With no titles, I had trouble making sense of this. Luckily, I found
program notes from a 1963 NYU showing
(quoted below, for the benefit of my fellow clueless):
The opening scenes of a policeman's happy home life suggest that we are to follow one policeman through a typical day; but due to
the absence of closeups, we never really get a good look at him, and in any case we soon leave him to see what other policemen
are up to.
Policeman finds and walks off with a (presumably) lost child (or two?)
Policeman helps mother and child cross the street
Police thwart a suicide attempt (with a rescue scene that drags on way beyond yawnsville)
The runaway sequence in Central Park is a perfect example of how not to build tension in a potentially
exalting sequence; by doing every scene in the same static extreme long shot, and letting the gallop
up to the camera, the sequence is not only deprived of suspense but of reality too.
...the final segment in the film is a little comedy vignette showing how a policeman, almost caught sneaking a drink in a
stable by the supervising police "roundsman", manages to extricate himself from his predicament by a method rather involved
and not sufficiently explained in the title-less sequence.