SCRIPT FOR "MOLLY O'" /2

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THE CHARITY BALL. WHERE ROSIE O'GRADY AND THE GOVERNOR'S LADY JOINED HANDS FOR THE GOOD OF THE CAUSE. We see a camera shot of the ball and then a closer shot of guests arriving, which is also an interior shot. Cut to title: FATHER HAD REASONS FOR SITTING UP LATER THAN USUAL. Molly and her mother are waiting for Tim O'Dair to retire, so Molly can slip off to the ball. The old man finally goes to yawning. Molly and her mother go upstairs, and as Molly is about to slip back down the stairs, her mother tells her: "I WOULDN'T DO THIS BEHIND YOUR FATHER'S BACK IF I WASN'T A GIRL ONCE MYSELF." Molly comes gently down the stairs and eludes her father just before he goes to lock the front door. The old man starts upstairs for bed. Cut to the Charity Ball. Many couples are on the floor. While dancing past, Danny Smith, made up as a king, bumps into Miriam and her partner. He stops and says to her "EXCUSE ME, SISTER." They dance on and the picture cuts to the boxes. Miriam has seated herself in a box with Dr. Bryant, to whom she remarks: "I'D LEAVE NOW, IF YOU HADN'T PROMISED WE WOULD LEAD THE PAGEANT."

Cut to Molly coming upstairs to the door of the philosopher's apartment. She knocks and he admits her. He motions to the boxes on the table and she peeks into them, enraptured at the pretty thing she sees. He says to her: "AN OLD FRIEND OF MINE LOANED ME THE PRETTIEST COSTUME HE HAD WHEN I TOLD HIM IT WAS FOR YOU." He leaves the room, to give Molly an opportunity to dress. Iris out and in on Molly in a beautiful colonial costume. He tells her: "YOU LOOK LIKE A PAINTING." She answers: "I FEEL LIKE CINDERELLA, ONLY MY FAIRY GODMOTHER IS A MAN." Cut to (sic)

The O'Dair bedroom. A blind is the adjoining room, which is Molly's, is blowing in the wind, and its flapping against the window. Turning, he looks at Molly's bed and discovers it is empty. Enraged at his daughter's deceit, he returns to the bedroom and says to Mrs. O'Dair: "SO MOLLY WENT TO THE BALL AFTER ALL." The picture cuts to (sic)

The ball. Miriam is with Albert Faulkner, who whispers in her ear: "LET'S GET AWAY FROM THIS MOB." They exit. Danny Smith is selected to reign over the festivities as king, and the Master of Ceremonies announces: "BEHOLD THE KING." Cut to MIRIAM MANCHESTER WITHOUT HER MASK. She is on the roof with Albert Faulkner, her secret lover. Cut to Dr. Bryant's box. He says to Miriam's sister, Fred Manchester: "I HOPE MIRIAM HASN'T FORGOTTEN SHE IS TO BE PRINCESS OF THE PAGEANT." Manchester replies: "DON'T WORRY I'LL HAVE HER IN HER PLACE IN TWO MINUTES," and he exits. Cuts to MOLLY O' ON THE THRESHOLD OF WONDERLAND. Molly is standing behind drawn curtains at one end of the ball room. Occasionally she takes a little peak through a part in the curtains. Cut to Fred Manchester discovering Miriam and Albert Faulkner on the roof in a love scene. He says to them: "I GAVE YOU BOTH CREDIT FOR HAVING BETTER SENSE." They start back. Cut to Molly behind the curtains. With a sudden jerk they are drawn apart and Molly finds herself the central figure in the pageant. Dr. Bryant in the costume of a prince, approaches her and says: "MY PRINCESS." Meanwhile, Miriam and her partner have returned to the ballroom. She sees Molly in the part she was to play and is very much incensed, but it is too late to object. Molly has been unwittingly drawn into the pageant, and not knowing what else to do, she goes through with it. Together, she and the prince kneel at the throne of the king, who hands the prince a diamond tiara and says "CROWN HER." The Prince does so, and the king says: "NOW KISS HER." The prince kisses her and the king commands: "ALL UNMASK." Molly is very reluctant about removing her mask, but finally does so. She is nonplused (sic) to see the king is Danny Smith, and hardly knows exactly what to do under the circumstances. Miriam Manchester, Dr. Bryant's fiancee, approaches him in utter disdain and asks: "DO YOU REALIZE YOU ARE HUMILIATING ME AND MAKING A FOOL OF YOURSELF?" The Doctor answers: "I MISTOOK THIS YOUNG LADY FOR YOU, AND IF ANYONE IS TO BLAME, IT IS NOT MISS O'DAIR." Miriam removes her engagement ring and hands it to Dr. Bryant, in the presence of Molly, who says to the Doctor: "I DIDN'T KNOW YOU WERE ENGAGED." Miriam continues to upbraid her fiancÚ, the Doctor, and he tells her: "THE MISTAKE WAS MINE, MIRIAM, BUT I DO NOT REGRET IT, SINCE IT HAS REVEALED THE TRUE CHARACTER OF THE WOMAN I WOULD HAVE MADE MY WIFE." To this Miriam replies: "FAR BE IT FROM ME TO ROB THE WASHERWOMAN'S DAUGHTER OF SUCH A GALLANT ROMEO." Molly leaves, and Fred Manchester says to Miriam, his sister, when he gets her aside: "YOU'VE RUINED EVERYTHING." Cut to title:

TO HIDE HER COSTUME IN THE BARN, SO FATHER WOULD NOT KNOW. Molly enters the barn and goes to the loft to change her costume. She has just removed her gown when Danny Smith enters and she commands: "DANNY SMITH! GET OUT OF HERE!" Danny continues to approach Molly and she runs to the window of the barn, Danny after her. Roughly grabbing her, he brings her back, slaps her face and says: "YOU MAY BE ABLE TO FOOL YOUR FATHER, BUT YOU CAN'T FOOL ME." Fearing for Molly's safety, Dr. Bryant has also followed her to the barn, and arrives on the scene just in time to prevent Danny from further forcing his attentions on Molly. They engage in a fight and Molly escapes through a window and across a roof. Dr. Bryant vanquishes Danny and follows in search of Molly. CRUMPLED IN THE DUST HE FOUND HER, LIKE A MISPLACED DRESDEN DOLL. Tenderly the doctor carries Molly to the yard outside her house, and places her on her feet. During their love scene he tells Molly: "I WANT YOU TO KNOW THAT THERE IS NO ONE WHOSE FRIENDSHIP I VALUE MORE THAN YOURS." Cut to Tim O'Dair, strap in hand and waiting for Molly to come home. Through the window he sees part of the love scene between Molly and Dr. Bryant, which serves but to further arouse his anger. Molly enters, with the Doctor's cloak around her, returns it to him by reaching around the front door and handing it to the Doctor, who remains on the outside, as the removal of the cloak again leaves Molly partially unclothed. Part of her bare arm and the tip of her elbow are exposed to the Doctor. He tenderly kisses her arm, and Molly's whole soul seems to respond. Molly turns to discover her father waiting to shower his wrath upon her. He believes Molly is no longer fit to be his daughter; tells her: "AFTER SLAVING ALL MY LIFE, TO RAISE A DECENT FAMILY, THIS IS THE THANKS I GET." Molly protests that she didn't do anything wrong and calls her mother, who hastens downstairs, and Jimmy, Molly's brother, is also aroused by Tim O'Dair's loud indictment, which Tim finishes with:" -- PACK UP YOU CLOTHES; THIS HOUSE IS NO LONGER YOUR HOME." Molly exits upstairs, and a few minutes later comes down and exits, her father closing the front door on her. At the gate, Jimmy bids his sister an affectionate good-bye. The scene changes to

EARLY NEXT MORNING. We see a long shot of a broad walk, leading up to the residence of Dr. Bryant. Tim O'Dair is approaching. Cut to Mrs. O'Dair at the front door being received by the butler, to whom she speaks: "IF MY MOLLY O' IS HERE, TELL HER I'VE COME TO TAKE HER HOME." The butler replies: "I CAN'T DISTURB THE HOUSEHOLD AT THIS HOUR." Tim O'Dair is in no mood to be turned away with any such excuse and he forces himself past the butler and proceeds to the bed chambers of Molly and Dr. Bryant. The doctor, attired in a dressing gown, is in an adjoining room shaving. In a room which opens off the doctor's bed chamber, Molly, in pajamas and dressing gown. amuses herself by lying flat on her back on a day bed, kicking first one foot and then the other up in the air, in playful morning exercise. Tim O'Dair takes in the situation at a glance and stealthily draws a revolver from his right hand trouser pocket. In his shaving mirror, Dr. Bryant sees the barrel of the revolver pointing directly at him. Slowly he adjusts the mirror, without turning around, until it is focused on the stern face of Tim O'Dair. In the twinkling of an eye, it crashes to the floor and the door to the room slams shut, as a bullet from O'Dair's revolver blazes forth. Molly, who has discovered her father's attitude just before the shot, tears at the neck of her pajama jacket in cold fear that her father has killed the man she loves. Dr. Bryant grapples with Tim O'Dair, takes him by the throat and places him in a chair, with the command: "NOW YOU LISTEN TO ME." The Doctor continues, with his arm around Molly: "AFTER THIS BLAMELESS GIRL WAS TURNED OUT INTO THE NIGHT, SHE FOUND SOMEONE WHO WAS HONORED BY HER TRUST IN HIM." The Doctor draws to one side and Molly goes to her father, comforting him. After the doctor's last remark, the picture fades out and into the marriage of Dr. Bryant and Molly, who, it develops were married the night before. When the picture fades back to Molly with her father, she says to him: "YOU SEE, POP; YOU DIDN'T UNDERSTAND." Iris out.

We go to the interior of an immense airship, preceded by the title: RETURNING FROM CUBA BY AIR ROUTE, MIRIAM MANCHESTER'S FIRST LOVE HELPS HER TO FORGET. A party is in progress and the guests are dancing. Miriam's partner is Albert Faulkner, her real lover. The picture cuts to an exterior shot of the blimp and then fades out and in on:

AT THE COUNTRY CLUB. MOLLY O' MEETS SOCIETY ON AN EQUAL FOOTING AS MRS. BRYANT. Here the guests are also dancing, and Miriam meets Molly with "ONE NEVER KNOWS WHOM ONE IS LIABLE TO MEET IN OUR MOST EXCLUSIVE CIRCLES." Molly's clever retort is: "THAT'S VERY TRUE, BUT I DON'T MIND YOUR BEING HERE IF IT DOESN'T ANNOY OTHERS." These scenes cut to a card game, in which Miriam, her brother, Fred Manchester, and Molly O's brother Jimmy, are participating. The scene is preceded by title: MIRIAM CLEVERLY USED MOLLY O'S BROTHER IN HER SCHEME OF REVENGE. Cut to title:

THE O'DAIR FAMILY FIRMLY ESTABLISHED IN THE DOCTOR'S HOME, FATHER ENTERTAINS. This title is followed by a scene, showing Tim O'Dair in the Doctor's home, as host at a dinner to his friends (sic). Cut back to Country Club. Fred Manchester writes a note, reading: Meet me on the balcony. He hands it to Jimmy, saying as he does so: "GIVE THIS NOTE TO YOUR SISTER." Jimmy takes it and hands it to Molly while she is dancing. A minute later Molly reads the note and we see her on the balcony. As she steps out, the door slams shut behind her and locks with a spring lock. Fred Manchester is on the balcony. Molly says: "I EXPECTED TO MEET MY BROTHER HERE." Fred answers, "I SENT THAT NOTE, TO SEE YOU ABOUT YOUR BROTHER'S GAMBLING DEBT." The expression on Molly's face changes, as Manchester continues: "HE HAS FORGED DR. BRYANT'S NAME TO THIS CHECK -- WHAT SHALL I DO WITH IT?" Molly looks at the check and hands it back to Manchester, with "PLEASE DON'T LET MY HUSBAND KNOW OF THIS." She slips a ring from her finger, a very expensive ring, and says: "IN THEN MEANTIME, KEEP MY RING UNTIL I GET THE MONEY. Fade out and into title, reading:

MORNING. IN THE MANCHESTER HOME. To Miriam Manchester, Jimmy speaks as follows regarding Manchester. " IF HE NEEDS MONEY, WHY DOESN'T HE PAWN MOLLY O'S RING?" The ring is lying on the table at which Miriam is sitting, and Jimmy reaches for it. Fred Manchester grabs Jimmy, holds him by the coat lapels, and speaks to him: "I'M GOING TO THE AVIATION FIELD AT NOON, AND IF YOUR SISTER WANTS TO SAVE YOU FROM JAIL, SHE CAN FIND ME THERE." Fade out and in on the title, reading:

NOON. AT THE AVIATION FIELD. Molly arrives and enters the blimp in which Fred Manchester is apparently waiting for her. She asks him: "HAVE YOU THE CHECK WITH YOU?" He hands it to her and Molly does not return it. Manchester starts to take it away from her, Molly tells him: "YOU HAVE MY RING." Manchester is seen to give orders to the airship's pilot and the ship begins to rise, fans and motors humming. The picture cuts to Jimmy, left on the ground as the blimp rises swiftly. Back to the interior of blimp. Apparently Molly has asked what has happened, for Manchester says to her: "JUST TAKING YOU FOR A LITTLE TRIP." A struggle ensues. Cut to Jimmy at telephone. He has called Dr. Bryant and is finishing his hurried conversation with "-- I'M TO BLAME FOR IT ALL. PLEASE HURRY. Dr. Bryant makes a mad dash for the aviation field and in a few moments he is off in pursuit of Molly and her abductor. Hovering in the hydroplane over the blimp, Dr. Bryant throws out a rope ladder and descends to its very last rung. He is now directly over the blimp and he drops, landing on top of the envelope, which is surrounded with rope about the middle. Holding to this rope, Dr. Bryant climbs down the side of the bag and to the very door of the cabin, where Molly and Fred Manchester are engaged in struggle. Dr. Bryant opens the door, dashes madly at Manchester, and with blows well measured, floors him. In the fight, the wireless is damaged. Flames begin to shoot out from it and A SHORT CIRCUIT ON THE WIRELESS follows. Dr. Bryant and Molly are given a life belt, attached to a parachute, by the cook on board the blimp. They attach it around their wastes and jump. Their descent appears to be at least two or three thousand feet. The blimp sails, the fire safely extinguished. Molly and the doctor land in shallow water, so shallow that they can stand on their feet and touch the bottom. Molly looks way up at the distance they have traveled and says to Dr. Bryant: "I TRIED TO SPEAK TO YOU ALL THE WAY DOWN, BUT MY HEART WAS IN MY MOUTH." Iris out.

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