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MJ^EM^r^testvMotion Picture Star
#iM^5e:SKSro8B^^ Motion Picture School
AUTHOR'S MOTION PICTURE SCHOOL
Box A, 122 So. Michigan Ave., Chicago, III.
Please send me your catalog that will explain
your easily mastered system of learning to
write scenarios.
TOWN STATE.
HE has reviewed our
course and system of
instruction in photoplay-
writing
and Recommends
It to You
He has acted leading roles from
many hundreds of scenarios.
He knows, from his wide experience
in motion picture acting and directing,
what the scenario requires. He knows
our course and method of instruction and
knows that we can teach YOU.
$250 for One Photoplay
Mrs. Cordelia B. Ford, a student of The
Author's Motion Picture School, won the
$250.00 prize offered in the Amateur Photoplaywrights'
Contest, conducted by Photoplay Magazine. She saw her
opportunity and grasped it. She capitalized her imagin-
ation by learning the simple rules of the photoplay. You can
do the same if you will let us show you how.
Demand Increasing Daily
Do you know that your ideas are worth money?
Producers want to pay you money for them. Do you
know that they are advertising in the open market for
photoplays that we can teach you to write as we have taught
others? We are teaching them every day. Our instructor is
a well known photoplaywright whose plays you have seen.
He gives you personal instruction and helps you make your
photoplays salable. His help insures your success.
Literary Experience Not Necessary
The result of the Sun-Vitagraph Contest proved
this statement conclusively. People without any
literary experience whatever, who submitted their first photo-
plays, sold them. Miss Elaine Sterne, winner of the $1000.00
First Prize, had been in this interesting and profitable work
only 10 months. Like Mrs. Ford she grasped her opportunity.
Fame and Fortune Await the Ambitious
You have imagination — You have had interesting experiences
— You see something out of the ordinary in your newspaper every
day. Let us give you the easily mastered technical training
that will enable you to convert these Experiences and News Items
into DOLLARS during your spare time in your own home.
Send for our free illustrated catalog and learn why prominent
actors and authorities lend their prestige to our institution.
Author's Motion Picture School
Box A, 122 So. Michigan Ave.
CHICAGO, ILL.
I
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Reg. U. S. Pat. OH.
PHOTOPLAY MAGAZINE
"The National Movie Publication"
CONTENTS FOR NOVEMBER, 1914
Copyright, 1914, by the CLOUD PUBLISHING COMPANY
NOVELETTE
"THE VIRGINIAN". Harold S. Hammond 55
Novelized from the film produced by the Jesse L. Lasky Feature Play Company, based on the original,
novel by Owen Wister. Illustrations from the Jesse L. Lasky Film.
PHOTOPLAY STORIES
"THE GIRL OF THE LOCKS". Marion Short 42
A lovely Elaine meets a modern Sir Launcelot. Illustratonsfrom the Lubin Film.
"SPARKS OF FATE" Edith Huntington Mason 79
Two men and a girl and a battle by wireless. Illustrations from the Essanay Fi.m.
"THE LYNNBROOK TRAGEDY" Marie Coolidge Rask 101
Two stories— a mother's and a daughter's. Illustrations from the Kalem Film, featuring
Alice Joyce.
"THE TAMING OF SUNNYBROOK NELL" Elaine Hunt 115
Concerning a girl and a man and a mountain lover. Illustrations from the American Film.
"THE DANCER AND THE VULTURE" Dorothy Chase 133
Illustrations from the Kalem Film.
"THE FIFTH MAN" :. Lloyd Kenyon Jones 142
The mad scientist and his jungle captives. Illustrations from the Selig Film.
"THE LEADING LADY" Mary Aurilla Swift 149
The story of a happy success and an unhappy failure. Illustrations from the Vitagraph Film.
SERIALS
LAURA LEONARD— HEART SPECIALIST Vivian Barrington 95
V.— A Mistaken Diagnosis. Illustrated by J. Clinton Shepherd.
INTERVIEWS
MANY SIDED VIVIAN RICH Helen Bagg 51
A MODERN WIT AND A DISTINGUISHED
ACTOR Frederick Brooke 75
THE LITTLEST LEADING LADY— MISS CLARA
HORTON— AGED NINE Mabel Condon 89
DOT FARLEY— COMEDIENNE, TRAGEDIENNE
AND PHOTOPLAYWRIGHT Richard Willis 139
WHY FILM FAVORITES FORSOOK THE
FOOTLIGHTS Johnson Briscoe 124
Interviews with Marguerite Snow and Augustus Phillips.
SPECIAL FEATURES
GROWING UP WITH THE MOVIES Florence Lawrence in collabora-
The authentic and romantic story of Florence Lawrence— tion with Monte M. Katterjohn 28
the Maude Adams of the Movies.
THE ADVENTURER Berton Braley 74
MY SUMMER VACATION Mary Fuller Ill
IF THE MOVIES HAD MOVED IN THE DAYS
OF THE PAST Lloyd Kenyon Jones 123
FOR THE PHOTOPLAYWRIGHT
PHOTOPLAYWRIGHTS' DEPARTMENT Conducted by A. W. Thomas. . . 162
THUMBNAIL BIOGRAPHIES Monte M. Katterjohn 168
Richard V. Spencer and Tames Davton.
Issued monthly. Yearly subscription. $1.50. in advance. Single copy. 15c. Canadian postage. 30 cents
additional. Foreign postage. $1.00 additional. Do not subscribe through persons unknown to you unless they
have proper credentials signed by the publishers,
A. D Cloud. President. G E. Still. Vice-President. J. M. Tait. Secretary- Treasurer.
Augusta Cory, Editor. C. W. Garrison, Managing Editor. B. E. Buckman, Advertising Manager.
Published by the CLOUD PUBLISHING COMPANY, 1100 Hartford BIdg., Chicago
Entered at the postofficc at Chicago, 111., as second-class mail matter.
^^.^^gag^^gggg
THE PHOTOPLAY MAGAZINE
BETWEEN YOU AND ME
WHAT are you doing with your
ideas? I read an advertisement
the other day that began — "Get
your ideas patented!" It is good ad-
vice — as far as mechanical ideas are
concerned. But some of the biggest
and best ideas are not mechanical.
GTake the moving picture business, for
instance.
CIt is more than likely that you have
many ideas about this great entertain-
ment industry. Let me suggest what I
mean:
CWhat do you think of the movies as
a means of entertainment?
CWhat do you think of their power to
influence morals and manners?
CWhat do you think of their educational
value? Have you some appreciation or
criticism of a play you woidd like to
express? Have you seen situations in
photoplays tluat you believe could be
improved? Have you discovered marked
talent in any actor or actress taking a
minor part?
CWhat other questions woidd you like to
ask relative to this mighty and growing
business? Can we help you by answer-
ing your questions through our col-
ums?
CAnd this is not all we want.
CWe are equally certain that you may
have many ideas about the photoplay
magazines. It is you and your family
and your friends and their families and
their friends who create our require-
ments. And we want to feel that you
are in a little closer and more intimate
relationship to us than that of being
merely a reader of our magazine.
CI want to feel that we are a big fam-
ily — boys and girls, men and women —
twenty millions of us — all interested in
the movies. And I wish to hear from
just as many as possible — as many as
the number of our readers.
CWe have many new ideas of our own
and from issue to issue these will be
placed before you. If you like them I
want to hear from you. If you don't
like them I want to hear from you.
Prank, honest, and friendly criticism
is always welcome. I prize your co-
operation in this matter. I consider it a
sort of partnership of entertainment
between us. And while I cannot guar-
antee to answer every letter personally
rest assured that every letter that comes
in will be read and considered and that
the best will be published.
CI intend to look upon each reader,
personally, as a sentry who has taken
up the work of doing something (be it
ever so little or very much) to help the
mouthpiece of the most wonderful and
most popular form of entertainment on
earth — the movies.
Cordially yours,
Augusta Cart,
Editor.
COPYRIGHT NOTICE
The story of the Man On The Box published in the September issue of the PHOTOPLAY M AGA ZINE,
was from the motion picture photoplay made and copyrighted by Jesse L. Lasky Feature Play Company, Inc.,
which in turn was founded upon the novel of the same name by Harold MacGrath, published and copyrighted
by -the Bobbs-Merrill Company.
Through inadvertentness, copyright notice was omitted.
Copyright credit for the novel is accordingly given to the Bobbs-Merrill Company.
THE PHOTOPLAY MAGAZINE
'THE WEDGE"
The classified section that will get them all,
very soon.
It is directed at buyers and users — of a new
type and in a new field. It carries that "oppor-
tunity noise" of which you have heard so
much.
It is live and coming — not a classified sec-
tion that has already arrived — not one that is
a has been.
The rate is 75c per line (6 average words to
the line). Payment must be enclosed with
order.
MUSIC AND SHEET MUSIC
"HOW MUSIC MAKES MONEY" SENT
free. Tills little book may lead you to fame
and fortune. Tells how fortunes hare been
made in successful songs, and how you
might succeed likewise. Send for this val-
uable book to-day. C. L. Partee, Dept. 41.
Astor Theatre Building, New York.
Df> YOU COMPOSE? CAN'T YOU
sell your poems ? My booklet ' 'Golden
Rules" shows the only way to sell them,
giving the buyers' addresses. Publishing
swindle exposed. Honest advice about ar-
ranging copyrights, etc. Price of booklet
25c. H. B. Bauer, 135 East 34th, N. Y.
SONG POEMS WANTED FOR PUBLI-
cation. Big money writing song poems.
Past experience unnecessary. Our proposi-
tion positively unequaled. Have paid hun-
dreds of dollars to writers. Send us your
song poems or melodies today or write for
instructive booklet— it's free. Marks-Gold-
smith Co., Dept. 89, Washington, D. C. .
WRITERS WANTED AT ONCE TO
send us poems or melodies for new songs.
We can compose music and arrange for
publication immediately. Dugdale Co.,
Dept. 1201. Washington. D. C.
300 LATEST SONG HITS, WITH 20
pieces Piano Music, 10c. Literary Enter-
prise Co., L-3348 Lowe Ave., Chicago.
MALE HELP WANTED
WILL PAY RELIABLE MAN OR
woman .$12.50 to distribute 100 free pack-
ages perfumed borax soap powder among
friends. No money required. F. Ward Co.,
2 10 Institute Place, Chicago.
THOUSANDS U. S. GOVERNMENT
Life Jobs now open to Men and Women.
§05 to S150 month. No lay-offs. Common
education sufficient. Pull unnecessary.
Write immediately for full list of positions
and free sample examination question-;.
Franklin Institute, Dept. L 218, Rochester,
N, Y.
FREE ILLUSTRATED BOOK TELLS OF
about 300,000 protected positions in U.
S. service. Thousands of vacancies every
year. There is a big chance here for you,
sure and generous pay. lifetime employment.
Just ask for booklet S-144 9. No obliga-
tion. ^EarlHopkin^Waslinig^o^^
LOCAL REPRESENTATIVE WANTED.
Splendid income assured right man to act
as our representative after learning our busi-
ness thoroughly by mail. Former experience
unnecessary. All we require is honesty,
ability, ambition and willingness to learn a
lucrative business. No soliciting or travel-
ing. All or spare time only. This is an ex-
ceptional opportunity for a man in your sec-
tion to get into a big paying business with-
out capital and become independent for life.
Write at once for full particulars. Na-
tional Co-Operative Realty Company, L-
254. Marden Building, Washington. D. C.
PHOTOPLAYWRICHTS
WRITE PLAYS FOR THE "MOVIES."
No experience or special education needed.
Learn in spare time. We sell your plays —
§10 to §150. Send stamps now for par-
ticulars of our free 25,854 word book,
"Photoplay Building." The Photoplay-
wrights' Kxchange, Fl 29 N. Dearborn
Street, Chicago.
PHOTOPLAYWRICHTS
WRITE PLAYS FOR THE "MOVIES."
My method of Individual instruction as-
sures success. Endorsed by leading film
companies, sale of first play guaranteed —
S10-S150. Send postal now for "Photo-
playbuildlng" and full details. MacHatton,
Box 610. Chicago.
WRITE PHOTOPLAYS THAT SELL. A
Complete Course in photoplay writing Free
To You. Send your name and address at
once for particulars of this remarkable offer.
Enterprise Co., PP- 1003 Morton Bldg.,
Chicago. ____
PHOTOPLAY AUTHORS. YOUR IDEA,
plot or story, revised, arranged into a cor-
rect salable scenario typed with carbon copy
and selling instructions for only Si. 25 per
reel. Expert work. I*. Hoeh, 4105 Bal-
l ard Ave.. Cincinnati. Ohio.
WE CAN SELL YOUR PHOTOPLAYS,
stories, etc. Literary perfection not required.
Write immediately for free explanation and
convincing proof. Story Revision Co., Box
850, Smethport, Pa.
MISCELLANEOUS
15 PHOTOS ON POST CARDS OF
your favorite Motion Picture Stars for 25
cents. In beautiful sepia. Each photo is
autographed by the player. Over 300 sub-
jects to select from. Send stamp for list.
American Publishing Co., Security Bldg.,
Lgg Angeles. Cal.
100 VISITING CARDS 50c. SAMPLES
mailed if requested. Agents wanted. Good
pay. Royal Card Press Co. Waterbury,
Conn.
TELEGRAPHY TAUGHT IN THE
shortest possible time. The Omnigraph au-
tomatic teacher sends telegraph messages
at any speed as an expert operator would ;
5 styles, $2 up; circular free. Omnigraph
Mfg. Co.. Dept. K, 39 Cortlandt St.. N. Y.
USE AN AIR-FRICTION 1914 MODEL
"C." Increases power and economy of
motor one-half. Absolutely Impossible to
choke or load. Uses distillate, gasoline or
half kerosene with finest results. Starts
easy In coldest weather. We fit all motors,
guaranteeing definite results or refund
money. Exclusive county rights. Liberal
exchange on other carburetors. The Air-
Frlction Carburetor Co., Dayton. Ohio.
CHIROPRACTIC DOCTORS MAKE BIG
incomes; be independent; work for yourself;
complete correspondence course, including
diploma, only $25. National College
Chiropractic. Grand Rapids. Mich.
OLD COINS WANTED. $1 TO $600
paid for hundreds of Coins dated before
1895. Send 10c for our Illustrated Coin
Value Book, 4x7. Get posted. Clarke &
Co., Coin Dealers, Box 127, Le Roy, N. Y.
PICTURES AND POST CARPS
24 POSES BEAUTIFUL WOMEN, 10c.
Normal Spec. Co., D 3, 500 W 69th St..
Chicago.
20 PHOTO POST CARDS OF YOUR
favorite Motion Picture Players for 25 cents.
In beautiful sepia, 300 subjects to select
from. American Publishing Co., 419 Se-
ptlrity Bidding. Los Aneeles. Cal.
25 XMAS, NEW YEAR AND GREET-
tag Post Cards 10c. Try us and be satis-
fied. German -American Post. Co., Dept.
F3. TtnrMngton. Town.
3 ARTISTIC BEAUTIES 10 CENTS.
Illustrated catalogue 2c. Taylor Bros.,
P2129 Clifton, Chicago.
CAMERAS AND PHOTO SUPPLIES
HIGHEST GRADE OF DEVELOPING
and printing. Send for price list. C. C.
Smith, 1634, G. C. Terminal Bldg., N. Y.
City.
PHOTO DEVELOPING AND PRINTING.
films or plates. Very highest class of work
at lowest prices. Send for free booklet of
information and prices. W. W. Sweatman,
Box 602 E. Portland, Maine.
THE BEST COSTS LESS. WRITE FOR
special prices on Quality Kodak Finishing.
Fowlers, Box 628 H, Portsmouth, Ohio.
RETOUCHING TAUGHT; WE MAKE IT
easy for you to learn at home. Dept. 6, M.,
Y. & M. Retouching Co., Marshall, Mich.
FILMS DEVELOPED, 6c, ALL SIZES.
Prints 2ttx3%. 2c; 2&x4»4, 3%x3%. 3%x
4%, 4c; 40c doz. Post cards, 5c, 50c doz.
Work guaranteed and returned 24 hours after
receiving. Postpaid. Send negatives for sam-
ples. Girard's Commercial Photo Shop,
Dept. 3, Holyoke. Ma ss.
500 BROWNIE ROLL FILM CAMERAS
to be given away just for names. Prop us
postal. Sun Photo Supply Co., Dept. 5,
Jamestown, N. Y.
FOCAL PLANE POSTCARD CAMERA,
F6.3 lens, exposures to one-thousandth sec-
ond. Films and plates. Complete. $30.
Newark Photo Supply Co., Dept. J, Newark,
N. J.
SECOND-HAND LENSES. ALL MAKES
and sizes. Work just as well as new ones.
Send for our bargain-list. St. Louis-Hyatt
Photo-Supply Co.. Dept. 4 . St. Louis. Mo. _
COLORADO POST CARD VIEWS 8
for 10c. Bert Hedspeth, 21)59 California
St.. Denver, Colo.
20 BEAUTIFUL AND INTERESTING
postcard scenes in and around Salt Lake,
Including the Great Mormon Temple, post-
paid for 25c in silver. Gem Novelty Co.i
Box 471S. He lper. Utah .
REAL PHOTOS, LIFE MODELS, IM-
portcd, cabinet size, 4 for 25c: 10 for 50c:
24 for SI. No two alike. De Vitto Co., (7)
New Dorp. N. Y .
OUR MEMBERS IN GERMANY. SWIT-
zerland. etc., will exchange postcards with
you. Membership, 10c. Elite Exchange,
R2fi. 3827 N't Kenneth. Chicago.
FOUR FULL-LENGTH CABARET POST-
ers in Colors, fourteen inches high and
twenty illustrations, 10c. Gordon Art Co.,
Dept. 7, New York City.
12 FASCINATING POST CARDS OF
College Life, 10c. R, Dunham, 2120A Mil-
waukee Ave., Chicago.
NIAGARA FALLS: EIGHTEEN VIEWS
In gorgeous tints, ten cents. Thompson Co.,
Y. M. C. A., DepL_l. Niagara Falls. N. Y.
RECEIVE POST CARDS FROMEVERY-
where. 10c. Kimo. 2577D. Cuming, Omaha.
TYPEWRITERS AND SUPPLIES'"
100 SHEETS CARBON PAPER 8%Xl3
Inches. $1. Ribbons any color or machine,
35c, postpaid. H. Smith, 1223D Dearborn
Ave., Chi cago.
UNDERWOOD. $32.50. OTHER EXCEP"
tfonal bargains. B. C. Welland Sales Com-
pany, TJtica. N. Y.
THIS MONTH—ONE HUNDRED NO. 3
Oliver Visible Typewriters at a sensational
price. Terms S3. 00 a month— five days'
free trial — completely equipped. Guaranteed
same as if regular catalogue price were paid.
United States Typewriter Exchange, Dept.
J 246, Federal Life Bldg., Chicago.
THE PHOTOPLAY MAGAZINE
Tell Your Newsdealer to Save
THE DECEMBER
PHOTOPLAY MAGAZINE
It will be filled to the brim with Many New
Features ! Better than ever — the real beginning of
its New Era ! The public has MADE PHOTOPLAY
MAGAZINE — and its intensely interesting con-
tents will be WHAT THE PUBLIC ORDERED !
The Second Installment of
"Growing Up with the Movies"
By FLORENCE LAWRENCE
The World's Highest Salaried Movie Actress
This unusual feature began with the November Photoplay. It will run through five
issues. The second installment is more gripping than the first. This wonderful
actress started with the FIRST efforts to dramatize moving pictures. She ha6 been
the friend of the famous film actors and actresses you have learned to love. She
knew them in the beginning — saw the most marvelous business start weakly and
uncertainly from its cradle — and has been its real Fairy Queen during its tremen-
dous growth. You will never KNOW the movies until you have read every word
of Florence Lawrence in EACH number of PHOTOPLAY MAGAZINE.
Many Other Treats in Store for You
This exceptional feature is but ONE of the MANY good things in store for you.
The December Number will be a Pandora's Box of gems — all for YOU. Be sure
to tell your Newsdealer to save you a copy ! Or, accept this offer at once, and get
"The Adventures of Kathlyn"
By Harold] MacGrath
FREE!
This intensely interesting novel is from the pen of Harold MacGrath — who has told the fiction story
of Kathlyn — who smiled hopefully from the screen during her troubled adventures ! 375 pages, illus-
trated, beautifully bound — sent FREE and prepaid if you mail your order NOW, inclosing $1.50 for
ONE YEAR'S SUBSCRIPTION for PHOTOPLAY MAGAZINE. Remit by postoffice or express
money order, bank draft or currency. Say, "I enclose $1.50 for a year's subscription for Photoplay
Magazine, beginning with the Number. Send also, without extra cost and prepaid, the
Adventures of Kathlyn." Sign your name and address plainly — and address your order to
PHOTOPLAY MAGAZINE 8 SffiSS^5 t
THE PHOTOPLAY MAGAZINE
NOT W ri '' c Photoplays f
Ever tried it ? Have you any imagination ? If you knew just how to construct
the plot — where to put the "punches" — how to go about the details, do you
think you might succeed ? Photoplaywrights have seldom been authors ; rarely
been dramatic playwrights. The fiction story and the theatrical production are not
generally adapted to the photo-drama. Very few short stories or novels — and
remarkably few theatrical plays — have been good for the films.
What Do Photoplaywrights Make?
The ordinary scenario brings from $25 to $50 ; better ones bring $100 ; some
are bought for $300 ; and big productions command high figures. Capable
scenario writers receive direct orders ; many become high-salaried studio directors.
Travel, independence, and fame are the rewards. But — you must KNOW
HOW. Don't try to guess, because guessing will bring nothing but rejection slips.
Mr. A. W.Thomas and Mr. William Lord
Wright Tell You HOW
If you are going to learn anything, go to the fountainhead of knowledge. Mr. A.
W. Thomas is the dean of American Photoplaywrights — successful scenario writer,
formerly chief of the editorial department of the Photoplay Clearing House, now
editor of " Photoplay Magazine," organizer and head of the Photoplaywrights*
Association of America. Mr. Wright is Photoplay Editor of the " Dramatic Mirror."
The "Market" for Scenarios is Growing
It already demands THOUSANDS of new photoplays yearly. Why don't
YOU try to be one of the successful writers ? Today is the Morning of Photo-
play Writing achievement. Get in as a pioneer. Have your name known all
over the land. But, first of all, LEARN HOW !
This Book Is Yours FREE!
Mr. Thomas has written a new book, "Wanted : More Photoplays." It is
YOURS — FREE; that is, if you write for a copy NOW. SEND NO
MONEY. Write a letter or postal and say, " Without cost to me, please send
me Mr. Thomas' Book on Photoplays." Sign your name and address plainly.
But be sure to ASK NOW!
Photoplaywrights' Association of America
8 So. Dearborn St. (A. W. THOMAS, Pres. and Editor) CHICAGO, ILL.
THE PHOTOPLAY MAGAZINE
JjS^S Fef ™ Enlarged
Harris Merton Lyon, whose "Mr- Ilcfferhorn
His Wallet" in the November BLUE BOOK,
is a story of the country man who cut
his eye teeth in New York.
'T'HE November issue of the Blue
A Book Magazine is the greatest
15 cent value ever offered by any
publication :
A 60,000 word novel complete
Big installments of two serials
Eighteen splendid short stories
The 240 pages of the issue are filled
with the most entertaining fiction
money could buy. There is some-
thing for every taste; humor, adven-
ture, romance, diplomacy. There are
stories that take you away from your
every-day life, and others that make
you see your neighbors in the char-
^ acters. It's a great magazine. Don't
miss it.
Consider the great writers who are "regulars" in
The Blue Book Magazine. Compare the list with that
of any magazine on the news-stands:
Detective Burns
Bessie R. Hoover
John Fleming Wilson
James Francis Dwyer
Albert Payson Terhune
George Allan England
Clarence Herbert New
Frank R. Adams
Elliott Flower
Stanley Shaw
Isabel Ostrander
Seumas MacManus
Harris Merton Lyon
Ellis Parker Butler
Victor Rousseau
H. de Vere Stacpoole
Gaston Leroux
Max Rittenburg
DONT MISS THE 240 PAGE ENLARGED
THE BLUE BOOK MAGAZINE
THE PHOTOPLAY MAGAZINE
Blue Book Magazine
Are you reading
The Crevice"
<?<?
the novel by Detective Burns and Isabel Ostrander?
If you're not, begin now. The November Blue Book
contains the second installment in which the story
gets under full headway and a synopsis of the first
installment which really tells you what happened in
the opening of the story.
"The Crevice
•>•>
is Detective Burns' first novel. It goes after crooks
in high and low life with hammer and tongs, and
not only shows you how they work, but the methods
the successful sleuths must use to outwit them. It
is the most important detective novel ever printed
in America.
Begin it now.
Each month the Blue Book
prints a complete book-length novel
of the sort that will cost you $1.35
in book form. The November issue's
novel is by Gaston Leroux, author of "The
Mystery of the Yellow Room" and "The
Perfume of the Lady in Black." It is called
"The Bride of the Sun"
and it is a story of a young American business
woman captured by the sun worshipers of Peru
Isabel Ostrander, who is collaborating
with Detective Burns in bis
first novel.
ALL FEATURE NOVEMBER ISSUE OF
NOW ON SALE AT ALL NEWS-STANDS
10
THE PHOTOPLAY MAGAZINE
u
)9
TODOCWOIELL
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Dr. Russell H. Conwell, of Philadelphia, has delivered it 5,000 times
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ands of young men and women; it is probably the most famous lecture
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Dr. Conwell's own lips, but it is only one of hundreds of world renowned
addresses and speeches that you may read whenever you wish in the
ten beautiful volumes of
MODERN ELOQUENCE
Every speech, lecture and address is complete, each one is acknowl-
edged to be the greatest ever delivered on a particular subject. You'll
find that this unequalled work contains the most entertaining and
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opinions, ideas, and experiences of the leading intellects of their time;
it combines the brilliancy, fascination and style of the great classics,
and like them the more often it is read the more interesting it becomes.
Are YOU ever asked to respond to a Toast, to Write an Address
or to Make a Speech ?
If so you will find these volumes the greatest help imaginable,
because they contain nearly every variety of good pattern for the
various classes of oratory. And many aninexperiencedbanquetchairman,
toastmaster or honored guest, casting helplessly about him for a good
story or appropriate remarks, has found here just the inspiration needed.
A Wonderful Bargain
50,000 sets of Modern Eloquence were sold at a figure much higher than ours before we secured the
remaining sets of the wonderful de Luxe edition. We are now offering these while they last at an insigni-
ficant price that you can easily afford to pay . Send us the attached coupon by return mail and we will
name this price and tell you how you can get the books on easy monthly payments. We will also send you
Henry W. Grady's Great Lecture
"The Race Problem"-FREE
7'hi Above is the Heading of a Two
Column Front Page Article in Philadel-
phia North A/iierican, May 22, 19lt.
Reprinted from the work itself. Champ Clark says :
"The most famous after-dinner speech within the
memory of any living man." Sending the coupon
places you under no obligation to buy ; if you are inter-
ested, tear it off and send it NOW.
Among Others MODERN ELOQUENCE Contains:
ISO Great Addresses
by Lyman Abbott, Charles Dudley Warner, William Cullen
Bryant, Rufus Choate, Theodore Roosevelt, Arthur J. Balfour,
Jonathan P. Doliver, Edward Eggleston. William E. Gladstone,
Charles Francis Adams, John L. Spalding, Joseph Chamber-
lain, Grover Cleveland, Fisher Ames, Lawrence Barrett,
Henry Drummond, Hamilton Wright Mabie, William J.
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2000 Short Stories and Anecdotes
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I'hoto by Mujunier, Los Atujeles
EARLE WILLIAMS
could easily retire on the laurels he earned as "John Storm" in Vitagraph's big
and gripping feature "The Christian," produced by special arrangement with
the Liebler Company, for in this picture Mr. 'Williams proved himself one of
the foremost leading men of his time, though probably a lot of other Vitagraph
dramas paved the way for this supreme triumph. Many years of stage experi-
ence preceded his Vitagraph engagement.
Photo, (C> Vituffraph Co. of America
<gr
X
ETHEL CLAYTON
joined the Lubin forces with a long string of stage successes to her credit,
among which, aside from numerous stock engagements, are leading roles oppo-
site such stars as Emmett Corrigan, Wallace Eddinger, and Edwin Stevens.
Besides, she has been featured in such plays as "The Devil," "The Country
Boy," "The Brute," and since entering the picture field has been chosen to
play the leads in all of the Lubin masterpieces.
Photo by Gilbert Wacon, Phila.
^)
CARLYLE BLACKWELL
recently left the Kalem Company, which he headed for so many seasons, to be-
come a star in several dramas being produced by Famous Players. Still more
recently he left for Los Angeles to form a company of his own known as the
Favorite Players Films, and is already at work on the first release. Mr. Black-
well developed a large following while with the Kalem Company, and his host
of admirers will watch his work with interest.
Photo by Mojvnier, Loa Angeles
%
a dazzling beauty of the blonde type, is in the future to be seen opposite
Carlyle Blackwell in releases of Favorite Players Films, his newly organized
company. She has had considerable stage experience and not long ago took the
leading part in a six reel Pathe picture called "The Browning Diamond." On
the speaking stage she appeared in "Help Wanted," "Excuse Me," and
Helaine in "Madame X." Much may be expected of her.
Photo by Ira L. Hill, A'ew York
BRYANT WASHBURN
the heavy man of the Essanay Film Manufacturing Company's eastern stock
company, is handsome and popular despite the fact that he plavs "villyuns."
On the legitimate stage he appeared with George Fawcett in well known suc-
cesses, with Miss Percy Haswell in stock at Toronto. Canada, and on the road
with "The Wolf," "The Remittance Man," "The Great John Ganton," and
"The Fighter." Mr. Washburn is a tasty dresser, photographs well and fairly
lives the roles he interprets on the screen.
I'hoto by Mtitzene, Chicago
dh
^
was born in Sacramento, California, and began her stage career at the a"e of
eight. She appeared as Little Eva in "Uncle Tom's Cabin," then as Little Lord
Fauntleroy and in "Editha's Burglar" in the East, and toured the big vaudeville
circuit. She created the role of "Dorothy" in "The Wizard of Oz," appeared
in numerous other musical comedies and then in films for Reliance. At
present she is leading woman of the Life Photo Feature Films.
Photo by White, New York
<gf
^
JAMES MORRISON
Vitagraph star, was born in Mattoon, Illinois, on November 15, 1888, and is of
Dutch, English and Scotch ancestry. After graduating from High School and
the University of Chicago he attended the American Academy of Dramatic Art,
and then appeared in the Marlowe and College, stock companies of Chicago.
"Brown of Harvard"' on the road, and several vaudeville engagements, follow-
ing which he began his Vitagraph career. He is single and very popular.
Photo,{C) Vitttyr t»h COmOfAmer.
&
%
MARY FULLER
as every dyed-in-the-wool fan knows, is the famous Edison leading woman, star
of the "Mary" series and heroine of the "Dolly of the Dailies" pictures, who
recently left Edisonville to become a Universal star. She used to imagine
that she would become an opera star, and spent several years having her voice
trained. Then at seventeeii she went on the stage, and from th::t into the
world of photoplay, where she scored a tremendous triumph.
I'Loto by llraiUcy, Xeir York
WALLY VAN
better known as Vitagraph's "Cutie."' was christened Cliarles Wallace Van
Nostrand at his birth, in New Hyde Park, L. I., on September 27. 1880. but in
college he acquired the "Wallie Van," and it stuck. He graduated from a
technical school as a civil engineer, but later became a leather salesman.
Soon after he did work for a few years as an electrical engineer, and then the
Vitagraph president employed him to look after the engines of his speed boats.
With that as an introduction, he just drifted into the picture game.
Photn,(C) Pitagraph Co, of Amer,
3 *3>
the beautiful child seen so frequently in Broncho and Kay Bee films, has the
most gorgeous head of natural flaxen curls, large, expressive blue eyes, a perfect
nose and mouth, and one of the most classic profiles ever seen on the picture
screens. She is a California!) by birth, and her first picture work was done for
Western Vitagraph. though of late she has appeared exclusively in Kay Bee
and Broncho dramas. She has a private tutor, and her hours away from the
studio are spent in study.
Photo by wit-.ei, Los Angtiei
%
MATTY ROUBERT
now known throughout the country as "The Universal Boy," did his first work in
pictures with the Vitagraph company when Mary Fuller was with them, and
it is said to have been the first three reel film ever staged in America. He then
appeared with Biograph and with several other companies, but now is being
Matured in a whole series of Universal films. He has brown hair, snapping
hazel eyes and a round, rosy face that makes you like him immediately.
Photo hi/ I'niti/, .Vcjy York
^
ROSCOE ARBUCKLE
the inimitable Keystone comedian, is a living, breathing denial of Frank
Mclntyre's famous line "Nobody loves a fat man," for Roscoe is undoubtedly
fat. and yet everybody adores him. lie has probably caused more laughs,
endured more bumps anil bruises, and come up smiling at the end. than any
other comedian, for playing in those Keystone comedies is anything but fun for
those engaged in the "rough stuff." though Arbuekle delights in his work, and
would not change places with any other comedian in the business.
Photo I'll W'it-rT, f.ox Anyi'lsx
<§T
FRANCELIA BILLINGTON
now a star of the Majestic Motion Picture Company, played her first role with
the New York Motion Picture Company, and soon afterwards appeared in a
small role with the Thanhouser western company. A New York critic called
attention to her, and almost over night she graduated from a "supe" to the
important position of a leading woman. Some months ago she was transferred
to the Majestic studio and is doing splendid work there.
P'.iotu by \l~it~el, Los Angctcs
1®
•
Tf*i*i|
Photo hi/ Bangs, New York
THE LATEST PORTRAIT OF FLORENCE LAWRENCE
Editorial
>Ua3HiC
ON the page following is begun the first installment of a story which
the editors of PHOTOPLAY MAGAZINE believe to be the most
valuable contribution to motion picture literature up to this time — the
authentic life-story of the most remarkable motion picture actress of today,
Florence Lawrence, whose following throughout the civilized world is far
greater than that of any star of the legitimate stage.
Few people, even those intimately engaged in the production side of the
film play, know the history of the motion picture's growth almost over night,
into the fourth largest industry in the world. In this intensely interesting
story you will find not only an account of the trials and tribulations which
beset the path of beloved "Flo" Lawrence — the original "Biograph Girl "
and "The Victor Queen" of today, but you will learn, incidentally, of the trials
and tribulations that have harassed other pioneers in this huge new industry.
Although Miss Lawrence's achievements have all been made in a field
which has been invaded by many women and with conspicuous success, it
would be difficult, indeed, to duplicate her history. For Florence Lawrence
is the only motion picture actress in the world who has been continuously
before the camera ever since the picture play became more than a novelty,
its ascendency dating back to the spring of 1907. Since that time Miss
Lawrence has seen service in many studios and has been associated with
the biggest people in the industry, as well as with many present day film
stars. Did you know that Florence Lawrence, Arthur Johnson, and Mary
Pickford were once members of the same company? That Mack Sennet, of
Keystone fame, was once Biograph's chief "villain"? That King Baggot
broke into the movies by having his shoes shined? Miss Lawrence's story
is full of anecdotes and stories of just such people as these, as well as with
many wise and witty observations about studio life in general and studio
folk in particular.
The first installment starts off with an introduction by Monte M. Katter-
john, Miss Lawrence's collaborator, in which he details the early history of
this talented actress up to the time when she went into the movies, and at
that point Miss Lawrence herself takes up the narrative. The story will run
in several successive issues of PHOTOPLAY MAGAZINE, illustrated, as is
this one with photographs of Miss Lawrence and of the scenes of her
activities and triumphs.
HP"*
:•■': '. i !sg
I IS 1 ^..- .
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['■' : : - : "" ■' - ,'
^sjk
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Florence Lawrence at 18, Shortly After She Made Her Debut
as a Motion Picture Actress.
AN INTRODUCTION BY MONTE M.
KATTERJOHN
ALMOST eight years ago — just after
Christmas in 1906, to be exact — a
fragile, fair-haired slip of a girl not
yet seventeen years of age, applied for a
position as "extra" actress at one of the
three motion picture studios then in exist-
ence in the whole United States. That
particular studio was located on the roof of
a twelve-story building at 41 East Twenty-
First Street, New York City. It must have
been Destiny's wish that the nervous little
applicant, who leaned far across the railing
in asking for work, be engaged, for, more
than any other one woman, she has helped
to make the motion picture industry what
It is today.
Florence Lawrence was the name of that
seventeen year old girl. Even today she
wonders how it ever came about and just
what influence aided her, that she alone out
of a host of other applicants was selected
that chilly December morning to play a very
prominent part in what was intended to be
an authentic picturization of an incident
in the life of Daniel Boone. She maintains
that several girls with far more dramatic
experience and "much prettier" than her-
28
Growing
the
By Florence Lawrence
America's Foremost
The Authentic and Romantic
the Maude Adams
self were among the applicants. And this
is one of the peculiar phases of the character
and nature of Florence Lawrence. In spite
of the fact that countless thousands consider
her one of the prettiest of screen actresses,
she does not think so herself. Also, she
does not believe she is a very good actress.
She studies day after day and night after
night to improve her work. She is intense.
The fact remains, however, that "Little
Flo," as her relatives and friends called her
in those days, was engaged and some seven
days later began at the Edison studio a
career in a profession as strangely new as
are the inside workings of the whole motion
picture industry to the lay mind even
today.
By toil and perseverance, a willingness to
accept set-backs as the most natural things
in the world, indomitable courage and
strength of mind to plan for the future —
never complaining, never boasting, she has
climbed to the pinnacle of her profession.
Her patience, loyalty, and nobleness in the
face of irritating and disappointing forces
have, next to her natural talent, been her
chief assets. As one who has followed her
motion picture life from the time she made
her studio debut, I can truthfully say that
petty passions, egotism, and personal irrita-
tions have never marred a single production
in which she has appeared, and it is to be
noted that she has been appearing in the
movies longer than any ether motion picture
actress. More than a thousand photoplays
have recorded her original and delightful
personality — a personality absolutely unlike
that of any other motion picture player.
Up with
Movies
In Collaboration with
Monte M . Katterjohn
Moving Picture Actress
Story of Florence Lawrence —
of the Movies
I have enjoyed watching "Flo" Lawrence
grow up with the movies, for I am to the
motion picture play what the old theatre-
goer is to the stage. I have been a "regu-
lar" so long I can't remember just when and
where I witnessed a motion picture for the
first time. I have missed few Florence
Lawrence pictures, for to me she has always
been a super-delight of the screen. Naturally,
I feel that I know her work.
Her whimsical ideas of comedy are a part
of her natural self, and this, linked with
her talent, her intensely human nature, her
loveliness, life and animation, is more than
sufficient reason why she is America's fore-
most moving picture actress.
From the Edison studio Miss Lawrence
went to the Vitagraph Company, to become
a member of the first stock company ever
organized by J. Stuart Blackton. Next, she
joined the first stock company ever main-
tained by the American Mutoscope and
Biograph Company, which is now known as
the Biograph Company.
As the leading lady of most of the early
Biograph dramas and comedies, she attained
great popularity, becoming known all over
the United States and throughout Great
Britain. That was long before the film
manufacturers felt it necessary to flash the
cast of characters of a photoplay on the
screen preceding the showing of the play.
First as "The Biograph Girl," and then as
"Mrs. Jonesy" of a famous Biograph comedy
series of pictures, Miss Lawrence was known
to millions. Her real name was never known
to the picture patrons of those days. I re-
member writing a letter to the American
. A Particularly Attractive Picture of the Florence Lawrence
of Today.
Mutoscope and Biograph Company asking
for information as to her identity, and
whether or not she had ever appeared on
the stage before taking up motion picture
work. My letter was never answered though
I enclosed a stamped and self-addressed en-
velope for reply. No one knew "The Bio-
graph Girl" by. her real name, not even
those interested in other avenues of the film
industry, as is proven by a criticism in one
of the trade journals of those days, which
lies before me.
"Of course, the chief honors of the pic-
ture are borne by the now famous Biograph
Girl, who must be gratified by the silent
celebrity she has achieved," wrote the critic,
who seemed to be as much in the dark con-
cerning her identity as were her admirers.
"This lady," he continued in his criticism,
"combines with very great personal attrac-
tion, very fine dramatic ability indeed."
The name of Florence Lawrence was
heralded far and near by the owners of the
Independent Moving Picture Company when
"The Biograph Girl" began to appear in pic-
ture plays bearing the Imp brand. This was
probably due to the fact that Imp films were
the first independent pictures to be produced
in America, and the owners felt it necessary
to employ the popularity of a screen star to
dispose of their films. At least, it marked
29
30
THE PHOTOPLAY MAGAZINE
At Six Years of Age,
"Little Flo" Made a Great
Hit, with "Come, Help
Me Tie My Shoestring,"
a Song Written Especially
for Her by One of Her
Mother's Friends
a time when nobody really knew who she might be.
This fact is clearly proven by turning to the issues
of the various trade journals and picture papers of those
days. "The Moving Picture World" was then publish-
ing a weekly department known as "Comments on the
Films." The department scribe made an error when
he spoke of the leading lady who replaced Miss
Lawrence in Biograph photoplays as "The Biograph
Girl," whereupon that publication received letters "from
motion picture exhibitors located in every state in the
Union taking exception to the statement. One of those
letters was reproduced in "The Moving Picture World"
under the head, "The Judgment of Paris," and served as
prima facie evidence of the popularity of "The Biograph
Girl." The letter read as follows:
"I have the honor to announce that your man who
writes 'Comments on
the Films' is crazy as a
bed-bug. I have just
read what that worthy
gentleman has to say
regarding the Biograp'.i
picture, 'Through the
Breakers,' and note that
he says ' "The Biograph
Girl" plays the leading
role.'
"That picture was
shown in Coos Bay,
Oregon, the past week,
the first use of a
picture player's
name in the same
way a stage celeb-
rity's name is em-
ployed. Of these in-
cidents, Miss Law-
rence will have
much to say when
she recalls the
growth of the inde-
pendent faction of
the picture in-
dustry.
Shortly after the
Independent Mov-
ing Picture Company had secured the services of "The
Biograph Girl," a great wail was sent up by the pro-
prietors of picture theatres all over the country, whose
patrons had grown to love the sweet little lady of Bio-
graph pictures. Hundreds of letters were received by
the owners of the Biograph Company asking concern-
ing the whereabouts of "The Biograph Girl." Ex-
hibitors urged them to re-secure her services. There
were many who ceased exhibiting Biograph pictures
entirely, substituting the new Imp films. Such was
the power of a motion picture star's popularity even at
Another of Florence's Songs was
"Roses of Love"
She was Just Three When She Sang and
Danced to "Down in a Shady Dell" between
Acts. Her Mother Was, at That Time,
Leading Woman with the Lawrence Dra-
matic Company
GROWING UP WITH THE MOVIES
31
and at which time I witnessed it. The leading
lady isn't 'The Biograph Girl' at all. Whoever
she is, she is all right, very pretty, a superb
and charming actress, and in every way adorable,
but she is not 'The Biograph Girl.'
" 'The Biograph Girl' who won all the hearts,
male and female, in this neck of the woods, was
the one who used to play 'Mrs. Jonesy' in the
famous 'Jonesy' comedies made by the Biograph
Company. I could mention a lot more of her
plays, but I can designate her best as 'Mrs.
Jonesy.' She has not appeared in any Biograph
pictures shown out this way for months and
months, and the Biograph people ought to be
lynched for letting her get away. She is, or was,
appearing in a new brand of films called 'The
Imp,' and played the leading role in 'The Forest
Ranger's Daughter,' which was shown here on a
special occasion. Look in the Independent Mov-
ing Picture Company's advertise-
ment in almost any issue of your
own magazine and you will .^''
see a picture of her. I /■
think they call her
Florence Lawrence.
"Anyway, she was / .
'The Biograph Girl,' j '
and I am confident
you could find about
When it Came to Making Up
for Such a Fart as This, Lotta
Lawrence Always Proved Her-
self a Real Artist
Lotta Lawrence, Florence Law-
rence's Mother, as She Appears
Today
This Picture of Florence
and Her Mother was
Taken at the Time When
They Appeared Together
in Edison's Production
of "Daniel Boone," Their
First Picture Perform-
ance
eight million people in
the United States who
would agree with me.
You could find a lot
of them in this town.
"As 'The Biograph Girl,'
Miss Lawrence, if that is
really her name, was simply
out of sight — unapproachable.
She was in a class by herself.
In every part she played she
was an exquisite delight.
Whether c o m i c, pathetic,
dramatic, tragic, or anything
else, she simply took the rag
right off the pole. The power
of expression that lay in her features was nothing
less than marvelous, and the lightning changes
were a wonder. In fact, she was a wonder at
everything. Her versatility would be unbelievable
if a fellow hadn't seen it. I have watched her
play 'Mrs. Jonesy' in a tantrum, and the following
week seen her as a Russian Nihilist girl. I have
watched her as a mother, as a highly polished
society lady, and also as r Western girl when she
would straddle a cayuse and ride like a wild
Indian. To see her take these widely varying
parts and play each as though she were in her
native element, with every pose and motion and
expression in perfect harmony with the character
32
THE PHOTOPLAY MAGAZINE
•lias indeed been a revelation
to myself and the picture
patrons of Coos Bay. And to
see her in a love scene was
enough to draw a fellow right
across the continent, if he
were not fifty years old and
married, and broke.
"And so now you think some-
one else is 'The Biograph Girl!'
If you think I am off my base,
just go and see that girl in
some Imp picture, and you'll
soon discover that 'The Bio-
graph Girl' of yesterday is 'The
Imp Girl' of today. I wish
she would return to Biograph
films because they seem to
know just what sort of plays
to cast her in so as to bring
The Role Created by Miss Lawrence in the
Lubin Release "The Slavey" is a
Deservedly Famous One
A Scene from the Lubin Photoplay, "The Bachelor," with
Arthur Johnson and Florence Lawrence as Co-Stars
out her talent. Also, that new brand of films
is not shown out here."
The above letter is typical of the spirit of
all the others received by the various trade
journals as well as by the Biograph Company,
itself. The public wanted to see its favorite
actress.
The owners of the Independent Moving
Picture Company demonstrated to the in-
dustry that the creation of motion picture
favorites was a wise move, and soon other
companies began announcing the identity of
their players and advertising them heavily.
Some forged to the front by reason of merit.
Others were foisted on the public by spread-
eagle advertising. Prior to that time the
movies had been simply a money-making fad,
exploited at carnivals, street fairs, and the
like, although even then a large number of
picture theatres were in existence throughout
the United States — about 5,000, to be exact.
When the multitude of picture patrons came
to have favorite players the primitive stage
of the picture industry was passed.
Florence Turner, Gilbert M. Anderson,
Arthur Johnson, Mary Pickford, Marion Leon-
GROWING UP WITH THE MOVIES
33
ard, King Baggot and Maurice Costello were
other film players who became popular
favorites of the public, and who shared
honors with Miss Lawrence.
After a year in Imp productions, Miss
Lawrence went
over to the
Lubin _*»-£^
which they list their favorites in consecutive
order. The names of Florence Lawrence and
Arthur Johnson predominate about three to
one.
Who, among the followers of the picture
play, does not like to recall some
of those charming dramas of
yester-year? Lingering
in the memory of the
s. old picture fan
are such notable
Lubin produc-
A Splendid Bit
of Acting Was
Done b y I<I i ss
Lawrence in This
FireScenein
Which She Was
Carried Down
from the Third
Story of a Blaz-
ing Building
Florence
Lawrence
in Her Dress-
ing Room at the
Imp Studio in 1910
Company where she played opposite Arthur Johnson,
lately of the Reliance players, and who had been
associated with her at the Biograph studio. This
new connection brought both of these players even
greater popularity than ever before, the Lawrence-
Johnson team proving the greatest box-office magnet
ever known to filmdom. I doubt if two players
have ever appeared in pictures who won more re-
sponse then did these two. Arthur Johnson and
Florence Lawrence reached the hearts of the public
so unmistakably that hundreds of exhibitors have
urged the re-issuing of all Lubin productions in
which they appeared. Like the Mary Pickford pic-
tures now being re-issued by the Biograph Company,
the Lawrence-Johnson photoplays were far in ad-
vance of their time, and would be welcomed today
as on a par with the so-called feature offerings.
"I love a great many of the film people, but, oh,
you Florence Lawrence and Arthur Johnson," wrote
a little Kentucky girl to "The Dramatic Mirror"
under the date of June 7th, 1911. "I think they are
really the best on the moving picture stage," she
continued, "and I think it is a shame the players
can't know how we all love to see them and how
much the world is learning to love them."
If one doubts the popularity of the Lawrence-John-
son Lubin pictures, let him turn to the files of the
dramatic and motion picture papers during the year
of 1911. He will find hundreds of letters from
exhibitors, exchangemen, and picture patrons in
31
THE PHOTOPLAY MAGAZINE
tions as "Her Humble Ministry," "The Hoy-
den," "Opportunity and the Man," "A Fasci-
nating Bachelor," "That Awful Brother,"
"The Slavey," "His Chorus Girl Wife," and
"The Gypsy." Who among you who wit-
nessed these charming comedy dramas but
would not like to see them again? Don't
you think the life of the average motion pic-
ture play is entirely too short, especially
when it stands far above the average? I
like to recall the memorable offerings of past
years and s in my mind's eye, see them all
over again. Better yet, I would like to see
them re-issued that I might compare them
with the productions of today. Perhaps such
a move would tend to check the mad rush of
manufacturers to produce slapstick and bur-
lesque comedies. You who recall the Law-
rence-Johnson comedy dramas — compare
them with the screen vulgarities of today.
There's little doubt as to which class of pic-
ture you prefer.
But let us back to Miss Lawrence!
The Victor Film Company, which next
claimed the services of Miss Lawrence, was
organized by Miss Lawrence, herself, but
later became the property of the Universal
Film Manufacturing Company. During the
first year of Victor plays that name belonged
exclusively to Miss Lawrence and her pro-
ductions. Following the transfer of the Vic-
tor Company to the Universal, productions
of other than Florence Lawrence manufac-
ture were released under the Victor brand.
But Victor pictures with Miss Lawrence
have never fallen into disrepute. After her
first year of work under this new brand
she deserted the movie studio for the life
of a country gentlewoman, taking up rose
culture on her beautiful farm in New Jersey,
thirty minutes by motor from New York
City. The whole world of motion picture
patrons rose up as one man with a demand
that she return. Every editor of a motion
picture newspaper or magazine can testify
to thousands of letters received from all over
the world asking anxiously about the little
star who had graced the screen for so long.
They desired to know if there was any like-
lihood of her returning to her former work,
and if so, when. Even Miss Lawrence re-
ceived nearly a thousand letters, all of them
pleading with her to go back to the motion
picture stage.
"Though I am only a little crippled girl,
I pray every night that you will take up
moving picture work once more, and help
me to forget that I am crippled and ugly,"
reads one of the touching letters received
by Miss Lawrence, and which she has saved
and treasured.
"I love mother most, my sweet Flo Law-
rence next, and my Sunday school teacher
after that," reads another of the treasured
missives which implored her to return to
the screen.
Another was from a superintendent of
public schools in a little Florida town, and
was treasured because of the standing of
its author as well as the sentiment voiced
therein. It reads:
"My wife and I have decided to write you,
and if possible, learn if there is any possi-
bility of your returning to the moving pic-
ture plays. We both love you, and have
missed very few of your plays since seeing
you in ■ Tampa almost six years ago. We
didn't even know your name then. We miss
you very much, and do not seem to enjoy
the pictures now that you are no longer in
them. You certainly have a quality pos-
sessed by none of the other film ladies, for
you get love right out of the hearts of the
motion picture fans. My wife calls you
'Little Flo,' and says she is surely going to
meet you when we go to New York next
summer. We both adore you, and hope that
illness is not the cause of your absence from
the pictures."
There are few actresses who can resist
pleas of such a nature. These letters of
sincere affection were of greater value than
even the tonics and medicines of her phy-
sician, for Miss Lawrence really was ill,
suffering a nervous breakdown caused by
her constant and unflagging work before the
camera. The strain of portraying comedy
roles had been too arduous, and so, at the
height of her popularity, she had retired to
her roses and her farm to rusticate and grow
strong again.
Though her resolve to abandon the motion
picture studio was a sincere one, she had
not figured on the effect of the pleadings
of countless thousands. And when she be-
came well again, she was anxious to achieve
greater triumphs. It was the call of art, a
call that only those who have experienced
it can appreciate. It is a craving for expres-
sion — a hot desire to live, and to develop, and
to master even greater things.
And so it was with Florence Lawrence.
She had achieved much as a portrayer of
comedy drama roles, and now desired to
GROWING UP WITH THE MOVIES
35
take up a more serious side of photoplay acting. It
will be recalled that up to this time she had been
practically identified with comedy. It was her desire
to excel as a portrayer of serious roles, coupled with
the obligation she felt was due her many friends, that
brought her back again to Victor plays after twelve
months of rest and recreation.
That she triumphed again is well known. Victor
photoplays of the past year testify convincingly to
this fact. Florence Lawrence dramas, like Florence
Lawrence comedies, will be long remembered for the
splendid acting and inspiration back of them. The
quality which distinguishes them from all other photo-
plays is undefinable — a something possessed by Miss
Lawrence, and Miss Lawrence ^______
alone — which demands and riv-
ets the attention.
The space of years since
Miss Lawrence began are / /A
the years in which the
motion picture industry
has grown up. Today,
it is the fourth largest . ;
industry in the world, j
and as I have shown, I
Florence Lawrence b
has been in it dur- \
ing all that time.
Of her experiences, ■;'<
She was an Errant Little
Tomboy and Quite Irresist-
ible in the Lubin Film, "An
American Girl"
Florence Lawrence is One of the
Few Motion Picture Actresses
Who Seem Perfectly at Home
in Either Drama or Comedy
/
/
V
her work, the people
she knew, and the
events which transpired,
she will tell you herself
much better than I can.
Miss Lawrence was born
in Hamilton, Ontario, Can-
ada, and began her stage
career when three years old.
Her mother, Lotta Lawrence,
was an actress, and as leading
lady of the Lawrence Dra-
photo by is.uig!, Ncm r»rk matic Company, was com-
One of a Series of Uncommonly pe Hed to take "Baby Flor-
Attractive Photographs Taken of
Miss Lawrence in 1913, Just ence" with her on her tours.
^ac S t he to H l d ppe?rrviSor Though I say she began her
Photoplays stage career at three she
actually graced the footlights when not yet a year old,
being carried on all wrapped in a fluffy blanket in most
of the stock plays given by Mrs. Lawrence's repertoire
players.
But it was at the ago of three that she made her
debut as a player of real parts and as an entertainer
between the acts. "Down in the Shady Dell" was one
of her favorite songs. She also learned to dance, and
would come out on the stage while her mother was
doing a song and dance specialty and assist her. The
audience would see the child come on and think it an
36
THE PHOTOPLAY MAGAZINE
error, until she joined her mother and began
to mimic her steps, and then a storm of
cheers and applause would always follow.
"Baby Florence, the Child Wonder," was
a name she gained at this early age. Though
her mother did not encourage her to do
stage work, she did not . oppose her, and
"Little Flo" seemed to delight in contriving
ways which would necessitate her appear-
ance before an audience. She would insist
upon being "property" and when the curtain
was raised for the first act, she would be
discovered occupying the center of the stage,
intensely interested in some book she had
found about the theatre, though just able to
say three letters of the alphabet. The play-
ers who came on would either have to dis-
regard her entirely or pretend she was really
a character in the play.
Mrs. Lawrence found it necessary to make
up parts for "Baby Florence" in nearly every
play or else she would be very bad and
horrid and cry just outside the wings during
the progress of the performance. It was a
hard matter to keep her in her mother's
dressing room. But this fact was just an
early demonstration of her desire to become
a great actress, for she would watch the
actors and actresses from the wings night
after night and later, they would discover
her mimicking them.
The Lawrence Dramatic Company made
several tours of the United States. From
the time that "Little Flo" was big enough
to walk across the stage she appeared before
a huge public. Little Lord Fauntleroy was
one of her parts, and she played it almost
a hundred times. But she preferred doing
specialty "stunts" to playing roles, and at
six years of age scored heavily by singing
"Come Help Me Tie My Shoe-String," a
song which was written especially for her
by one of her mother's friends. From baby-
hood, she evidenced a liking for anything
which provoked laughter. She learned to
wink at her audience the very first time she
ever appeared on the stage alone.
The repertoire company gave many per-
formances of pathetic plays like "East
Lynne," and "Dora Thome," and these
seemed to depress "Little Flo" to such an
extent that she would often cry herself to
sleep. She told her mother that she didn't
think they ought to make people cry, be-
cause people didn't feel good when they
cried. The incident so affected Mrs. Law-
rence that from then on the more pathetic
plays were almost entirely dropped from
their work.
And even today when Miss Lawrence
enacts what, in studio parlance, is known as
a sob scene, she sheds real tears, and be-
comes so worked up over her part that she
makes it vitally real, even though it is at
considerable emotional cost to herself. An
atmosphere of reality pervades the entire
studio, affecting everyone from the leading
man to the property boys, and real tears
flow freely. Such scenes frequently grip
Miss Lawrence for several days, affecting
her to such an extent that she is unable to
work. Her director will never permit her
to appear in a death-bed scene.
It was only recently that Miss Lawrence
read a pitifully real story about a young
girl who became a "dope" fiend. It had a
tremendous effect on her and a few days
later she asked that the story be purchased
and scenarioized that she might portray the
role of the unfortunate girl, thus bringin.3
the curse of cocaine and morphine vividly
before the public.
Her director had observed how intensely
Miss Lawrence had studied the character,
and how strongly she believed she could
portray the role so as to stir up public feel-
ing, but he feared nervous prostration might
result from her attempting the part, and
so he objected strenuously, finally banish-
ing the whole matter from her mind by
interesting her in a rollicking comedy
drama — the sort which portrays a romantic
young maid as a desperate flirt, snubbing
the suitor she loves best that she may make
up with him later — and it appealed to her
whimsical nature more strongly than did
the "dope" story to her serious side. At
least the comedy won.
"But if I hadn't had that comedy story at
my finger tips she would have brooded over
that unfortunate girl of the fiction story until
she had had her way," the director told me.
"Little Flo's" education was not slighted
because her mother was an actress. Mrs.
Lawrence, while not objecting to her daugh-
ter's being on the stage, feared she might
form an intense dislike for school. Nor did
she believe that "Flo" would be content to
be away from her mother while attending
school. Though still heading -her own reper-
toire company, Mrs. Lawrence moved from
Hamilton, Ont., while her daughter was still
very young, going to Buffalo, New York,
where her daughter took up her studies quite
GROWING UP WITH THE MOVIES
37
for her during the mother's absence. ' Also, there was
two older brothers to look out for "Flo," but her
mother says she never needed anyone to look out
for her.
It was indeed surprising to the mother to
note that from the time Florence entered the
primary grade she was a most apt pupil, and
would pore over her books at night until
she had completed all of her lessons for the
following day. In spite of her studious
nature, she was slightly aggravating to her
teachers. She liked to throw paper wads,
whisper, make faces behind the teacher's
back, and perpetrate all the other innocent
In a Recent Victor Release, "A Sin-
gular Cynic," She Did a Light Comedy
Part to Perfection
like any other child. Miss
Lawrence lived with her
mother a part of the time,
relatives and friends caring
Last Winter the Victor Company
Worked in the Adirondacks for Several
Weeks WhereMiss Lawrence "Roughed
It" with the Enthusiasm of a 14 Year
Old
She Loves to Play the Part of a Mother. The Scene Shown
Here is from a Picture Called "The Influence of Sympathy*'
misdemeanors of school rooms. She was full
of life and animation, and at times would
endeavor to endear herself to her teachers,
only to display suddenly a stubbornness as
impregnable as the rock of Gibraltar. She
was vivacious and sprightly, and beloved of
her classmates because she was constantly
making them laugh.
When it came to the holiday programs
which consisted in the recital of verses, and
the singing of songs, "Little Flo" was always
the chief entertainer. Though she did not
assume the serious task of helping to arrange
the programs, she did, in a most matter of
fact way, take a big part, and help her girl
friends. Her teachers knew better than to
try to dictate just what "Flo" should do, as
she always selected her own speeches and
songs many days ahead and informed her
teacher of her plans. Frequently she would
recite her speech or sing her song in advance.
38
THE PHOTOPLAY MAGAZINE
"Curfew Shall Not Ring Tonight!" was one
of her favorites. If her audience applauded
she would respond with an encore, with
charming enthusiasm.
Miss Lawrence passed her girlhood in the
city of Buffalo, and graduated from school
No.' 10 on Delaware avenue. Immediately
following the completion of her school course
she returned to the stage, remaining before
the footlights until h~.' mother closed with
her repertoire company, when she took up
motion picture work.
The mother of Florence Lawrence was
one of the best actresses of her day, and
though distinctly inclined to do comedy, she
did some of her best work as a portrayer
of more serious roles. She was most versa-
tile, and as leading lady of her own company
which produced all sorts of plays, comedy,
drama, melodrama and tragedy, she had
played no less than five hundred different
roles. She proved a real artist when it
came to making up for a character such as
an old hag, a "painted lady" or a stern New
England mother.
Fortune was not kind to Mrs. Lotta
Lawrence, and it was a struggle for her to
care for her two sons and "Little Flo" until
they could care for themselves. Of recent
years she has been fortunate. She has
turned business woman and deals in real
estate and farm lands. She has invested
wisely, and has profited through the develop-
ment of the mineral resources of certain
sections of Canada. She resides near To-
ronto, visiting her daughter at New York
and at her New Jersey farm several months
every year.
"When Florence was just a tiny girl," says
the mother, "she told Daniel Sully, the well
known actor manager, that she was going to
become a famous actress when she grew up.
She was sincere about it too.
" 'Then you must be my leading woman,'
said Mr. Sully, to which the child agreed.
She was hardly four years old at the time.
"Florence has always been very ambitious,
and she has always striven for something
high and good. As a girl she displayed
such indomitable ambition that I did not
doubt for a minute but that she would be-
come a really famous actress. When she
took up motion picture work I was inclined
to frown upon the work. Now I am glad
she did, though my mind was then set on
having her follow the stage as a career after
she had convinced me that she would never
be satisfied with any other kind of life. I
am what some people term an actress of the
old school, and even today, am inclined to
think that much that occurred in my day
was far superior to present practice, but
still I am convinced that it is now possible
for one to gain a greater fame in the motion
picture field than ever was or is possible on
the stage."
One's first meeting with Florence Law-
rence is in the nature of a readjustment,
but it is none the less refreshing. One
rather expects to find a somewhat larger,
more mature person than is Miss Lawrence.
Yet at the same time you almost imagine
her stepping right out of the screen toward
you.
The little lady herself is wont to place a
wrong construction upon the attitude of her
friends when they first meet her, for she
always feels that people are disappointed
in her.
Disappointment, on the contrary, is the
last feeling to which anyone is open, for
she is all that the camera represents her to
be and more. All the spontaneity and nat-
ural charm are there in flesh and blood, and
she proves quite the living ideal of those
who have ever admired her from afar. She
is a very straightforward little person, like
a delicate piece of Dresden china in ap-
pearance, with much spirit and animation
thrown in. After meeting and talking with
her one feels that he has not only met and
talked with America's foremost moving pic-
ture actress, but also, that he has met a
woman of brilliant attainments, one who is
amply fitted to become a leader in the gigan-
tic world tasks about us.
FLORENCE LAWRENCE TAKES UP THE
STORY
Before I had ever acted in front of a
moving picture camera I had witnessed only
a very few dramatic pictures. Most of the
film plays I had seen prior to my initial
work for the Thomas A. Edison Company
were travelogues, chase-comedies, and im-
possible pictures like that of an engine
climbing over mountains and house-tops, for
instance.
These were just short length subjects.
Also, there were then a great many pictures
of very commonplace happenings; a boot-
black shining a pair of shoes, a horse eating
hay, or a man kissing his wife. I do not
GROWING UP WITH THE MOVIES
39
The First Edison Studio, Likewise the First Motion Picture
Studio in the United States. Built on a Truck so that it
could be Moved about with Facility. Courtesy, Thomas
A. Edison
mean that all the moving pictures of eight
years ago were of this sort, but that the bulk
of those I had witnessed were.
I do recall seeing a photoplay in which the
late Joseph Jefferson appeared as "Rip Van
Winkle," another portraying the life of a
New York City fireman, several comedies of
very short length which ridiculed the New.
York City police force, and still another
called "Moonshiners." I have since learned
that the last named picture was the first
dramatic picture play to be produced in the
United States.
It seems strange to rue that I did not see
"The Great Train Robbery" which was pro-
duced by the Edison Company, as I have
since read that it was one of the very first
pictures ever made which was one thousand
feet in length, and also, that it was the
strongest dramatic picture available for al-
most a year. Even today I have never seen
that picture.
To me, in those days, motion pictures were
quite a novelty. In theatrical circles in New
York it was said that a company known as
the American Mutoscope and Biograph Corn-
Edwin S. Porter, the Edison Company's Manager of Neg-
ative Production at the Time "Daniel Boone" was Produced
pany was anxious to secure actors and
actresses to appear in five minute sketches
which they were photographing. Prints were
made from the films, which were cut apart
and pasted on flexible cards. These were
then placed in consecutive order so as to
make continuous action when riffled, and
fastened in a circular holder. There are
thousands of people who will recall the five-
cent slot machine which showed moving pic-
tures — just little acts, in which all the action
took place in one room or in one spot. At
40
THE PHOTOPLAY MAGAZINE
that time these machines were very popular,
and even today I see them at amusement
parks, i
A girl friend was turned down when she
endeavored to secure work from the manu-
facturers of the slot machine movies, though
she was one of the few really worth while
actresses not then engaged. She was told
that nobody would be needed for some time.
Two or three days later I heard that this
same company was engaged in making sev-
eral big plays. (A thousand foot subject
was listed as big play at that time.) Though
I wanted work, I didn't try at the Biograph
studio since my friend had met with such
an absolute refusal.
The first skylight motion picture studio in
the United States was built by the Edison
Company, high up on the roof of an office
building at 41 East Twenty-first street.
Though quite young, the Edison Company
were then the oldest picture producers in
America. Their first studio looked for all
the world like a "Black Maria," being a
movable box-house which was hauled around
from place to place, and which I once saw
over in Bronx Park several years after it
had been discarded.
My mother heard that Mr. Edwin S. Por-
ter, then the chief producer and manager at
the Edison studio on Twenty-first street,
was engaging people to appear in an his-
torical play. I decided to see him at once.
My mother accompanied me to the studio.
The news of intended activity on the part
of the Edison people must have been pretty
generally known, for there were some twenty
or thirty actors and actresses ahead of us
that cold December morning. I think it was
on December 27th, 1906. At least it was
during the holidays. Everybody was trying
to talk to Mr. Porter at one time, and a
Mr. Wallace McCutcheon, who was directing
Edison pictures under Mr. Porter, was finger-
ing three or four sheets of paper, which I
found later were the' scenario.
Mr. Porter and Mr. McCutcheon conferred
together and Mr. Porter announced that only
twelve people were needed for the entire
cast, and that some of these had been en-
gaged. He next read off some notes he had
made during his conference with Mr. Mc-
Cutcheon, about as follows:
One character man who can make up to
look like Daniel Boone.
One character man to play Daniel Boone's
companion.
One middle aged woman to play Mrs.
Daniel Boone.
Two young girls about sixteen years old
to play Daniel Boone's daughters.
One young girl who can make up like an
Indian maid.
Six men who can make up as Indians.
The parts of Daniel Boone, his companion,
the Indian maid and a couple of the blood-
thirsty savages, he announced, had been
filled. That left the parts of Mrs. Boone, the
two Boone girls, and four Indians open. As
I remember, Col. Cody's Buffalo Bill show
was then in New York City and the people
selected to play the parts he announced as
"filled" were from the show.
Mr. McCutcheon looked at me, then at
Mr. Porter, and I was told that I was en-
gaged as one of Daniel Boone's daughters.
I must have said something to mother al-
most instantaneously, for one of the men,
I forget which, asked, "Is this your mother?"
I replied that she was, and Mr. Porter there-
upon engaged her to play the part of Mrs.
Daniel Boone.
Our names and addresses were taken and
we were told "that was all" for the time
being, and that we would be notified when
to report at the studio. We were to receive
five dollars a day for every day that we
worked.
There was none in the cast who knew the
title of the play until we reported for work
on January 3, 1907. At this stage of the
motion picture industry the producers were
very secretive about such matters. "Daniel
Boone; or, Pioneer Days in America," was
announced as the name of the play. Wn
began work on the exterior scenes first.
Besides mother and myself, others who
were playing principal roles were Susanna
Willis, and Mr. and Mrs. William Craver.
Mr. Porter and Mr. McCutcheon were the
directors. It was during the production of
this picture that I learned that the photo-
play, "Moonshiners," "which I had witnessed
some three or four years previously was the
first dramatic moving picture ever made in
America, and that Mr. McCutcheon was the
man who directed it.
All of the exterior scenes for the Daniel
Boone picture were photographed in Bronx
Park. As one of Boone's daughters I was
required to escape from the Indian camp
and dash madly into the forest, ride through
streams and shrubbery, until I came upon
Daniel Boone's companion. As a child I
GROWING UP WITH THE MOVIES
41
was fond of horses and had always prided
myself on being able to handle them, but the
horse hired by Mr. Porter was evidently of
a wilder breed than the ones I knew. I
couldn't do anything with him, and he ran
off no less than five times during the two
weeks we were making the exterior scenes.
I was not thrown once, however.
During all this time the thermometer
stood at zero. We kept a bonfire going
most of the time, and after rehearsing a
scene, would have to warm ourselves before
the scene could be done again for the cam-
era. Sometimes we would have to wait for
two or three hours for the sun to come out
or to get it just right for the taking of a scene
which required certain effects. The camera
was also a bother, being a great clumsy
affair.
One afternoon we didn't pay sufficient at-
tention to the bonfire and permitted it to
spread. The fire department had to be called
out to prevent its burning and ruining all
the trees in the park. While beating the
blaze away from a tree Mr. Porter discovered
a man who had committed suicide by hang-
ing himself, probably while we were work-
ing on the picture: We did not do any
further work that day.
All the interior scenes were made at the
Edison studio, on the roof, where the stage
space would accommodate but one set. We
could only work while there was sunlight,
as arc lamps had not then been thought of
as an aid to motion picture photography.
Three weeks were required to complete the
picture.
When I witnessed the finished production
as it was flashed on the screen about six
weeks later I was very indignant. In one
scene I was shown crossing a log over a
stream, and wearing shoes witli high heels.
Just think of the situation! Daniel Boone's
daughter wearing high-heeled shoes! Why,
in those days girls were fortunate indeed
if they possessed a pair of moccasins. Not-
withstanding its many defects, the picture
"went" and was a huge success. The public
did not demand perfection in those days.
By reference to my scrap book wherein I
have preserved a bulletin and synopsis of
the picture as issued by the Edison Manu-
facturing Company, I find that it was listed
as a "Class A" production, was one thousand
feet in length, and that positive prints com-
manded the princely sum of one hundred and
fifteen dollars, or fifteen cents a foot. Few
films sell for that amount nowadays, ten
cents a foot being the standard price. At
that time the business office of the Edison
Manufacturing Company was located at 31
Union Square, New York City.
Now that I was a moving picture actress,
or rather, that I considered myself one, I
began to take an interest in moving pictures,
and I soon learned that there were many
different brands of film besides the Edison
and the Biograph. I witnessed Vitagraph
and Lubin pictures which were as good as
the Edison picture in which I worked.
Pathe Freres and Melies films also were
shown in New York City in 1907.
I began to see how other actresses looked,
and I studied their work, particularly those
who appeared in - Pathe Freres pictures,
which were made in France. So were the
Melies films, but these were trick comedies.
I arrived at the conclusion that I would try
to become a regularly employed motion pic-
ture actress, and when I informed my
mother of my intentions, she laughed.
"Why, Florence, you won't make enough
to pay for the shoe leather you will wear
out in looking for work," she said, and dis-
couraged the idea.
But my mind was made up. I liked the
work, and I positively did not feel that the
motion picture play was beneath me.
^HHE second installment of "Qrowing Up With the Movies" will ap-
X pear in the December PHOTOPLAY MAGAZINE, which will be
for sale on all news stands November 10th. In that installment we will
learn of the early trials of Florence Lawrence, and Florence Turner as
well, of the secrecy surrounding the Vitagraph studio in 1 907, and how
"Little Flo" was substituted for Florence Turner when David W. Qriffilh
sent far Miss Turner.
A Lovely Elaine
Meets a
Modern Sir Launcelot
"The Girl of
the Locks"
By Marion Short
Illustrations from the Lubin Film
GERALDINE FAIR was in exceeding
high spirits as the motor yacht en-
tered the canal that morning. She
knew she looked her hest in the modish
white and blue costume she was wearing,
and besides she was the only young woman
in the party, and two of the young men
on board were in love with her. What girl
could ask for a more charming combination
of circumstances than that?
Geraldine had the habit of flirting quite
openly with young John Case, society man
and star polo player, who was the guest of
her fiance — the boat's owner — for Harold
Bond had entire faith in her and was even a
bit proud of her power over other men.
Sometimes he was a bit too complacent, she
thought, and it piqued her. This morning
42
his eyes wandered along the wooded shores
of the canal as if in a sort of pleasant dream.
"First thing you know, Harold, you'll be
asleep!" she rallied him. "Then we'll feel
so insulted we'll be obliged to put you over-
board."
"All right," he drawled back, lazily, "the
water's fine, and I haven't had a swim for
a week."
"A picture is forming in his mind — that's
what ails him," Geraldine confided to the
other members of the party, "and I rather
dread the outcome, for when he once gets
started on one, he becomes an impossible
hermit until it is finished."
"You're right, Jerry," acknowledged Harold
Bond with a sigh, "I'm aching- to put a bit
of this scene on canvas. All it lacks is a
'THE GIRL OF THE LOCKS'
43
central figure, a sort of woodland nymph — "
Geraldine interrupted, laughingly, "Oh,
then I shan't offer my personal services as
model as I was thinking of doing! Nymphs
wear such old-fashioned costumes."
Her lover looked at her with admiring but
critical eyes.
"I can't imagine anything more different
from your up-to-date personality than the
unconventional and rather pathetic little
figure that is trying to induce me to put her
on to canvas. But she's all in a haze as yet.
I wish she'd either make herself clear to
me or leave me altogether — she's a torment
when she eludes me like this."
"Great Scott!" suddenly ejaculated young
Porter, another occupant of the boat. "Do
I or do I not behold the person of Rip Van
Winkle come to life?"
They all followed the direction of his
pointing finger. A stoop-shouldered old man
with flowing white beard and shaggy eye-
brows stood peering at them from the land-
ing a short distance ahead.
"Oh, he's the keeper of the locks," ex-
plained Case, the only one familiar with the
course they were following to get back to
the river. "He's a queer old codger, deaf
and dumb, and grumpy. He works the gate-
levers at the locks, but the girl does all the
bargaining. There she comes out of that
boat-house now!"
"Why, the poor little creature!" exclaimed
Geraldine, pityingly. "She must be in her
teens somewhere, but look at her hair hang-
ing down her back — look at her poor little
bare feet!"
"Why, she's the exact type I want — the
figure that's been haunting me!" exclaimed
Bond, excitedly. "Gad, Case, what a piece
of luck that you suggested our taking this
canal! Else I'd have missed her. She be-
longs here as much as the water and the
trees and the sky — she's a part of it all!
If I can only get my picture on to canvas
as I see it now, with that girl in the fore-
ground, it will be my masterpiece! 'The Girl
of the Locks,' that's what I shall call it —
there could be no other name."
"Calm down, Harold," advised Case. "The
old man looks with suspicion at any man
that even speaks to the girl. He'll never let
you put her into a picture, I can tell you
that."
Bond scarcely seemed to hear him.
Bringing the boat to the landing, he stepped
out, his sketch-book already in his hand, and
arranged for the yacht to proceed, then as
Bringing the Boat to the Landing. He Stepped Out, His Sketch Book Already in His Hand
44
THE PHOTOPLAY MAGAZINE
the girl walked away with her father, talk-
ing to him in the sign language, he turned
and addressed Geraldine.
"I am going to stay right here to make
my preliminary sketches, if I have to go
without food or sleep, and it takes a week
of skirmishing to do it. Did you notice the
girl's coloring, her unstudied grace? Take
the party on up to Mother's, Geraldine, and
when you get there, explain to her won't
you, why I am detained?"
But the brightness had gone from Ger-
aldine's arch countenance.
"Why not find out at once whether they
will let you make the sketches? If they re-
fuse, as Mr. Case thinks they will, you might
as well stay with us even if we are such
poor company."
. A pout puckered her full red lips.
"I am sorry to desert you, Jerry," he said
conciliatingly, "but this is the chance of a
lifetime. Surely you realize how I feel about
it. It would be sacrilege to miss an oppor-
tunity like this. You understand, girl, don't
you?"
Geraldine, spoiled, selfish, ungenerous as
she was, could but see his earnestness and
sincerity, and knew that she must yield. So
she did it as she did almost everything,
charmingly, waving a gracious farewell to
the artist as the boat moved away.
Case smiled as he watched her, but his
expression was not pleasant. The lock-
keeper's daughter was unreasonably and dis-
tractingly pretty. It would be a sort of sat-
isfaction to arouse Geraldine's jealousy and
give Bond some uncomfortable moments,
even if no more came of it! He knew that
Geraldine, underneath her surface affability,
was capable of violent anger and quick re-
taliation when her pride was touched. He
had been Geraldine's most favored admirer
when Bond came upon the scene and ousted
him from that position. He had never yet
lost the hope that some day their respective
situations might be again reversed.
"By jove, how Bond's eyes lit up when he
saw the little blonde!" he exclaimed thought-
fully. "If one didn't know positively that
it was simply his artistic appreciation of
beauty, and that he is the slave of a lady
still more beautiful, it would seem quite
like love at first sight."
Strangely enough, it was through Steve
Hart, the young boatman engaged to the
lockkeeper's daughter, that the artist was
able to bring about the arrangement for
painting the picture. The youth was much
flattered and impressed that the girl he had
chosen for his bride should be considered
so beautiful by a great artist from the out-
side world. He translated Bond's wishes to
the girl's father, and proved to him that it
was a business proposition which would add
generously to his scanty income. The artist,
while he made preliminary sketches, sent for
canvas and art materials, and soon the big
painting was under way.
"How did you come to be named Elaine?"
The model, after an hour's posing, had
sunk down to rest on a rock which cast its
shadow into the smooth flowing waters of
the canal. It seemed to the artist as if her
beauty somehow ripened strangely with the
passing of each day, a sort of blossoming
of both soul and body.
"It was my mother's choice," she said.
"Mother was different from Dad. He has
never cared for books and education, but
Mother did. All the books I have, once be-
longed to her. I wouldn't be so ignorant,
and — and — dowdy as I am now, if she had
only lived." She gave a little sigh. "There's
a girl named Elaine in one of Tennyson's
poems. Mother named me after her. Elaine
cared for somebody that didn't care for her,
and broke her heart and died. on account of
it." She flushed a sudden, embarrassed red.
"But, of course, you know all that without
my telling you. Steve doesn't know, and
I'm so used to explaining about books to
him, I forgot for a minute that you were
different."
It was a pleasure to Bond to hear the girl
talk. There was such a play of expression
over her delicate features as she did so —
a wistful, underlying yearning for "some-
thing better than she had known," which he
was most anxious to catch and imprison for
artistic uses. So, as he sketched, he drew
her into guileless revelations of her life and
thoughts. He perceived that her engagement
to Steve was something she had acceded to
largely to please her father, and that the
youth himself had not for a moment sounded
the deeps of the girl's nature. For there
were deeps he knew — fascinating, terrible
deeps which would change the dreaming girl
one day into a palpitating, awakened woman,
crying out for love and all its ecstasies and
agonies — and crying perhaps in vain!
"Elaine!" he mused, "strange that she
should have been named Elaine. She might
be a reincarnation of the Lily Maid of Asto-
"THE GIRL OF THE LOCKS"
45
The Old Lockkeeper Saw the Struggle and Came to Her Aid. Dumbly His Eyes Rested
on Steve's Determined Face
lat, if the lily maid herself had been any-
thing but a figment of the poet's brain, tor
there is a look in her eyes as if already she
had seen Sir Launcelot, and half sensed the
tragedy of hopeless love."
The picture had progressed famously when
one day Steve came upon the girl sitting on
the edge of the outdoor platform on which
the easel stood. She was looking at a bit
of paper in her hand — one of the artist's
first, unfinished sketches of "The Girl of
the Locks."
Steve drew in a wondering breath as he
looked at her. A strange uneasy thrill ran
through him. She did not seem like the
same girl who, in the first days of their
betrothal, had accepted his caresses so
gently and yieldingly. There was a differ-
ence in her manner — a difference that seemed
to put barriers as of wood and stone between
them. He, too, had noticed the strange new
beauty that had so enthralled the artist, but
the seeing did not please him. In some
way, instead, it made him half afraid.
Coming closer to her now, he saw the
picture in her hand. On the back of it she
had penciled a name many times over. In
his brusque though kindly way, Steve
reached out his hand for it, but Elaine
hastily thrust it behind her. A vivid flush
stained the pearl-pale oval of her cheek.
"What's wrong, my girl?" asked Steve,
amazed and hurt. "There's no harm in
letting me see what it was you were writing
as I came up, is there? You and I haven't
got any secrets from each other. At least
we shouldn't have, pledged to marry as we
are."
"Pledged — to — marry!" The girl repeated
the words wonderingly, fearfully, as if Just
now they had come to her with a new mean-
ing. "Oh, Steve, we mustn't be pledged any
more! I didn't know what I was doing when
I told you and Dad I was willing to marry
you. I — I — "
She paused, looking piteously up at him
as if hoping that somehow he would under-
stand and help her to go on.
A flame of agonizing jealousy convulsed
Steve's frame as he listened, the veins of
his forehead grew purple and swollen. Then
his face became ashen, and he trembled from
head to foot. All this before he spoke.
"You're talking wild, Elaine," he said, con-
trolling his voice by a mighty effort. "You
did know, and your father knew, and I knew
46
THE PHOTOPLAY MAGAZINE
that your place was with me, by my side for
life. What's come over you to make you say
such things to me?"
He reached behind her and tore the paper
from her hand, feeling that what she had
written might prove the key to her strange
conduct. But all he saw was an unfamiliar
name — a name that sounded like some of
the story-book things she liked to talk about,
and that he listened to for love of her.
" 'Sir Launcelot, " he read. "Why have you
written 'Sir Launcelot' so many times? And
why did you want to hide it from me? Who
is 'Sir Launcelot?'"
"He was a man in a poem," she said. "A
girl named Elaine loved him so much that
she died because he did not love her back."
"Well," Steve said, with a sigh of relief,
"I'm glad he isn't someone who is alive and
real, because I would think it was on his
account you wanted to break your pledge
to me. But so long as it's only a story-
book notion — " He laughed in glad relief
and sank down on the platform beside her.
"Give me a kiss, dearie," he said, "I'm
hungry for the feel of your lips."
But she slid from his arms like a shadow,
and stood before him breathless.
"Don't you ever try to kiss me again,
Steve — it's all over."
She tore off the ring he had given her,
and when he refused it, dropped it in the
grass at his feet.
"I can't ever marry you, Stevie. It would
be wrong, wicked, when I know now that I
never really loved you."
"What gave you that knowledge?" he de-
manded, fiercely. He got to his feet. "Who
gave it to you?"
She did not answer, but involuntarily her
eyes of shadowy blue traveled toward the
canvas which stood half covered on its easel.
It was only for a fleeting moment that they
rested there, but that moment was enough.
Steve started back with a cry.
"You love him — that painter — you're break-
ing your heart over him — like that other
Elaine over Sir Launcelot! Now I under-
stand. Elaine! Elaine! He doesn't love
you — he never could love you like me. He's
pledged to another girl. He told me so when
I first let him know I was going to marry
you. We'll stop all this picture painting
right now. He sha'n't have any more excuse
for hanging around Neck o' Woods — he
sha'n't come between you and me! I'll
kill him first."
He seized a pole lying near him on the
ground, and started threateningly toward the
picture, but Elaine threw herself between
him and the canvas, grasping the end of the
pole nearest her, and holding it back with
preternatural strength. The old lockkeeper
saw the struggle and came to her aid.
Dumbly his eyes rested with both question
and reproof upon Steve's determined face.
Controlling himself at last, Steve cast the
pole away, and moved dejectedly toward the
boathouse.
He was still there an hour later when the
artist returned in a skiff from a sketching
trip. Evidently, the day's work pleased him,
for he whistled a lively tune as he pitched
the portfolio of sketches upon a sandy strip
of beach, and prepared to tie up his boat.
Prom the little window at the far end
of the boathouse, Steve watched him with
brooding, revengeful eyes. He would speak
to him presently, he told himself, and put
a stop to his visits in future. Suddenly he
clenched his fists, and gave a smothered
moan. Elaine was coming toward the land-
ing. Her cheeks glowed like the petals of
a wild rose, and her eyes were radiant and
smiling. The very sight of the man she
loved, Steve perceived, was enough to make
her forget everything else but that it was
happiness to be near him. Her wonderful
gold hair caught the glint of the sun, and
the ripples of her scant skirt, fluttering in
the breeze, disclosed the perfect outlines of
her slim young body. As she drew nearer,
Bond, obeying a sudden thoughtless impulse,
thrust his fingers through the thick masses
of her crinkly hair, and held them out wide
from her head, and then, because her pure
young forehead was very near, he stooped
and kissed her. To the man, it meant nothing
but a moment's aesthetic pleasure, to the
girl, it was the first kiss of the man she
adored.
It was Steve's harsh voice that shattered
the magical moment.
"So that's what you came here for, eh?
To make a fool out of her, and steal her
away from me?"
"Steve!" Elaine's voice was scarcely louder
than a whisper, but the- appeal in it — the
appeal for mercy, to his rival — was so strong
that it fairly maddened him. He clenched
his fists threateningly. "Now you get out of
here, and never come near Neck o' Woods
again ! "
Bond, aghast at the mischief he had
"THE GIRL OF THE LOCKS"
47
Steve ,
Seized Him by
the Throat and Forced Him Back against the Prow
Lock Keeper Stayed His Hand
but the Hoarse Warning of the Old
wrought, attempted to explain to the mad-
dened young boatman that he had meant no
harm, but before the words had formed on
his lips, Steve, a piece of driftwood in his
hand, started toward him. On Elaine's ac-
count, and also because the fate of his
precious picture was at stake, Bond, attempt-
ing to avoid an open fight with the enraged
boy, jumped into the boat. But Steve in-
stantly clambered into the skiff after him,
seized him by the throat, and forced him
backward against the prow. In another mo-
ment his stout weapon would have descended
upon the head of the defenseless artist, but
the hoarse warning of the old lockkeeper
stayed his hand, and made him realize that
the course lie was taking might only rendsr
the breach between him and Elaine wider.
48
THE PHOTOPLAY MAGAZINE
The girl rather surprised her boatman
lover the next day, by accepting meekly the
statement that she could not be permitted
again to pose for the artist, even though, as
Bond had tried to explain in a final effort to
set himself right with Steve, to stop now
would mean the ruin of the master effort of
his life.
Late that night, the artist, sitting on the
piazza of his beautiful river home, and un-
so glad I did! I brought the picture, and I
want to stay here until it is finished, for I
know how terrible it would be if you had
to give it up. It was the only way I knew
of, that I could help you, and now you can
work without anything to hinder."
By this time, Bond had led her to the
chair beside him.
"Mother!" he shouted, through an open
window. "Come out here. I want to in-
Everyone Remarked on the Piquant Contrast between the Fair Young Guest in Gauze and Lace and Her Fainted Counterpart
utterably disgruntled over the mishaps of the
day, was startled to see a slender little figure,
in odd, old-fashioned attire, suddenly appear
on the moonlit lawn before him.
"Elaine!" he cried in surprise. "Why,
what's the matter, little girl? Why have
you come here?"
"To bring your picture," she answered
tremulously. "I was afraid something might
happen to it, so I climbed out of the window
after Dad went to sleep, and took it from
the easel and brought it down to my boat.
I wasn't sure I could find you, but, oh, I am
troduce you to the best little friend I have
on earth!" He turned and took Elaine's
cold hands, and stroked them into warmth.
"You are a trump, little girl, to have done
this for me. I can never tell you how grate-
ful I am."
When Mrs. Bond, fair and gracious,
emerged from the house, the artist, fully ex-
plaining her presence and her mission,
placed Elaine in her motherly care.
The second day after the girl's arrival,
Geraldine came and demanded that she be
sent away at once, and the picture aban-
'THE GIRL OF THE LOCKS"
49
■ /: f^vwrri ;• Tnrsii»»*ats':*.'*XK8>::
He Held Her Until the Doctor Game and the Word the Doctor Whispered Made His Heart Grow Cold
doned. She had brought with her a letter, un-
couth and ill-spelled, sent her by the desperate
and frantic Steve. In it, he flatly accused
the artist of the betrayal of his absent
sweetheart. In vain did Bond endeavor to
explain Steve's accusations away. Geraldine
still stubbornly demanded the abandonment
of the painting, and would listen to nothing
else. When she left the house at last, she
had definitely broken her engagement to the
artist, telling him he had set a square of
canvas above the body and soul of the woman
who had promised to be his wife.
In the midst of his work that afternoon,
Bond flung aside his brushes and bowed his
face in his hands. "I can't paint any more
to-day, Elaine," he said, hoarsely. "The girl
I loved has thrown me over. Nothing seems
to matter just now, not even — the picture."
He thought his model had left the room,
when all at once he felt the touch of a soft
little hand upon his head, and heard the
sound of a smothered sob. Elaine was kneel-
ing by his side.
"I can't bear for you to suffer like this,"
she said. "It breaks my heart — it does — it
does!"
Something in her voice thrilled him
strangely. Then, looking into her revealing
eyes, he realized for the first time that she
loved him. His hurt pride sought solace, and
his hurt heart, consolation. He drew the
girl close, and covered her fair face with
kisses.
*T* HE weeks that followed Elaine's return
A to Neck o' Woods, she moved about in
a blissful dream. Already arrangements had
been made for the exhibition of Bond's mas-
terpiece in the studio of a well-known art
connoisseur. So much she knew from the
letters from Mrs. Bond. After a while, she
told herself, the artist himself would write
to her, and some day he would come to see
her again, some day he would love her as
she loved him. Even as that other Elaine
studied and loved the shield of Launcelot,
so she cherished the canvas bearing the dis-
carded first draught of the painting which
had afterwards been brought to such per-
fect completion.
When the night of the exhibition arrived,
the lockkeeper's daughter, clothed in gar-
ments of Mrs. Bond's choosing, and chap-
eroned by that lady, arrived among the
other invited guests. Even in such unac-
50
THE PHOTOPLAY MAGAZINE
customed surroundings, she yet bore herself
with that sweet unconsciousness which had
so charmed Bond at the first glimpse of her.
The great gold-framed painting, when the
curtain hiding it was drawn aside, provoked
an outburst of spontaneous applause, and
for the rest of the evening Elaine was petted
and made much of. Everyone remarked on
the piquant contrast between the fair young
guest in gauze and lace, and her painted
counterpart in rags and bare feet, not one
of them suspecting that the girl was ap-
pearing for the first time in the attire of
the society world they lived in.
A ND again Elaine returned to the little
■*"*■" cottage near the Locks, and again she
waited for Bond to come. He had been so
kind to her that night of the exhibition.
Some day, ah, how she prayed for it, he
must surely come!
Alas, poor Elaine! How could she know
that even as the motor car containing her-
self and Mrs. Bond left the studio entrance
that night, another one came up from which
the repentant Geraldine alighted. How
could she know that the proud girl, careless
of appearance, openly walked up to the artist,
and put out her hand with a look that mutely
asked forgiveness.
It was Steve, who, some weeks later, first
read in the paper that Harold Bond and
Geraldine Pair would be married next day.
The ceremony was to be at St. Stephen's
beautiful church, whose green lawn, like that
of the Bond residence next to it, sloped down
to the river's edge. So pale had Elaine grown
of late, so fragile and unearthly her beauty,
that even while his heart throbbed with the
hope of winning her again, Steve feared to
break the news to her. Finally he left the
paper, with the notice prominently displayed,
and went on out of the house. In a few
moments he heard a light foot-fall behind
him, and turning, saw that the girl was
following.
"Elaine!" he cried, his heart in his
throat, for her face bore a whiteness akin
to death. "Elaine, dearie, don't take it like
that!"
"Tell dad," she said gently, with just the
ghost of a smile on her lips, "that to-morrow
we are to be grand folks and go to a wed-
ding. We'll take the skiff and row down
the river to Saint Stephen's church, and,
soon as it is over, we'll come back again,
and I'll never leave Neck o' Woods."
"It is too bad, Harold," complained Mrs.
Bond, "that you did not send Elaine an in-
vitation to your marriage. It would have
been such a treat to the child."
"Perhaps," said the artist, rather curtly.
Deep in his heart, Elaine held a sweet, secure,
sacred little place. But she must never
know! Geraldine must never know! He
scarcely dared own it to himself. If she
had come into his life before he had met
Geraldine, then — but too late to think of
that! With a determined set of the lips he
shut the door of that little sacred place and
turned the key on its wistful occupant
forever. Loyalty claimed it. Honor de-
manded it.
The deaf and dumb father of Elaine waited
there at the river bank for her to come
forth from the church. She had kissed him
and put grateful arms about his neck for
bringing her, and had seemed more like
herself than she had for weeks. Many an
anxious night he had lain awake, thinking
about the failing health of his beloved one.
And so he sat and waited.
A girl had fainted on the church steps,
some one whispered, just as the bridal party
emerged, and some uncanny instinct caused
the handsome dark bridegroom to turn and
look back. Like a broken lily Elaine lay,
Mrs. Bond bending anxiously above. Leaving
his bride to think what she might, the artist
broke through the crowd surrounding that
slender form and lifted it in his arms. He
held her until a doctor came, and the word
the doctor whispered made his heart cold.
"No, no, it is not possible!" he cried, and
then, because something in his heart told
him that the girl herself would have wished
it so, he carried her body down to where
the old lockkeeper waited.
A look, more piercing in its agony than a
cry, crossed the face of the old man as he
received that beloved form in his arms and
laid her down gently in the boat before him.
"Elaine! Elaine! My lily maid!" The
words surged agonizingly through the brain
of the newly made bridegroom, and then he
raised his head and strode back, with im-
passive face, to Geraldine.
But her eyes were fixed, wide and horrified,
upon the shining river.
A boat put out from the landing. In it
was a gray, broken old man, and the body
of a beautiful girl.
"And the dead, steered by the dumb, went
upward with the flood."
Many Sided
Vivian Rich
By Helen Bagg
tennis, and rides horseback as well as any boy. Her favorite horse is
"Copper," so called because he used to carry a mounted policeman in
San Diego before
he became a "Fly-
ing A" horse.
Since then he has
had to do things
that would make
that policeman
gasp.
Everybody has
to work in a mov-
ing picture com-
pany, even the live
stock. "Copper"
is on his best
behavior, however,
when he carries
his dainty little
Everyone Has Seen Vivian Rich But Everyone Has Not Heard
Her Voice Which is as Sweet and Charming: as Her Face
I WISH you
could tell
me, all you
readers of Photo-
play Magazine,
who love Vivian
Rich, just what
you'd like best
to know about
her? For, you
see, there are
quite a few of her, and I would like so much to show them
all to you, just as I know them, down in sleepy old Santa
Barbara, the town of monks and Missions and moving picture
shows.
To begin with, I want to show you the Vivian Rich who
keeps house with her mother and her gray cat, "Boston,"
down on Chapallo Street. They call it "keeping house,"
though it isn't a house at all, but one of those cunning
doll-baby bungalow affairs that everybody in California
loves'; where you can wash your hands in the kitchenette
and reach out into the front bedroom to dry them.
This is where Vivian Rich lives and where you'll find her,
just a pretty, dainty girl of twenty, who likes to do all the
things other girls do and who frankly confesses that she is
"dance mad." You'll nearly always find a lot of young folks
around the house, because Mrs. Rich is that kind of a mother
— you know the sort I mean — who doesn't in the least mind if
you want to make rarebits at an hour when rarebits are supposed
to be fatal, and who is always ready to give "daughter's" friends
a good time.
Then there is the out of doors Vivian Rich, who swims, plays
Smoking: a Cigarette v/ith a De-
lightful Air of Braggadocio
51
52
THE PHOTOPLAY MAGAZINE
One of the Tense and Dramatic
Scenes from the ''Aftermath"
their work, and how they feel when they do those awful
things with bears and tigers and burning buildings,
which make our hair stand on end when we watcli
them, so I'll let Miss Rich tell'yc-u herself.
We were riding along the beach, watching the
bathers being bowled out by the surf. Riding
with Vivian Rich, in Santa Barbara, has its
exciting side, one becomes the cynosure of
so many admiring eyes. Protty girls in bath-
ing suits nudge each other and whisper "That's
her — see — on that big horse?" You feel a wild
desire to make your own inoffensive mount do
a bit of pitching or something else showy, so
that they'll take you for the wild west part of
the company. Anything to be in on this very
fascinating publicity.
"My work? I love it, of course," and her
dark eyes shone with enthusiasm. "And I
feel that I'm growing in it all the time.
There is always the
danger of getting into
a rut — of being too
much the same girl in
every part. I'm trying
to broaden my methods
and to — well — to grow
up in it, don't you
know?" And Miss Rich
tapped "Copper"
thoughtfully with
her riding crop.
"You see, playing
in the movies
isn't the easiest
thing in the
world, as some
rider in her severely
smart English riding
suit, down the boule-
vard, past the big
hotels and along the
beach, for like most of
his sex, "Copper"
knows a pretty girl
when he sees one and behaves
accordingly.
Then last, though of course
not least, comes Vivian Rich, the
moving picture artist, who
works hours and hours each
day making the films that we
all enjoy.
So many sides to a pretty
girl of twenty, but after all it
is with the movie star that we
are most concerned
just now. She's a Bos-
ton girl, which ac-
counts for the classic
name of the gray cat,
who, by the way, does
not care for moving
pictures, being rather a blase soul. Although so young. Miss
Rich has had several years of experience both on the stage and
in her present profession. I am not going to tell
you how she looks. That is one thing one need
never do with a moving picture artist. Every one
has seen her and everyone knows. Everyone, how-
ever, has not heard the voice of this particular
star, and I want to tell you that it as sweet and
charming as her face.
Of course, we always want to know how they like
The
Costumes
in 'Break,
Break,
Break,"
a Flay of the
Early Sixties
in which
Vivian Rich
Took the Lead,
Were Not
More Pictur-
esque Than
the Settings
._ O*
In * The Co-
coon and the
Butterfly"
She is Trans-
formed from ;»
Sad Little
Cinderella into
a Radiant and
Lovely Lady
MANY SIDED VIVIAN RICH
5S
people think. I go to the studio often at seven thirty in the morn-
ing, and work there until six at night. It is pretty
nervous work, and I'm very glad to have my quiet little
bungalow to come home to with mother and 'Boston.'
Of course, you know, there never was anybody like my
mother — never! She spoils me like everything, but I
don't care. I'm just going to let her do it as much as she
wants to, wouldn't you?" And I guess we all would.
"Do you ever have to do things that scare you? Fall off horses
or any of that sort of thing?" I had to ask her this because she
doesn't look the least bit wild and daring as a movie actress
ought to look.
"Well, I rode the rods under a freight car last week," she
said, laughing; "I wore boys' clothes and hung on. It was
rather awful at first, hearing those wheels growling and
rumbling under me, but it made
a dandy picture." And there f
she voiced the feelings of all
real motion picture artists;
if it makes a good picture,
never mind how hair rais-
ing it may be for the actor.
"Another time I was lower-
ed from a window on a wire
and still another
time I was drop-
ped down out
of a tower on
a rope."
"And you
weren't
scared?"
"No, not A
She is Equal
to Any Emer-
gency, from
Riding: the
Rock Under a
Freight Car
to Rolling a
Cigarette
It is Handsome Jack Richardson
who Plays -Opposite Vivian Rich
in "The Cocoon and the
Butterfly"
1 .'■•"' scared, just —
well — just a bit
excited, don't you know?
In the picture we make
next week I am to be
drowned in my wedding
dress, just think!
"Last week my riding coat had an adventure, but
I wasn't in it. One of the girls in the company had
to take a tumble from a horse and I loaned her my
coat. Then, they decided that it was too risky a stunt
for a girl, so one of the cow-boys undertook it. He
put on puffs and switches and a lot of other togs,
including my coat; I don't know how he ever got it
on, but he did, and then he fell off. He didn't mind
the fall a bit, but oh, the fuss that man made about
those puffs and switches."
"Don't you find your work very exhausting?"
"Oh, yes, all work is exhausting when
it calls for nervous tension, but I do love
it! I love the letters that I get, too, from
all over the world. I try to answer them
all but, goodness, I do get awfully behind
sometimes."
The latest addition to the Rich house-
As Gallant
and Beautiful
a Cavalier as
Ever Drew
Sword for His
King was
Vivian Rich
in "For the
Crown"
51
THE PHOTOPLAY MAGAZINE
hold is the brand new machine which Vivian
is learning to drive all by herself.
"I'm dying to have a car of my own!" she
said one day, "but mother thinks its an
extravagance."
A few days later we were driving along
a country road in one of those comfy little
one horse run-abouts that you see so often
along the coast. At least, we were taking
turns driving while the other one held on
going around the corners. California roads
have more corners than the proverbial dog
has fleas, and no matter how cautious we
were we always seemed to go around on
two wheels. I began to think that "Mother's"
presentiments in regard to the machine
might not be altogether unfounded, when
Vivian remarked, solemnly:
"Do you know there are three brand new
machines for sale in this town at a bar-
gain?" There was a look of determination
in her eye that I suppose was there when
she rode the rods of the freight car.
"Really?"
"Two of them were snapped up by mem-
bers of our company." She went on turning
another corner.
"You don't say!" Business of clutching
the side of the run-about.
"Mother's down in Los Angeles for a
couple of days." This rather dreamily; we
were anchored in the middle of the road for
a few seconds.
"If I were to get one while you were here
we could learn to run it together, couldn't
we?"
"We might," I said, uncertainly. Life
being sweet even to a "literary" person.
"They say the hospital here is first class."
"Well, anyhow, I could!" Another
corner.
Two days later the Santa Barbara morn-
ing paper announced the purchase by Miss
Vivian Rich of a new car. She is running
it herself now and running it well; no
casualties have been reported up to date,
not even chickens.
I have called her "many sided Vivian
Rich," because there are not many girls
of twenty who live as varied a life as she
does; and in all the different phases she
is the same sweet natural attractive little
person, who goes about her work with a
quiet, sincere and therefore effective method
which in some of her scenes of country and
mountain life remind one of some of those
delightful actresses, who came over to us
with the Irish players — .
"Many sided" she is, indeed, and every
side is charming.
FROM WHERE NEXT ?
THE name of Maurice Costello, of the Vitagraph Players, has penetrated even
into the new Northwestern part of Canada, as the following letter recently
received by him, will attest:
"Banff, Alberta.
Dear Sir:—
I seend you my first scenario, this is the first that I right, but I am
after right 3 other 2 and 3 reel drama the name of it is (The Red 99)
(The Black Rabbit) (The Mysterious Well) three good drama all full of
sensation, Sir if you accept this small one seen me a word as quick as
possible and I seen you those three scenario in the future I will right the
best scenario that you never seend, pleast sir give me a chance and I will
work always for you if that pay me good, because all those scenario come
from my head and it take me time to do it, Later I will right a scenario
of 25 to 30 reel that will make sensation in the world.
Sir I thanks you for the attention you will give at my letter
Your very truly,"
Mr. Costello seems to be the dumping ground of queer scenarios by queer
people from queer places, but as each succeeding scenario he receives is better
than the last, he is anxiously looking for the big motion picture story of the
future.
??
The Virginian"
Novelized from the Film Produced by the Jesse L. Lasky Feature Play Company
Based on the Original Novel by Owen Wister *
By Harold S. Hammond
Illustrations from the Jesse L. Lasky Film
CHAPTER I
THERE are — or there were — cowboys
and cowboys. We are to see the Vir-
ginian, a super cowboy, perhaps — so
he might have been called by one of those
Englishmen who travel through the "States,"
seeing the country from a Pullman observa-
tion platform and returning, hurriedly, to
write a book about us. And with the Vir-
ginian others are to be shown — Trampas,
and Steve — Shorty, the misguided, all the
strangely mixed elements that go to make
up the life of the range. There is the
present tense again! That made up the
life of the Wyoming range, I should say.
For the old days in Wyoming are no more.
There are cowboys still; Frontier Day, at
Cheyenne, still calls them.
It is a peaceable community. It »keeps
the law. A man who steals a horse has a
margin of safety, before landing in jail,
little greater than that of the thief who
climbs a. porch in the suburbs of New York.
No longer are the sworn officers of the law
elected by rustlers, who understand that the
sheriff and his posse will ignore the appeals
of the good citizens, and so force them to
take the law into their own hands for the
protection of property. No longer is there
peril of Indian attack. Those days are past.
In these pages, perhaps, they will live
again, those vanished days, and the men
who made them what they were — as men, in
the last analysis, make every passing phase
of life what it is. One thing is sure — the
men of those days were men. And in these
days the men who ride the range are still
men — though they are men of a different sort.
Consider the Virginian, then, in the be-
ginning of this chronicle. A man, first of
all. A man a little slow, perhaps, in his
movements, until the need for speed arose —
and swift, then, and lithe as a cat, or a
panther. A man usually with a smile lurk-
ing near his lips, but near only, and not
obtruding itself until the need for it was
plain. We meet him, then, at Medicine
Bow.
Medicine Bow, in those days, was a cattle
town. That is, it had a station, first of all,
on the transcontinental railroad, which was
its main reason for being. It had a post
office and a general store, and it had many
saloons and one hotel. Other things, lament-
ably, it had, too, but of these there shall be
no mention here. Men who are at grips
with nature do things, require things, of
which account need not be taken, and which,
in their later years, they prefer to forget.
But the Virginian neither required nor
was interested in these baser things. Town
to him meant a meeting with old friends
from other ranches — his own was Judge
Henry's, Sunk Creek, a mere trifle of two
hundred and sixty-three miles from Medi-
cine Bow; a few drinks, perhaps, stopping
at the point where discretion was not yet
out of sight; certainly a game of poker.
Stud poker they played in those days. And
stud poker bears to the tamer game of the
east the same relation that ordinary poker
bears to marbles when the players are not
allowed to play for "keeps."
So he rode into town that time. There
was plenty doing. Uncle Hughie was off
to get married again, for one thing.
Uncle Hughie was always trying to get
•Novel Copyright, 1902, by the MacMillan Company
SS
56
THE PHOTOPLAY MAGAZINE
married. He managed the preliminaries by
correspondence — and all went well until the
happy bride-elect saw him. Then she would
die suddenly, or have fits — she would get
out of it, anyhow, and Uncle Hughie would
return, sorrowing, to the cattle land, and
his gold mine, and look for another help-
mate. This time he was off to Laramie,
and the Virginian, to his joy, was in time
to harass him as he waited for the east-
bound train.
And in town there were four drummers —
traveling men. The Virginian, generally
speaking, didn't like a drummer. They were
too sociable, too prone to fraternize with
him at sight. The Virginian was willing
to be friendly — with reservations. He
esteemed friendship highly. It was an estate
not lightly to be entered upon. Once estab-
lished, however, it was not to be lightly
abandoned, either.
The Virginian didn't know about these
drummers when he first got into town. It
was Steve who enlightened him; Steve, the
gay, the irresponsible, with whom the Vir-
ginian had bunked and ridden many a time.
Each hoped that soon Steve could find em-
ployment on the Sunk Creek ranch, that
they might be together again.
"Hello!" said Steve, out of the depths of
his joy. "You old son of a ! How are
you, anyhow?"
"I'm right well, Steve," said the Vir-
ginian, in his slow drawl. He ignored the
epithet Steve had applied to him. This
might have surprised some. But there were
times when the Virginian would not have
ignored it. When men are close to nature
it is the spirit, rather than the word, that
counts. Of this there was to be proof.
"Town's full," Steve went on. "Drum-
mers — four of them! A Yankee, selling a
consumption killer. Two Dutchmen, selling
jewelry. And a Jew, selling anything you
want! No beds to-night!"
Steve didn't care for a bed. He had his
saddle and his blanket roll; that was
enough. But the Virginian pursed up his
lips.
"Pshaw!" he said, gently. "I was aimin'
to sleep in a bed to-night — just for a
change."
"The Yankee's the cleanest," said Steve.
"But — I wanted a bed to myself," said
the Virginian, in a tone of gentle remon-
strance. "Bet you two to one — bet you any-
thing you like — I get the Yankee's bed!"
"Drinks for the crowd — all around!"
agreed Steve, happily. "It can't be done!"
"It can — but let's eat, now," said the
Virginian.
They ate. And then, food being out of
the way, they sought a poker game — nor
had they far to seek. And. there, across the
table, the Virginian — and Steve — saw
Trampas for the first time. Trampas, who
was to play so large a part in both their
lives.
Trampas was losing before the Virginian
and Steve entered the game. The new
blood did not change his luck. And he was
in an ugly mood. There came a brean.
It was the Virginian's bet, and he hesitated.
"Your bet, you son of a ," said
Trampas.
It was the same epithet that Steve had
used, not once, but a score of times. Yet
now the Virginian's gun flashed on the table.
"When you call me that — smile!" he said.
And Trampas, after a moment in which
hate shone from his eyes — smiled.
CHAPTER II
IT WAS scarcely eleven when the Vir-
ginian left the game. And Steve went
with him. Together they made their way
to the "hotel." It owned the name by
virtue of one large room, in which there
were, perhaps, a score of beds. Each had
at least one occupant; some had two. The
Virginian smiled, and beckoned to Steve to
stay outside the door. Then he went in,
and spoke to the Yankee drummer, who
had previously begged him to share his bed.
While Steve stayed outside, the Virginian
prepared for bed. But now Steve was not
alone. A crowd, hearing of the bet, was
with him.
The Virginian's preparations were simple.
He slipped his knife and his gun beneath
the pillow — and removed his boots. Then he
lay down. The drummer considered this.
"I should think you'd feel that artillery
under, your head," he said.
"I do," said the Virginian.
"Then I should think you'd lay it beside
you," went on the drummer.
"If I did that," explained the Virginian,
"I wouldn't be easy, seh!"
A moment of silence.
"Good night," said the drummer.
"Good night, seh," said the Virginian,
"THE VIRGINIAN'
57
sleepily. " 'Course, if I get to rearin' around
in the night — makin' noises, maybe, you'll
understand — ."
"Of course," said the drummer, "I under-
stand, my friend. I'll just wake you — it'll
be a nightmare, I suppose?"
"Wake me? On your life, no!" said the
Virginian, earnestly. "If I do that — don't
touch me! Don't let your laig rub against
me, even. You see — I'll be thinkin' there's
Indians around — an' if anyone was to touch
me I'd just naturally grab my knife and
loose. The cowboys outside fell upon the
drummer. They played horse with him —
and with the other drummers. And when
they were appeased the voice of Steve was
heard. He wanted to pay his bet. He de-
manded that the whole town be aroused,
to help him pay. And it was so ordered.
It was a happy night — and a peaceful one,
even if it was not quiet.
And in the morning Uncle Hughie was
back — warning having been telegraphed from
Laramie. This time he had succeeded. A
Trampas Was in an Ugly Stood, the Result of Drinking: and Losing:
start in. Just lay still till I quiet down,
and you'll be all right."
"I see," said the drummer, very thought-
fully.
Again silence. But it was broken in a
moment — by the silent, or nearly silent —
movements of the drummer. He arose. He
didn't even stop to put on his shoes. He
tiptoed toward the door and the waiting
crowd, already doubled over with its
laughter. And, as he neared the door, he
stumbled over his sample case. At once
the Virginian, with an unearthly yell,
bounded out of bed. And then Bedlam was
bride was on his arm. And Uncle Hughie's
buggy had been seized. It was a fit" vehicle
now for an hymeneal journey. White rib-
bon flowed from it; legends, appropriate, if
rather plain in their implications, had been
chalked upon it. And Uncle Hughie and his
bride departed in a shower of old shoes.
Not long afterward the Virginian de-
parted, too. He took an affectionate fare-
well of Steve.
"I had a right pleasant visit to town,"
he admitted, reflectively. "Now it's back to
the range and to hard work — eh, Steve?
Be good to yourself!"
58
THE PHOTOPLAY MAGAZINE
And so he rode from the metropolitan
distractions of Medicine Bow back into the
wilderness of the open range, the land he
loved best. He was on good terms with all
the world, and especially with his horse
Monte. He bore no grudge even for
Trampas — he had forgotten him. Had he
thought of him at all it would have been
with the hope that their paths would not
cross again. Vain hope!
CHAPTER III
T) UT he rode long and far with nothing
*-* to disturb him. About him rolled the
smooth range. He crossed little rolling
ranges of hills; he threaded valleys, where
cattle looked up at his passing, and turned
away. Cattle were everywhere. Most of
those he saw, after he had ridden a few
hours, bore the Sunk Creek brand, and he
admired their fine condition. Judge Henry,
his employer, was a man who knew the
cattle business. The beef he shipped was
prime; it earned the highest prices when
it was sold in Chicago.
And so the Virginian rode, meditating
on the wonders of the life he knew. He
was now twenty-four years old. For ten
years, since the impulse to wander and see
strange lands had driven him from his Vir-
ginia home, he had ridden the range. He
had seen — and he knew, intimately — Texas
and Montana, Arizona and Wyoming,
Arkansas and Oregon, California and New
Mexico. Home he had seen but once in
those ten years. Once in every generation
of his breed such a one as he was born,
destined to wander, to go far. One thing
was certain — he had cared for himself in
all those years of wandering. He had
asked no odds of anyone. And so he rode,
a song on his lips, a little, tuneless sort of
song, one of those interminable ballads of
the cow country. "The Cowboy's Lament,"
perhaps — perhaps another. He knew them
all — and sang them all to the same tune.
And he didn't know, of course, that he
was riding to meet a lady. A very special
lady — none other, indeed, than Miss Molly
Stark Wood, of Bennington, Vermont! It
would have made no difference had he
known; that was fate. He would have rid-
den on, the same song on his lips, had he
known. But he didn't know. He didn't
know it even when he saw the stage coach.
nicely stuck in a hole in the ford over a
creek. All he knew was that the stage was
stuck, as it had been stuck before, and that
the driver was saying earnest things — and
things, too, quite unprintable — to the horses.
It struck the Virginian as strange that he
could not hear what was being said — that
he had to construct the harangue from
memory and imagination. He spurred
Monte on, and rode up alongside.
And then, through the window, he saw
Molly was inside. She was a little fright-
ened; a good deal indignant. In Vermont,
in all New England, indeed, such things
did not happen. The Virginian saw; he
exchanged a quick word with the driver.
Then, calmly, he reached through the opened
door and lifted Miss Wood to his saddle.
He held her tight as he rode through the
water to the other bank. And she! She
was so surprised that she didn't say any-
thing, until he stopped and let her slip to
the ground. Then she caught him looking
at her, half amused, half puzzled. And she
flushed.
"Well," he said. "I reckon you were in
right smart of a mess, back there?"
"What am I to do?" she asked, indignant-
ly. "How am I to keep on? That stage
was supposed to take me to Judge Henry's
ranch!"
"It can't," said the Virginian, positively.
"Not right away, that is. I reckon you'll
have to let me manage it, ma'am. I take
it you're the new school mar'm?" >.
"I'm the new teacher — yes," she corrected.
"Yes — that's better," he agreed, medita-
tively. "Well, ma'am — I guess I'll have to
just borrow one of those hosses off the stage.
I'll fix you a side saddle on Monte here —
and we'll make out all right." ■ ■-'-
"Thank you," she said, less sternly.
And so, under the escort of the Virginian,
she rode into the corral and up "to -the
veranda of the ranch, where Mrs. Henry
greeted her with tears and thanksgiving,
and the Judge suggested explanations.
Which, being offered, prompted him' to ex-
tend a cigar to the Virginian, who -accepted
it, inspected it, placed it in his pocket "for
future reference, and rolled a cirgarette in-
stead. He wanted a smoke badly. For it had
not seemed to him quite the thing to smoke
while he rode with Miss Wood, . and . an-
swered her artless questions, asked " from
the New England point of view, concerning
the territory of Wyoming. ........
"THE VIRGINIAN"
59
CHAPTER IV
AT SUNK CREEK, in these days, the Vir-
ginian was happy. He had saved some
money; lie looked forward, very vaguely,
to owning a place of his own some time.
And, meanwhile, life was pretty good. There
was the range. There were his friends.
And there was always life itself, which
invited questioning, and repaid interested
observation. The Virginian was not highly
educated. There are few schools that pro-
fess to furnish an education to those who
desert them at the age of fourteen. So
there were mysteries of book learning that
the Virginian did not know. He could read;
he could write. He could, upon occasion,
talk in English as impeccable as your own
— but the occasion did not frequently arise,
as he saw it.
He knew men, however, if he did not
know hooks. He had been studying them
all this time. He had met them on their
own ground in circumstances set as far
apart as the poles. He knew something of
women, too. Not much; not too much, it
may be said. And yet it had always seemed
enough. Until this business of the school-
house at Bear Creek and the coming of Miss
Molly Wood, all the way from Vermont, to
teach the rising generation of that part of
Wyoming.
And Miss Wood made a difference. It
was ten months before he saw her again.
And then it was at a barbecue, given to
celebrate the amazing rise in the price of
steers. That rise meant prosperity for all
Wyoming, and all the rest of the cattle
country. It had to be celebrated. And a
barbecue seemed, of all ways, that most fit-
ting for such a celebration. Miss Wood was
to be there, naturally. And the Virginian,
riding two days and a night to be among
those present, learned many things. Miss
Wood had admirers. That was one of the
things — and it did not please him. She
had favored none of them; would not even
ride alone with them. That was another,
and it made him smile in a more satisfied
way.
It was some time before he had a chance
to speak to her. So it seemed to him, at
least. He thought she looked at him, once
or twice. But she gave no sign of recogni-
tion. Perhaps he had more chances than he
saw to go to her; I think that must have
They Played Horse with Him— and with the Other Drummers
60
THE PHOTOPLAY MAGAZINE
been it. She saw them, you may be sure,
if he did not. And it may be that this
played a part in subsequent events. At any
rate, he did not speak to her or have the
luck to land near her at the great table
where they all feasted in the open air. He
was trying to reach her, but, in the confu-
sion attendant upon the arrival of Uncle
Hughie, he couldn't.
Uncle Hughie's latest venture in matri-
mony had been blessed, indeed. He had
twins! And when he drove up, with his
wife proudly exhibiting them, there was a
roar of welcome and of delighted laughter.
Uncle Hughie was the hero of the day
thenceforward; there could be no rivals.
But, after the feasting, there was the
dancing. There the Virginian expected to
shine. By grace of his ancestry he could
dance. And he knew steps that were not
common in Wyoming. He could waltz, and
he could do it well. So he expected to get
even for everything. But he didn't. He
approached Miss Molly bravely enough.
And, "Will you have a turn with me?" he
said.
She looked at him curiously.
"I — don't seem to remember you," she
said. "Have we been introduced?"
Now she didn't quite mean that. Per-
haps the thought of the long time since
she had seen him first was rankling. At
all events, she expected him to remind her
of their meeting. She meant to remember,
then, and to unbend. But the Virginian
only stiffened, bowed, and left her. But he
came back bringing a friend to introduce
him. Again, gravely, he asked her to dance.
But she was angry now, for he had put her
at a disadvantage. And Uncle Hughie came
up, just in time. She laid her hand on his
arm. In a moment she was off. And the
Virginian, glowering, took himself off — out-
side, where a cask of whiskey was still
respectably full. Deeply was he hurt, and
sorely offended. And by the cask he found
Lin McLean, a kindred spirit.
"I saw it," said Lin. But he did not smile.
He, too, was morose. He, too, had suf-
fered. And in time he confessed. She had
shown him some favor. And, earlier, he
had striven to steal a kiss. And his punish-
ment sat heavily upon him. He was be-
wildered. But the Virginian, outwardly
sympathetic, was proud and happy within.
He had judged her rightly. Still — that did
not excuse her. He drank, deeply, and Lin
with him. It did not make them drunk.
But the red liquor had its effect. They left
it, in due season, and, staying away from
the dancing floor, came to a room where
babies lay. They had to be brought to the
dance, those babies; here they lay, safe and
quiet, while their mothers danced. And,
looking through a window they saw the floor.
"There she goes — with Uncle Hughie,"
said Lin. "Ugh — old enough to be her
grandfather!"
But the Virginian did not heed him. He
was considering the babies. And the spirit
of mischief was in his eyes. Suddenly he
was at work. Babies were shifted, silently,
smoothly, so that they did not wake. Cover-
ings that belonged to one were laid upon
another. For a moment Lin watched him,
amazed. Then he understood, and he began
to help. When they stopped no baby was
where it had been; none had its original
covering. They looked at one another. Slow
smiles dawned upon their faces.
"I'll be going," said Lin, with a deep
breath. "You riding my way?"
"No," said the Virginian, surprised. "You
goin', Lin? I'm stay in' — right here!"
"They'll lynch you when they find out!"
said Lin. "They won't be safe for as much
as twenty-four hours — it'll take them that
long to see the joke!"
"Think so?" said the Virginian.
And he stayed. Lin left him, sorrowing.
And it came to pass as he had predicted.
The dancers broke up. They went home.
And within an hour the first of them came
spurring back. All night they came; all
night mothers and fathers sought to recover
their own, and babies were exchanged. And
who more helpful than the Virginian? As
for Lin — he was the only one who was miss-
ing. Men rode out on his trail. They did
not catch him. But it was as the Virginian
had foreseen. The only absent one was the
one suspected. And in the morning light,
when all the pursuers had come back empty
handed, he spoke up.
"It's just as well," he comforted them.
"You were after the wrong man, yuh see! It
was I that did it."
They couldn't lynch a man who acted like
that. Mothers said their say to him, and he
disarmed them by the way he listened. And
Miss Molly Wood was responsible for that —
though she would have disclaimed her re-
sponsibility indignantly had it occurred to
anyone to bring the charge!
"THE VIRGINIAN"
Gl
He Lifted Miss Wood to His Saddle
CHAPTER V
LJ E MADE his peace with Miss Molly
Wood, of course. That was inevitable.
She was furiously angry when she first heard
of the affair of the babies. But he disarmed
her, as he had disarmed the mothers, by his
absolute refusal to defend himself. And, in
many ways he appealed to her. By his dif-
ference from all the men she knew, for one
thing. This not alone because he was a
Westerner and a cowboy. She knew plenty
of these; her term at Bear Creek was not
very old before she could have had her pick.
He was as different from most of the men of
this new land as he was from the denizens
of Vermont.
And one thing in particular strengthened
him with her immeasurably. He wanted to
know things she knew. He wanted to read,
to understand the allusions she made to
books of which he had never heard. And so
it was not long before she was teaching
him as well as the children who trudged
daily, or rode, to the little school house on
Bear Creek. She did not see too much of
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THE PHOTOPLAY MAGAZINE
Uncle Huehie was Welcomed with a Roar of Laughter
him; it was a long ride from Sunk Creek
to where she lived, in a little cabin next to
the house of Taylor, pioneer of all the Bear
Creek married men. That, it may be as-
sumed, helped both of them. He would ride
to her, talk, ride with her, and go away,
with the books she lent him. And when he
came again she could see the growth in him,
as she would never have seen it had they
been together more constantly.
There was. a great distance to be bridged
between them, of course. And the Virginian,
I think, realized that before she did — and
this probably was because he meant to bridge
it, while it was a long time before the idea
that it might be bridged came to her. Yet he
was very sure, almost from the first, that, in
the end, he was to have her. He was not
used to wanting things he did not get. But
he could wait for this, because he must.
And he had much to occupy his body and
his mind. At Sunk Creek there were
changes. There is that about the handling
of cattle that makes men nomadic. So it has
been, since the days of Abraham. In Wyom-
ing it was no different. To Sunk Creek came
Trampas, he whom the Virginian had sub-
dued at Medicine Bow. And Trampas found
a friend in the foreman, for reasons obscure
to the Virginian, who, none the less, bided
his time, and endured much petty injustice
because he liked and trusted Judge Henry.
Came, also, Steve, that friend of his who
was nearer to him, and dearer, than any man
on the range. The Virginian had long tried
to bring him to Sunk Creek; he succeeded
at last.
Many things must be passed over with a
light touch. Judge Henry, knowing things
hidden from the rest, was making his own
plans. And he sent the Virginian in
charge of a crew and a thousand head of cat-
tle, to Chicago. Delivering the steers was
the easiest part of the work. Bringing back
the crew, in idleness, with temptations to
quit on all sides, was a thing more difficult.
But that the Virginian accomplished. He
had his troubles. Trampas, out of sheer
deviltry, and for the pursuance of that feud
he had begun in Medicine Bow, tried to
keep him from doing so. But he failed.
The Virginian lost only one man — his cook.
"THE VIRGINIAN"
63
Him lie kicked off the train somewhere in
tiie Dakotas, but in doing so he made room
for Scipio Le Moyne, a loyal ally, a cook
par excellence. With Scipio he acquired one
Shorty, a weak brother of a cowboy.
That journey had been a test. It had de-
veloped into a fight, almost, with Trampas,
but a fight of wits rather than of strength.
And when they returned, as the Virginian
well understood, the trouble was likely to be
more acute. On the train, the Virginian
was in charge. At Sunk Creek he would
come again, with Trampas, under the domin-
ion of a foreman who liked Trampas. But —
that was not to be. For when they reached
Sunk Creek there was no foreman! He had
gone, bag and baggage. And his successor
was the Virginian.
CHAPTER VI
T T E HAD Trampas under Ii is heel now.
A For just the first moment, I suppose,
being distinctly human, he exulted in that
thought, and planned to take his vengeance.
But that was a mood that did not last. He
fell at once into the habit, peculiar to those
who are born to be leaders of men, of separat-
ing absolutely his personal self from his
official personality. And he knew, as soon
as he thought things over, that he couldn't
use the authority the judge had given him
to make trouble for Trampas. Trampas, of
course, expected his time. He waited a day,
following some code of his own, to give his
enemy time to discharge him. Then he went
to the new foreman.
"I'll take my time," he said biiefly.
"Yuh leavin'?" said the Virginian, mildly
surprised, as it seemed.
"I know 7 how things stand here now, I
reckon," said Trampas, sulkily. "You're
foreman now "
"I am," said the Virginian. "All yuh've
got to do here, Trampas, is your work. Yuh
understand? As long as yuh do that, yuh
can stay — for all of me. You're a good cow
man."
Trampas bit his lip — and stayed. Few had
thought he would do that. But there were
reasons for his action, as was presently to
She Laid Her Hand on Uncle Hughie's Arm and the Vireinian, Glowerine, Took Himself Outside
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be made plain. He had no thought of aban-
doning his feud; of giving up his hatred for
the man who was now set over him. From
the first he had been in the wrong, in every
clash between them. But Trampas had that
mixed blood, Indian, Mexican and white, that
only made his hate flame fiercer because of
that. And in his mind there was a new plan
of a way to strike at the Virginian.
Outwardly he did his work. But all through
that winter he was plotting. He knew the
Virginian's old friendship for Steve; he
could see, too, how the new foreman felt
toward Shorty. For Shorty the Virginian
was sorry. The little fellow had a mind too
small to understand many things. He was
influenced too easily for his own good. And
the Virginian, seeing that Trampas was busy
with both Shorty and Steve, ground his teeth
and wondered if he had done well to let
Trampas stay.
Already dark things had been said of
Trampas in that country. More than once
cattlemen had suspected him of a willing-
ness to round up cattle and change their
brands. And the Virginian, for one, was
secretly sure that at Sunk Creek Trampas
was only lying low, recuperating, getting
ready for a new campaign of rustling. If
he took Steve and Shorty with him! If he
dragged them down to his own level! That
would make the balance between them in-
cline heavily to the side of Trampas — and
the Virginian felt that his enemy was shrewd
enough to know it.
Spring justified his fears. For on a cer-
tain day the three of them came to him, at
his office, where he was going over the ac-
counts for which he was responsible.
"We'll take our time," said Trampas.
"Yuh lettin' Trampas speak for you,
Steve?" said the Virginian sorrowfully.
Shorty, for the moment, he ignored.
"Aw — I can get a better job," said Steve,
uncomfortably. "An' ." He hesitated;
then he broke out: "This place is too holy
for to suit me, anyhow!" he declared, vio-
lently. "Since yuh got to be foreman they
ain't no livin' with you, Jeff!"
The Virginian said no more. Silently lie
arranged the details. And that day all
three of them rode away. But Scipio Le
Moyne, promoted now to that place in the
Virginian's friendship that Steve had held,
saw the sorrow that was in the foreman's
heart. And he knew that for once Trampas
had scored a victory.
"Them two is going to have it out — to a
finish," he commented to himself. "And the
Lord help Trampas — if it's fair fighting!"
"We'll Take Our Time,"
Said Trampas
"Yuh Lettin' Trampas
Speak for Yuh,
Steve?"
"THE VIRGINIAN"
65
"Look! Do You See Over There?"
CHAPTER VII
TirHICH it was not to be. There was that
* * in the blood of Trampas that forbade
fair fighting, unless he were cornered, and
there were men with strength enough to
make him choose it. And his first blow was
struck, by proxy, that very spring. The
Virginian rode into the hills, on an errand
for Judge Henry. A neighbor — he lived
within two hundred miles — had borrowed
some horses. They were needed now, and,
for reasons of diplomacy, the Virginian him-
self went to find them.
Just what Trampas did no one could ever
prove. There were plenty who knew, or
were sure enough to say they knew. This
much is certain. Indians, not many, but
enough, left their reservation. This was
forbidden, but winked at in season. As a
rule, they were peaceable enough, when they
were let alone. Trampas knew them. He
saw them now, with whiskey in his posses-
sion, which passed to them. And if there is
a meaner sin, a deadlier one, than giving
Indians whiskey, the West does not know it.
That much it is sure that Trampas did, as
he had done before. But this time he gave
it to them, freely, and without price, whereas
before he had sold it for gain.
And it was one day after his meeting with
these Indians that they met the Virginian.
Had Trampas described him? Had he ex-
acted a promise, in return for the liquor?
That is what cannot be proved. What is
known is that they left the Virginian by
the side of a creek, seemingly as dead as
a man might be. He lay there, his head in
the cold water, his horse standing by him.
Perhaps that saved him.
These Indians were new to the business
of killing white men. They were scared
as soon as they had seen him fall, and they
had ridden off swiftly, without waiting, as
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their fathers would have done, to make sure.
And so it was that when Miss Molly Wood
rode by, three hours after the shots had
been fired, and saw the horse standing there,
so still, the horse Monte, that she knew so
well, there was still life in the Virginian.
How she knew wiiat to do and found the
strength to do it, heaven only knows! Per-
haps women are endowed with such knowl-
edge. It may be that there is that born
in them that comes out in time of need.
Molly, at any rate, knew. She found the
wound. Without a cry, she cut away the
cloth of his shirt, and, although he flinched,
washed out the gaping wound in his
shoulder, perilously near the lung, as even
she could tell, with clear, cold water. And
then, somehow, with Monte helping her, she
got htm to his saddle, and walked beside his
horse, her own following, until she brought
him to her cabin.
The Taylors were gone. Still she had no
help. She undressed him; she got him,
though by this time he was in the grip of
his fever, and raving with delirium, into
her own bed. Just as she finished the Tay-
lors returned, and in a moment Taylor was
riding for the doctor, and his wife was re-
lieving Molly of her task. But it was she
who saved his life, as the doctor, when he
came, was the first to admit.
"Quick care — of the right sort," he said.
"That's done the trick — that and a constitu-
tion God gives few men! He's getting divi-
dends now for the clean life he's led — and
I don't know the man. But I can tell you
that he's the living proof of how he's lived."
Live he did — and to bless the Indian
weapon that had laid him low. For he had
come to Molly at a crisis. She had been on
the point of going home to Bennington.
And, had she gone, she would not have re-
turned. He had terrified her by his wooing.
Of late it had grown more and more urgent;
she had felt herself slipping, yielding ground
to him. And she had been afraid. She had
not dared to let herself slip too far. But
this — ah, this changed everything! She had
seen him sick and helpless. She had heard
him, raving — and not once had words she
should not hear come from his lips.
He was chastened, as sick men are wont
to be, when he began to grow better. Some-
how he had learned that she had meant to
go, and that she had been afraid to tell him.
And at last he spoke.
"I — I owe you everything," he said. "And
I've been seeing things. I reckon I grieved
you, bothering you as I did. And now —
you're going. That's right. That's proper.
It's not fitting that you should be grieved
and bothered. So — when I can, I'll go away,
The Virginian and the Rest. Creeping Up. Found Their Prey
"THE VIRGINIAN"
"Steve! I've Got to So it, Steve, Good-bye!" And Still Steve looked Straight Before Him
and you'll forget. Though I'll be grieving."
She looked at him, wide-eyed.
"But — but — " she cried. "Oh — I'm going
to stay!"
Suddenly she caught him up, weak as he
was, in her arms. And he knew. Knew that
his dream had come true. Knew that in the
moment of his renunciation he had achieved
his victory.
CHAPTER VIII
OUT, still, though he had won her so, the
dalliance of the newly engaged was not
for them. In Vermont Molly, becoming be-
trothed thus, would have seen her man often,
daily perhaps. But for the Virginian there
was still his work to be done. More than
ever now, in fact. Never one to take his
duties lightly, he had no need to hear from
Judge Henry that the times were critical
for those who drove cattle.
And so his visits were as rare as they
had ever been, when once he was well
enough to ride away, back to Sunk Creek,
and take up his work. In his absence much
had accumulated. Details there were to be
worked out. And the menace that had long
hung over that land was growing to pro-
portions that could no longer be ignored.
The thieves were growing stronger.
In all the varied history of the West there
has never been a chapter more curious than
this that the cattle thieves wrote into the
record. Imagine a wide stretch of country
in which sheriffs, judges, juries, all the ma-
chinery of the law, were engaged, not in
enforcing justice, not in protecting right,
but in making justice impossible, in uphold-
ing wrong! Yet that was what was being
done. The thieves were organized. They
elected the judicial officers; they packed the
juries. No proof of theft was strong enough ;
no thief could be convicted.
And so, at last, Judge Henry and the
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others moved. Judge Henry was the great-
est cattle owner of them all, yet it was not
for that reason alone that the Virginian was
put in charge of the work that had to be
done. For no one could deny that he, of all
men, was the one for this task. It was a
posse that they organized. Extra legal;
even illegal, if you like. But law, after all,
springs from the people. It is the people
that create law and the means of enforcing
it. From the people there is no appeal.
And when the means of enforcing the law
that the people have made fail, the people
have always taken the law back into their
own hands. Sometimes that implies lynch-
ings; sometimes revolution.
Here there was no choice. A band of cat-
tle thieves was at work. It had no fear
of courts or sheriffs; it knew that it need
have none. And so the Virginian rode out,
at the head of his posse, men of his own
stamp, not revengeful, not filled with pas-
sion, only determined. They were sober;
they were judicial.
And for six weeks, while Molly, knowing
nothing of all that was going on, waited
and wondered, longing to see him, the Vir-
ginian led his troop. In the end much had
been accomplished. He had lost two-thirds
of his force, for parties had been sent off,
here and there, to pursue those of the
rustlers who had been cornered. The organ-
ized band was broken up. It was flying,
over three states, and every scattered section
was pursued hotly, by men who knew what
was to be done. The Virginian himself, with
a dozen men or less, was hot on the trail
of one party. Trampas, he felt, was of it.
And to succeed, he must get Trampas; to
succeed fully. To get the rest and let
Trampas escape would not be enough.
The trail told its story, plainly enough.
Always the Virginian and the others gained,
driving the rustlers before them into the
Tetons, bad country, with almost no outlet.
That was the sum of the Virginian's strategy.
He meant to bottle up the thieves; to catch
them, so, with as little risk as might be to
the men he led.
And he was right. Trampas was with the
rustlers. He led them. They trusted him
to get them free, and he laughed, in their
camp, at the thought that the Virginian
might catch them.
"That dude— that preacher!" he said,
scornfully. "Before he catches me ."
And yet, the next morning, in a dangerous
piece of country, Shorty, catching his horse,
called sharply to him.
"Look!" he said. "Do you see — over
there?"
"By God!" swore Trampas. Then, "Come
on!"
"But — the others!" cried Shorty.
"Let them look to themselves! Come on!"
he cried.
And so the Virginian and the rest, creep-
ing up, under cover, found their prey. But
they found only two; two had escaped. And
the Virginian reeled back as he saw that one
of his prisoners was Steve, who had been
his dearest friend.
CHAPTER IX
XT OT a word did Steve and the Virginian
~^ exchange. With all the others Steve
talked. But to the Virginian he gave not so
much as a glance. With the others, through
the night, he even joked. With them he went
over the events of the chase. To their de-
light he told them how they had been
tricked, explaining how the rustlers had es-
caped from this trap or that, that had
seemed sure to catch them. Steve was game.
"Don't yuh look so glum, boys!" he said.
"This is just business. We took our chances
with yuh— didn't we, Ed?"
He spoke to the companion of his capture,
trussed with ropes, like himself, and sitting,
bound, beside him.
"Sure," said Ed. ■ ;
"It's right white of yuh, Steve," drawled
Honey Wiggin. "If yuh think we like this —
well, we don't!"
"It's all in the game," said Steve. "I
played to win — an' I lost. I've done that be-
fore — but mebbe the stakes wasn't so big.
Not so all fired big as they was this time."
Night settled down upon the camp at last.
Even when it was the Virginian's turn to
keep guard, Steve, lying wakeful, said no
word.
And morning followed night. All knew
what was to be done. There was no need
of words. In the gray, ghostly light of
dawn they gathered, the men who had taken
the law into their own hands. Steve and
Ed, mounted, but with their hands tied, were
in the midst of the group.
"Where?" asked one of the posse.
"That clump of cottonwoods," said the
Virginian, pointing.
'THE VIRGINIAN'
69
Silently they rode. They came to the cot-
tonwoods. And it was Steve's turn first.
His horse stood still beneath a hanging
branch of a great tree. Suddenly the Vir-
ginian rode up beside him and leaned close.
"Steve!" he whispered. "I've got to do it!
Steve — good-bye! "
And still Steve looked straight before him,
and his lips did not move. The Virginian
turned away.
Silently, when they had done their work,
the cowboys of the posse rode off on their
various ways. They had no mind
to stay together. What they had
done they had to do; that did not
improve the taste that was left in
their mouths. Two of them led the
horses that Steve and Ed would
need no more. And the
Virginian, with one
man. rode back
toward
Steve give me this to give yuh — when — when
we'd finished."
Just a few lines on a piece of paper.
"Good-bye, Jeff. If I'd tried to talk to you
I'd have played baby."
If there were tears in the Virginian's eyes
there was none to see him. But he muttered
to himself.
"Steve!" he said, softly, but the other
heard. "And I thought you had it in for
me!"
CHAPTER
f^OULD one from Ver-
mont be expected to
understand such things?
He lay There, His Head in the
Cold Water, His Horse
Beside Him
Sunk Creek, five hundred miles away. Just
before they made camp for the night the
Virginian's horse shied suddenly. With a
start he was out of his saddle, and looking
down on something that lay on the ground.
It was Shorty. A bullet hole was in the
back of his head.
"I expect Trampas done that," said the
other man. "I expect he thought Shorty
would give him away — him being such a poor
little fool."
It was an epitaph.
"But we can't prove it!" cried the Vir-
ginian, giving way for one fierce moment.
"No," said the other man. shaking his
head. "That's so. But I expect there'll be
plenty of reasons for killing Trampas — if one
catches him. Oh!" He straightened up,
suddenly, remembering. "I 'most forgot.
Certainly, not at first. Nor did Molly.
Strange tales, dreadful, distorted, came to
her. Her lover, still held away from her,
took a new and dreadful shape in her mind —
this man who killed wantonly, as it seemed
to her. A lynching — and her Virginian had
directed it! Small wonder that she was
troubled.
Perhaps he might have made her see, In
time. But he did not have to face that
task — and in it he might have failed. It was
Judge Henry, hearing of her pain, who took
it upon his own shoulders to make her see
the truth, to explain to her some of those
differences between Wyoming and Vermont
that she had not yet been able to learn.
And so, in the end, she was appeased, and,
faintly, reconciled. Such things were fear-
ful; that she maintained. But the judge
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made her see that they had justification.
She understood, at least, that the Virginian
had believed himself in the right, and she
had the quality of mind to see that, after
all, it was that that counted.
But in those days she had other troubles.
Her family, for example. In Vermont there
had been a young man, an excellent young
man, and rich, withal. It was that she
might escape him and the conviction that
her family desired that she should marry
him, that she had accepted Bear Creek's offer
to teach its young. And the news she had
sent home, that she had chosen her man,
here in the great West, and meant to marry
him, had produced an effect in Bennington
like that of a bursting shell.
Her mother, horrified, had written tear-
fully and wildly. But that, because, after
all, it was a mother's letter, she could, in
some measure forgive. It was her married
sister who had hurt her most deeply. For
she had written that she was shocked, and
grieved; that if Molly, indeed, could bring
herself to marry one so far below her as
a cowboy — wasn't a foreman a sort of upper
servant? — she, for one, did not see how she
could justify herself in being present at
the wedding.
Molly had flamed at that. And in that
moment she had resolved that neither her
sister nor any of the others from Vermont
should have the opportunity to see her mar-
ried. She had found love and all it meant
in Wyoming. In Wyoming, then, should be
her marriage, with the Bishop of Wyoming,
that priest whom the Virginian loved and
reverenced, to unite them. And their honey-
moon should be, first of all, in the open
spaces, in the mountains she had not seen,
but that the Virginian knew by heart. Later,
when the first joy of it was part of their
lives, and she should have gained serenity,
they would go to Vermont, and she would
show him to the family that had dared to
doubt her choice.
Some of this she told the Virginian. It
made him happy that she should choose to
have it so, for it was so that he would have
chosen. He was a little afraid, you see, of
this family of hers, so different from any
he had ever known. His instinct had. told
him how it must regard him; how it must
fear him, and, perhaps, even hate him, for
having won her.
And so their plans were made. He had
to choose his time, or did so, at least, with
a high regard for the convenience of Judge
Henry and the well-being of the ranch. But
he told her that if they were married on
the third of July he might take a full two
months — and of -that time, they decided, then
and there, a month should be spent, alone,
in the mountains. Another month would
take them east, where he might be shown
off to the family. And then they would come
back, to take up their life together.
CHAPTER XI
*Tp HEY rode into town together, the day
* before that which they had named.
In the morning they were to be married;
they were to set off at once, after that.
There was to be no formality. Simply they
would go to the little church, and stand
before the bishop. Such friends as chose
to come would be there. Lin McLean, mar-
ried himself by now; the Taylors; Scipio Le
Moyne; Honey Wiggin. All of these would
surely be on hand. Judge Henry, probably,
and his wife, too, would appear.
She was to spend that night before her
wedding at the little hotel, with Mrs. Taylor
as her companion. And, as they rode, he
laughed, and amused her by reckoning the
hours that were left in terms of seconds.
And, even as they did so, a horseman spurred
by, in a cloud of dust. He nodded. The
Virginian returned the nod, curtly.
"Who is that?" she asked.
"A man who doesn't like me," he said,
stoadily. "His name is Trampas."
"Oh," she gave teply. She caught her
breath. She remembered the tales she had
heard of that raid into the Tetons, of Shorty,
with the bullet in the back of his head.
"Oh," she repeated. "He — he won't try — "
"No," he said. "Be easy."
But in his heart he was afraid. Not of
Trampas! Heaven forbid! But of what
Trampas might make him do when they
reached town.
Once they reached the town he kept his
eyes open. But of Trampas there was no
sign. He took her to the hotel, and went
with her to her room to see that all was as
it should be, promising, lightly, to kill the
proprietor if it were not. And there came
his three friends; Honey Wiggin, Lin Mc-
Lean and Scipio.
"We'd like to 'borrow him, Miss Wood,"
said Honey. "We'll be good."
THE VIRGINIAN"
71
They Threw Up II).. Hand and His Bullet Struck the Ceiling
"You don't know how!" she laughed. "But
— he isn't mine yet. So I suppose that you
can have him."
"Don't change your clothes," said Scipio.
The Virginian flashed a look at him, and
understood. And when he went out his gun
was where it had been while he rode. As
a rule he did not carry a gun in town, that
being a habit of the cowboys of fiction, rather
than those of the range. They went out.
"Thanks," said the Virginian to Scipio. "So
— he's here? I saw him, back a ways. But I
wasn't sure."
"He's here — and drinking," said Lin. His
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THE PHOTOPLAY MAGAZINE
"THE VIRGINIAN'
73
voice was gloomy. "He's got friends in
town, too. They're backing his play. Say
the word — we'll take it off your hands."
"A man don't get married all the time,"
pleaded Honey. "This ain't as usual — "
But the Virginian only shook his head.
"I'm hoping he'll behave — until after to-
morrow," he said. "But if he don't — I
reckon it's between me and him."
They did not look for trouble. They went
to a saloon, to have one drink together.
And suddenly, maddened by the whiskey he
had drunk, Trampas was with them. Men
seized him; they threw up his hand and
his bullet struck the ceiling. But his tongue
they could not check, and he poured out his
hate, while the Virginian stood unmoved.
"I don't want trouble with you," he said,
finally.
"Yuh never did!" said Trampas, with un-
printable additions. Then: "I'll give yuh
till sundown to leave town!"
They gasped. Trampas had cast the die.
But still the Virginian was quiet.
"Trampas," he said, "are you sure you
mean that?"
"Yes!" said Trampas, "and much more."
"Gentlemen," said the Virginian, turning
to his friends. "This is my affair. You'll
oblige me?"
"It's your affair," said Scipio. He looked
around. "Does anyone feel a call to mix
in?"
There was no answer. And the Virginian
went into the street and looked at the hotel —
knowing that she was there. Ten minutes
later he still did not know what to do. He
met the bishop, who had heard, and was
sorrowful.
"You — you must fight?" said the bishop.
"Bishop — how can I help it?"
The cry was wrung from him. The bishop
sighed and shook his head.
"Have you told Miss Wood?" he asked.
"Need I?" asked the Virginian.
"At once!"
Slowly the Virginian turned toward the
hotel.
CHAPTER XII
HE THOUGHT she did not know. But
at the sight of her he saw that fools
had told her. She clung to him, sobbing.
"Oh — you're safe — you've come back to
me!" she cried. "I was so frightened when
I heard — but it's over — !"
He held her, and looked at her, amazed.
"Over?" he said. "Did yuh think it was
over?"
She started from him.
"You mean? You're going to — "
He bowed his head.
"What can I do?" he asked. "He's cast a
slur upon me. If I don't — meet him, I admit
it's true. One of us has got to be killed for
that — and it won't be me. I know that. God
couldn't play such a trick on me as that."
"You'd murder him — to prove you're
brave? When everyone knows that already?"
"Don't say murder," he said, sternly. "My
dear — I've got to live here. This is my
country. Could I live here when men could
say that Trampas had ordered me out of
town — and that I'd gone?"
"You care more for what they say than
you do — for me?" she asked, tensely. "Then
— if you do that — this is the end!"
The beads of sweat stood out on his brow.
"You mean — there'd be no to-morrow?"
She nodded.
He moved toward her. Then he spoke,
very gently, as he drew back.
"No," he said. "I was going to kiss you
goodrbye — but I've no right to do that, now.
I—"
He turned toward the door. But she clung
to him, tried to hold him back. Gently he
freed himself. She screamed, and he went
out, with that sound in his ears. In the
street he looked about. Suddenly something
brushed his sleeve. He fired — twice. And a
hundred feet away lay what had been
Trampas. He walked toward him, his gun
still ready. But he had done his work. He
brushed aside those who came running to
congratulate him. Slowly he walked back
to the hotel. He went to her room and stood
in the door. She was sitting, her head bowed
on her hands, by the bureau. She looked
up, and saw him in the glass.
"I— I've got to tell yuh," he said. "I've
killed Trampas."
"Oh— thank God!" she cried.
And she was in his arms.
"But you said — " he began, bewildered.
"Oh — that! I — can't you see — I was afraid
for you?"
They laughed together.
74
THE PHOTOPLAY MAGAZINE
The Adventurer
By Berton Braley
TX THE middle of the jungle
Photographing beasts of prey,
Where a single little bungle
Means the Finish right away,
'Mid the motion of the ocean,
Or the plains of Martaban,
Sounds the flutter of the shutter
Of the Moving Picture Man.
On a mountain high and dizzy
Or an airship flying free,
You will pften find him busy
And as calm as calm can be,
In the battle's roar and rattle, .
Or the quiet of a bank
Sounds the flutter of the shutter
As he turns his little crank.
He is always taking chances
"With the pictures that he takes.
And he meets with more romances
Than a story teller makes,
Never fearful, he is cheerful
In the face of perils grim.
And the flutter of his shutter
Is the song of life to him.
A Modern
AND A DISTINGUISHED
ACTOR
By Frederick
Brooke
IF SAMUEL
F O O T E,
the noted
wit, could hear
h i s descendant
exchange sallies
and verbal
thrusts w i t h
^W.VfeV.
CouHenay Foote
his chosen friends, he would not feel
ashamed of the modern Foote, for Courtenay
is one of the dryest and neatest wits of the
present day. He exudes wit and it is nat-
ural, not forced; and, unlike Samuel's
caustic utterances, it does not hurt even if
it stings a bit at times.
If Lydia Foote, the famous actress who
later became Lady Harrington, could watch
the work of the more modern Foote, she
would have good reason to be proud of the
manner in which Courtenay is handling the
histrionic traditions of the family, for Court-
enay Foote is an artistic and notable actor.
In an issue of the London Society and
Club journal "Vanity Fair," dated December
24, 1913, there is a full page cartoon of
Courtenay Foote which, to those who know
how hard it is to obtain this honor, is a
sign not only of popularity, but of merit far
75
7G
THE PHOTOPLAY MAGAZINE
above the ordi
nary. One can'
not pur
chase
an ap-
p e a r-
ance i n
a "Van-
ity Fair"
cartoon .
I n this
same i s-
s.u e a p-
p e a r
f e w
pithy lines
which call
attention
to the charac-
teristics of the lam
pooned one. Tliese
lines so fit Mr.
F o o t e that I re-
peat them here.
"As an earnest
worker in pro-
viding good
work in front of
the moving-pic-
ture lens, few, if
any, have sur-
passed him."
Seated in h i s
comfortable den
w it h "cultiva-
tion" written all
over it, I asked
my questions and
had much enjoy-
ment. Of course
had to learn some-
thing of his early
history.
"I was born in Yorkshire, England, and was educated
at what my parents considered a most desirable school,
at Oxford, and in Germany. I was neither a
dullard at my studies nor did I ever set the
Thames on fire with exhibitions of brilliant
learning. I studied engineering in Ger-
many and practised the profession of civil
engineering in Scotland. (I always say
'practised the profession," it sounds so well.)
"I had numerous friends and used to recite
blank verse to them because I loved it, and
they would advise me to go on the stage and
were even rude enough to suggest I could
earn more that way than at engineering. So I
broached the subject to the family and the head
of the house, my Grandfather, (you know
what the head of the house is in the older
countries, the high panjandrum so
to speak) stamped his foot in
the most approved manner
and also said he would cut me
off with the usual shilling if
I persisted in my nefarious
intentions. So I dropped it
for awhile and went into
the brokerage business
where I soon convinced
everybody that I was a
bad business man and
the old gentleman evi-
dently thought I
could not do much
worse than I was
doing and re-
moved his ob-
jections.
A MODERN WIT
77
"I often wish I had struck a heroic pose
and defied everybody, because it sounds so
much better, doesn't it? However, I got an
introduction from a relative, the wife of Sir
Charles Flower, to F. R. Benson, the Shakes-
perean actor and scholar, and for that mat-
ter, an incomparable teacher and kindly gen-
tleman. I recited to him one night, in the
manufacturing town, of Oldham. I say re-
cited. But when he said 'enough,' I quite
agreed with him, and expected a tart com-
mand to return when I came. But evidently
I had impressed him enough for a trial.
"In the eighteen months I stayed with the
Benson troupe I worked up from small parts
to big ones. Yes, Mr. Benson is an excellent
tutor, and I am proud of my connection with
him and his talented company. He has given
the world a number of fine actors and
actresses who, when they left his company
knew how to use their voices, wear their
clothes and carry themselves properly.
"Following this altogether delightful en-
gagement, I went to London and appeared
with Charles Hawtry at the Haymarket
Theatre in 'Lucky Miss Dean' and 'The In-
decision of Mr. Kingsbury.' Then I played
Prince Hal with Beerbohm Tree in 'Henry'
the Fourth' at the Shakesperean Festival,
which was followed by an eleven months' en-
gagement with Gerald Du Maurier in
'Raffles,' in which I took the part of
Crowley.
"I remained with Du Maurier to play
Tommy in 'Brewster's Millions,' and I also
understudied Du Maurier. After one or two
short engagements at the Court Theatre I
again joined Beerbohm Tree, playing Lord
Worthington in 'Admiral Bashville.' Then I
think I played with Gerald Lawrence in
'Into the Light' at the Court."
"What happened then?"
"I was tired out and wanted a rest so I
took an eight months' holiday, traveling over
England and going to the Scilly Isles and to
Paris. Here I purchased two plays and was
in the midst of translating them when an
actor friend visited me and told me he was
sailing for America. I asked him when.
" 'In three weeks,' he told me, 'why not
come along?' Having nothing definite in
view I said 'righto,' and so I came. Five
days after I landed in New York, I appeared
with Digby Bell and Catherine Clifford in
'The Debtors,* taking the part of Arthur
Clenham. We went on the road with the
play and did well. Then followed in suc-
cession Captain Jack Archer in the 'Fires of
Fate' under Frohman, Skelton Perry in 'Is
Matrimony a Failure,' in New York and Chi-
cago, under Belasco and Viscount Charles
Deedford, a part I created with George Arliss
in 'Disraeli.'
"Then I took a six months' holiday in
England and returned to appear under the
Liebler management in the all star cast of
'Oliver Twist' "
"What about the pictures," I asked Mr.
Foote.
"My thoughts had for a long time been
turning screenwards. I cannot own that I
ever despised the motion pictures, and the
more I studied them the more I was inter-
ested in acting which could make itself felt
without the use of words. So I visited the
Vitagraph studios and met Mr. Smith and
Mr. Blackton, both charming men by the
way. I repeated my visits, becoming more
enamored each trip, and I finally decided to
try the experiment to see if I could make
good. In my first picture I took the lead in
the first of the 'Captain Barnacle' series and
I liked the work immensely. Later came
'The Reincarnation of Karma,' which really
established me, the part of Horatio Sparkins
in a Dickens series, Wolf Saltzman in Cath-
erine Carr's 'Father and Son,' and many
other parts and plays. I then went to Eng-
land for another holiday and how I did en-
joy meeting my old friends, members of the
profession, mostly. I was surprised to find
how many of the old timers had gone into
moving pictures and to note the advance in
the industry in the old country. I attended
the first smoker held by the trade over there
and I made it a point to visit the Hepworth
studios to meet Larry Trimble and that de-
lightful woman and actress, Florence Turner.
I have most pleasant memories of my work
with her and admire her immensely. She
seemed to be very happy in her new work.
It was on this trip that I was interviewed
for 'Vanity Fair' and cartooned by A. S. P.,
all of which I appreciate highly.
On returning, I came out here to Califor-
nia with David Griffith to work in Reliance
and Majestic films. Yes, I like it out here
very much and hope that my stay may be
a long one."
Men of the stamp of Courtenay Foote are
an honor to the profession of motion picture
acting. He is a gentleman every inch of him.
At first impression he may strike one as be-
ing somewhat foppish, for the fact is that he
rs
THE PHOTOPLAY MAGAZINE
is meticulous about his dress. He
sometimes allows himself to disre-
g a r d convention and invents
some article of clothing
which is both smart and
comfortable. There is a
semi-Byronic collar,
for instance, which
he affects and
which has been
copied large-
ly of late.
Court-
e n a y
Foote will help
a woman on a
car and put her
bundle of
washing
i n after her
and raise his
hat with the
same punc-
t i 1 i o u s-
ness as he
would to a
woman of his
own class. His
manner to a cow-
boy is the same as
to a Duke and here-
in lies much of his
charm. He is natural
at all times and will
change neither his accent nor
his manners to suit anybody.
There is one picture in particular in which
he appeared which gave striking evidence of
his ability. It was a Vitagraph film, a com-
edy called "He Waited." In this Foote
called upon a young lady to take her to a
dance and as he waited for her, he grew older
and older until at last he was a doddering old
man. It was a marvellous bit of acting and
of make up. Every little point was studied
and everything, every move and every action
was artistically effective.
Mr. Foote has
just signed a con-
tract with the
Bosworth Incor-
porated and will
receive opportuni-
ties which he has
never had before. The result
should be gratifying to Bosworth and Co.,
Courtenay Foote and the photoplay going
public.
^r
"THE SPARKS OF FATE"
79
<?<!
''You Lose. Graham, You Lose!" He Said.
Sparks of Fate
TWO MEN AND A GIRL AND
A BATTLE BY WIRELESS
By Edith Huntington Mason
Illustrations from the Essanay Film
}!>
THE beach sparkled in the afternoon
sunlight and an indolent sea rolled
slow breakers to the shore. Inside
the little wireless station the two operators
sat and played cards. It was a friendly
habit they had when the one came to relievo
the other on duty. To-night as usual, the
game went against the younger of the two,
Wilbur Hayes, and as usual his dark face
expressed his chagrin.
"Did you ever see the hanged luck?" he
said. "I never win!"
The otBer man, Frank Graham, big and
tall and with a smile that made all the
world his friend, laughed light-heartedly.
"Perhaps you're lucky at love then," he
said, "a fellow ought to win at something!"
A knock came at the door and a voice
said, "May I come in?" It was a feminine
voice, very joyous and young.
80
THE PHOTOPLAY MAGAZINE
"You bet you can!" said Graham fer-
vently, opening the door.
A girl entered, her cheeks deep rose as
if from a race down the beach.
"I'm so glad to catch you both," she said,
perching herself with pretty assurance on
the edge of the work littered table, "I've
an invitation for you." Her glance of in-
nocent allurement rested first on one young
fellow, then on the other. "Ma says," she
went on, indicating with her hand a cot-
tage which could be seen through the win-
dow not far up the shore, "that she's going
to have blueberry pie for dinner and you're
both to come!"
Young Hayes broke into a broad grin.
"You don't say!" he said. "Why that's
white of her, Ruth, and white of you to
come and tell us! Your mother knows
that blueberry pie always gets my goat!"
"Oh," said the young woman quickly, "as
far as that goes, she's going to have fried
cakes, too!"
That was the delicacy which most ap-
pealed to the other operator and the little
witch must have known it, for as she
spoke she smiled right into Frank Gra-
ham's serious gray eyes. From which it
will be seen that Miss Ruth Donald was,
without any intention at all and with no
instruction whatever, a past mistress at the
art of keeping two young men in love with
her at the same time. She was an unusual
girl and her two years away at school had
given her the poise and sophistication of a
much older one. This affair with the two
wireless operators had been going on all
summer and now that winter was approach-
ing, was no nearer a solution for Ruth than
it had ever been. She liked them both
tremendously; the big, even-tempered, gen-
erous Frank Graham, and the slender, per-
verse Wilbur whose mood could never be
relied upon. But she did not feel that she
loved either.
And although she had been able to keep
them both on the same friendly footing
for some time it was, of course, impossible
to do that forever. One day a walk on the
beach had resulted in a proposal from the
impetuous Wilbur. They were sitting on
a log embedded in the sand and the young
man had somehow obtained possession of
her hand. Miles away the tall staff on the
top of the wireless station and a curl of
smoke from a tramp steamer in the harbor
beyond showed against the sky.
"Isn't there anything a fellow could do,
Ruthie?" he said, his lips quivering with
the intensity of his feeling. "Nothin' at
all that he could do to make you care?
It doesn't seem as if it were possible for
me to do without you!"
She patted his thin fingers with friendly
kindness.
"Now, now, Wilbur boy," she said. "Don't
talk to me like that. I didn't mean to let
you say it, honest I didn't. For I can't say
what you want me to, I can't, really."
He recoiled from her, his brows dark and
scowling. "Why not?" he demanded and
Ruth looked at him sadly for it wasn't
scorned love but injured pride that spoke
in that tone.
She rose. "Because I only think of you
as a friend," she said gently. "Come,
let's go."
But he caught her arm. His expression
now was entirely devoid of tenderness, it
was all hate. "Is it — is it — Frank?" he
managed to say, his jealousy making him
stammer.
She disengaged herself with cool dignity.
"Frank is my friend, too," she said.
"You've no right to know, but I gave him
the same answer I've given you, only the
other day."
Hayes' brow cleared a little. "So that's
it, is it? You don't care for either of us!"
The light of coquetry came back into the
girl's eyes, momentarily serious.
"On the contrary," she answered lightly,
"I love you both so much I can't tell which
I love the most. Come on back. I bet I
can beat you home!" She tucked her fleecy
tarn o'shanter under her arm and with her
hair snapping like fire in the sunlight raced
away down the beach with Wilbur after her.
The discovery that Frank, too, had been
unsuccessful, did not entirely appease
Hayes' jealousy. Even if Graham had re-
ceived the same answer that he had himself,
they were still on the same footing, the
other operator had just as much chance of
winning Ruth as he had. On the way to
the station that afternoon his fertile brain
was busy scheming how to get rid of his
rival. But an idea did not come to him
until he had entered the office and hung his
cap on a peg just before going to work.
Frank and an old seaman from the tramp
ship which had come into harbor that morn-
ing were playing cards. As the former
looked up and nodded pleasantly a scheme
V
In the Direction of a Cottage Where He Knew a Girl with Hair Like an Aureole of Gold
Must he Sitting.
82
THE PHOTOPLAY MAGAZINE
for deciding the question of Ruth Donald's
favor flashed into Wilbur's brain. A game
of chance should settle the matter! They
would throw a few "cold hands" and the
loser should go away and leave the field
for the winner. There was plenty of prece-
dent in romance for such an expedient
and the young man's imagination was cap-
tured by the idea. However, he did not like
to suggest it in cold blood. So he contented
himself with a surly greeting in response
to Frank's smile and sat himself down at
the wireless machine with his back to the
card players.
Graham's good-humored face sobered, and
his eyes filled with astonishment. "Say,
Wilbur," he said, "you're scarcely civil.
Captain McLeish left his ship to come and
pay us a little call and now you can't even
say 'hello!' "
"I ain't dyin' of it," said the old captain
laconically, shifting his pipe from one side
of his mouth to the other.
Frank laughed and turned to the game.
"All right," he said. Then over his shoulder
to Hayes hunched above the table, "Has
Ruthie been doing anything to you, Wil-
bur?" he asked. "Is that why you're so
more than usual unsociable?"
Hayes turned as quick as a flash and his
face was dark with passion. "Look here,
Graham," he said springing to his feet, "I'll
thank you to leave Miss Donald's name out
of the conversation! What she and I have
to say to each other is no concern of yours!"
Graham rose, too, but he was perfectly
cool. "I see that I guessed right!" he said.
"Too bad, Wilbur old boy! But every man
has to take his medicine you know!"
"Yes," said Hayes, his anger turning to
moodiness as he sat down with them at the
card table, "you don't have to tell me that,
only it seems a pity, doesn't it, that we
should both stay on here, interfering with
each other's chances?"
Graham sat down and crossed one long
leg over the other, then he lit a cigarette
slowly.
"What in time do you mean?" he said.
Hayes explained his idea eagerly, ob-
livious of the old seaman who stolidly be-
gan, a game of solitaire.
"We'll throw a few cold hands," he fin-
ished, "and the loser quits his job and
. leaves town so the winner can have the
field to himself." He was still under the
thrall of his late emotions aroused by the
interview with Ruth, and was terribly in
earnest. Graham's laugh of derision, there-
fore, brought the red blood to his face.
"Well," he said, "what is there to laugh
about? If you weren't a fool you'd see it
was a good idea."
Graham leaned his handsome head back
against the wall and yawned in a bored
way. "It's because I'm not a fool that I
don't agree," he said. "No man in his
senses is going to risk his chance of win-
ning his girl on a game of cards."
Wilbur rose, trembling with disappoint-
ment and anger. "O, then you're a coward,
hey?" he said, and struck Graham.
The proverbial flash of lightning could
hardly have been quicker than Frank's leap
for the other operator, but the table was
between them, and the old captain further
protected Wilbur by throwing himself In
front of him.
"I don't like to see you two boys fightin',"
said the old man, "and about a girl, too!
Why the world's full o' women! You'd much
better play cards to decide it, than fly at
each other's throats. It's more civilized."
The two young men stared at each other
across the table and now the older oper-
ator's face was dark with as ugly passions
as those depicted on Wilbur's.
The word coward rankled and upset his
good judgment and his common sense. "All
right," he said slowly, holding the other
with his eye. "I never refused yet to meet
a man in any game. I'm not afraid of the
cards. We'll play."
They sat down and dealt the hands. In
an instant the atmosphere of the room grew
tense. The ticking of the clock sounded like
the voice of fate and except for that and
the excited breathing of the old seaman be-
hind Wilbur's chair, there was no sound.
The cards fell rapidly and the first round
went to Graham. Hayes' face grew thunder-
ous. It was to be the best out of three.
They dealt the cards again and this time
the younger operator won. The next was
the decisive round and Wilbur's hand shook
as he dealt. He gave a swift glance at his
hand, and then a very strange thing hap-
pened. While his opponent still kept his
eyes fastened on his cards, Hayes, swifter
than thought drew an ace from the pack
at his elbow. As quickly he substituted it
for a card he already held, and in another
instant was asking Graham how many he
wanted in a tone as cool as you please.
"THE SPARKS OF FATE"
83
A few minutes of play ended the sus-
pense and Wilbur with a sneering smile of
triumph was spreading out on the table the
royal straight flush which told the story of
his victory.
"You lose, Graham! You lose!" he said.
Frank stared at the cards as if stunned.
Slowly the anger which the word coward
had aroused and which had driven him to
his undoing, faded from his face. An ex-
pression of grief took its place. "Ruthie!"
he murmured and rising unsteadily walked
to the window and looked out.
At the same moment the old captain,
stern and grave, rose and bent over Wilbur.
"You cheated!" he whispered in the young
man's ear. "You cheated and I saw you
do it!"
A spasm of fear swept over Hayes. But
it was no time to back out now. Without
wasting a minute in replying he plunged
into his pocket and bringing up a handful
of bills swept them into the others hands,
putting his finger on his lip at the same
time.
Captain McLeish of the tramp steamer
Melba was old, and his faded uniform
threadbare, and he had not money enough
to pay the crew of his steamer and the
steamer had to sail that evening. He had
to think quickly or he might perhaps have
decided on a more honorable course of ac-
tion. As it was, when Graham, once more
composed and master of himself, looked
around, the captain's hand was deep in his
pocket and the money was not to be seen.
At sunset when the S. S. Melba sailed out
of the harbor she carried witli her a young
man who looked as if he had been stricken
by some mortal blow. The vessel steamed
bravely out to sea, the ships in the harbor
and the houses on the bluff above them
receding slowly, but the young man's gaze
was fixed only in the direction of a cottage
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The Captain Called Graham's Attention to the Dark Column of Wind Which was Whirling Toward the Vessel
8-i
THE PHOTOPLAY MAGAZINE
far down the shore near the wireless tele-
graph station, where he knew a girl with
hair like an aureole of gold, and a heart
more precious than any metal, must be sit-
ting and reading the note which he had
sent her.
"Dear Ruth," it began. His inward eye
could read the heartless words over her
slender shoulder. "I have given up my job
at the wireless station and I'm going abroad
for a number of years. Good-bye."
"No explanation, no reason why," he mut-
tered to himself. "Just going away, that's
all. God! What will she think?" And all
the efforts of his friend the captain to dis-
tract him proved in vain.
The operator who was to replace Graham
was not coming until the next day and
Hayes was on duty at the station that
night. There had been little business to
attend to, however, only a few messages
from the weather bureau. The night was
a bad one, for a fierce wind had blown up
and the waves were lashing the coast.
Hayes rose from his chair and looked out
at the wild water and smashing sheet of
rain. His face blanched a little as he
thought of the Melba. Had that treacherous
ace of his really sent his rival to his death?
Was it possible that the old tramp steamer
might not weather the storm?
His apprehensions, if they were suf-
ficiently serious to be so called, were en-
tirely Justine;!, for the Melba was having
a hard time of it. At six o'clock the captain
had called Graham's attention to the dark
column of wind which was whirling its way
over the sea toward the vessel and ever
since it had been a hard fight to keep her
above water. But it was from another quar-
ter that she received her death-blow.
Toward midnight an explosion in the engine
room set the ship on fire and at the same
moment a bolt of lightning struck her wire-
less outfit and knocked the operator sense-
less. It seemed almost as if her doom had
been foreordained.
Captain McLeish encountering Graham in
the wireless room where a group of sea-
men were attending the unconscious oper-
"THE SPARKS OF FATE"
85
ator, turned to him in despair. "Allen was
our only operator," lie said. "Could you
send the call for help for us?"
Graham did not need to be urged. Al-
ready lie had his coat off and was seated
at the instrument while his practiced fingers
sought the key. The electricity sput-
tered and hissed while little flames shot
forth, and outside the lightning played sav-
agely about the pilot-house.
"S. O. S.," went the call. "S. 0. S. Steam-
ship Melba. Fire in the engine room.
S. O. S."
Far and wide went the call within a fifty
mile radius, the extent of the range of the
old ship's equipment. It was not a wide
radius, but it took in a certain wireless sta-
tion on the coast near the port from which
the vessel had sailed, just as Graham had
hoped it would. But a young man with a
lean dark face and frowning brows, who
was on duty there and whose business it
was to send out a call for help with the
station's powerful apparatus which could
reach any revenue cutter within a fifteen
hundred mile radius, and whom Graham
had hoped would respond, failed to do so.
Something was the matter with him. He
heard the call plainly enough, that was evi-
dent, for as he bent over the instrument,
the receivers to his ears, his eyes on the
storm-beaten window, his face whitened and
his lips grew tense and his hand shook.
"S. O. S.," came the call, "S. O. S.,"" im-
perative, urgent, a last appeal from men
who loved life and saw death just ahead
of them.
What evil influence could have seized
upon the operator at the station to make
him refuse to answer? It was the demon
of hate which he was fighting, which said,
"Kill your rival! Let the boat sink — don't
send help — let him die and be gone out of
your way forever!" His breath came in
gasps, tears of excitement and self-horror
rolled down his cheeks and the perspiration
burst from his forehead, but still he stayed
his hand and made no response.
But although the soul struggle which was
going on in that little room in the wireless
station was terrific, it could hardly be com-
pared to the supreme struggle for his life
and the lives of his comrades which Frank
Graham was making in the wireless room
8G
THE PHOTOPLAY MAGAZINE
on board the Melba. Again and again he
sent out that agonized appeal for help,
"S. O. S., S. O. S.," sticking to his task
although by this time the water was pour-
ing into the doomed ship and the crew and
the tew passengers had already taken to
the boats. Only the captain and himself
remained on board, and now McLeish was
standing by the operator's side and while
he fastened a life preserver upon the young
man, was praying him to give up his efforts
to get help and save his own life.
But Graham was a man whose will was
granite and whose fearlessness was heroic.
Get an answer from that wireless station he
must and would, and instead of obeying the
old seaman he only bent to the instrument
the more eagerly. It seemed almost as if
he knew that the force he was fighting was
not limitless space, but the hate of a human
being and that human being, Wilbur Hayes.
But now the time was short, for the old
tramp steamer, very nearly ready to give
up the ghost, gave a weary lurch to one
side and began to settle down. McLeish
tore the receivers from the operator's ears
by force.
"Boy!" he shouted, while the wind and
thunder tried their best to drown his words.
"Boy, if we must die there's somethin' ye
ought to know first. That lad back there
at the station, that Hayes fellow, cheated
ye when ye played that card game. He
cheated ye and I saw him and that's God's
truth!"
In moments like that of extreme danger
people do not waste time doubting each
other, and Graham, hearing with ears that
even without the receivers still strained for
a response from the station, took in what
McLeish was saying and a yell of baffled
love, and of rage because he had been tricked,
escaped him.
"Why didn't you tell me?" he cried, shak-
ing the other fiercely by the shoulders.
"Why didn't you tell me?" He pushed the
old man aside and ran wildly out on deck.
"Ruthie!" he shouted to wind and rain and
leaping sea and the next minute was strug-
gling in the water close to the old captain
who had followed him out.
At the same instant, Hayes back at the
station fifty miles away, was frantically
sending an answer to the Melba's call for
help. His better nature had come to the
fore at last. But too late. The instrument
was there still above water, and the re-
ceivers lay on the cabin table just where
Frank had thrown them, but there was no
one there to hear the call.
The effect which Frank's apparent defec-
tion had upon Ruth Donald was startling
to the girl. The minute that the note in-
forming her of his departure dropped from
her hands she knew that her whole heart
and soul were bound up in this man who
had gone away, who had left her for some
inexplicable reason, never to return.
Self-revelation has a trick of coming upon
us at the time when it is most tragic, and
Ruth's discovery that she loved Frank in-
stead of bringing joy only meant bitterness
now. "O, why couldn't I have known be-
fore?" she sobbed to herself all that night
while the two men were fighting their duel
by wireless across the deep sea. "Why
couldn't I have known in time!"
But there was a quality about Ruth
Donald's character remarkable in a woman
and especially in so young a one. She had
always been able to accept the past, to
realize that what was done, was done, and
not to permit herself to repine. So it was
that when this great blow came upon her
and she knew she had found her lover only
to lose him, she would not despair but set
about forgetting Frank as fast as possible.
And under the circumstances, it was natural
that she should turn to Wilbur to help her.
Really to forget is not so much to ignore as
to replace one set of ideas with another;
and before long the girl was twining the
broken tendrils of her heart's tenderness
about Hayes. For he was very good looking
and he loved her, and he had not gone
away and left her as her other lover had
done.
As for Wilbur, he had no hesitation what-
ever in profiting by his rival's absence to
make love to Ruth. Although he had been,
on the day following the storm, in a
wretched state of mind as a result of his
tardiness in answering the Melba's call for
help which he feared had resulted fatally,
his good spirits had been restored almost
immediately by a wireless message to the
effect that the entire crew had been picked
up by a revenue cutter. His conscience,
therefore, free from the thought that he had
been the means of causing Graham's death,
there was nothing to dampen the ardor of
his wooing for such a little thing as the
remembrance of the trick he had played
Graham in the card game, he did not allow
'THE SPARKS OF FATE'
87
to bother him. Six months from the time
of Frank's departure the two were engaged
and six weeks later, Graham, lying weak
and ill in a Boston hospital where he had
been ever since the wreck of the Melba,
read in the newspapers of their intended
marriage.
The crew r of the vessel had been rescued
by a revenue cutter which had not ob-
served Graham and the captain clinging to
seemed too horrible that his girl, Ruth, who
was herself the soul of honor and of truth,
should be tricked into marrying a man
whose true character was so little know-n
to her. A groan shook the cot on which
lie lay and the other patients in the sun-
tilled ward, turned in weak astonishment
to see what ailed the young fellow, who
through all his suffering heretofore had
never murmured.
some wreckage. The two men had been
intensely thankful, therefore, when a man
in a hydro-aeroplane had picked them up
the next morning just as they had become
almost exhausted with cold and exposure.
The news of Ruth's coming marriage to
Wilbur Hayes came to the young man in
the hospital with more of a shock even than
he had received on first hearing that fire
had broken out in the Melba's engine room.
It seemed too frightful that treachery
should have such a reward as that. It
A nurse came to his side and the
doctor who had just entered hurried up.
And just in time, for a very devil of rage
now stirred the soul of Graham, who was
one of those men who are slow to wrath
but terrible when aroused. He sat up in
bed and thrust aside the doctor and nurse.
"Give me my clothes." he said, "I have work
to do. Give me my clothes!"
They tried to hold him, arguing that he
was too weak to leave the hospital, but wild
horses could not have stayed him. He got
88
THE PHOTOPLAY MAGAZINE
his clothes on somehow, paid his bill and,
refusing all assistance, reeled from the
hospital doors and started on his journey
to the little coast town where Ruth lived.
The wedding was at five that afternoon and
he had just time to get there.
The beach sparkled in the afternoon sun-
light and an indolent sea rolled slow
breakers to the shore. The flag on the wire-
less station fluttered gaily in the breeze and
in the cottage where Ruth's mother had
been spending busy days getting ready for
her daughter's wedding there was much
mild excitement. A few friends had gath-
ered, the groom's arrival was expected at
any moment, and the bride was all ready
and waiting in an upstairs room. She had
been left to herself for a few moments and
was standing now looking at herself in the
glass and wondering if that girl with the
tense, pale face were really she. She had a
firm will and she had bent it to the task of
making herself feel satisfied with marrying
Wilbur, with all the strength in her power,
but now, when the crucial moment had ar-
rived; she felt almost as if it had failed her.
A horrible feeling that she had deceived
herself came over her and she began to fear
that when she had had Wilbur's arms about
her it had been Frank Graham's arms she
had been thinking of, and that it was his
kisses that she longed for — not Wilbur's.
A commotion downstairs made her start.
The bridegroom had arrived, and she must
go through with it! She straightened, like
a tall white lily, and stood proudly facing
the door.
But it was not Hayes who had caused the
commotion. A buckboard had dashed up to
the door and to the amazement of the guests,
who expected they knew not what belated
guest, Frank Graham, pale and thin, had
leaped out. Pausing only to ascertain the
direction of Ruth's room, he had flashed
through the astonished assemblage at the
foot of the stairs and in the next instant
was knocking at his beloved's door.
"Come in," said the girl bravely. She
thought it was the summons to go down-
stairs. When she saw who it really was
her knees almost failed her. It was too
much to believe that it was Frank Graham
who had returned to her just in the nick
of time. A cry of gladness burst from her.
"Frank! Frank!" she said.
Out through the open window rang that
cry and struck the ears of a dark-browed
young man in a new serge suit, who had
come up the path from the beach just in
time to see Graham's arrival. And at the
sound of it he picked up the new valise he
had set down in his astonishment, glanced
at his watch, and then looked anxiously
out toward the harbor where a tramp
steamer lay at anchor, the slow smoke
curling upward from her funnel.
TRUE PHILANTHROPY
DEGGY SNOW cast bread upon the waters a short time ago that was repaid
with heartfelt gratitude. A girl, now prominent in pictures in a Los Angeles
studio, had a chance to appear in a Thanhouser production last winter, but
she lacked wardrobe. "Peggy" heard of it and sought the girl out. She learned
that she had talent and appeared to have a future if given a chance. Finding
that the girl was thrown upon her own resources and had left a chorus in New-
York because the life wasn't conducive to health, Peggy took the girl into her
own dressing room and togged her out. She caught several days' work and had
access to some of Peggy's best dresses. Then a rumor went around the studio
of an opening for an ingenue on the coast. The girl was sent West at Peggy's
instigation with an introduction, and landed. Peggy's clothes adorned many of
the releases and a few days ago a letter came asking Peggy to sell them. But
the Nut Brown "Peg o' the Movies" saw more than money in that letter from a
thankful heart. She wrote the girl to keep the clothes, and as for payment,
should she run across a girl in like circumstances in the future to pass along
some of her own wardrobe. The real philanthropist doesn't necessarily have to
graduate from the stock market.
The Littlest Leading Lady
MISS CLARA HORTON— AGE NINE
By Mabel Condon
invisible spot on the short pink dress she wore.
"I don't see any spot, dear," answered Mrs. Hor-
ton, looking up from the trunk she was packing and
glancing suspiciously at her little daughter.
Clara laughed and raised her eyes — they were
swimming in tears and she confessed, "I know
there isn't any spot there. But I had to say some-
thing, didn't I?"
"Of course, but — " began Mrs. Horton and then
stopped.
"I know, but I thought maybe the tears would go
away and nobody need know," ex-
plained Clara in a penitent voice and
transferring
the service
of the
"I'm Nine
Years Old and
My Birthday's
in June and I
Always Have
a Party and a
Cake with
Candles
on it"
CLARA HORTON sat on top of
a brand new trunk and smil-
ingly declared she didn't a
bit mind going away out to Arizona.
"Not a bit," she repeated and em-
phatically shook her head as an accom
paniment to the statement. But her
lower lip trembled and two little white
teeth were just visible as they firmly
pressed down upon her lip and held the smile
in place.
"What can that be on my dress, mother?"
diverged, vigorously applying a handkerchief
00
THE PHOTOPLAY MAGAZINE
handkerchief from her dress to her eyes. "So
I just tried to turn attention to my dress,
'cause I don't want people to think I'm a cry-
baby 'cause I'm going away so far! And I'm
not going to be lonesome, either," she de-
fended, smoothing out the handkerchief's
border of lace with her fingers.
"But it should be lots of fun," I encour-
aged. "And such a change — and then you
can always come back, you know!"
"Yes, but meanwhile, who's going to play
with me like Mr. Alec Francis does on days
he's not busy and I'm not busy?"
Unfortunately, we had no solution to this
question and Clara con-
tinued:
"And who's go
ing to help me
dress my
dolls and
tell me
bara Tennant won't be
around to do it?" Again
our answer was si-
lence.
"But — I don't
mind, honest-
ly!" she smil-
!#
She Played the Lead |
in "Aunty's Money "•'■ *\ ^
Bag" with Such De-
lightful Poise That •> .
You Would Never ^
Suspect Her of a "<
Passion for Dolls - -
w hat
Fifth ave
nue's wearing
w hen Bar-
"I Wear Long
Dresses and Do
My Hair Up in
Some of the Plays
and That's Just as
Good as Being
Grown Up"
ed and resolutely put away her handkerchief. "Only
I will miss the Eclair studio here, and my dress-
ing-room and the nice people. But — " and again
she smiled and this time expectantly, "I'll have
a new dressing-room and the people in Arizona
must be just as nice as people are here. I'll just
have to get used to all the newness and then
I'll like it fine, I'm sure."
"You see, Clara's been here at the Eclair
studio for a couple of years now and she's so
used to it and knows everybody so well that it
will be a little strange at first, working in
Tucson, where she's never been before," put
in Clara's mother, who, instead of just being
Clara's especial helper, is wardrobe lady, as
well.
■ "Of course, I'm to take the trip with
I Clara," she added, kneeling beside the
THE LITTLEST LEADING LADY
91
For Months
Clara Horton
has been Play-
ing the Lead in
Juvenile Plays,
Which Are
"'Grown-XTp'*
Flays Done
Entirely by
Children
young lady so I could wear my hair up like they do."
"But," I offered, "Milly Bright and Helen Martin and
the other grown-up girls haven't got dolls to play with
and — " this was just a guess — "they don't have cakes with
candles on their birthdays."
"No, they don't!" responded Clara joyfully. "And I'd
rather be a little girl after all, I guess. Besides," as a
new thought came to her, "I wear long dresses and
do my hair up in those juvenile plays the director
has been making! And that's just as good as being
grown-up!"
"Certainly," we agreed and she continued:
"And sometimes I have a real baby to mind in
those juvenile pictures. And lots of times I'm
supposed to be a soldier or a tramp or a sailor
trunk to smooth down a gay little velvet coat and to pile
other little garments neatly on top of it. "I'd never let
Clara go alone; I've always traveled with her. And she's
nine years old now," she said proudly. And the girl who
was nine repeated, also proudly:
"Yes, I'm nine. My birthday's in June and I always
have a party and a cake with candles on it. I'm anxious
to be ten 'cause then, there'll be two figures in my age
instead of just one. And I know I'll feel ever so much
older!"
The wardrobe lady smiled into the trunk and
patted the garments of the nine-year-
old. The latter didn't notice the
smile and talked on:
"Milly Bright and Helen Martin
and the other girls who are grown-
up, wear such nice things and do
their hair up — and I wish I were a
"At the Court of
Prince Hake-Be-
lieve" Called For
Costumes, Scenery,
and last — Though
Not by Any Means
Least — For Act-
ing of the Highest
Order
i>2
THE PHOTOPLAY MAGAZINE
spare moments to herself and her dolls.
"I have some awfully pretty things," was the
thought that emerged after Clara's short
silence. "And my mother made them for
me; all of them," she went on and
smiled gratefully at the mother who
had made so many pretty things for
her. "And I make all my clothes
my dolls wear," she continued. "I
guess I take after mother that
way, in sewing, and after grand-
mother, too; for they both can
sew anything — almost," her truth-
telling nature asserted itself over
her great admiration for the ability
of mother and grandmother.
"Only," she confessed regretfully,
"I can't use a thimble." There was an
And Now Clara is Going to Tucson, Arizona,
There to be "Leading Lady" with a Com-
pany Made Up Entirely of Children
or a society man with a silk hat.
It's lots of fun being a man! I
like to be a boy, too, and lots of
times I am. Only one can't have
such pretty things to wear, being a
boy, as they can being a girl. So
in honest-to-goodness life, I'm glad
I'm a girl." She rapped her heels
against the side of the new trunk,
clasped her hands in her lap and
seemed to have forgotten that she
was going away from the
Eclair studio at Fort Lee,
N. J., to the Eclair studio
at Tucson, Arizona; and
which latter studio
Clara doubted would
produce anybody
as nice as
Alec Fran-
c i s, w h o
devotes
"The Eclair Kid" Has Already Appeared
in 250 Motion Pictures
appeal for sympathy in the
big blue-gray eyes and
their owner further ex-
plained, "When I put a
thimble on, my finger
just sticks straight out
and won't bend, or a
thing. But it will, some-
time, for I'm going to keep en
putting the thimble on it and
can't stay sticking out like that
all the time; do you think so?"
THE LITTLEST LEADING LADY
03
"Certainly not," we said, and admired the
youthful seamstress' determination. Among
your acquaintances had been girls whose
'thimble-finger acted the same way.
"You didn't tell why you're going to Tuc-
son, Clara," reminded Clara's mother, as she
folded a dozen or more pairs of small hose
and tucked them neatly away.
"0, I thought you knew!" replied Clara,
her big eyes expressing wonder at anybody's
not knowing. "There's to be a juvenile com-
pany formed at the Tucson studio and I'm
to be the leading lady," she announced,
changing her position to avoid the shaft of
sunlight that was gradually dispossessing her
of the trunk.
"For months," went on Clara, "the other
children around the studio here, and me,
have been doing juvenile pictures; but out
in Tucson there's to be a regular company
and a regular director, just for us! So that's
why they're sending me to Tucson and I
hope there'll be lots and lots of little girls
and boys there who are just my age. I love
to play with other children in pictures and
afterward. But I'm taking all my dolls so
I'll have children to play with, even if there
aren't any who are really Tucson children.
"Some of my dolls the people at the studio
gave me and some of them I've had for
long before I came to the studio at all." She
paused and figured out how long that was.
"Two years, isn't it, mother — or more?"
"More," replied Mrs. Horton.
"And what did you do before coming to the
studio?" I asked the little girl on the trunk.
"Well, first — do you want to know all
about me from the first?" she asked.
"Then, my mother will have to start it
for I don't remember from the first," she
declared.
"She was born in Brooklyn, on Halsey
street," Mrs. Horton began, tucking two
pairs of white kid slippers into a pink silk
basket — Clara's sewing basket. "And from
the time she was able to walk, she wanted
to dance. She went to school when she was
five and at the Christmas tableaux, did a
toe dance that attracted the attention of a
theatrical man who was present and he gave
her a course of study in dancing at a school
and then put her in the production, 'Jack
and the Bean-Stalk.' The show went on the
road after a while and I went with Clara
and we traveled from coast to coast."
"I remember the rest, mother," said Clara
eagerly when Mrs. Horton paused between
the selection of a small hat-box or a shoe-box
for a measured space in the top lift of the
trunk.
"After 'Jack and the Bean-Stalk,* I was in
a— a—"
"Pantomime," prompted Mrs. Horton.
" — of 'Cinderella' " went on Clara, not
venturing to pronounce the word at which
she had hesitated. "Then we came over to
this studio one day and the director said
he was looking for a little girl with long
curls like mine, so I was in one picture and
after that I came here to stay. Isn't that
right, mother?"
"Yes, that's right, dear," came the reply.
"And I've had a teacher for three hours
every day and I'm studying hard so I'll know
just as much as though I went to a public
school every day with the children who don't
work in pictures for a living."
"Oh, mother," she exclaimed, on noticing
her mother discarding the shoe-box. "I must
have that."
"I don't think you'd better take that with
you, Clara," advised Mrs. Horton.
"But I can't leave it here, mother," wailed
Clara, holding the box tight in her arms.
"You can't play with it any more for it's
all broken," further advised Mrs. Horton, as
though that ended the matter. But it didn't,
for Clara had her own idea of what was to
become of the broken contents of the shoe-
box.
"It's one of my dolls," she explained to us
and then revealed her plan. "The head's
smashed and the hands and feet, they're
smashed, too, and the legs were chewed by
Teddy, the pup, but I can't throw the pool-
thing out, even if it is, that way — so I'll
tell you what I'll do!"
She turned from me to her mother and
back again and there was a light of wonder-
ful wisdom in her eyes.
"I'll take her to Tucson, and when I get
a'quainted with the other children there,
we'll have a beautiful fun'ral and maybe put
up a tomb-stone!"
Room was made in the crowded trunk for
the shoe-box and I wished the little golden-,
haired girl lots of playmates and fun in her
Arizona home.
"I'll write you about the fun'ral!" she
called after me and waved a good-bye until
the trees hid her. And that's the kind of
little girl the popular Clara Horton is. Is it
any wonder that the "Eclair kid" is a uni-
versal favorite?
She Was Very Quiet Until Td Got My Cigar Going Properly. Which Was Evidence Enough That She was Going to Make
Up for Lost Time When She Sid Start Speaking
s •.
By Vivian
Barrington
Miss Laura Leonard
HEART SPECIALIST
Illustrated
by J. Clinton
Shepherd
V. — A Mistaken Diagnosis
Being an Account of How it was Discovered that Jimmy Stansbury
Didn't Have a "Yellow Streak"
I GOT to notice, after I'd really begun
keeping tabs on Laura Leonard and her
little tricks with people who were en-
gaged, or she thought ought to be engaged,
that we were usually happier in the Ventnor
outfit when we were on the road. By that I
don't mean really travelling, of course. But
there'd be long stretches when we'd be all
together, like a great big, happy family,
down South, or out West somewhere, or
maybe abroad.
We did that travelling for various reasons.
One was that Billy Crandall liked the idea.
He was pretty fond of a change of scene
himself, and he figured that it was a good
thing for the company.
"Wakes them up," he said to me one day.
"Why, Fred — even you're nearly human
when you've got a new place and a lot of
different sorts of people to get used to."
I guess he didn't quite mean that. But he
was right enough. We'd get stale when we
stayed too long up at the home plant in
Westchester county. Of course, it was fine
and dandy there. I don't think I've told you
much about it. But anyhow, the big boss
had really put that place on the map. He'd
sold little patches of ground to any of the
people who wanted to build houses, and a
whole lot of the married ones had done that
— and some who weren't married, like Laura,
for instance, who had the niftiest little
bungalow you ever saw. The terms were
easy, you see, and it was a good way to save
money — and, beside, if the big boss liked
anyone well enough to fix up a deal for land,
and lend them money to build, it looked
as if they had a pretty good mortgage on
their jobs, too.
Then he's put up a sort of hotel that
wasn't the regular kind at all. I lived there,
and so did a lot of the others who were foot
loose and free — more or less. It was run just
for us, and, while it wasn't any charity, and
made a bit more than its expenses right from
the start, it wasn't intended for a money
making scheme, either. All the boss wanted
it to do was to break even, so the rates, con-
sidered from the point of view of New York,
or of the places right near that imitation
of a town where the gas wagons stop and the
bubbly wine is piped in, were a joke.
And, as for the facilities for making pic-
tures — gentlemen, hush! There wasn't any-
thing known that we didn't have. The
studios were all steel and glass. They were
cool in summer and nice and warm in winter.
If it was hot there was an air cooling plant
that must have cost a wad of money ready
to go to work, and — oh, well, it was right.
that's all — right. We could do more stunts
around that place than you ever dreamed
of. But If I ever started giving away how
we got some of the effects that look so
darned near impossible on the screen I'd
lose my job, and Billy Crandall — he's our
director, you know, and responsible for every
foot of our Ventnor brand film — would kill
me, beside.
But, even so, the place would sort of pall
95
THE PHOTOPLAY MAGAZINE
on us. Perhaps it was too darned perfect.
A place — or a person — can be like that, you
know. And maybe we needed a little rough
going once in a while. I guess that had a
lot to do with it. You see, the Ventnor was
our first brand. Laura and I and Billy
Crandall had been with it from the very
start, when the big boss risked every cent
he'd made in a perfectly good commission
business busting into the movies — which was
a new game then. Some of the others had
been around a long time, too, but, for one
reason and another, we three were the only
ones who'd actually started with the brand
and stuck right through. And in the early
days we'd made our pictures in a condemned
loft building over by the Hudson river, in
New York — because it was the only sort of
building we could use without getting the
owner's fire insurance cancelled.
That owner didn't care whether the build-
ing burned up or not, of course — it would
have saved him the cost of having it torn
down if it had, as a matter of fact. We
cared, but we were too busy, most of the
time, to think about it at all. Of course,
everyone would know how we made good,
if I gave real names in this yarn, which I'm
not going to do. We lost a lot of money at
first, but when we once started getting it
back we made the profits of that commission
business look like the takings of an ice
cream stand on a wet Sunday at Coney
Island.
But in those days, of course, we weren't
being petted and pampered any to speak of.
When it was hot in that fire trap it was so
hot that we knew all about it — and, ten to
one, we'd be working in a costume play
that needed fur overcoats, at that! And
when it was cold it was so cold we wondered
if blue lips would show in the film — and
then, like as not, we'd be doing a bathing
beach scene! Even when the money began
coming in, we Ventnor people had our rough
times. We did a trip around the world, and
we had some experiences I'd like to tell
about, if there was time. Maybe I will,
some time. So, not being like the new crowd
of movie people, who'd come in on the crest
of the wave of success that carried the in-
dustry along, all the luxury up in West-
chester did pall on us.
Well, I've wandered along, the way I
always seem to do. But I've got something
definite on my mind. And this is the start
of it. Up there in Westchester we weren't
likely to be happy, for very long at a time.
When we really enjoyed it there, was when
we'd been having a fierce time outside, and
came back to all that comfort. Then it was
great. But if we stayed there long enough
we'd get mean, and ugly, and quarrelsome,
and there were mighty apt to be doings..
There were too many of us there, for one
thing. • And there'd be jealousy, and some
things that were worse. You take three or
four hundred people, tied up pretty well to-
gether, and there'll be a certain number of
them that need looking after — especially in
a crowd like us. Things that aren't pretty,
happen.
I don't mean that we behaved the way a
lot of people seem to think. There's folks,
you know, who think that anyone connected
with the show business is no better than he
should be. I don't believe that — not even
about the regular stage. And I know it isn't
so in the movies. I'm not saying that some
sort of unpleasant things don't happen.
You're bound to find that, of course. But I
do say that you'll find about the same pro-
portion of people who are off color anywhere
else.
One thing, though, I've got to admit. And
that is that folks, especially young folks,
who aren't any too well balanced to start
with, are apt to find it pretty easy to go
wrong. That's natural, too. They haven't
any judgment, as a rule, folks like that.
And they find that a lot of the restraints
that go in most businesses are sort of cut
away in the show business. People call one
another by their first names. And they've
got to be awful intimate. It's hard, once in
a while, for folks like that to figure out just
where the imaginary business stops and the
real life begins, and they carry one over into
the other — not always, or even often, but
often enough to make trouble, occasionally.
Laura didn't have any sort of patience
with anything like that. She wasn't tolerant
a little bit — not when anything like that was-
concerned. She was clean herself, all the
way through, and she didn't want anything
to do with folks who weren't. Neither did
Billy Crandall, though he put it straight on
business grounds. >
"If people are cutting up," he said, "they
can't work right. Their morals aren't any
of my business — but the way they do their
work is."
All of which brings us right up to Jimmy
Stansbury. Jimmy was some boy. At the
MISS LAURA LEONARD— HEART SPECIALIST
97
start I didn't like him any too well — as a
man. But as an actor, and especially our
sort of actor, he had everything. He could
act by sheer grace — no one had ever taught
him. He could just do it. Give him a part
and he'd find out what sort of a man he
was supposed to be playing. Then he'd think
it out — and, in front of the camera, he was
that man. That's intelligence, or brains, or
whatever you want to call it — anyhow, it
means he had a headpiece and knew how to
use it. And he had the looks. He was the
handsomest devil you ever saw. ■ Black hair,
with just the least bit of natural curl, brown
eyes, a skin like a baby's, and the kind of
body a man gets from playing football and
other violent games like that. Matinee idol?
He was born one — and that must have made
a lot of the trouble.
He'd always had it too easy, of course. He
was born'to be popular — and men liked him
as well as women did, which was going
some. Most men, that is; pretty nearly all
of them. In college he'd had all the fraterni-
ties sitting up nights trying to get him. And
he'd made the football team as soon as he
showed up in a suit. I'm telling what
people who'd known him told me, now, of
course. And the man who gave me most of
my information happened to be one of those
who didn't quite like Jimmy. Because —
Jimmy had a little bit of a yellow streak in
him, he said. There was bound to be a fly
in that ointment, you know. Jimmy was
just a wee bit too good to be true.
He'd had a lot of luck, according to this
friend of mine. It pulled him through on
the football. Just for instance. This chap
told me that once, in a big game, Jimmy had
the ball, just before the finish, with the score
a couple of points against his team. He had
a clear field — except for one man. And he
went steaming down to him. Just one thing
for him — the old straight arm. But he
funked it, at the last moment, and dodged.
That got him by the man who was waiting,
all right. But also it ought to have given
the man behind time to catch him. But —
the man behind tripped, just then, and
Jimmy got his score — and a yell from thirty
or forty thousand people who could only
see that he'd won the game. Of course, when
he got away with it, everyone called it fine
judgment, and all that. But — I figured that
the few who said it was a sticking out of that
yellow streak, were right.
We drew Jimmy when Arthur Symonds got
promoted to be a star, his job being that of
juvenile lead. He wasn't booked for any-
thing but stardom himself, for very long,
but he needed some experience, and he had
sense enough to see that himself. And, be-
side, playing leads opposite to Laura Leonard
wasn't anything for any actor to kick about.
She was in a class all by herself, and so
big that no one even got jealous of her.
Not professionally, that is. In other ways
— well, there was Sonya Kreshna. She was
a queer one. She wasn't one of our Ventnor
people at all, but was working in another
company. A Russian — which was why, I
guess, we thought she was queer, which she
probably wasn't at all, if only we could have
judged her from her own point of view. We
would probably have seemed much queerer
if we'd been set down in Russia.
Sonya and I never really got along. I was
scared of her. But she was good, in her own
line of stuff — which was a line Ventnor films
didn't go in for much. The big boss's wife
had spotted her, at a time when a Russian
revolutionary film was being put on. Sonya
got into her sight in a slumming trip down
on the East side, and the big boss, acting on
a suggestion he knew was likely to be good,
sent her up. And, once she arrived, she
stuck. In emotional, tense dramas Sonya
was immense, because she didn't have to act.
All she needed was to be herself and do as
she was told. Laura insisted she was pretty,
but I didn't like her style.
Well, Sonya proceeded to get a crush on
Jimmy Stansbury. That was fjmny, because
she was a good deal of a high brow and he
wasn't. He was clever enough, you'll under-
stand, but his bookcase was stronger on
Rex Beach and George Barr MeCutcheon than
on Turgeniev and Hauptmann — if I'm spell-
ing those wrong, excuse me. When Jimmy
took a night in town and went to the theatre
he registered the tired business man expres-
sion, too, and he wanted a front row seat at
a musical comedy or else stall room at a
revamped French farce. When he felt
serious, and wanted something really deep,
he headed for Belasco's latest show. Sonya
— well I got roped in once to take her and
Laura to a special performance of a lot of
one act plays by some Russians whose names
I can't even spell. I don't know what, those
things were about, but if I'm anywhere near
right in what I thought was going on, An-
thony Comstock must have been loafing on
the job. Laura liked them, too, though —
U8
THE PHOTOPLAY MAGAZINE
and I guess I'll have to get used to them.
I wish you could have seen that girl go
after Jimmy! It was a liberal education.
Even I got on to it — and that meant she
was going some! At first Jimmy was amused.
Then he got scared. He tried to duck. But
it wasn't any use. And then he got in-
terested, and flattered. And I thought it was
all over but the shouting. Where I was
wrong — like I usually am. But, at that, I
was primed to stand up to Laura when she
opened up about it one night. I'd been din-
ing with her and we were sitting on her
porch. She was very quiet until I'd got my
cigar going properly — which was evidence
enough that she was going to make up for
lost time when she did start speaking.
"I don't like the way Jimmy Stansbury's
acting with Sonya Kreshna," she said,
finally.
"He isn't acting at all," I said. "He ran
iway as long as he could — and then, when
he saw it wasn't any use, he rolled over and
played dead. Be reasonable, girl — what more
do you want?"
"She's too good for him," said Laura,
pensively. "But — if she wants him, that's no
reason why he should break her heart. She's
got one to be broken, you see, she's not
just like the rest."
I suppose Jimmy had left a few palpitating
hearts more or less dented behind him. And
I guess most of them had responded to glue
or cement, too.
"I think I'll break it up," said Laura,
suddenly. "He wouldn't want to marry her.
I doubt if he'd do it."
"Suffering cats!" I told her, gently as I
could. "That's a new play for you, Laura!
Sure you mean it?"
"I think so," she said. "He's trifling with
her." Her lips set sort of tight. "And she's
too good for anything like that."
Well, we had quite an argument. I've
hinted that I didn't feel any deep affection
for Jimmy, but, at that, I liked him a lot
better than I'd expected to when he first
turned up. He was sort of decent in a lot of
ways. If I hadn't had that sneaking memory
of the yellow streak, I'd have been pretty
fond of him. And, anyhow, it seemed to me
that Laura wasn't making just the right
diagnosis. I was willing to admit she was
right and I was wrong, as a rule, no matter
how things looked. But not this time. I
couldn't see Jimmy doing the pursuing.
But I didn't get anywhere with my argu-
ment, of course. I've got to admit that Laura
was obstinate. And, beside, after that there
did get to be a good deal of talk. When
Jimmy once stopped running he made a good
job of it. He and Sonya were around to-
gether a whole lot, and people began hinting
— though never to Sonya — that if they
weren't engaged, it might be a good idea if
they were. Laura sprung that when we re-
sumed the argument. She was really ex-
cited by that time.
"It's the rottenest thing I ever saw," she
said, getting fierce and vehement. "Is any-
one wondering whether Sonya will take him?
Not a bit of it. The only question anyone
thinks of asking is: 'Will he marry her?'
That's what makes me so furious!"
There was something in that, too. I
guess I'd better explain that Jimmy didn't
have to do this movie work at all. He just
liked it. In fact, it had made his family
pretty sore. It was one of those pretty good
families, with a whole lot of money. And
until it occurred to one of the women who
was spending its money that Jimmy's eccen-
tricity gave the family press agent a chance,
they'd been disposed to jump him. But
that turned the trick. It made them stronger
than ever, because a whole lot of society
people fell for him just as hard as the shop
girls did, and his mail was pretty well salted
with the sort of paper that costs more than
the stamp. Jimmy had some classy friends.
They used to come out in parties, in their
automobiles, to see him work, when he got
strong enough to invite them.
"He's a snob," said Laura. "He'd never
marry Sonya — he'd remember that he'd
have to introduce her to his friends, and
that she'd queer him with them. They
wouldn't have sense enough to see what a
dear she was."
"That isn't any reflection on their sense —
it's a compliment," I said. "Take my ad-
vice. Stay out of this."
And I guess she wished she had, too,
about two weeks later. She started in to
cut Sonya out. That was an old trick of
hers, and she could -work it either way.
Once she led a man on, as I guess I told
you, and then turned him down — so that
the girl she was backing got him on the
rebound. But this time the idea was to
make Sonya see him in his true colors,
and make her sore at him. A nice little
plan, but it didn't allow for Sonya's tem-
perament.
"What a Surprise," He Said, "You Don't Enow My Wife, I Think '
100
THE PHOTOPLAY MAGAZINE
Right off the bat, Jimmy didn't fall as
hard as he ought to have done. He swelled
up a little at having Laura take notice of
him the way she did, and that was natural.
But he didn't lose his head entirely, which
most of the men in the outfit had done, one
time or another, without any sort of en-
couragement at all from her. And then —
Sonya. She got mad all right — but it
wasn't at Jimmy. Not a bit of it. She
went for Laura.
I heard the details a long time afterward,
when Laura got to seeing how funny it
really was. Sonya didn't act delicately
about it at all.
"You are flirting with Jimmy," she ac-
cused Laura, right out, having walked home
with her one day to do it. "Stop it! He's
mine — I want him!"
Disgusting, wasn't it? Unwomanly? H'm
— probably! Irregular was about the worst
I'd call it, though, for myself. It was that.
Laura was so mad that she forgot, and
began telling the truth. She explained
that Jimmy wouldn't marry her. She told
Sonya she wanted to save her from a blun-
der. And then it came out. Sonya didn't
care whether he married her or not!
Laura got results, all right, if they weren't
the sort she wanted. One was that Sonya
quit speaking to her. And another was
that Jimmy, acting pretty sheepishly, wasn't
any more cordial to her than being her
leading man required him to be — which
filled me with a hankering to punch his
head. And another, which was the worst
of the lot, we didn't get on to right away.
It was sort of gradual. First, Sonya quit —
quit the place and her job. Then Jimmy
moved from the hotel. Wanted to be in
the country, he explained. He got a little
place a few miles out, and went back and
forth in his car. And then came a little,
nasty, gossiping hint that Sonya was around
that little place a whole lot.
That sent Laura right up in the air. She
felt that it was her fault, and I never saw
her feel worse. I tried to' make her see
that it wasn't; that if they were going to
behave that way they would have done it,
anyhow, sooner or later. And I'd been read-
ing up those Russian people a little, and I
tried to explain, not making a very good
job of it, that I thought the ideas they'd
given Sonya ought to get some blame.
But: "No," says Laura, registering trag-
edy, and meaning it, too, "it's my fault!
And I've got to straighten it out, too! It's
that beast, Jimmy Stansbury! You wait — "
She didn't say any more. But she went
to work. And it was quite a while before
I saw what she was up to, too. Her first
move was to start being nice to some of
Jimmy's society friends when they came.
She let them be introduced, and she asked
some of them to her bungalow to tea. And
pretty soon they were coming more to see
her than Jimmy. He didn't suspect any-
thing. There was no reason why he should.
And finally, she asked them up on a day
when he wasn't going to be over at all —
he'd hurt his foot and had to rest.
And what did she do? Not a thing but
propose a drive through the country!
"Fred can beg a big car and drive us,"
she said. "And we'll run over and make
Jimmy Stansbury give us tea! I haven't
seen his country house yet!"
"Neither have we!" chorused two or three
of them. One of Jimmy's aunts was along,
and the rest were people who use Central
Park as a front yard.
See? I tried to duck — but I knew I
couldn't. There was nothing to it, at all.
There was Jimmy, on his front porch, rest-
ing — and there was Sonya, too. She be-
longed there. Otherwise her dress wouldn't
have been right, at all — it was one of those
homey things. And one look inside settled
it. He was cornered — and he couldn't do a
thing but:
"What a surprise!" he said. "You don't
know my wife, I think? Yes — we meant to
keep it quiet a little longer, but . . ."
He might as well have been married in
a cathedral and all the Sunday papers.
There wasn't a thing to do but make good
after that. I knew it; I guess he knew it.
And Laura, of course, had planned it out.
He came up to me, while I was fussing with
the car. I thought he was going to kill
me — and I wasn't going to lift a finger.
"Isn't Laura a wonder?" he said. "Sonya'll
have to marry me now — and I guess I'll
show her. . . . You may not believe
me — but she wanted it like this. I told
her it was all wrong. But — "
I began to see why I'd been trying to
like him all along. I guess that stuff about
the yellow streak was all wrong. And,
you'll notice, Laura won out, after all. Be-
cause they did get married, with us for
witnesses, that same day. And there isn't
a happier couple in the game!
"The Lynnbrook Tragedy"
"Why Can't You Get He Something Worth While?" Asked Vivian Gregg of the Perplexed Manager
TWO STORIES— A MOTHER'S AND A DAUGHTER'S
By Marie Coolidge Rask
Scenario by Mrs. Owen Bronson
Illustrations from the Kalem Film, Featuring Alice Joyce
A'
ND now come — come — with me — to
light, to life, to liberty."
An eloquent silence followed the
reading of the words For half an hour the
deep, rich tones of James Mitchell's voice
had held the attention of his fiancee and her
sweet-faced, invalid mother during the read-
ing of the play upon which all their plans
for the future depended.
"Well, how do you like it?" he demanded,
leaning back in his chair and surveying,
with an air of paternal pride, the type-
written pages spread out on the table before
him. "Do you think it will make good?"
With a deep sigh of satisfaction Ruth
Malloy came back to the earth from which
the reading of the play had transported
her.
"It is splendid!" she exclaimed, with tears
in her eyes. "It can't help but meet with
approval. Oh, Jimmie, I am so proud of
you." She extended her arms across the
table toward the smiling young man, now
busily engaged gathering the scattered pages
of manuscript together.
A spasm of pain crossed the face of the
invalid in the chair by the fireside. She
pressed her hand to her side but recovered
101
102
THE PHOTOPLAY MAGAZINE
herself before the young people at the table
looked around.
"It was very interesting," she said, softly,
"and remarkably well written. The author
deserves much credit for his perseverance."
"Thank you, Mother Mine," laughed Mitch-
ell, rising and crossing over to the side of
the invalid. "And when the play is pro-
duced and the cries of 'Author, Author,'
resound from every section of the theatre
you are going to be right there in a box to
witness the triumph of your first son-in-
law." He bent down and kissed her tenderly
on the forehead.
"I am afraid I shall not be there," she
whispered, gently stroking the hand of her
pretty daughter who now knelt by her side,
"but I thank you for the kind thoughts
which prompted you to include me in your
plans."
The sad eyes of the speaker seemed to
look far off into the future — or was it the
past — as she spoke. The delicate, blue-veined
hands resting lightly in her lap seemed' more
than usually transparent, and the wan, white
face bore traces of a sorrow not altogether
accounted for by the presence of physical
pain. Ruth had often wondered what caused
the premature whitening of her mother's
hair and brought the pathetic droop to lips
which never curved in laughter.
"Mother does not seem so well this even-
ing," whispered Ruth to her lover as he bade
her good night, "but she has taken such an
interest in the play. You must come to-
morrow evening and tell us how you succeed
with the managers."
"Oh, I'll come," laughed Mitchell, gaily,
as he descended the steps. "Maybe I'll bring
the play back with me."
"No, you won't!" called Ruth from the
door. "They'll want it — every one of them —
and the first one who reads it will keep it,
never fear."
Early next morning the young playwright
started out to make the round of the man-
agers. He was a trimly built young fellow,
keen eyed, with clear cut features, waving
dark hair and a genial personality that won
for him hosts of friends.
In the office of John Thornton, theatrical
manager, a handsomely gowned woman sat
petulantly discarding as unfit every manu-
script which the weary manager offered for
her consideration.
"Too thin," she remarked after a cursory
glance at one of the plays. "Not enough
plot," was the comment which the second
elicited. "Lacks originality," she said of the
third as she tossed it contemptuously back
on the desk. "Why can't you get me some-
thing worth while?"
The manager groaned, inwardly. "I've
cornered the market," he exclaimed, "and
still you are not satisfied. Guess we'll have
to get someone to write one for us."
"Well, get it done quickly, then," she
replied. "For weeks the whole theatrical
world has been speculating as to what Vivian
Gregg is going to star in next season. We
ought to be rehearsing now and here you've
not even got a play selected."
Miss Gregg, for it was she, rose, and with
the air of an injured queen, took her de-
parture. As the elevator door swung open
to admit her, James Mitchell stepped out
and disappeared into the manager's office.
When he emerged half an hour later his
beaming countenance attested the fact that
Ruth's prophecy had been fulfilled and the
first manager to whom he had offered his
play had promised to consider it.
Vivian Gregg, in her beautiful country
home with its carefully cultivated atmos-
phere of Bohemia, surrounded by congenial
friends, received the news that her manager
was interested in the work of a new play-
wright with much satisfaction. Ambitious
and avaricious, Vivian Gregg's whole life
had been devoted to planning and scheming
for her own advancement. As a girl she had
known nothing but unhappiness. Everyone
had been against her. In her resolution to
better her condition, to secure an education
and to develop the talents with which she
knew she was endowed regardless of the
means employed, she failed to realize that
she was crushing out all the highest and
best instincts of her nature.
Her temperament demanded beauty, lux-
urious surroundings, pictures, music, the
association of clever people. In her child-
hood she had chafed against circumstances.
As a girl she had rebelled against the world's
injustice. In the early days of her career
she had found herself deceived and disap-
pointed by those whom she had trusted. Her
attitude toward the world grew more bitter,
her confidence in men was forever destroyed.
Henceforth they were nothing to her except
as they might be able to serve or amuse her.
Dazzlingly beautiful, talented, her rise to a
position of prominence in the realms of
Bohemia, as well as in her profession, had
"THE LYXXBROOK TRAGEDY"
103
at last been the reward of her struggle.
The name of Vivian Gregg was known
everywhere.
The success and favor which had attended
James Mitchell's visit to the great theatrical
manager filled the heart of the young play-
wright with great expectations. He hastened
to tell Ruth, but at the Malloy home there
was little opportunity for rejoicing. Mrs.
Malloy was much worse. Ruth was greatly
alarmed. Mitchell himself telephoned for
the doctor. When the physician arrived
the sweet-faced, long-suffering little woman
with prematurely whitened hair was already
past hope.
During the days of sorrow which followed
ail thought of the play was forgotten. Then
John Thornton sent for Mitchell, explained
the possibilities which lay before him, and
himself aided the less experienced man to
reconstruct the play along lines especially
suited to the famous star, Vivian Gregg.
Ruth Malloy, so suddenly bereft of the
mother whom she had idolized, was well-
nigh inconsolable. The fact that she must
at once look about for some occupation, and
her love for Mitchell, alone sustained her.
He pleaded with her to marry him, but she
refused to consider this until his success
had become assured. With the ultimate suc-
cess of the play yet in question it would not
be wise, she argued, for him to"burden him-
self with a wife. She had a plan, she
insisted, by which she would be quite able
to support herself until such time as Mitchell
should be in a position to marry. What the
plan was, she would not disclose.
A few days later, when Mitchell arrived
at the house unexpectedly, lie found Ruth
on her knees before a partially draped lay
figure such as dressmakers use. Odds and
ends of lace, silk and various fripperies of
fashion were scattered about.
"Ruth!" he exclaimed, in astonishment,
"You don't mean that you are going to — "
" — open a dressmaking establishment?"
finished Ruth, smiiing. "Not exactly. Rather
an establishment for exclusive designs. I'm
"But Remember," Mitchell Insisted, "as Soon as My Play is Assured This Designing Corporation Goes Out of Business"
104
THE PHOTOPLAY MAGAZINE
rather good, you know, in the development
of artistic ideas." She was very pleased
at the success of her little surprise.
When Ruth explained her plan in detail
Mitchell reluctantly consented. "But remem-
ber," he insisted, "that as soon as the success
of the play is assured, this designing cor-
poration goes out of business."
"Of course," Ruth answered. "This is only
a temporary arrangement — a mere experi-
ment."
But the experiment proved a success. The
gown designed by Ruth and exhibited in a
shop window brought many fashionable ap-
plicants to the young girl with the Madonna-
like face, the soft voice and winning manner.
She found her designs the fad of the hour.
A reception room- and assistants became
necessary.
"I shall have to use Mother's desk," Ruth
remarked, reluctantly, one day when she
was explaining her rapidly increasing busi-
ness to Mitchell.
That evening, sitting before her mother's
desk, tearfully looking over the letters and
papers so carefully put away by the dear
hands she had loved so well, Ruth came
across a small packet, tied with faded ribbon."
Thinking they were letters from the father
whom she had never seen since an infant,
she untied the ribbon and opened the letter
that was uppermost. A small picture fell
out. She picked it up and looked at it.
Placing it on the desk, she turned her atten-
tion to the letter. It was very brief. As
she read it the affection which had shown
in the girl's face upon viewing the picture
gave place to surprise, shame and anger.
This, then, was the cause of her mother's
secret sorrow.
"And though you have always been a loyal
and loving wife," read the letter, "I am not
morally strong enough to resist this other
love which has come into my life — "
Ruth could read no more. Throwing her-
self down in front of the chair in which
for years her mother had so often sat, she
bowed her head in her arms and gave way
to unrestrained grief.
It was with a sad and heavy heart that
she entered her little atelier next morning.
With the advent of the first customer, how-
ever, all was, for the time being, forgotten.
Vivian Gregg, the great actress, had seen
her designs and liked them. She would
consider having Ruth supply the designs
for her season's wardrobe. Realizing the
advantage it would be to have the patronage
of such a woman, Ruth exerted herself to
meet the exacting demands of the spoiled
woman. She explained that her method
consisted in studying the personality of her
subjects.
"That is just what I want," declared Miss ,
Gregg. "I should like every gown to express
my soul and personality. There must be
complete individuality in every creation."
"I regret that I have had so little oppor-
tunity for seeing you," commenced Ruth
when Vivian interrupted.
"Come down to my country home," she
exclaimed, in a burst of enthusiasm, "and
spend a week. Then you can study me in
my own environment."
The day that Ruth Malloy arrived at the
country home of Vivian Gregg also marked
the arrival of James Mitchell. Thornton
had insisted that he must read his play to
Vivian himself and, pursuant to a suggestion
from her manager, she had written to
Mitchell, asking him to bring the play and
come for a week at the same time when a
costumer would be present to design the
gowns to be worn in the play. As Vivian
was naturally unaware of the engagement
existing between the young playwright and
the new creator of exclusive fashion designs,
Ruth and Mitchell deemed it best to make
the journey to the actress' country house by
separate trains.
Very beautiful was the environment in
which Vivian Gregg had established herself
at Larchmont. Broad piazzas, supported by
columns of roughly-hewn stone, overhung
with masses of clinging vines, surrounded
the house. On the lawns tall trees stood like
majestic sentinels on guard before a palace.
From the window of the room allotted to
Ruth a rose garden could be seen that filled
all the air with fragrance, while just be-
yond, a rustic summer house, readied by a
small bridge across a miniature lake com-
pleted the picture spread out before the
eyes of the enraptured guest.
"Like a dream of paradise," she murmured
to herself as she turned to go down and
meet her hostess. "No wonder Miss Gregg
wished me to study her in her own environ-
ment."
But if the atmosphere of beauty, art, music
and luxury had its effect so instantly upon
Ruth, the subtlety of their influence upon
Mitchell, the imaginative playwright, was
indescribable. For the time being he felt
"THE LYNNBROOK TRAGEDY'
105
The Gowns Designed by Ruth Exhibited in the Shops Brought Many Fashionable Applicants to Her Atelier
transported to another sphere. He was not
himself. He lived in the scenes and among
the people created in his play. He could
hardly wait for the moment when he should
sit beside the great actress and read to her
the lines which he felt so sure she alone
would be able to interpret in all their full-
ness and beauty.
But strangely enough, Vivian Gregg did
not seem in the least anxious to hear the
new play of which her manager had written.
"They're all more or less alike," she
observed, one day as Mitchell joined her on
the veranda and broached the subject. "Sit
down, I'd rather hear you talk."
It was a disappointment, but, realizing
that the moods of the actress must be
humored, Mitchell yielded to her request and
drew a chair up beside her. Since he could
not read the play he would have much
preferred being with Ruth. She was waiting
for him, somewhere about the grounds, he
felt sure. He would have to explain to her
later.
As a matter of fact Vivian Gregg, surfeited
with the attentions of blase men of the
world, found young Mitchell himself far
more interesting than the play he had writ-
ten. She knew the play was all right.
Thornton had said so, and Thornton was a
man of judgment and discrimination. There
would.be time enough to read the play when
they were ready to begin preparations for
its production. In the meantime Mitchell
amused her and she did not intend to be
denied the pleasure of his society.
As days passed the situation became more
complicated. In spite of the fact that Mitch-
100
THE PHOTOPLAY MAGAZINE
ell explained to Ruth that the success of the
play depended entirely upon the favor and
approval of Vivian Gregg, the unsophisticated
young girl could not understand her lover's
attitude.
The day Mitchell and Vivian had sat on
the veranda and she had unwittingly in-
truded with some designs to be submitted
for Vivian's approval, she had hastily with-
drawn without attracting their notice. Later
Mitchell had sought her out and during the
ensuing evening had devoted himself to her,
but the actress had at last called him aside
and Ruth did not see him again that eve-
ning.
Existence in the land that had at first
seemed like a dream of paradise suddenly
palled. That night Ruth Malloy sobbed
herself to sleep.
Vivian Gregg, in the privacy of her
boudoir, lay back in an easy chair and
laughed. "He's afraid of me," she remarked,
half aloud. "Afraid to offend me and he
thinks he's in love with that little designer,
but — I'll wager he's no better than other
men. Before he leaves here I'll have him
so completely in my power that he'll never
give her a thought."
She crossed to a small desk that stood
near and searched for a book of addresses
she thought she had placed there. Some
photographs attracted her attention. Pick-
ing them up, idly, one at a time, she glanced
at several and threw them aside. One she
looked at long and earnestly. "Pool!" she
muttered, under her breath. "The idea of
his thinking that I meant to spend the
remainder of my life with him. He didn't
have' money enough to last a year." With
a quick gesture she tore the picture in half
and tossed the pieces into a beribboned waste
basket. "Strange," she thought, "that I
should come across his picture to-night. I
didn't know there was one in the house."
In a small town, some distance away, a
man, tired, footsore and unkempt, sat under
a tree by the roadside and ate ravenously a
coarse sandwich handed him by a woman
at a nearby farmhouse. Lines of grief, dis-
sipation and privation marked his counte-
nance. His head was well shaped, however,
his features clear cut and refined. As he
ate he scanned a fragment of newspaper
spread out over his knees. A printed name
caught his attention. At sight of it the
man's whole demeanor suddenly changed.
An ugly light crept into the faded blue eyes.
With the half-eaten sandwich poised in one
hand, he paused and read the printed article
through to the end. Then he clinched the
paper in his hand and cursed.
"Rich," he muttered, "successful, popular
beauty — the vampire!" He glanced at his
own ragged attire, at the half eaten bread
held in his hand and his rage increased.
"And this," he groaned, "is the condition to
which I have been reduced." He bowed his
head on his knees. His whole frame shook
with suppressed sobs.
After a few moments he rose, folded the
fragment of paper and placed it in his
pocket, picked up his dilapidated hat from
the ground beside him and started off across
country in the general direction of the rail-
road which passed through the village a
mile to the north.
That night a freight train, east-bound,
carried one extra passenger, carefully
ensconced on the bumpers under one of the
cars. A fierce light of determination shone
in the wide-open eyes of the tourist, and
when the wind fluttered the buttonless jacket
which he wore a bit of folded newspaper
was visible in the corner of the inside
pocket.
All the next day Ruth Malloy was con-
scious of impending calamity. She seemed
to be in the clutches of an unseen something
which held her in its power and was drag-
ging her onward in spite of her efforts to
resist. She would finish the designs and go
back to town at the earliest possible moment,
she thought. Anything to get away from a
situation which each moment became more
intolerable.
With this idea in view she devoted herself
with renewed application to the completion
of the designs for Vivian Gregg's gowns.
Once during the afternoon she encountered
Mitchell. He tried to take her in his arms
and kiss her. He had been drinking. He
walked unsteadily.
Shocked, frightened, mortified that the
lover she had respected as superior to all
forms of dissipation should have so far de-
based himself, she had repulsed him and
fled to her room. She had refused to listen
to his incoherent words of explanation.
What she had heard was his angry retort
that since she rejected his overtures he
would go back to the one who wanted him,
and she had seen him disappear through the
curtained doorway leading into the room
where Vivian Gregg was sitting.
"THE LYNNBROOK TRAGEDY"
101
Not knowing the ways of women like
Vivian Gregg, Ruth could not realize the
forces which had assailed her young lover
when in the presence of the actress. How
he had been led on, little by little, to drink
more than was good for him, through a
desire to please his hostess and ultimately
to further his ambition to win success as a
playwright for Ruth's sake, that he might
marry her and in future keep her far re-
trembled in her lovely dark eyes as she
opened the dresser drawer and looked long
and lovingly at the little miniature of her
mother which she had brought with her.
Kissing it, fondly, she slipped it into the
bosom of her gown.
"Maybe things will be easier if mother
goes with me," she thought, sadly, as she
pulled the folds of lace into place and glided
softly from the room and down the thickly
Ruth and Mitchell had Planned to Spend the Evening Together But Vivian Called Him Away
moved from the necessity which should bring
her into contact and under the patronage of
sucli as he recognized Vivian to be.
In her black lace dinner gown that even-
ing Ruth seemed more delicately beautiful
than ever. As she gazed at her reflection in
the mirror, however, she was quite uncon-
scious of the charming picture she presented.
She dreaded that last dinner — for she had
resolved to go home the following morning
— for she felt quite unequal to conversation.
She was homesick, heart-sick. She longed
for the sympathy of her mother. Tears
carpeted corridor toward the wing of the
house in which Vivian's rooms were located.
It was her intention to explain to her
hostess that for business reasons she would
be compelled to shorten her stay at Larch-
mont.
Although the hour was early, the ' night
was very dark. The moon was rising,
but fitful, scurrying dark clouds often com-
pletely obscured it. There was a melancholy
wind. The tall, sentinel trees tossed their
long, ghobtlike branches and sighed like
souls in torment. The summer air seemed
1C8
THE PHOTOPLAY MAGAZINE
close and heavy in spite of the breeze. A
storm was apparently brewing. The ominous,
oppressive sense of it was paramount.
Outside the house, crouching low among
the shrubbery, now skulking around the
rustic summer house and across the tiny
bridge, over the miniature lake on which
weird shadows were now projected, could
be dimly discerned the figure of a man.
There were moments when he disappeared
entirely. Once, from the shelter of the rose
garden he cautiously peered for some little
time at the brightly lighted windows of the
house. Again, nearing the porch light, he
crouched back of a pillar and pulled a frag-
ment of newspaper from his pocket. Study-
ing it cautiously he compared the picture of
a house exterior with the lines of the one
before him. A pictured interior view held
his attention longest. "Madame's boudoir"
was the caption under it. Now, evidently
sure of his ground, the man again replaced
the paper in his pocket and, in the shadow
of the great trees, now soughing so rest-
lessly, he waited till the silvery chimes from
the great clock in the entrance hall sounde.l
the quarter hour.
"Now — before they go down to dinner,"
muttered the man as he cautiously swung
himself up and over the veranda rail. He
drew a revolver from his hip pocket — an
ugly, short-barrelled little pistol that a man
could hide in his fist, and, with his hat well
over his eyes, alternately crouched and
crawled forward until underneath the win-
dow he sought.
In the boudoir of Vivian Gregg, James
Mitchell waited, at the request of the actress,
until she should be ready to go down to
dinner. She was ready now. They had
been having a highball together. The wom-
an was exerting all her blandishments to
enslave the young playwright. She gazed
passionately up into his eloquent eyes as she
once again brushed aside the suggestion of
the play.
"What is the play to me," she murmured,
"so long as I have the man who wrote it."
Mitchell extended his arms toward her.
The act was unpremeditated, as involuntary
as it was natural. She leaned toward him.
Her arm encircled his neck. At that moment
Ruth, coming softly down the corridor,
parted the curtains and beheld the picture.
Horrified, numbed at the sight, she stood
for an instant as if transfixed. It was the
final blow. First her mother had been taken
from her and now her lover was faithless.
She felt weak and ill, but she did not speak.
She did not cry out nor faint. The velvet
portiere fell from her nerveless fingers. She
turned, softly, slowly — and found herself
looking straight into the barrel of a short,
bull-dog revolver in the hand of a tattered,
unkempt man with a fragment of newspaper
hanging from his coat pocket.
The brief interval of silence which ensued
seemed hours to the startled girl. She did
riot feel frightened. The numbing horror
of the past few minutes had placed her be-
yond fear, but there was a strange famili-
arity in the look of the intruder which
terrified her beyond words. As the man
realized that she had no intention of scream-
ing he lowered the revolver. With his dis-
engaged hand he pushed his hat up from
over his eyes. A second later Ruth had
grasped him by the arm.
"Father — " she gasped, trembling from
head to foot, "don't shoot. I am Ruth —
Ruth Malloy. You — you are — my father."
The words came with difficulty. It was very
bitter to have to recognize in the wreck of
humanity before her the man who was her
natural guardian.
The effect produced by the girl's whispered
words was altogether different from the one
she had hoped for. He refused to believe
her. She saw incredulity expressed in the
distorted lines of his face. Again he raised
tlie revolver.
"Wait — " she whispered, tugging at the
lace folds of her gown, and drawing forth
the miniature of her mother. "Do you
recognize that?" She held the little picture
close before him. "That," she murmured,
half-sobbingly, "is — mother."
The sight of the picture for an instant
almost unnerved the man. He choked back
an exclamation as he devoured the picture
of his deserted girl bride with eager, re-
morseful eyes. His hand trembled as he
handed it back to the daughter he had never
seen since infancy.
"You — " he exclaimed. "What are you
doing here — in this house, of all others?"
Hurriedly, her voice choked with sobs,
Ruth told him. "And who is in there with
her — Vivian Gregg — now?" he asked, point-
ing toward the room beyond the portieres.
Again Ruth stifled a sob. "My fiance," she
whispered. "He has left me for her. We've
only been here a few days — "
The man with the gun interrupted.
Homesick and Heartsick. Ruth Looked Lone and Lovingly at Her Mother's Picture
109
110
THE PHOTOrLAY MAGAZINE
"Curse her!" he ejaculated, now in uncon-
trollable rage, "Vivian Gregg is the woman
who—"
Ruth did not hear the remainder of the
sentence. With leveled revolver Malloy
dashed through the doorway and into the
boudoir where Mitchell stood, with Vivian
in his arms.
"Father — father — " cried Ruth, frantically
trying to wrest the revolver from the en-
raged man. "Don't shoot." With a quick
movement she succeeded in knocking the
weapon from his hand. It fell to the floor.
Nothing daunted, Malloy tore Vivian from
the protecting arms of Mitchell and hurled
her from him.
"Carl, Carl," she screamed, imploringly, as
with arms outstretched in supplication she
fell heavily to the floor.
Mitchell, thinking he had a madman to
deal with, sprang to grapple with the in-
truder, but Malloy warned him back.
"Stand back," he shouted. "It is for your
own good and hers," he pointed to Ruth,
"that that woman on the floor should die.
She has done evil enough. The soul of
Vivian Gregg is blackened with the ruin of
other women's happiness."
As the vehemence of his rage wore itself
out the unhappy man trembled and would
have fallen had Ruth and Mitchell not
caught him and half led, half carried him
from the room.
Vivian Gregg, the reigning star in the
dramatic firmament, crouched on the floor
where the man she had wronged had cast
her. The soul's awakening that had been
hers at the moment when she had expected
to be launched into eternity was terrible to
contemplate. It had practically bereft her
of reason. What she saw with those wide,
wild eyes as she crouched there on the
floor, warding off curse after curse that from
unseen, unheard lips were apparently
descending upon her may only be con-
jectured. How long could she endure the
torture? There, right before her, lay the
fallen revolver. She saw it. It fascinated
her. Slowly she drew nearer to it. Her
hand reached forth steadily, fearfully, until
the fingers grasped the weapon, and the way
of escape was at hand.
The woman who wished her gowns de-
signed to harmonize with her soul and per-
sonality was soon to have her wish. There
were those unseen who stood by — waiting —
waiting, while the fingers tightened in that
death grip, to bear her soul away.
ONE THE CAMERA MISSED
TAMES CRUZE, who is doing exceptional work as Jim Norton, the Blade's
** reporter in "The Million Dollar Mystery," gave a thrill that won't show up
on the screen, although had Howell Hansel, his director, seen the thrill he
would have Aimed it.
A kitten had crawled from an open window along the cornice of a building,
and got up to where the roof meets the side of the building facing Pepperday
Inn. And it started yelling about the time that it felt itself much alone and
hungry. Patrolman Gooding heard the cries but couldn't locate it, and about
midnight saw .a pajamaed form out on the fire escape and heard mutterings.
He found out that it was Jimmy Cruze whose sleep was disturbed. Jimmy
started to trail the sound. It came from above. He asked Gooding to guard
him against anybody trying to take a shot at him in mistake for a burglar and
went up the fire escape to the top. His search brought him along the jutting
cornice to the Echo Avenue side of the Hall and to reach the kitten he had to
climb up onto the roof and mount a roof window and crawl around to the
other side. He did it and secured the kitten. He had a perilous time getting
back that would have made some of the thrills of "The Million Dollar Mystery"
pale, but he never lost his footing. He reached his own window and discovered
the kitten to be a maltese angora that belonged to Sidney Bracey, an occupant
of Beacon Hall.
While he was doing good for the kitten he got in bad himself, because he
can't pass anything now, when a deed of daring roof climbing is in the script.
My Summer Vacation
By Mary Fuller
T>
had to be packed in a mad rush. There were a few hurried
"last instructions" to be given, about forwarding mail, and
closing my apartment, etc., and finally everyone was ready,
and we were whisked away in an auto to a train which in
turn whisked us away and deposited us, three hours later,
at Shohola, in the depths of the Pennsylvania mountains.
Two rickety carryalls met us. This time there was no
whisking. I rode beside the driver, and I found the view
magnificent, but the way intolerably long.
Our hotel was an un-
pretentious affair, to
say the least, and as
the rooms had not been
used for months I near-
ly suffocated with the
mustiness the first
night. But even the
mustiness of months of
disuse could not pre-
vail for long against the
sunwarmed breeze that
came stealing through
my opened windows the
next morning, and I
cried out for joy when
I discovered that, so
closely was the hotel
surrounded by fir trees
and oaks, I could see
little outside my win-
dows but nickering
INUNDATED by a
sea of clothing and
surrounded by a
flotilla of trunks I sat
on the floor of my New
York studio pondering
what costumes I should
take away with me on
my summer vacation.
Not knowing what
characters I was sched-
uled to play — yes, my
vacation was to be of
that sort — gave me an
excuse for overhauling
my entire wardrobe, an
operation which in-
duced a mood of mel-
low reminiscence but
made decision difficult.
There was, for in-
stance, the fringed leather coat that I wore in "The Trans-
lation of a Savage" — would I have any use for it? Or the
torn tunic and the fur skirt that had proved exactly right
for "Elise, the Forester's Daughter" — they might prove to
be just the thing again. What of that velvet shooting coat
and trousers; and the Mary Stuart peignoir; and the plumed
fan of the Countess X; and "J. Green's" check suit with
pockets in the skirt? Again Mary Tudor's coronet might
prove useful — though I had my doubts about it — or the
tattered dress of Robinetta, the mountain maid. Oh, what
should I take and what leave behind!
When the matter was at length decided — to be honest it
was decided by the imminence of train time — everything
in
112
THE PHOTOPLAY MAGAZINE
leaves and sweet
scented pine
needles with oc-
c a s i o n a 1
glimpses of the
opposite
mountain
side w hen
the wind
shifted the
swaying
branches. I
found, when I
went down to
breakfast, that
all the other
members of our
party had suffocated
through the
night, as I had,
only to become
reconciled, as had
I, with the advent
of morning a n d
sunshine. But I
shudder to think
how we would all
have felt if it had
rained that first
morning as it did
later.
And since the
sun was shining,
there was nothing
to do but go to
work. I found that
in the first picture
I was to be an In-
dian girl, first dis-
covered sitting on
a lofty crag with
her wolf dog beside
her. Now high
places make me
frightfully giddy,
so that when I ar-
rived at my crag
. . » after a breath-
less scramble that
lasted just long
enough to be really
exhilarating, and
seated myself on
a narrow rock
ledge, I was
really very
miserable.
One glance at
the rocky
pass 200 feet
below nearly
finished me but
I managed to
get a grip on
myself and gazed
off resolutely into
the upper spaces.
MY SUMMER VACATION
113
This method of keeping control of ray-
self, however, was interrupted by
my dog who had decided that he,
at least, didn't want to stay
perched on that ledge. In my
struggles to keep him beside
me, I expected any minute to
tumble off into space with him
and be dashed to pieces on the
rocks below, and it was almost
with a feeling of chagrin that
1 later viewed the film — all this
■ ^^gflgaja
now slipping on mossy slime
and sitting down in the
water, getting across as
best I could and ex-
pecting every minute
to be bitten in the
legs by snakes. (It
gives you a horrid
creepy feeling as if
a lot of ants and
spiders were running
up and down the back
of your neck.)
"You'll have to ride this
horse bareback, galloping
around the camp," came the orders next
day when we were preparing for work
again. The horse had been sent over from '
a town 10 miles "up country." It had a
vicious look which was patent to others
beside me.
"I'll just ride him over to our location
myself," said the director — a big, powerful
fellow, who was certainly the one to hold
a horse — and rode off at a trot. When we
in the wagons came up to him about 4 miles
time the camera was grinding steadily
away — and discovered that not a trace of
my mental agony showed in my face. In
the pictures I sat there as placid and
unconcerned as any stdical Indian maid.
"And now," said the director when this
scene was over, "I want you to slide down
about 50 feet of grape vine and land in the
crick." (Just the day before I had waded
into the edge of this "crick" — a rushing
mountain stream of unexpected depths,
holes and rocky shallows — and
had killed a good-sized water
moccasin on a rock and had
seen its mate swimming
by a little later.)
"In the crick?" I
said doubtfully.
"Yes. Come on. I'll
show you where."
And half an hour
later, I found myself
doing a Kelly slide
down the rocks into a
• pool and wading across
through deeps and shallows,
now stumbling on jagged rocks,
further on, we discovered him
trudging along, bruised and
shaken, his face and arms
covered with blood, and the
horse gone and still going,
I suppose. When the scene
was taken, I rode a "plug"
and some one led it. ' (An-
other time .that Fate has
spared me.)
And then it began to rain
and rain and rain, for days
and days and days, until it seemed as
114
THE PHOTOPLAY MAGAZINE
though the water must surely begin rising in
the valleys until it reached our retreat and
washed it away. We all ate too much and
sat on the porch and cussed the weather. I
made a pitifully inadequate attempt to catch
up on my mail. I made costumes for the
next picture. I outlined scripts for future
production. I read all the books I had
brought with me and all the books everyone
else had brought. And in Chesterton's "The
Flying Inn" which I had been saving for
months and months I found that delightful
poem of his about old Noah and went about
chanting :
"The cataract from the cliff of heaven fell
blinding from the brink
As if it would wash the stars away as suds
go down a sink;
And the seven heavens were roaring down
for the throats of hell to drink;
And Noah he cocked his eye and said, 'It
looks like rain I think.' "
Then, when the rain turned warm. I put
on my bathing suit and lay in my hammock
under the trees. And finally the sun stopped
sulking and shone gloriously on the moun-
tains and on us.
So down we hustled, in grease-paint and
costume, to the hottest little stone wall in
the world, and began photographing in front
of a deserted cottage wherein only wasps
and hornets lived. Of course the "patsy" of
the party was stung.
The next day I was to do an elf-dance in
the forest and, of course, it turned out to
be the hottest day of the season. The sun
was scorching and the perspiration rolled
down my face, off the ends of my hair —
nearly — and spotted my clothes.
But the evenings, after the heat of the day,
were beautiful. Such golden moonlight,
feathery-gray dusks, gloom-black trees,
tender cricket-songs — and sleeping country-
side of silver brooks and forests.
So many "pets" they were always bringing
me. First some one brought a butterfly;
another, a pigeon; then a green grass-snake;
then a pig and a flock of ducks. One even-
ing as we drove up to the hotel, I saw what
looked like a toy lamb about two feet high,
standing on a table. As I approached, it
moved and began eating a leaf. It was a
young woolly Angora goat, another pet. And
then came upon me another charge in the
shapa of a spotted terrier bulldog pup. He
was young and squealy and romping and a
pest and a dear all at once.
Another pet who clung to me tenaciously
was a little girl about 7 years old, at one ol
the logging camps where we photographed.
Mildred and I hunted bullfrogs together one
day, and ever after were fast friends. Her
hair was tied in a little wispy knot on top o£
her head, her dress was torn and dirty, and
her bare legs, feet and arms were covered
with dirt and mosquito bites. But a delight
ful little mind played behind those blue eyec
and chattering lips. One day, according to
promise, I brought her a tooth brush and
powder — (implements on virgin soil) — and
instructed her in the use of them. She was
very interested, and between scenes all that
day, I could see her over by the lakeside
scouring away. Every time our auto went
through the camp, Mildred would shout:
"Come on, Mary, play with me," and I
would call back:
"I can't; I have to work."
Quite an exciting incident occurred at the
camp one day. We had finished a scene up
the road in which I had driven a big team,
and I was on my way back to the barn with
the huge wagon, when the horses suddenly
took fright at the two autos by the roadway,
shied violently, and started off at breakneck
speed down the hill. Those horses were
powerful creatures, used to logging and pull-
ing the big supply wagon, and my arms
ached as I tried to pull them in. Down the
hill we went flying, 'the wagon rocking from
side to side, bouncing over mountain ruts
and sending me flying off the seat and back
again. As we neared the camp buildings,
the horses broke for the rustic bridge, then
shied to the right and started for the barn
at the waterside. The barn door was too
low for me to pass through on the top seat
so I tugged fiercely at the right rein. The
team veered slightly and just shaved the
corner of the barn, but the wagon struck it,
tearing off the corner and dragging away the
. splintered boards. I managed to stop the
team a short space further on, and when the
director, cameraman, and actors rushed up,
they lifted me off, weak and trembling.
But despite the accidents, the work, the
mosquitoes and the rain, I spent a delightful
vacation, and when I said good-bye to my
brook and my mountain, and to my pine
scented room under the eaves, I was truly
sorrowful. The summer had been all too
short.
CONCERNING A GIRL
AND A MAN AND A
MOUNTAIN LOVER
"The Taming of
Sunnybrook Nell"
By Elaine Hunt
lllttsiraiions from the American Film
THE sound of an axe reverberated
through the forests of Sunnybrook
mountain, regular and even as ma-
chinery. And no wonder, for there was no
more expert woodcutter in all that region
than Steve Ryder, the young giant who
swung the axe. His day's work finished,
Steve, after piling up the brush and cording
the wood, collected a basket of chips. These
September evenings were cool and the chips
would be fine for old Clon, the mountaineer's
fire. And smiling to himself as he thought
how pleased Nell would be with him for his
kindness to her father, he plunged down the
mountain-side, hallooing as he went, just for
sheer joy in the sound of it.
Having deposited his basket at the door of
the cabin where his sweetheart lived, he
went in search of her. He thought he knew
just where to find her.
"Sunnybrook! Sunnybrook Nell!" he called
as he went, for that was the name by which
the girl was known because of her love for
her mountain home.
Brought up in the forests as simply as a
little savage, at eighteen, the old moun-
taineer's daughter was as lovely as a dryad.
As Steve came blundering through the
thickets and stood on the other side of the
stream she looked up from her task of filling
a bucket with water. The sunlight filtered
through the cool green leaves and touched
her dark curls with gold and brought a deli-
ca(e flush to her satin cheek.
"Hello Stevie!" she drawled affectionately.
"Jest in time to take my bucket. Come on
over."
If the young man's progress over the ford
was uncertain it was not only the sunlight
that blinded him.
"Let's go up to the top of Sunnybrook,"
he said to the girl. "I've got somepin' to
show you." And he put his hand into his
pocket to feel again a little round, hard
object which represented a year's savings.
Nell had been on the point of refusing —
she was a wild, self-willed creature — but the
promise of a surprise tempted her curiosity.
"All right," she said, following him back
to the house up the bank.
113
116
THE PHOTOPLAY MAGAZINE
They left the pail at the cabin and then
began the ascent of the mountain. Nell was
fleet of foot, and independent in spirit, but
before they reached the top she was glad
to accept Steve's aid.
"How I do love this old mountain!" she
said, resting her hand lightly on his arm,
as they stepped out on a promontory and
the wide green valley below met their gaze.
"Jest because it is so hard to conquer it!"
He looked down at her standing there, her
curls damp, her cheek flushed, and suddenly
she made his head swim:
"That's why I love you," he said, "and
this time you've got to say 'yes' for good,"
and he tried to take her in his arms. But
she eluded him with a quick motion.
"Careful," she said warningly. "I didn't
say I would, you know. I only said perhaps,
sometime — "
He interrupted her, taking from its hiding-
place the tiny round object that represented
a year's savings.
"But you'll say 'yes' for keeps now, won't
you Nell?" he pleaded, "for see, I've got the
ring!"
She came to him and hovered around his
shoulder like a little bird, looking for bread-
crumbs.
"Stevie!" she breathed, "A ring! Do you
mean to say — do you mean to say that it's
for me?"
"For the prettiest girl in Tennessee!" he
said and this time he had no trouble at all
in kissing her for she put up her lips of her
own accord.
OEPTEMBER in the mountains was very
^ lovely and always brought a fresh sup-
ply of visitors to the summer resort on the
other side of Sunnybrook. Among these
this year were a Mr. and Mrs. Clifford Durkin
from Memphis.
Mrs. Durkin was an excellent bridge
player, an exquisite dancer and a perfect
hostess, but she did not count among her
attainments the art of retaining her hus-
band's devotion. Sure of his affection and
his wealth she wanted merely to please her-
self. Her own way was the god to which
she had dedicated her life.
As for Clifford Durkin, his attitude toward
his wife was very much the same as hers
toward him. Fundamentally he was fond of
her, but the negative quality of her feeling
for him and his natural indolence failed to
rouse in him any active evidence of it. The
situation was a common one between hus-
bands and wives, but it might perhaps have
been avoided in their case and the bond
between them strengthened if their one child,
a little boy of two, had lived — but he had
been dead for half a dozen years.
It was a spirit of restlessness which had
driven the man to the mountains that year,
an utter boredom with things as they were,
and it had been almost a disappointment that
his wife had wished to accompany him. His
desire for novelty, something entirely new,
was so great that he did not know how he
was going to satisfy it.
The sight of Sunnybrook Nell, filling her
bucket from the waters of a swift mountain
stream, gave him the first intimation of how
it was to be accomplished. She seemed, in
her simple gingham frock with her dark
curls blowing about her, the very embodi-
ment of all the wild life about him. Now
he knew what it was he wanted — a taste of
romance.
He stepped eagerly down the path. His
head was bared in an instant. "May I help
you?" he said with one of his most charming
smiles. "That looks to me like a very heavy
bucket."
She glanced up at him with the same
smile which she had given Steve only a
few days ago when he had made the same
offer. Her large bright eyes surveyed the
stranger a moment and then, perceiving
that he was undoubtedly good to look at
and that he was dressed as the city folk
dress, her smile widened.
"Why, I reckon you can," she said. "Here,
take hold!"
Cap in hand he seized the bucket while
she took the other side. The brook rippled
behind them and the sunlight filtered down
through the dark green leaves and touched
her hair with gold.
"Is this the way?" he said, pointing up
the path. She nodded, and between them,
their hands almost touching, they carried
the bucket up to the little cabin.
That was the beginning of an acquaintance
which grew rapidly in the free unrestricted
mountain life. Merely diverted at first,
Durkin's interest in Sunnybrook Nell be-
came more and more serious, and while his
wife spent her afternoons playing bridge on
the hotel veranda oblivious to the beautiful
scenery around her, he spent his in walking
with Nell in the woods or driving with her
to the little town not many miles distant.
"THE TAMING OF SUNNY BROOK NELL"
117
to get soda water, or having tea with her
and the old mountaineer, her father. Clon
Sempsill was a great-hearted, simple old
soul, and any friend of his daughter's was
his friend as well. He enjoyed the city fel-
low's tales of travel and adventure in dis-
tant lands and would sit and listen almost
as enthralled as the girl while Durkin spun
his yarns.
But this situation, of course, could not go
on for very long unremarked by big Steve,
even though Mrs. Durkin had been too self-
centered to notice it. It was the evening
after his return from a trip which had kept
him in another county for two weeks, and
he could not hurry fast enough to reach the
cabin where his sweetheart lived.
His surprise, therefore, amounted almost
to shock when he saw, as he came up the
path from the brook, his affianced bride
slanding in the doorway with her hand
held in the lingering clasp of a very good-
looking stranger.
"Till tomorrow then," he heard the man
say before sauntering away into the woods.
Steve waited until he had quite gone —
he did not want to do murder until he was
sure what cause he had — then he flung open
the cabin door and strode in. Nell wan
putting away the remains of supper and
her father sat by the big fireplace cleaning
a gun.
Steve was of that primitive type which
stays not on the order of it's going nor
wastes time in much speech. He made no
attempt to greet father and daughter, merely
pointed out of the window toward the spot
where Durkin had disappeared.
"That man, who was he?" said he.
Nell had never moved since his abrupt
entry, her eyes had been fixed upon his
white face and flashing eyes. Now she went
on again with her work, smiling nonchalant-
ly as if oblivious of any cause for excite-
ment.
"Oh, just a man," she said.
Steve made a quick motion and caught
one of her wrists in his big hand.
"Tell me who he was!" he commanded.
But it was of no use to bully a little
wildcat like the mountain girl. The touch
of restraint made her anger flare.
"Let go," she screamed, "let go!" and
struck him on the cheek.
That Was the Beginning of an Acquaintance Which Throve Rapidly
118
THE PHOTOPLAY MAGAZINE
His strong grip on her only tightened.
"Tell me," he said sternly; "tell me or
I'll — I'll choke you!"
But now a third figure took part in the
drama. Old Clon, the mountaineer, rose
laboriously from his seat by the fire and
came over and laid his hand on the furious
young man's shoulder.
"I guess I'll have somepin' to say about
that chokin' business," he said. "Let go
my gal!"
Steve was wounded to the quick. He
was very fond of old Clon, they had always
been good friends. Was it possible they
were both against him? Why the whole
world was upside down!
He relinquished his hold sullenly.
The delay had given Nell time to think.
She took from her finger the little ring
with the tiny diamond which Steve had
given her only a short time ago and put it
on the table.
"I reckon you'd better have it back," said
she. "I don't seem sure of my mind. You
hurried me too fast. Perhaps, after all, I
love someone else."
It was not true at all. Her heart and her
soul were Steve's, and it was only the
novelty of Durkin's city ways and clothes
that had attracted her, and what she said
she said out of wilfulness and perversity.
But the man did not know that. He picked
up the ring and his face grew set and white.
"All right," he said. "All right for you,
Sunnybrook Nell. From this day you won't
see no more of Steve." He went out, fol-
lowed by a peal of laughter from the girl
which he was too angry to realize was
strained and forced.
The mountain was large and Steve's cabin
on the opposite side from old Clon's cabin
some miles from the hotel, so it was not
altogether difficult for him to keep his word
about avoiding Nell. The field, therefore,
was left clear for the enamored Durkin.
But his path was not all plain sailing.
If Steve had suffered from the abrupt
severance of their engagement, the girl had
suffered more. She had not meant to lose
him — only to defy him for a while; and now
the thought that he had really gone beyond
her reach was driving her wild. It resulted
in many petulant moods and fits of sullen-
ness, which left the city bred man quite at
a loss, though her whims only made her
more charming in his eyes.
They had been driving through the moun-
tains one day and had left the old ouggy
Durkin had found at the inn long enough
to penetrate the heart of a particularly
lovely glade. Great rocks loomed up about
them, making it a place of mystery and
glamour fit background for a love scene.
Nell wanted to rest a moment and enjoy,
the beauty around them. And Durkin was
content, for he wanted only to enjoy her.
His silence at last attracted her attention
and she roused herself from thoughts of
Steve to ask him what was the matter.
He reached out and laid his hand on her
soft round arm.
"Nothing is the matter," he said, "only
I'm crazy about you, little girl, I'm. crazy
about you. And I want you for my very
own!"
It was a complete surprise to Nell, for
though she had realized that Durkin was
somewhat in love with her, she had not
thought he would ask her to marry him,
and that was what, in her unsophistication,
she thought he was doing now. Such an
idea as that he was married already had
not, of course, entered her mind.
So she turned to him kindly and patted
his arm.
"Do you really care?" she said.
The words swept the man away on a wave
of passion.
"More than all the world," he said, and
caught her to him and kissed her lips.
Nell did not altogether like it. She had
meant never to let any man kiss her except
Steve. But Steve had gone back on her,
he had given her up, and she was never to
see him again. A dark shadow passed over
her face, though the man beside her was
clutching her hand and pouring out words
of entreaty, of protestations of love and
promises of what he would do for her if
she would go with and trust herself to him.
Then the cloud passed as a brilliant thought
struck her. What a wonderful revenge it
would be on Steve, if she should marry this
rich man from the city, who would take her
traveling and give her rich clothes and
jewels to wear!
"I'll do it, I'll .go with you!" she said.
Transported with delight the man fell to
planning with her the details of the elope-
ment. It should be the next night, he said.
He must have a few hours to arrange his
affairs, then they would start on a trip
around the world.
Of course, he knew as he said it, that
"THE TAMIXG OF SUXXYBROOK XELL'
119
"Nothing Is the Matter' He Said. "Only I'm Crazy about You, Little Girl, I'm Crazy about You!"
the trip he had in mind would in all prob-
ability last only a few days and that the
reason he had delayed it until the next day
was that he might prepare his wife for his
absence on business for a while, but so
great was his infatuation as he made love
to Nell all the way home, that almost he
persuaded himself that the trip around the
world was a reality.
In the meantime circumstances were fight-
ing for Steve in an unexpected fashion.
He had spent that day while his poor little
sweetheart was planning her own ruin, in
fishing and had caught such an enormous
string of trout that he made up his mind to
take them down to the hotel to sell.
He rode over and, leaving his horse at
the lower gate, sauntered up to the inn.
Out on a sort of natural terrace, high up
above the road, he saw some people sitting,
two men and a woman. One of the men
seemed to be sketching the other, while the
woman, very big and fair and handsome,
with a wonderful lace dress on, was sitting
by and chatting with them. This group
would not have interested Steve at all and
he would have gone on his way to the
kitchen, if he had not chanced to recognize
in the man who was playing the part of
artist, the man who had stood at old Clon
Sempsill's cabin door a short time ago and
said good-bye to Sunnybrook Nell, with such
evident warmth of feeling.
A premonition came over Steve and he
dropped the string of fish in the road and
stood watching the group on the terrace.
In a moment the woman in the lace gown
laughed loudly at something the artist was
saying and, leaning forward, playfully
rumpled his hair.
It was the intimate kind of act which a
wife might permit herself toward her hus-
band, and as such the mountaineer recog-
nized it. The blood surged darkly to his
face. However, he felt he must be sure, and,
controlling himself, beckoned to a maid
who at that moment came out on the ve-
randa. She came gladly, for the young man
was very good-looking.
"Say, Sis," he said, "you live here? Can
you tell me who those people are up there
on the terrace?"
The maid knew perfectly well for the inn
was not crowded, and she told readily.
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THE PHOTOPLAY MAGAZINE
"They're Mr. and Mrs. Durkin of Mem-
phis, you know, those rich people," she said,
"and the man Mr. Durkin is making the
picture of, is — "
But she was not allowed to finish. An
oath of such astounding vigor escaped the '
young mountaineer that she fled in terror
back to the inn convinced that he had sud-
denly lost his wits.
A burst of merriment came again from
the terrace and the sound of the carefree
laughter of the scoundrel who was playing
with his girl's affections, almost drove Steve
mad. Durkin, had he but known it, had
never come nearer death, for Steve, like
every woodsman in those parts, carried a
gun in his hip pocket. But a saner thought
came to him. Before he did any punishing
himself, he would tell Nell of his discovery
that Durkin was married, and let her deal
with him.
Full of this resolve he hurried back to his
horse, leaving the trout in the road, where
he had dropped them, and mounting, set off
at full gallop for old Clon's cabin. Eagerly
he knocked at the door. The old moun-
taineer opened it and stood blinking.
"Come in," he said stupidly.
Steve saw by his manner that something
was wrong, for Clon's eyes were red, as if
he had been weeping.
"What's troublin' you, neighbor?" said
Steve.
"It's Nell," said the other man. "Last
night I hearn her sobbin' in her room and
when I asked her the matter she said — she
said — "
"Yes?" whispered Steve.
"She said she hadn't meant to tell me.
but she was goin' to marry that Durkin
fellow, and she was grievin' to leave me
alone."
The young man's heart stood still. But
there was hope yet, for had he not just left
the villain back at the hotel sitting on the
terrace?
"Where is she?" he asked Clon. "Quick,
tell me where she is?"
"She's down in the village," replied Nell's
father. "She went down to her aunt's house
this morning. She told me Durkin was
goin' to meet her there this evening about
eleven, and they were going to take the
midnight train." He broke off with a sigh.
"Oh Nell! Nell!" he said.
Steve was stunned. The worst had nearly
happened then. If he had not chanced to see
Durkin at the hotel ... A groan fin-
ished the thought. What could he do to
help her, what could he do? If things had
gone as far as that, if Nell had allowed
herself to become infatuated enough to
promise the man to elope with him, would
she believe Steve when he told her the
truth about him? Steve feared she would
not. He must think of some way to con-
found the villain before her eyes. For a
long while he sat in the darkened cabin,
the silence broken only by the weary sighs
of the disconsolate old man. Then an in-
spiration came to him.
"Where's your buckboard?" he said. "I
want to drive back to the hotel."
Clon led the way to the little stable be-
hind the cabin and the two men hitched the
horse in silence.
"I'm going to bring her back," he said
to the old man. "Good-bye."
Two hours later he was returning over
the same road and beside him in the buck-
board was a very good-looking woman, big
and fair, who wore a fashionable white suit
and hat.
"You say it has been going on some time,
this — this affair?" she asked Steve, and she
spoke like a woman who has had a hard
blow to bear.
The mountaineer nodded.
"Yes, Ma'am," he said, "and I thought if
you was to come to Nell's cabin and stay
there, and I was to go down to the house
where she's waitin' for him and tell him
before her face that his wife was waitin' up
at the cabin for him to take her back to the
hotel, I thought then she might see that I
was telling the truth, and they might both
on 'em see reason."
The woman bowed her head, praying that
they might indeed "see reason." She really
did care for Durkin, and the sudden fear of
losing him had brought home to her her
own responsibility in the matter. Perhaps
if she had not been so selfish, so fond of her
own way, perhaps if she had put herself out
more for him she might have guar3ed him
against this infatuation. The horse jogged
briskly over the rough road and the big
mountaineer made no sound except now and
then an encouraging cluck to his steed;
and the moonlight poured down in beauty
like the rays of self-revelation that were
piercing the woman's heart. "If only I
could think of some way to bring him back
to me — something to rouse his sense of
'THE TAMING OF SUXNYBROOK NELL"
121
honor," she thought, turning and twisting
her jeweled hands in her lap.
They reached the cabin and there must
have been healing in that moonlight drive,
for a blessed thought had come to her. Six
years ago that very day, as chance would
have it, their little boy had been born.
Her husband had always remembered the
anniversary until this summer, when his
preoccupation with Nell had made him for-
get it. She thought now that if she re-
Durkin from the hotel, tying his team at
the door. Durkin had only just come.
Steve got out and twisted the reins around
the whipstock. His horse knew how to
stand. Then he stood hesitating in the
moonlight, praying to all the gods he knew
that he would be able to go through with
what he had to do, without committing mur-
der. Two shadows showed on the blind, a
girl's and a man's, and the man had his
arms about the girl. The mountaineer
A Premonition Came over Steve as He Stood Watching the Group on the Terrace
minded him of it, it might touch his heart
and bring him to his senses.
"Ask him," she said to the mountaineer
who was eager to be gone again, "ask my
husband, when you see him, if he remem-
bers what day it is. You won't forget, will
you?" She looked anxiously up at Steve,
and her lips trembled.
"You bet I won't," he said, and pressed her
hand sympathetically.
It was just eleven when he reached the
little house in the village where Nell was
staying. He had arrived at a fortunate mo-
ment, for he saw the man who had brought
smiled grimly, and strode to the door.
An old woman opened it, Nell's aunt, but
Steve did not stay to ask her permission.
He pushed past her and into the tiny sitting-
room beyond the hall. They were there,
Sunnybrook Nell, with a flushed excited
face, was bending over a valise, — and Durkin,
pale and anxious, was helping her to close it.
At sight of Steve the two stood, fascinated,
without changing their positions.
The young man wasted no time in pre-
liminaries.
"I've something to say to you, Durkin,"
he said, "a message from your wife. She's
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THE PHOTOPLAY MAGAZINE
waitin' for you up at old Clou's cabin. She
wants you to take her back to the hotel."
The guilty man started violently and the
perspiration stood out upon his white fore-
head.
"My wife," he stammered, "my wife?"
"Yes," said Steve, "and there was some-
thing she wanted me to ask you. She wanted
to know if you remembered what day it
was?"
"My little baby's birthday!" he said in a
motion toward him. With his head bowed,
he left the room, and they heard outside
the sound of departing wheels.
Steve hesitated, then made a swift step
toward the girl.
"Come with me, Nell," he said.
But she backed away.
"Leave me alone," said she, without look-
ing at him. But he would not let her shame
balk him. Without further ceremony he
caught her up in his arms and hurried out
Where a Man and Woman Stood in the Moonlight Drinking Their Cup of Bitterness— Together
low, stricken voice, "my little baby's birth-
day!"
Confession of guilt was in every tone of
his voice, and at the words, Nell, who had
stood staring in frozen unbelief, turned sud-
denly from him and put her hands over
her face.
And in that simple act Durkin saw the
end of the affair. His mad dream faded,
and remorse seized him instead.
"I guess I had better go," he said hoarsely.
And then, with an effort to catch Nell's
hand. "Won't you forgive me?"
But she made not the slightest reply nor
to the buckboard. In another moment they
were speeding up the mountain-side, passing
in their flight, a little, rough cabin, half way
up the mountain, where a man and a woman
stood in the moonlight, drinking their cup
of bitterness — together.
Clear to the top Steve drove, to the very
spot where they had first pledged their love.
He got down and lifted her out, and the
stubborn silence she had maintained all the
way gave way to a burst of angry tears.
"You've no right," she said, sobbing,
"you've no right to treat me so! I wish
you'd go away and leave me alone!"
'THE TAMING OF SUNNYBROOK NELL'
123
Steve put his hand over her mouth,
roughly.
"Shet up," he said sternly. "Do you know
■why I brought ye here?"
She gasped in astonishment.
"Why?" she said.
" 'Cause if you don't promise to marry me
tomorrow, I'm going to — " He interrupted
himself to nod impressively — "I'm goin' to
throw you over the cliff!" He gestured to-
ward the shining valley that lay below the
promontory where they were standing.
The girl burst into loud wails.
"Then you don't love me!" she sobbed.
"You don't love me! You wart to kill me,
and I love you so!"
The young mountaineer indulged in a wink
at the moon.
"Oh, you do?" he said. "That's different!"
Then, with his tone changing quickly to
tenderness, "Why, little girl," he said, tak-
ing her in his arms, "you know I wouldn't
hurt a hair of your head for nothin'. Steve
was only foolin'!"
She raised her tear-stained face.
"An' you won't kill me?"
He covered it with kisses.
"Well, not ef ye're good!" he said.
If the Movies Had Moved in the
Days of the Past
By LLOYD KENYON JONES
I WONDER what the screens would
show,
If in the golden i>ast,
The movie-man had filmed the scenes
And held the captives fast :
Would Jonah vanish in the whale.
Or would he (I opine)
Hold up two fingers to the gang.
And shout, "The water's fine!"
Would captive Daniel read to 'Slia/.
The writing on the wall,
"Be sure to drink old Babylon's Best.
And order more, that's all !"
And would the Red Sea's waters part
And let the hordes pass through,
Or would a ferry ply its trade
And fee the ]>oor Hebrew?
If Caesar's slaying had been filmed,
To Brutus would he shout,
"You cheap ward-heeler, have a care.
Look out what you're about!"
Would Cleopatra nurse the asp
And tease it, to be slain.
Or shout, "Come Antony, old sport, ■•
With more of that champagne!"
And Bonaparte, at Waterloo,
Where lay the sunken road,
Would he stand pat and take the gaff,
Or try to shift the load?
Would we behold upon the screen
At Valley Forge, the sigh
Of Washington, or read these words,
"Oh, say. but coal is high!"
And would Calcutta's setting show
A "bust" quite on the side,
Or Rajah Dowlah playing cards
While Black Hole victims died?
What would the movies tell us of
The heroes and the mob?
Pray, would the romance grow or would
The truth the glitter rob?
And yet, they're canning all our deeds.
And bottling all our woe,
And to the coming ages all
Our frailties will show.
Our greatest men, of bandy legs
And pendulating girth,
Will not evoke much reverence.
But rather cause much mirth.
We cannot hide behind the mist
Of misconception then ;
The movies still will show us up
In eons past our ken.
i Cm,
or~,soo/r ,
ootlights
<9 s c/'n a tions
icmdom
a'me
Johnson *Br/scoe
WE GOT along splendidly together, Marguerite Snow
and I. The whole proceeding had much more the
spirit of a social call, as against a cut-and-dried
interview. She was a perfect interviewee, and she pro-
nounced me an equally satisfactory interviewer, "so different
from a horrid man who called upon me the other day and
whose first words were, 'Now, say something brilliant!'"
The attractive Miss Snow, so surprisingly free from affecta-
tions of any sort, I found, can be delightfully witty and en-
tertaining, without any such absurd, fatuous cue as that.
Our chat began early in the morning, at the Thanhouser
studio in New Rochelle, when a group of players were start-
124
WHY THEY FORSOOK FOOTLIGHTS FOR FILMDOM
12;
two girls were busy chatting about a party
which they had attended in New York the
night before, at the Jardin de Danse. (In-
cidentally, so far as I could gather, the
Thanhouser stars, when not before the
camera, spend much of their time in a
round of social gaities.)
"Why, yes, you can say so in print, if you
like," replied Miss Snow, "though, as a
matter of fact, I generally claim Savannah,
Ga., as my birthplace, though I was really
born in Salt Lake City." This seemed to
me a somewhat prodigal geographical
usurpation, so I pressed her for details.
"Well, you see, it was this way. My
father, Wil-
liam G.
ing out for a morning's
work upon the seventeenth
episode of "The
Million Dollar
Mystery," and I
was bidden to join
them. Though feel-
ing momentarily a
bit de trop and some-
what like excessive ex-
cess baggage, I climbed
into the waiting automo
bile and boldly plumped
my person between the
radiantly dark Marguerite
Snow and the divinely fair
Florence La Badie, upon my
left and right sides re-
spectively. It was a
thrilling ride, I can tell
you.
Having learned by long
experience that in the
matter of motion picture
chats it is quite necessary
to plunge into business at every possible op-
portunity, I tried to preserve my equanimity,
while sandwiched between such loveliness,
and gather material while I could.
"And was Denver your birthplace?" I
rather stupidly began, for, you see, it was
rather difficult to insinuate questions, as the
Beautiful Marguerite Snow, the Princess Olga of
"The Million Dollar Mystory"
Snow, was a minstrel comedian for twenty-
five years, of the team of Snow and West,
and of course he traveled constantly. It
simply happened that mother was in Salt
Lake City when I was born. Almost imme-
diately thereafter we went to Savannah,
where we lived for several years, my father
dying when I was a baby. After a time
mother and I went to Denver, where I
passed all my childhood."
By this time we had reached our destina-
tion, which was the famous House of Mys-
tery, the background for many of the thrill-
ing events which occur in "The Million
Dollar Mystery," and here we found await-
ing us James Cruze, Frank Farrington,
] 2C,
THE PHOTOPLAY MAGAZINE
Sidney Bracey, and director Howell
Hansel. Almost immediately they plunged
into the business at hand, and dainty
Miss Snow (she is really one of the most
exquisite creatures imaginable) was soon
engaged in the villainous, nefarious
schemes on which the wicked Countess
Olga has been employed from the very
first in the "Million Dollar" episodes. A
luxurious limousine, the mysterious
house, a heavily veiled lady, the iniqui-
tous Braine (in the person of Frank
Farrington), a suit-case, a bunch of jon-
quils, all were picturesquely, hetero-
genously mixed together, forming another
link in the chain of circumstances in this
most absorbing tale
When a mo-
ment's res-
in Private Life Kiss Snow is the Wife of James
Cruze, Who Plays the Part of Jimmy Norton,
the Reporter, in "The Million Dollar Mystery"
pite came, I asked Miss Snow whether she
liked portraying such a picture of moral de-
pravity as the Countess Olga.
"No, I do not," was her unhesitating reply,
"though I begin to feel now as if I had never
played anything else. It seems as if I had
been a part of 'The Million Dollar Mystery'
always." Her face clouded, momentarily, as
she added, "I really haven't played a part 1
liked for almost the past year. I don't like
being an adventuress anyway."
More work followed. Olga was again ex-
ercising her evil influence over the heroine,
Florence Gray (and what an adorably pretty
She Made a Lovely Boy in
Dog of Flanders"
'The
heroine Florence La
Badie does make, to be
sure), after which Di-
rector Hansel pro-
nounced the morn-
ing's work completed.
"Until three o'clock,
when you may report
at the studio again."
We climbed back into
the automobile, this
time with Mr. Cruze
and Mr. Farrington as
companions, and were
whisked off to the
Cruze homestead for a
bite of luncheon. As
all, or certainly most of
you, know, Miss Snow
is Mrs. Cruze in private
life and the Cruzes
have a most com-
WHY THEY FORSOOK FOOTLIGHTS FOR FILMDOM
127
fortable, attractive home in New Rochelle,
about five minutes' walk from the Than-
houser plant. The very air of the house
spells comfort, without ostentation or dis-
play, and their marriage, a genuine romance
of the studio, may truly be said to be an
ideally happy one. You have only to be
fortunate enough to see them in their home
to realize that fact.
The ceremony of luncheon completed, it
was still some time before they would be
required at the studio, Miss Snow and I
lingered over our coffee cups for additional
intimate chatter. Meanwhile, in the living-
room, Miss La Badie played Victor Herbert's
fascinating "Badinage" upon the piano, while
Mr. Cruze smoked innumerable cigarettes.
"The stage? No, I shall never take up
that work again, I am sure. I liked it,
of course, when engaged in it, but the risks
are too great. Youth and pretty faces, rather
than real talent, are what count upon the
stage now. Then there is always the danger
of your company closing, or of your not
making good. Now in pictures there is no
risk at all, you have steady employment,
without fear of closing, and, too, I couldn't
possibly have a home like this if I were an
actress. Having lived all my life in hotels,
first as a child and later when I went on the
stage, of course, I am in" an especially
favorable position for appreciating a home."
As I was aware of the fact that Miss
Snow's stage career had been short, but
surprisingly successful, I determined to find
out, if I could, whether there was not a
frequent longing in her heart for a row of
footlights, a boxed-in set, and an audience,
with the assistant stage-manager calling,
"First act." I put the question to her direct,
and she met it directly.
"No, I don't long for the stage any more,
for the simple reason that I don't allow
myself to think about it. Nor do I trust
myself even to visit the theatres, for fear
the fever might return. Why, do you know,
the very last play I saw was John Mason in
'The Attack,' which was over two years ago.
Of course, there is a small, very small,
chance that I may return to the stage some
day, but I think it is highly improbable."
All the same, and despite her protestations,
I cannot but believe that there must come
occasional times when the lure of the stage
door is poignantly felt by Miss Snow. Very
few young actresses there are who have been
more successful than she, especially when
you consider that her stage experience num-
bered less than five years in all. She studied
in Denver under Marguerite Fealy, Maude
Fealy's mother, and during the Summer of
1906 played one or two small parts with the
stock company at Elitch's Gardens, Denver.
What might be called her real stage debut
occurred February 11, 1907, at the Crawford
Theatre, Wichita, Kan., when she played
Mile. Danglars in "Monte Cristo," in the
support of James O'Neill.
The very next season Miss Snow stepped
into the title role in Henry W. Savage's pro-
duction of "The College Widow," and the
next season came her Broadway debut, when
she created Elsa in "The Devil," at the
Garden Theatre. After that came a season
in stock work, divided between Grand
Rapids, Mich., and Wheeling, W. Va., and
in the Fall of 1910 she was seen at the Bijou
Theatre with Thomas Jefferson in "The
Other Fellow." This play being a failure, I
suspected that then she turned her thoughts
towards picturedom. It was so.
"My going into pictures was largely acci-
dental," said Miss Snow. "A girl friend of
mine was posing for the Thanhouser people
and she suggested that I accompany her one
day, just to see how motion pictures were
made. While watching the work, Mr. Than-
houser asked me if I would like to appear in
a picture which they were about to take.
Largely for the fun of the thing, I said I
would and I was pressed into immediate
service, costume, make-up and all, in a pic-
ture called, 'Baseball in Bloomers.' Sud-
denly the director called out, 'Everybody into
the machine and out into the country for
pictures.' 'What,' I cried, 'go out-of-doors in
such a costume and in winter weather like
this? Not for me!' And I immediately took
off my costume and returned to New York.
A week later, however, my telephone rang
and there was Mr. Thanhouser speaking,
urging me to reconsider my decision, saying
he wanted me to appear in a picture, 'His
Younger Brother,' and adding, 'It is all in-
door work this time.' So I consented, and
was a member of the company for about
six months.
"The Summer of 1911, I temporarily re-
turned to the stage, being leading woman of
the stock company at the Belasco Theatre,
Washington, D. C, where I played the title
role in 'Peter Pan,' Kathie in 'Old Heidel-
berg,' Nora Brewster in 'Waterloo,' Glory
Quayle in 'The Christian,' and Helen Heye in
128
THE PHOTOPLAY MAGAZINE
'The Lottery Man.' After that I took up
picture work again, being the first regular
lead with the Kinemacolor company, where
I remained for about two months, and then
I re-joined the Thanhouser forces, where I
have been ever since.
"It was a strange thing that as soon as I
had determined to remain permanently in
pictures, I received no end of offers for
excellent theatrical engagements, the lead in
such plays as 'The Bird of Paradise' and
'The Butterfly on the Wheel,' but I resolutely
turned them all down."
At this moment we were interrupted by
the arrival of a caller in the person of Dr.
Daniel Carson Goodman, the author of that
notorious novel, "Hagar Revelly," and an in-
timate friend of the Cruze-Snow family. It
seems that Dr. Goodman frequently turns his
hand to scenario writing and he has lately
completed a play called "Zudora," in which
Miss Snow is to play the name part. At
once, of course, conversation turned upon
that subject and Dr. Goodman, apparently a
stickler for detail, endeavored to make it
clear to his heroine exactly what sort of cos-
tumes he wanted her to wear.
"The sort of thing I want Zudora to wear,
for both house and street dresses, must be
modeled along the lines of the dancing cos-
tumes worn by Lady Constance Stewart
Richardson."
Miss Snow gave Zudora's creator one look.
"What!" she exclaimed, "appear in the
streets in a garb like that? It can't be
done!" Right then and there I resolved to
see the Goodman scenario when reproduced
upon the screen, especially to note the ulti-
mate compromise effected in Zudora's street
apparel — for I am all with Miss Suow!
It was evident to me that business, and
not the business of a magazine chat either,
was to be in order for some little time, so
there was nothing for me to do but take leave
of my agreeable, hospitable hostess. This I
did forthwith, and my last sight of Mar-
guerite Snow was that of a slight, girlish
figure standing in the door-way ("Now that
you know our address, do, please, remember
it, and come some time — unprofesslonally"),
she was smiling, as only she alone can
smile, with her sparkling, deep brown eyes,
voicing the farewell, of which I was all too
loath to take advantage. But time and
suburban trains wait for no man.
Perhaps more than one of my readers have
marveled because not once here have I
spoken of this Thanhouser star as "Peggy"
Snow. Somehow or other, purely instinc-
tively, all along I had felt that she disliked
it. Finally, I asked her as much.
"Yes, indeed, I do dislike being called
Peggy," she replied, quite heartily, but every-
body does it, and now that I have been nick-
named 'Peg o' the Movies,' there doesn't seem
to be any hope, does there?"
Augustus Phillips
HE was seated in a motor-car in front
of the Edison studio in the Bronx,
and I blithely passed him by. And
who would not? The Augustus Phillips, to-
day of Edisonville, and the Augustus Phil-
lips, yesterday, of Spoonerville, are two en-
tirely different persons in appearance.
Having seen him only upon the screen in
late times one was scarcely prepared for the
change.
It was at least five years ago that I last
saw Augustus Phillips in the flesh and now
I find him ever so much younger in appear-
ance — all probably due to the rejuvenating
influence of picturedom! For one thing he
is very much thinner, a state, of grace also
probably due to the strenuousness of the pic-
ture player's career, and there is about him
a buoyancy, even a lightness, the sort of
"care-free poise which comes with doing suc-
cessful work, qualities which I had not
noted before in him.
What's more, I said as much when, after
absolutely assuring myself that it really
was he, I climbed into the machine and sat
beside him. (No, dear readers, the machine
did not "spring into, .instant action and we
soon were moving along the hills and val-
leys of the adjacent country ' side." It prob-
ably reads more romantically that way, but
as a matter of fact the car was one of about
thirty passenger capacity, a small sight-
seeing wagon, and in a few moments we
were unceremoniously ejected therefrom, to
be replaced by a crowd of made-up Edison
actors, all bound for the day's work, . some
distance from the studio. We then repaired
to one of the Edison business offices arid our
interrupted conversation was resumed.)
"Why, yes, I am ever so much thinner
WHY THEY FORSOOK FOOTLIGHTS FOR FILMDOM
than I used to be. Last year we spent consider-
able time in Maine taking pictures, at which
time I lost a lot of flesh and I've never re-
gained it — though I'm not sorry! Goodness
knows, compared to the strenuousness of my
former work, I should be a mountain of
flesh."
"Then you find picture work easier
than the stage?" was a question which
sprang unconsciously from me, for he is
about the very last actor in fllmdom to
whom I would put such a question.
"Infinitely," came the terse, somewhat with-
ering reply. "There is simply no comparison
between the two. In this business your work
conies in cycles, you work strenuously hard
when you work, or else you don't work at all.
Now, for instance, during the past three weeks I
have had practically nothing at all to do, while in
a few days I start work under Charles Brabin's
direction in a Paul Revere picture, in which I play
the title role, so I shall probably figure in most
all the scenes. As probably every picture actor
tells you" (as, indeed, most of them do!) "the
very worst part of this business is the waiting about, \
hour after hour, between scenes. Many times I have
been dressed and made-up the entire day and have never
heard the camera's click."
With the title head of this interview department always
before me, I asked the inevitable question as to why he
left the stage for the studio.
He shot at me, and without a moment's hesitation, "My
eyes." A short pause, and he continued, "If it had not
been for them I should probably never have given up
acting behind the footlights. You see, I had a steady grind of stock
work for over eleven years and, without knowing it, the study and
hard work played havoc with my constitution, with the result
that my eyes failed me completely. And as I had to
have some ^^^ occupation, I took up picture work."
" A n d J^^^^^\ >' ou have never regretted it?"
"Not ™ -m jJ for one instant. The stage isn't what it used
be, ten \ ^ and twelve years ago, nor will it ever be like
that again, I believe. In those days
_— • a fellow's season lasted from forty
120
The Augustus
Phillips, of To-
day and the
Augustus
Phillips of
Yesterday Are
Two Entirely
Different People
180
THE PHOTOPLAY MAGAZINE
to forty-five weeks, while nowadays he's lucky if lie
works twenty-eight or thirty. Compare that with
this profession" — here a beatific smile spread
over his whole countenance — "wherein I have
a permanent home, congenial employment, a
car of my own, and all the time in the
world to enjoy baseball and the theatres,
with a salary every single blessed one
of the fifty-two weeks in the year. And
I should like you to say that I am
particularly happy with the Edison
Company, the only picture firm for
which I have ever worked."
In looking back over the monumental
amount of work which Mr. Phillips ac-
complished during his stage career, one
can but understand, even trouble with his
eyes aside, that he must indeed feel care-
free over release
from the rig-
As the ors of a
&L £/^lI stage life
in "The M such a S
Unsullied
Shield" He he knew.
was Every ■
Inch a
Gentleman
Undoubt-
edly filmdom imposes many
severe tasks, even frequent
hair's breadth escapes,
upon its many followers.
l^i but these are as nothing
compared to the amount
of real downright labor
which Mr. Phillips
shouldered during his
stage days. Just stop
for a moment to con-
sider the amount of
physical and mental
energy which an ac-
tor must have spent
who can look back upon
ten years of consecu-
tive stock work, the
He is Equally at Home in a
Comedy or in Such a Flay as
"The Two Doctors"
most unre-
mitting la
b o r pos-
sible, when
every week
he played
a new role,
crammed
his brain
with thousands
of new words,
rehearsed every
morning, and gave two
performances daily. And not only that, but during
all of this time he played nothing but the most im-
portant leading parts, such roles as Svengali in
"Trilby," Sydney Carton in "The Only Way," Sir
George Sylvester in "The Adventure of Lady
Ursula," Romeo in "Romeo and Juliet," Augustus
Billings in "Too Much Johnson," Lord Wheatley in
"Phroso," Basil Jennico in "The Pride of Jennico,"
Gavin Dishart in "The Little Minister," and Ben-
jamin Fitzhugh in "The Man from Mexico," re-
spective roles in which Broadway fame has been
won by such actors as Wilton Lackaye, Henry Mil-
ler, E. H. Sothern, Kyrle Bellew, William Gillette,
William Faversham, James K. Hackett, Robert
Edeson. and William Collier. What a treat it
WHY THEY FORSOOK FOOTLIGHTS FOR FILMDOM
131
"After a trying period with my eyes, I joined the
Edison forces on January 1, 1911 — they gave me
the salary I asked for, too, so I have no kick com-
ing — and there isn't any one in picturedom
more satisfied than I."
Bent upon discovering the fly in the oint-
ment, if by any chance there should be one,
I ruthlessly put the question, "And do you
never feel the call of the stage?"
He looked at me rather reproachfully,
it seemed to me (yes, apparently, the fly
was there! ) and after a second or two
pause, he said:
"Why, certainly, I get the stage fever
He Played a Part Greatly
to His Liking in the
Civil War Drama,
"The Enemy's
Lines"
I Find Him Now Much Younger Than He Was Years
Ago — Probably Due to the Rejuvenating
Influences of Picturedom
would be to see Mr. Phillips upon the
screen in some of these roles! ;
It was during his ten years as JL
leading man of the Spooner com- tt
pany, supporting Edna May and
Cecil Spooner, that Mr. Phillips I
acquired this enviable, but cer- \
tainly nerve-shattering, repertoire,
dividing the time about equally be-
tween New York and Brooklyn. Previous
to this engagement, he toured at the head of his
own company and was for a time with his
brother, Philip Phillips. After the disbandment
of the Spooner company, he appeared under
the Shuberts as the young Frenchman, Jules
Baenbien, in "The Wolf," was for a time at /
the head of the Alcazar Theatre Stock, San I
Francisco, and concluded his footlight career {
as chief support with Adelaid Thurston in a
"Miss Ananias."
132
THE PHOTOPLAY MAGAZINE
every now and then, and sometimes it's aw-
fully hard to fight it off. Only the other
day I received word from Eugene Walter
that he wanted to see me, that he had a
part in his new play just suited to me. Well,
I had a talk with him — he had remembered
imy work in his play, 'The Wolf — but
when he discovered that I had been playing
iin pictures all this time, he simply threw
up his hands and exclaimed, 'Good Lord!
Well, you had better stick to that game,
there is more in that than stage acting
now.' And of course he was right — though
I didn't dare ask him anything about the
role he wanted me for, because my attack
of stage fever was pretty violent at that
time." But if he felt any sense of real re-
gret at his decision, and I don't believe he
did, his cheerful, satisfied countenance be-
lied him.
That is one of the marked characteris-
tics about Mr. Phillips, the one which is
apparent probably first of all — his unruffled
poise, a sort of placidity, which tempts one
irresistibly to ruffle it up a bit. Such poised
tranquillity almost makes one suspect that
it covers up a super-heated interior! He
seems supremely satisfied with life, as
though he had most distinctly "found him-
self." And yet, strangely at variance with
this, is his boyish chuckle — one can hard-
ly call it a laugh — which he indulges fre-
quently and infectiously. He seems to look
at life through kindly, yet merry, eyes.
And he's a rabid baseball enthusiast. Ask
any Edisonite. "I've seen every game this
past week," and his voice fairly vibrated
with pride.
"Yes, I think I am perfectly safe in say-
ing that I am in the picture game to stay.
Nearly all the actors are coming to it now;
you would be amazed at some of the people
who are trying to break into the game,
here at the Edison place. But the field is
pretty thoroughly overcrowded now, though
there will always be plenty of room at the
top for the really talented."
"Tell me, just about how many parts did
you play during your stage career?" I asked,
knowing that the list must be a stagger-
ingly monumental one.
He smiled a bit wanly, and said:
"Well, I should hazard, altogether, easily
five hundred. When you stop to think of
the years in stock' in New York, Brook-
lyn, San Francisco, and Columbus, 0., and
even the years in repertoire before that,
yes, the list must easily be over that num-
ber." Is it any wonder then that pictures
have taken such a hold upon him, that he
finds much rest and recreation, even with
all its attendant strenuousness, in the film
game?
The Phillips "fans" swear by him chiefly
for his unusual screen versatility, for he
is equally at home either in comedy or emo-
tional roles, and you need only recall him
yourself in recent releases to realize that
fact. Pictures such as "Molly, the Drum-
mer Boy," "A Deal in Statuary," "The Two
Doctors," "A Question of Hats and Gowns,"
"The Enemy's Lines," "My Friend from
India," and "The Birth of the Star Spangled
Banner," proved it without question of a
doubt.
I arose to go, and my genial interviewee,
probably knowing the trials which beset the
interviewer's path, said, quite seriously:
"You may write anything you like, and
I'll swear I said it."
But he really did say the things I have
set down here!
A TRUTHFUL PRISONER
DURING the taking of a recent Ammex Comedy at National City, California,
Jack Livingstone was playing the part of the prisoner.
Enid Markey was visiting the jail and coming to Livingstone's cell exclaimed
very sympathetically. t
"Poor fellow, would you mind telling me what brought you here?"
"The Santa Fe Local," replied Happy Jack respectfully, "leaving San Diego
every morning at 9.15."
"The Dancer
and the Vulture
By Dorothy Chase
Illustrations from the Kalem Film
5*
IN a city in which he was probably no
worse than a great many other men,
Hampden Graeme had nevertheless ac-
quired, among a few people, the name of the
Vulture. It was thus that they spoke of him,
often considering it unnecessary to identify
him more closely. A famous architect, his
name was associated with a great number of
imposing monuments to his skill. Hotels
that had a world wide reputation, two huge
railroad stations, the capitols of half a dozen
states — these were only a few of the build-
ings that had brought him fame. They had
brought him more than fame; he was a rich
man. His income was enormous. And, now
that his fame was based on a solid founda-
tion, and his income was assured, he was
able to have something that he valued even
more than fame and wealth — leisure.
There was no need for him to work as he
had done. All that was required from him
now was a brief period of attention to the
commissions that came to him. To the
younger men who were glad and proud to
work for him, almost without considering
their reward, simply for the sake of the ex-
perience they gained and the value of the
association, he made suggestions. Then,
when they had made their drawings, he
would go over them. Here and there he
would suggest a change. Very seldom, so
rarely, indeed, that it was a matter of
wonder in the office, he would approve a
drawing unreservedly, and without changes
of any sort. The young man receiving such
approval was like one who has received an
accolade. It was enough to prove that he
was a coming man.
Graeme, by reason of his unquestioned
artistic supremacy, was privileged in many
ways. It was possible for him to enjoy his
career as a libertine among women, that
career that had earned him the epithet Vul-
ture, without suffering the ostracism that
would have been visited upon a lesser man.
His one merit, perhaps, was his utter frank-
ness. He preyed upon women, but he dirt
not cloak his actions with hypocrisy. There
was no concealment about his desires; there
was little concerning his methods.
Nor was there that delicacy and subtlety
that might well have been expected from
so great an artist. His eyes rested with
favor upon many women; he seemed
utterly to lack discrimination. He was as
likely to bestow his attentions upon the
painted women of the restaurants, almost of
the streets, as upon the wife of a friend.
And he seemed able to compel them to his
will. The women frankly seeking just such
a connection as he offered were no more easy
for him to conquer than those who had
wholly escaped suspicion until he cast his
spell over them. So, at least, it seemed.
Actually, of course, he must have been re-
pulsed more than once, many times, indeed.
But these defeats he managed to conceal.
He was an assiduous first nighter. He had
the freedom of almost every stage door in the
city. With one manager, indeed, who had
the courage to deny him admission to the
parts of his theatres reserved for the per-
formers he had come to open warfare. But
he had been routed by the manager's de-
fiance.
"My theatres are for the entertainment of
133
184
THE PHOTOPLAY MAGAZINE
the public that pays to see the plays I offer,"
said this manager. "My companies are en-
gaged by me, and paid to give their artistic
services to the interpretation of these plays.
And the ladies who honor me by working for
me will never, with my consent, be sub-
jected to the annoyance of importunities by
blackguards who can afford good clothes."
But this manager was an exception. Many
of his fellows had hesitated to give Graeme
the privileges he sought; some of them he
had won over by backing their productions.
He was secretly interested in half a dozen
musical comedies each season. A girl who,
being desired by him, resisted, was likely to
find her services no longer in demand.
The attitude of men — and of some women
— toward Graeme was a curious one. Unques-
tionably, repelled by his morals, or his lack
of them, they still tolerated the man, re-
ceived him, accepted his company when he
chose to bestow it upon them. He was a
great artist; he was a man who could, when
he chose, talk brilliantly. His entertain-
ments in the extraordinary house in which
he lived were famous; some, to which a
selected group was invited, better deserved
the term notorious.
The general feeling, which accounted for
the way in which Graeme's life was regarded,
was, probably, that he had two distinct sides.
One represented Graeme, the artist, the
charming host, the wit. The other was
Graeme, haunter of the night life of Broad-
way, preyer upon women, exploiter of the
tempted women of the theatres. There were
times, as has been hinted, when the two
personalities clashed. There were hints that
a long illness had been due, not to appendi-
citis, as had been reported, but to a wound
from the revolver of a friend. There were
other stories. . . . But these had been
hushed up. It had been to the interests of
both sides to do this. And there was a gen-
eral feeling, among those who might have
resented Graeme's conduct and made their
resentment of some effect, that, after all,
it was more or less his own business. In
this day and generation, they felt, women
should be able to look after themselves.
Graeme's reputation was well known; a
woman who trifled with him was like a moth,
flying about a flame. It was that feeling,
as much as anything else, that pulled Graeme
through.
Had they seen some of the things that
went on behind the screen that concealed
his private life, these easy moralists might
have changed their views. Had they been
able to understand the strange, illusive
psychology that was involved in some of the
attachments the man formed, they would
have recoiled with horror from their own
indifference. To them, fairly free from such
temptations, the case, from the woman's
point of view, seemed a simple one — a direct
question of right or wrong. There are few
questions as simple as that; there are few
problems, indeed,- that can be stated in plain,
direct terms of what is right and what is
wrong. There are factors that must be taken
into account; factors which Graeme under-
stood thoroughly, and which he turned in-
variably to the attaining of his desires.
He had heard of Ruth Hendee two or three
times before he saw her. But, strangely
enough, what he heard did not interest him
to the point of looking her up. It was in-
teresting enough, as a matter of fact.
Thrown upon her own resources the girl had
shown herself original by the manner in
which she undertook to look after herself.
Without special training of any sort, the
most likely thing for her, as everyone told
her, was a job in a store. She might make
six dollars a week; that was not enough,
however, as she saw it, to satisfy even her
own needs. And she had to take care of her
mother as well as herself.
The stage, after a few attempts, she found
impossible. She had no training, of course;
in the chorus she might, with luck, have
made enough money. But managers didn't
want her. She wasn't of the type to attract
them. Still the stage seemed to her her
best chance. And she had worked out a
daring and an original conception. She had
some skill in dancing; not much, but some.
It was not enough to get her an engagement
even in a cabaret. But she had intelligence,
too, and she did some studying. With the
little money she had she invested in some
remarkable costumes. Here, as a matter of
fact, she made her great bid for success,
though she didn't know it. For two or three
of her dances her costumes were bizarre in
the extreme. They were also scanty. But
this fact never occurred to her. By the time
she had come to the point of designing a
costume she was absorbed in the dance she
had thought out, and the costume was merely
a further means of expressing the spirit of
the dance. But to the manager who finally
had sense enough to listen to her, Moe
'THE DANCER AND THE VULTURE"
135
Barnes, it represented a distinct appeal to
the sort of men who buy front row seats at
musical comedies. And it was to this,
though she didn't know it, that she owed the
engagement he promised her.
Ruth was wild with delight when Barnes
gave her her contract; she was so impatient
to sign it that she scarcely looked at it.
It represented so much more than the actual
engagement. Ruth had plenty of confidence
it chanced, did her practicing and the ex-
ercising she required to keep in trim at the
same place. And sheer accident threw her
before him. He and some other men were
playing with a medicine ball; it fell against
a door, pushing it open. And Graeme, fol-
lowing the ball, saw her, and stopped dead.
She was practicing a step, utterly uncon-
scious of him. But he took her in, from
head to foot. And, as he closed the door,
Graeme Following the Ball, Saw Her and Stopped Dead
in herself; the way she had spent her small
reserve of money proved that. And all she
wanted was the chance Barnes was giving
her. She had no doubt but that she could
succeed.
It was soon afterwards that Graeme saw
her. Graeme kept himself always in the
pink of condition. His excesses never
seemed to affect him; the reason was that,
while his companions were sleeping off the
effects, he was in a gymnasium, from which
he emerged, clear eyed and fresh faced,
while they were calling for bracers. Ruth,
very gently, the look of the vulture was in
his eyes.
What followed was the sort of thing that
had become usual with Graeme. It was the
fact that most of his friends were ignorant
of his methods — what he proceeded to do now
was typical enough — that they tolerated him.
First of all, of course, he found out who
she was — all about her. And his plans were
simple. He managed to meet her; she saw
no reason to distrust him. He was intro-
duced, conventionally enough, by the man-
ager of the gymnasium. And, professing a
"You've Got a Contract With Ruth Hendee? . . . Cancel It"
136
"THE DANCER AND THE VULTURE"
137
great interest in her dancing, he led her to
talk to him about it. She was at a stage
where such talk was rather vital to her;
no one else seemed to understand what she
was trying to do. Even her mother was a
little horrified; she had an idea that Ruth
meant to appear as one of a ballet. For Mrs.
Hendee, Pavlowa and the great dancers who
had transformed the art did not exist.
So far Graeme did nothing he should not
have done. But his next move was his secret
noon, when Graeme, as had now become his
custom, met Ruth at the gymnasium as she
finished her practice, he saw that her eyes
were full of tears. In her hand was a note
that bore the letterhead of Barnes's office.
"Bad news?" he asked, concerned.
She told him. He cursed Barnes and all
the tribe of managers to comfort her; then
lie frowned.
"Does it matter so much?" he asked.
"So much?" she groaned. "It means my
Before His Guests, She Danced Better Than She Thought She Could
one. He knew Moe Barnes; he had backed
more than one production for him. And
when he was ready, he appeared in the
manager's office.
"You've got a contract with Ruth Hendee?"
he said. Barnes nodded. "Let me see it."
He glanced through it.
- "I see," he said. "Up to your old tricks,
Barnes. Well — I'm glad. Cancel it. She
can't do a thing — can't hold you to it."
"But I don't want to. She's going to make
a hit!" protested Barnes.
But Graeme was not to be denied. And
his power was too great. Protest as he
would, Barnes had to yield. And that after-
chance is gone! And how am I to get an-
other? This seemed incredible!"
"I have it!" he cried, suddenly. "You
want a chance — an audience that will talk of
your dance. Do it at my place. I can give
you an audience Barnes couldn't drag into
his theatre. I'm giving a party on Saturday
night — I had meant to ask you. If those
people like your dance you'll have half the
managers in the city after you next day.
Do you see?"
Her eyes lighted up. She did see. It was
a greater chance than the one she had lost.
She accepted, of course; accepted gratefully,
humbly. He laughed at that.
138
THE PHOTOPLAY MAGAZINE
She did dance well. Before his guests she
danced better than she had dreamed she
could. And yet — the dance fell flat. There
was, when it was over, a ripple of the most
perfunctory applause. But no one could have
construed it as a demand for an encore;
Graeme alone seemed really pleased.
| The cards had been stacked against her.
That was a hand picked audience. Graeme
had given it its orders. And its duty was
to make the girl think that her dance was a
failure; that this little group of cultured
people, as she supposed them to be, would
have none of it.
He slipped into her dressing room when
they had gone. She was huddled, still in her
dancing dress, in a chair. Her eyes were
dry; for her the tragedy of the moment was
too intense for tears. He comforted her,
and she was able to sob in his arms.
"You shall not go — not to-night," he said.
"This is to be your home — you are to be
mine. You — "
Faintly she resisted. She murmured some-
thing of delay.
"Can't you trust me?" he said. "There are
formalities — they are impossible at night."
She stayed. . . . Once more Graeme
had had his way. Sometimes in one fashion;
sometimes in another. . . . Yet they
were always ready to excuse him.
But for once he had blundered. There was
a maid, who came to Ruth in the morning,
when the cold, grey light had changed the
aspect of everything. She lay in her bed,
dreading to remember, yet with memory
forcing its way behind her defences. She
sobbed. And the maid sneered at her.
"Oh, you'll get over that!" she said. She
laughed horribly. "I was like that, too. He
doesn't remember me, you see. If he did,
would I be a maid in his bouse? I must
have been one of the first! There have
been so many since — like me — like you — "
"I don't know how he got you," said the
maid, dully. "It don't make any difference,
though. You'll be like me and all the rest.
You'll be queen for a little while: And then
he'll see the next. Then you'll go — with
some money, if you want to take it."
Not for a moment did Ruth doubt this
girl. The scales fell from her eyes, and she
saw what she had done and what she had
become. She shook with horror. And then
the telephone rang by her bed. It was
Graeme. Would she breakfast with him in
ten minutes? She took a sudden resolution.
In the stipulated time she was ready. With
a smile she poured his coffee. She chatted
lightly through the meal.
"Well," she said, with a laugh. "It's over,
isn't it? I failed — and you didn't! Oh, well
— I'm an artist. I needed experience. I have
to thank you for a sort I might not have had
the courage to gain for myself! "
He stared at her as if she had spoken in
Chinese.
"Are you mad?" he said, flushing. Above
all things he hated the idea that anyone
might laugh at him. "What do you mean?"
"Oh, I know all about you!" she said.
"You should look at the maids more care-
fully, my dear Graeme! You should be sure
that your discarded lady loves are not hired
to serve their successors! My maid, you
see, has just been telling me about you — and
those who came before me. Who is the next?
Have you picked her out? Because — the
place is vacant! I resign, you see!"
"I'm going — now," she said, in a voice that
cut. She moved toward the door.
The very foundations of his life seemed to
be crumbling about Graeme. For the first
time a woman was discarding him, casting
him aside. He felt that he had been tricked.
"Wait!" It was a strangled cry. He
moved toward her, as she turned, and took
her arm. He drew her toward him, and bent
her backward, so that he could look into her
sneering eyes. "Would you believe a maid —
a lying maid — against me? I — I want to
marry you! I want to marry you today —
now! My car is waiting. We can go to
Connecticut — there are few formalities."
"As if you meant it!" she sneered.
"I'll prove it!" he cried. "Get ready!"
Miraculously, he did mean it. She had
found the one weak spot in his armor. He
was afraid of being tricked. They were
married two hours later. And, as the car
passed a station, on the way back to New
York, she stopped the chauifeur.
"Thank you!" she said. "I've no doubt
you'll find it easy to get a divorce — desertion,
you know! Or I can, if you don't care to.
The alimony will keep me nicely — and with
your name for the bill boards I think my
dances will succeed!"
He stared after her, speechless.
And gallantly she walked out of his sight,
straight and proud. And then came to her
intolerable shame and self-loathing and pas-
sionate despair.
But of these things the Vulture never knew.
Dot Farley
Comedienne, Tragedienne and
Photoplaywright
By Richard Willis
Miss Farley was Advised Not to Ride Hell Cat, so. of Course, She Did.
And She Stayed on, Too. Much to Hell Cat's Annoyance
I REMEMBER about a year ago seeing Dot Farley on the screen
at a Hollywood theatre in a Frontier Film which kept the
audience alternately chuckling and roaring throughout its
length; in Los Angeles the following night at a first run theatre
I saw Dot Farley in a society drama; and later in the week I
held my breath over her daredevil escapades in a Western photo-
play.
Now there is nothing amazing — though it is fairly unusual —
to see an actress in three such widely varying roles as these. But
it is amazing to find her playing all three of these roles so un-
commonly well. She used all the time honored devices of the
slap stick comedy, but with a difference — a difference that in-
vested falling upstairs, jumping over a hedge or simply making
a face with so irresistible an appeal that the audience was con-
vulsed. In the society drama she held one spellbound with
admiration of her flawless interpretation of her role, and
in the western play heT feats of daring left one gasping.
It was easy to believe the common report — "that Dot Far-
140
THE PHOTOPLAY MAGAZINE
family sort of person and have a cat and dog."
I had to confess that while I was certain
that she could be "real nice" if she tried,
I couldn't imagine her "settling down."
"Settling down" has an astonish-
ingly inactive sound and Miss
Farley and activity are such boon
companions that one can't con-
ceive of one without the other.
But in our discussion of
"settling down" it developed
that by this Miss Farley meant
simply giving up acting which
forms a large and important
part, but is by no means the
whole of her work. Few pec-
■
ley will do
anything."
Before I go any
further let me explain why I am call-
ing Miss Farley so familiarly Dot Far-
ley. Her real name is Dorathea, but
if anyone called her that suddenly she
would probably look around to see who
was wanted without its occurring to her
that Dorathea was her own name.
"You can see that I'd not feel at home
if anyone called me Dorathea," she re-
marked, "when you learn that I went on
the stage when I was three years old —
doing a song and dance in E. A. Mac-
dowell's 'Wedding Bells' — billed as 'Chi-
cago's Little Dot' and have never
known any name but Dot
since that time — and
don't expect to lose it
until I retire," she add-
ed thoughtfully.
"What!" I said,
much startled. "Have
you retirement in
mind?"
Miss Farley laughed.
"Certainly not for a
long time yet — although
I do rather look forward
to the time when I can set-
tle down in a home all my
own with my flowers and my
horses and be a real nice
She Can Invest Merely ''Making
a Face" -with an Irresistible
Appeal that Convulses Her
Audiences
In One of Her
Earliest Pic-
tures, "A
Gypsy's Love"
pie know who writes the photo-
plays and especially in a case
like Miss Farley's, who would
ever hear, for instance, that she
has written more than 200 photo-
DOT FARLEY
Ml
plays all of which have been produced on the screen.
She got her start in writing photoplays thus: Once
upon a time when she was with the St. Louis Motion
Picture Company, they were up against it for a story,
really up against it, and Miss Farley came to the res-
cue with "On the Verge." It was a photoplay with a
cast of only three people which was then almost un-
heard of in a picture play and in many other ways it
was so entirely different from anything they had ever
had, that they were all enthusiastic over it. Since then
Miss Farley has written a great number of the plays
which have been produced by her company and in which
she herself has acted. She says that she does not en-
joy writing comedies as well as dramas and western
stories, but that she writes a lot of comedies just the
same. With characteristic modesty and generosity Miss
Farley gives most of the credit for the success of her
comedies to her director, Mr. G. P. Hamilton, the presi-
dent of the Albuquerque company, "who has a perfect
genius for adding those little touches of humor which
make or unmake a comedy or slapstick farce, and in
Mr. Hamilton's case it is always 'make' and never 'un-
make,' " she said enthusiastically.
You may have noted that I
used the phrase "characteris-
tic generosity" in connec-
Dot Farley, the Comedi-
enne, in 'Tier Wedding
Day"
Dot Farley, the Tragedienne, in
The Lust of the Redman *'
her sunny good nature.
Miss Farley was Utterly Captiv-
ating in "False Pride Has a Fall"
tion with Miss Farley. And
I believe that generosity
comes nearer to being that at-
tribute of this charming actress
that is most characteristic than
even her energy, her ambition,
She is, in fact, too ready to give
credit to others, especially if you have no means of gaining in-
formation about her other than from herself. But I had the ad-
vantage of knowing Miss Farley by reputation before I met her
and I had the further advantage of meeting and talking with
her mother.
Alma Farley, Dot Farley's mother, is also a member of the
Albuquerque company — not because she is Dot Farley's
mother, but by virtue of an ability won and demonstrated on
the legitimate stage through years of work. It is difficult to
discover whether Mrs. Farley admires Dot more than Dot ad-
mires her, but it is not difficult to discover that the admiration
of each for the other is superlatively high.
"The Fifth Man"
The Mad Scientist and His Jungle Captives
By Lloyd Kenyon Jones
Illustrations from the Selig Film
" -r~ > IVB years from this day and hour!"
1-4 John Gaunt muttered in an inarticu-
-™- late strangle. His strong features re-
laxed and his face blanched. But the game-
ness was deep-horn in him, and his four com-
panions scarcely noticed his woeful lack of
composure.
There was something creepingly uncanny
about this gathering around Thomas Wynn's
festive board. Jovial fellows with their
newly awarded degrees — filled with the gay
camaraderie spirit of their college days — they
had come together to drink their last toasts
before three of them embarked on the high
seas of life and adventure — (and mayhap
tragedy, too).
"Well, five years from now," Thomas Wynn
had said, "when the hour of nine has struck,
we meet here again — older and possibly
wiser — though I doubt it — and full of stories,
I wager, about our adventures in the great
world."
As they raised their glasses again, John
Gaunt fancied that a cloud had floated
through his wine and his heart beat fast as
lie gulped the beverage.
That was the beginning of it.
And the years sped by, with their myriad
episodes — and loves — and enmities — and
hopes — and despairs.
Even Baby Wynn had learned to lisp the
names of those dear companions of her
daddy's, for Thomas Wynn had been happy
in love and successful in business — and as
true as a plummet-line in his early faiths.
The clock on the mantel had pointed to
nine of the evening more than eighteen hun-
dred times since the troth of comradeship
had been plighted. On this particular night
Mrs. Wynn and Dot had taken a hasty, laugh-
ing farewell to the nursery, leaving every-
142
thing in readiness for the coming guests.
Jim Farrell was the first to arrive — but Jim
had led a colorless life, what with a wealthy
uncle's heritage, motor cars and estates. His
adventures were made-to-order, fashioned to
suit his whims.
Frank Carney came next — as blithe as a
boy in his teens — as care-free as an upland
breeze. Well, three of them were present at
any rate, but originally there had been five.
What of the others?
"I wonder what became of — " but Far-
rell's words were interrupted by the butler's
appearance. Silently he handed a special
delivery letter to Mr. Wynn.
"It's from Happy Gallagher, boys," he said
huskily. "He's dying — likely dead — in Bom-
bay, with a bullet in a lung — game to the
core in his last hour, just as he was in life."
Farrell coughed uneasily.
"But the fifth man!" he exclaimed. "Has
fate been even less kind to staunch John
Gaunt?" No one answered.
There was an undertone of tragedy in this
belated meeting. The bravado of youth was
missing; the anticipated joviality was ab-
sent. Time plays no end of mysterious
tricks on mortals. Despite themselves, these
three friends found their conversation lag-
ging — sinking into commonplaces and irk-
some small talk.
Frank Carney saw it first. Then Jim Far-
rell looked and shuddered. It was a face —
hair-grown, unkempt, wild, but a man's face
for all that. Thomas Wynn turned sharply
as the stranger stepped uncertainly into the
room.
"Boys!" the creature cried in a dry, high-
pitched voice. "Boys— don't you know me —
John Gaunt?"
Incredulity melted into half-belief, and then
"THE FIFTH MAN"
143
into pity for this poor specimen of humanity.
Gaunt clutched at a chair-back unsteadily.
"A glass of wine, quick!" he gasped.
"That's better — thanks. I came — almost in
time. My memory stood me in good stead
there. But what I am about to relate may
seem stranger even than I, your companion
— the fifth to subscribe to the pledge of
fealty — John Gaunt, look."
later — Port Limon on the Caribbean — -thence
to the interior, beyond the mangrove swamps
with their pestilential vapors, into jungles
as dense as ebony night— alive with a mil-
lion billion monsters; things that prowl, and
wriggle, and creep, and fly.
"There were several of us at first, but the
tropic jungle drove the others back in fear
cf its dangers. Three of us continued until
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•
f
I Feigned an Unconsciousness That Satisfied the Careless Scrutiny They Bestowed on Me before Beginning Their Steal
of Fruit and Raw Meat
Tenderly, they eased him into an arm-
chair. His thin hands clasped and unclasped
spasmodically, his features twitched, his
lack lustre black eyes stared far beyond the
barriers of the room.
"It was gold, dear fellows — the mad lust
for new-found wealth!" he began abruptly.
"Even when we toasted one another in this
same room, the taste for it had seeped into
me. You recall my destination? First, it
was Rhodesia, but tha* was not a poor man's
country. I came back to Central America
the blue silhouettes of the Sierras came into
view. We walked through clumps of ma-
hogany that would have brought a ransom
for a grand duke — mad for the feel of virgin
gold.
"And then a day dawned that seemed sur-
charged with evil. It gripped at my throat
like an invisible fury, and a maelstrom of
green and purple danced before my eyes. It
was the fever, I suppose, but look where I
would this mad confusion rollicked through
x\e. And boys, I could see that clock, with
144
THE PHOTOPLAY MAGAZINE
the minute-hand climbing toward the zenith
and the hour-hand part way up. And I could
hear Jim Parrell laughing and saying, in
sickening monotony — 'To the fifth man — big
John Gaunt!'
"I wandered aimlessly, with the jumble of
words in my ears and the whirling riot of
color before my eyes. Then the clock — that
same clock that
has tolled the
hours of my
tragedy — was
chiming. Its sil-
very melody be-
came rhythmic-
al. A b r o o k —
as clear as a
crystal fountain,
was babbling at
at my feet. I
dropped my rifle
and fell to my
knees and drank
until my soul
rejoiced and the
swelling in my
throat and lips
receded. I laved
my hands and
even cooled my
head in the
brook's bed,
bending over so
it could run
through my
hair. Then the
voice of Jim
Farrell ceased —
and the face of
the clock faded
— a n d I sank
upon the grass —
and slept.
" Something
disturbed me. I
awoke slowly, for my slumbers had been
heavy. Fellows, you think now that you
gaze into a madman's eyes. Look closely.
Mine are merely dilated and uneasy. The
eyes I saw when I sat bolt upright were long
since segregated from reason. They danced,
like heat waves from a stove's blistering sur-
face. They were like beads of washed-out
opal — and set in a white man's face, a face
fringed with uncombed beard that bristled
like a mad dog's furrowed scurf. But he
was not alone. A negro, lithe limbed as a
With a Black Palm Pole, I Pried
Joan Stepped Out and
hard run hound, stood beside him; an
aboriginal specimen of the tropic's waste.
They carried spears — keen-pointed as new-
ground awls. The negro was partly clad in
skins — the Caucasian was roughly dressed in
European garb.
"'A specimen!' the old man chuckled.
'What a find, Congo, what a find! It will
complete our
wonderful collec-
tion—eh? Of the
same classifica-
tion, Congo, as
the other — genus
homo! What
tricks does dear
fate play!'
"I did not
gather the mean-
ing at the time.
Indeed, my mind
was blurred, and
the hinges of my
knees had lost
their springs. I
arose awkwardly
and could have
cursed myself
for it. The sav-
age beat me to
my gun. I was a
prisoner — a mis-
erable captive,
impotent as a
babe at its
mother's breast.
They had me. I
could see that.
It takes more
than the spirit
to fight. It calls
for the flesh, and
fever surged
through me till
every bodily
movement was like a mortal hurt, but the
sharp weapons of my captors sped me on.
Then I recalled having shouted and shot my
rifle just before I had reached the stream.
I had been a fool. It is in the fabric of the
city bred man to bungle, and I had bungled
ingloriously. I was filled to overflowing
with self-accusations, but after all, was not
captivity better than the talons of the black
vultures that circled far overhead? They
were like messengers of death, and I took
my eyes from them, and began to feel that
One Barrier from Its Fastenings.
Sank Into My Arms
'THE FIFTH MAN"
145
some haven — possibly some vast happiness —
awaited me at the trail's end."
John Gaunt paused, while he quaffed the
glass of wine that Thomas Wynn urged upon
him. The man's strength was nearly spent,
and at times he seemed to hasten as though
his tale had thus far been eventless and
wearisome and the real story was coming.
"T here had
been a space
cleared in the
j u n g 1 e," h e
continued at
length. "A palm-
thatched hut oc-
cupied its cen-
tral area. It was
a long, low
structure
designed with
no little skill.
One man pre-
ceded me and
the other fol-
lowed as I
crawled inside. I
shall never l'or-
get the stifling
odor that
greeted me —
heavy with a
fetid, sickening
current that
swept in from
all sides. Then I
looked around
me and under-
stood. There
were almost un-
counted exhibits
of the taxider-
mist's a r t —
crouching
cougars, slender-
limbed pumas;
green, horribly realistic iguanas, the lizard
demons of the Southland; birds of rare, gay
plumage — and well-tanned skins of monster
snakes. It was a mausoleum of the jungle's
treasures — glass-eyed and motionless, long
dead but horribly offensive. So these were
the specimens? And I, John Gaunt, was to
be added to the list! Would they tan my
fever-filled hide, or had this wild scientist
a more artistic means of embalming me?
"They gave me scant time to meditate.
One preceding me, another dogging my heels,
For Days They Would Hunt Amicably for Specimens and Gloat Over
Their Finds, and Then, Suddenly Anger Would Overtake Them
they led me to the pens. Here the living
specimens were caged! A huge black bear
sniffed curiously at me — to learn, no doubt,
if I too, were bereft of reason. A sleek puma,
couchant, eyed us viciously from his prison-
depths. Some day, they would cease to en-
tertain — and then the grewsome museum in-
side the hut would gain in numbers.
" 'Here, Con-
go!' the scientist
chuckled mean-
ingly. 'Bring the
latest finds
hither. Let me
study their dif-
ferences, for like
as not they are
offshoots of
strange tribes!'
"There was a
movement with-
in this last cage
that seemed so
different from
any I had seen,
that I started in
fear. A graceful
figure was aris-
ing — and I f e 1 1
back in unbe-
lief! A beauti-
ful girl looked
eagerly through
the wooden
bars! So this
was the 'speci-
men' to whic h
he had made
covert refer-
ence? I rushed
toward her, and
she smiled in
frightened unbe-
lief. And for the
moment I forgot
the unseated intellects that dogged me. I
was the first man meeting the original woman
in Eden's bowery fastness! A frightened
roaring pulsed through my ears — my temples
throbbed. I sank to the earth, felled by a
terrible blow from a bludgeon."
John Gaunt covered his face with his long,
trembling fingers. The thought of his dis-
covery was greater than memory could bear
— and with good reason, as the end of his
recital disclosed.
"A real woman!" Frank Carney gasped.
146
THE PHOTOPLAY MAGAZINE
"Caged like a beast?" Farrell interposed.
"A real woman, a very beautiful woman!"
Gaunt sobbed. "A girl with a heart and a
soul! God, how the sight shocked me. Poor
little creature — held in bondage with a score
of snarling, complaining beasts as next-door
neighbors; and with scorpions, tarantulas,
centipedes endangering every living moment
— now as then!"
"Now?" Thomas Wynn queried incred-
ulously.
"I am ahead of my story," Gaunt apolo-
gized. "The skins that formed her scant
attire, were over-run by ants — a thousand
times a thousand little red, restlessly in-
dustrious insects. The cage itself reeked
with the musty leaves that carpeted it!
"They took me back to the hut and dropped
me on the reeds that covered the floor, where
I feigned an unconsciousness which satisfied
their careless scrutiny. The day was as
humid as a vapor bath, and the slave, worn
out by long walks and constant vigils,
dropped into a sleep after he and his mad
master had partaken of a quantity of raw
meat and fruit.
"The scientist, believing that he alone was
conscious, crept into an adjoining room. I
followed him, being careful to make no noise.
My weakness made me more capable at go-
ing on my hands and knees than walking.
There was a great cut in my head that never
for an instant left me free from pain. I was
too dizzy to risk rising to my feet. The
scientist had removed a large stone from the
floor. There was a compartment beneath and
from this he withdrew an earthen pot. It
was filled with golden coins — five-franc pieces
I learned later. He gloated over them. He
was not too mad to appreciate gold, but the
vision mocked me. Was it not gold that had
brought me to this plight? The yellow metal,
elusive as a woman's smile, exacts its price,
fellows. You pay for it even when you wrest
it from nature. It carries a sting, be it won
in the marts of the world or dug from the
earth. There was bitterness in my soul
against it till I thought of the captive girl,
and then my being thrilled with the deter-
mination to free her. To free her, did I
say? Can I ever deliver her from that living
death? But I hasten again. Let me take
things in their good order. When the mad-
man returned, he found me in my place —
prone, eyes closed, breathing heavily like one
in a stupor. Soon his vigilance relaxed. His
head nodded. He slept. Scarcely daring to
breathe, I arose. I looked for my gun. I
could not find it. The slave lay too near the
spears to venture touching them. But I knew
that moments counted — moments a million
times more precious than the shower of five-
franc pieces in the apartment beyond.
"The girl saw me coming. She reached
out her hands impetuously toward me, and I
realized that life would ever be a void with-
out her. I told her my name as I worked at
the bars. She whispered hers — Joan Darey,
unfortunate daughter of an equally unfortu-
nate sea captain. With a black palm pole, I
pried one barrier from its fastenings. Joan
stepped out and sank into my arms. My poor
addled brain had room for only one thought
at a time. I had forgotten my captors. Joan
was first to see them. I tell you, boys, the
devil's lair was in that jungle, and he was
abroad that hour. The stamina wasn't in
us to run far. I carried Joan part of the
way but she was nearly fainting from fright
and exhaustion. At last I thought we were
reasonably safe, and at any rate, Joan was
calling for water. Placing her gently in the
grass, I made a hasty search. A small brook
was running nearby. I confess I satisfied
my own thirst first, but how could I return
with time so pressing and dangers so im-
minent? I carried an earthen cupful of
water to her. She drank it greedily and
sobbed, and all the pent-up longings of my
heart were loosed. I wanted to hold her t<
me and soothe her fears away.
"Joan's scream aroused me to our dangers
The demons were upon us! I fought vali-
antly for a time. My cause alone sped my
muscles. A well-directed blow with a club
silenced the negro for a time, and I came to
grips with the mad scientist. I would have
bested him, too, with poor little Joan helping
as she could. But the slave had gotten him-
self together, and the two of tbem overpow-
ered us.
"They trussed me and carried us back.
Miss Darey was returned to her loathsome
pen, but a doubly sinister fate awaited me.
They had propped me against the puma's
den, and that long-muscled beast apparently
sensed their diabolical plans, and waited
hopefully. After an agitated consultation,
they unbound me, and forced me into the
puma's inclosure — me, weakened beyond all
endurance — me, racked with fever and crazed
by the malignant destiny that had overtaken
and conquered me.
"The supple creature approached me cau-
"THE FIFTH MAN'
Mi
tlously at first It thrust its moist nose into
my face as I sat limply in a corner. The
madmen outside laughed uproariously. The
beast laid a paw on me half-playfully. Un-
thinking, I brushed it away. The puma
backed to the farther end of the pit and
crouched, whining and lashing its tail. Joan,
who had been watching, screamed a warning.
It is well she did, for I was unfamiliar with
the habits of jungle denizens. She had been
forced to watch them for years — for years.
ing as the wooden bars of my prison, I re-
laxed. The puma was wonderfully quiet.
Next day, it joined the exhibits inside the
hut. I wonder what would have happened to
my poor body had the puma won!
"Two years passed — two eons that had
neither beginning nor the promise of end.
But there was a meed of compensation in all
this misery. Joan's cage and mine adjoined.
Often, beneath the tropic moon, we'd plan —
and hope — until we nearly forgot our pitiable
She Fancied That She Heard the Shouts of Men — and the Crackling of Undergrowth Beyond the Clearing
gentlemen, in the misery of that vile confine-
ment. Do not ask me to describe the battle.
The sharp claws and saber teeth tore my gar-
ments to shreds and lacerated my protesting
flesh. I was fighting not alone for my life —
but for two lives; Joan's and my own, but
for hers, chiefly. It was only minutes; it
seemed hours. I know that at last I got the
brute beneath me, back up. I clasped my
arms around its neck until they pressed upon
the sinuous flesh like a vise. I held on until
spots of blood red and deep purple danced be-
fore me — and until these had changed to
black. Exhausted, with my arms as unfeel-
plight. We almost overlooked the calamity
that would befall us should our captors de-
part or die, and leave us there without food
or drink. I shall not attempt to tell you the
horrors of those dragging days — of our
dreams that alone saved us from madness. I
am nearing my conclusion, although heaven
knows that a climax more thrilling — is still
to be reached. The ant-pests that I had so
abhorred, were my salvation, at least. They
had eaten through one of the wooden bars.
My heart thumped so tumultuously when I
discovered it, I feared the men in the hut
would hear its wild beating. I was out upon
148
THE PHOTOPLAY MAGAZINE
the ground,- but so weakened by my confine-
ment, I could not liberate poor little Joan.
She begged me to rush away — to go to the
coast and summon aid. I could not risk a
fight with our tormentors. I reluctantly
obeyed," and wished her a hopeful farewell.
It was days and days before I found a settle-
ment. How I reached -Limon, I can never
guess. It was the way a homing pigeon finds
its cote, I guess. And only by that sense can
I hope to rescue Joan. They thought me
mad in Port Limon! I worked my way
aboard ship back here. Boys, as there are
souls within you, believe me and save Joan!"
John Gaunt buried his head in his hands
and sobbed hysterically. But his fellows did
have souls and wills and wealth. Which ac-
counts for the sudden activities of Capt. Carr
qf the good yacht, Scorpion, and the hasty
departure of four determined, prayerful men
for the mystic tropics.,
JOAN DARBY had long since mourned John
" Gaunt as dead. How else could he be so
long traveling to the coast and back? She
had checked the days with bits of bark torn
from her prison, until the pile was almost be-
yond counting. Bad blood was brewing be-
tween master and slave. For days they would
hunt amicably for specimens together, and
gloat over their finds, and then, suddenly,
anger would overtake them.
She could see that, too. They talked in-
cessantly of gold, but there was something
else amiss. The negro had begun to notice
the fair girl behind the wooden bars. He had
watched her in much the fashion in which
the puma had gazed at Gaunt — with a pur-
pose equally savage. He had caught at her
hand viciously numerous times as he passed
food and drink to her, and a loathing for him
had grown in her soul like a yellow canker.
Suppose the aged scientist were murdered?
Could she take her own life as the only means
of escaping the fate that would then claim
her? She might remain only a "specimen"
to the old madman till the end of time, but
in the eyes of the negro, she was a white
woman — and young and beautiful.
The quarrels between master and slave
grew daily. Sometimes it was gold; more
often it was Joan. The climax of these
strained relations could not be long delayed—
and John Gaunt was not near her to help
her die — or live!
One day the ne%ro raced wildly from the
hut. A few gold coins fell from his waving
hands. The mad master was close at his
heels. Congo rushed to her cage, as Joan
shrank back, pleading vainly. But the scien-
tist was upon the black, and it was. soon
spear against knife— superior animal fores
against crazed cunning. Joan covered her
face as she saw the negro's spear penetrate
the old man's side. But in his death agony,
the scientist wheeled and plunged his dirk
into Congo, till the hilt alone was visible.
And thus they sank to the earth together
and there they died — with the vultures wing-
ing overhead and holding back from the
tempting feast only because the caged ani-
mals cried'in fury — a passion first for com-
bat, and later of hunger and thirst.
Thus the day of tragedy ended — and finally
another day dawned, with the red orb of the
sun sending its rays of torture upon the
famished captives — the jungle beasts and
hapless Joan.
A second day dawned, but Joan was in a
stupor half the time, and even the angry
wailing of the maddened beasts did not dis-
turb her. At times she would arouse as from
a fevered dream and hold the arid bowl to
her swollen lips, believing that a drink of
ice-cold water was pouring down her throat
— only to realize anew her terrible dilemma.
Then a new obsession came upon her. She
fancied that she heard the shouts of men—
and the crackling of the undergrowth be-
yond the clearing. And she was almost cer-
tain, in her delirium, that she saw John
Gaunt running toward her.
It was John Gaunt — and back of him were
Wynn, and Parrell, and Carney — and others.
She tried to raise herself on a trembling el-
bow to greet him, as Gaunt ripped the bar-
riers from her prison, but she fainted in his
arms. Only the cooling touch of water re-
vived her — and for many days she hovered in
the penumbra of the shadow. But hope had
returned — and with it love — the two great
healers of heart and body and soul.
When she was strong enough, they visited
the hut and Gaunt uncovered the pot of
golden coins. And it was Thomas Wynn who
insisted that they belonged to Joan as her
rightful heritage. But Joan had known the
divine rest of John Gaunt's arms about her,
and the divine joy of John Gaunt's mouth
pressed against her own and she had no
thought for gold. She knew only that misery
ended and life itself began with the love and
protection of her rescuer of the jungle — the
Fifth Man!
THE STORY OF A HAPPY SUCCESS AND AN UNHAPPY FAILURE
By Mary Aurilla Swift
Illustrations from the Vitagraph Film
o
H, SISTER, I am so hungry."
The voice of little Salome Winters
quavered. It was very hard tor her
to keep back the tears that welled to her
eyes. She pulled coaxingly at Tryphena's
hand. "It's been such a long walk," she
urged. "Couldn't we have just a little mite
of supper?"
The white-faced young girl with the
glorious dark eyes paused at the child's
words and slowly searched through her well-
worn handbag.
"Darling," she answered, "I haven't a cent.
I don't know what we are going to do."
The tears which a moment before had
trembled on Salome's lashes, overflowed and
coursed unrestrained down her pallid cheeks.
"But we'll have to eat," she sobbed. "If we
don't, we'll starve."
Poor Tryphena! She had not lost sight or
that fact. All the way from the theatre she
had been thinking of the same thing. Neither
she nor Salome had eaten since the night
before.
After her mother's death, when Tryphena
Winters had announced to the interested
neighbors at Rushville Center that she was
going to take her little sister Salome and go
to New York to seek a career on the stage,
dire prophecies had been made. Tryphena
149
150
THE PHOTOPLAY MAGAZINE
thought of them now. She had fought
bravely and had, in spite of rebuffs and dis-
appointments, contrived so far to eke out a
livelihood. At first she had taken a room up
town. Then, as their little supply of money
diminished she had moved not once but
several times until now they occupied squalid
attic rooms on Broome street. Both she
and Salome had secured occasional employ-
ment as "extras" at the theatres and in the
movie studios but that was all. Success
seemed a long way off. Even the brightest
hopes of youth burn dim when hunger knocks
"at the door. Tryphena, usually so buoyant,
found her courage as well as her strength
failing rapidly. Of her own hardship and
privation she thought little but that Salome
should suffer, too, was more than she could
endure.
"Don't cry, dear," she whispered, brushing
the little girl's bright curls back and kissing
her softly on the forehead. "I'll ask Mr.
Schwartz, who keeps the shop in the base-
ment, to let us have some groceries on credit
until day after to-morrow."
But the words, so cheerily spoken, aroused
no answering hope in the heart of the
speaker. There was little chance, she
thought, that the East side merchant would
extend credit to comparative strangers even
for a few hours. She was not surprised,
therefore, when the thrifty Schwartz turned
from his conversation with a young man
just outside the shop door and listened un-
sympathetically to her timid request, for a
loaf of bread and a bottle of milk;
Slowly, ponderously, the stout groceryman
turned and pointed to a roughly lettered sign
hanging by the store window.
"See dot sign," he remarked, laconically.
"N-o — no c-r-e-d-i-t — credit. No credit. Vat
ve vant iss money — cash. Ve can't afford to
do business mit credit."
"But we have had nothing to eat — " com-
menced Tryphena, then stopped abruptly.
The well set-up young man to whom
Schwartz had been speaking was looking
at her intently. Her face flushed. She
wished she had starved before she had ever
humiliated herself to the extent of asking
Schwartz for food. Grasping Salome's hand
she turned and almost dragged the weeping
,child through the door and up the several
flights of dark stairs to their poor apart-
ment.
"Oh, it's no use," she moaned, sinking
dejectedly into a chair and clasping Salome
to her breast. "There's no one to help us.
Nobody cares what becomes of us. New
York is so big, so thoughtlessly cruel, so
selfish — "
A low knock sounded at the partially open
door. Tryphena sprang up in alarm.
"Who is it?" she exclaimed, hastily, strik-
ing a light.
"I beg your pardon," answered a man's
voice, "but I believe you ordered some
groceries just now. The groceryman could
not leave his shop so I brought them up."
As he spoke the volunteer deliveryman
pushed the door open and entering, deposited
his parcels upon the table. He was the
same man who had been lighting a cigar in
front of Schwartz's store when Tryphena had
asked for credit.
Tearful, hungry and at the point of ex-
haustion, Tryphena made a desperate effort
to appear dignified. "You are mistaken," she
commenced, when Salome interrupted with
a cry of joy. .
"Oh, sister," she exclaimed, tearing open
the brown paper parcels with small, tremb-
ling hands, "look— oranges— and cereal— and
cake— Oh, do let's eat right away." She was
already hungrily pulling the peel from one
of the oranges. Tryphena, herself, longed for
a taste of the fruit. She felt weak and
dizzy from long fasting. The room whirled
about her. She reached forth one hand to
steady herself.
"I cannot accept these — " she faltered,
pointing to the food upon the table, then
suddenly reeled and would have fallen from
weakness had the stranger not caught her
and gently placed her in a chair.
"What you need is food, all right," he re-
marked, unmindful of her last remark and
at the same time pouring out a glass of milk
for her to drink. "I thought you looked a
bit pale when you were talking to Schwartz."
He drew a card from his pocket and ex-
tended it to her. "If you do not wish to
feel indebted for the food," he continued,
"and since Schwartz gives no credit, you
may, at your convenience, return the money
to that address." His reassuring smile no
less than his words convinced Tryphena that
he was to be trusted. She took the proffered
milk and drank it gratefully.
"My car broke down," continued the young
man, "and I started to walk to the sub-
way. It was just accidental that I stopped
to get a match from Schwartz to light my
cigar. Awfully glad to have been able to be
THE LEADING LADY'
15 1
of any assistance." He turned as if to go,
but paused as Tryphena rose and extended
her hand.
"Your kindness," she murmured, brokenly,
"I can't tell you — how much it means — I — "
the remainder of the sentence was drowned
in a flood of tears.
Arthur Kellogg waited till the paroxysm
had passed then drew a chair up beside the
table and sat down. "Won't you tell me
what the difficul-
ties are?" he
queried. "Maybe
I can be of as-
sistance."
As Tryphena
grew more com-
posed she told
him of her
hopes, her ambi-
tion to become
a great charac-
ter actress, her
disappoint-
ments, her dif-
ficulty in secur-
ing employment
and her respon-
sibility in car-
ing for little Sa-
lome. When she
had finished, Sa-
lome afterwards
declared, there
were tears in
the kindly blue
eyes of their
benefactor. He
rose to go.
"Thank you
for telling me,"
h e remarked,
sympathetically.
"My father is in-
terested in theatrical matters. There's a
new play going to be put on soon. There's
a character part in it that's great. If you
could originate it successfully your future
would be assured."
Tryphena's eyes sparkled. "Oh, if they
would only let me try," she exclaimed. "1
would rehearse night and day, if necessary.
I know I can act. All I want is the oppor-
tunity."
It was quite evident to Kellogg that she
spoke, not as a stage-struck girl but as a born
artist, temperamentally conscious of her own
Over a Bunch of Crimson Roses
to Become
ability and chafing in the stifling atmosphere
of uncongenial surroundings.
During the days which ensued young Kel-
logg made various pretexts to call at Try-
phena's little apartment. Salome learned to
know the sound of his footstep in the hall
below and would run gaily to meet him. As
for Tryphena, the advent of Arthur Kellogg
into her life had caused a quiet contentment
and happiness such as she had never known
before. At his
recommendation
she had been
cast for the
character part
in the new play
of which he had
told her. All
her spare mo-
ments were de-
voted to study-
ing her lines. If
she succeeded
her success
would be due en-
tirely to him.
She must not
fail. She must
be a credit to
him. She told
him this the day
he brought her a
bunch of won-
derful roses and
over their crim-
son petals
begged her to be-
come his bride.
"I have loved
you from the
first moment I
ever saw you,"
he declared,
smiling down
into her lovely eyes. "For years I had
wondered where and when I should meet the
woman who was coming to meet me — the
woman decreed by fate to be my wife. I
always felt that when I did meet her, no
matter under what circumstances, we would
recognize each other."
And Tryphena had answered, even though
her heart yearned to answer otherwise, that
she was enamored of her art. That until her
success as an actress had become an estab-
lished fact she could not and would not
marry him.
Arthur Kellogg Asked Tryphena
His Wife
152
THE PHOTOPLAY MAGAZINE
"I can bring you no dowry," she declared.
"I have neither money nor social position.
People would say you had married beneath
you. You would be spoken ' of lightly for
your lack of discrimination in choosing a
wife. If I marry you now it would be but a
poor return for all that you have done for
me. Wait until I have achieved success and
distinction; until my picture is published in
the magazines and I have fully emerged from
obscurity."
Reluctantly
Arthur Kellogg
consented to the
plan but he
made one stip-
ulation. He was
to have a per-
sonal and ac-
tive part in the
development of
this actress of
the future.
"T r y the
make-up for the
character in the
new play this
evening," h e
said one day
when he met her
at the up-town
theatre, "and I
will come down
and help you re-
hearse."
"Salome has
tonsilitis,"
warned Try-
phena, but
Kellogg only
laughed.
"Awfully
sorry for Sa-
lome," he re-
plied, "but I can't help it if she's got the
smallpox. I'm coming just the same. Tell
her to be good and I'll fetch her a box of
candy."
That day Arthur Kellogg received a
peremptory summons from his father. In
his wall street office Kellogg senior, financier
and theatrical backer, received his son with
every indication of annoyance.
"Sit down," he remarked, curtly. "I've
something to say to you, presently."
Arthur waited, wonderingly, till his father
finished giving dictation. Then, as the
Arthur Promised to Help Tryphena Rehearse for the Part Assigned
Her in the Hew Play •
stenographer left the room, the elder man
whirled about in his arm chair and faced
his son.
"What's this I hear from Harsh about you
being interested in some new actress they've
got for the new play?" he queried. "I
thought your specialty was settlement work."
This last in a tone meant to be disparaging.
"It is. That's how I happened to discover
her. She and her sister were in dire need."
Kellogg senior
snorted, angrily.
"Stuff and
nonsense!" he
exclaimed. "D'y
mean to tell me
you've found an
actress that's
any good down
In the Ghetto?
Nobody ever
heard of her be-
fore. Where'd
she come from?
What do you
know about her?
I want to get at
the bottom of
this thing. I've
got money in
that production
and I don't pro-
pose to have its
success jeopard-
ized by your in-
terference. It's
going to take a
mighty clever
woman to play
the part of Her-
mione and they
say the contract
has already been
given to this
Ghetto prodigy of yours."
"Not exactly. She's been promised the
contract if she can make good," replied
Arthur. "She's capable."
"Capable," sneered his father. "What do
you know about .her capabilities? She's
working you for a good thing, that's all.
First thing you know she'll be suing you for
breach of promise or something."
Arthur smiled. "I hardly think so," he
remarked, coolly, "for my highest ambition
is to make her my wife. She has only to say
the word and I would gladly marry her."
'THE LEADING LADY"
153
"Marry her!" Broker Kellogg sprang to
his feet and gazed at his son in anger and
amazement. "You talk like an ass," he
stormed. "You'll marry Eugenia Whittemore
and no one else. This is the first time I've
ever heard anything from you to the con-
trary."
"I never said I would marry Eugenia,"
commenced Arthur when his father inter-
rupted.
"It's been understood," he insisted. "The
Whittemores expect it. Both you and Eu-
genia have been brought up with that idea."
"Well, we've been brought up wrong."
Arthur smiled as he made the reply, but if
he thought he could stem his father's anger
and disappointment by joking he was mis-
taken. The broker paced the floor for an
instant then turned and brought his hand
down heavily upon the broad, mahogany
desk.
"Where is this woman — this actress?" he
demanded. "Give me her address. I'll go see
her myself and — "
"You will not," interrupted his son, now
thoroughly angry, "for I will not give you
her address. Tryphena Winters is a talented
woman, in every way worthy of respect. I
will not have her annoyed and insulted least
of all by my father." He turned toward the
door.
"Bah!" ejaculated his father, in disgust.
"We'll see about this. Before I get through
with her I'll prove to you that I'm right and
that you've been taken in by a mere adven-
turess."
He seized his hat and stick and followed
his son from the office.
That evening, little Salome, ill with a sore
throat, sat up in bed and watched her
idolized sister make up for the character of
Hermione in the new play upon the success
of which, Tryphena had told her, all their
future happiness would depend.
"Is Mr. Arthur coming this evening?"
asked Salome, eagerly. "Will he see you
looking like that?"
"Yes." laughed Tryphena, as she gazed at
her reflection in the mirror, then paused to
apply lip rouge more thoroughly. "He wants
to make sure that I am letter perfect before
I appear at rehearsal. It seems there are
others better known than I who want the
part and unless I can distinguish it by un-
usual originality I'll' stand no chance what-
ever. Arthur is giving me the benefit of
his ideas. All I need do is carry them out."
She rose as she finished speaking and en-
tered the adjoining room to welcome her
lover.
"Would you recognize me?" she queried,
as Arthur held her at arm's length.
"Not in the least." Approval and admira-
tion shone in his eyes. "Now if you can
only make an equal success of the acting,"
he continued, proudly, "that play will be
the hit of the season."
During the rehearsal which followed a
strange scene was enacted in the hallway
without. Kellogg senior, portly and pompous,
a trail of curious tenement dwellers at his
heels, ascended the stairs and paused just
outside the door where Tryphena, in the role
of Hermione was giving a dramatic recital,
the artistic character of which could not be
denied even by the irate broker. As he lis-
tened he realized that the success of the
new play demanded her retention in the
character allotted to her but this fact did not
lessen his anger against her. He entered
the room with scant ceremony.
Arthur sprang up from the couch on which
he had been sitting. Tryphena, deeply en-
grossed in the part she was playing, brushed
the disorderly wisps of hair from before her
eyes and gazed at the intruder much as the
woman "Hermione" would have done.
"Father!" exclaimed Arthur, "I told
you — "
Ignoring his son the broker turned toward
Tryphena.
"I came to see you," he announced, with
more rudeness than Arthur had ever be-
lieved him capable. "As to your ability as
an actress I've nothing to say but, as an
adventuress, I've come to tell you that you
needn't think you can fool me as you have
my son. If you want money here it is — "
He pulled a roll of bills from his pocket
as he spoke and commenced to separate
several of a large denomination, "but it's the
last you'll get. Remember that."
"Sir! I don't understand you." It was
the voice of Tryphena, piercing through the
disguise of the wretched Hermione. "Surely
you don't mean — "
"You forget, Father," Arthur interrupted,
"that you are addressing my affianced wife.
I must insist that you treat her with re-
spect. Nothing you can say or do will alter
my decision. Unless you are willing to
apologize to Miss Winters for the words
you have just said, I advise you to leave this
room and leave it quickly."
15t
THE PHOTOPLAY MAGAZINE
"You mean to tell me," stormed the broker,
"that you intend to marry this — this woman
in spite of all that I have said?"
"That's what I mean."
"Then you are no son of mine. You
needn't think you can bring your upstart
wife to live off from me. Not a penny of
mine will you ever have. You may go your
way. I've nothing more to say."
Flushed with anger he rose and strode
from the room. But if his words were harsh
his son seemed bent upon contracting. It
would not do to refuse to give Tryphena the
coveted part in the new play. That would
mean financial disaster. Her rendering of
the part was a revelation. It was marvellous.
It alone would ensure the success of the
play. Some other method must be devised.
By the time he reached his club he had de-
cided upon the method.
The following day Tryphena received a
message from the broker urging her to come
' As She Entered the Office Tryphena Heard the Voice of the Broker in Conversation with His Son
his heart was very sore, for the son who
had thus disappointed the hopes of years
was his only child, son of an idolized wife
who had died when Arthur was a baby. It
had been the broker's most cherished wish
to' see him married to the daughter of his
dearest friend and now — all at once to have
his plans frustrated by the machinations of
a scheming, adventurous woman — for such
he deemed Tryphena to be — was more than
the elderly, nerve-racked business man could
bear with calmness. As he retraced his
steps he found himself plotting, scheming,
planning to break up this mesalliance which
at once to his office upon business connected
with the play. Arthur, she knew, was out
of town. There was no time to consult him.
Fearing that she was to be refused the part
of Hermione she hastened to the broker's
office.
With remarkable tact the wily financier
referred to the events of the previous even-
ing in such manner that his own attitude
was largely minimized. He explained, plaus-
ibly, the reasons for his uncontrolled rage
and flattered the young girl by his sincere
approval of her acting.
"With your talent," he averred, "you
THE PHOTOPLAY MAGAZINE
155
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THE PHOTOPLAY MAGAZINE
should one day rank with the highest in the
profession. I can quite understand why my
son should have been impressed by your won-
derful ability. But," he continued, "as a
sensible young woman, I am sure you must
see for yourself the injury you would be
doing Arthur by marrying him under present
circumstances."
"Oh, I do — I do," interrupted Tryphena.
"That was just what I told him."
"Very good," exclaimed the elderly diplo-
mat. "Now I was going to suggest that you
devote yourself exclusively to study and the
development of your talents as an actress.
You will need backing. Advancement is not
gained nowadays on merit. It is pull that
counts, influence, financial backing. Arthur
has nothing. He has neither money nor in-
fluence. You will have to depend upon older
and more established men."
His tone was so kind, so fatherly, so totally
sincere that Tryphena listened intently, won-
deringly, credulously. She nodded acqui-
escence.
"I will supply that backing," went on the
smooth, even tones of the financier. "It is
the least I can do by way of apology for
my hasty words last evening. I make only
one stipulation. That is, that in my presence
you tell Arthur of your decision to devote
yourself to the stage. If you love him, you
will do this. His future happiness is in
your hands. If you would gain the success
you covet and for which you have real
ability you must give him up. If you do
not, it is within my power to ruin every
chance of success you may ever have and,
as you yourself admit, without that success
you could not consider becoming the wife of
a man so far above you socially and finan-
cially that his marriage to you would mean
his downfall and ostracism."
He waited for her reply. To Tryphena the
shock of the suggestion that she renounce
Arthur almost unnerved her. She could not
gainsay the arguments presented. The
broker had her at his mercy. It was either
success without Arthur or the loss of both.
She was too stunned to speak for a moment.
Her breath came in low gasps. She rose
to her feet. An idea was formulating in her
mind.
"I — I understand," she whispered, weakly.
"I will meet him — here — if you like — to-
morrow." She turned to go.
The broker rose and held open the door for
her to pass out. A glint of triumph shone
in his hard gray eyes. "I thought you would
decide wisely," he remarked. "Until to-
morrow, then — good afternoon."
She was gone. He turned and threw him-
self into his office chair.
"The old man's something of a diplomat,
yet," he muttered to himself as he clipped
off the end of a cigar and, lighting it, leaned
back and sent a series of gray smoke rings
floating upwards.
Hurrying home Tryphena lost no time in
writing a note to Arthur explaining the
whole situation.
"I will do as your father wishes," she
wrote, "for your sake, but remember that
whatever I say to you in his presence is not
from my heart. I love you now. .1 always
shall love you. I shall work with only one
object — that of becoming worthy in every
way to become your wife and to stand side
by side with you in whatever social position
you may be placed. Without success I could
never marry you. That success can never be
attained without your father's promised sup-
port. Therefore I have given my word to
renounce you — until such time as you see fit
to claim me publicly as a woman worthy in
every way to bear your father's name.
Until then, beloved, farewell. Remember,
the role I shall assume tomorrow in your
father's office, will require more intensity
of acting than any other role I shall ever
attempt in my life."
Satisfied with the note she hastily de-
spatched it and commenced to make prepara-
tions to move from the sordid rooms in which
the happiest days of her life had been spent.
Her action, she felt in appraising Arthur
was not exactly fair but it was the only
means at hand. Arthur, upon reading the
note would understand, so she need have no
concern for the morrow. It was with almost
a light heart that she slept that night. How
could she know that Arthur did not return
home as expected that day. That when he
did come he went direct to his father's office,
summoned there by long distance telephone
and that the note she had so carefully
written was tucked away in an obscure
corner unseen and unread.
As she entered the office next morning she
heard the voice of the broker in conversation
with his son.
"I was right. The girl is an adventuress,"
he was saying. "There's the contract she is
going to sign for next season. I know the
men who are backing her."
THE PHOTOPLAY MAGAZINE
157
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158
THE PHOTOPLAY MAGAZINE
Arthur stood with the contract referred to
in his hands. Tryphena entered quietly and
crossed to where they stood. How ghastly
■Arthur looked. She had not dreamed he was
so clever an actor. Had she not sent him
the note she would have actually believed
the shocked expression of his face was genu-
ine. He turned toward her.
"Is what my father says true?" he inquired
in a dull, weary tone.
She bowed.
was parched. Her tongue clove to the roof
of her mouth. She could hardly pronounce
the word.
"That's enough. I can't bear anything
more just now." Without another word
Arthur Kellogg staggered like an aged man
into the inner office and closed the door
between them.
"I will see you again," said his father to
Tryphena. "You will find that I am a man
of my word."
Tryphena Was Terrified but the Eyes of the Elder Man Were Upon Her
"Yes," she answered. "I have decided that
I must give up all thought of marriage. My
profession comes first."
"And you do not love me — you were im-
posing upon me just to get a position?" The
terrible revulsion of feeling toward her was
evident in his tone. Surely this was not
acting.
Tryphena was terrified but the eyes of the
older man were upon her.
"She has acknowledged it," he remarked
coolly.
"Have you?" Arthur repeated the question.
"Yes," murmured Tryphena. Her throat
TOURING the season which followed he
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Never once was her name associated in any
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sociates. "She is a credit to the American
stage — an honor to the profession," were ex-
pressions frequently used in reference to her.
THE PHOTOPLAY MAGAZINE
159
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THE PHOTOPLAY MAGAZINE
But as she moved ever higher in the social
and intellectual world even so did Arthur
Kellogg go downward.
Never once after that fatal day in his
father's office had he seen Tryphena. He had
purposely avoided all places where there was
any possibility of his meeting her. He lost
interest in the great matters of social uplift
which until that time had been his special
study. He had periods of recklessness when
his moods threatened to overthrow his
reason. His ideal of womankind had been
shattered. He had loved so deeply. The
shock of his disillusionment had been so
great that he was never the same afterward.
His father noted the change in him with
horror and dismay. In vain the broker tried
to rouse his son to an interest in life. The
daughter of his dearest friend to whom he
had hoped to marry him, wearied of waiting,
had married a foreign nobleman. The busi-
ness to which he had hoped Arthur would
turn his attention, dwindled. Young blood
was needed in the firm, but Arthur took no
interest. Speculations went wrong. Plays
that were supposed to be great money-makers
failed utterly. The broker saw the success
of a lifetime being gradually undermined.
He became morose, bitter. The knowledge
that he was himself the cause of his son's
downfall added to his unrest. One day they
found him in his room, dead. Heart failure,
the papers said, though there were those
who had reason to think otherwise.
It was the autumn after Arthur's father's
death. A play at the Forty-eighth Street
theatre was having a wonderful run. With-
out paying much attention to either the name
of the play or the names of those in the cast,
Arthur Kellogg, elbowed along by the crowd,
found himself within the foyer. An usher
recognized him.
"I've got something for you," he exclaimed,
hastily. "One of the boys just found it this
morning. It's in the office."
He disappeared for a moment and when he
returned he thrust a soiled and untidy note
into the young man's hand. "Must have
been chucked around for a long time," he
observed. "Don't know who lost it. Hope
it's nothing important."
He went off and Kellogg, settling himself
in his seat down close to the stage, mechani-
cally tore open the note and ran his eye over
the contents. The next moment those near
him thought he was about to faint He re-
covered himself, however, almost instantly
and with the missive clutched in his hand,
fixed his eyes on the stage.
Suddenly there was a great outcry. "Here
she comes — here she comes — " The applause
was deafening. A beautiful woman was mak-
ing an impressive entrance on the stage.
The ovation was so great that for a moment
she could not deliver her lines. She came
down the center of the stage.
"Tryphena."
Everyone heard the cry. It was the voice
of the man who a moment before had ap-
peared ill and faint. He rose to his feet, a
note still clutched in his hand.
"Tryphena," he cried again. The beautiful
woman on the stage heard it and turned,
hastily, in the direction of the cry. She
pressed her hand to her heart. Her face
paled beneath the makeup. Ushers rushed
down the aisle toward the man who had
caused the disturbance. They were not quick
enough. Another instant and he was upon
the stage. The beautiful woman was clasped
in his arms. He was showering kisses upon
her. He turned toward the audience.
"I claim this woman as my bride," he
shouted in a voice that everyone in the house
might hear. "My name is Kellogg — Arthur
Kellogg. I am proud to offer my name to
the woman you see before you, Tryphena
Winters, after this day, my wife."
In the tumult of applause which followed,
Tryphena managed, between smiles and bows
to the audience to whisper tearful words to
her lover.
"I thought you had forgotten," she mur-
mured.
"I only just received your note," he mur-
mured low.
The triumph of the leading lady had been
achieved.
ALL IN THE SPELLING
'TJOW do I look, Eddie?" asked one of Universal's leading ladies as she ap-
peared arrayed in her latest "ball gown" prepared to go into a society set.
"A little bare, my dear,' replied the truthful Nestor comedian.
THE PHOTOPLAY MAGAZINE
161
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THE PHOTOPLAYWRIGHTS
DEPARTMENT
CONDUCTED BY A. W. THOMAS
The Path of Originality
TOO many amateur 'scenario writers at-
tempt to turn out salable plays and
tail because they follow the line of
least resistance — using the same ideas, the
same plots, the same themes as the thou-
sands of other writers in this particular
field. Now the name that we give to that
magic something which distinguishes the
work of one writer from all of the rest, is
originality. And it is a question whether
or not originality can be cultivated. Cer-
tainly it cannot be acquired. But it may
be lying dormant in the writer, waiting only
•for a chance to lift its head. And it will
never get that chance from the writer who
follows the trail already blazed by others.
Let him once branch out, let him only de-
part from that beaten path down which the
rank and file of amateur writers take their
way, and his originality, if he possesses it,
will inevitably show itself. It takes cour-
age, to be sure, to make the departure.
But "nothing ventured, nothing gained" is
as true of photoplay writing as of every-
thing else. The scientist who explodes an
old theory and demonstrates a new. is the
one who wins fame and honor. The general
who adopts new and bold tactics usually
wins by this strategy. Even the clerk who
puts his wits to work, and instead of going
on day after day following the accepted
routine, devises a newer and better system
or even one labor or time saving device,
wins promotion. All risk some thing in the
belief that they have something better to
take its place. In photoplay writing it is
even more important to find a new way.
Originality is the one and only thing that
will lead to a permanent success. And
once let the writer find a path of his own
he will discover' that it takes him in only
one direction and that is towards the motion
picture studio. And, while there may be
some few of us who deny that this is our
goal, insisting that "art for art's sake" is
our watchword, still the majority of us are
162
nljt self-deceived in this way. We all know
that the aim and end of our writing is to
get our plays accepted and produced, and
such success will come only to the man with
originality.
The Evolving of Plot
PLOTS abound everywhere, but it is
only the close observer who can find
them. I wish I could get every new
writer to pick up the thread of a story and
say this to himself: "Out of what was,
came what is and out of what is, must come
what is to be." The mere idea, undevel-
oped, means nothing. Ideas and themes
must be developed to be of worth; they
must be brought out, cultivated, coaxed, as
it were, into being something of merit.
The dying embers in the old fireplace can
be fanned into a flame. The embers, un-
burned, were nothing but unconsumed
wood, and might be likened to the unde-
veloped plot. But they needed fanning into
life, otherwise in a short time, no fire would
have been left. There is nothing so much
needed in photoplay writing as develop-
ment of the idea— the plot. Let a man
look back to the little one story house in
the country in which he was born. How
large that house looked to him as a boy,
but when a neighbor built a two story home,
how small the old place seemed. Then he
went to the city and saw the huge sky-
scrapers, and how small his old home looked
when he returned. But was it really
smaller? No — the man had developed, the
home and high buildings remained the
same. A plot at first looks like a mere
speck, but let the author develop that speck
and it grows and becomes as a skyscraper
beside the little old home. The trouble with
most new writers is that they only partially
develop. They begin, but do not finish. A
house only partly completed is not ready
for occupancy. A story only partially
worked out is not ready for the studio.
Build your plot as you would a house —
THE PHOTOPLAY MAGAZINE
163
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164
THE PHOTOPLAY MAGAZINE
complete. Develop the idea until it becomes
the finished plot. Only a half success will
come to the writer who but half builds a
story.
Henry Higgins Returns
THE experience of Henry Higgins
should prove invaluable to others of
his class — the amateurs who have
sold one or two stories. Henry can speak
better for himself, for since we heard from
him last he has developed and improved,
even though he seems a trifle discouraged
just now.
Wampum, Pa., Oct. 31.
Bear Editor: —
I have come back. So has my plays.
Remember, I told you I sold one? I
sold another. But I can't get "one
across" any more. I thought I had ar-
rived, but I guess I had just begun. I
just "flooded" the studios with my
scenarios, but I'm still buying stamps
for them. I can't find any plots here,
so I'm going to travel. If I can sell
two I can sell more. Where would you
advise me to travel? Let me know at
once, because I have seven dollars saved
for the trip.
Henry Higgins.
Henry, the editors will buy your plays
when you send some that are just as good
as the two they purchased. You have not
"arrived," you have only prepared to start.
Stay in Wampum, settle down and think,
think, think; concentrate and you'll be sur-
prised what plots there are over there in
Pennsylvania that have never yet been
thought of.
Choosing Proper Titles
SHORT, appropriate titles are as easy
to think out and apply as long, inap-
propriate ones. Recently the editor
read a story with this title: "Love, Jeal-
ousy and a Prize Rooster." Another was:
"The Waves That Thou Gave To Me."
Certainly, there was no thought applied to
such titles. How different were two titles
given to his plays by a Xenia, Ohio,
writer: "Roses of Forgiveness" and "The
Appeal of the Empty Crib." Writers
would do well to compare the short, terse,
well-worded thirty-six point newspaper
heads with their own lengthy scenario titles,
and note the genuine effectiveness the papers
secure. Then let them do likewise. It is
merely a matter of practice.
When to Use Quotation Marks
Almost an endless number of photoplay
writers, some new and inexperienced,
others with acceptable work to their credit
persist in using quotations on leaders, in-
serts and cut-ins when they are not only
unnecessary but positively bad. A leader
preceding a scene requires no quotations if
it is the simple statement of a fact such as
this:
Leader — The General loses his wallet.
But if it were a cut-in leader, recording
the same fact but in a speech by one of the
characters, quotation marks should, of
course, be used, thus:
Cut-in — "I have lost my wallet!"
Notes, parts of letters, newspaper clip-
pings and the like require no quotation
marks, and why writers use them is a mys-
tery to the editor. Inserts serve to explain
technically what is not done in some other
manner, and there is no reason for begin-
ning and ending them with quotation
marks. A leader used for explanatory pur-
poses only to save unnecessary action does
not call for "quotes" and more than a "flash
back" or a "bust" of an object. A recently-
submitted story read like this:
Leader — "They Agree To Meet."
Introduced in the story was an insert of
a note which read as follows:
Insert — (note) "Dear Frank:
I will meet you at the South bridge to-
night. Louise."
Added to these two mistaken ideas of the
proper use of quotation marks, was the loca-
tion of a scene given this way:
Scene 42. "Library."
If the leader and insert given as examples
should be quoted, then the locations, and
in fact, all the action of the scenes should
be quoted. It would be just as logical. Use
quotation marks only where necessary.
Condensing the Story
THERE has been a marked improve-
ment in the submitted scenarios of
the members of the Photoplay-
wrights' Association of America during the
past six months as to their length, which is
most gratifying when compared with the
manuscripts of many other writers who
have not yet learned the art of condensa-
tion. One one-reel subject by a Canadian
author read a few weeks since contained 667
words in the synopsis and a single scene
contained 224 words. This detailed way of
THE PHOTOPLAY MAGAZINE
165
What is Your
Scenario Worth
in Real Cash
Follow the Arrow-
to Market Value !!
Turn failure into success — change
hopelessness into dollars — raise the stand-
ard of your scenarios.
Stop "rejections" — make "purchases"
come your way. Write scenarios that
will sell at the highest market price. Make
your name mean admittance to the most
exclusive editorial rooms of the film
companies.
Why waste valuable time writing what
would bring only the most trifling amount
— or not sell at all ? Leam HOW —
and then make every effort count !
"Knowledge is power" — "Knowing
How" is "Getting By." The dollars are
crying for you — but the key that unlocks
the door to scenario success is KNOW-
ING HOW TO WRITE !
Photoplay Scenario —
is NEW in appearance — has more departments —
contains wealth of Experience and teachings of the
Most Successful writers of Photoplays that SELL.
They point to the road that leads to SUCCESS.
Leam how — leam how NOW !
Send the coupon below and 1 5c for a copy of
Photoplay Scenario —
The Monthly Journal for Photoplay wrights
CLOUD PUBLISHING CO.
8 So. Dearborn St., Chicago
Gentlemen: —Enclosed please find 15 cents for which
please send me a copy of the Photoplay Scenario.
Name..
Street Address.,
City
Stclo.,
Give Your
Scenarios
the PUNCH
that Brings
the Pay-Check!
It isn't the round steak that makes
profit for the butcher — but the sirloin
and porterhouse. It isn't the bread
that pays the baker profits — but the
pies and cakes. And in the scenario
it is the PUNCH. Maybe the point
you stumble over is the one that
decides the issue. The best doctor
"reads up "on cases; the best lawyer
consults his statute books. The best
contractor needs blue-prints — and the
best Scenario Writer must have the
wedge of experience and talent at
his command. It is here in
William Lord Wright's
The Motion Picture
Story
filled with authentic information —
containing answers to your troubled
questions. In just ONE scenario it
may pay back a dozen times its cost.
No workman is good without tools —
no factory complete without equip-
ment. And your mind is more profit-
able to you supported and fortified
by this great new book. William
Lord Wright is editor of the Photo-
playwrights' Department of the
"Dramatic Mirror," former editor
of Photoplay Department of the
"Motion Picture News," author of
"Art of Scenario Writing," "The
Reel Thing, " etc., etc. For the sake
of your purse, have this book always
on your desk. Get it NOW — because
it may add fame and fortune to
tomorrow's efforts.
- — i ■■ -USE THIS COUPON- — — .
1914
CLOUD PUBLISHING CO.
1100 Hartford Bids., Chicago
Please send melmmediately. postpaid. William Lord Wright's
new book, "The Motion Picture Story." 240 pages, cloth
bonnd. for which I enclose herewith $1. 80. the price in fulL
Name..
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THE PHOTOPLAY MAGAZINE
explaining the action and intent of the story
to the studio editor is superfluous. All he
requires is a plain, matter of fact statement
of his idea in synopsis and scenes, the
briefer the better! Much can be told in a
few words, but this the author must learn
by experience.
How to Write the Synopsis
THERE is as much difference between
a good synopsis and a poor one as
between a piece of classical music
and a ragtime selection. If the writer
would stop to think that the synopsis is
the price mark on his story, he would un-
doubtedly be more careful to write a synop-
sis as it should be icritten. One error a
number of authors make is to let their syn-
opsis read like some scenes — jerkily; others
do not cover what is in the scenes, while
some write such a flowery-worded synopsis
that the essence of the plot and story is
lost entirely. Try writing the synopsis
last, then reverse and write it first; see
which is the better, and thus decide on a
method. Condensation is not the only thing
to remember in synopsis writing. It must
be told in story form way with as much
art as the author has at his command.
The plot and action being woven into it
should make the editor want to read the
scenes, and the story that does not do this
is not one that warrants the editor's going
any farther.
Adaptations are Not Wanted
THE producers employ staff writers
who can write a scenario from a
novel or other copyrighted work
better than the outsider can. The staff
writer knows the requirements of the in-
dividual studio much better than the free
lance can ever expect to know. Studios
are seeking original plays from the out-
side, and for such they are paying in propor-
tion to the value of the story. Not until
the amateur becomes a professional should
he attempt an adaptation.
The Unexpected Punch
IT is the action that comes at an unex-
pected time that puts "punch" into the
story, the thing that comes as if out of a
clear sky and arouses the interest and sus-
pense of the audience. If the audience
knotcs what is coming, there can be no ele-
ment of the unexpected. The unexpected
must arise from the conditions and situa-
tions developed in the story, but it must
also arise logically and at such a time as
to form the crisis or climax that gives value
to the play. The unexpected is a result of
skillful play building and the author who
can construct a unique and utterly unex-
pected climax lor his story and yet have it
logical and credible — he is the man who
gets the "punch."
Learning by Degrees
IT is not difficult to name the successful
authors of today who struggled to at-
tain a foothold in the hall of literary
fame; indeed, none of them was given a
welcome until his struggles had proved his
worth.
STATEMENT OF THE OWNERSHIP. MAN-
AGEMENT, CIRCULATION, ETC.
of Photoplay Magazine, published monthly at
Chicago, Illinois, required by the Act of August
24, 1912.
Xote — This statement must be made in duplicate and both
copies delivered by the publisher to the postmaster, who shall
send one copy to the Third Assistant Postmaster General
(Division of Classification). Washington, D. C., and retain
the other in the files of the post office. The publisher must
publish a copy of this statement in the second issue printed
next after its filing.
Name of — Postoffiee Address.
Editor, A. W. Thomas, Chicago. Illinois.
Managing Editor, R. S. Hanford, Chicago, 111.
Business Managers, None.
Publisher, Cloud Publishing Company,
Chicago, III.
Owners: (If a corporation, give its name and
the names and addresses of stockholders
holding 1 per cent or more of total amount
of stock. If not a corporation, give names
and addresses of individual owners.)
Paul Davis. Chicago. Illinois.
A. D. Cloud, Chicago, Illinois.
M. H. Hovey, Madison. Wisconsin.
W. F. Speer, Chicago, Illinois.
F. S. Scammell, Chicago, Illinois.
It. M. Kastman, Chicago, Illinois.
E. M. Colvln. Chicago. Illinois.
John Burnham & Co.. Chicago, Illinois.
Known bondholders, mortgagees, and other
security holders, holding 1 per cent or more
of total amount of bonds, mortgages, or
other securities: (If there are none, so
state.)
None.
Average number of copies of each issue of this
publication sold or distributed, through the
mails or otherwise, to paid subscribers during
the six months preceding the date shown
above. (This information is required from
daily newspapers only.)
* CLOUD PUBLISHING COMPANY.
By J. Milton Tait, Secy-Treas.
Sworn to and subscribed before me this four-
teenth day of September, 1914.
IRENE WALTER.
(seal) Notary Public'.
(My commission expires June 27, 1918.)
THE PHOTOPLAY MAGAZINE
167
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These reproductions are made in the latest process
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Thumbnail Biographies
By Monte M. Katterjohn
Richard V. Spencer of Kay-Bee, Bron-
cho, and Domino
"T BECAME interested in motion pictures
•*• early in 1909," says Richard V. Spencer,
who edits scenarios for Kay-Bee, Broncho
and Domino films. "Of course I had been a
fan long before that, but it was about that
time that I first started active work as a
writer of scenarios.
"I was in Los Angeles, though originally
a New Yorker.
At this period the
Selig and the orig-
inal 101 Bison
companies were
the only two in
the Los Angeles
field, and they
had not been long
established. I sold
my first scenario
to Mr. Francis
Boggs of the Selig
Company, who, in
1911, was mur-
dered by a Japa-
nese employee. At that time he was the
chief producer of the Western Selig organi-
zation.
"My first story was called 'In the Days
of the Padres,' and brought me twenty-five
dollars. I was so elated over this first sale
that I returned to my room and prepared
two more scenarios in one night. The next
day I sold both of them to Fred J. Balshofer,
who was then managing the Western 101
Bison Company.
"Seventy-five dollars in one week inter-
ested me and I began to see possibilities
which eclipsed the newspaper work I was
then doing. Well, to make a long story
short, my first year as a free lance scenario
writer netted me $3,200, which was con-
siderably more than I had been making in
the newspaper field.
"In the spring of 1910 Mr. Balshofer of-
168
fered me the editorship of the 101 Bison
Company. I took immediate charge and
held the position until Thomas H. Ince, the
present vice-president and general manager
of the New York Motion Picture Corpora-
tion, succeeded Mr. Balshofer.
"Upon the organization of the Kay-Bee
company, Mr. Ince employed me to edit
scenarios for the New York Motion Picture
Corporation, which later added Broncho and
Domino films to their output. I assumed
charge of the scenario department, and am
now serving my fifth year as a scenario
editor."
James Dayton of the Western Universal
TAMES DAYTON, editor of scenarios for
** the Universal Film Manufacturing Com-
pany at their mammoth Hollywood, Califor-
nia, studio, hails from Dayton, Ohio, and
was an actor and
writer for vaude-
ville before tak-
ing up scenario
writing. In 1909
he wrote his first
story for the Selig
organization. His
ability to turn out
a worth while
scenario once
each week landed
him a position as
reader and staff
writer with the
Selig Company,
where he i-emained for seven months. Then
the road called him, and he returned to
vaudeville, trailing the route of Pantage's
circuit, after which he again took up the
writing of scenarios for the Universal Com-
pany. He was the first man to be chosen as
editor of the scenario department at this
company's Western studios and is still hold-
ing the job. To date he has written one
hundred and seventy-six produced stories.
THE PHOTOPLAY MAGAZINE
169
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add so muc'i to your uttractiveness. In some cases the trial alone
has been all that was needed.
No. 1 is the general flesh builder. No. 8 is for giving develop-
ment to the bust alone without enlarging other parts oft he body.
Say which one you prefer.
Write us today, oefore this generous offer is withdrawn, and
not your free treatment in a plain wrapper by return mail.
C. L. JONES CO., 70L Friend Building, ELM1RA, N. Y.
HAIR
GROWER
Found at Last!
The Great English Discovery,
"Crystolis," Grows Hair
in 30 Days
$1000.00 Reward If We Fail on Our
Guarantee. Try It at Our Risk
— Mail Coupon Today
Beautiful Hair and Lots of It, If You Use Crystolis.
"In Europe "Crystolis," the New English Hair Grower has
been called the most wonderful discovery of the century.
The judges of the Brussels and Paris Expositions enthusias-
tically awarded Gold Medals to this marvelous hair grower.
Already since we secured the American rights hundreds of
men and women have written telling of the phenomenal
results obtained by its use. People who have been bald for
years tell how they now glory in beautiful hair. Others who
have had dandruff all their lives say they have got a clean,
healthy scalp after a few applications of this wonderful new
treatment.
We don't care whether you are bothered with falling hair,
prematurely gray hair, matted hair, brittle hair or stringy
hair; dandruff, itching scalp, or any form or all forms of hair
trouble, we want you to try CRYSTOLIS" at our risk.
We give you a binding guarantee without any "strings" or
red tape, ( that it won't cost you a cent if we do not prove to
you that "Crystolis" will do all we claim for it, and what's
important, we have plenty of money to back our guarantee.
$1000 has been deposited in our local bank as a Special Fund
to be forfeited if we fail to comply with this contract. Cut
out the coupon below and mail it today to Creslo Laboratories,
571-L Street, Binghamton, N. Y.
FREE COUPON
The Creslo Laboratories,
571-L Street, Binghamton, N. Y.
I am a reader of Photoplay. Prove to me without cost
how Crystolis stops falling hair, grows new hair, banishes
dandruff and itching scalps and restores premature gray
and faded hair to natural color. Write your name and
address plainly and
PIN THIS COUPON TO YOUR LETTER
170
THE PHOTOPLAY MAGAZINE
WHEN IN DETROIT
Griswold Hotel
for the best, large and airy rooms. Finest
meals at moderate prices in the best din-
ing room between New York and Chicago.
Refined Cabaret every evening
200 ROOMS Wl
Write or Wire Reservations
POSTAL HOTEL CO., Detroit, Mich.
FRED POSTAL, Pres. CHAS. POSTAL, Sec'y
ElginWatches
OnFREETRIAL!
No Money Down
Get a genuine, world famous
Elgin Watch on positively -
the most liberal terms ever
offered. All styles and sizes
at cheapest prices. Beaut-
iful model shown here.
$12—
Guaranteed 25 Yean
Heavy gold strata cases, jeweled set* j
tings, factory tested and adjusted. Stand- J
ard rf the world. All sizes.
30 Days Free Trial— $2 per Month |
No Interest- - No Security
Remember, you get the watch before (
you pay us a cent, and we give you 30 1
days free inspection. Then if you are ab-
solutely satisfied you pay the trifling sum '
o£ $Z a month. Could anything be fairer? i
Lowest Prices in America
on watches, diamonds, jewelry, etc. We
sell direct and save you middlemen's profits.
Send Postal for Great
Watch and Jewelry Catalog
Sec the vast array of beautiful watches. Think Vfc
..ow beautiful one would look with your initials fll
engraved on the back. Our terms make it easy, an
Bprofits. A
FREES
bow beautiful one would look with your initials i
engraved on the back. Our terms make it easy, ^ *»
so do oot delay. Send postal at once. fl?
ALFRED WARE
Dept.59 St
ECO. X
it. Louis. Mo. Jg
GREY-HAIRED AT 27
NOT A GREYJAIR AT 35
I Am One of Many Living Examples thai
Grey Hair Can Be Restored to
Natural Colour and Beauty
I SEND YOU THE PROOF FREE
Let me send you free full information that will
enable you to restore your Grey Hair to the natural
colour and beauty of youth, no mat-
ter what your age or the cause of
your greyness. It is not a dye
nor a stain. Its effects com-
mence after four days' use.
I am a woman who became
prematurely grey and old-
looking at 27, but through a
scientific friend I found an
easy method which actually
restored my hair to the natural
colour of girlhood in a surpris-
ingly short time. And so I have
arranged to give full instructions absolutely free of charge to
any reader of this paper who wishes to restore the natural
shade of youth to any grey, bleached or faded hair without
the use of any greasy, sticky or injurious dyes or stains, and
without detection. I pledge success, no matter how many
things have failed. Perfect success withboth sexesand all ages.
So cut out the coupon below nnd send me your name and nddress
(Stating whether Mr.. Mr«. or Miss), nnd enclose two cent stump
for return postage and I will send you full particulars that will
make it unnecessary for you to ever have a grey hair a^ain.
Address MRS. MART K. CHAPMAN, Suite 1911, N. Banlgan Bide. PROVIDENCE, R. 1.
THIS FREE COUPON ffi7,S£lS°i
to receive Irce of charge Mrs. Chapman's complete instructions to restore
grey hair to natural colour and beauty of youth. Cut this off and pin to
your letter. Good for immediate use only : 2 cent stamp for postage
required. Address Mrs. Mary K. Chapman, Suite 1911 , N.Banigan Bldg., Providence, R.I.
SPECIAL NOTICE : Every reader of this paper, man or womnn.
who wishes to be without grey hair for the rest • f their life in
advised to accept above liberal offer at once. Mrs. Chapman's
high, standing proves the sincerity of her offer.
Fur wealth and happiness. Hundreds rich, attract-
ive — congenial and willing to wed. Interesting
literature — testimonials, descriptions and photos
— 21st year.) THE MESSENGER, Jacksonville, Fla.
MARRY
Free
(Ri
abk
Q SHORT-STORY WRITING
\*2g A course of forty lessons in the history, form, structure and
«NL writing: of the Short-Story taught by Ur. J. Berg Esenweln. Editor,
^^At IjIppImoU'b Magazine, 250-page catalogue free. Please address
^^ The Home Correspondence School
DtJlHBweu. Dcpt* l£9t Springfield, Mass.
SCENARIO WRITERS, LOOK!
Has your scenario come back ? Or have you another ? I will type-
write, revise, criticize, correct, put your scenario in salable form, and
advise where to sell, for $1.25. Stories put in scenario form, $1.50;
scenarios criticized, 50c, including plot and technique. Folders, "How
to Write a Photoplay," "Facts and Pointers," Model Scenario, List of
Buyers, 10c in coin each. Distant patrons given special attention.
OLD RELIABLE PAUL W. KEEKER
1931 Faii-mount Ave. PHILADELPHIA, PA.
Write Moving Picture Plays
$ 10 to $ too Each " j
CONSTANT DEMAND. Devote all or spare time.
Past experience or literary ability not required.
No Correspondence School. Details Free.
Atlas Publishing Co.. 794 Atlas Bank Bldg., Cincinnati, 0.
THE PHOTOPLAY MAGAZINE
171
Tti.N.w
New
Motorcycle
Type
Remarkable new Improvements make the 1914 "Arrow'* a
positive wonder for speed, comfort and easy riding. Latest
Eagle easy motorcycle saddle — New Departure coaster brake —
special motorcycle pedals— motorcycle handbars with long rub-
ber grips— imported anti-friction chain— reinforced motorcycle
frame— beautiful finish. All sizes for boys, men and women.
Write today for tho low. direct offer wo
are mal; inc on the splendid Arrow bicycle.
Get our free catalog. A ftmnll amount
down brinca you tho Arrow— pay for it while you ride— nlitttu Mob month.
Wfitp Tnrfaif D° 't n °w, and wo will send you details of the re mark -
iwi iic ■ vuaj juj] e nt!W mac i,i no and bed rock olfcr.Scnd today sure.
Arrow Cycle Co. •ateSSSEVt Chicago, III.
Wonderful Offer
sh«— im«
»im«
•mi— — llll"
| ATLANTIC CITY'S
Most Popular Hotel
" THE WAGNER
VIRGINIA AVENUE AND BEACH
ATLANTIC CITY, N. J.
New throughout. Every comfort and
convenience. Large porches overlooking
boardwalk, ocean and steel pier. Cuisine
and service of the highest standard.
N. H. WAGIHJER
Special Winter Rates
Write for reservations.
SIM
Mill*
•llll-
•III!*
•llll*
•IIS
> LOOK UKE
•DIAMONDS
Stand acid and fire diamond test.
So hard they easily scratch a file and
will cut glass. Brilliancy guaranteed
25 years. Mounted in 14k solid gold
diamond mountings. See them before pay-
ing. Will send yon any style ring, pin or stnd for
examination — fill charges prepaid. No money In advance. Money
refunded If not satisfactory. Write today for free catalog.
WHITE VALLEY GEM CO., 794 Wulsin Bid jr.. Indianapolis
UnW TO WRITE PHOTOPLAYS S*rSSS - =
II^J WW tion picture playwritinjr. Contains a complete mndel scenario, n list
of 30 scenario buyers, find ALL instruction and information neces-
sary on thia subject. Endorsed by scenario editors and several prominent writers.
Price 25c in coin postpaid. PHOTO PUB. CO.. 3348 Lowe Ave, CHICAGO
BIRD
MANNA
MAKES
CANARIES
WARBLE
"Tis the secret preparation used by the
German Canary Breeders of the St. And
reasberg- to restore cage birds to health
and s maraud prevent them from becoming
ill. Sold by druggists. Mailed for 15c.
CAUTION— Bird Manna is sold only
in White Metal Caps with this TRADE-
MARK in red. Beware of imitations.
BOOK ON CAGE BIRDS - 120 pages beautifully
illustrated, showing canaries in their natural colors. Full
information on song and rare canaries. How to breed them
for profit. Hints on their diseases and how to cure them.
All about parrots and how to teach them to talk. A most
complete work on the subject. Mailed for 15c or sent with
Bird Manna and Bird Bitters for 50c, by the Philadelphia
Bird Food Co., 400 N. Third St., Philadelphia, Pa.
Jewel
Burlington
The Master Timepiece
Now Direct For Only
A
Month
Your own
■mono-
THE Superb Burlington
Watch —adjusted to positions,
adjusted to temperature and
adjusted to isochronism — now at the direct rock-
bottom price — the same price that even the
wholesale jeweler must pay— and in order to en-
courage everybody to secure this watch at once,
pay this rock-bottom price,
either for cash or $3.o0 a
month on this great special
offer. We send the watch on s t*w*JHJ , L»< "superb
approval, prepaid. You risk abso- gol^strata
lutely nothing— you p:iy nothing,
not one cent, unless you want ^
thiserrcejjft'onai oiler after ^^Sf -^ V *?
seeing and thorough"
inspecting the watch.
New Ideas in
Watch Cases
All yours to choose
from on this otter.
Get catalog and see
Block and Ribbon
Monograms — Dia-
mond Set — Lodge —
French Art — Dragon.
Watch
Secrets /
»■ Burlington Watch Co.
.* 19lh Street and Marshall Blvd.
/ Dept. 146S Chicago, 111.
^ Please send mefwithout obli-
gations and prepaid), your free
double-priced products Just M £*« JT^J&gj*
send the coupon or a letter or § month offer on the Burlington
a postal. Don't delay— write # Watches.
— getthisofferwhileitlasts. ff
Explained in Our Book!
Learn the inside facts about watcb
prices and the many superior g
points of the Burlington over *
Burlington
Watch Co.
/
19th St. and Marshall *
Blvd., Dept. 1468 S
Chicago, Illinois M
Name.
Address*
Please Mention Photoplay Magazine
172
THE PHOTOPLAY MAGAZINE
M
SBEIMHESSKO
WINTER
C.tfAUKXi
N'«».
(A
-'WASHINGTON,
NEW
MORTON &
YORK CITY,
BAkROW SI'S.
N. V.
Our Fashion Catalogue Is FREE
WRITE FOR IT TODAY
Ask for Catalogue No. ZC. We pay
all Mail or Express charges. We
Satisfy you or Refund your Money.
Here Are Some Bargains
5ZC58 Smart
Winter Coat
i n fashionable
Redingote effect,
made of imported
All-wool Astra-
khan Cloth. Coat
conforms to the figure at the
waistline, where the lower
part is joined, giving the
effect of a skirt. At waistline
on each side is a wide pointed
flap trimmed with plush buttons.
Gladstone collar, which may be
worn turned down flat or rolled up,
and wide pointed revers, also
the cuffs are made of rich
plush. Coat fastens with
large plush buttons, and is
lined with high-grade guar-
anteed satin. Length is 52
inches. Colors: black, Rus-
sian green or gray with black
plush trimming, also in a rich
shade of brown with brown
plush. Sizes 32 to 44 bust,
also to fit Misses and Small
Women, 32 to 38 bust. Price,
All Mail or Ex- ^ ^ - OQ
i press Charges,])! /\ Jyo
Paid by Us . . 1 f l
6ZC59 Sailor Shape Hat
with brim of lustrous heavy
pile Plush and crown of pol-
ished plush, trimmed with
grosgrain ribbon band with
bow in back. Colors : all
black or navy blue, also in
black with white crown.
Price, All Mail or <l» <| nn
Express Charges «P I I/O
1ZC60 Faultlessly Tailored Suit in the
hew Redingote effect, made of All-Wool Mannish
Serge. Coat has wide stitched belt, which fastens
at front with fancy enamel buttons.
It is a graceful semi-fitted model cut
46 inches in length. The collar is
inlaid with velvet and trimmed
self-covered buttons. The back
is arranged in two side plaits at
each side extending from waist
to hem. Coat is lined with
guaranteed satin. Skirt is made
with a yoke to hip depth. Front
is plain, and in back is a double
panel box-plait. Suit comes in t
Russian green, navy blue,
black or prune(dark purple).
Sizes 33 to 44 bust, 37 to 44
skirt length; also to fit Misses
and Small Women 32 to 38
bust, 37 to 40 skirt length.
Price, All Mail or Express
Charges Paid
by Us .
$1522
6ZC61 Hand-made
Dress Turban of silk
velvet and Satin. The high
oval crown is fitted with
satin with a velvet top, and
the brim rolls up at left side,
where it is trimmed with
plaited satin cockade, hold-
ing in place the high Ostrich
fancy, in French tip effect.
Comes in all black, black
with white fancy, black with
Russian green fancy, also in
solid navy blue.
Price, All Mail or
Ex p ress Charges
Paid by Us ... .
Paid by Us
Ask for Catalogue No. ZC
We pay all Mail or Express Charges
$398
w
5ZC58
COAT
$14.98
Bellas Hess <LG>
WASHINGTON. MORTON &. BARROW STS.
NEW YORK CITY, N.Y
1ZC60
SUIT
$1522
THE PHOTOPLAY MAGAZINE
173
This Book Is Free
The Mysteries of Hypnotism and
Personal Magnetism Revealed
Herbert L. Flint, one of the best known hyp-
notists in the world, has just published a remark-
able book on hypnotism, personal magnetism and
magnetic healing. It is by far the most wonderful
and comprehensive treatise of the kind ever
printed. Mr. Flint has decided to give, for a
limited time, a free copy to every person sincerely
interested in these wonderful sciences. Tin's book
is based upon years of practical experience by a
man who has hypnotized more people than any
other one person.
You can now learn about the secrets of hyp-
notism and personal magnetism at your own home
free.
Hypnotism strengthens your memory and develops your will. It
overcomes bashfulncss, revives hope, stimulates ambition and
determination to succeed. It Rives you that self-confidence which
enables you to convince people of your real worth. It gives you
the key to the inner secrets of mind control. It enables you to
control the thoughts and actions of others. When you understand
tliis grand and wonderful science, you can plant suggestions in
human minds which will be carried out In a day or even a year
hence in some cases. You can cure bad habits and diseases in
yourself and others. You can cure yourself of Insomnia, nervous-
ness and business or domestic worry. You can instantaneously
hypnotize subjects with a mere glance of the eye without their
knowledge and powerfully influence them to do as you desire.
You can develop to a marvelous degree any musical or dramatic
talent you may have. You can increase your telepathic or clair-
voyant powers. You can give thrilling and funny hypnotic enter-
tainments. You can win the esteem and everlasting friendship of
those you desire. You can protect yourself against the influence
of others. You can become a financial success and be recognized
as a power in your community.
This book of Flint's will tell you how to learn the secret of
attaining these things. Flint is the most successful and best known
hypnotist in the world. He has appeared before thousands of
audiences. lie will carry out every promise faithfully. If you
want a copy of this book free, send your name and address on a
postal card— no money— to Herbert L. Flint, Dept. 52 4A, Cleveland,
Ohio, and you will receive the book by return mall postpaid.
AnyAVfettch
YouV\£int
ON CREDIT
i^
?j
i-4
%
SerVfr
on
WALTHAM
ELGIN
HOWARD
HAMILTON'
ILLINOIS
30DaysFreoTrial
No Money Down
Express Prepaid in Advance by Me
You take no chances with me. I am 'Square Deal 1 Miller
and I trust the people. That is why I am doing the great-
est Credit Watch, Diamond and Jewelry business in the
country. Suppose you want any one of the country's beat
makes or watches ? Name any one. 1 have it for you, No
Money Down, Express Prepaid. A Full Month lO
Carry It in Your Pocket and the easiest o* Long Time
Payments. That's the test that tells. All these watches
Guaranteed 25 Y ears
■ Smash the Terms
No References Demanded
My terms are made to suit you. You get unlimited credit
with no red tape, notes or collectors — no unnecessary detail
An **Open Char&e" Account
the same kind of credit you get from your grocer. No
matter where you live or what your income is, you can
now own the finest watch, a beautiful diamond or any
rare piece of Jewelry and never miss the money.
Costly Catalog FREE
Send me your name and address on the coupon, a post
card or letter, so 1 can mail you. Free and postpaid, the
most beautiful catalog of its kind ever printed. I want
you to have this hook. It's a gem. It illustrates all makes
of valuable Watches, Elegant Genuine Diamonds
and a vast assortment of Beautiful Jewelry, all on the
easiest and most liberal terms. Write for this book today
and get a letter from me that will make you a friend of
mine from the start. Take My Word For It,
Square Deal MILLER, Pres.
MILLER-HOEFER CO., 381 Miller Bldg., Detroit, MUh.
This Coupon Brians My Big FREE Book
SQUARE DEAL MILLER, Pres.
381 Miller Bids., Detroit, Mich.
Dear Sir: Please send to me without cost or obligation your Big Book
on all Makes of High Grade Watches, Genuine Diamonds und Jewelry,
and full information on your Easy Payment, Ko Money Down and
30 Day Trial Plan.
Name-
Address.
Please Mention Photoplay Maguzino
174
THE PHOTOPLAY MAGAZINE
FREE "POSTAGE" STAMPS
OF ALL YOUR FAVORITE PLAYERS
One Hundred of the Moit Popular Motion Picture Actors and Actresses Now Have "Postage
Stamps" Bearing Their Portraits. You Can Get these Beautiful, Colored Portrait Stamps with
gummed backs Free by Simply Writing and Asking for a Stamp from each, and thus Form a
Valuable Complete Collection.
Newspapers are filled with accounts of this latest collection craze. Young
and old alike are collecting these stamps and pasting them in albums,
trading in them, or using them as seals on the back of their letters.
new craze is
countrj
sweeping
It is the collecting of "postage stamps iprov>
bearing the latest portraits of American are
motion picture actors and actresses'. Of
course, these stamps are not actually
good for postage, but otherwise thej^
reprcgfi&L ^ostase s tamps^^flfcfcfeaJ ''^
■^^^^^^^fvierij
Mue. ,The stamps arc
most pleasing In design' and printed inl
beautiful colors: They are really ob-|
jecta . of artistic value,- and therefore I
heir possession is eagerly sought by thfj
" ers of motion picture playe rs.
ally aiwailllve
A collection of these stamps will soon
be of undoubted cash value, as- new de-
signs are constantly being made and the
first ones will in .time-grow very scarce, i
All (hose who have collected postage
tamps know that some series which are
no longer used bring fabulous prices-, as
high as a thousand dollars liavinc often
been paid for an old, cancelled postage
stamp by some enthusiastic collector
who needed it to complete his collection
and who. had neglected to secure it in
the days when it could have been had
for the asking.
These are only four out of the one hundred portrait stamps that form the complete collection.
It is impossible to reproduce in the above illustrations the clearness, beauty, rich color, and
artistic values of the actual stamp. Each stamp is three times as large as an ordinary stamp.
QUICK and CHEAP WAY TO GET COMPLETE COLLECTION
(To -write one hundred letters to photoplayers would take a lot of time and cost you $2.00 for postage,
every one answers your letter, your collection will be incomplete and therefore valueless.)
Unless
We are authorized by the leading players to distribute their stamps, and can save
you time, trouble and money. We can send you a Complete set, including all the
rare ones. We send you absolutely free of cost a Copenhagen Blue Album with
ruled spaces for one hundred Stamps and also a Full and Complete set of one hundred
different portrait stamps, colored like real postage stamps, if you will send us the
name of the Theatre you usually visit and also enclose 15 two cent stamps to cover
cost of assorting and mailing.
Simply mail us your name and address, the name of the motion picture theatre you visit, and enclose 15
two-cent stamps, or three dimes, and you -will receive by return mail the stamp album and the COMPLETE
SET OF ONE HUNDRED STAMPS. Please don't forget to give us the name of your favorite theatre.
Jlddras THE THEATRE SUPPLY CO., 1505 Broadway, N. Y.
THE PHOTOPLAY MAGAZINE
175
Hotel Cumberland
Broadway, at 54th Street - NEW YORK
Near 50th St. Subway Station and 53d St. Elevated
"Broadway" Cars
from Grand Central
Depot.
7th Ave. Cars from
Penna. Station.
New and Fireproof
Best Hotel Accom-
modations in New
York at Reasonable
Rates.
$2.50 with Bath
and up
European plan. .
All Hardwood
Floors and Oriental
Rugs.
Ten minutes' walk
to 40 Theaters
Excellent
Restaurant.
Prices Moderate.
Send for Booklet
HARRY P. STIMSON, Formerly with Hotel Imperial
Only New York Hotel Window-Screened Throughout.
LITTLE MARY
The Girl of the Golden Curls
Id eight eharneterititie poxex. Size, -I'-xli^,
So eta. per set, or hand colored 65 ctii.
HANDSOME riCKFOKU POSTCA It US, SET OP FOR 20e
Also handsome photo poitc&rds of over 400 plioto-
playcrs, acting for over 30 companies, all star*, sent
postpaid, set of seventeen with catalog, for -."> ets.
King of funny fellows, John Him ay, in ten characteristic poses, 25c per set.
THE FILM PORTRAIT CO., 127A 1st Place, Brooklyn, N. Y.
nj| A LOLOAf RICH ^ if; list nf descriptions and
IVI#%l\l% T ■»■**■»■ photos of congenial people
„ . , _ with means who want to marry, FREE.
Either 3 ^. STANDARD COm CLUB, GBAYSLAKE, ILL
Don't You Like SfcKSt
You can have the same
I ACUMCCU ahairfood, applied once
LHOII1I1.CII each day. will absolutely
produce thick and long eyebrow;* and eye-
fashes. Easy to apply — sure in results.
I ACUIIFEU 1H sn Oriental formulae.
LHdni1b_E.il One box is nil you will need.
Not sold at druggists. Mailed on receipt of
5c coin or stamps.
LASHNEEN CO M PAN Y, Philadelphia
iyu££
DWNABU5INE55WHERE
THE CRDWD5 ARE ALWAYS
WAITING TQ HAND YDU MONEY
i
The Motion Picture Business Is the
Business.. .It's the greatest Money mak-
you how you can start with a very small capital ."and beg-in I
making money from the very start. , t , ■
ABSOLUTELY NO EXPERIENCE NEEDED
3 book is a guide for the inexpc
.a to tho business and how to c<
send for your copy today. It's free.
■ — ■ it tells everything' per. I
s and how to conduct it profitably. .Don't wait, ■»
send lor your Copy today, it s tree.
P. & W. SALES COMPANY, 902 Como Bid?., Chicago, III. J
254 36080.
US
Sweets Jewels
FOR YOUR S WEE THEAR T
arc an everlasting token of love and affection. They will keep rosy
the memory of that eventful Christmas or other occasion Our cata-
logue de luxe contains many appropriate suggestions, and illustra-
tions of a superior grade of perfect cut Blue White Diamonds, Watches,
Jewelry and Silverware and explains how they can be obtained on
OUR CREDIT .TERMS
20% DOWN — 10% MONTHLY
>^ Yon enjoy every advantage in price and quality. Guarantee
w certificate given with each diamond. Full credit allowed a
\\ on exchanges. Transactions strictly confidential.
* Vv Write to-day for Catalogue No 42
t \\ L. W. SWEET & CO., 2 A S?w\oXS# ME - /
36?7?""1^?r!ii50. 36180 —$75..
170
THE PHOTOPLAY MAGAZINE
2 Camera Books
FREE!!
Amateur photographers ! Here are two valuable
pamphlets for you. Put your name and address on the
coupon below— mo obligation whatever— and get our camera
book and a copy of thelngento Photo News, a regular mag-
azine at 25 cents subscription price, sent free on this offer.
If you are thinking of buying a camera and want to
learn how to make good pictures quickly and easily,
how to get results surely, now to focus, how to make
time exposures, how to judge light effects ; then read the
Ingento Photo News. We send a copy free to advertise
The Newest
Latest Invention in Cameras
The new Ingento camera will give you for the same
money vastly superior results. Equipped with the new
type genuine acutic lens, flexible wire release, reversible
finder.genuineleather bellows and automatic focusing lock.
?ooo
AA and we ship you
"" the great Ingento
camera for per-
sonal examination
Balance payable only if satis-
fied. Cub cameras at $3.00
and $5.00. Ingentos, $10.00 and
up. We prefer to sell, in all
cases, through our dealer, but
will ship direct where we have no dealer. You risk nothing.
You pay us nothing unless you are absolutely satisfied.
Write Now for the Two
BurkesJamesiw \
Dopt. 1468 *»
240-252 East Ontario Street
CHICAGO, ILL.
Camera Books
, A postal card or just your
V name and address on this cou-
Gentlemen : — Without \ pen, without any letter will
arty obligation -whatever, \ do. We send these books
•end mo free your Camera ♦, free to advertise our new
instructioM to amateur pm> V and address today. _
t0grapher * \ BuftesJamesik
\ Established 16 years as
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It is simply astonishing the hundreds of women who write
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How to remove superfluous hair;
How to develop the bust:
How to make long, tiiick eyelashes and eyebrows;
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How to remove blackheads, pimples and freckles;
How to remove dark circles under the eyes;
How to quickly remove double chin;
How to build up sunken cheeks and add flesh to the body;
How to derken gray hair and stop hair falling;
How to stop forever perspiration odor.
Simply address your letter to Helen Clare, Suite D114, 2637
Michigan Ave., Chicago, 111., and don't send any money, because
particulars are free, as this charming woman is doing her utmost
to benefit girls or women in need of secret information which
will add to their beauty and make life sweeter and lovelier In
every way.
THE PHOTOPLAY MAGAZINE
177
HON
Get Into the 5c Business Where the ^sfe=fc=ig
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We teach you the business free, tell you how to make the most money with the least effort t how
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ASK FOR CATALOG NoMty
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71-73 Nassau Street NEW YORK '
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Let Schorl's System of Beauty Culture
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SONG POEMS WANTED
I have actually paid writers THOUSANDS OF DOLLARS
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Look 10 to 15 Years Younger
If your hoir is Gray or Faded, don't use
poisonous hair dyes, but' write to-day for
Free Illustrated Book, describing the
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color simply by romhinir.
II. D. COMB CO., Dipt. 9-15, E. 26th St., NEW YORK
CE HUINE DIAMOND jjj R j js| g S 222S5SS225
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AUTHORS and SCENARIO WRITERS
Write Plays, Sketches, etc., for publishers and pro-
ducers. Full instructions with all markets, $1. Send
$1 at once. Scenarios revised and rewritten with
markets, $1 each, 6 for $5. Send money orders.
E. L. GAMBLE, Author. EAST LIVERPOOL. O.
178
THE PHOTOPLAY MAGAZINE
Earn a Rocker Easily
This Big Value 7 Bar Box Contains
7 of Our Most Popular Toilet
Soaps. 75c Value — You
Sell It for Only ,~/rf
50 Cents
Sell 25 Boxes
of This Soap and
Earn This Fine
Upholstered
ROCKER
DON'T MISS THIS BIG OFFER!
WE will send this fine
Rocker and 25 boxes of
our Big Bargain seven
(7) Bar Box of Assorted Toilet
Soap to any responsible person,
on 30 days' credit. Don't send
any money unless you want to
— just fill out the Coupon
below — give names of two re-
liable business men of your
town as references, and if satis-
factory we will ship Soap and
Rocker at once.
You sell this Soap at 50c a box, send
us $12.50 when it is sold, and you have
the Rocker as your reward.
Soap Easy to Sell
Anyone can quickly sell twenty-five
boxes of this high grade Toilet Soap.
Boys and girls can easily earn this
Rocker by selling Soap after school.
Friends and neighbors will be glad to
buy because of the big value.
Everybody knows that Crofts & Reed's
Products are of high quality. We have been
making GOOD goods for twenty-six years.
People everywhere want Crofts & Reed's
Soap. You will be surprised how easy you
can earn this handsome Rocker. Remember,
you take no risk— we take everything back at
our expense if you are not perfectly satisfied.
CROFTS & REED CO.
D ept, A-4 1 1 CHICAGO
Description of
Rocker No. 90174
Frame of Solid Oak,
Golden Oak finish;
front posts and armH
4 inches wide; 8 3 * in.
square fillers under
arms ; seat measures
21x20 inches; spring
construction. Rocker
upholstered in beat
black imitation lea-
ther; back 27 inches
high from seat.
(209)
If Cash Accompanies Order
we will send you a 70c box of
chocolates as a Present for Cash.
.................. USE THIS COUPON .......
CROFTS & REED CO., Dept. A-41I. CHICAGO
Please ship to my address 25 Boxes Assorted Soap and Rocker No
90174. I agree to sell the Soap and send you $12.50 within 30 days
Name
Address
Post Office State
Reference Business.
Reference " Business.
THE PHOTOPLAY MAGAZINE
170
A DOLLAR PHOTOGRAPH
of
Mary Pickford
ALMOST
FREE
Entirely new process; far superior to lithographing; known as
water-color hand finish
Copyrighted IQ14
Th= Ar! Color Portrait is FIFTY Times
as Largo as Above Reproduction
This richly colored portrait on heavy art photo-board to stand on your
bureau will not require a frame, as embossed design frames it. A new pose
— rich in color. The most beautiful and artistic colored photograph of this
popular star of the Famous Players Film Company ever made. No adver-
tising on the portrait. Send Twenty-five Cents in Stamps or Coin for Packing and Mailing
PHOTOPLAYERS PORTRAIT CO., 1505 Broadway, NEW YORK
FREE
WATCH
RING&CHAIN
* Wo civo beautifully
cnurav.d. Utcelntyle,
es' •mall or mtf nlzc
ihuntinfT or open case WATCH. Pine
J time keeper, guaranteed 5 ycara; looks
./and wears like tmld.
/Alaolm. Diamond Ring
/nnd H.indeome Chain.
r ALL FREE. Juntorder20/
eaey to acll fine assorted ■
*>1F>-- — ■-umi — Jrwrlry novelties. Sell nt IOcM
5' SET each. Ex tragi ft if you order now
IDEAL WATCH CO. DeptM igs ELMIRA.N.Y.
IS HE CRAZY?
r PHE owner of a plantation in Mississippi is
giving away a few five-acre tracts. The only
condition is that figs be planted. The owner wants
enough figs raised to supply a Canning Factory.
You can secure five acres and an interest in the
Factory by writing Eubank Farms Company, 773
Keystone, Pittsburgh, Pa. They will plant and
care for your trees for $6.00 per month. Your
profit should be $1,000 per year. Some think
this man is crazy for giving away such valuable
land, but there may be method in his madness.
400 VARIETIES
100
n Postcard Photos of Pop-
ular Pho topi avers. Get
acquainted with the
on. Send $1 nQ
names or companies. f MW
Actual photographs, size 8x10, SOc ea.
Send for complete catalog listing haqp%colored
cards, pictures, etc., giving full list of names.
Photo Start Portrait Co., Anderson, Ind.
THE SAB0 PAINLESS HAIR REMOVER
Only instrument that removes superfluous hair, permanently and painlessly.
No drugs. No chemicals. Not a needle. Entirely automatic, A 82
bill brings this Parcel Post, with written money-back guarantee.
Toilet necessity. Descriptive folder and information FREE.
SABO MFG. CO., R. 1., 3110 W. 25th St., Cleveland, Ohio
Learn Photoplay Acting
Seldom is there offered such an excep-
tional future in any profession as is now-
found in the photoplay field. Film pro-
ducing companies are eager to secure
players who have Special training in
this work — they must have them and
stand ready to pay large salaries to the
trained players. Yet they cannot get
them, for few have the proper training.
YOU may be exceptionally well equippd to under-
take this fascinating and profitable work. Still, you
lack the training the producing companies insist upon.
We instruct in the art of photoplay acting in all
its branches. Refinement and culture pervade.
Instruction is given by competent directors and
played from actual scenarios^in the largest and
best equipped studio in the country. We in-
struct and train the beginner in every detail.
Special Course of Instruction BY MAIL, teaching
you also how to write and dispose of photoplay
SCENARIOS.
Send 25 cents in stamps or coins for
full particulars explaining our methods.
International Photoplay Studio
Loew's Orpheum Theatre
Dept. 10, 169 East 86th St., New York
Please Mention Photoplay Magazine
180
THE PHOTOPLAY MAGAZINE
A Chicago Girl's
Harrowing Adventure!
Drugged in a Restaurant She Barely
Escapes an Unknown Fate!
Under the title of "A Timely Warning,"
the Illinois Athletic Club Magazine for August,
1914, prints the story of Miss . , whose
father is a prominent club member. The girl
is eighteen, cultured, refined. While shopping
in Chicago one day, she stopped in at a well-
known, and presumably respectable, restaurant
for lunch. A well-dressed elderly woman sat
opposite her, and failing to draw the young
lady into conversation, dropped her 'kerchief.
She asked Miss to pick it up. A
few moments later, the girl fell in a swoon —
likely caused by some opiate dropped into her
food during that moment of thoughtless courtesy.
In the rest-room, she aroused sufficiently to
hear the woman say, " She'll be all right soon.
She has these attacks frequently. My machine
is outside and I'll take her right home." The
girl struggled for speech, denied knowledge of
the woman, gave her father's name, and fainted
again. She was saved from a nameless fate !
U
The Girl Who Disappeared"
By CLIFFORD G. ROE
is a work that tells how and why so many beautiful,' innocent girls vanish — are swallowed
up in the mystery that envelops every day and every hour — of great cities and small towns.
It is a volume that every father and mother, every sister and brother should read. It thrills with
the most amazing adventures, mystery and pathos — and stands alone as a book unlike all others.
You must send for this — NOW. Send while this special price prevails. Remit just one dollar
by postofhce or express money order, bank draft or currency in a registered letter to:
THE UPLIFT PRESS, 8 S. Dearborn St., Chicago, 111.
THE PHOTOPLAY MAGAZINE
181
%
NOW READY
Jos. DeRoy& Sons' Diamond I
Bargain Bulletin
Wonderful values in unredeemed
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No.254959.
1— A karat
weightofthe
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Expired Loans
Don't wait till the bargain
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i ARTICLES
Beautiful Women
OF THE MOVING PICTURE WORLD
An instantaneous hit has been made
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THEATRICAL LIQUID MAKE-UP
a thick liquid to cover neck, face, arms and
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PERSONAL MAGNETISM
THE KEY to Be forceful !
SUCCESS Develop per-
sonality. I can show you how. Write for "Whv Men Succeed."
It's FREE. A. OT/TO. 57 East Van Buren, Chicago
gsiJrial Bottle
Send for
of Rieccer's Flower Drops (Concentrated). It s
new! It's different. The rarest and finest perfume
overproduced. The acme of elegnnce and refine-
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Trade MarKRegis tire!
flower
ops
Made without alcohol. Lasts 50 times as Ions
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«/■_;*.«» T-J-- Now— take advantage of this trial
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Mention the name of your dealer.
lar Paul Rieger, 150 First Street, San Francisco, Cut,
Paris San Francisco
Successful
Photoplay Writing!
Taught by America's leading Authority on the
Photodrama, HENRY ALBERT PHILLIPS.
Only personally conducted Course in the world;
only school recommended by authorities.
Name is a guarantee of honesty, efficiency and
SUCCESS. Courses in PHOTOPLAY WRIT-
ING, STORY WRITING and PLOT CON-
STRUCTION. Catalog on request. It will pay
you to look into this School before you make a
mis-step. Send 10c for " Photoplay Market. "
PHILLIPS STUDIO
Box 11PB 156 5th Ave. New York
"The Photodrama"
225 Pages— Cloth— $2.00 Postpaid
By HENRY ALBERT PHILLIPS
Introduction by J. Stuart Black ton, Vi tagraph Co.
The one Big: Book on this subject. It contains sample
Photoplay and Dictionary of Terms. It shows you every-
thing:: Where to get Plots; How to use them; How to
make any material Dramatic ; How to get the Punch ;
How to write Photoplays that sell 1 Used in Schools, Col-
leges, Libraries throughout U. S. "PLOT OF THE
STORY" and "ART IN STORY NARRATION." by the
same author, $1.20 each. Both valuable to Photoplay-
wright. Above 3 books, $4 ; " Photodrama" and either of
others, S3. Add 10c to out of New York checks for collection.
STANHOPE -DODGE, Publishers
Box 11PB. LARCHMONT, N. Y.
And right now we have more advertisers using space with
us than ever before. Photoplay Magazine shows a gain
this month. Hard times ? No, sir ! Not when you have a
live magazine. Forms for December close October 20th.
182
THE PHOTOPLAY MAGAZINE
Enter This Contest!
How Would You Like to See Movie
Stars on the Legitimate Stage?
Would Movie Stars succeed in the "legitimate" drama?
Would they have the proper " stage presence ? "
Would they fumble over their lines ?
Is film drama an art so different from legitimate drama the gap cannot
be crossed? Many theatrical folk — including a number of leading managers —
are wrestling with these questions now, and Photoplay Magazine has inaug-
urated a contest (a new, different kiryl of contest) to solve the riddle.
We Need Your Help
Think of some of the dramas that
have been staged within the past dozen
years — and then tell us what movie
stars you believe would be suited to
the parts.
If the theatrical managers are made
to see that the photoplay actors and
actresses have so enormous a following,
then those stars receiving the largest
number of votes will be selected — and
a company will be formed to play in
the larger cities — not indefinitely, but
over a period.
Your Votes Count
Photoplay Magazine needs your
votes to help do the deciding. Attached
is a coupon, which you are to pin or
paste to your letter. Write your name
and address plainly. Each coupon gives
you the right to five votes.
You may vote for one movie star as
a candidate for five different parts in
five different plays — or you may vote
for five different movie stars to take five
different parts in five plays, or in one play.
THIS COUPON GOOD
FOR S VOTES
Attach this coupon to your letter and
register five votes, naming your movie
favorites, the parts you would like to
see them play on the stage — and the
name of the play.
If you attach two coupons, without
respect to their date, you may double
the votes. Five votes for every coupon!
Make your letters brief — no com-
ments outside of the votes themselves.
Write your letter like this :
/ vote for-
(Nanie of movie actor or actress*
to appear tn-
in the role of—
(Name of play)
(Name of part)
You may register five votes for one person
for one part in the same play. If you write but
one line, as above, that means you cast your
five votes for the same movie star in the same
part in the one play.
How to Get 50 Votes
By sending in a year's subscription for
Photoplay Magazine, you will be entitled to
fifty votes, with your order and remittance.
You will find a special subscription offer else-
where in this issue. Therefore, clip the at-
tached coupon, get five votes — send your
subscription for one year, and get fifty addi-
tional votes — or fifty-five all told I
Our representatives are at work now among
film companies and theatrical companies — and
from issue to issue, until this contest closes,
we shall announce its progress, and give the
total votes polled to date.
Better get the largest number of votes for
your favorite or favorites. It will mean greater
fame for the fortunate ones — will decide a new
and really important kind of Popularity. It
will link the silent drama and the legitimate
drama — will find the great middle ground — will
bring out the leaders in a new art.
: Address:
Theatrical Contest Editor
PHOTOPLAY MAGAZINE
Hartford Building CHICAGO, ILLINOIS
THE PHOTOPLAY MAGAZINE
JS:i
Send lO cents for a Sample of
Mary Fuller Perfume!
Just to introduce this exquisite, rare,
dainty perfume — the favorite of ever-
popular, always lovely Mary Fuller — we
are going to send a sample to
you if you will pay the cost
of handling and mailing —
10c. It is 'a caress from the
screen," as sweet as a June
afternoon ! Mary Fuller Per-
fume is growing in popularity
just as Mary Fuller has ad-
vanced in the affections of
the millions who have viewed
her in the films. It is a
message from this little star
— an endorsement of Mary Fuller's own
selection. Leading drug stores and
department stores will supply you with
a one-ounce bottle for $1.50
— or you may send your
order direct. But be sure to
send the ten cents now be-
cause we have only a limited
number of these liberal sample
bottles. Yours is here
waiting for you — so send
this moment! Write your
name and address plainly.
ADDRESS:
BENEDICT
Perfumer
8 South Dearborn Street, CHICAGO, ILLINOIS
Great
MOUNT BIRDS
ANIMALS, GAME HEADS AND ALL, TROPHIES
The wonderful art of taxidermy which has long been kept a secret
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This beautifully illustrated book, a copy of Taxidermy Magazine and
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H. W. School of Taxidermy 1468 E.woodB!dg.,Omaha.Neb.,
NEW HAIR BOOK
FREE
What this Free Book tells
about care of the Hair and
Beauty Culture at Home
without cost is priceless to any
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Paris Fashions in Hair Dressing
Beantifully Illustrated. Also catalogs hun-
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fied. These selections are of splendid quality to match
any ordinary shade.
Wavy Switches Straight Switches
l?4oz. 18 in. $0.85; 20 in. . .$1.45
2 oz. 20 in. 1.25; 22 in. . . 2.45
2 oz. 22 in. 1.75; 24 in. . . 3.45
2^4 oz. 24 in. 2.75; 26 in. . . 4.95
3 oz. 26 in. 4.45 ; 30 in. . . 7.65
Triple Wavy Switch, 22 in. . . 3.45
Other sizes and grades. 50c to $50.00
Natural Curly Pompadour, • • • 2.95
Coronet Braid, 3 oz.. Wavy . • 3.95
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181.
THE PHOTOPLAY MAGAZINE
HOW FORTUNES ARE
MADE IN THE MOVIES
Americans Spend $1,600,000
Daily at Picture Shows
Amazing Growth of This Form of
Amusement Has Made Poor
Men Millionaires
As you stand In line in the crowd at the entrance to the
Moving Picture Theater and hand over your 5c or 10c for
admission, you are but one of the 10. 000, 000 of people who
do the same thing in this country every day.
Think of ill 10.000,000 people spending more than
$1,000,000 every day for moving picture amusement alone.
Dm you ever wonder where this $1,000,000 a day goes and
who gets it? I>ld you know that it ultimately found its way
into the pockets of a few men?
POOR MEN BECOME MILLIONAIRES.
One of them in the 80 's was an emigrant who became a
clerk in a store in Oshkosh, Wis. With a little money that
he had saved he opened a "Nickel Show." lie is now rated
as a millionaire and is known as the "King of the Movies."
Another was a newsboy who became a furrier. Later ho
opened a picture show in Covington, Ky. He now controls
300 theaters.
FROM OPERATOR TO MAGNATE.
Still another was the operator of a motion picture machine,
which was his Introduction to the business. He now owns
nearly four square blocks of real estate in Chicago and is
the head of one of the largest producing plants in America.
The manager and part owner of a million-dollar motion
picture theater on Broadway in New York City, began his
career in the motion picture business by renting a room above
a saloon in Forest City. Pa., in which lie started a moving
picture show, lie operated his own machine and rented 250
undertaker's chairs on which he seated his audience. Ills
new theater cost $1,000,000 and seats 3,500 people.
Most of the men now at the head of the motion picture
industry, which m ten years has grown to be the fourth
largest business in the United States, began in some such
manner. Unbelievable profits rolled in upon them.
THE PUBLIC KEPT OUT.
Finally, closely-held corporations were formed, and obsta-
cles to outsiders were raised and used by the purchase and
control of patents. In fact, until recently It has been impos-
sible for independent manufacturers and distributors to enter
this immensely rich field. By a far-reaching decision the
United States Court has now made it possible for others to
sbaro the profits.
Contrary to the general opinion, it is not the owner of
the moving picture theaters who is making the large profits,
but rather the producer of the films and the Kxchanges — the
exchange being the source from which the motion picture theater
rents the films used nightly.
The industry has grown by leaps and hounds. There are
already 25.000 motion picture theaters in the United States.
The flow of nickels and dimes goes on, growing larger each
year. The "Nickel Show" in the abandoned store is being
superseded by the palatial theater which formerly entertained
Its audiences at $1.50, but are now showing pictures at from
10c to 25c. Today it appears to be the most profitable industry
in the United States.
EUROPEAN WAR HAS HELPED BUSINESS.
Since the beginning of the European war Importations of
the foreign-made films has been entirely suspended. Conse-
quently, the demand on the American manufacturer is greater
than ever before, the result being that the moving picture
business is one of trie few industries in this country that has
shown a marked increase in business since the war began.
An Unusual Opportunity for
the Small Investor
First Chance to Share in the Enor-
mous Profits of the Movies
There is now an opportunity for YOU to enter this extremely
profitable field. The present millionaires of "Film Land"
began with small investments.
The moving picture business Is no longer an experiment. It
can no longer be classed as a risk. It has grown beyond the
wildest expectations of its original promoters, but its growth
during the past decade is as nothing compared to its future
possibilities.
Would you like to know the "inside" story of the motion
picture business? How the profits are made and who makes
them? How the films are made and distributed? How much
they cost and how film exchanges are able to make a profit
of 600 per cent?
I have a booklet which tells these things. It holds out the
first opportunity, so far as I know, ever offered to the general
public to enter this new field.
WHAT AN EXPERT SAYS.
Isaac P. Marcoosou, the financial and industrial writer in
Collier's Weekly, Bays "So fast is the pace that it is almost
impossible to prepare statistics. The records of yesterday is
wiped out today. The field is wide open. The man with
cash and an idea can take a flyer in a film and market his
product. Increasing demand strains at supply, the mark of
the dollar is everywhere. In brief, the whole Industry is like
a vast cornucopia, disgorging a golden harvest."
EXPERIENCE IS NECESSARY.
However, to enter the field, experience is necessary. A thor-
ough knowledge of tho business is essential. My booklet offers
you an opportunity to become associated with the pioneers of
the industry — men who understand It thoroughly: men who
were exhibiting films at county fairs twelve years ago, when
motion pictures were a curiosity, and who have been in the
business ever since; men who were chiefly responsible for the
long drawn-out legal fight which resulted In a court decision
which now opens a hitherto tightly-controlled industry to the
public.
It is not a business that is to be begun later. It is already
established and has already made profits. You can invest as
little as $25 and as much as $1,000. My twenty-page booklet
explains it in detail.
CH'ANCE FOR SMALL INVESTMENT.
Get this book now. Write for it today. It not only discloses
many of the innermost secrets of this great business, but con-
tains a fund of valuable and Interesting information that
cannot be obtained in any other way. If you are ambitious
to make money, there is now presented to you an opportunity
to connect yourself with one of the greatest and most profitable
industries this country has ever known, an Industry that has
already made dozens of poor men millionaires and which is
today only in its Infancy.
Simply write your name and address plainly in the coupon
below and mail today. The book and full information will
be sent to you at once.
Mr. Richard Kami
Fiscal Agent, Lewis Film Corporation
1827 Republic Bldg., Stale and Adams Streets, Gueago.
Please send me your book. "Fortunes in the Movies"
and full particulars concerning the money-making oppor-
tunities now offered in the motion picture business. It
is understood that you are to send this entirely free and
without any obligation on my part.
Name
Address
City and State
THE PHOTOPLAY MAGAZINE
185
Do You Know What
"Movie Pictorial"
Is Going to Give You?
Don't guess! You couldn't guess!
"Movie Pictorial" was given the heartiest
welcome of any publication ever started. It
was a winner from the first issue.
But— Movie Pictorial is so much better, it
looks like the Big Sister instead of like the
little one ! Two new features have been added !
"Realism in the Movies"
The public — you, your neighbor, the lady and
her husband who live down the street— are
finding the "blowholes" in the films— are
pointing out the errors, and if you ever read
real humor you will read it in the Realism
columns!
A $5 Prize for the Best Letter!
Each issue (twice a month — because Movie
Pictorial is getting to be so big, it simply can't
be made up in its new, artistic dress, with its
wealth of offerings inside, short of twice a
month), we pay a prize of $5 for the best letter
on Realism.
The Music Story
That's something else new. Indeed, Movie
Pictorial keeps so many paces ahead, it is
always leading. It hears the voices of its thou-
sands of readers, and heeds their wishes. The
MUSIC STORY is another department that
simply gets right down to the heart of THE
PURPOSE OF MUSIC ACCOMPANIMENT
TO THE FILM DRAMA! We wouldn't at-
tempt to tell you all about it here; couldn't if
we tried. You must READ that page, and
then you will never say that the music is
unimportant.
Two New Detective Series!
Not the kind you have been accustomed to
reading; not morbid murders or sodden robber-
ies. But NEW KINDS of detectives, who
hold the interest of every reader.
A Department on Photoplay Writing
Public interest has been aroused in photo-
play writing. Do you know anything about
it? Then read what the country's author-
ities have to say about this new, growing,
profitable profession. Watch for this new
Department each issue in Movie Pictorial!
FREE! "The Adventures of Kathlyn"
Just so you will be SURE to get EACH NUMBER of
Movie Pictorial, you would better accept this offer NOW.
Send your subscription for 6 months, remitting $1 by post-
office or express money order, bank draft or currency;
and you will get Movie Pictorial prepaid, delivered to
your home, PLUS "The Adventures of Kathlyn," by
Harold MacGrath— a sparkling novel of 375 pages, fully
illustrated, beautifully bound. Simply say, "I enclose SI.
Send Movie Pictorial for 6 months and' The Adventures of
Kathlyn.' prepaid." Sign your name and address plainly
—and SEND RIGHT NOW. The current number of
Movie Pictorial and a back number prepaid to any ad-
dress for 10c.
Movie Pictorial J££cS
New Illustrated Book
on—
Drugless Healing
[Mechano-Therapy]
FREE!
Not one cent to pay oithor now or hi t or — no obligations of any kind
or nature. Just your Bimplo request will brine you this valuable illus-
trated book and beautifully colored anatomical charts by return mail
without cost.
This ia t ho first timo such an offer has over been made. It may bo
the only time. Wo cannot urso you too strongly to accept this ex-
ceptional opportunity without a momenta hesitation.
This offer is strictly limited. As soon as a certain number of books
and charts have been mailed, we shall be compelled to withdraw the
offer. So don't wait a minute. Send your acceptance right away*
Get This FREE Book and Learn
How to Treat Headache
How to Treat Catarrh
How to Treat Epilepsy
How to Treat Hay Fever
How to Treat Paralysis
How to Treat Pleurisy
How to Treat Aithma
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How to Treat Jaundice
How to Treat Neuralgia
How to Treat Constipation
How to Treat Indigestion
How to Treat a Sprain
How to Treat Dyspepsia
How to Treat Rheumatism
How to Treat Lumbago
Besides hundreds of Chronio diseases and other important health
subjects which every one should know. Every single step explained
and pictured so plainly that you cannot fail to understand.
WHY We Are Making This Offer
We want the public to know the real truth about Drugless Healing.
We want you to convince yoursolf by a practical demonstration just
what a wonderful new curative force may be placed at your command.
Besides, the free book and charts will demonstrate just how thor-
oughly, how easily and in what a surprisingly short time you can
master this wonderful now profession, at home or in class, without in-
terfering with your regular occupation the slightest. If you want to
Earn $2500 to $6000 a year
If you want an established profession that is pleasant, dignified and
remarkably profitable, if you want to becomo master of your own
and others' health and happiness then send for the Free Book and
see what Drugless Healing has to offer you.
Hundreds of successful graduates in every Quarter of the world de-
monstrate the wonderful efficiency of our methods. What about
yourself? Are you satisfied? Are you contented — healthy- — happy in
your work — making all the money you want? If not. get posted on
Drugless Healing right away.
WB T Remember; This Offer is Limited
Write NOW for FREE Book and CharU +**"?*""
Don't wait to think it over. Don't hesitate at a ^** American
chance like this. Got the facts — the real truth ^ ^ College of
— learn what you can do — what you can *t M L TL
earn as a Doctor of Mechano-Therapy. s* IlieCDanO- 1 nerapy
Tho Free Book and our Color Charts 4** Deot. 46
explain all. Send just the coupon ^# 8 X W. Randolph St.,
ona postal or letter right away.
Chicago, Ida.
- ^ Without coat or obligation. pleaM
MeehanO-TheraDV d _ Bond mo by mail, prepaid, your Free
uiecnano 1 nerapy r Book. Color-illuatroted Anatomical Chart
Dent 4 "• 81 \V. > and Chart of -11 Positions ond M-T Move
Randolphs. ^ aeata,
ILLS.
Kamc..
180
THE PHOTOPLAY MAGAZINE
Amateurs Only — Your Chance
New Ideas by New
Writers Wanted
This Book is Free to You
If you possess imagination (no matter
how much or how little education you
have had) here is your OPPORTUNITY.
One of your "happy thoughts" is as
likely to win a big cash prize as anybody's.
It costs nothing to investigate this great
offer. Read this announcement carefully,
mail the free coupon at bottom of next page
ticulars, as well as my free book, "How
toplays," will be sent to you without cost
How To
Write
Photoplays
^
by
Elbert Moore
former Scenario Editor of on*
of World's largest companies.
Q
then sign and
Complete par-
te Write Pho-
or obligation.
Earn $ 1 5 to $50 Weekly
In Spare Time at Home
If you attend the "movies" you know how many trashy plays are
produced. You yourself could easily improve on them. The public
is always crying for "something new," and with 30,000 theatres in
existence the producing companies are forced to bring out inferior
plays. Now that the War has shut off the supply of photoplays from
\lmWi> yimlii-Platiii (Cmiuiami
Europe this demand is even greater. The companies are clamoring for
New Ideas and paying from $10 to $500 for those which are suitable.
First Prize is $200 Cash
One of the large producing companies has done me the honor of writing me the
letter shown on this page. Read it carefully. It enables me to offer my students a
first prize of $200 cash, a second prize of $50 cash, and five other prizes of $10 cash each.
Between now and the end of the year I
am offering some other cash prizes, making
a grand total of over $500 in cash. Any
person who is willing to take my few easy
lessons can compete for these big prizes,
and will at the same time be learning one
of the most profitable and interesting of all
professions. Persons who have already sold
photoplays cannot enter this contest, so that
you will not be competing with experienced
writers. The object is to develop new writers.
I Guarantee $10 For
Your First Photoplay
I was formerly Scenario Editor of one
of the largest producing companies and am
familiar with every branch of the motion
picture business. My method of teaching
is endorsed by prominent picture men and
by this magazine. That is why I am able
to guarantee you at least $10 for the first photoplay you write by my method.
Send For Free Booklet Before
Prize Contest Closes
Post yourself on this great profession, which offers you a chance not only for profit,
but also for fame and honor. Persons who lack the literary experience necessary tor
writing novels and stage plays are now finding it possible to express in the Silent
Drama" (or photoplays) the strong and original ideas which many of them possess.
One of your ideas may become a photoplay sensation and work its influence on
thousands — even millions of people all over the civilized world. Most photoplays
are now produced over the author's name. This will be done in the case of
the photoplay winning the first prize of $200 cash
CWeaeo August Uth 1914
Ut Clbert Moore
Chloogo,
Illinois -
09 to IT. "'cora:-
~% oro In the carket for an D;1A • an Ida* th»t
son m tad* Into a two-reel or threa-roel photoplay of
(ocuine Originality and Punofa.
To roaelte cany photoplays froa snatenr writers
all cror the country; but ooat of theao wrltora arc antral a -
ad, and tha ploys they outsit &r« not In aooapteble for-.
OT couraa our own staff writers aro producing good photo-
plays for ua; but wo want oomathing different , oonothlng
that *!as naror boon thought of before - oosnthing of whleh
wo aan eako a big feature . In short, we want to produoe a
photoplay that wfU fill to the dooro ell tho theotroe in
which It appears.
Are you willing to turn your pupils loose on this
problaa? He belloTe, that osong all the new arltara you. ex*
daroloplng there are at least a few eho son pjoduoo this
fhotoplay. ?fo aro wlTHo;- to pay ^200 for tho photoplay,
written by any one of your atudonts between now and Deeen-
ber 31at), whleh in you judgesont oonas nearest to costing
our requires* eta.
■"9 will also pay'OSO.OO for the aeoosd best photo,
olay and ;>0.CO aaoh for the noxt flTa 9300.00 In all
Tours wry truly,
OBITS!) PHOTO -FLAfS^COKPAirf.
Vloe Prooident.
FREE
COUPON
Mail Free Coupon at Once tW
This is your opportunity; grasp it. Persons no more talented than
you are earning $15 to $50 weekly by using their spare time at home
to turn their ideas into photoplays. It costs nothing to investigate.
Use free coupon at once, before the prize contest closes.
ELBERT MOORE ("""Sfir**)
Elbert Moore
Box 772FK, Chicago
Send free booklet
'How lo Write Photo-
plays" and all facts about
guarantee and special
prize contest.
Box 772 FK
CHICAGO, ILLINOIS
11NTINC COMPANY. CHICAGO
H.irold
Lachman
Company
12 No. Michigan Avenue,
9MDL- Chicago, Illinois
Pick out one of .the glorious radiant Luchnite
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v
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I ^fek. Chicago,
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