The picture changed—­where is it now?  Oh, yes, I see —­Madeline and the Roo—­outside a street entrance to some place—­he’s trying to get her to come in—­what’s that on the door?  Oh, yes, DANCE HALL—­Flick, flick!

Well, say, that must be the inside of the dance hall —­they’re dancing—­see, look, look, there’s one of the girls going to get up and dance on the table.

Flick!  Darn it!—­they’ve cut it off—­it’s outside again —­it’s Madeline and the Roo—­she’s saying something to him—­my! doesn’t she look proud—?

   “I WILL DIE RATHER THAN DANCE.”

Isn’t she splendid!  Hear the audience applaud!  Flick—­it’s changed—­it’s Madeline’s room again—­that’s the landlady —­doesn’t she look hard, eh?  What’s this—­Flick!

  “IF YOU CANNOT PAY, YOU MUST
   LEAVE TO-NIGHT.”

Flick, flick—­it’s Madeline—­she’s out in the street—­it’s snowing—­she’s sat down on a doorstep—­say, see her face, isn’t if pathetic?  There!  They’ve put her face all by itself on the screen.  See her eyes move!  Flick, flick!

Who’s this?  Where is it?  Oh, yes, I get it—­it’s John—­at a police station—­he’s questioning them—­how grave they look, eh?  Flick, flick!

  “HAVE YOU SEEN A GIRL
   IN NEW YORK?”

I guess that’s what he asks them, eh?  Flick, flick—­

  “NO, WE HAVE NOT.”

Too bad—­flick—­it’s changed again—­it’s Madeline on the doorstep—­she’s fallen asleep—­oh, say, look at that man coming near to her on tiptoes, and peeking at her—­why, it’s Edward, it’s the Roo—­but he doesn’t waken her—­what does it mean?  What’s he after?  Flick, flick—­

Hullo—­what’s this?—­it’s night—­what’s this huge dark thing all steel, with great ropes against the sky—­it’s Brooklyn Bridge—­at midnight—­there’s a woman on it!  It’s Madeline—­see! see!  She’s going to jump—­stop her!  Stop her!  Flick, flick—­

Hullo! she didn’t jump after all—­there she is again on the doorstep—­asleep—­how could she jump over Brooklyn Bridge and still be asleep?  I don’t catch on—­or, oh, yes, I do—­she dreamed it—­I see now, that’s a great scheme, eh?—­shows her dream—­

The picture’s changed—­what’s this place—­a saloon, I guess—­yes, there’s the bartender, mixing drinks—­men talking at little tables—­aren’t they a tough-looking lot?—­see, that one’s got a revolver—­why, it’s Edward the Roo—­talking with two men—­he’s giving them money—­what’s this?—­

  “GIVE US A HUNDRED APIECE
   AND WE’LL DO IT.”

It’s in the street again—­Edward and one of the two toughs —­they’ve got little black masks on—­they’re sneaking up to Madeline where she sleeps—­they’ve got a big motor drawn up beside them—­look, they’ve grabbed hold of Madeline—­they’re lifting her into the motor—­help!  Stop!  Aren’t there any police?—­yes, yes, there’s a man who sees it—­by Gee!  It’s John, John Holdfast—­grab them, John—­pshaw! they’ve jumped into the motor, they’re off!