Feature Drama | 1910 | Silent | B/W
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A tale of the Chinese community in Limehouse, London and poverty and child abuse in the East End.
Intertitle: 'It is a tale of temple bells, sounding at sunset before the image of Buddha; it is a tale of love and lovers; it is a tale of tears.'
Intertitle: 'We may believe there are no Battling Burrows, striking the helpless with brutal whip - but do we not ourselves use the whip of unkind words and deeds? So, perhaps, Battling may even carry a message of warning.'
Dim shot of a four-funnelled ship staming R to L, rigging in foreground; appears to be pre-dawn. Similar, slightly closer, shot - spar projects from mast above rigging.
Intertitle: 'At the tun-stiles of the East the bund of a great Chinese treaty port.'
Chinese buildings in a square or courtyard, people milling in wide-brimmed hats, two men carry a man in a palanquin (like a sedan chair).
The palanquin resting at R, some uniformed sailors walk away from us, amid the milling crowd, followed by a rickshaw and a person with a raised umbrella.
Three Chinese girls, standing, holding closed fans, reading something. Closer shot of the three girls, the one at right reading, the one at left looking on, the middle one looking up and smiling; the middle one opens her fan, then the one reading does the same, hiding her face behind the fan. The three girls walk R to L, followed by an older Chinese woman and a man in a long tunic. A man with a moustache, wearing a brimless cap, seated with a young girl in a small bamboo shelter, talking with three more young girls and a woman at L; he produces a white kerchief and wipes the face of the foremost girl. Viewed from inside the shelter, towards the three girls and the woman, as the seated girl caresses the hair of the foremost girl outside; the man hands a coin to each girl. The view from outside, as he continues the banter with the girls.
Intertitle: 'Sky-larking American sailors.'
Six or seven American sailors - three standing - 'U.S.S. . . .' visible on one cap - drinking and scoffing food; a Chinese man pours tea from a large pot; in background are Chinese men, one of whom puts down a laden yoke he has been carrying.
Looking out from inside a building, a large parasol just outside the doorway, a child briefly in view at R; at L is an old Chinese man in glasses and cap, with a white beard, smoking a pipe about 80 cm long, while gently fanning himself with a fan in his right hand. Close-up of the man fanning himself. Two women enter from R and approach the man, who takes a short stick of something from a canister on the table in front of him. Close-up of him manipulating the stick. Close-up of his hands holding the stick (a pencil?) above two pages of a book in Chinese. Short close-up of hands holding the book, from below - actually seems to be the view from above, but shown upside down. His fingertips resting on the pages. He nods as he returns the stick (pencil/brush) to the canister.
Intertitle: 'The Yellow Man in the Temple of Buddha, before his contemplated journey to a foreign land.'
In a Buddhist temple, two standing men in long robes, the one at L hatless and bald, his hands clasped in benediction, the one at R dressed more extravagantly, and in a shallow conical hat; the man at L (a priest) picks up a book and sits down, continuing to address the other man. 'The Yellow Man', listening attentively and nodding. The seated priest, telling large black beads. Close-up of the string of beads in his hands. Longer shot again. The listening Yellow Man, in his satin robe.
Intertitle: 'Advice for a young man's conduct in the world - word for word such as a fond parent or guardian of our own land would give.'
The seated man dispensing advice, apparently reading from the book, and gesticulating with his free hand. The man listening. The two of them, the seated man raising his right hand. A tall many-tiered Chinese building at L, at R a man in robes strikes a large suspended bell three times; smoke drifting in. The two men in the temple, as the Yellow Man looks round at the sound of the bell. Two men bow, then kneel, before an altar below a statue of Buddha; at L a man swings a censor. The statue, framed by two candles and two large fans, lit from below, smoke wafting. The kneeling man. The two standing men. The seated priest looks up.
Intertitle: 'The Yellow Man holds a great dream to take the glorious message of peace to the barbarous Anglo-Saxons, sons of turmoil and strife.'
The Yellow Man, looking pensive. The two men; the priest stands; the Yellow Man bows to him, and walks off R. The scene in the square; at L is a man in a western suit and Panama hat. The American sailors stand to leave, clasping hands with, and paying, the tea vendor, who also stands; the sailors walk off. Sailors standing at a counter in mid-distance, beside a Chinese inscription on the wall, as the Yellow Man enters from L, and stops, as four sailors enter from R, patting each other's backs. The Yellow Man, holding a round fan, looks round, apparently disturbed. He comes between the sailors - who are arguing - and speaks to them. Close-up of him addressing them.
Intertitle: '"Do not give blows for blows. The Buddha says: 'What thou dost not want others to do to thee, do thou not to others'."'
He talks, his left hand raised and pointing upward. The group start brawling, and the Yellow Man is knocked to the ground; other Chinese men come to watch.
Intertitle: 'Just a social free fight for the Jackies - but the sensitive Yellow Man shrinks in horror.'
The sailors dust themselves off, exit R, as the Yellow Man gets up, nursing his jaw, and goes and sits down on a large round basket.
Intertitle: 'The Yellow Man more than ever convinced that the great nations across the sea need the lessons of the gentle Buddha.'
The seated man looking dejected, then smiling slightly. He stands and walks off L.
Intertitle: 'The day set for his departure to foreign shores.'
The square, as a palanquin enters from L, passing a man with an umbrella. The Yellow Man, in a rickshaw, fanning himself, comes towards us, followed by another rickshaw. Another shot. Close-up of him in the rickshaw, passing shops. Longer shot of the two rickshaws. The square, the two rickshaws approaching and leaving to L. In the half-light, a river scene of a junk sailing R to L, a shoreside lantern at L.
Intertitle: 'Early morning in the Limehouse district of London, some years later.'
Two storeys of a Chinese-looking street frontage.
Intertitle: 'Now - Limehouse knows him only as a Chink store-keeper.'
A cobbled court, with a large arch at mid distance, the centre of the shot lit brightly, but the rest in shadow; a girl comes out of a doorway at R and crosses to L, as a man approaches and another walks R to L; a man comes out of a door at R, and puts a basket on a beach. The Yellow Man, in cheap Chinese clothes, walks to a wall beside a shop window, below which is 'CHENG HUAN'; he leans on the wall, his knee up with the sole of his foot on the wall, his arms crossed dejectedly.
Intertitle: 'The Yellow Man's youthful dreams come to wreck against the sordid realities of life.'
Vignette of the dejected Yellow Man.
Intertitle: 'Broken bits of his life in his new home.'
He enters a large room with ornate furniture, numerous people seated on low chairs or on the floor, the Chinese man on the floor in the foreground smoking a long pipe of opium.
Intertitle: 'Chinese, Malays, Lascars, where the Orient squats at the portals of the West.'
Two Chinese musicians, the one at L playing a lute-like instrument with four strings, the one at R playing a sort of recorder. Close-up of the 'lutenist's' fingers playing. The two musicians. A seated bearded man in a turban, in a rough jacket, takes a drag on a cigarette. A bearded man, in a large turban, pulls on a cigarette; beside him sits a young white woman in a feathered bonnet, gazing at him. A seated young white woman talks to a seated man in workclothes and peaked cap, with a filthy face. The scene in what is presumably an opium den. A white woman, resting on one elbow on a cushion on the floor, wearing a knitted bonnet; at bottom R is the head of a smoking Chinese man. Close-up of the woman drug addict, looking stoned. The reclining woman. Stoned-looking Chinese man takes drag from long pipe.
Intertitle: 'In this scarlet house of sin, does he ever hear the temple bells?'
The Yellow Man, seated on the floor, smoking an opium pipe. The monk in China strikes the temple bells twice. The Yellow Man, reflecting. Close-up of man in Chinese cap leering at young woman at L, the latter in a stylish hat. The opium den. The Yellow Man leaning on the wall outside. The Yellow Man reclining on a couch inside, inhaling from a pipe as another man attends him; he is clearly zonked. The Yellow Man leaning on the wall outside.
Intertitle: 'Fantan, the Goddess of Chance.'
Four Chinese men seated round a table playing a gambling game, which doesn't look like Mah Jongg; the man at L apportions tokens with a stick, the man opposite is the Yellow Man.
The Yellow Man looking on, his arms folded. The man apportioning counters - in Chinese dress, but with a western-style wide-brimmed felt hat. His hands dividing counters with the stick. Chinese man gesticulating excitedly. The four men's hands, picking up tokens and counters. Two of the four argue heatedly over the table, as the Yellow Man intercedes, physically holding them apart.
The dejected Yellow Man beside the Cheng Huan sign. The Limehouse square; a Chinese lantern swings from a balcony in mid-distance; two men walking in street. The front of Cheng Huan's premises, as he (the Yellow Man) walks across and enters. He bows as he enteres the hallway and sits at L on a chair, lanterns hanging above, a stairway at back, below which sits another man.
The sail of a junk moving down river L to R through a jumble of high Chinese riverfront buildings (he is clearly remembering).
Intertitle: 'The home of Lucy and Battling Burrows.'
Rough two-storey river-front buildings at Limehouse, a man sawing at L.
Intertitle: 'Fifteen years before one of the Battler's girls thrust into his arms a bundle of white rags - so Lucy came to Limehouse.'
In a kitchen with bare brick walls and stone floor, with a door opposite with a jacket hanging on a peg; shelves on the walls, a large man seated at L facing us, beside a square table, pours himself a glass from a dark bottle; the other side of the table stands a man in suit and bow tie, with a narrow-brimmed hat.
Intertitle: 'Battling Burrows, an abysmal brute - a gorilla of the jungles of East London - gloating on his victory over the "Limehouse Tiger."'
Close-up of Burrows, looking drunk and suitable brutish, pouring drink, admiring glass, then downing it in one, pouring himself another, downing that, then putting the stopper in the bottle and putting bottle and glass on the table; and squirming in the seat, making himself comfortable.
A boxing ring, the ring lit brightly, the spectators in darkness, though clearly there is a full house. Burrows in shorts and boxing gloves, seated on stool in ring, talking confidently to someone outside the ring. Long shot of the match commencing. Closer shot of Burrows flooring his opponent, crowds jubilant behind.
Burroughs in the kitchen again, looking unsettled and out of sorts. He squirms in his seat as the other man talks to him, then he stands up, his hands in his pockets. Close-up of Burrows talking, now using his hands and punching his palms. The scene with Burrows seated again, as Lucy enters through door at R, both men turning towards her; the man in the hat walks away to the wall, as Burrows stands, approaches her, talks to her, pulls her towards him by her jacket lapel. Close-up of Burrows and Lucy, each with an arm round the other, he chucking her chin; she turns away from him, her hand in her jacket pocket, his on her elbow; he pulls her back, and there is another short exchange between them. Longer shot again as she walks away, he making a mock lunge for her; she opens the door and leaves, after he has made a last remark, his hand outstretched; he smiles in cocky satisfaction, and resumes his seat.
Intertitle: 'The manager's complaint about drink and women puts Battling in a rage - he cannot take his temper out on him - he saves it for a weaker object.'
In the kitchen, Burrows walks round the table, talking to his manager; the latter says something emphatically, and leaves through the door at R, as Burrows looks down in frustation, then picks up the chair, and swings it to and fro.
The riverfront scene, the man sawing, fog or steam swirling.
Intertitle: 'The Girl. When not serving as a punching-bag to relieve the Battler's feelings, the bruised little body may be seen creeping around the docks of Limehouse.'
The girl, in long skirt, shawl, and wide-bimmed felt hat, walks round a man standing leaning on a wooden post, smoking a pipe; she looks down and around, then walks off R.
The riverfront scene; the man sawing is at L, the leaning man in centre, the girl walking to the R. Close-up of her as she sits on a coil of thick rope beside a gnarly wooden post. Close-up of her, looking sad and wistful.
Intertitle: 'Lucy's surroundings have not been the most cheerful. - A marriage acquaintance has told her - '
Scene of domestic poverty, standing mother scrubbing washing at L, children and squawling baby at R, as Lucy enters with small jug, putting it down at L as she converses with the mother. Close-up of the hard-pressed mother talking to the receptive Lucy, who looks round at the children. The five children and the baby, th eldest daughter picking nits from a younger sister's hair. The gruff-looking father, speaking angrily. The woman, giving advice to Lucy.
Intertitle: '"Whatever you do, dearie, don't get married."'
The sorrowful mother dispenses her advice, then bends over to her scrubbing, as Lucy shakes her head and looks round again. The domestic scene, the mother scrubbing hard, the washing in a galvanized tub.
Intertitle: 'Warned as strongly by the ladies of the street against their profession.'
Two over-dressed prostitutes at a street corner as Lucy walks up; one drops something, and Lucy bends over, picks it up, and returns it; she thanks her. Close-up of the two prostitutes talking kindly to Lucy. Lucy responding, sad and innocent. The two prostitutes giving her advice. The three of them, as Lucy turns away and walks off R. Lucy sitting reflectively on the coil of rope. The riverside scene, the man sawing at L.
Intertitle: 'In every group there is one, weaker than the rest - the butt of the uncouth wit or ill-temper. Poor Lucy is one of these.'
Lucy creeps round the corner to the door to her house; a man is doing something at L; she enters. The seated Burrows, in the kitchen, pours a drink and knocks it back as she enters.
Intertitle: 'Lucy, as usual, receives the Battler's pent up brutishness.'
Close-up of Burrows looking at her angrily. Close-up of Lucy, fearfully fingering her shawl. Burrows snaps at her, beckoning her closer. She approaches in trepidation. She puts a metal jug down on the table, then closes the door as he gets up; his hands in his pockets, he takes two steps towards her, he walks round the table towards her, but she walks round it away from him.
Intertitle: '"Don't whip me - don't!"'
He pursues her round the table, then stops.
Intertitle: '"Please, Daddy! - Don't!"'
She cowers as he bangs angrily on the table, then pursues her further round the table, his finger pointing accusingly. Close-up of the angry father. Close-up of the terrified daughter, nodding. The father.
Intertitle: '"Put a smile on yer face, can't yer?"'
He turns away from her.
Intertitle: 'Poor Lucy, never having cause to smile, uses this pitiful excuse instead.'
Tearful Lucy forces her mouth into a smile, using two fingers. The menacing father. The terrified daughter backs away. He pursues her round the table to the corner, where she puts wood on the range, as he returns to the table, picks up the jug, dips his finger in and shakes it, then drinks straight from the jug; he puts it down again, and sits. Close-up of the angry man, who picks up a fork and plays with it, then turns to throw it at her. He throws it, and she looks round as he turns away as if he'd done nothing. Close-up of him sniggering to himself. He picks up half a loaf of bread from the table, tears off a chunk and takes a bite, crossing his legs and scratching his head.
Intertitle: 'She has to wait - '.
He sits at the table, eating his dinner with his knife, as she stands over the table. He shovels two knife-fulls in, then reaches for a cup, in which a spoon sits. She speaks to him, resignedly.
Intertitle: ' - he can't stand poor table manners.'
While still chewing, he stirs his tea and swigs, then scrapes sugar out of the bottom of the cup and spoons it into his mouth, then picks food out of his teeth with his finger and eats the pickings; he stands up. He stands, and dons his check cap, walking round the table and feinting an attack on her, as she backs off. His hands in his pockets, his jacket spread to show his tartan waistcoat, he smiles smugly.
Intertitle: 'He orders his tea for five o'clock.'
He issues the order. She responds, sad but compliant. He asserts himself again.
Intertitle: '"Come on - give us a smile."'
He stares at her. She tries to force a smile, again using her hand to force her lips with her fingers. He looks somewhat mollified. She nods, almost smiling. He points to the table, issues final instructions, and struts out the door. The exterior view, as he leaves and walks round the corner, taking a pop at the seated man as he passes. The girl picks up his plate and left-overs, goes over to a further chair, sits down, and starts to eat the scraps.
Outside the shop, Cheng Huan is approached by two vicars in wide-brimmed felt hats. Close-up of the Yellow Man nodding and smiling politely. Vicar nods and smiles.
Intertitle: '"My brother leaves for China tomorrow to convert the heathen."'
Vicar indicates the other vicar. Second vicar, with folded arms, speaks. First vicar speaks. Yellow Man responds.
Intertitle: '"I - I wish him luck."'
Yellow Man looks thoughtful. The three speaking, as the first vicar reaches into his jacket and produces a packet, which he passes to the Yellow Man. Yellow Man takes it, smiles, nods, and looks at it. Close-up of the pamphlet's title: 'HELL'. He looks up, noncommitally. The three, as the vicars walk off R. Yellow Man opens booklet, closes it again, looks thoughtful, and enters Cheng Huan shop.
Lucy seated at the table, darning a sock, cutting the wool with a kitchen knife; she inspects her handiwork, then folds the socks. She gets up, and adds them to a pile.
Intertitle: 'The shopping trip.'
She picks up a coin from the table, goes over to the door, takes her felt hat off the hook, dusts off the crown, puts it on, then looks around for something. Close-up of a floor-tile as she prises it loose. She knocks the dirt off a package she takes out, and takes it to the table to unwrap. She unwraps it. Close-up of her hands as she picks up a lump of something, which had been wrapped up with a piece of ribbon; she rolls it and shakes it, then feels the ribbon. She holds the ribbon against her shawl, nods, then strokes a piece of cloth with her finger; lifting it she sees a note.
The note, reading 'This aint much but all I got to leave you. You might find them some use for your weddin. The piece of pith and the ribbon'.
She lets down the cloth, then feels it against her cheek, looking thoughtful; she nods, and puts it down. She lifts the packing and its contents, and takes it back to a shelf by the door. Looking in a wall mirror, she replaces a piece of string in her hair with the ribbon. She puts it down, and adjusts the angle of her hat, then rewraps the package. She puts it back in the floor, then picks up the lumpy object.
Intertitle: 'Enough tin-foil might get something extra.'
She picks things up from the shelf. Close-up of a few pennies in her right hand, as she adds the foil lump. She pulls at her shawl, and checks her face in the mirror, then walks to the door. She opens it and leaves. Exterior, as she walks left, in direction of two men. People seated at two round tables in a public bar; at one table is a man drinking beer with two women; at the other is a soldier and a sailor, in uniform; barman visible at L rear; Burrows enters opposite, greets barman, walks towards us, taps soldier on shoulder, approaches seated woman, putting his arm round her shoulder. He pulls up a stool and sits beside her.
Lucy approaches us, down a lane off a street we're looking across; men in lane and on corner, talking; a bicycle propped up - may be location shot? Close-up of girl at corner, opposite bike; on wall is City of London arms; she crosses lane. She crosses, and walks past open pub door; on window is 'ALES & STOUTS'. Yellow Man sits on chair below lanterns, and lights opium pipe. Close-up of him drawing on pipe and exhaling dreamily. Girl walks towards us, in Limehouse square, on pavement opposite Yellow Man, who is outside his store; she sees something on the ground, stops, and picks it up; behind her, a man crosses with a basket of something. Close-up of her peeling tinfoil of backing paper of a sweet wrapper or something of the kind. She inspects the foil, standing outside his store.
Intertitle: 'The Yellow Man watched Lucy often. The beauty which all Limehouse missed smote him to the heart.'
Holding his pipe, he looks out at her and smiles. She looks in at his window. Dolls in the shop window. One doll. Lucy looking in. Him looking longingly out.
Intertitle: 'This child with tear-aged face - '.
His view of her, looking in. He gazes at her and smiles. She turns away.
Another Chinese man stands, smoking, beside a meagre shopfront display of vegetables.
Intertitle: 'Evil Eye also watches.'
Close-up of sinister-looking Evil Eye, smoking opium pipe. The girls walks away from Cheng Huan. She crosses the road, in the Limehouse square. She approaches Evil Eye's shop.
Intertitle: 'The Spirit of Beauty breaks her blossoms all about his chamber.'
Cheng Huan stands up, and walks around his hallway. He exits, and crosses the road towards Lucy and the other end of the shop display. She inspects what appears to be a dried fish, and buys it; Cheng Huan turns towards her. His longing gaze back at her - vignette. Under the watchful eye of Evil Eye, in background, Lucy inspects a flower, then slowly looks up to meet Cheng Huan's eyes. He looks away in embarrassment, and pretends to consult something he takes from his tunic. She looks thoughtfully at him, then turns away. Vignette of Evil Eye. Vignette of Evil Eye's view of Lucy. Vignette of Evil Eye looking away, then looking furtively back. Vignette of Lucy looking round, fiddling with something in her hands. Vignette of Cheng Huan looking back and smily shyly.
In the pub, the barman pours Burrows another drink, at his table, as his manager enters, comes over, and stands over Burrows, glaring.
Intertitle: 'The manager horrified to find Battling at it again.'
Burrows catches sight of his manager, and stands up quickly to talk with him.
Intertitle: '"Wot yer expect me to to do - pick violets?"
Manager ticks him off, and Burrows puts hands in pockets adopting defiant stance, then turning to seated girl, taking her by the shoulders, and addressing her. He pats her head, says goodbye to the other man, and leaves the pub with his manager.
At the shop, the shopkeeper hands the wrapped fish to Lucy, the Chinese man still lurking.
Intertitle: 'Lucy's starved heart aches for the flower -'
Pitifully, she looks at the flower and the shopkeeper, and offers him the tinfoil.
Intertitle: ' - but not quite enough tinfoil.'
Shopkeeper shakes his head, as she looks disappointed. She takes a final sorrowful look at the flower, then turns away. In the square, as she walks away she is accosted by Evil Eye, as Cheng Huan looks on. Puffing at his pipe, and looking round furtively, Evil Eye clutches at Lucy's shoulder; she shakes her head, pulling away. Vignette of Cheng Huan looking back, and reacting swiftly. He rushes over to them. He barges Evil Eye out of the way, and makes him leave, but he himself walks past Lucy as if he hadn't seen her; she looks after him, in some confusion, utters a few words, then walks on. Lucy walking away, as Cheng Huan looks on from a distance, then follows.
Intertitle: 'The manager's protest against Burrow's dissipation sends him home in another rage.'
Burrows strides angrily round the corner to his home. From inside, he enters, stops, then pushes the door shut, picks up the chair and takes it round the other side of the table.
Lucy comes round the corner, homewards, followed by Cheng Huan. She enters, and hesitates as she sees her seated father, who looks up and sees her. He addresses her angrily, and points to the clock. The clock, showing 4:30. The angry father. The girl protests.
Intertitle: '"'Tain't five! 'Tain't five!"'
She lookes defensive. He glares, and strikes the table. She shows him the wrapped fish, and nods. She goes over to the range.
Cheng Huan stops at the corner, looks round, then turns back.
Lucy puts wood on the fire, as her father continues to berate her, putting his elbow on the table, his head in his hand. The seated man, his cap on the table in the foreground; he points at the table, where he expects his meal to be. He puts his head on his hand again.
Intertitle: 'His last meal before taking up training quarters across the river, for his return match with the Tiger.'
He taps the table, and breaks some hard bread, which he gnaws on. She forces a smile, with her hands, and approaches with a pan of food. She puts the pan on the table, and prepares to dish up.
Intertitle: 'The terrible accident.'
After cutting bread with a knife, he reaches across just as Lucy lifts the pan to serve him, and burns his left hand on the pan, looking up angrily. Lucy looks aghast, wringing her cloth in anguish. She offers him the cloth, and he spurns it. She wrings the cloth in terror, and clutches at her breast. He stands aggressively, pointing at the scene of the accident.
Intertitle: '"Pretend yer didn't do it on purpose! I'll learn yer!"'
As Lucy cowers, he takes a whip from below the bed at the rear of the scene; she backs to the door, as he follows with the whip. She cowers in terror at the door. He smiles sadistically. She cowers.
Intertitle: '"Don't do it, Daddy! You'll hit me once too often - and then they'll - they'll hang yer!"'
She cowers. He continues to threaten her, indicating his injured hand and the whip. She cowers, biting her knuckles; she turns and looks down, pointing.
Intertitle: 'Oh, look! Daddy! Dust on yer boots!"'
She looks him up and down, in panic and supplication. She bends down to polish his shoe with her skirt. Vignette of Lucy cowering at his feet. He tells her to get up. She polishes frantically, and raises a hand protectively to her head. He grabs her right arm and forces her up, dragging her to the bed, where he whips her twice. Close-up of him as he whips her frenziedly eight more times. He looks down at her, continuing to point and shout; he picks up his check cap, puts his hands in his pockets, carries on berating her, picks up the teapot, nearly throws it at her then thinks better of it, then leaves. He stops briefly at the corner, then strides on.
Intertitle: 'After dim aeons - dumbly, blindly, she struggles away from her house of suffering.'
Lying on the floor, Lucy stirs. Close-up of Lucy struggling up. She crawls to the table, which she uses to haul herself upright; she staggers to the door, pulls it open, and leaves.
The riverfront scene, as she stumbles round the corner, watching out for him from behind wooden pillars.
Intertitle: 'Returning from tea and noodles.'
Cheng Huan approaches, down lane. Lucy staggers down lane, almost falling into doorway by corner. Vignette of her in the doorway, and walking in a circle at the corner. She crosses the lane, and lurches past the pub. Cheng Huan rounds the corner to his store.
Intertitle: 'With perhaps a whiff of the lilied pipe still in his brain.'
He opens his door and goes in; the door has a lozenge-shaped glass spyhole. He crosses his hallway. Lucy stumbles across the street towards his store. She falls against the shuttered window, then rolls into the doorway, the door falling open. She heaves herself up. She stumbles into the shop and collapses on the floor. Vignette of her unconscious on the floor.
Cheng Huan comes out, rounds his counter, and walks past her without seeing her. From outside, we see him close the shop door. He looks round, takes a seat, and suddenly spots Lucy. He gazes at her, immobile. Her unconscious body. He gazes dreamily into space. He looks down at her again, realizes what he's seeing, rubs his eyes; she stirs, and speaks to him; he gets up. He goes round behind her, bending over, wondering how to help; he rushes out the back, as she begins to rise.
Intertitle: 'The first gentleness she has ever known.'
He comes back in with a dish of water and a cloth, moistens the cloth, then starts to dab at her shoulder.
Intertitle: 'Oh, lily flowers and plum blossoms! Oh silver streams and dim-starred skies!'
He dabs at her shoulder, and they gaze into each other's eyes; his hands are clasped together over the cloth, as he leans towards her, as if to kiss her; at the last moment he turns ruefully away, and she looks resigned.
Very dark scene, only lit by his bright window, as he carries her to a couch at R, then lights a central lantern; he then pours her a drink.
Intertitle: 'The room prepared as for a princess.'
The same room, now made more comfortable for Lucy; Cheng Huan attends her devotedly.
Intertitle: 'A magical robe treasured from an olden day.'
At her bedside; she pushes her mouth into a smile; he shows her his satin robe, which she looks on open-mouthed then feels a couple of times.
['End Part Four']
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