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Learn more- A story of a man's regeneration through love, introducing everyday phase of life in New York's great slum district. Con Connors has been for some years a bouncer and a rough-house fighter, employed by Fatty Walsh, a New York saloon and dance hall proprietor on Cherry Street. Con and Shack Dugan, a bouncing boy, are staunch friends and pals. Shack has a sweetheart, Mamie Grogan. Mamie's father objects to Shack, and in our opening scene, which occurs in front of Walsh's saloon, old man Grogan and Shack are prevented from clashing by the timely interference of Con. Our next scene is the interior of the Baxter Street settlement house, and we see our pretty heroine, Mary Deering, dispensing charity to the waiting applicants, assisted by the pastor and matron. A characteristic scene which for faithfulness and careful attention to detail will be found above criticism. Our next scene shows Walsh's dance hall in full operation. Con again prevents the father of Mamie Grogan from doing bodily harm to her sweetheart. But Grogan bides his time. The scene changes to Cherry Hall, an underground house for the gang. Con is asleep, and the rest of the gang are passing the time playing cards and rushing the growler, but careful not to disturb the slumbers of their leader. In the awakening just outside of Cherry Hall, we see enacted an episode destined to change the current of Con's life and to awaken in him a desire for manhood and honor. Mary Deering is on her way to the Settlement House when she is stopped by a ragged urchin, with a pitiful tale of want and misery. Mary has several bundles in her arms, and after giving the boy some change, in replacing her pocketbook she drops it, but hardly walks a dozen paces before she discovers her loss. Lanky Ann has witnessed the transaction, and also spots the pocketbook. Mary turns just in time to see her pick it up and immediately demands the return of her property. But Ann makes a dive for the door of Cherry Hall with her booty. Mary follows her, and as the two women come down the rickety stairs they are met by a dozen of the worst character of New York's submerged district. "That pocketbook belongs to me," says Mary. "You lie!" yells Ann, "It's mine! My new beau is just after making me a present." The noise of the altercation arouses Con from a sound sleep. He leaps to his feet with a curse, his arm raised to strike. He meets the eyes of Mary Deering looking defiantly into his own. Something grasps the man's heart; his arm falls to his side. Mary realizes that this dominant personality must be the leader here and at once states her case to him. Con gazes at her like one in a dream, then slowly, without turning to Ann, says, "Gimme that leather." "I wont. I found it." But Ann gets no further; the brute in Con has come to the surface, and with a growl of rage his hands have closed around Ann's throat. .Mary grasps his arm; "Oh! don't: please don't:" Con, looking into her eyes, releases Ann, takes the pocketbook from her and gives it to Mary, saying, "You are free; go now. Nobody will try to stop you. Thank you; here is my card, Mr. Con. Connors.'' Thank you, mum." "Mr. Connors, if you will call at this address my friends will thank you, too." That evening Con thinks of the card and calls on Mary, and is offered a position by the pastor. We next see him installed as watchman at the Settlement House. The Dawn of Love. In this scene is provided a genuine scene novelty. A roof garden on top of the Settlement House building, overlooking New York harbor. Here is shown the settlement workers caring for the sick. Pretty Mary is in the foreground, surrounded by a group of children, small human waifs cast adrift on a sea of crime, and but for the services rendered by the settlement workers of our great cities, hundreds of these unfortunates would be lost, that by their aid are placed upon the right road to become honorable, useful men and women. Con finds Mary here, and she is quick to see the change in him, that he, too, is on the right path, and Con realizes in a vague way that "the light that shines in a woman's eyes" is working out his redemption. But his regeneration is not to be wrought out without a struggle. There is a fight. Con saves his friend and escapes from the police. That night he rows the boy to an outgoing schooner bound for the Pacific, and then returns to New York alone. He writes Mary a note, begging her not to lose faith in him entirely, that the future may give him an opportunity of proving his honesty of purpose. An opening offers; a railroad out in Montana needs men too badly to inquire into their past, and Con is given charge of the gang of laborers, and we see him receive his instructions and transportation at the company's offices. Three years later a bridge is being constructed, and Con, now a contractor, has just arrived to give his orders for the day. The heavy steam drills, the steam riveters, and the busy throng of laborers are all presented actively engaged as the scene opens. There is a premature explosion of dynamite and our hero is carried from the wreckage badly injured. The following morning, in far-away New York. Mary reads in a daily paper these startling headlines: LANE'S BRIDGE, MONTANA. Frightful Explosion. Conway Connors, Contractor, Badly Injured. Mary's mind is made up: she secures a timetable, and a few hours later, accompanied by the pastor and matron, she is on her way to the man she has never ceased to love. Our closing scene is at the bedside of Con, who is now on the high road to recovery. Mary kneels at his feet, and he sees again the love light in her eyes: he knows that the past is blotted out forever and that the future holds peace and happiness. - The Moving Picture World, March 27, 1909
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