In Paris Petite Jeanne and her amiable substitute for the bear danced in the beautiful public gardens. There, surrounded by noble statues and flowering trees, they were discovered by the chorus who at this time were dressed in bright smocks, posing with brushes, stools and easels as artists from the Latin Quarter.
They joined the pair in a beautiful “Dance of the Flowers,” and then lingered to sketch Dan Baker, Petite Jeanne and their burros. Meanwhile Dan Baker entertained Petite Jeanne and all who cared to listen with one of his wondrously impossible tales of fairyland: America across the seas.
Scarcely were the sketches completed, the tales brought to an end, than a stranger, stepping from the throng of onlookers, denounced Dan Baker as an impostor and accused him of being one of the richest men in America. The ancient wanderer resented the accusation. A fight ensued in which a burro assisted the aged dancer to win a victory by butting his adversary over and then sitting on him.
Millionaire or no millionaire, Dan Baker adopted Petite Jeanne as his daughter. The next scene found them in a beautiful private garden, all their own, still dancing.
A young hero appeared. He found Jeanne dancing barefooted before a fountain and fell madly in love with her.
They were interrupted by the chorus, now doing a nature dance to spring, and arrayed much as spring damsels are supposed to be dressed.
A villain appeared in the shadows. He had discovered that Petite Jeanne, who had lived after the death of her parents with wandering gypsies, was rich in her own name. He, a terrible apache, proposed to kidnap her.
The plot grew apace. Dan Baker told one more story while the villain stood not ten feet away, ready, if need be, to stab him.
The fool of the play, a young Scotchman who missed every golden opportunity because he held his pennies too tightly gripped, appeared.
By the aid of the chorus, now dressed as wild and terrible apache damsels, Petite Jeanne was kidnapped.