERBUSH GULCH 485 THE MISTAKE 489 TWO MEN OF THE DESERT 491 [JUDITH OF BETHULIA (OUTTAKES)] 492 JUDITH OF BETHULIA 494 CLASSMATES [1913] 495 STRONGHEART 496 LORD CHUMLEY 504 THE GANGSTERS 506 THE FLOOR ABOVE 508 THE MOUNTAIN RAT 509 HOME, SWEET HOME 510 THE AVENGING CONSCIENCE 513 THE BIRTH OF A NATION 515 GHOSTS 516 PILLARS OF SOCIETY 568 THE GREAT LOVE 624 ABRAHAM LINCOLN Waltham, J. (act) 198 THE GIBSON GODDESS 201 WHAT’S YOUR HURRY? 202 NURSING A VIPER 203 THE LIGHT THAT CAME 213 THROUGH THE BREAKERS 219? IN LITTLE ITALY 223 THE ROCKY ROAD 260 IN LIFE’S CYCLE 365 THE MAKING OF A MAN 375 THE MISER’S HEART 376 THE FAILURE 422*? THE NARROW ROAD 429 SO NEAR, YET SO FAR 434 THE MUSKETEERS OF PIG ALLEY 439 BRUTALITY 440* THE UNWELCOME GUEST 446 THREE FRIENDS 450 THE TENDER-HEARTED BOY 452 FATE Ware, Helen (act) 525 CROSS CURRENTS 624 ABRAHAM LINCOLN Warner, Wesley same as Warner, J. Wesley (act) 589 SCARLET DAYS Warren, E. Alyn same as Warren, E. Alyn “Fred” (act) 624 ABRAHAM LINCOLN

Warren, Edward (act) 518 THE LAMB 524 THE PENITENTES Warren, Fred (act) 560 THE MATRIMANIAC 587 TURNING THE TABLES 624? ABRAHAM LINCOLN Warwick, Granville see Griffith, D.W. and Taylor, Stanner E.V. Washburn, Bryant (act) 571 BATTLING JANE Washington, Eleanor (act) 543 INTOLERANCE 575 THE MOTHER AND THE LAW Waterman, Ida (act) 612 THAT ROYLE GIRL Waters, Miss (act) 599 FLYING PAT Waters, Mrs. (act) 599 FLYING PAT Watson, Bobby (act) 612? THAT ROYLE GIRL Wayne, Charles Stokes same as Hazeline, Horace (source) 520 THE SABLE LORCHA Weaver, Alice (act) 612 THAT ROYLE GIRL Webb, Millard (asst d, unless otherwise noted) 526 LET KATIE DO IT 549 THE LITTLE SCHOOL MA’AM (also act) Webber, George (asst ph) 612 THAT ROYLE GIRL Weber, Lois (adapt) 617 TOPSY AND EVA Weer, Helen (act) 553 THE SOCIAL SECRETARY Wells, L.M. (act) 429? SO NEAR, YET SO FAR Wells, Raymond (act) 519 OLD HEIDELBERG 520 THE SABLE LORCHA 533 THE FLYING TORPEDO 539 SUNSHINE DAD 542 MACBETH 543 INTOLERANCE West, Charles H. same as West, Charles (act) 206 TWO WOMEN AND A MAN 214 THE REDMAN’S VIEW

333

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West, Charles H.–cont. 228? THE LAST DEAL 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 240 IN OLD CALIFORNIA 242 THE CONVERTS 244 THE TWISTED TRAIL 245 AS IT IS IN LIFE 246 GOLD IS NOT ALL 247 A RICH REVENGE 249 A ROMANCE OF THE WESTERN HILLS 250 THOU SHALT NOT 252 THE UNCHANGING SEA 253 THE GOLD-SEEKERS 254 LOVE AMONG THE ROSES 255 RAMONA 256 THE TWO BROTHERS 258 THE IMPALEMENT 259 IN THE SEASON OF BUDS 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 263 THE FACE AT THE WINDOW 264 THE MARKED TIME-TABLE 265 A CHILD’S IMPULSE 268 A MIDNIGHT CUPID 269 WHAT THE DAISY SAID 272 A FLASH OF LIGHT 273 AS THE BELLS RANG OUT! 276 HER FATHER’S PRIDE 277 THE HOUSE WITH CLOSED SHUTTERS 278 A SALUTARY LESSON 286 IN LIFE’S CYCLE 287 THE OATH AND THE MAN 291 THAT CHINK AT GOLDEN GULCH 294 THE MESSAGE OF THE VIOLIN 296 WAITER NO. 5 298 THE FUGITIVE 299 SUNSHINE SUE 304 THE GOLDEN SUPPER 305 WHEN A MAN LOVES 306 THE LESSON 310 HIS TRUST 313 THREE SISTERS 314 FATE’S TURNING 324 WAS HE A COWARD?

325 TEACHING DAD TO LIKE HER 326 THE LONEDALE OPERATOR 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 332 HIS MOTHER’S SCARF 335 IN THE DAYS OF ’49 337 ENOCH ARDEN – PART TWO 338 THE NEW DRESS 341 THE CROOKED ROAD 345 THE INDIAN BROTHERS 346 HER SACRIFICE 348 THE BLIND PRINCESS AND THE POET 350 THE LAST DROP OF WATER 353 OUT FROM THE SHADOW 356 THE ROSE OF KENTUCKY 358 SWORDS AND HEARTS 359 DAN, THE DANDY 363? ITALIAN BLOOD 369 THE LONG ROAD 370 THE BATTLE 371 LOVE IN THE HILLS 373 THROUGH DARKENED VALES 380 A TERRIBLE DISCOVERY 382 THE BABY AND THE STORK 384 FOR HIS SON 385 THE OLD BOOKKEEPER 388 A BLOT IN THE ’SCUTCHEON 392 A STRING OF PEARLS 393 THE MENDER OF NETS 394 UNDER BURNING SKIES 395 A SIREN OF IMPULSE 396 IOLA’S PROMISE 397 THE GODDESS OF SAGEBRUSH GULCH 398 THE GIRL AND HER TRUST 400 FATE’S INTERCEPTION 401 THE FEMALE OF THE SPECIES 403 ONE IS BUSINESS; THE OTHER CRIME 404 THE LESSER EVIL 406 A LODGING FOR THE NIGHT 407 HIS LESSON 409 A BEAST AT BAY 410 HOME FOLKS 412 LENA AND THE GEESE 417 HEAVEN AVENGES 418 THE MASSACRE 442 MY HERO 334

THE GRIFFITH PROJECT: VOLUME 11

West, Charles H.–cont. 443 THE BURGLAR’S DILEMMA 445 THE GOD WITHIN 448 OIL AND WATER 454 A MISAPPROPRIATED TURKEY 457 WHEN LOVE FORGIVES 460 A GIRL’S STRATAGEM 462 A WELCOME INTRUDER 464 THE HERO OF LITTLE ITALY 467 THE LEFT-HANDED MAN 471 THE WANDERER 474 JUST GOLD 478 THE MOTHERING HEART 481 HER MOTHER’S OATH 490 THE REFORMERS 496 LORD CHUMLEY 500 A FAIR REBEL 501 THE WIFE 526 LET KATIE DO IT 529 THE WOOD NYMPH 531 MARTHA’S VINDICATION West, Dorothy (act, unless otherwise noted) 074 ONE TOUCH OF NATURE 083 THE JONESES HAVE AMATEUR THEATRICALS 088 THE ROUE’S HEART 091 LOVE FINDS A WAY 092 THOSE BOYS! 094 THOSE AWFUL HATS 096 THE CORD OF LIFE 097 THE GIRLS AND DADDY 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 101 HIS WIFE’S MOTHER 102 THE GOLDEN LOUIS 105 THE DECEPTION 106 AT THE ALTAR 107 LADY HELEN’S ESCAPADE 108 A FOOL’S REVENGE 109 I DID IT, MAMMA 110 THE MEDICINE BOTTLE 111 THE SALVATION ARMY LASS 112 THE LURE OF THE GOWN 114 THE VOICE OF THE VIOLIN 121 A BURGLAR’S MISTAKE 133 THE DRIVE FOR A LIFE 142? THE CRICKET ON THE HEARTH 196 HIS LOST LOVE

198 THE GIBSON GODDESS 199 LINES OF WHITE ON A SULLEN SEA 200 IN THE WATCHES OF THE NIGHT 201 WHAT’S YOUR HURRY? 203 THE LIGHT THAT CAME 205 A MIDNIGHT ADVENTURE 206 TWO WOMEN AND A MAN 207 THE OPEN GATE 209 THE MOUNTAINEER’S HONOR 210 THE TRICK THAT FAILED 212 THE DEATH DISC 214 THE REDMAN’S VIEW 215 IN A HEMPEN BAG 216 A CORNER IN WHEAT 219 IN LITTLE ITALY 220 THE DAY AFTER 221 TO SAVE HER SOUL 222 CHOOSING A HUSBAND 223? THE ROCKY ROAD 229 THE HONOR OF HIS FAMILY 230 THE CLOISTER’S TOUCH 231 THE WOMAN FROM MELLON’S 232 THE DUKE’S PLAN 233 ONE NIGHT, AND THEN – 234 THE ENGLISHMAN AND THE GIRL 235 HIS LAST BURGLARY 238 THE NEWLYWEDS 239 THE THREAD OF DESTINY 242 THE CONVERTS 243 FAITHFUL 244 THE TWISTED TRAIL 249 A ROMANCE OF THE WESTERN HILLS 250 THOU SHALT NOT 251 THE WAY OF THE WORLD 252 THE UNCHANGING SEA 254 LOVE AMONG THE ROSES 255 RAMONA 256 THE TWO BROTHERS 258 THE IMPALEMENT 260 A CHILD OF THE GHETTO 261 A VICTIM OF JEALOUSY 262 IN THE BORDER STATES 265 A CHILD’S IMPULSE 268 A MIDNIGHT CUPID 270 A CHILD’S FAITH 272 A FLASH OF LIGHT 335

THE GRIFFITH PROJECT: VOLUME 11

West, Dorothy–cont. 273 AS THE BELLS RANG OUT! 274 THE CALL TO ARMS 277 THE HOUSE WITH CLOSED SHUTTERS 280 THE USURER 283 A SUMMER IDYL 287 THE OATH AND THE MAN 288 ROSE O’ SALEM-TOWN 290 EXAMINATION DAY AT SCHOOL 292 THE BROKEN DOLL 293 THE BANKER’S DAUGHTERS 296 WAITER NO. 5 298 THE FUGITIVE 299 SUNSHINE SUE 301 A PLAIN SONG 302 HIS SISTER-IN-LAW 304 THE GOLDEN SUPPER (also au) 307 WINNING BACK HIS LOVE 308 A WREATH OF ORANGE BLOSSOMS 311 HIS TRUST FULFILLED 318 HEART BEATS OF LONG AGO 319 THE LILY OF THE TENEMENTS 327 THE SPANISH GYPSY 328 THE BROKEN CROSS 329 THE CHIEF’S DAUGHTER 330 A KNIGHT OF THE ROAD 332 HIS MOTHER’S SCARF 335 IN THE DAYS OF ’49 338 THE NEW DRESS 358 SWORDS AND HEARTS 361 THE REVENUE MAN AND THE GIRL 538 THE HABIT OF HAPPINESS West, Madeline (act) 027 THE ADVENTURES OF DOLLIE Westover, Winifred same as Westover, Winnifred (act) 543 INTOLERANCE 560 THE MATRIMANIAC 574 THE FALL OF BABYLON Wetzler, Ben (camera crew) 627 THE STRUGGLE White, Ben (act) 513? THE BIRTH OF A NATION White, George see George White’s Scandals

White, Jack (ed) 608 HIS DARKER SELF White, Jules (act) 513? THE BIRTH OF A NATION Whitman, Charles (act) 559 A DAY WITH GOVERNOR WHITMAN Whitman, Walt (source) 543 INTOLERANCE Wilcox, Herbert (pr, sc) 606 PADDY – THE-NEXT-BEST-THING Wiles, Mabel (act) 523 JORDAN IS A HARD ROAD Wilkey, Violet (act) 513 THE BIRTH OF A NATION Williams, Clement (sets) 627 THE STRUGGLE Williams, Kathlyn (act) 246 GOLD IS NOT ALL 249 A ROMANCE OF THE WESTERN HILLS 250 THOU SHALT NOT Williams, Larry (ph) 627? THE STRUGGLE Willis, Edwin B. (assoc art d) 629 SAN FRANCISCO Willis, L. (act) 448 OIL AND WATER Wilson, “Fireworks” (special effects) 513 THE BIRTH OF A NATION 533 THE FLYING TORPEDO Wilson, Grace (act) 543 INTOLERANCE 574 THE FALL OF BABYLON Wilson, Hal (act) 520 THE SABLE LORCHA 527 THE MISSING LINKS 543 INTOLERANCE 549 THE LITTLE SCHOOL MA’AM Wilson, Harry (act) 631 ONE MILLION B.C. Wilson, Jack (ph) 578 [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] Wilson, Margery (act) 522 DOUBLE TROUBLE 538 THE HABIT OF HAPPINESS 543 INTOLERANCE 336

THE GRIFFITH PROJECT: VOLUME 11

Wilson, Thomas same as Wilson, Tom (act, unless otherwise noted) 513 THE BIRTH OF A NATION (asst d) 517 THE MARTYRS OF THE ALAMO 532 DAPHNE AND THE PIRATE 543 INTOLERANCE 544 REGGIE MIXES IN 545 THE MYSTERY OF THE LEAPING FISH 550 THE HALF-BREED 561 THE AMERICANO 575 THE MOTHER AND THE LAW 578? [SIGNING OF UNITED ARTISTS CONTRACT OF INCORPORATION] (on camera) 579? THE BIG FOUR – MARY PICKFORD, DOUGLAS FAIRBANKS, CHARLES CHAPLIN AND W.S. HART (on camera) 588 THE GREATEST QUESTION 608 HIS DARKER SELF Wilson, Tom see Wilson, Thomas Windsor, Claire (act) 614 [SCREEN SNAPSHOTS] Wing, William E. (sc, unless otherwise noted) 477 DEATH’S MARATHON (au) 510? THE AVENGING CONSCIENCE 537 SOLD FOR MARRIAGE Winther, Baron von see von Winther, Baron Withey, Chester same as Withey, Chet (d, unless otherwise noted) 528 DON QUIXOTE (sc, act) 539 SUNSHINE DAD (sc, st, act) 552 THE DEVIL’S NEEDLE (also sc) 557 THE OLD FOLKS AT HOME (also sc) 566 THE HUN WITHIN 594 ROMANCE Withey, Virginia Philley (st) 599 FLYING PAT Witt, Harold (sound recording) 624 ABRAHAM LINCOLN Wolheim, Louis (act) 603 ORPHANS OF THE STORM 609 AMERICA Woodbury, James G. (still ph) 543 INTOLERANCE

Woods, Ella Carter (sc) 531 MARTHA’S VINDICATION Woods, Frank E. same as Woods, Frank; see also Wood, Frank H. 048 A SMOKED HUSBAND (au) 056 MR. JONES AT THE BALL (st) 062 AFTER MANY YEARS (st) 067 MRS. JONES ENTERTAINS (st) 083 THE JONESES HAVE AMATEUR THEATRICALS (st) 087 MR. JONES HAS A CARD PARTY (st) 100 JONES AND THE LADY BOOK AGENT (st) 101 HIS WIFE’S MOTHER (st) 116 JONES AND HIS NEW NEIGHBORS (st) 132? THE SUICIDE CLUB (st) 138 HER FIRST BISCUITS (st) 146 THE PEACHBASKET HAT (st) 165 MRS. JONES’ LOVER; OR, “I WANT MY HAT” (st) 169 JONES’ BURGLAR (st) 264 THE MARKED TIME-TABLE (au) 267 MUGGSY’S FIRST SWEETHEART (au) 297 SIMPLE CHARITY (sc) 467 THE LEFT-HANDED MAN (au) 490 THE REFORMERS (sc) 498 MAN’S ENEMY (au) 508 THE MOUNTAIN RAT (au) 510? THE AVENGING CONSCIENCE (sc) 513 THE BIRTH OF A NATION (sc) 543 INTOLERANCE (titles) 549 THE LITTLE SCHOOL MA’AM (st) 574 THE FALL OF BABYLON (titles) 575 THE MOTHER AND THE LAW (titles) Wood, Frank H. (see Woods, Frank E.?) (prod mgr) 523? JORDAN IS A HARD ROAD Woods, James E. (ed) 513? THE BIRTH OF A NATION Wortmann, Frank same as Wortman, Frank “Huck”; Wortman, Frank 513 THE BIRTH OF A NATION (construction) 543 INTOLERANCE (set design, construction) 337

THE GRIFFITH PROJECT: VOLUME 11

Wortmann, Frank–cont. 574 THE FALL OF BABYLON (set design, construction) 593 REMODELING HER HUSBAND (set construction) 598 WAY DOWN EAST (tech d) 601 DREAM STREET (tech supervisor) 603 ORPHANS OF THE STORM (tech d) Wright, Haidée (act) 606 PADDY – THE-NEXT-BEST-THING Wright, Marie (act) 606 PADDY – THE-NEXT-BEST-THING Wunderlee, Frank (act) 605 ONE EXCITING NIGHT Wymetal, William von (operatic sequence staged by) 629 SAN FRANCISCO Wynters, Charlotte (act) 627 THE STRUGGLE

Y Yost, Herbert (act) 085 THE CRIMINAL HYPNOTIST 086 EDGAR ALLEN POE 088 THE ROUE’S HEART 093 THE FASCINATING MRS. FRANCIS 098 THE BRAHMA DIAMOND 099 POLITICIAN’S LOVE STORY 102 THE GOLDEN LOUIS 105 THE DECEPTION 106 AT THE ALTAR 110 THE MEDICINE BOTTLE 122 THE ROAD TO THE HEART

123 THE EAVESDROPPER 128 LUCKY JIM 130 A TROUBLESOME SATCHEL 131 CONFIDENCE 132 THE SUICIDE CLUB 135 ’TIS AN ILL WIND THAT BLOWS NO GOOD 137 THE JILT 160? THE CARDINAL’S CONSPIRACY Young, Gordon Ray (source, st) 592 THE IDOL DANCER Young, Lucille same as Younge, Lucille (act) 532 DAPHNE AND THE PIRATE 533 THE FLYING TORPEDO 557 THE OLD FOLKS AT HOME Young, Tammany same as Young, “Tammany” (act) 505 THE ESCAPE 543 INTOLERANCE 574 THE FALL OF BABYLON 611 SALLY OF THE SAWDUST Young Deer, James (act) 170 THE MENDED LUTE

Z Zellner, Lois 586 NOBODY HOME (sc, st) 587 TURNING THE TABLES (sc) Zola, Emile (source) 627 THE STRUGGLE Zukor, Adolph 612 THAT ROYLE GIRL (presented by) 613 THE SORROWS OF SATAN (presented by)

338

INDEX OF CONTRIBUTORS TO THE GRIFFITH PROJECT (VOLUMES 1–10) Abel, Richard: 339, 340, 341, 342, 343, 344 Anderson, Gillian B.: 543 Bottomore, Stephen: 606 Bowser, Eileen: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 187, 188, 189, 190, 191, 192, 249, 250, 251, 252, 253, 320, 321, 322, 323, 324, 325, 402, 403, 404, 405, 467, 472, 475, 513, 580, 589, 609, 627 Brewster, Ben: 126, 127, 128, 129, 130, 131, 132, 133, 134, 135, 136, 181, 182, 183, 184, 185, 186, 244, 245, 246, 247, 248, 381, 382, 383, 384, 385, 386, 406, 407, 408, 409, 410, 493, 509, 534, 537, 540, 570 Brownlow, Kevin: 487, 567, 595, 615, 616, 620, 625, 626 Carli, Philip C.: 513, 543 Dupré La Tour, Claire: 543 Everson, Karen Latham: 545, 569, 585 Eyman, Scott: 602 Gaudreault, André: 175, 176, 177, 178, 179, 180, 234, 235, 236, 237, 238, 272, 411, 412, 413, 414, 458, 459, 460 Graham, Cooper C.: 30, 31, 32, 34, 35, 36, 37, 38, 39, 40 Grieveson, Lee: 294, 295, 296, 297, 298, 452, 454, 455, 456 Gunning, Tom: 41, 42, 43, 44, 45, 46, 47, 48, 49, 54, 55, 147, 148, 149, 150, 151, 152, 153, 154, 155, 156, 157, 158, 211, 212, 213, 214, 215, 216, 269, 274, 275, 276, 277, 278, 351, 352, 353, 354, 355, 356, 420, 421, 422, 423, 477, 478, 479, 481, 482, 495, 515, 543, 556, 583, 588, 607

Higashi, Sumiko: 299, 300, 301 302, 303 Higgins, Steven: 60, 65, 68, 69, 70, 71, 72, 73, 75, 76, 79, 104, 105, 106, 107, 108, 109, 110, 112, 113, 114, 115, 223, 224, 225, 226, 227, 228, 259, 260, 261, 262, 263, 369, 370, 371, 372, 373, 374, 428, 429, 430, 431, 461, 462, 463, 590, 605, 621, 624, 632 Jacobs, Lea: 304, 305, 306, 307, 308, 332, 333, 334, 335, 336, 337, 338, 424, 425, 426, 427, 548, 553, 560, 598 Jesionowski, Joyce: 436, 437, 438, 439, 488, 489, 490, 491, 513, 530, 539, 543, 561, 611 Kaufman, J.B.: 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 217, 218, 219, 220, 221, 222, 264, 265, 266, 267, 268, 345, 346, 347, 348, 349, 350, 448, 449, 450, 451, 457, 492, 499, 500, 513, 514, 517, 519, 522, 552, 554, 564, 578, 579, 596, 604, 608, 617, 619, 628, 629, 630, 631, 633 Keil, Charlie: 193, 194, 195, 196, 197, 198, 279, 280, 281, 282, 283, 375, 376, 377, 378, 379, 380, 397, 398, 399, 400, 401, 513, 526, 543, 591 Koszarski, Richard: 66, 80, 83, 86, 87, 88, 89, 90, 95, 97, 111 Lacassin, Francis: 562 Loughney, Patrick: 21, 22, 23, 24, 25, 26, 27, 28, 29, 33, 169, 170, 171, 172, 173, 174 Mashon, Mike: 512, 614, 622, 628 Mayer, David: 1, 10, 19, 52, 57, 108, 118, 289, 290, 291, 292, 293, 357, 358, 359, 360, 361, 362, 444, 445, 446, 447, 492, 513, 516, 542, 555, 598, 603, 611

339

THE GRIFFITH PROJECT: VOLUME 11

Merritt, Russell: 56, 67, 74, 77, 78, 81, 82, 84, 85, 91, 159, 160, 161, 162, 163, 164, 165, 166, 167, 168, 205, 206, 207, 208, 209, 210, 271, 273, 314, 315, 316, 317, 318, 319, 387, 388, 389, 390, 391, 392, 432, 433, 434, 435, 453, 468, 469, 474, 476, 484, 494, 497, 501, 510, 511, 518, 521, 543, 559, 572, 576, 592, 610, 612 Musser, Charles: 485, 486 Olsson, Jan: 239, 240, 241, 242, 243 Robinson, David: 535, 623 Simmon, Scott: 50, 51, 52, 53, 57, 58, 59, 61, 62, 63, 64, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 229, 230, 231, 232, 233, 284, 285, 286, 287, 288, 363, 364, 365, 366, 367, 368, 415, 416, 417, 418, 419, 480, 483, 543, 544, 558, 568, 574, 575, 618

Smither, Roger: 563 Spehr, Paul: 496, 498, 502, 503, 504, 505, 506, 507, 508, 520, 523, 524, 525, 527, 528, 529, 531, 532, 533, 536, 541, 546, 547, 549, 551, 557, 566, 571, 573, 577, 581, 582, 584, 586, 587, 593, 594, 597, 599, 600 Thompson, Kristin: 92, 93, 94, 96, 98, 99, 100, 101, 102, 103, 199, 200, 201, 202, 203, 204, 270, 309, 310, 311, 312, 313, 326, 327, 328, 329, 330, 331, 440, 441, 442, 443, 464, 465, 466, 550, 565, 601, 610, 613 Tsivian, Yuri: 254, 255, 256, 257, 258, 393, 394, 395, 396, 538, 543, 603 Williams, Linda: 470, 471, 473, 513

340