ments, then, with brightening eyes, making some needful change in the drawings. He felt in these scenes that he was revealing a world of personality. And he must struggle to give a sincere interpretation in later scenes that would require more action. He would show Baird that he had not watched Edgar Wayne without profit.
Another interior was of the neat living room of the humble home. Here were scenes of happy family life with the little sister and the fond old mother. The Montague girl was a charming picture in her simple print dress and sunbonnet beneath which hung her braid of golden hair. The mother was a sweet old dear, dressed as Baird had promised. She early confided to Merton that she was glad her part was not to be a mopping part. In that case she would have had to wear knee-pads, whereas now she was merely, she said, to be a tired business woman.
Still another interior was of her kitchen where she busily carried on her fruit-canning activities. Pots boiled on the stove and glass jars were filled with her product. One of the pots, Merton noticed, the largest, had a tightly closed top from which a slender tube of copper went across one corner of the little room to where it coiled in a bucket filled with water, whence it discharged its contents into bottles.
This, it seemed, was his mother's improved grape juice, a cooling drink to tempt the jaded palates of the city folks up at the big hotel.
The laboratory of the young inventor was abundantly filmed while the earnest country boy dreamed hopefully above his drawings or tinkered at metal devices on the work-bench. The kitchen in which his mother toiled was repeatedly shot, including close-ups of the old mother's ingenious contrivances—especially of the closed boiler with its coil of copper tubing—by which she was helping to save the humble home.
And a scene in the neat living room with its old-fashioned furniture made it all too clear that every effort would be required to save the little home. The cruel money-lender,
