It states: "Hal Stephens, a wealthy young man, devotes all his time to enjoying himself, thereby earns the disapproval of his staid old father.

The elder Stephen sees the young man start off on an auto trip with some gay friends, and decides to call a halt.

After she has accepted him, he leads her to the factory, announces his identity, assumes possession, and restores wages to the old scale, after having discharged the rogue Conners.

[2] Michael S. Shull, author of Radicalism in American Silent Films, 1909-1929: A Filmography and History, believes the scenario was inspired by a New York City shirtwaist makers strike that began in the winter of 1909.

The fictional autobiography written by Malkiel, The Diary of a Shirtwaist Striker, was serialized in New York Caller a socialist paper.

Blair Smith was the first cameraman of the Thanhouser company, but he was soon joined by Carl Louis Gregory who had years of experience as a still and motion picture photographer.

[1] Other members cast may have included the other leading players of the Thanhouser productions, Anna Rosemond, Frank H. Crane and Violet Heming.

[8][9] A review in The Moving Picture News was contained detailed praise of the film's relevance and success in portraying the subject.

It may go in stories but never in fact, that an owner of a factory marries one of his girl employees, and a strike leader at that..."[1] Nan Enstad, author of Ladies of Labor, Girls of Adventure: Working Women, Popular Culture, and Labor Politics at the Turn of the Twentieth Century says that the film relied on the dime novel formula as much as the labor-capital conventions to depict its story.

[11][note 4] Barbara Antoniazzi, author of The Wayward Woman: Progressivism, Prostitution, and Performance in the United States, 1888–1917, highlights that the girls are striking against the actions of Connor instead of the owner and that Lou is portrayed as attractive, defiant and virtuous.