Full text of "Photoplay (Oct 1917 - Mar 1918)"

See other formats

'''■''''?■'■
' . : i;;f

SHIS

MKhBu

ill

fii

:':!''■■. ■') .

Hiifiira

JKIBBiiiH

HiHBwIi

Scanned from the collection of

The Museum of Modern Art Library

Coordinated by the

Media History Digital Library
www. mediahistoryproj ect . org

Digitized by the Internet Archive

in 2012 with funding from

Media History Digital Library

http://archive.org/details/phooct1213chic

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

\ \^

Octoh

or"

THE NEW SIZE 20 (PontS

ALICE JOYCE DRAWN BY NEYSA McMEIN

Great Artists of the Pen, the Screen, and the Brush Have United To Make This Book Worthy of

A MTTJJON READERS

Just Like New I

GREASY, smeary , smoky, dust-catching furniture can be easily restored
to its original beauty and charm with Johnson's Liquid Prepared

Wax. It cleans and polishes in one operation — protects and preserves varnish, adding
years to its life — covers up mars and small surface scratches, and prevents checking.

Has Your Mahogany Furniture a Bluish, Cloudy Appearance?

An application of Johnson's Liquid Prepared Wax will quickly and permanently remove
it — at the same time imparting a hard, dry, glasslike polish of great beauty and durability.
It never gets soft and sticky, consequently does not gather dust or show linger prints.

JOHNSON'S

PREPARED WAX

Johnson's Prepared Wax is now made in Liquid Form so that it may be more easily
polished. It is exactly the same as the famous Johnson's Prepared Wax (Paste) except it is a liquid.

Easy to Polish

Johnson's Liquid Wax polishes instantly with
but very little rubbing — you can easily go
over a roomful of furniture or a large automo-
bile in half-an-hour. Tell your dealer that
Johnson's Prepared Wax is now made in Liquid
Form and insist upon his supplying you with it.

For Floors and Linoleums

Johnson's Liquid Prepared Wax gives just the
polish and protection you need on your floors
and linoleums. Imparts a beautiful dry pol-
ish which any housewife can easily keep in
perfect condition. Brings out the pattern of
the linoleum and preserves it.

Ouarts $1.40 Pints 75c Half-Pints 50c (East of the Rockies)
S. C. JOHNSON & SON, Dept. PP, RACINE, WIS., U. S. A.

J ! < . ,v .

Photoplay Magazine-

-Advertising Section

are
WiraiDount's

\\ TK are makers of the
' * silent drama — the play-
ers, authors, directors, and producers
ot Paramount Pictures — 10,000 strong:
America's foremost motion picture organ-
ization. The sum of our efforts is a Public
Service of uplift, inspiration, entertainment. For
you we weave wonderful stories- — human, compel-
ling, delightful. For you we actwlth. the incentive that comes
when making a record of great dramatic truths for all time to
come. We understand the responsibility that goes with the name — ■

(^ammmntGpictures

Paramount is organized to produce and to maintain a standard of
motion picture quality that attracts the best in the profession — that satisfies
the highest class of audience. Ask your motion picture theatre to book
Paramount stars. Send us coupon for sample copy of ' ' Picture Progress ' '
— an interesting illustrated motion picture magazine.

GPammountCPictures C^iporation

*^FOUR EIGHTY-FIVE *^FIFTH AVENUE ol FORT Y-FIRST ST.

NEW YORK

Controlled by

Famous Players-
Lasky Corporation

ADOLPH ZUKOR. Pres.
JESSE L. LASKY, Vice-Pres.
CECIL B. DE MILLE. Dir-Gen.

Please Mail to Paramount Pictures Corporation

Please send me a sample copy of your motion
picture magazine, " Picture Progress."

Name

A ddress

My favorite motion picture theatre is.
Address

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

THE

TRADE MARK RE& U.S. PAT.OFF.

'©©€>*

EI09-9 PEARLS
$10.00

EII2-I2 PEARLS
$20.00

J TTT

EII5-I5 PEARLS
$30.00

NECKLACE

Start a Genuine Pearl

Necklace for Your

Little Girl

Your Family and Friends will
Keep it Growing

The Add-A-Pearl necklace
consists of Genuine Orien-
tal Pearls, poses sing real
and lasting beauty of the
truest worth.

There are twelve sizes to
select from — as low as
$5.00 and up to $150.00.

Additional pearls for any amount
may be added on all gift occasions.

Descriptive folder and name of
your nearest dealer on request.

The Add-A-Pearl Co.

108 North State St.
Chicago, 111.

E 133-33 PEARLS $50.00

Every advertisement in l'HOTon AY MAGAZINE is guaranteed.

» « —

REG. U. S. PAT. OFF.

THE WORLD'S LEADING MOVING PICTURE PUBLICATION

PHOTOPLAY MAGAZINE

"The National Movie Publication"

VOL. XII

CONTENTS

No. 5

OCTOBER, 1917

Cover Design — Alice Joyce

From Pastel Portrait by Neysa Moran McMein

Rotogravure: Billie Burke 11

Alice Brady 12

Elsie Ferguson 13

Pauline Frederick 14

The War-Time Sanctuary Editorial 15

Mollie of Manhattan John Ten Eyck 16

Illustrated by Especially Posed Portraits.
The Same being a Visualized Story of Mollie King.

I Love Leading Men Delight Evans 20

Free and Untrammelled Verse.

"If I Say It Myself—" Charlie Murray 21

Charlie Interviews Himself and Saves the Editor Money.

A Real Photoplay Romance 23

Announcing the Engagement of Anita Stewart.

"Temperamental Tim" (Short Story) Edward S. O'Reilly 24

Illustrated by D. C. Hutchison.
The First of a Remarkable Series of Stories by a New Writer.

Babyland By the Old Home Town Photographers 28

Infant Bad Men, and Leading Ladies.

Bill Russell and His Faithful "Yim" A Photograph 30

Lionel Comes Across (Some Letters) Roy Somerville 31

Illustrated by John R. Neill.
He Finds It Necessary to Go Into Trade and Chooses the Bally Pictures.

Subterranean Cinema 35

Moving Picture Show Under Shell-Torn Verdun.

A Photo-Interview with Douglas Fairbanks Alfred A.Cohn 36

Ably Assisted by a Cameraman.

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago. 111.

Edwin M. Colvin. Pres. James R. Quirk, Vice Pres. Robert M. Eastman, Sec.-Treas.

Alfred A. Cohn l Managing I Los Angeles

Randolph Bartlett f Editors I New York

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba; and

Canada: $3.00 to foreign countries. Remittances should be made by check, or postal or express

money order.

Caution— Do not subscribe through persons unknown to you.
Entered at the Postoftice at Chicago, III., as Second-class mail mailer.

NEXT MONTH

The Fall of the Romanoff,

Photoplay will present in story form
The Fall of the Romanoffs. It is more
than fiction. It is inside history of
the times — a modern parallel to the
Memoirs of Madame de Stael. This
story will be based on Herbert Brenon's
great production of that name. For the
first time, on the authority of Illiador,
the "mad Monk," you will learn of the
intrigue of the Court of Nicholas, the
deposed Czar, the rise and fall of Ras-
putin, the hypocrite priest, and then the
dramatic finale of the Romanoit
dynasty.

Our Irene Was the Village Queen

Did you know that Irene Castle was
a small-town girl? Did you know that
her success was due, not to luck, nor fate,
nor fortune, but to years of hard, unre-
mitting effort? Did you ever hear that
she not only designs, but actually sews
most of her own clothes? Did you
ever hear of the time when she and Ver-
non were dead broke in Paris? Not so
many years ago, either, Randolph
Bartlett has written a remarkable inter-
view with her, in which you see the
human, lovable side of this famous
dancer-actress.

Impressions

More of those delightful impressions
by Julian Johnson. He paints with
that wonderfully colorful word-brush
his impressions of Antonio Moreno,
Alice Joyce, Charles Clary, Constance
Talmadge, Mollie King, Olive Thomas,
Alma Reuben, Irene Castle, Raymond
Hatton, William Desmond, Marc Mac-
Dermott, and George M. Cohan.

?'■■

CONTENT S — Continued

Cleopatra Plays a Return Date Photographs

Theda Bara Transforms the Bean Fields Into Egypt.

"Yep! Crops Is Fine B'Gosh" Photographs

Norma Talmadge Does Her Bit on the Usual Garden Stunt.

The Lesson (Short Story from a Photoplay) Jerome Shorey

The Awakening of a Girl from a Small Town.

Bringing the Motion Picture to Church

Frederick James Smith

The Man with the Iron In His Eye

Some Facts About Harry Morey.

Photoplay Magazine's "Beauty and Brains" Girls

Five of Them Achieve Success.

Plays and Players

Current News from Both Coasts.

Cal York

Terry Ramsaye

Julian Johnson

Hildegarde Rudin

"That Reminds Me—"

Some Reminiscences by Lew Fields.

Destiny or Ambition?

The Career of John R. Freuler.

The Shadow Stage

Annual Review of the Year's Acting.

The Dubb Family Goes to the Movies

An Evening in High Life.

Rotogravure: — Clara Williams

Clothes Designed for Mary Pickford

Gladys Brockwell
Close -Ups

Editorial Expression and Timely Comment.

A Melody for the Viola Randolph Bartlett

Here's How Miss Dana Was Brought to Pictures.

The Photoplay in Nippon

The Movies Have Become Part of Japanese Life.

Mary's Brother Jack Kenneth McGaffev

That's What They Used to Call Jack Pickford.

Alice for Short Frederick James Smith

An Interview with Alice Joyce and Her Tiny Daughter.

Five Years Ago This Month

An Interesting Retrospection.

Who's Married to Who

Famous Married Couples of the Moving Pictures.

Stars of the Screen and Their Stars in the Sky. Ellen Woods

Nativities of Mary Pickford and William Farnum.

Barbary Sheep (Short Story from a Photoplay)

Franklin Stevens

Desert Romance and Bedouin Wile.

On the Lot with Lois Weber Elizabeth Peltret

A Few Words with the Great Woman Director.

Pearls of Desire Henry C. Rowland

Illustrated by Henry Raleigh.
Continuing the Year's Greatest Serial.

Why-Do-They-Do-It

Absurd Things Noted by Photoplay Readers.

Marc MacDermott, Movie '49 er James S. Frederick

The Highbrow Actors Considered Him Lost.

Hints to Photoplay Writers Capt. Leslie T. Peacocke

Knowledge of Camera Essential.

Questions and Answers The Answer Man

Winners of the August Puzzle Contest

In the Scenario Editor's Mail Helen Stan-

Some Freaks of Screen Literature.

42
43

47
49

63
64
66
67

74
77
79
80
82

83
89
93

101
104
108

NEXT MONTH

The Red Corpuscle of the Celluloid

Who? None other than William
Farnum. Frederick James Smith takes
you down to Sag Harbor, Long Island,
Farnum's summer home, and there you
meet all the folks — not by any means
overlooking the telegraph boy. Don't
miss the photograph of Farnum and
his telegraph boy. It's a big grin in
itself. For the first time Bill Farnum
gives up some early footlights history
that makes mighty interesting reading.

Soldieress of Literary Fortune

We promised you a story about
Frances Marion, the little doll scenario
writer that is writing Mary Pickford's
screen stories. Here's a story for every
girl who wants to climb the ladder of
success in screen or scenario work.
Here's a girl worth knowing.

Douglas Fairbanks Has Joined Our Staff

Yes, Old Doc Cheerful is a writer.
If you haven't read his book, do so.
Then you'll appreciate what a treat is
in store for you every month when you
read his "Happy Page." Well, here's
our editorial mit, Doug. You will
brighten things up, I wot. He won't
even tell us what he's going to write
about, but his very own page begins
next month.

Geraldine Farrar's Page Every Month

Miss Farrar has very generously con-
sented to edit a page in the new Photo-
play in which she will tell our young
lady readers about her screen and
operatic work, as well as a lot of won-
derfully interesting personal reminis-
cences. One of these days she is going
to tell them just how hard it is to spend
years in the hardest kind of work and
study to achieve success, what their
chances are of getting into motion pic-
tures. If you are not ready for the
cold, hard truth avoid this pane.

How Do You Like the Dubb Family?
And what do you think of Tempera-
mental Tim, .Mr. O'Reilly's hard guy
from the Southwest. They will be back
again in the November issue.

A Moving Picture Outfit for Your
Church or School

The November issue of Photoplay
will give detailed prices and descrip-
tions of moving picture apparatus, and
will suggest plans for getting them for
vour church or school without cost.

Photoplay Magazine — Advertising Section

TRAINED ARTI JTJ
HIGHLY PAID

The never-satisfied cry of the modern business world is "more trained commercial artists."
Today commercial illustrators with thoroughly developed ability — both men and women —

Earn $25, $50, $75 a Week and Upward

Many have made notable successes, and command yearly incomes running into the thousands of dollars. Are YOU
awake to the splendid opportunities in this great modern field of enterprise ? National advertisers, publishers, manu-
facturers, department stores, retail shops, mail order houses and others pay big prices for forceful designs and appeal-
ing illustrations — and artists who can produce them earn extraordinary incomes.

The Federal Course a Proven Result-Getter. If you like to draw, develop your talent into a high-salaried ability.
Without proper training, your ambition — your progress — are crippled. The work is fascinating, easy to learn and easy

to apply. And the dollars-and-cents results obtained by Federal Students are stronger
evidence of the value of "Federal" Training than anything we could say about it.

The Federal Advisory Council

Nationally known American illustrators and designers have thoroughly
endorsed "Federal" Training. On our Advisory Council are Charles E. Chambers
i who illustrates the Get-Rich-Quick Wallingford stories), Franklin Booth (Painter

with the Pen I , Harold
Gross of the Gorham
Company, Coles
Phillips (famous for
his magazine covers
and advertisements),
and Edwin V. Brewer
of "Cream of Wheat"
fame. The Course in-
cludes exclusive, origi-
nal lessons especially
prepared by these men.

Send Now

for "Your

Future"

You owe it to YOUR fu-
ture to read this book. In
these swittly-moving times
when speed and efficiency
are imperative, "Federal"
Tr a i n i n g offers you a
short, proven road to a
substantial income.

This book shows you how
to start — how to win suc-
cess by using spare time
now frittered away. It has
56 pages, beautifully
printed in colors, showing
remarkable work by Fed-
eral Students. Prepare
yourself to win the splen-
did success possible for
you. Send the coupon
right now, while you're
thinking about it.

WJien you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

-he Oliver Typewriter

A $2,000,000

GUARANTEE

That This $49 Typewriter Was $100

The Sales Policy Alone Is Changed, Not the Machine

The Oliver Nine — the latest and best model-
approval. Five days free trial. No money
you. Be your own salesman and save $51

This is the time when patriotic American industries
must encourage intelligent economy by eliminating waste.
New economic adjustments are inevitable.

So March 1st we announced the Oliver Typewriter
Company's revolutionary plans. On that date we dis-
continued an expensive sales force of 15,000 salesmen
and agents. We gave up costly offices in 50 cities.

Prices Cut In Two

By eliminating these terrific and mounting ex-
penses, we reduced the price of the Oliver Nine from
the standard level of $100 to $49.
This means that you save $51 per
machine. This is not philanthropy
on our part. While our plan saves
you much, it also saves for us.

There was nothing more waste-
ful in the whole realm of business
than our old ways of sell type-
writers. Who wants to continue
them? Wouldn't you rather
pocket 50 per cent for yourself?

The Identical Model

The Oliver Typewriter Com-
pany gives this guarantee: The
Oliver Nine we now sell direct is
the exact machine — our latest and best model — ■
which until March 1st was $100.

This announcement deals only with a change in
sales policy.

The Oliver Typewriter Company is at the height

of its success. With its huge financial resources it

determined to place the typewriter industry on a

J*f?T--~>^ different basis. This, you admit, is in

harmony with the economic trend.

-will be sent direct from the factory to you upon
down — no C. O. D. No salesmen to influence
. Over a year to pay. Mail the coupon now.

A World Favorite

This Oliver Nine is a twenty-year development. It
is the finest, the costliest, the most successful model
that we have ever built.

More than that, it is the best typewriter, in fifty ways,
that anybody ever turned out. If any typewriter in the
world is worth $100, it is this Oliver Nine.

It is the same commercial machine purchased by the
United States Steel Corporation, the National City
Bank of New York, Montgomery Ward & Co., the Na-
tional Biscuit Company, the Pennsyl-
vania Railroad and other leading busi-
nesses. Over 600,000 have been sold.

Simplified Selling

Our new plan is extremely simple. It makes
it possible for the consumer to deal direct with
the producer. You may order from this adver-
tisement by using the coupon below. We
don't ask a penny down on deposit — no C. O. D,

When the typewriter arrives, put it to every
test — use it as you would your own. If you
decide to keep it, you have more than a year to
pay for it. Our terms are $3.00 per month. You
are under no obligation to keep it. We will even
refund transportation charges if you return it.

Or if you wish additional information, mail
coupon for our proposition in detail. We imme-
diately send you ourde luxe catalog and all infor-
mation which you would formerly obtain from a typewriter salesman

10 Cents a Day

MAIL

TODAY

In making our terms of $3.00 a month — the equivalent of 10
cents a day — it is now possible for everyone to own a typewriter
To own it for 50 per cent less than any other standard machine.

Regardless of price, do not spend one cent upon any typewriter
— whether new, second hand or rebuilt — do not even rent a ma-
chine until you have investigated thoroughly our proposition,

Remember, we offer here one of the most durable, one of the
greatest, one of the most successful typewriters ever built. If anyone
ever builds a better, it will be Oliver

THE OLIVER TYPEWRITER CO.,
"^SM^" 1477 Oliver Typewriter Blclg., Chicago, 111.

□ Ship mc a new Oliver Nine for five days* free inspection. If I keep
it, I will pay $49 at the rate of $3 per month. The title to remain
in you until fully paid for.

My shipping point is

This docs not place mc under any obligation to buy. If I choose to return
the Oliver, I will ship it back at your expense at the end of five days.

□ Do not send a machine until I order it. Mail me your book, " The
High Cost of Typcw/iters — The Reason and the Remedy,1' your de luxe
catalogs and further information.

Name

Street Address
Citj

Don't Pay $100

Why now pay the extra tax of $51 when you may obtain a brand
new Oliver Nine — a world favorite — for $49 ? Cut out the wasteful
methods and order direct from this advertisement.

Or send for our remarkable book entitled, "The High Cost of
Typewriters — The Reason and the Remedy." You will not be
placed under the slightest obligation.

THE OLIVER TYPEWRITER COMPANY

1477 Oliver Typewriter Bldg., CHICAGO, ILL.

NOTE CAREFULLY — This coupon will bring you cither the Oliver Nine for free
trial or further information. Check carefully which you wish.

This Coupon Is Worth $51

Every advertisement iu PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

IGNATIUS BARNARD
President

W'fluy GENUINE "Blue white^M

PerCarat

Direct from BARNARD the Importer

Small Sizes

14K Engagement
Solitaire

Prices Complete

Carat $ 8.00-$ 10.75 to $ 19.75

Carat $17.25-$ 25.00 to $ 43.75

Carat $31.00—$ 41.00 to $ 77.50

Carat $42.75-$ 61.00 to $121.50

Carat $67.13-$ 98.88 to $208.00

Carat $90.88— $135.88 to $290.88
Large sizes up to 10 carats.

14K Men's "Ideal"
Ring

Prices Complete

3i Carat $20.00-$ 27 00 to $ 46.50
y2 Carat $44.75-$ 63.50 to $123.50
% Carat $68.75— $100.50 to $209.50
1 Carat $92.50-$137.50 to $292.50
iy2 Carat $142.50 to $469.50

SPECIAL!

14K solid Gold Tiffany Style
Solitaire Ring, set with fine
quality Wesselton Blue dia-
mond, absolutely perfect in
quality and of most fiery
brilliancy. Average weight,
3-16 carat guaranteed. Send
it back if you can match it
for less than $35. Special to
readers of this magazine.
(Be sure to send finger size.)

$16.33

at World's Lowest Prices

Here are the secrets of my money-saving prices on dia-
monds: With my world-wide business of tremendous
volume, I can buy direct from the cutters of Europe, then
resell direct to you at the smallest margin of profit. I have
eliminated all middlemen — all waste — in the selling of dia-
monds and guarantee that you cannot match my prices any-
where, wholesale or retail. If you don't see a saving of 35 c/<
in the diamond I send you for free examination, send it back !

Send No Money

Merely send for my beautiful Diamond Book— select the
diamond and mounting of your choice, and I'll ship it for
your inspection — at my expense and without obligating you
to buy. As we get all our business in this way our success
proves our prices lowest by comparison.

Bankable
Money Back Guarantee

The only bankable Money Back Guarantee in the dia-
mond business. You can take it to any bank and cash in

your diamond investment if you want to. The only guarantee without red-
tape, delays or evasions. Is also a legal certificate of carat weight, quality and
value of the diamond. Allows you to exchange at full value at any time.

$ 1 00 Liberty Bond
Accepted at $102

Lend to your country and keep the wheels of commerce running
at the same time. To encourage both, I will accept $100 Liberty

Bonds at $102 for entire or part payment of my diamonds.

Per Carat

Extra
Blue White

$133

Per Carat

Wesselton
Blue White

$177

Per Carat

Jagers
Steel Blue

$233

Per Carat

Jagers
Blue Perfect

$288

Per Carat

Our Book Of
Diamonds

Shows every fashion-
able and popular style
of mounting in 14K
solid gold and platinum
at actual factory cost. Also
all sizes of diamonds in 7
different qualities at import
prices. Be sure to get our book
before you buy your diamond

BARNARD

Dept. 2088P

1917 Deluxe Book
of Diamonds Free

Profusely illustrated in colors. Shows

thousands of the greatest bargains in diamonds
the world has ever known. Tells you expert's
facts that you've wanted to know in order to
buy diamonds intelligently. Tells you all about dia
mond qualities, colors, imperfections — a real buyers
guide. A bound volume that you'll be glad to give
permanent place in your library. Free for the asking.

&CO.

CHICAGO, U. S. A

N. W. Cor. State
and Monroe Sts

4Ps

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

JAP ROSE SOAP

Softens Hard Water

*n5<&

k :

V^>

*^A

*»

. \

K. J

1 ? !

Try Jijp i?ose Talcum Powder
with the true rose odor

You Will Enjoy This Refreshing

Jap Rose Soap ■

Its vegetable oils soften the water, relax
the tissue and allow the light, bubbly lather
to soothe and cleanse the pores of the
skin, thoroughly, but gently.

Ideal for shampooing — makes the
hair soft, fluffy and glossy. Start
enjoying Jap Rose benefits today.

Trial Offer

Send 20c for attractive week-
end box containing a minis-
ture each of Jap Hose Soap,
Talcum Powder, Cold Cream
cm/ Toilet Water.

JAMES S. KIRK & CO.

Tl'i F. An»fiti A\e.
Chicago, U. S. A.

Order it today from
your dealer

•«*&S£

*$h

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

PhoU by Svcrny

BILL1E BURKE was born in Washington, D. C, of Irish-American parents. She was educated in
France, and made her debut in London in musical comedy. The late Charles Frohman starred her
in many productions. She married Flo Ziegfeld, Jr., in 1914, thereby shattering undergraduate hopes.
Now there's a little Patricia Burke Ziegfeld. Her screen debut was made with Incc-Triangle in "Peggy."

Photo by Whit."

A LICE BRADY showed discrimination in selecting William A. Brady as a parent But, ««^e Jier
A first stage appearance, Alice has justified her advancement by consistent, hard work ^V^ast
in light opera, proved herself equally at home in drama ^and then «^2^n^Jt£JS.
developed into a favorite since joining World Film in 191^). Sne is ll years

I .,

yik&M

i n a «

Photo by Underwood & Underwood

ELSIE FERGUSON used to grace musical comedy. Then came a dramatic metamorphosis and Elsie
began to attract attention. "Outcast" established her as one of our most promising young stars.
Born on Manhattan Isle in 1883, Miss Ferguson was educated in New York and invaded the stage in 1901
in "The Girl from Kays." She is married and has just been won over to the movies by Artcraft.

Photo by Campbell Studio

PAULINE FREDERICK was born in Boston in '84.
stageward. Pauline's immediate predecessors were
which can hardly be reconciled to her 90°-in-the-shade Mrs. Potiphar of "Joseph and His Brethren"
and her little nightie characterization of "Innocence." "The Eternal City" marked her screen debut.

A Boston girls' finishing school started her
of Scotch and New England ancestry, all of

Photo by S»rony

BILLIE BURKE was born in Washington, D. C, of Irish-American parents. She was educated in
France, and made her debut in London in musical comedy. The late Charles Frohman starred her
in many productions. She married Flo Ziegfeld, Jr., in 1914, thereby shattering undergraduate hopes.
Now there's a little Patricia Burke Ziegfeld. Her screen debut was made with Ince-Triangle in "Peggy."

Photo by White

ALICE BRADY showed discrimination in selecting William A. Brady as a parent. But, since her
first stage appearance, Alice has justified her advancement by consistent, hard work. She sang well
in light opera, proved herself equally at home in drama and then invaded papa's movies. She has fast
developed into a favorite since joining World Film in 1915. She is 22 years old and unmarried.

Photo by Underwood & Underwood

Photo by Campbell studio

PAULINE FREDERICK was born in Boston in '84. A Boston girls' finishing school started her
stageward. Pauline's immediate predecessors were of Scotch and New England ancestry, all of
which can hardly be reconciled to her 90"-in-the-shade Mrs. Potiphar of "Joseph and His Brethren"
and her little nightie characterization of "Innocence." "The Eternal City" marked her screen debut.

twwwmw^^

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

PHOTOPLAY

VOL. XII

OCTOBER, 1917

NO. 5

The War -Time Sanctuary

/f^H. interesting sidelight on universal humanity is furnished
P/j in the United States Commissioner's final report on Bel-
gian relief. He writes that no matter how ill-nourished
or insujficiently protected against the elements the Belgian town and
country fol\ might be, a certain percent of their dole from across
the .sea was laid aside for motion pictures, and no urgent physical
demand could induce them to relinquish the fleeting visions of
happier scenes, elsewhere. The photoplay theatre is their mental
sanctuary.

We have long recognized the projection-machine s invasion
of every country; we are acquainted with 'cross-trench merriment
between British and Germans over Chaplin's pasteboard replicas,
but probably few of us have thought that all this while the booth-
lamps have been burning steadily in that little land which is the
pain- wracked operating table of a broken world.

This should be a heartening assurance to American- motion
picture manufacturers, not only as to their material welfare, but
as a reminder of their great duty in \eeping alive hope and laughter
and interest in things other than destruction.

As our world- war goes on, the light behind the flying cellu-
loid must grow brighter and brighter. The time is promoting
democracy in other things than government. For one thing it is
making a democracy of amusement, and the photoplay is the most
democratic of diversions, not only in its price, which is more alluring
in adversity than in prosperity, but in its all -encompassing appeal.

>
>
>

ffi^WTTOV^MfrWM^^

iWMWVIYvWvVIV^

I
|

Miss King declares that one great
advantage.the picture business of-
fers is that it gives the actor and
actress a home.

Says [vlollie, in expres-
sing her views on love
and marriage, "I sup-
pose that some day I'll
be married, and have
a home, for it's in every
woman to love love,
whether she finds her
ideal lover or not".

When Is a King a Queen?
When They're born in this
Family, Where the Miss
Kings outnumber the Mr.
Kings just Tii-o to One.

By John Ten Evck

Piiotograplis po ■ i
dusively for Photoplay
Magazine by White,

THE most popular picture of a great actress puts her
in an apartment which at least three-fourths of
her following will describe as swell; surrounds her
with all the torture of luxury that a picture prop-
erty man can get together; and provides her with a gently
melancholy line of thought on the old home and the old
friends, all far, far away.

Beginning an at-home story about Mollie Kin» we are
cramped in our style.

Though Mollie lives at the top of the Ansonia, one of
Xew York's most celebrated apartment hotels, she still
sticks in her childhood surroundings, and trains with her
childhood friends.

On Sundays she goes to the parish church she attended
as a child, and is greeted by the friendly smile of Father
Taylor, the priest who confirmed her.

On Mondays, Tuesdays, Wednesdays, Thursdays, Fri-
days and Saturdays she goes to work, but she has many
an off-hour in those days in which she romps about her
portion of Manhattan village with the boys and girls she
romped with when her skirts were shorter (just a little bit)
and her responsibilities were lighter in weight.

The city girl the books tell about is born in Ximrim,
Mo., or Hellroaring Gulch, Mont., or Brindle Pass, Tex.
She is the girl who really becomes citified at great speed,
and lives up to all the traditions of citification found in
the popular novels. She may arrive from her outland
looking like a 19 12 tonneau, but in no time at all,
employing a French modiste from Riga or Kiev, living in a
Forty-Seventh Street hotel and dining per invitation at the
Longacre restaurants, she becomes so excessively newyorky
that even pastoral pictures cause her a great deal of pain.

Your true country girl nowadays had a street-car to lull
her to her baby sleep. Such is Mollie King, whose country-
side was Central Park, with the Hudson river for a brook-
let, and Broadway for the main street of her village.

She was born within a golf shot of the great hotel where
she now lives. She attended the public schools and she
graduated from Wadleigh High School. She is one of those
perfectly impossible pretty girls whose head is not des-
tined to be willed to a collar-button factory. Her English
is as beautiful as she is; and, looking at these pictures,
you must admit that that's some tribute.

The quaint home of Mollie, her mother, her sister Xellie

Photoplay Magazine

and her brother Charles is in the Ansonia's very peak. Beneath
the window of her living room Broadway winds like a crooked
stream, and one's gaze goes straight out over the myriad-
celled heart of the greatest city in the world. In the room
there is a comfortable couch, a library table with a
reading lamp, a well-littered piano, some books, some
paintings, some autographed portraits, and, at
the window, a wide seat upon which any dreamer,
staring below, may imagine himself an emperor
upon the throne of the world.

I came into this room at the end of a coo!
day in Spring. Darkness hovered above the
city, in a vain assault, flung back and into
its eternal deeps by a million needles of
electric fire. Mollie came into the room,
serene and softly gowned; her lips laughing, .
her eyes alert. That day she had been
doing a "tank scene" in "The Double Cross."

"Did you ever have to stay in the water a
long time on a cold day?"

I recalled my childhood hours of terrible
enforced bathing, when to comb my hair
and wash to a water-line was awful punish-
ment.

"I've been put into water when I didn't
want to be put," I answered. "I think I
get you."

"Today they had so many retakes, and
my costume wasn't a — well, it wasn't much
of a costume, and I was thoroughly chilled."

The sympathy basis established on the
aquatics we began to talk of photoplay acting
in general, and its comparisons with stage
acting, in both of which, little Mollie King is a

Mollie combines the sedateness of middle age, with the
ingenuous charm of seventeen.

ff5s_£;_":.'-r--~:

— -*—

■RlfBu

aaaaaa
aaaaaa
aaaaaa
aaaaaa
■■■til

H
a<
at
at

veteran and a super-postgraduate.

As a real personal expression
she prefers the stage, because — she
says — she can bring herself to her
role .at every performance, and

deepen and widen her conception at every repetition. She
believes that a great part does not become a great part
until it has been played many times, and bears the polish
and finish of long study and scrutiny — months, perhaps, of
continuous playing.

But the screen has other advantages which the stage
hasn't and never can have. Miss King thinks that every
great part should be eventually played upon the screen,
for the spoken drama's tragedy is its short life, while the
screen's greatest asset is its immortality. And second to
this, is the infinite breadth of its appeal.

She spoke in a very awed voice, and with her hazel eyes
wide with suppressed emotion as she said: "I never play
a part that I'm not thrilled with that thought. I do the
very best I can because I know I am creating something
that has power to creep into every corner of the world, and
live, and live, and live until I am old and deaf and tooth-
less— and oh, how well I try to do every little scene!"

What manner of woman is this Mollie, who combines
the sedateness of middle age with the ingenuous charm of
seventeen? When and how does she play, and what are
her beliefs and disbeliefs?

She plays at dancing, of which she's very fond — she was

Miss King lives in the "Ansonia", one of the great apart-
ment ho'tels of New York. From her living room windows
one looks down on Broadway.

a professional dancer of the stage
brand, you know — at swimming,
when not applied in too large
doses, and in driving her little car,
which she hurls up and down
Broadway with the assurance of a racing chauffeur.

Apart from these pictures, Mollie needs no very great
particularization in words. She is brief, but not too brief;
she has a superb complexion, and sunrise hair. Don't
forget the previously indexed hazel eyes, and a set of
teeth which, if generally duplicated among mankind, would
make the dentists turn their forceps into ploughshares and
their picks into pruning hooks.

One's best judgment on a woman may be made after
considering her ideas on love and marriage. Somehow,
you get around to the love and marriage topic inevitably,
whether your drive is personal, or impersonal as a re-
porter's impertinences usually are.

And I found that Mollie's ideas on love and marriage
were not only sweet, but sane — which is much rarer; and,
in an adolescent child of nineteen, rare to the vanishing
point.

"I suppose," she said, "that some day I'll be married,
and have a home, for it's in every woman to love love,
whether she ever finds her ideal lover or not.

'I think the tragedy of home-life today lies in the
lightness with which married people treat their domestic
(Continued on page 134)

X Don't You?

Leading Men

G> >

tyy 'Delight Srans

*£d x

""THERE is

•*■ The Perfect Young Man.
His neck is Too-Beautiful —
There-ought-to-be-a-Law-against -it .
He is never Happy
Unless he can Pull one Fight,
Rescue the heroine,
And Register Resolution —
(I wish I knew how he does it).
He has

A "Leading-Lady.
Once in a while
You catch a glimpse
Of a disappearing skirt or a stray curl.
He has a Horrible Grudge
Against the Scenario-Writer; because
He Thought of It first. •
He minds everybody's business
Perfectly.
He Mixes-In —
He thinks he is
Helping.

He gallops merrily
To Save Something; while the orchestra

plays
"When Grandma Sings the Songs she Loved
At the End of a Perfect Day.''
Then there is

The Raw-Bohed Westerner,
With the face that Only a Mother
Can appreciate.

He is never shorter than six feet three.
He labors under a Secret Sorrow :
A Lost-Love, that is Hounding him to his

Grave.
(He can't get there soon enough to

suit me).
But there is always

A Girl, who Realizes

That he is a Diamond-in-the-Rough —

awfully Rough.
She Helps him To Forget ;
And he Follows her Every Move
With Longing Eyes.
He gets his Reward
In the last hundred feet
When she tenderly Kisses him,
And Digs her sharp little Chin
Into his Shoulder.

And then

We have the Artist : —

The Beautiful Artist —

The Struggling Artist, —

The Lovable Artist

Who Visits the Farm.

He is always .

Getting Letters, so

He can Crush Them

In his Strong Lean fingers.

He has Coal-Black hair,

And a Tiny Mustache. —

Nobody ever saw a Blond-Artist.

He is always

Painting his Master-Piece —

The Picture which he Knows

Will Win the Prize.

He always

Paints Women ; ,

And the Farmer's Daughter

Is his Ideal —

The One Type

He has Longed to Paint,

And has Searched For the World Over

And never found.

He poses her for hours

Near the Brook in the Wood, —

Clad in the Trees-and-FIowers and a

Simple Smile.
He calls her "Little Girl,"
And begs her
To Wait.
He forgets her
Until he is Dying; and then he sends

for her,
And tells her she has alwavs been
The One Girl in the World
For him.

His Master-Piece

Won the Prize.

And he Kisses her Gently

Upon the Ear.

And oh

The Careless Cads and the Beautiful

Bounders,
Who are always so absorbed in a cigarette
That you can't be sure they are really
There.

They Love the Ladies — "God Bless "Em!"
And Close-Ups are Everything to them—

Everything.
They are Club-Men.
They Carry a Roll in each pocket ;
They are continually
Tipping.

Sometimes they are not called "Jack."
The Beautiful Bounder
Loves a Dear-girl, but he tells her
He Isn't Worthy.
He swings a cane.
He has an Elderly Aunt, and Sometimes

even an Uncle.
He Loves Art.
He smiles Sardonically
He is Disappointed in Life.
He runs his fingers through his hair,
And Woulds to God he could Reform.
(Would to God he Could!)
I love Leading-Men.
Do you?

'I think I am one of the best comedians in the picture game. And you can't have me arrested for that, can you? ( Now if you've got that down,

Charlie, what the blazes else shall I ask myself?"

7/ 1 Say It Myself

Being an Interview with His Favorite Screen Idol

By Charlie Murray

DEAR MR. EDITOR: '
Your request that I interview myself at hand.
Is this a scheme of Photoplay's to save the
salary of a regular interviewer, or is it a test to
feel out my literary ability? Well, Steve Brodie took a
chance, and why not a humble Keystone comic? So here
goes, and damned be he who first cries plagiarist.

First, let me tell you that my honest-to-goodness name
is Charlie Murray and that I first saw the light of day in
the quiet little village of Laurel, Indiana, on June 22, 1872,
thus making me the proud possessor of forty-five long,
sweet years — some of them longer than others, but they all
seemed the same.

Well, to start this drama of high life, I shall say that
both my parents were white, and of very excellent stock,
as can be proved by consulting the Breeders' Magazine.
I eat three meals a day and the food is always censored.
I have two good eyes, a few teeth and some hair. I chose
to be an actor because all my brothers were blacksmiths
and A 1 hammer wielders. The bellows and anvil did not
appeal to a temperament like mine, as I wanted to do
something big, so I joined an Indian medicine show and

left the old homestead flat. Oh yes, I was ambitious.

I don't receive three hundred letters a day nor do I
employ a private secretary. I live in the Murray apart-
ments in Los Angeles, but I do not own them. A number
of people think I do; therefore I gain a lot of prestige
and a six-room apartment for sixty dollars a month. I am
drawing a very fair salary and I love my wife. I think I
am one of the best comedians in the picture game. But
you can't have me arrested for that, can you? I don't own
any automobiles, ranches, town houses or ukuleles. I
would sooner shake hands with a hod carrier than I would
with a millionaire, as I know he got his hod honestly.

My greatest fault is in loving my own wife, and I have
had the same one for fifteen years. I never go out without
her; if I did, I'd never get in when I got back. We never
have a word in the apartment, as my landlord has provided
a roof garden where all the married couples air their
differences.

Dr. Mayo, of Rochester, Minnesota, advised us against
having any children, saying they would not live. As soon
as they grew old enough to recognize their father, they
would laugh themselves to death. So all we have in the

Photoplay Magazine

way of pets is a couple of cute porcupines, August and
Bertha.

I don't play golf, tennis, old maid or casino. My
favorite pastime used to be unloading schooners and it is
still a favorite indoor sport. I am very fond of the open
air and I have taken up croquet and squash as a twin art.

I once went to South America, where the natives cook
by the sun. When I got there, the sun did not come out
for four days and by that time I was near starvation.

I am tolerably athletic, but not
as supple as Doug Fairbanks.

I owned a race horse once and,
after two attempts at winning, I
traded him for a Whiteley Exer-
ciser, which I still have.

I love the birds and animals and
all of nature's scenery. Sunday
generally finds me on the beaches
admiring the calves. I never
smoked opium, but smoked herring
is a passion with me.

I have written twenty plays for
the speaking stage and I still have
them all.

My dear old father is seventy-
eight years old and, if I live to be
that age, I shall still be in the pic-
tures, even if I have to resort to
the rogues' gallery. And I do be-
lieve that Jesse James. could get as
much money as Billy Sunday, if
Bob Ford had not separated Jesse
from his breath. I believe in
Faith, Hope and Charity; also it's
a long lane that gathers no moss.

Understand me when I say that
all my efforts in the amusement
line have not been confined to the
screen. Oh, dear no. My early
days were fraught with a good deal
of excitement. At the tender age
of twelve, I was chambermaid to a
skating Shetland with the old John
Robinson's Ten Big Shows Com-
bined. I also worked in the "leaps"
with the other clowns, and, say,
money with that show was as

scarce as an oil painting of King George in the Kaiser's
palace at — er — Windjammerhaven. But everybody was
happy. Perhaps that was because of the lack of money-
explaining the carefree, happy attitude with which the
professional hobo wanders through life. I have never been
a hobo but I can easily perceive the joys attendant upon
roaming through the country and subsisting upon the fat
of the land as handed out by sympathetic housewives. Of
course some housewives are not as generous as others but
the hard luck story of the motion picture actor out of
work and on his way from Los Angeles to New York
would be a brand-new one. It ought to get the food.

For twenty years I starred with OllieMack, under the
team name of Murray and Mack. "Finnigan's Ball" was
our greatest success. We made so much money that I con-

At the right, Charlie Murray, at left, Ollie Mack, a
team that starred together for twenty years. ■

traded financial rheumatism in both hands. I couldn't
get either of them open — not even for carfare. We played
every town in the country that possessed an opera house
and we generally carried from twelve to fifty people a>
we always organized our company to fit the crop reports.

Mr. D. W. Griffith gave me my chance to go in pictures,
at the tantalizing sum of five dollars a day — some days.
But, after annoying the camera for five weeks, he gave
me ten a day and I served the Biograph Company for
eighteen months as principal comic.
Then I joined Mack Sennett's Key-
stone, where I have been for three
years, and have signed for two years
more, at a very jealous salary, if
I do say it myself.

I am generally in the dressing
room at eight-thirty in the morn-
ing and I leave the studio at four
in the afternoon and hike me to
my six-room tepee, where two won-
derful arms and two beautiful big
black eyes, with all the love and
warmth that can breathe from a
body that is as perfectly molded
as the Venus de Milo and a face
as adorable as Mona Lisa's, stretch
forth their sublime loveliness and
bid me welcome. After a strenu-
ous day spent at the Keystone, I
feel amply repaid for all the pies
and bruises and falls that I have
met with. And when I look back
and see the advantages that I have
lost by playing hookey instead of
chalking the blackboard and
searching the innermost pages of
McGuffey's Reader and using my
sleeve for a slat rag and — ah, those
were the happy days. ■

Well, I see I am rambling in my
desire to fill your order, but I must
confess that a studio dressing room
is no place in which to write a story
of one's life. As I look out of my
window, I see Mack Swain being
hung by a band of Keystone In-
dians, and Chester Conklin being
shot up three stories high on the end of a hose, and off on
another set Louise Fazenda is trying to Commit suicide
without mussing her makeup, and about nineteen different
guys keep coming in and asking if there is any truth in
the report that Mack Sennett has sold out to the Triangle
and is Mack Sennett married to Mabel Normand — to all
of which I say that I don't know.

Well, gentle editor, my assistant has just called and says
that everything is all ready to shoot, so here goes to make
a picture. And if you can make any sense out of these
few lines, I hope I see ycu well and that your efforts in
behalf of the European struggle will be appreciated by all
concerned, including the author of this notable literary
achievement. Yours truly,

Charlie Murray.

FATTY ARBUCKLE (324 pounds net), the famous film
comedian, on his recent visit to -New York from his
celluloid home in California, attended a dietetic lecture at
which the speaker declared that at 75 years of age an
average man has eaten an amount of food equal to 1500
times his own weight. He further proved that, if the
bread alone he has consumed could be piled separately, it
would occupy a space equal to that of a good-sized build-
ing. The vegetables, on reappearing, would fill a train

three miles in length, and the bacon, when placed end to
end in single slices, would stretch along a line four miles
long. The reappearance of five tons of fish and one-fifth
of a ton of cheese would surely haunt him; while twelve
thousand eggs, ten thousand pounds of sugar and fifteen
hundred . pounds of salt would put in their claim. And
he has smoked no fewer than 250,000 cigarettes. At this
point in the lecture Arbuckle burst into tears.

"To think," he sobbed, "I've never saved a coupon."

oA Real Photoplay Romance

p\ISAPPOINTMENT note to one million
young men: Anita Stewart is engaged.
She has promised Rudolph Cameron that she
will eat breakfast opposite him for life and be
his leading lady always.

The lucky man is 25 years old and has been

playing opposite Miss Stewart for about six
months in Vitagraph pictures. Previous to that
he spent a number of years on the stage.

To anticipate a thousand inquiries to the
Question and Answer man — he is five feet
eleven and has brown hair and eyes.

Its me that was respon-
sible for Tim Todhunter's
downfall, although I never
meant to do it. You see
the old man was put tin' on a
western five reeler with a bad
man maverickin' around
through the story. He comes to
me and says :

'Jim, this is a whale of a
story but there ain't nobody on
the lot that can do justice to
that bad man. I want to find
somebody with a naturally
mean face, the homelier the
better."

'You want Tim Todhunter
from San Simon," I says. "It
ain't humanly possible for any-
body to be any uglier than him.
He is the homeliest human ever
born and shortly after his birth
he had a relapse. He's a real
bad guy too. That's his busi-
ness."

"Get him," orders the old
man, and that's the way it hap-
pened.

Everybody west of the Pecos
knows old Tim Todhunter. His
career is the biggest part of the
history of three counties down
on the Rio Grande. He's been
fightin' and shootin' folks so
much it got to be a habit with
him. As a deputy sheriff and
Texas ranger he kept order on
the border for close to twenty
years.

Tim's strongest point is
that fightin' face. You've seen
them pictures of old Ger-
nonimo, the Apache demon.
Well Tim's face is like that
only not so good lookin'. His
nose has been warped by the
kick of a mule and his features
are all mussed up with scars
where the Mexicans tried from
time to time to whittle him up
with their knives.

Obeyin' the old man's orders
I went down to San Simon and persuaded old Tim to try
the movies. When I finally told him he could draw down
a hundred dollars a week just for gettin' his picture took,
he surrendered. When I steered him into the office back
at Celestial City the old man fell on my neck. Swore that
Tim was a gold mine.

'Nobody will believe there is such a mug until they see
it and then they'll doubt it," he said. "Lord, I hope he'll
screen all right."

Well, we shot a few feet of him and he screened one
hundred per cent pure cussedness. Skidmore, that's the
old man, was as pleased as a boy with a new stone bruise.
His specialty is western stuff and he's a shark at it. You
see he used to be press agent for a wild west show back east
and naturally knows all about cowboys.

The name of this scenario that they're featurin' Tim in
is c:The Taming of the Wolf." Tim is the wolf and he is
supposed to be a holy terror of a bad actor just like he
was in real life. Then the vigilantes mob him and chase
him and he goes projectin' around thinnin' them out with
his pistol until a girl puts the come hither on him and

In the next few days the poor bad man led a life of

^Temperam

The first ofi a remarkable

By Edward S. O'Reilly

gentles him down. When the scenario ends the Wolf is
tame and eatin' out of the girl's hand and has cut out most
of the murderin'.

They made that mob scene first and I wouldn't have
missed it for a new hat. Here was old Tim, all dolled up
the way cowboys always are oh the magazine covers, with
two six-shooters hanging to him. Then the outraged
peasantry of the community gang up on him. They are
mad at the way he keeps killin' off all the best public
speakers of the town and they are hell bent on reformin'
him by depriving him of his future.

terror. They did everything but be decent to him.

ental Ti

:>:>

series of stories by a new writer

Illustrated by D. C. Hutchison

Say, when that mob laid violent hands on poor Tim
there was somethin' doin'. Tim lost his temper and took
things serious. As I told you he was a holy terror with a
gun but he ain't never learned how to fight with his fists.

Skidmore orders the mob to charge. One curly headed
extra grabs Tim by his good ear and slams him against an
adobe wall and then the gang hits him in a unanimous
kind of way. They were tryin' to act convincin' and
they did.

Tim pulls his gun and tried to puncture the leader of the
bunch but the thing wasn't loaded. According to the

scenario he was supposed to
fight his way out of that crowd
and escape by leaping on a
horse. He fought along may
be about seven or eight feet
when somethin' went wrong.
Tim forgot the plot of the piece
and fell on the back of his neck.
One of them man eatin' molly-
coddles had busted him one in
the mouth and the poor outlaw
went hors de combat.

"That ain't no way to do;
thought I told you to escape,"
yelled Skidmore as Tim came
scratchin' up out of the gravel.
"Now you've got to do it all
over."

"What you mean to stand
there and tell me that that low
down attack on a unarmed man,
was premeditated," yelled Tim.
"Just give me a few cartridges
and I'll shoot a little caution
into this whole army. That
ruffian soaked me when I wasn't
lookin'."

"Get busy. We got to use
this light," orders Skidmore.

"Why any fool would want
a picture of an outrage like that,
gets me," declares Tim. "I'm
through. I've got a round trip
ticket and I'm goin' back to the
border where it's safe."
. No amount of argument
would make him change his
mind. Skidmore tried it and
I tried it but Tim was clear
stampeded. Finally Skidmore
sent for May belle La Tour, the
leadin' lady, and begged for
help.

"You just go to this horse

faced hick and tell him he's got

to finish the picture. Tell .him

that he'll crab your chances

and that you got three widowed

mothers or something like that

to work on his sympathies.

There's a hundred in it for you

if you persuade him to stay."

You've seen Maybelle on the screen and you know how

easy it would be to be persuaded by her. She's got Helen

of Troy lookin' like a kitchen mechanic and she's had a

whole lot of practice in bossin' men. Tim didn't have a

chance. In five minutes he was beggin' her to dry her

tears and swearin' that he'd obey orders if they hung him

twice a day.

In the next few days the poor bad man led a life of
terror. They did everything but be decent to him. He was
mobbed and lynched and thrown off a bluff and his only
comeback was to shoot at them with blank cartridges.

When they did the water stuff he tried to sneak off in
spite of his promise to Maybelle, but she headed him off at
the depot. You see, he had to jump into a river and swim
across with the vigilantes smokin' him from the bank.
Where Tim comes from it never rains and there ain't been
enough water to swim in since the Carboniferous age.
The bull frogs down there have hoofs instead of web feet
and if you dropped one in a bucket he'd drown.

But finally he got through with most of the stunts. All
the time Maybelle was workin' overtime tryin' to win that

Photoplay Magazine

Pardon me for buccin in
on this Scene- of bliss, but
who is this angleworm?"

hundred from the old man. She actually went with this
holy terror into a ice cream place and watched him barkin'
at a nut sundae. He lost all of his rough and rowdy ways
and became as meek as a sheep herder.

One night he confides to me that he has a secret to
spring on me. We walked around behind the corral and
he says:

"Slim, don't women just naturally beat hell?''

'Oh, some of them do, but what's on your mind?" I asks.

'It's Maybelle." he admits. "You know it sounds
plum sacrilegious to say so, but the little girl loves me.''

"As bad as all that," I said. "What makes you think
so?"

'She's went and gone and told me," he says with a
hideous smirk. " Tim,' she tells me, 'you're such a relief
after these fool actors. Your face radiates sterling worth.
It must be grand to have a strong man like you to lean on.'
Now she's a good girl and she wouldn't have said that if
she didn't mean it.

"I got a swell job now and could keep her in comfort.
Would you mind insinuatin' to her that I reciprocate them
soft feelings? I've tried to several times, but I don't
seem to have any luck. She always changes the subject.
It's her damnable maidenly reserve."

When a strong man falls for a woman he always makes
a fool out of himself. How an old leather neck like Tim
Todhunter, with a face like a gargoyle ever got it in his
head that any woman could love him for himself alone,
beats me. Everybody on the lot was wise to what May-
belle was doin' and bets were bein' made whether she'd
win that hundred or not.

It was a darned shame to watch the way she put him
through the jumps. Poor Tim would come chargin' along
on a horse and then he'd do a fall and plow up about an

• I

acre of sand while Maybelle looked on admiringly.

"Did I register that all right?" he'd ask.

"Splendid," Maybelle would coo. "What a wonderful
technique you've got."

When she first sprung that about the technique Tim
thought she meant his nose, and explained that it had been
broke so many times that they wasn't any bone in it. He
never did rightly get his rope on that word but finally
decided that she was praisin' his shape.

It's just awful what a pretty girl with a bet on can do
to a simple minded wildcat like Tim. She actually made
him think he could sing. That voice of his was even money
with his face. All he'd ever used it for was to page cows
in a thunder storm. One night I caught him singin' "Silver
Threads Among the Gold" to her. He said it was that
anyway and I know he wouldn't go to deceive me.

We was half through the picture when Skidmore came to
me with a grouch.

"It's this way," he explains. "Here I hire this guy for
his fierce face. Now it ain't fierce any more. Maybelle
has got him wanderin' around talkin' to himself. Just look
at that mug. Is that the way any respectable bad man
ought to look?"

It was too true. That face was registerin' the sickly
sentimentality of .a day old calf. Poor Tim was roped and
hog tied by the wiles of a woman. He didn't have a fierce
look left in him. He'd even lost his temper. You couldn't
make him mad about anything.

One day there was a little general average lookin' kind
of a man showed up at Celestial City and asked for May-
belle. When she saw him she gave a little squeak and
threw her arms around him and gave him a kiss right in
public. I wish you could have seen Tim's expression. He
dropped his chin about a foot and just stood gazin' for a

Temperamental Tim

minute as if he'd seen a ghost. Then that fightin' look be-
gan to come back. Walkin' up to Maybelle he says:

"Pardon me for buttin' in on this scene of bliss, but who
is this angle worm?"

"Oh," says Maybelle, kind of flustered. "This is Mr.
Smith, my last husband. Didn't you know I was married?"

"I never dreamed you had any Smiths in your past,"
says Tim cuttingly. "And how about all them things you
let me murmur into your alabaster but deceitful ear?
That's all off, is it?"

"Ain't he the funny card, Jerry?" says Maybelle with
a peal or two peals of laughter. "I quit. The job's worth
more than a hundred."

Tim stalks off the lot and his face looked like a sour
thunder storm. Naturally me and Skidmore thought that
he'd jumped the reservation for good but I went and
looked him up for one last argument.

"I know it was pretty rough," I condoled. "Reckon
you'll be wantin' to leave."

"Well, Slim, I ain't denyin' that it's some blow," he
says, kind of mournful. "She told me she loved me two or
three times. If we'd have kept on the way we were goin'
I'd have kissed her before the week was out. Then to have
a little old misplaced husband come hornin' in just throws
me clear off my feed."

"But Tim, you're goin' to stay and finish the picture,
won't you?" I asked, settin' myself for an argument.

"It's this way," he says, lookin' solemn. "I've decided
that I won't let no woman wreck my life. I owe a duty to
mv public. From now on I'm goin' to live for my
art."

Can you beat it.

And now he's boardin' in a bungalow and learnin' to
play the ukulele.

A Close-Up on November Photoplay Magazine

On All Newsstands October First

Ask your dealer to save you a copy

In addition to a wonderful series of Personality
articles, and the usual superb features there will be:

THE BIG SCENE

By FREDERICK ARNOLD KUMMER

Illustrated by Charles D. Mitchell

A great short story by the distinguished author of "The Brute,"
"The Painted Woman," "A Song of Sixpence" and other novels
listed among the best sellers. "The Big Scene," is the first of a
series of short stories with moving picture themes written by him
for Photoplay.

It is about a dream of an m. p. actress, one of the kind that
makes your brain reel with the film and your lips mutter "Oh
boy." She was engaged to Percival Malone, a star camera man.
She denounced him as a coward for not enlisting, and Percival
admitted his faint heart. But how that boy came through when
the fighting spirit of the Malone's shot the front handle right
off his name.

A Whack at the Muse You Can't Get Away FromThem

By EDWARD S. C/REILLY

Illustrated by D. C. Hutchison

Do you like "Temperamental Tim," in this issue? If you don't
think it's great stuff you're lonesome in your opinion. Tim
Todhunter is a rare and interesting character. In the next
story he says, "I'm goin' to horn in on that author stunt."
And he does it with a vengeance.

Shades of Shakespeare, Dickens, and Dumas! Such an
author as he turns out to be. The magazine editors are
scrambling for "Tex" O'Reilly's stories, and when the editor
of Photoplay cajoled him into writing a series of picture
stories for this magazine he got a real treat for his readers.
We've got to tell you about O'Reilly himself some day. It
will be more interesting even than the stories he writes.

By CHANNING POLLOCK

Illustrated by Herb Roth

We put Mr. Pollock's story last on the list because he
recently wrote an inscription in a gift book he sent us that
necessitated explanations at home. But his next story for
Photoplay is as good as his inscription was troublesome.

Do you know that you can't get away from moving
pictures even if you are sent to jail? Righto. The dis-
tinguished author from Shoreham, L. I., was in the cala-
boose— for speeding — and he had to sit through a three-
year-old serial. He appealed to the governor against this
inhumane treatment of prisoners.

And what do you think of a big mining corporation that
has solved the labor problem by providing its workers with
moving picture theatres? That's in the story too.

Above, Charlie Chaplin's leading lady, Edna Purviance.

Ella Hall, one year old on St. Patrick's day.

Two Hard
Guys

At the left, Master
Thomas Meighan. He
looks innocent enough,
but at that very minute
he was planning to
mess up the nice white
dress that mother so
carefully laundered.

And see who's here
(at the right) the great-
est two-gun man in
movie history. Well,
Bill Hart, you were
raised right anyhow.

klMMHHdMKMBl

Babyland

The little lady in the family group is Miss Anita King,
The babe at the right is Nell Craig.

Bill Russell and His Faithful "Yim"

''Yim" Russell (he has adopted
his master's name) has been a
character north and south in Cali-
fornia for many years. A splen-
did .cook, possessing a sense of
humor that would make most
Irishmen seem half-witted, he was
welcome at every mining camp
and rancho.

One day he was coaxed into
playing a little part in a picture
in which Russell was starring. He
followed the actor to his bunga-
low, drove out the negro cook
and established himself in his
place. That night he served
dinner.

"Who are you?" demanded
Russell.

" Me Yim. Me work here. Me
boss now. Glo to hell."

Lionel Comes Across

tyy Roy Somerville

Illustrated by John R. Neill
£Much to his distaste Lionel finds it necessary to go into trade, ana chooses the cinema.

Miss Hortense Beverly,

Beverly Court, Coldston Road,
Hammersmith, West.
Dear Girl Hortense:

AM to become a cinema actor. I know it is
shocking and all that, but what is a chap
to do. Quite so.

Fancy the second son of a baronet rub-
bing elbows with these vulgar fellows.
Trust me, old dear. to keep the blighters
in their places.

It all came about in a rather odd way,
you know. Father cut me off without a
shilling when I told him it was too much
of a bally nuisance, this learning to be a
soldier; so I borrowed a hundred quid
from Lord Percy and here I am in the
States — New York, I think they call the
bally place.

Only fancy! I thought of going into trade and all that
sort of thing, but the idea of perspiring and moping over
' — well, perhaps the price of lard — caused me a positive
shudder, don't you know. It is all quite right for these
bally Yankees to make their millions that way, but a
gentleman — never !

I had thought a bit of marrying an heiress — one has to
do something to live, you know — but I thought of you,
old dear, and felt it wouldn't be real clubby to ditch you
that way. And then the most extraordinary thing hap-
pened. The thought of money suggested the cinema, and
I remembered having read somewhere of the tidy incomes
paid to the beggars who act in them. The idea came in
a flash — I would become a cinema actor! The late Sir
Herbert and others of the gentry had gone in for that
sort of thing — why not I? Eh, what?

It is quite extraordinary how necessity sharpens one's
wits; but then the Glendennings always were a brainy
lot.

Bowles, faithful old soul, is with me. He pleaded so
hard to continue in my service, without thought of wages,
that I was quite touched by his devotion. It is rather
fortunate that I yielded to the beggar's entreaties for he
is proving invaluable. Only today he was busy thinking
,out a name for me to assume in the cinema business.
Something like this, you know: "Ezra Francois Throck-
morton." The Ezra is American; Francois, French, and
Throckmorton English, of course; which makes one think
of the three principal allies. Clever, don't you think? Any-
thing about the war is quite popular over here.

It has been a hard day for both of us, and I have a
beastly headache which came on suddenly after the-thought
of going into trade; so forgive me if I close without the
usual swank between engaged couples. Your

Lionel. .
Dear Hortense:

After deliberating several days I have thought out quite
a clever plan to enter the cinema business without losing

caste. I shall have Bowles write that his young master
thinks it would be a jolly lark to surprise his friends on '
the other side by appearing on the screen — just a joke on
them, you know — and that he might be persuaded to be-
come a leading man if there were suitable arrangements
made about salary. Bowles is quite carried away with the
idea, and the beggar has prepared a deucedly clever letter.

He has just returned from making inquiries downstairs
about the cinema people, and brings back a most amazing
mess of information. I thought, at first, that someone
had been spoofing him, but then he is most reliable, and
insists that the lad at the cigar-stand was once a cinema
actor for several days. Quite so.

It seems there are five or six blighters leading the band.
One Charlie Chaplin "crowds 'em in." A meaningless ex-
pression but considered quite an honor in the beastly
business. He is English, of course. Then there is one
Douglas Fairbanks, a jumping-jack sort of person, who
leaped into popularity almost overnight. (A pun, by Jove!
Don't you see — jumping-jack — leap? Clever, don't you
think?) William Hart is a cow-person who wears those
queer American trousers of untanned hide and kills Indians.
He is quite a favorite with Bowles who reads Fennimore
Cooper.

I am given to understand that there are an extraordinary
number of girl stars— "fluffs" I think the lad called them
— and one Mary Pickford leads the lot. The bally name
sounds familiar. Aren't there some Shropshire Pickfords?
I am certain I have heard the name mentioned at the club.
Perhaps, it was that vulgar little rotter, Townsend. He
frequents cinema shows.

The name makes me think of dear, old Piccadilly, so I
shall have Bowles address the letter to her. I trust she
is not one of those flighty Yankees we used to ridicule so
during the "tripper" season. That sort would hot appre-
ciate the honor. Righto!

You may prepare for our marriage in a few months, as
the lad at the cigar-stand told Bowles these cinema actors
are paid $10,000 weekly, which is equivalent to about two
thousand pounds in English money. Quite a tidy sum,
don't you think? And I shouldn't have to give up my
clubs.

Lots of love arid all that sort of thing. Your

Lionel.

Dear Hortense:

It is most a week since I wrote this young Pickford
person, and thus far I have received no reply. It is what
one might expect from trades-peOple, don't you think? I
have questioned Bowles who assures me that the letter
went to post properly.

By the way, Bowles has been had. He purchased some
sticks of paint which the lad told him was necessary to
put on my face. My word! There is nothing the matter .
with my face! I have had quite a bit of fun ragging him
about wasting the money,. and. the. poor, beggar is almost
in tears.

Love from your Lionel.

Photoplay Magazine

"I could not but wonder
why people should fre-
quent such a pub. He
informed me that it was
hired for a scene in the
underworld.''

Dear Hortense:

Another week and I have had no word from the cinemas.
I am quite provoked, and in too beastly a temper to write
much. I shall send Bowles tomorrow to demand an
explanation.

Your Lionel.

Dear Hortense:

was rather
You com-

Your letter received this morning and I
surprised at the injured tone of it, you know,
plain because my letters contain no terms of endearment
for you. Extraordinary how important affairs make one
forget. I shall make amends now, old dear, my adored
one, beautiful one, sweetest of women, and all that sort
of thing. Quite so.

I sent Bowles to see the Pickford person but they
refused to let him enter, stating that the yard or lot was
full of squirrels, and that one of them might carry him off
to a hollow tree. Fancy!

Love from your

Lionel.

Dear Hortense:

Well, old dear, it has all been explained
extraordinary manner. I have met the youn

in a most
2; Pickford

person and have accepted her apology.
She is a most amazing young creature,
not a bit like our sort, of course, but
still quite interesting.

It came about in this way. I was
passing through the foyer of my hotel
this afternoon when I noticed a young
woman staring at me in a most vulgar
manner. As I regarded her curiously,
she nodded. I puzzled a bit to remem-
ber where I had possibly met her;
then, presuming she might have visited
some of my London friends before the
war, I doffed my hat. She smiled an
invitation to join her; so, you know,
I did so.

It was quite the silliest conversation
I ever had with a young woman, and
as I am not extraordinarily clear on
some parts of it yet, perhaps I had
better set it down exactly as it hap-
pened. Should you discover any hid-
den meanings I trust you will be
clubby enough to disclose them in your
next letter. Bowles is quite stupid in
such matters.

I approached her with the remark:
"Haven't we met somewhere — London,
perhaps?"

"Somewhere in France — perhaps!"
She was quite impertinent.

"Really! " I replied with some asper-
ity. "It must have been in Paris,
then, for I seldom visit the provinces."
Her reply was most obscure. "Say,"
she cried. "Can't you think up a
newer stall than that?"

It was most puzzling, but the word
stall suggested that she might be in-
terested in horses, and I began to
describe the new stables the Governor
was building. She interrupted rather
sharply: "Say! What's your business
—a kidder?"

How thoroughly American! The
first thing — business! I was feeling a
bit thick at her overbearing manner, and replied with some
sharpness, "Cinema."

Most extraordinary the way that young woman can
twist ones meaning. She regarded me suspiciously, and
inquired with evident disbelief: "Cinnamon?"

I proceeded to explain, and after a bit I learned that
the bally cinemas were called "movies" over here. Fancy,
such an outlandish name! In a little while we were real
clubby and I was most amazed at her familiarity with
these cinema stars.

And now comes a bit of cleverness on my part, old dear,
that I shall some day impart to Sir Conan Doyle for one of
his dotty detective stories. The thought came to me:
Bowles had written a letter to one Mary Pickford about
one Lionel Glendenning — here was a young woman who
had sought the acquaintance of one Lionel Glendenning —
she knew all about cinema stars — she was Mary Pickford.
Most simple. Eh, what?

While I was thinking out this problem she was rattling
on about the sunny smile of this Fairbanks person, when
I surprised her suddenly, with: "Why did you not respond
to Bowles' letter, Miss Mary Pickford?"

She regarded me as if I were a bit balmy, and stuttered
something about there being nobody home. As I could
prove nothing to the contrary, I was forced to accept the
explanation. I told her then of the contents of the letter,
and lectured her severely for giggling in such a silly man-

Lionel Comes Across

"I had only proceeded through
the first few lines when some-
one pressed a beer mug into
mv right hand "

ner. In telling Bowles afterward, he thought I was a bit
too sharp with her, but one can't be gentle in trade.
Righto!

Suddenly, she grew serious, and a shrewd look came into
her eyes. "You're a wonder," she said, "to know I was
Mary Pickford. I have been looking for a leading man
everywhere. I have found him in you. I do hope you will
call upon my manager, Mr. Art. Craft tomorrow night at
eight. Here is the address."

She scribbled it on a card, which she handed to me as
she arose to depart. It is all quite plain. Mr. Craft sent
her to look me over. It was rather sharp dealing, but then
Bowles tells me one must be constantly on guard in trade.
1 shall. remember this advice when I dicker with Mr. Craft
tomorrow.

With constant affection and all that sort of thing, your

Lionel.

Dear Hortense:

I have been through some most amazing adventures in
trading circles since writing yOu last. Upon my honor, I
see where the bally thing might have its attractions. I
am now tarred with the stick of trade, you know, for my
contract as a cinema star is jolly well signed. Quite shock-
ing, and all that, but then one need not remain a trades-
man forever — merely a little flyer, you know.

I find I am a bit muddled
about the way it all came
about, as these cinema rotters
have a jargon of their own
which is quite puzzling. I
shall describe my adventure
in its entirety and perhaps,
you will understand — women
are so quick at those things,
you know.

To begin at the beginning,
Bowles was at his best last
night when he groomed me to
meet this Craft person. I
really looked quite fit. The
address given was a sort of
pub on a rather seedy street,
and not quite the place where
one would expect to find peo-
ple of exorbitant wealth. But
then, what can one expect
from these uncouth Ameri-
cans? I was a bit sorry, how-
ever, that I had dismissed the
cabby. Quite so!

I overcame my repugnance
and hastened inside. I must
confess I was a bit flattered
by the reception. Everyone
stood still and stared with
astonishment at the honor
conferred by the presence of
a gentleman. Even the rot-
ters here recognize breeding.
One rangy chap asked the
others severely: "Who left
the door open?"

It was rather decent of the
fellow to fear that I might be
subject to drafts, and I begged
him to have no concern, that
I was quite strong. He was
not satisfied, and insisted that
I must prove my strength. I
silenced him by stating that
I had come to converse with
Mr. Craft. Immediately the

coarse person who serves instead of a barmaid in this bally
country, grunted something about laying off there and
came out from behind the bar. I began to have a bit of
respect for this Mr. Craft. One could see that he was a
man of importance by the curiosity with which the beg-
gars stared at his visitor.

I was led into a large back room which gave forth a
most deafening blare of raucous music when the door was
opened. I understand they were having what is known as
a "rag-time party." Doubtless a distortion of the well-
known English slang, "ragging."

The Pickford person was seated in a cubby-hole with a
badly-groomed bounder who seemed to have a distressing
affliction which caused him to speak from the corner of
his mouth. It really made me quite nervous. He was
properly introduced as Mr. Art Craft, and immediately
became offensively familiar, insisting that I should call
him Art and that he call me Glen. I refused to listen to
any such suggestion, and the young woman noted my
evident annoyance. She brought him up sharply, with:
"Cut out the josh, and get down to business."

Most extraordinary! I can see now why women are
such successful blighters in business. When they want a
thing done, it must be done at once. Righto! This Craft
person obeyed like a whipped puppy, and questioned me
rather closely about my connections, and if I had bank ref-

erences, and things of that sort. As he seemed a bit dubi-
ous about my replies, I was miffed and merely handed him
my bank book for confirmation. After studying the figures
a bit, he returned the book to me and became quite
loquacious.

And now to business," he said, genially. 'AVhat salary
do you want?"

"Two thousand pounds per week — not a shilling less."
I was quite decisive, for 1 had talked the matter over with
Howies, and had come prepared. He must have noted the
determination in my manner, and fell to whispering with
the young woman. Reluctantly enough, he filled in a con-
tract for the full amount, and we both signed it. Then
the bounder insisted that I should give him a check to
cover the fee for filing the contract with the Mayor. I
hesitated, but noting their surprised glances, I made out
the check. He beckoned to one of his employees and com-
missioned him to attend to the matter of filing without
delay.

He seemed relieved when the contract was safely on
its way to the Mayor, and winked to several of his em-
ployees as though he had done a good stroke of business.
Several of them joined the party, and respectfully requested
me to give a specimen of my acting.

You know my favorite recitation, old dear — that Ham-
let thing which was the Earl's delight whenever I did it
for him? Well, I decided upon that. I had only proceeded
through the first few lines when some one pressed a beer-

Photoplay Magazine

mug into my right hand. It was a bit incongruous, but I
instantly guessed the intent — the skull of Yorick.

I was tendered an ovation at the close, and was forced
to accept many encores. Quite so! Then came a request
to do the same recitation with an Irish dialect. I had never
attempted this before, but I rose to the occasion, and made
a creditable showing. The players were most enthusiastic,
and I finished amid their heartfelt applause. They are a
jolly lot, this cinema crowd, and most appreciative. I
really believe I shall learn to endure them when I have
taught them their places.

Love from your

Lionel.
Miss Hortense Beverly,

Beverly Court, Coldston Road,
Hammersmith, West.
My dear Miss Beverly:

Mr. Lionel is too ill to write, and has requested me to
do so in his stead. He has just returned from a brief
sojourn in the gaol where he was most unjustly confined
for denouncing the Mayor to his face. A lot of silly sur-
geons examined him about a certain lost contract and he
was promptly released. He is quite enraged. Mr. Lionel
has sent for a counsellor. He adds the request that you
shall have your cousin, Lord Percy, loan him fifty quid for
the enclosed I. O. U. He sends his love.
Very respectfully,

James Bowles.

Louise Huff is another disciple
of the rake and the hoe. Evi-
dently she finds it a bit strenuous,
but Louise is used to working hard, poor
girl, and what is home without a garden.

Redrawn from a copins:llted photograph by Unde

A PHOTO
INTERVIEW 'wt

\th

DOUGLAS
FAIRBANKS

A. Cohn

Let's Go !

"Arc you set, Al?" said Mr.
Fairbanks.

"Yup!" answered Mr. Cohn.

"Aw-right; start your pencil."

"I believe that the motion pic-
ture industry has a wonderful
future. I like it particularly be-
cause it keeps oneout in the open."

"If it's all the same to you, let's

stroll around the lot; I can talk

better in motion. We won't

waste any time going around to

the stairs".

fir;

A Pair of SuSDendetS "^ an art' die photoplay has not begun to come into its full
f fruition. More and more the public, now initiated into many

of the mysteries of cameraland, demands not only artistic photography but suspense and sur-
prise; and a good seasoning of comedy".

"Just drop easy-like. Nothing can happen that a bottle of arnica won't fix'".

Look Out Below! "The chief difficulty
these days is the lacx
of suitable stories, although half the world is writ-
ing so-called scenarios".

"Now let's hike over to the Subway".

5745 Minutes from Broadway "California offers ex-

' ' ceptional opportuni-

ties to the producer of photoplays. (Los Angeles papers please
copy.) Every conceivable locale in the world can be duplicated
here, and so forth. We loll in Venetian gondolas or take the
subway for Harlem, 3500 miles

t ■yw>" - m-

VSsr

Drawing by D. Fairbanks. "In £* same oi\lff, '

0 ' the fortunate ride

(Hear! Hear!) "at the expense of the less fortunate. The big
idea is to do it cheerfully no matter how humble the task".

~..C .- M.

Steady: On the Right

our insatiable demand for speed. We want
it everywnere — we even dine too rapidly because of our fear that we will miss some-
thing somewhere. Why can't people take it easy? Speed merely serves to speed
iff% v ^ the end of existence. Funny I can't get more than 80 out of her today".
I *\>£a^J I , , .

■

A Sunday Stunt on Saturday

"The man with a message for the world
will get it over if he is earnest and con-
scientious, and can impress his sincerity on
those who listen."

"It's mighty handy to have a press agent
and a valet around (standing, left to right);
one can always be sure of their enthusias-
tic applause at the right time".

CjJte.

i£^^

•3

Another Interesting Point

"I aim to have some teal purpose,
some theme behind each photoplay I
produce; not a lesson conveyed in
some conventional way but with a
coating of sugar as it were, over it."
"Come on over. These are only
wooden spikes anyhow and couldn't
hurt much".

u l\ ii

- .

Off (or over) To the Front

"There is a fallacious belief that pull is re-
- quired to make a success on the shadow
stage. That belief is rapidly being — "

"Don't holler or you'll drop the pencil.
Beyond this shack lies Flanders".

r ■ A

L-^*^,

In the Wake of the
Boches "w'th many w,h,° set

up in the world, the
big problem, though they do not
realize it, is to get down again —
down to the level of the man who
views life — "

"Now don't get nervous. The

bombardment is over and these

Belgian buildings are sturdy

affairs. It won't fail unless I

shake it".

The End of a Perfect Day

"As I was saying, when you fell, life is
just a game of give and take and — "

"Call up the Receiving Hospital,
Naka, after we slide him in, I want to
go a few rounds with Spike".

*r>

- ""!

„_---

■V

_i*-'4JBBS*»ii>

Cleopatra

Plays
a Return

Photographs by Stagg

Cleopatra in her twentieth
century reincarnation goes
over the script at the end of
each day on the porch of
her six-room dressing room
bungalow.

OUT on the desert which adjoins the
bean fields of Ventura County,
California, they have builded the
Pyramids and the Sphinx. On a pseudo
Nile, almost within the corporate limits
of Los Angeles, they have restored the
ancient walls and temples and water
front of Alexandria, Egypt. Sixty miles
away, on the beach at Balboa they have
constructed a fleet of war craft and
already have fought a desperate battle
for the possession of Alexandria.

At these various "locations" anc
within the Fox studio at Hollywood,
Cleopatra has lived again in the person
of Theda Bara. She has "vamped"
Caesar, who has again been slain at the
foot of Pompey's statue; she has lured
Antony from Octavia, only to fall des-
perately in love with her
prospective victim ; and
she has again taken the
deadly asp to her bosom
with the same fatal effect.
Director-general J. Gor-
don Edwards has .
been in personal
charge of the di-
rection through-
out. The accom-
panying photo-
graphs were
taken especially
for Photoplay
Magazine.

"I think you're wrong"
said Cleopatra to Ra-
meses Edwards, as she
consults the script.
You will notice that
Marc Antony is just
going into a clinch with
the siren of the Nile.
Note the famous Pea-
cock feather costume.

Yep, Crops is Fine
B'Gosh

This agricultural stuff is quite the
thing this year. We don't know who
started it but everybody's doing it
now. Norma Talmadge likes it 'most
as well as riding, and she recommends
both to persons who are bothered
with superfluous avoirdupois.

The Lesson

By Jerome Shorey

The crwakening of a girl
from a small town ivho was
carried away by the glamour
of city life and a city beau

WELL, if you don't like it you
know what you can do." ^\V

In all the thousands of ¥^

times the words have been
spoken by sweethearts in the heat of a
petty quarrel, it is probable that they have ,
seldom been spoken with so much energy ^fjj
and decision as they were by Helen Dray-
ton, when with a vigorous and final $&. *^rV *. \1
nod she slammed the gate as a jfl ^L

strong hint that she had no >^| jA lL -^

desire for "Chet" Vernon to i 'jf> j?£»,v flFlhh. * # J (

follow her into the house. 3&K * *

All Chet had done was to
tell Helen, as tactfully as he
could, that people were be-
ginning to talk about her and A % ' ^^^^^ ^^
the city visitor, John Galvin. £
He wanted her to understand
that he was not telling her
because it hurt his pride to
be "cut out," although all
Jonesville knew he and Helen
had been "keepin' comp'ny
quite a spell." His motive
was merely to put Helen on
her guard against the gos-
sips. But he did not and *
could not know that Jones- ^*
ville and all its people and
ways had been getting on

Helen's nerves, until she felt After the elopement.

herself stifled by the life, ?" Helen had a troubled

,., , ., ,, , ,., ' reeling that it was not

although it was the only life the ri|ht thing to do.

she had known. When the
stylish young stranger ap-
peared at a dance, she was ready to fling herself into his Drayton looked John over and decided that he would be an
arms for very relief from the deadly monotony. And Gal- entirely acceptable son-in-law.

vin was really attracted to the pretty, simple girl. What *********

hurt Chet most, however, in the course of the quarrel, was John Galvin was a clever architect, but there were sev-

that Helen had remarked with acid in her voice: eral flaws in his character. One of these was selfishness.

"Who wouldn't prefer an architect to a soda mixer?" Why mention the others? This selfishness cropped out

Chet had questioned the possibilities of life behind the first in his disinclination to go through the fuss of an
row of syrup bottles as a permanent career, but had ac- elaborate wedding at home, and he concealed it in a plea
cepted the job rather than do nothing. So when Helen for immediate marriage. So he and Helen eloped after
slammed the gate there was nothing for it but to go back Mrs. Drayton had all the arrangements made to launch
to his white apron, and resume his attempts to quench the her daughter upon the sea of matrimony with suitable cere-
thirsts of the population of Jonesville. He sensed disaster mony. A telegram told the story to the disappointed
to his romance, and could find no words of repartee for mother, though when it was all over Helen had a troubled
the raillery of "Tub" Martin and the other boys and girls feeling that she had been unfair, and that it was not the
who were his regular customers. right thing to do. But it was done.

To do John Galvin justice, he KJARRATED by permission, from the and so they went on to New York,

was very much in earnest, and soon ■L^ photo-drama of the same name, writ- and before she realized that her

he told Helen that he wanted to ten by Virginia Terhune Van de Water, and girlhood was behind her, she was

marry her. And she said "Yes," produced by Selznick with the following cast : cheerfully engaged in the multitu-

. J , /~,i-i- if Helen Drayton Constance Talmadge .. f /. b h. . .. ,

not so much to Galvin himself, as "Chet" Vernon.. .Tom Moore dmous duties of a housewife who

to what he represented — escape John Galvin Herbert Heyes cannot afford a maid.

from the everlasting monotony of "Tub" Martin Walter Hiers The next time Galvin's selfishness

the small town. It was less a "Yes" Henry Hammond .Joseph Smiley came int prominence it had still

, . ,, , , -11/., Mrs. Hammond Lillian Rambeau ., r TT

to him than a loud and defiant Ada Thompson Dorothy Green another name — economy. Having

"No" to Jonesville. Mr. and Mrs. Harriet Reeves Christy Walker left home without a trousseau, Helen

Photoplay Magazine

I needed clothes, and one morning mentioned the fact.
In Jonesville she had never had to ask for money. When
she needed anything all she had to do was to go to the
store and have it charged. So it was with much diffidence
that she made her request. Galvin hesitated, then realized
that after all one must furnish one's wife with necessities,
and handed her — a ten-dollar bill. After he had gone
Helen looked glumly at the bill, so out of proportion to
her needs, sighed, and hurried down town to make what
purchases she could.

At luncheon that day, Galvin went to an expensive
restaurant with two friends, brusquely refused to permit
them to pay, or even share the $8.40 check, and handed
the waiter a ten-dollar bill, grandly waving away the
chan^'\

Helen was preparing dinner when he reached home. On
a table in the living room he found three or four parcels,
and opened them — a pair of gloves, stockings, and — ye
gods! — a pair of white shoes!

Helen!" Galvin's voice was sharp and commanding.

She hurried in from the kitchen with an inquiry on her
face.

"What does this mean? You buy the kind of stuff mil-
lionaires' wives wear."

Helen tried to explain that she bought the shoes very
cheap at a sale, but Galvin would not listen. He stormed
at her, accused her of extravagance, asked her if she thought
he was made of money. The dinner was forgotten, but
won forced itself upon their- attention. In the midst of his
tirade Galvin stopped and sniffed. Helen sniffed. Some-

1 o make matters worse the chops had burned while they were quarreling.

■p w

thing was burning. They rushed into the kitchen. A
panful of perfectly good chops was sending up a column
of smoke.

More violent words. Besides being extravagant she was
slovenly in her housework. A flood of tears. Galvin re-
treated to the living room. Then silence.

Throughout the improvised meal more silence. Galvin
gjulped his food, and his silent sneer was worse than his
scolding. The telephone bell relieved the tension.

We're going over to the Hammonds' for the evening,"
Galvin announced as he hung up the receiver.
"I won't."

'You've got to. Hammond's sending the car. He's a
big contractor, and you've got to be friendly with him and
his wife. It's business."

Listlessly Helen obeyed. An hour later she was glad.
Mrs. Hammond was a simple, motherly soul, and while
the men talked business, Helen made a real friend. But
this did not cure the ache in her heart. She could find
nothing of which to accuse herself. She knew Galvin had
been unjust, and she feared he would be so always.
It was a life problem she was facing, and meeting Mrs.
Hammond brought a great hunger for the love and
sympathy of home. She must tell her mother — she
must get advice. So a few days later she insisted upon
going home for a short visit, and Galvin grumpily
consented.

'We were afraid you weren't coming," was the general
greeting Helen received as she was welcomed by a group
of old friends at the station.
"Afraid I wasn't coming?" Helen repeated wonderingly.
"Yes — for Tub Martin's wedding."
"Oh yes." She had forgotten the news in the recent
letters from home, in her own tragedy, and now she had
not the heart to tell even her mother of the real cause of
her visit. She tried to share in the excitement of the prep-
arations, but without much success, and when the day
of the ceremony arrived, and her eyes met those of Chet
Vernon, as Tub placed the circlet upon the finger of his
bride, she had to turn away. Only the fact that
women always cry at a wedding concealed her unhap-
piness. Her mother took for granted that all was
well with her and Galvin, and so Helen decided
that it was better that only one of them should
be unhappy, and she spared her mother. A few
days later she returned to the city, still unable
to see a solution of her problem.

Her one haven was the friendship of Mrs. Ham-
mond, a friendship that soon yielded important
fruitage. Mrs. Hammond was giving an elaborate
luncheon and asked Helen to help her decorate
for the occasion. Helen had never guessed that
she had a natural gift for such work, but Mrs
Hammond soon recognized it, and gave her free
hand. And Mrs. Hammond's friends admired the
way everything was arranged, and asked who had
done it. Before she was aware of it, Helen was in
great demand.

The next time Mrs. Hammond asked for her
help, she took her aside after it was all over and
said:

"Now my dear, I'm not going to let you do this
without paying what I wrould have to pay if I
hired a professional decorator," and handed Helen
a check that took her breath away. Her protesta-
tions were of no avail, and as she realized what the
money meant in the way of dainty things so dear
to the heart of every normal woman, her ob-
jections became more and more perfunctory. So
she took the check, and hurried home, full of
elation.

"Shall I tell John?" she asked herself, and as
she answered the question with a prompt and
decisive negative there came a little pang at her

Expect you to support me? Do you think your stingy checks paid for these?

heart. For she understood fully now that she did not trust
her husband. But this revelation was tempered by the
knowledge that at last she was, in a measure, independent
of him. They would go on as before — a dreary outlook —
but it would not be so bad.

Mrs. Hammond's example was followed by other wealthy
women, and Helen soon found her days so busy that her
own problem became less acute, less incessant.

John was succeeding too. His ability was unquestioned,
and through Hammond he obtained many contracts. He
found it necessary to call at Hammond's office frequently
—more frequently, in fact, than the actual necessities of
business demanded. The answer was Hammond's secre-
tary, who also happened to be his niece. Ada Thompson
was attractive and pert, and Galvin often contrasted her
v,ith Helen. Here was a girl who could have been a great
help to him in business, instead of a mere dull little coun-
try girl, who knew nothing but housekeeping. They be-
came quite chummy, Galvin and Ada, though both pre-
tended that it was all business, as Ada was invariably
present at Galvin's conferences with Hammond. But

neither of them could pretend that it was a business neces-
sity for Galvin to take Ada to luncheon at a flashy res-
taurant, even if Galvin did pretend that he was celebrating
a big deal over a bottle of wine.

"I'm going to do the boldest thing," wrote Harriet
Reeves of Jonesville to her old friend Mrs. John Galvin,
of New York. "I'm going to ask you to ask me to visit
you. It's awfully dull here since Chet Vernon left. But
perhaps you haven't heard. He gave his job at the soda
fountain to Tub Martin, and has gone to New York. Have
you seen anything of him? We went over to call on Tub
the night before he left. And oh yes, did you know about
Tub? Twins. Honest. I thought Chet would eat them
up. Don't you think Chet was just made for a husband?
We all thought you were going to marry him."

And so the gossipy letter ran on, and on, but Helen
read the rest with eyes that did not see. So Chet was going
to marry Harriet Reeves, and Harriet wanted to come to
New York so she could see him. Well, Chet would marry
some one, of course, and it might as well be Harriet, though

Photoplay Magazine

Harriet was a scatter-brain and never did have a lick of
sense.

Harriet came. Under cautious cross-examination by
Helen she admitted that Chet had not yet said in so many
words that he wanted her to marry him, or even that he
loved her, still, as Harriet insisted, "You can always tell
a man's intentions." And her theory was supported by
the circumstantial evidence that while Chet had made no
attempt to see Helen since he arrived in New York, he
responded with surprising promptness to a telephone sum-
mons from Harriet. Moreover, he called frequently as long
as Harriet was there, Helen effacing herself as much as
possible, with a queer little dull ache in her bosom.

One evening they went to the theatre together — the
three of them. Gal-
vin had telephoned
that he could not
come home to din-
ner on account of
important business.
After the theatre
Chet took Helen and
Harriet to a cabaret.
In a distant corner
he saw Galvin trans-
acting his important-
business. The girlr
were facing in an
opposite direction.
Chet wanted to be
sure he was right,
and strolled over to
Galvin's table. Gal-
vin greeted him ef-
fusively, and intro-
duced his business
guest — Ada Thomp-
son. Chet turned
away, and went back
to Helen. It was
not for him to inter-
fere, so he said
nothing to the un-
suspecting wife.

A few days later
Harriet went home,
and Chet's calls
ended abruptly.
Helen felt utterly
alone, and buried
herself in her work,
which was assuming
the dimensions of a
lucrative business.

At length the in-
evitable disillusion-
ment arrived. The Hammonds gave a big house party at
their home at the seashore, and Helen and Galvin were
among the guests. So was Ada Thompson, as a matter of
course. Helen was in no mood for joining in the hilarity of
the other young people. Their high-pitched laughter grated
upon her, and she wandered off by herself, apparently not
missed by any one. But she could not help noticing that
whatever were the diversions of the moment, her husband
and Ada were seldom far apart. If she had loved Galvin,
this might have aroused her jealousy, but she gave the
matter only passing thought.

But as she strolled through the grounds one afternoon,
the cool depths of a secluded summer-house invited her
and she went toward it, her light tread upon the grass
making no sound. She neared the entrance and looked in.
She gasped, and looked again, doubting for an instant her
own eyes. Then she turned and fled as silently as she had
come. She hurried to her room and flung herself upon the

Chet responded with surprising promptness to a telephone summons from Harriet.

bed. But when the first shock had passed it was determi-
nation and not grief which possessed her.

Swiftly packing her grip she made an almost incoherent
excuse to Mrs. Hammond, and asked for a car to take
her to the railway station.

*********

Galvin followed on the next train, as soon as he discov-
ered her hurried departure. He found her packing bags
and trunk and angrily demanded an explanation. At first
Helen refused to speak, but finally, when Galvin seized her,
she shook him off.

"I'm leaving you, for good. I saw you in the summer-
house," she said, and turned back to her packing.

You sha'n't leave me," Galvin snarled. "My word's as

good as yours
You've got no
proof."

"It doesn't mat-
ter. I tell you I'm
going," she replied.

"All right then,"
Galvin answered
with assumed indif-
ference, "but don't
expect me to sup-
port you, if you go."
"Expect you to
support me!"
Helen's tone was
sharp and icy. She
picked up a few of
her costliest gowns
from a heap and
held them out to-
ward him. "Do you
suppose your stingy
checks paid for
these? Do you
think I could dress
as I do on the
money you dole out
to me?"

Galvin looked at
her in astonishment.
Then he demanded
angrily :

"If I didn't pay
for them, who did?
I always thought
you were getting
pretty friendly with
old man Ham-
mond."

Helen ignored the
insult.

"I'll show you
who paid for them," she said, and took out a small ac-
count book. "Look at this, and this, and this," she said,
turning the pages rapidly. They bore memoranda of teas,
card parties, dinners, and all manner of functions, and
showed her earnings. Then she produced a bank book,
and Galvin gasped as he looked at the balance.

Silently Helen finished her packing, while Galvin mood-
ily paced the room.

"I'll send for my things later," Helen said as she closed
the door.

Galvin realized that she was gone forever.
The news of Helen Drayton Galvin's divorce a year later
soon reached Chet Vernon, and he located the studio
where she had established a flourishing business in interior
decoration. It did not take him long to explain his visit.
"Then it wasn't Harriet after all," Helen said softly.
"No, you little silly, it wasn't," Chet replied, gathering
her into his arms.

Bringing the Motion Picture to Church

<Bj Frederick James Smith

THREE years ago I interviewed Thomas H. Edison.
The inventor sat in a little room of his West Orange
factory. A prophetic light flashed in his eyes, half
hidden by shaggy gray eyebrows. He rubbed a
nervous hand across the white stubble upon his face.

"The motion picture is going to be the great educational
factor in the future," he said. "It is going far beyond
anything we can prophesy today. In a few years you
will find it aiding the minister in his pulpit, the teacher in
the schoolroom, the scientist and surgeon in the laboratory
and clinic. The motion picture isn't just an amusement
toy. It is going far — far. May I live to see the dawn of
the film as an educational and civic force! "

Mr. Edison has lived to see the motion picture begin its
mission of usefulness. There is no question of the work
now being done by the film in schools, churches and
Y. M. C. A.'s. Up to a year or two ago educational and
religious workers were fighting the picture as a menace,
today they are joining forces with it. Today we find the
Young Men's Christian Association, through its inter-
national conlmittee,' arranging to furnish motion pictures
to America's vast new army in camps from coast to coast.
From promoting attendance in Sunday schools and visual-
izing a sermon, its possibility of usefulness goes all the way
to galvanizing a whole town into activity. Out in
Canasaraga, N. Y., near Hornell, the Rev. Harry E.
Robbins injected new life into a whole community with
the film.

The National Board of Review, and more particularly
its National Committee for Better Films, reports a re-
markable sweep of religious interest in the motion picture
throughout the United States. "We have received a vast
number of letters from churches in the last few months,"
says Herbert F. Sherwood, assistant secretary of the or-
ganization, as well as publicity representative. "We point
out to each church that the motion picture can be used in
two directions: first, as an entertainment feature; second,
in direct connection with the religious services. If the
church elects to take this second avenue of usefulness, a
decision must also be reached whether the motion picture
is to be made a side issue to the sermon or should

it become an attraction with the sermon incidental.

"The Rev. Henry Medd, pastor of the Methodist
Church at Bay Shore, N. Y., for instance, decided to make
the motion picture paramount. He began announcing
'motion picture services with special music' He presents
a scientific or educational film or perhaps a photoplay
illustrating some phase of life from which a sermon may
be based, adds a twenty minute talk, gives a programme of
music and has increased his church attendance three
hundred per cent.

"We suggest to each inquirer," continued Mr. Sherwood,
"that the church can, with proper handling, make vital
use of the film. There are mechanical and physical require-
ments to be considered, of course. Fire laws, for instance,
must be carefully obeyed.

"We are glad to give whatever service we can along this
line. We can provide guidance regarding films to be
selected and give churches and schools information as to
where they may obtain the right sort of picture.

"We have noted a steady development taking place in
the motion picture world. America, if we may make a
comparison, has been criticised in its handling of export
trade for not giving consideration to conditions abroad.
Our goods going into South America, for instance, have
frequently to be repacked. Goods shipped in large boxes
had to be reboxed in small containers suitable for packing
on the backs of mules.

"Sometimes I think our motion picture business has been
doing just this sort of thing. Producers haven't considered
the needs of special groups. They tried to make one
picture fit the world's requirements. Things are changing
now, however. Manufacturers are just beginning to realize
the value of pictures for the family."

The National Board of Review publishes a quarterly
"Garden of American Motion Pictures," a carefully com-
piled list of pictures suitable for the family and for chil-
dren. This includes everything from photoplays and
comedies to educationals, scenics, news reels, cartoons films,
etc. A monthly bulletin is issued by the organization,
edited by Mr. Sherwood. This is made up of suggestions
and hints regarding the selection of films, and comments

4«

Photoplay Magazine

upon activities in behalf of better films everywhere.

On the face of it. the problem confronting a minister,
teacher or V. M. C. A. secretary who wishes to present and
maintain motion pictures as a part of his organization
seems pretty big. but it is being worked out in many
localities.

In New York. City the Judson Memorial Baptist Church
has been utilizing the motion picture on Sunday after-
noons to entertain thousands of foreign children — Italian,
Hebrew, Greek and Russian. The church is located in
the Washington Square district, on the edge of the big
foreign district. The "Happy Hour" — with its pictures
and music — became a tremendous success and has been
made a part of the church's Sunday school plan. Thus
pictures are used as an adjunct to the lessons.

Motion pictures are not limited to Sunday use by the
Judson Memorial Church.
On Thusday evenings, the
church movies are open
to grown-ups as well as
children, one cent admis-
sion being charged. This
with the co-operation of
Judson Memorial Church
and New York Univer-
sity.

The Rev. Christian F.
Reisner, of Grace Meth-
odist Episcopal Church,
New York City, presents
motion pictures to the
church children on Sun-
day afternoons and, on
Sunday nights, utilizes
the photoplay to illustrate
the subject of his sermons.

It has remained for the
Rev. Harry E. Robbins,
of Canasaraga, N. Y., to
prove the community use-
fulness of the film.
Through his work in New
Bedford, Mass., and in
Carbondale, Pa., the Rev.
Mr. Robbins came to be-
lieve that many of the
social problems among
the mill workers and coal
miners and the unrest
among the farmers in out-
lying districts were, in
reality, due to lack of
recreation. One day was
as dull as another. They
were missing the romance
of being alive.

So, when the Rev. Harry reached Canasaraga, a village
that had slept twenty years undisturbed, he smiled — and
thought of the motion picture. Canasaraga shipped beans
to the cities and went to bed at eight every evening.
Charlie Chaplin could have walked down Main street with-
out being recognized.

Then the new minister began to do things. He started
. a Men's Club and imported a billiard and pool table from
New York. After the club was installed over the fire-
house, the Rev. Robbins went around and looked at the
Canasaraga Opera House, which had been "dark" for four
seasons. Canasaragans knew little of the movie. Some of
the inhabitants occasionally went twelve miles to Hornell.
where they saw the cheap, flashy pictures of the nickelettes.

But the new pastor was confident of the power of good
pictures. So he laid a plan before the Men's Club to hire

The Rev. Harry E. Robbins of Canasaraga, N. Y., proved the
community usefulness of the film.

the idle opera house and present pictures. Moreover, he
made it a community affair and asked the other pastors to
help. The Roman Catholic priest became a loyal Robbins
rooter but the Methodist, Baptist and Presbyterian
churches turned down the offer to co-operate. But the
minister went right ahead.

Prom the start the parson's opera house was a sweeping
success. Things began to happen. The Rev. Robbins used
the motion picture entertainment to help increase Sunday
school attendance. This was through the distribution of
free tickets. Moreover, the theater, at first not intended
to make money, began to pay — and has kept on the right
side of the ledger ever since.

About that time the town woke up. Canasaraga ac-
quired a board of trade. New buildings are going up, the
main streets have been paved and the village has secured

a street electric light
system.

So much for the civic
value of the film from the
church angle. Y. M. C.
A.'s are taking up pictures
actively. The association
branch at Coatesville, Pa.,
has a large auditorium,
seating a thousand. The
association uses this as a
motion picture theater,
one man being employed
to give his entire time to
selecting pictures and con-
ducting the exhibitions.
This plan has been fol-
lowed for five years and
the branch feels itself well
repaid by its success in
handling the leisure time
problem.

The Y. M. C. A. at
Dalton, Mass., an indus-
trial town of 3.500 in-
habitants, runs a motion
picture entertainment in
order to keep its people
from going to adjoining
towns for amusement at
night. Under its care,
Daltonites see the right
sort of pictures.

The Bedford Branch in
Brooklyn. N. Y., has been
conducting commercial
motion picture exhibi-
tions, showing eight reel
programmes to audiences
of a thousand or more.
Again the Commonweal Club, of Syracuse, an organiza-
tion of women, recently proved the value of the motion
picture to further a public improvement. They secured
permission from the board of education to organize and
promote a community center in one of the city school
buildings. Their plan for raising funds was built around
the film. The clubwomen divided the city into eight
districts and appointed a sub-chairman to each district.
Each sub-chairman had a committee of from eight to
twelve to sell tickets at one dollar for a series of ten
admissions to approved motion pictures at a certain
theater. The club paid the exhibitor half of what it
received for the tickets. In this way the exhibitor and the
club shared and sufficient funds were raised to put the
project over.

Surely Edison's dream is being realized.

The

Man with the Iron

in His Eye

TRY to think of a good adjective to apply to
Harry Morey. We give you a total of one guess.
. . . What? . . . Virile. . . . Right the
first time.

Morey 's climb to fame has been slow. Unfortunately
Morey elected to invade p'ctures just at a time when clothing
store cuties were in vogue. So they gave Morey character
roles — everything from horny handed policemen to simple
youths with a penchant for dinner pails.

Shortly after this it began to dawn upon producers that
perhaps after all the dear old public might want some other
kind of a hero than the one who keeps his pinch-back pressed
and strolls into the big crisis with a bamboo cane and a dental
smile, saving the day and the whiteness of his linen at one and
the same time.

And this was the dawning for Harry Morey, this realiza-
tion that the public wanted real men, red blooded men, not
spineless sissies. Thus Morey became a star.

Vitagraph has recently been giving Morey a lot of promi-
nence. He played opposite Alice Joyce as the heroic forger
in "Within the Law" and as the nonchalant gentleman who
walloped the German army single handed in "Womanhood,
the Glory of the Nation."

To return to facts, Morey was born in Kentucky, suh.
Started out to be a Shakespearean actor but reformed. Then
invaded musical comedy, actually singing tenor solos under
the spotlight moon. In those days he chanted the moon-
spoon-tune stuff in the giddy companies of Anna Held, Weber
and Fields and Montgomery and Stone.

To the right, Morey
plays the count in
"The Lady of the
Glove." Below, a
scene from "The
Question", with
Alice Joyce

Lucille Zintheo, after some very creditable work in
a number of pictures found she preferred the stage
to the screen. While her beauty was well interpreted
by the lens it was brought out in equally fascinating
manner by the footlights. She made a genuine hit
in "His Little Widows," which played at the Astor
Theatre, New York. You will remember Miss
Zintheo as the young lady who brought Spokane
into prominence. She is the second beauty to the
left of Carter De Haven in the picture above.

Photoplay Magazine's
"Beauty and Brains"
Girls Achieve Screen Success

One offered leading lady role by
Douglas Fairbanks. Four others
appearing in big productions.

Our little Quaker lady, Lucille Satherwaite, of
Waynesville, N. C, is shown here in one of the prin-
cipal roles supporting Mae Marsh in the film adap-
tation of Margaret Mayo's delightful play, "Polly of
the Circus." A real beauty and a delightfully dis-
tinctive personality Miss Satherwaite should go far
in her chosen work.

FIRST a little history: Less than a year
ago Photoplay Magazine concluded its
famous "Beauty and Brains" contest, and
ten happy girls were brought from every
section of the United States, and one from
Canada. They were chosen out of a field num-
bering more than ten thousand plain, pretty, and
beautiful girls. The chairman of the board of
judges was no less an arbiter of beauty and
intelligence than Lillian Russell.

When they arrved in New York the daily
newspapers devoted columns to them and ac-
claimed them as a wonderful aggregation of
beauty, a fitting commentary on the fairness of
the contest.

The camera does not take kindly to all
beauties. It is subtle and mysterious in its
affections. Nearly all of the beauties "screened"
well, that is, photographed well for moving
picture purposes. Five were given contracts by
picture companies immediately. Some of the
girls preferred home to a professional life.

And today: Here they are! Photoplay
Magazine is proud of its children. Their ways
have not been strewn with roses. As in every
other profession, work, application, and deter-
mination to succeed is paramount. To them-
selves belong the full credit for their victory.

Mildred Lee, who hailed from Kansas City, is the type
of girl who never gives up. After a short experience in
pictures, she, like Miss Zintheo, went in for the theatre.
While playing at the Cocoanut Grove, atop the Century
Theatre, her beauty and vivacity lead to a flattering
offer from the picture magnates. She is now playing
leading roles in L-Ko comedies in Los Angeles.

Helen Arnold, of Louisville, Texas,
swept into instant success. Her cam-
era tests were hardly completed before
she was engaged by the Frohman
Amusement Corporation to play a
leiding part in "The Witching
Hour." She has since played in many
other pictures. At present she is
supporting Ethel Barrymore in Metro
productions. The accompanying
scene shows her with that distin-
guished star in "The Call of Hsr
People."

Alatia Marton is now under contract with the
Keystone company, doing leading parts. She
was offered by Douglas Fairbanks the position
of leading lady in his next picture, but was
unable to finish a picture she was working
on at the Keystone in time to accept the
flattering offer. At the conclusion of the con-
test she was given a contract by the Selznick
Pictures Corporation. She returned to her
home in Texas for a few months and later
joined the Keystone forces in Los Angeles
where her beauty and ability earned her
leading parts.

Facts and Near- Facts About the Great and Near-Great of Filmland

<37 CAL YORK

WELL the draft has done its worst. It has singled out
Wallie Reid, Charley Ray, George Walsh, and
Irving Cummings. The last named was about the only
fdm player of prominence drafted in the East. It was
in the West where most of the damage was done. At this

time it is impossible to state

whether or not Wallie and
George will be called out to do
real fighting as each is pos-
sessed of a wife and child, while
Ray and Cummings are sup-
plied with a wife each.
Although each has a wife who is
a professional and may be
adjudged capable of supporting
themselves and children. Reid
is married to Dorothy Daven-
port and Walsh to Seena Owen.
It would be an awful blow, how-
ever, to the feminine contingent
of the great army of film hero
worshipers should the quartet
be taken. Of course they
would still have J. Warren
Kerrigan and Harold Lock-
wood who escaped the draft
and Francis X. Bushman,
who wasn't in danger at any
time.

THE comedy studios of the
West Coast were hit par-
ticularly hard, although Charley
Chaplin was not among those
called who will form the first
army. Jay Belasco and James
Harrison, leading men in
Christie Comedies were selected
among the first. At Fox's,
Victor Potel, the ''Slippery
Slim'' of old Essanay days and
Director Charles Parrot saw
their names posted * early on
draft day. At Keystone, Busi-
ness Manager George Stout was
drawn and at L-KO, Director
General Jack G. Blystone was
in the first thousand. At
Universal City William Franey
and Milton Sims, comedians led
the list followed by Directors
Craig Hutchinson and George
Marshall. Francis McDonald,

husband of Mae Busch, Lloyd Whitlock and J. Webster
Dill of the dramatic branch of the Big U. Bud Duncan,
junior member of the former comedy firm of Ham & Bud.
also felt the draft early in the day. Horsley's studio
offered Comedian Xeal Burns and his director Horace
Davey.

LASKY'S studio was hit the hardest. In addition to
Wallie Reid, several minor players and a number of
technical employees were drafted. Roy Marshall, assistant
to Marshall Neilan. Mary Pickford's director and Lucian
Littefield, well known young character actor, were among

them. Littlefield didn't wait for the draft. He left a
month previously for France with the Pasadena Ambulance
unit. Tom Forman, also a well known Laskyite, likewise
declined to wait for the draft and joined the Seventeenth
Company of Coast Artillery which is composed almost

wholly of motion picture men.
Triangle will contribute Lynn
F. Reynolds, recently acquired
from Universal where he won
distinction as a Bluebird
director. Victor Fleming
cameraman in Douglas Fair-
banks' company resigned to
join the colors as soon as he saw
his name among those drawn
and Pliny Goodfriend, Vita-
graph cameraman and husband
of Mary Anderson, will also
take the trip abroad.

MAE MURRAY
Bluebird star.

Marjorie Daw, caught in the act of "coming back" . This popular little
player who gained international fame as the protege of Geraldine Farrar when
the diva made her motion picture debut at the Lasky studio, has been absent
from the studio for many months as she has been devoting her time to studies.
She returned to the screen, however, in support of Sessue Hayakawa in a
recent Paramont Picture.

is now a
The little
blonde deserted Lasky several
months ago and her director
Bob Leonard quit at the same
time. He will continue as her
director at Universal City.

TRIANGLE, now running
full speed ahead with H. O.
Davis, erstwhile boss of Uni-
veral City, at the throttle, has
been despoiling the latter con-
cern of some of its best known
stars. Ruth Stonehouse, Ella
Hall, Roy Stewart are among
the players and Lynn Reynolds
and Jack Conway head the
directors who made the switch.

ADMIRERS of the little
French comedian will be
pleased to learn that Max
Linder has so far recovered that
he is contemplating a come-
back to the screen sometime in
Xovember. He recently left
the sanitarium in Southern
California to which he was
removed when he collapsed
while making comedies for
Essanay.

W. GRIFFITH has completed one of his war
pictures made on the battlefields of Europe and is
now working on the second one, according to words from
London. He had planned to return home after one picture
but decided to do at least one more. It is understood that
neither will be completed until the return to America as
scenes are to be made on this side. Robert Harron and
the Gish sisters, Lillian and Dorothy, have the principal
parts in the pictures.

NO little surprise was caused in studio circles last month
when it became known that Geraldine Farrar would

Plays and Players

leave Lasky's at the termination of her contract which has
been in existence three years. Miss Farrar has just com-
pleted her fourth photoplay, a spectacular DeMille produc-
tion based on the Spanish conquest of Mexico, and she is
now engaged on a modern film play. Lou-Tellegen, hus-
band of Miss Farrar, who had a brief career as a Lasky
director, will appear with Miss Farrar in her new produc-
tions, according to report.

WANDA PETIT, one of the prettiest of Fox ingenues,
has transferred her affections, and likewise her bag-
gage from Fort Lee to Hollywood. She will probably be
seen opposite George Walsh if that hirsute gentleman
manages to retain his civilianship.

REGINALD BARKER who has been making pictures
with Thos. H. Ince for a period dating about three
years before Billie Burke and her pajamas appeared at
Inceville, and who made the first Triangle picture "The
Coward" has deserted both Triangle and Ince. He is now
a member of the Paralta Company's directing forces and
his first picture will be a picturization of Harold McGrath's
book "Madame Who." Bessie Barriscale will be the star.

CLARA WILLIAMS has also packed her bandanna
handkerchiefs, ear-rings, riding habits and her famous
forty ball room frocks and left Triangle for Paralta. Clara
made quite a hit recently by her rendition of the old
military song, "You're in the Army Now," for the enlisted
men at the Presidio, San Francisco.

JIMMY YOUNG has settled down on the Coast once
more and has become a regular member of the studio
colony. He attends the fights at Jack Doyle's arena every
Tuesday, competes in all the fox-trot contests and has
issued an open challenge to wrestle "Bull" Montana
"Doug" Fairbank's athletic trainer. That is the result of
having too much time on his hands; Jimmy only works at
directing pictures 18 hours a day.

NORMA TALMADGE has a new director. He is
Charles Miller who sprang into sudden prominence
by virtue of the really remarkable picture "The Flame of

Meet Mr. Montezuma, who was some pumpkins in his day. It is Raymond Hatton at

his old job of kinging in Geraldine Farrar's new picture of Aztec days — you know, when

they had so much gold they used to make automobiles out of it.

the Yukon" with Dorothy Dalton. Miller is a
nephew of Henry Miller and before entering upon
motion picture work was an actor and stage
director of prominence.

HOW the years fly by. Why "it seems as if it
were yesterday that Theodore Roberts won
the tennis championship of the Alimony Club at
the Ludlow St. Jail and now we find after one
day's military drill at the Lasky Studio he became
so exhausted he had to be carried home. He has
just returned to work after a month on the sick
list.

MOLLY MALONE has married a minister's
"son. Now comes the question: If a motion
picture studio is no place for a minister's son, how
about a minister's son's wife? Molly says no
matter what the answer is she is going to stay at
Universal City and continue to act before the
camera. The smiling, trusting and courageous
young man who stepped up to the altar with
Molly is Forrest Cornett, the son of the Rev.
W. H. Cornett of the First Presbyterian Church
of Venice, California. Mrs. Forrest Cornett is 20
years of age and her husband is one year older.

They made quite an occasion of it when Elsie Ferguson arrived at Fort Lee for her first day's screen He W3S drafted. So Molly is the Second "war
work. Director Tourneur was right out in front to open the limousine door, and that's going some / >~, , • f \

(Continued on page 114)

open the limousine door, and that s going i
for a high-priced director. Yes, of course she knew her picture was being taken.

Story time at the Selig Studio.

The young lady is Amy Leah Dennis, 16 year old star,
the foreground is director J. A. Richmond.

The tall individua

"That Reminds Me of the Time When

Weber and I—

WHEN the camera isn't clicking — when "Props" is
busily engaged in getting the new set ready, and
there is nothing to do in the studio but wait, everyone in
the company waits until Lew Fields gets a far away look
in his eye, and then they gather close. For Lew can then
be induced to reminisce.

He is now making "The Barker," at the Selig Studio
in Chicago, and Lew is rather fond of the town.

"Weber and I were school boys together. We were
together twenty-eight years on the stage. Ten years ago
I was playing at the Garrick here in 'The Girl Behind the
Counter.' I was asked to play at a hospital benefit. I
went out to the hall after the show. There was nobody to
greet me. I went out on the rostrum and gave a
monologue. Never got a hand or a smile. I remarked to
'Props': 'This is some benefit!' 'Props' said: 'Th' only
trouble with you, ole man, is you're in th' wrong hall.
This here's a bible class convention.'

"Reminds me of another," Fields continued. "In the
old days on the road we traveled by special train and
carried one hundred and fifty people. I wired a tank town
to have two property men, two electricians, etc., on hand

to get quick action when the show arrived. The reply
came back: 'I'll be there. Bill.'

"My first picture? Mack Sennett was responsible for
my downfall. I was working in a company out at the
Keystone. I fell out of a taxi and blackened my eye and
I told Sennett at the end of the day that he could cancel
the contract if he wished.

''Brady directed me in another picture," continued Mr.
Fields. "Brady chided me for not putting enough feeling
into my rehearsal scenes. I said: 'Brady, the camera
must click; the camera is my audience: it spurs me to put
feeling into my work. Brady said that was all right and
he ordered the man to turn the camera crank. I put feeling
into the scene. After it was over, Brady said my work was
fine. 'Now, we'll take the scene,' said he.

"I like motion pictures. I think the people want both
laughter and tears. I have discovered that the old Weber
and Fields style won't register on the screen."

Lew Fields may not be as young as he once was but
during the circus scenes in "The Barker" he turned a
succession of "cart-wheels" which were the envy of a
host of youngsters.

Insultin
the Flag

"•"THAT ought to get a hand," declared the film director as he had the Stars
and Stripes photographed for insertion into a photoplay that had a poor chance
of "getting over." It is as much a sacrilege to use the flag for this purpose as it is to
use it for advertising purposes and the federal statutes forbid the latter. If the film
producers haven't the good taste to stop this practice, action to that end should be
taken by the authorities.

Destiny or Ambition ?

John R. Freuler, President of Mutual started with a "store show" and no-w t'wenty-four corporations call him "Papa.

By Terry Ramsaye

I HERE is a certain destiny which shapes our ends,
roughhew them as we may," wrote a certain
honorably ancient poetic gentleman. Right here
the upstart author of this sketch rises to remark
that the aforesaid poet person like many great writers of
the period was off his reckoning several degrees of
longitude.

The old saw which is quoted here — obviously for the
purpose of starting a fuss and to attract attention to the
opening of this article — belongs right where it is, among
the cannery jars of commencement oration platitude.

Careful consideration of the careers of certain men con-
vinces the painstaking investigator that assuming that our
ends are sound we may roughhew destiny considerably.

Destiny assumes that we start out from somewhere and
are lead along through a lane of long lean years, or short
chubby years, until we arrive somewhere.

Now that might do very well if one had a whole lot of
confidence in Destiny's good intentions and Destiny's
ability as a guide, general manager and guardian ad litem.
Some folks do not feel that same soft, calflike trust in
Destiny.

All of which is introductory to the remark that if you
want to see a man who has taught Destiny to jump
through, roll over and play dead, drop into the offices of
the Mutual Film Corporation and ask for the president —
John R. Freuler.

Send in your name. If he's busy you'll get an audience
and if he is not — well then he is not there, because he's
busy somewhere else.

You will find him a pleasant person to meet and easy to
talk to if you have anything to say. He is big, firm faced,
with hair that got white early to contrast with a pair of
very clear blue eyes. The eyes have smile wrinkles around
them frequently and a wide play of expression.

When Mr. Freuler stands up his hat is a trifle over six
feet above the carpet. Also when he gets up it is a sign
that he is either going to say something, go somewhere or
sit down.

Now when he says something, listen. You will have
plenty of time to get it all, because he takes his time.
Whatever he says may be put right down in your little
note book, too, because when he is done he has said
exactly what he intended to say and it is all said, abso-

Photoplay Magazine

lately, positively, finally, conclusively and in conclusion.

Summing up a section of John R. Freuler's conversation
and 'boiling it down usually means to repeat it verbatim plus
; few extra words he saved and you can't. When a con-
tract is to be drawn in the offices of 1'resident Freuler
there are two ways to get it — one is to let six corporation
lawyers wrestle over it for two weeks and the other is to
plant a stenographer in the office and let her take "J- R.'s"
i. utline of what he wants in it.

Somewhere about three blocks back I was saying some-
thing about Destiny. At this point you may have gotten
the impression that it was solely for the purpose of making
a few fresh remarks about the philosophy of certain very
justly deceased proverb makers. But true to the alleged
laws of rhetorical construction the writer unerringly leads
back to bring in the thread of thought for so long left
fluttering in the breeze of verbage.

Destiny may have started out with the most honored
intent of running the career of John R. Freuler. Mr.
Freuler was born very successfully November 17, 1872, in
the village of Monroe, Wis.
For several years immediately
after that he did not organize
any corporations, being engaged
in looking things over and get-
ting his bearings. He got
Destiny's number very early in
life and left Monroe, where he
might easily have grown up
into a position of local power
and prominence. He located,
with the guidance of his sturdy
Swiss- American parents, in Mil-
waukee, where the schools were
better.

The records have not been
consulted but tradition indi-
cates that the young John R.
Freuler was a diligent student
without indulging in any boy-
prodigy feats of learning. Vaca-
tion times he improved the
shining hours by running er-
rands for a Milwaukee druggist
and getting his first ideas on
business. He worked out a few
details of operation around the
drug store which increased his
earning capacity by 50 cents a
week and taught him something
about the value of volume in
output, waste time and other important factors in industrial
life.

It is some years later however, that we find Mr. John
R. Freuler a clerk in an investment banker's office, juggling
long columns of figures, working out accounting systems,
interest tables and sundry such items of the world of
applied economics. One might well believe that it was
there that Mr. Freuler discovered how you can lock up
several dollars together in the dark for a while and pres-
ently get a lot more dollars out.

This work took up only twelve or fourteen hours a day
of the young man's time so he cast about for a side line,
with the result that he rented an idle building and carried
on a warehouse business incidentally. This grew into a
rather pretentious warehouse concern in a few years. But
there are limitations in the warehouse business and the
active yearnings of Mr. Freuler were for more territory to
conquer. He found considerable of it in the land business.
He went into it. He acquired land, money, and a lot of
new experience.

At this period Mr. Freuler was in the stage of commer-
cial development which would have entitled him to stay

John R. Freuler — at right — and Charles Chaplin — at left — -

the payer and payee of the world's greatest salary. Below — ■

The Theatre Comique, the great-grandpa of the Mutual

Film Corporation.

satisfied. He had a business, a motor car, a home and a
family. He had defeated small town Destiny and was an
urban success. By all the laws of circumstance, etc., he
was due to stay right there.

But all the while John R. Freuler was carefully con-
serving the interests of John R. Freuler and looking for~
more to do.

This he found one day in 1905 when a friend induced
him to become a sort of secret and silent partner in a
motion picture theater. Then things started.

In the first place the theater, the little two hundred
seat Theater Comique out in Kinnikinnic Avenue, in
Milwaukee, was a curious success. There were hundreds
of people going in as Mr. Freuler could plainly see as he
slipped up the street at night to inspect his theater when
no one was observing him. But there never seemed to be
any money coming out so far as Mr. Freuler could discover
from his partner's report.

This was irritating. Mr. Freuler went into the theater
investment mostly against his will, feeling that his position

in the community was rather
out of keeping with' the status
of a nickelodeon show. That
was bad enough, but now to get
beaten out of his investment
besides. Never. Not for J. R.
F. He bought out the theater,
fired the army of partner's
relatives he found infesting the
payroll and hired a manager for
the house.

Mr. Freuler was not sure yet
he wanted to admit he was a
coming picture magnate. He
got interested in a whimsical
way in making the little theater
make money. He studied the
public and the pictures. — And
then he was in the picture busi-
ness in earnest.

The rest of the story is
simple. He rented pictures for
the theater. He discovered
there must be money in renting
pictures. He investigated first
and then invested. Thus was
born the Western Film Ex-
change of Milwaukee, which
grew into the Mutual Film
Corporation of today with its
branches all over the U. S. and
Canada. Meanwhile the Western Film Exchange and its
growing family of allied exchanges scattered over the
country needed more film.

Mr. Freuler again investigated and again invested. This
time in studios to make the films to supply to his exchanges.
Thus was the American Film Company, Inc., born of the
efforts of Mr. Freuler and Samuel S. Hutchinson, who is
still president of the American. Then after the American
has come a long line of Freuler organizations.

In the upper right hand corner of the big flat, glass
topped mahogany desk in Mr. Freuler's office all these
corporations have their nest. He can reach into this nest
any time and pull out a handful of report cards and tell
you the pulse, temperature and blood pressure of any one
of those corporations. He knows them by their first and
middle names and treats them with the kind, firm, admin-
istrative touch of a father. He has fathered a large number
of corporations, twenty-four of them about, and they have
all lived to grow up and honor their dad.

Some of these corporations are little heard of outside of
the technical film circles which the}'' serve, while others
(Continued on page 136)

JUST a year ago this department drew a bead on the
actors through the peep-sight of a typewriter and
noted progress or retrogression. Who, in the thespial
year ending September i, 191 6, had gone forward?
Who had slipped? Who were the few who had stood
still?

Since that day the photoplay world has added as much
territory and populace as the material world following
Columbus' discovery of America. The activities have be-
come vastly more varied, and it is by so much the more
difficult to judge players' accomplishments. Instead of
the little band of notables who confronted the medal-
awarders a year ago, there is now a regiment — a brigade.
It is impossible, in the following summary, to chronicle all
of the year's playing achievements. This is only an
attempt to bring back to
memory a few of the more
conspicuous accomplish-
ments.

A little introspection will
assure you that this has been
a veteran's year. The big
things have been done by the
practised hands. The toilers
who long ago planted the
seeds of labor have begun in
the past twelvemonth to reap
the harvest of patience.

Nevertheless there have
been irresistible newcomers:
men and women who have
added wonderfully to the
screen's credit-total; men
and women who, we hope,
will continue their camera
labors.

I believe we may class as
newcomers not only the ac-
tual novices, but folk who,
looming large on other hori-
zons, have walked toward
the Cooper-Hewitts for the
first time.

For instance, George M.
Cohan. Cohan is a man who
seems to dare anything, and,

Gladys Brockwell has done much good acting and justified predictions
made for her.

in his own pliable argot, he invariably "gets away with it."
Apparently this is so; really it is not. Cohan is a fellow
who combines ingenuity and common-sense with patience
and a willingness to work. The result all lazy folk call
genius. Cohan has undertaken a number of new things and
has entered more than a few novel subjects in his time, but
each he has studied arduously, thoroughly. As a result,
he achieved with the optic "Broadway Jones" just what he
achieved when he essayed melodramatic farce with "Seven
•Keys to Baldpate," or genuine revue with the "Cohan
Review, 1016," viz., complete success.

On the other hand, the year has brought us out of
nowhere such camera-blossoms as Jewel Carmen, radiant
in ''A Tale of Two Cities," and "American Methods."
Here is a gift jewel-like as the girl's name; lovely,

feminine, deeply emotional.
I mention Miss Carmen not
as the only twinkler in the
new constellation — perhaps
not even the brightest twink-
ler— but as a case thorough-
ly in point.

Some of those we class as
new are really not new to the
camera, though new to the
public. Some have flashed
under directoral genius in a
single part, and have not re-
appeared.

If ever a star was born
full-fired, such a visual birth
was Bert Lytell's, the Lone
Wolf in Brenon's new picture
of that name. On the other
hand, the year made Mollie
King a genuine star — but
she entered the year an
adept camera technician ;
she was ripe for public pluck-
ing, but she hadn't been
plucked. Her superb little
personality at length made
her very mediocre serials
commanding. She outclassed
her stories.

Consider as new names,

Photoplay Magazine

Dorothy Phillips cannot be surpassed. She has poise, beauty
and exhaustible reserve.

Fairbanks has had a line of goods marvellously adapted
to his biff-bang demonstrations.

William S. Hart has gone forward. Louise Glaum shows
herself s. ^ery human villainess.

also, Mildred Manning the wholesome and de-
lightfully human heroine of the photographed
O. Henry stories; Nazimova, the super-tragic
personality of "War Brides;" Franklyn Far-
num, a smile-made Universalite; June Elvidge,
World's industrious recruit from musical shows;
and little Gladys Hulette, Thanhouser's very,
very best bet.

'then there are Sylvia Bremer, the beautiful
girl you've seen lately in Ince pictures; Alma
Reuben, the dusk damsel who first cast her ivory
lustre across the Fairbanks gelatines; Mary
Thurman, Mr. Sennett's triumph of the flesh;
Olive Thomas, an ex-Ziegfeldian who is an even
more roguish soubrette in the shadows; Florence
Deshon, the one-part wonder you may remem-
ber in "Jaffery;" Florence Vidor, who begged
the whole world to hold her hand in the death-
cart with Sidney Carton; Adda Gleason, whose
Ramona was as subtle, carefully studied and
finely drawn as any stage rendition you or your
grandfolks ever saw.

"Intolerance" was responsible for a whole
basket of planets. "The Crisis" put forward a
remarkable actor in Sam Drane — who died be-
fore seeing his own impersonation of Abraham
Lincoln. Max Linder scintillated for a few weeks
— then, through ill-health, flickered down.
through several wretched photoplays, to inac-
tivity.

To Margaret Illington, a magnificent per-
former behind footlights, was awarded the lemon-
medal which in the preceding year was fiercely
contested by such notables as DeWolf Hopper,
Ravmond Hitchcock, Willie Collier and Weber
& Fields.

But as I have said, it is among the established
toiler in set and on location, if not among the
actual veterans, that we must look for the premier
advancements of the year.

Not because they are necessarily the biggest
women of screenland, but because they come
quickest to mind, I want to mention, first of all.
Norma Talmadge and Dorothy Phillips. Miss
Talmadge has emerged from nervous, angular
girlhood to emotional heights. Her performances
of "Panthea" and "Poppy," sweeping the whole
gamut from childish playfulness to mature
tragedy, are the feats of a virtuoso, ringing true
in every tone.

In the same manner Dorothy Phillips, as a
dramatic actress, cannot be excelled today. She
has poise, beaut}'', apparently inexhaustible re-
serve. She cannot, like Miss Talmadge, flash like
lightning from laughter to tears and back again,
but she has more sheer strength and drive. See
her in "Hell Morgan's Girl," and "The Rescue,"
and you see her in epoch-making pictures.

The public has gotten so it thinks by com-
panies as well as by the names of stars. "Lasky
pictures," "Selznick pictures," "Bluebirds" —
each of these names has its popular significance.

William Farnum is easily the most conspicuous
of the Fox folk. In years of stage success, fol-
lowed by years of film popularity, he did not do
so fine and commanding a thing as his Carton
and Evremonde. "A Tale of Two Cities" in
Frank Lloyd's celluloids should live as long as
Dickens' story. Jewel Carmen we have con-
sidered. Miriam Cooper, by no means a be-
ginner, promises new phases of great interest in
her Fox work.

Harrv Hilliard, a sincere young leading man of

The Shadow Stage

limitations, has made some genuine advances.
Gladys Brockwell has done much good acting this
twelvemonth, and has justified the predictions
made when she was with Fine Arts. Theda Bara
continues to pour the vitriols of vampiredom
over her rapt world — which world, I take it, is
somewhat diminished in these days of more
excitement in the streets and less in the theatre.

George Walsh, generally insincere and full of
bulging muscles, appears to have his audiences;
and so does June Caprice, whose deliberate in-
genuisms distress me beyond measure.

World's only advances in the past year have
been made in the importation of several fine
French films, revealing the strong yet delicate
art of such people as Susan Grandaise and Albert
Signer — the latter an especially wonderful man
of mature years, in many ways absolutely with-
out a screen rival. World's Fort Lee films are
principally laurajeanlibbey "literature." June
Elvidge and Ethel Clayton are the only World
people who have progressed in 191 7. Alice
Brady has, if anything, gone backward. Mon-
tagu Love, a fine actor, has had small chance to
do anything worth while. The best World pic-
ture: "Husband and Wife," with Blinn, Clayton
and Love.

This has not been a sensational acting year
for Ince. "Civilization" called forth some
especially fine efforts by George Fisher, Howard
Hickman and Herschell May all, but "Civiliza-
tion" was a piece of pacifist sentiment against
which this column railed at its production, and
which nowadays would (probably) be barred by
the Federal authorities.

William S. Hart has gone forward undeviat-
ingly along the lines he had laid down for himself
more than a year ago: he has been busy, and is
busy, creating a genuine visual literature of the
frontier. He is a splendid though restricted
actor and an honor to the craft of which he is a
genuine ornament.

Of new luminaries, Dorothy Dalton has flamed
forth more brightly than any other Ince woman.
Of Sylvia Bremer and Alma Reuben we have
spoken. William Desmond has thoroughly estab-
lished himself. Charles Ray, though exhibiting
no more great flashes, has been doing consistently
good work. Louise Glaum, smouldering along
in shades of iniquity, now and then gets a human
part and shows herself a very human villainess.

Margery Wilson has been seen to best advan-
tage as a tender foil to the rugged Hart. Enid
Bennett — pretty, and as deep as a saucer of
water. Frank Keenan, notwithstanding his slow
and exasperating "registrations," played a few
mighty parts.

In the Lasky camp I can think of no man who
has shown to finer advantage than Sessue
Hayakawa. In the superior artistic accomplish-
ments of this handsome Japanese are exhibited
every trait of his race: no great originality, but
limitless patience, an adroitness amounting
almost to cunning, an ability to utilize to the
utmost every trick of expression, every actor's
artifice, every resource afforded by a bizarre
character or an unusual scene.

Raymond Hatton's biggest performance was
the King of France in "Joan the Woman," but
throughout the year he has proved himself an
invaluable asset to his organization. He is one
of the most deliberate, most subtle and most
effective character actors of stage or screen.

Pauline Frederick, potentially the greatest dramatic
actress of the screen.

George M. Cohan seems to dare anything and invariably
"gets away with it."

Charles Ray has been doing good work.
Margery Wilson has been best opposite Mr. Hart.

Photoplay Magazine

William Farnum is the most conspicuous of Fox folks.
Florence Vidor has made herself a place.

Geraldine Farrar made a wonderful Joan.
Wally Reid has improved month by month.

Mr. and Mrs. Drew have supplied an almost flawless
line of domestic comedies

Mme. Petrova's cold inhumanity has worsted
her by wearying her audiences.

Fannie Ward, the scientific baby, has walked
her ingenue path untii she has worn it out; she
should essay a new trail; she is a genuine actress,
and can do really different things, as "The Cheat''
proved.

Marie Doro was not the success in pictures
that ''The Morals of Marcus" prophesied.

Cleo Ridgeley has retired.

Jack Pickford seems to be a first-class pos-
sibility, and Louise Huff and Vivian Martin are
interesting little girls.

Anita King has done little or nothing of con-
sequence in the past year.

Mae Murray did her best work with Lasky
and made at least one superb picture: "The
Plow Girl."

Geraldine Farrar rests upon one optically
sonorous performance, Joan.

Theodore Roberts, the grand old man of the
Hollywood lots, has done so many good things
that it would require a catalogue to enumerate
them.

Wallace Reid has improved; month by month ;
still a matinee idol, he has emerged from matinee-
idol insipidities; watch this young man; he is
capable of big things.

In Famous Players Pauline Frederick, poten-
tially the greatest dramatic actress of the screen,
has had but one chance to expand and delineate.
This chance came with ''Ashes of Embers," and
it was improved not only by her, but by Frank
Losee.

Marguerite Clark clinched her supremacy with
"Snow White," one of the top-notch delights of
the year.

Ann Pennington, for whom much was hoped,
has been unfortunate in vehicles; "The Little
Boy Scout" was quite dreadful.

The two pre-eminent names of Artcraft are
two of the three pre-eminent names of the film
industry: Mary Pickford and Douglas Fair-
banks. A determined effort has been made to
give Miss Pickford suitable and appealing plays,
but the effort has not been uniformly successful.

Her year's best were "The Poor Little Rich
Girl" and "The Little American," and in both she
shone. Her worst, in point of effectiveness, was
the excessively costly and excessively dull "Less
Than the Dust."

Mr. Fairbanks, with the aid of Anita Loos, has
had a line of goods marvellously adapted to his
biff-bang demonstrations. Consider "American
Aristocracy." "The Americano," or "Wild and
Woolly," all comedies with situation humor —
the rarest article in celluloid.

Mention of two of three lens pre-eminences of
course leads directly to that third: Mr. Chaplin.
This comedian is due to receive very distinct
congratulation. On the pinnacle of success he
has been standing on his toes to go higher. He
has been working. He has toiled over each
picture with most commendable patience and
enthusiasm. "The Immigrant" is a cameo for
detail.

Mr. Selznick's entertainers include Norma Tal-
madge and Nazimova, already mentioned. Clara
Kimball Young seems to be more of a legal than
lens star of late. Miss Young's best performance
of the year was the biggest picture of her life *
"The Common Law." After which — and a pic-
ture or two — she shied headlong into the courts.

The Shadow Stage

She has not progressed since "The Common
Law." Her work has been distinctly on the down
grade. Perhaps she will come back to Zukor.

Constance Talmadge, who rriountaingirled hen-
self into wide celebrity, bids fair to be of stellar
material. She is alert, pretty, girlish, humorous
and dramatic — though dramatic to a less degree
than her sister Norma.

One individual, and one only, continues to defy
that law of nature which says that one must go
forward or fall back. I doubt not that this party
will continue just so.

Her name is Pearl White, and Pearl White's
fame is fixed and changeless as if she had been
dead two hundred years. Her empire of admirers,
and the talents by which she sways them, remain
whatever the calendar's changes.

Mrs. Castle, a popular personality, has tri-
umphed with very little acting ability and in a
vehicle so poor as "Patria." Her's is the con-
quest of an individual, almost unhelped by book
or personal talent.

Antonio Moreno has emerged from the pretty-
boy state to serious abilities.

Creighton Hale, Ralph Kellard and Doris
Kenyon have maintained their places, but have
added little or nothing to their records.

In Vitagraph nothing has happened which is
more pleasurable to record than the complete
"return" of Alice Joyce. This young woman,
leaving the screen a few years ago at her mar-
riage, retired an ingenue, and came back as an
emotional actress, winning new admirers, chal-
lenging new criticisms, essaying untried roles.
In the past few months Alice Joyce has not had
parts or direction to match her abilities, but her
year has been a great one. notwithstanding.

On the other hand, Anita Stewart, Vitagraph 's
great star, will be eclipsed in another twelve-
month if she does not get out of the rut of
ordinary stories and less than ordinary direction
into which she has inadvertently tumbled. S.
Rankin Drew, in "The Girl Philippa," demon-
strated that the Anita Stewart of today is more
potent and even more beautiful than the Anita
Stewart of last or any other year, but one play
does not account for a whole season in motion
pictures, whatever it may do on the stage.

Dorothy Kelly has done bits of good character,
now and then. So has Marc MacDermott.

Earle Williams has been conventionally unim-
pressive, and Peggy Hyland a disappointment.

E. H. Sothern left the screen just as he began
to find himself upon it. His first essay, "The
Chattel," was quite dreadful.

The whole Universal organization has felt the
impress of H. O. Davis, now the general manager
of Triangle. Almost anybody in the game will
tell you that Davis is most efficient in efficiency;
that he saved money and avoided waste, but that
his artistic influence is doubtful. Here I differ.
I believe Davis' energy directly responsible for
Dorothy Phillips, for the new phase of Herbert
Rawlinson, for Franklyn Farnum, for such
masterly things as "We Are French," for the
whole line of Bluebirds; and while some Blue-
birds have been tame, some were splendid.

Ben Wilson, George Hernandez, Mollie
Malone, Ruth Clifford, Louise Lovely, Douglas
Gerrard, Mary MacLaren, Hobart Henley and
Ruth Stonehouse have signalized the year's work
at Universal City.

(Continued on page 735)

Norma Talmadge has emerged from nervous, angular
girlhood to emotional heights.

William Russell is Mutual's best player of promise.
He possesses the appeal of pleasant youthful force.

Pearl White's fame is fixed and changeless. Her empire of admirers
remains, whatever the calendar changes.

UJlre

. tei

3 b

The Dubb Family Goes to the Movies

Hildegarde Rudin

•Decoration; by R. F JAMES

i I

MRS. DUBB suggests the family spend the
evening at the movies.
Mr. Dubb suggests Bill Hart.
The Dubb kid suggests Charlie Chaplin.

Mrs. Dubb suggests Mary Pickford.

The sweet-sixteen Dubb suggests Francis X. Bushman.

They compromise on Douglas Fairbanks.

Dubb gets the Ford out from behind the gas range.

The Henry hits on two cylinders.

His wife discovers a rip in the kid's pants.

Sweet-sixteen has just washed her hair and can't do a
thing with it.

Dubb gets half way to the theater and finds he is out
of gasoline.

He gets started again and remembers
he left his purse on the mantel.

They get to the theater that adver-
tised Fairbanks, and find the film didn't
come and a Theda Bara is running.

They take another vote.

They can't agree, so they go to the
nearest theater.

Nobody wants this star but they go in
anyhow.

The feature is just ended and the
people coming out say the show is
rotten.

A fat man steps on Dubb's corns.

The kid loses himself in the dark.

Dubb finds him and the usher gives
them seats next to the drums in the
orchestra.

Dubb leads the flock back and gropes
for other seats.

Men curse him.

Women make cutting remarks about
her.

Dubb finds two seats on one side of
the aisle and two on the other.

He stands there and debates how he shall divide the
gang.

He and the kid crawl over half a row of mad people
reaching their seats.

Two people the other side of him decide they don't
want any more, and crawl over the Dubbs.

Mrs. Dubb sees them go out and crawls intc Dubb's
row with Sweet-sixteen.

He asks her why she didn't stay where she was.
A man in front turns around and tells him tc keep
quiet.

A man behind begins reading titles out loud to his girl.
Dubb turns around and says "Aw shut up."
The kid begins reading titles aloud.
The man behind gives Dubb the laugh.
The man beside him gets sleepy and begins to lean.
Somebody in the row behind had garlic for dinner.
Sweet-sixteen asks to get the candy out of the slot-
box.

Dubb drops a dime into it and it won't work.

He gives Sweet-sixteen a dime and she
drops it on the floor.

She gets down to find it, and the
wcman next her steps on her hand —
t accidentally.

Dubb tells his wife to make her daugh-
ter sit still.

The whole audience laughs and Dubb
asks the kid what it was about.

He starts to tell Dubb and the man
next tells him to shut up.

The orchestra plays "Hearts and
Flowers."

The Dubbs discover that they have all
seen the picture before — years before.

They crawl over everybody and climb
into the whimpering Henry.

The wife wants to see a Mary Pick-
ford.

Dubb says it's time to go home.
The others all say no.
Dubb gets nasty about it and drives
home anyhow.

The engine has asthma and dies in the
traffic.
The fresh kid in the big "Marmon" advises him to
take the whimpering '"Henry" to a nut factory.

Dubb says he wishes he had gone to see the Theda
Bara film.

His wife says, "So that's the kind of man I married."
And Dubb'savs "GOOD NIGHT!"

^*LARA WILLIAMS prefers horses to gasoline buckboards. And why shouldn't she, for it was her
>-> superb horsemanship that won her big chance in the early western pictures with Essanay following
a short but successful stage career. Perhaps you have seen her in some of those Italian girl
characterizations; she does them splendidly Miss Williams appears in Triangle productions.

Clothes

SOME NEW A N<£>
CHARMING COSTUMES
DESIGNED F 0%
MARY PICKFORD

Can one imagine a more exquisite negligee
than the one shown above? The body of
the garment is made of pink satin and over
this is worn a cape of lace. The effect is
charming indeed. The boudoir cap is of
pink chiffon, trimmed with lace and tiny
ribbon roses.

Magnificent, is the word which best de-
scribes the gorgeous robe of Royal ermine
shown at the right. Hundreds of skins
perfectly matched were used in the making.
It is lined with pink brocaded satin. The
hair ornament, so becomingly worn by
Miss Pickford, was designed by Lucille.
It is made entirely of ribbons, lavender,
pink and gold.

Copyrighted photographs bv Uartsook. l.os Angrles.

(Above) Quite wonderful is
this little evening gown of
white net, trimmed daintily
with rows and rows of ruffles.
At the waistline a touch of
color is supplied by a narrow
band of blue ribbon and a
spray of pink and blue roses.
The shoulder straps are
fashioned of iridescent beads.

At the right, a Madame Frances gown suit-
able for informal evening wear. The ma-
terial chosen was soft, pink taffeta; the
trimming, fluted ruffles. The yoke is of
flesh-colored chiffon, and a pleasing color
contrast is made in the girdle, of Alice
blue velvet.

It would be hard to find a
lovelier frock for summer af-
ternoons than the one shown
above. It is of she^r white
organdie effectively trimmed
with wide lace insertions and
little groups of daisies. The
hat worn with this dainty
dress is also of organdie, a
bit uncertain of line and
trimmed simply with pale blue
satin ribbon.

/^.LADYS BROCKWELL admits being born in Brooklyn. Stock and vaudeville preceded pictures
VJ with Gladys. Then came the silverscreen with Lubin, New York Motion Picture, Fine Arts,
Universal and Fox. Gladys is one of the few actresses who can dash from ingenue leads to supervampire
characters and back again with ease. She was featured in "Her Temptation," a Fox production.

"Holier Than At last we can say it, with mov-
j-l />> ing pictures on the sanctimo-

nious end of the comparison.
The camera has been accused of invading
the home, intruding upon the wedding, dese-
crating the funeral, blaspheming disaster by
making it a show, and trading upon every zephyr
of scandal or whisper of misfortune even as
Wall street barters the miseries of mankind.
And to a certain extent it has done so.
But—

It has never made such a monkey of itself,
such a vulgar thing of affection or so coarse a
sentiment of patriotism as the popular song.

The camera has swept the battle-fields, mimic
much more than real, but it has remained for
the jesters of tin-pan alley to find nothing but
a barber-shop tune in the fortissimo of artillery
fire, nothing but sick-at-the-stomach "poetry"
in the sublime ambitions of democracy in gen-
eral, and the hopes and fears of democracy's
individuals in particular.

The mightiest conflict since stone axes in-
spires these majestic lines:
"Little girlie you look sad,
I'm afraid you're feeling bad,
Because he's leaving,
But stop your grieving
He don't want you to feel blue
For it's not the thing to do;
It'll soon be over
Then he'll come marching back to you."

Shades of Julia Ward Howe!

The Mayor and
the Major.

Since Chicago is America's
second city and one of the
greatest in the world, its
artistic as well as material doings have wide
reflection.

For a long time Chicago picture censorship
has been as queer a bird as Chicago municipal
politics. Mayor Thompson, who distinguished
himself a little over two years ago by his Napo-
leonic settlement of a great traction strike, has
straddled every fence in sight since the war
came home to America, and, as Alexander
yearned for worlds, so the Mayor has longed for
more fences upon which to divide himself
militarily.

His ultimate chance came when Gen. Joffre
was, by a unanimous expression of Chicago's
resolute citizens, invited to honor the king city
of the lakes. Thompson demurred, fearing that
"the German element might be displeased."

Major Funkhouser — who may be anything
but Teutonic despite his Teutonic name —
appears to have taken his cue from his civic
master. Upon Mary Pickford's sturdy demo-
cratic expression, "The Little American," he

vented the same doubt that his chief cast upon
the hero of the Marne. At first he refused to
license the exhibition for Chicago — then did so,
somewhat precipitately, as he beheld the tidal
wave of public opinion poising its foam-crest
far above his head.

The Mayor and the Major have stepped
right out of America, and have stepped upon
themselves.

'Paying the Before the matter of authorship

d..th~- adjusts itself the manufacturer

/tut nor. ' . , i

^ must right one wrong that is

wholly of his making.

He must, in accord with the publisher or the
theatrical manager, give the author an equitable
share of his work's profit.

If you write a book or a play you get, in
addition to any lump sum agreed upon, a roy-
alty. That is, you get it provided you are not
idiot enough to make a flat sale, if your novel
or your comedy brings in a lot of money, you
get a lot of royalty. If your manager reaps no
reward, neither do you. So far, no more equit-
able plan has been devised.

The film manager, in almost every agreement
with an author, fights free of royalty. He buys
for a lump sum. His argument is that the.
astoundingly intricate system of film receipts —
and indeed they are intricate! — makes an im-
partial figuring of royalty, upon any basis, almost
impossible. In reality, the manager-manufac-
turer figures less on difficulties of accounting
than on the possibilities of the piece. He plays
it, and buys it, for an average picture; he hopes
it will be a knockout; sometimes it is; more
often it isn't. So in the end, the manufacturer
is stung more frequently than the playwright,
though he doesn't think so.

The Big Theatre The high-class photoplay

U„ra t~ C#>... house, conducted on lines

Mere to Stay. ,' « . ,

a worthy any theatrical tra-

dition, is no longer an exotic of the cities, nor an
experiment among the managerially adventur-
ous. It is here to stay, and has been recognized
and adopted by the public-general, just as that
public took to its heart the multivarious services
of the great department-store.

The big theatre, with its various commodi-
ties of orchestra, artistic surrounding, drama,
travel, education, comedy, news and song, is
the department store of the picture play.

The arrival of the big theatre is a very seri-
ous matter for the manufacturer, for it means
a complete readjustment of picture-making to
suit the new needs. The big theatre must have
better pictures and fewer.

Photoplay Magazine

"Ye Compleat Oh, for an Izaak Walton of the

SleeOer " picture-show, and for a blessed

^ brochure with such a title!

We are revolutionary enough to maintain
that he who has never slept in a picture-show
has missed one of the most charming experi-
ences in modern life.

We are not advising the photoplay-shop as
a lodging house, nor do we feel that the sleep-
ing-treatment should be administered to every
picture. In fact, our idea of a good picture is
one that scarcely lets you wink.

Nevertheless, the mediocre picture has been
many a business man's siesta, the somnolent
digester of many a good lunch, the surcease
after a day of toil.

How often, at night, has the weary mother
nodded through a travelogue ; the little boy
curled comfortably off to slumberland in a
problem-play; father, settled for rest amid the
billing of the sentimental lovers — only to wake
refreshed when the fight starts, and the drum-
mer whacks out his audible shots.

The sneers of all the nerve-busting alert not-
withstanding, there is much to be said for the
picture that brings you relaxation and repose.
Ask your doctor if the picture that put you to
sleep didn't help a bit?

Up to the The photoplay authors of America

a .1 must, within the next year or two,

decide an important question for

themselves and the whole future of the screen.

Is the great art of the picture story to be a
reflection or an original image?

In other words, are the projecting machines
to visual novels and put silence and real out-
doors into spoken plays; or are they to- cast
shadows of their own creation, arresting life as
it has been caught directly for the lens, unfil-
tered by book-covers or theatre-curtains?

No art can claim substance, merit and dura-
bility which is not an original expression.
Roman art is a misnomer, because Rome had
no art; what she called her art was a reflection
of the art of Greece, as a base, with the lesser
arts of other countries amalgamated into some-
thing that looked new and wasn't.

It is within the power of the camera to sieze
upon life from a wholly new angle; to put upon
life a penetrative illumination such as it has
never received in all history; to spread wide the
carpet of light for visual Shakespeares and
Miltons who are to come.

Or, the camera may continue a toy, an
amusement, a mere illustrator of best sellers.

It is, in its last analysis, up to the authors.
The photoplay manufacturer, despite his not un-
natural liking for the great advertising impetus
of a popular novel or a triumphant play, will
likewise turn an eager eye upon the man who
can write tremendous original stories for the
screen. One writer, and one manufacturer,
might in nine months' time turn the whole busi-
ness around and head it in the other direction.

These Ought A celebrated weekly which

i L Qt r J prides itself upon its accurate
to beotrafed. . * c w _ i a •

J treatment or all actual affairs,

artistic or material, featured a film fiction story
recently in which a serial star — her day's labor
ended — retired to the contemplative shadows
of a room in the third-floor back, and, from
time to time, partook frugally of such food as
her small earnings permitted. Is it possible
that these publishers never saw a serial leading
lady? Sheba keeping that date with Solomon
was a demure wren, compared to one of these
peacocks visiting her milliner. The only serial
leading lady that we know well enough to greet
by her first name at six yards goes about in a
couple of Rolls-Royces; not exactly at the same
time, since she uses the cars as alternates. And
that fiction story should be strafed simply
because such things are not being done.

Another favorite fiction topic is the spry
little heroine who waited 'steen weeks on the
edge of the lot, and, when Mme. Longshot be-
came peeved or ill, leaped into her place and
became a star in 200 feet of "take." This mis-
representation is insidious and wicked where
the other is only an inconsequential misstate-
ment. This makes young girls believe that
screen success is luck, favoritism or accident,
whereas accidents and luck made not one of
the screen's stars. Success in the celluloids is
like success on the stage, or in any other art: it
is won by persistent application, considerable
time, a lot of patience and more or less brains.

"Not Under No film-maker of consequence

My Name. " W,°M7 Tsu.ej in the?e asepticdays
3 or 1/, lurid sex-plays, prurient

white-slave celluloids, unwholesome problems,

or even salacious comedies. The standard

brands are clean.

But there is a worm in the apple-core.

The spotless manufacturer has one get»by to
dirty money.

He winks at the offering, but says, solemnly:
"Not under my name!"

And so it came to pass that the profits of
several dull, unclean photo plays have gone into
the pockets of respected magnates who serve a
fine line of customers with sterilized goods, and
who are absolutely inexcusable in state-righting
mawkish, vulgar subjects whose very agents
they would be ashamed to converse with in
public places.

It is true that this practice is not wide-
spread.

It is just common enough to be ominous.
In self-protection the men who control Amer-
ica's photoplay output should not yield their
releasing systems and their private influence to
anything which may not emblazon their names.
This does not apply wholly to films of sugges-
tion; it applies also to the "get the money"
manager who, as a sub-corporation or another
individual, exploits thatwhichischeap anddullto
turn what we may term the junk-dealer's penny.

Photo by White

oA Melody for the Viola

Come girls, rwe're going into pictures/' said mother. So here's Miss Dana

By Randolph Bartlett

TO tell properly the story of Viola Dana it is neces-
sary to back into the past a distance which might
be described in the Kentucky mountaineer's meas-
urement, "Three hollers and a look."
One whole generation ago a certain young woman aspired
to a stage career. This was long before little Miss Dana
was even the germ of an idea. But the young woman's
parents frowned upon her ambition. Yea more — they not
merely frowned, they spoke in stern and arbitrary terms.
They wondered how a daughter of theirs could so far forget
her careful upbringing as to desire to become a member of
that questionable profession. They could not understand
it. So often the very best of parents do fail to understand
the cherished desires of youth, and this young woman's
parents were perfectly good parents so far as they went—
but they stopped short of perfection in this regard. They
could comprehend the ambition of a young woman to be-
come the leading soprano of a church choir, or even, as a
rpecial concession, to play quite the best game of croquet
in the neighborhood. But the stage — goodness gracious —
how preposterous, not to say shocking.

So the young woman silently smothered her disappoint-

ment— silently so far as the family circle was concerned.
But from time to time she confided to other rebellious
spirits of the neighborhood that when she grew up, and
married, and had daughters, she would see to it that they
went on the stage, in order to make up to the world what
it had lost through the unreasonable attitude of the parents
before mentioned.

Now while with many of us, the sine qua non (Latin for
"Can't get along without it") of childhood becomes the
jest of later years, with this determined young woman the
idea kept growing in intensity. She did grow up. She did
marry. She did have daughters. And all three daughters
are now on the stage — the shadow stage to be exact.

That is the true story of how Viola Dana received the
impetus which has sent her skyrocketing through the stage
firmament, until at nineteen she is one of the pet stars of
the film public and the Metro pictures organization. The
other two young women who had the good fortune to be
born of the same uncompromising mother are a still
younger sister, Shirley Mason, and an older one, Edna
Flugrath, who exercised her right of priority to retain the
family name for professional purposes.

Photoplay Magazine

To the close observer it might seem that Mrs. Flugrath's
determination to launch her daughters upon a thespic
career was considerably handicapped by her wealth of
blessings; for while it is no very great task to find a place
upon the boards for one charming daughter, the task of
placing three at a time, all still so young at the beginning
of the enterprise as to require the constant maternal pres-
ence, and all so nearly the same age, would appear almost
appalling. Let Viola tell it:

"My earliest and happiest recollections are of the time
when I was about five years old, and Shirley was half past
three or a quarter to four. We were taught to dance —
I don't mean just toddling around, but really going through
definite, regular steps. Mamma used to take us to clubs
and such gatherings, and as far as I can remember, 1 be-
lieve we were quite a success — possibly more on account
of being so little than because of talent. So you see,
we lost the sense of shyness with our baby teeth."

To interrupt — when Miss Dana says she lost the sense
of shyness, she makes a statement that may be misleading.
The average young woman who has been on the stage all
her life, acquires a certain effrontery of manner — a calm
cocksureness. Miss Dana lost only the shyness of em-
barrassment. She lost none of the delicate reticence that
is one of the most exquisite of charms in woman.

To proceed: ''When the time came for us to carry out
mamma's girlhood ambition, and she started making the
round of theatrical agencies, the fun began. A manager
who wanted one child seldom wanted two, and when three
were suggested he would usually ring for the riot squad.
But mamma found one who wanted two, finally, and talked
him into rewriting the piece to make room for a third. So
we began. And so we continued. Having done it once
we — or mamma — had the confidence to do it again. In
the next few seasons goodness knows how many plays and
things had to be changed to please her and fit us. It
sounds quite funny now, but it was just business then."

Of course everyone knows it was "The Poor Little Rich
Girl" that made Viola Dana's reputation, and of course a
lot of jealous cats say if it hadn't been for that wonder
play the moving picture people would never have noticed
her. Is that so? It just shows how little some people
know. Viola Dana was in pictures before Eleanor Gates
dreamed the beautiful dream that blossomed in that ex-
quisite production, and she would be a picture star today
if she had never been on the stage. Because:

While the small person of Viola Dana was first intro-
duced to the world in Brooklyn, in the fullness of time her
abode shifted to .the other extreme of Greater New York,
namely the Bronx. Not far from her home — or rather the
home of that indomitable mother — was the old Edison
studio. So far as could be gleaned from an hour's chat
with Miss Dana, Mrs. Flugrath never in her life over-
looked an opportunity. Returning from a tour of the
provinces one summer, Mrs. Flugrath considered the geo-
graphical location, looked upon it as a dispensation of
providence, and said to her chicks:

"Come girls — we're going into pictures."

She had made up her mind, and it would have taken
more than Thomas Alva himself to have stopped her, even
if he had wanted to, which he would not have. So Viola,
and Edna, and Shirley went into pictures — and stayed in.
barring a few excursions to the footlights. Of these first
experiences Viola says:

"It was Shirley they wanted most — she was so cute and
clever and little. Edna and I just trailed along."

From which it will be seen that Viola is a great booster
for her family. The facts, established by the theatrical
records, show that it was Edna who burst into full blossom
first, though not on the screen. At sixteen this young
woman was premiere danseuse of the Metropolitan Opera.
Shirley achieved fame last of all, her first unmistakable
starring appearance being in "The Seven Deadly Sins."

"I have been playing a lot of married women, but I hope
they'll give me girl parts"

Midway between came the most brilliant of the trio —
Viola — capturing the public heart in "The Poor Little
Rich Girl," and holding it steadily ever since.

The word which is synonymous with Viola Dana is
youth. At various times in a long career of observation
of stage ladies, the present chronicler has tried to define
the spirit of youth — to take it apart and see what makes
it go — and each time he has been smugly satisfied with
the results. With this in the background he will refrain
from observing that Viola's secret is THE SECRET of
youth, but at least he must insist that it is among the most
interesting and effective, even though she has not figured
it out for herself. The remarkable thing is that it is un-
affected by the fact that Miss Dana has lived all her life
in New York. To remain young in the midst of all those
square miles of solid masonry, where house crowds against

A Melody for the Viola

■1/

house, where so many streets are constant reminders of the presence of poverty and
dissolution, where there is such a dead mass of dullness, where the majority is com-
pelled to herd rather than live — to remain young in spirit with these things constantly
in the foreground, even if you do not have to mingle with them — that is a real
achievement. And here is the secret:

Perhaps I have given some suggestion that Viola Dana was blessed with a mother
who refused to recognize defeat. What to others would have been
defeat, to her was merely a delay, an obstacle to be overcome.
This means the possession in generous measure of one certain
quality — the quality which, by the way, has made the French
nation the most loved and admired in the world — buoyancy, re-
siliency— the quality which causes its possessor, as Lowell said,
"to bend like perfect steel, and spring again, and thrust." Viola
Dana has inherited a full share of this attribute.

When this was suggested to Miss Dana, she objected, first of all,
to any remark derogatory to New York.

"Why, New York keeps you young," she insisted.

"That is because of the contrast," we urged patiently and
somewhat laboriously. "If you have the youthful spirit, New
York fosters it; if you tend toward age, New York will make you a Methuselah at
twenty. It's like this — if you put a toy balloon in a tub of water it jumps to the surface,
and refuses to be kept down. It isn't because the water has any special interest in
the balloon, or wants it to float and helps it do so. It is because the water is so heavy,
and the balloon so light, so buoyant, that you can't keep the balloon off the surface
without using brute force. But if you kill the buoyancy by puncturing the bal-
loon, it will sink to its death at once. It is the same with folks. The very exhilara-
tion of floating on the top of the huge mass which New York represents, keeps you
young."

Miss Dana listened to all this quite respectfully, as behooved a young woman in the

The word that is syn-
onymous with Viola
Dana is youth. Even
New York cannot pile
years on her wonderful
child-like charm

presence of her elders, and if she had so much as nod
I would have said that she said it herself, but she only
pursed up her lips and gave the orator one of those side-
long, birdlike glances, that is a nice girl's way of saying, "I
don't believe a word of it, and
New York is a perfectly lovely
place." But as it is too good
to leave out, I have put it in
anyhow.

I'm sorry they didn't get
'The Poor Little Rich Girl'
for me," she said, tactfully
changing the subject so as not
to queer herself with Photo-
play Magazine. "It was the
one thing I wanted to do, of
course, to perpetuate, in a way.
the part I created on the stage.
But as I couldn't get it, I'm
glad Mary Pickford did. She's
such a dear. But I have been
promised 'Blue Jeans' as a
consolation."

Among Miss Dana's recent
Metros, she has had two East
Indian roles — one that of a
nearly abandoned wife in
'God's Law and Man's," and
the other a princess in the
amusing ''Lady Barnacle." She
has just recently finished a
story by Willard Mack, "Alad-
din's Other Lamp," her role
being that of a slavey in a
boarding house. Two pictures
made with Edison, ''The Cos-

Photoplay Magazine

Viola Dana as the East Indian girl in "Lady Barnacle,"
one of her recent s accesses

sack Whip,'' and "The Stoning," she ranks among her best

efforts.

I have been playing a lot of married women and things

lately, hut they have promised to give me more girlish parts

in the near future," she said,
adding gravely. "I want to do
that sort of work while I am
still young."

What is your next pic-
ture?"

"We haven't decided on the
title. It may be called 'The
Girl Without a Soul.' I play
twins. One of the twins is a
sort of babv vampire. I love
it."

And the little person, curled
up in a big chair, giggled to the
accompaniment of a chord on
a ukelele.

Which busted up the whole
interview with laughter on
both sides, which was just as
well, for at that moment Miss
Dana's ownest own director-
husband, John Hancock Col-
lins, entered with the announce-
ment that the new Packard had
been delivered and was waiting
for her ladyship's approval,
and there was as much chance
of doing any more interviewing
as of getting a kitten to aban-
don a ball of worsted to engage
in a discussion of the binomial
theorem — whatever that is.

This abandoned tunnel made a most desirable location for the filming of interior mine scenes. A lighting plant was installed in
the tunnel. The "Min?r" is Antonio Mor;nj, his companion is Mary Anderson.

The Photoplay in Nippon

At right — The Japanese
poster artist's conception
of American stars is as
startling as it is violent.
Here is one of Francis X.
Bushman.

It's hard to get past the little ticket choppers with their
kimonas and white aprons -they smile so alluringly!

THE moving picture
theatre has done
something for the
women of Japan that no
other institution has ac-
complished; it has pro-
vided a means of evening
entertainment where they
may go with their hus-
bands and children.
In Yokohama and
mmmmmmmmmmmmmmmmmmammmmmmJ . Tokyo the movie theatres
are segregated in certain districts. There is a "Theatre Street" in
Yokohama where twenty-five of the picture houses are located.

One always removes his shoes when entering a Japanese home,
hotel, temple and some shops and the picture house as well.

At the opening of the show the manager 'steps upon the stage
in the inevitable frock coat, which is a mark of formal distinction
all over Japan, at every function, and he will give a rather tedious
talk on the merits of the film to be shown.

If it is an American film, the opener will be a speaker who
describes the scenes and action in Japanese. Now, a Japanese
play is largely dialogue with very little action. There may be a
thousand feet of film showing two or three characters seated on
the floor. The speaker comes into play again for the audience
cannot know what it is all about unless the silent actors' conver-
sation is repeated for them.

\r&m

Theatre fronts are done so gorgeously and so true

to life that you don't mind paying homage by

taking off your shoes ere entering.

Rickisha runners always suggest the movies to tourists before

they do the temples. There are 25 on one street in Yokohama.

The Odeon is considered one of the best.

~-**r

Mary's

Brother —Jack

Gradually, he has overcome that handicap
and is now a star "On His Oism" —

By Kenneth McGafFey

THE next worst thing to being the husband of a
celebrity is being a celeb's brother. It really is a
terrible situation and an awful handicap. Every-
where you go people say: "Oh, yes, you are so and so's
husband, or so and so's brother." You scamper around
in a glare of reflected glory that dims any illumination
you try to pull yourself. If you do happen to stage any
pyrotechnics the celeb, gets all the credit for it anyway.
It is a sort of "heads I win, tails you lose" proposition.
There is no chance of getting away from it unless you
burn the buildings, jump the reservation and go on the
warpath by yourself.

That's just what Mary's brother, Jack, is doing. He
is out now pillaging the valley, firing happy homes,
adding fresh scalps to his belt every few minutes and the
old settlers have hid out in the cornfield awaiting the
arrival of the soldiers to chase the renegade back where
he belongs.

At the age of
i 2 when h e
graduated from
a military
school.

• - '

vs:

- ''U

Being three years younger than his famous sister
and having to submit to being patronized made his
ointment look like a sheet of cafeteria fly paper. When
he went out he was picked on as Mary's brother and
when he came home Mary bossed him around and told
him what was good for him in maternal fashion that
was most exasperating. Then there was his next
older sister, Lottie. After Mary would finish telling
him to stop scuffling his feet and to fix his tie
Lottie would put in her oar and suggest a little
soap and water on the hands or some other trivial
item.

Of course the sisters could only pull this on
Jack when Mother was not around. When
Mrs. Charlotte Pickford came into the scene
the "when a feller needs a friend" stuff was
all off. No one dared pick on Jack then. Just
how Mrs. Pickford keeps her family of tal-
ented and petted children in their domestic
place is worthy of the consideration
of the Hague Peace Tribunal if they
are not all in the trenches.

There is Mary, the world's
most popular screen idol; Lot-
tie, a most popular screen star
and at present the possessor of
the only baby in the family,
and Jack, who is on the dra-
matic warpath and refuses
to be spoken of as Mary's
brother.

And all under the same
roof. Blue notes are liable
to jar the musical ear of any
household and flattery and
fame are bound to creep un-
der the epidermis of the most

callous, but the thatch is still intact on the Pickford domicile and press
agent's adjectives seem frail and anaemic when you get one of the illus-
trious trio off in a corner and started telling how grand the other two
To hear Mary tell it Jack is the white hope of the Pickford clan, and
as for Lottie's baby — well, Mrs. Pickford strolls about in her calm, quiet
way, takes complete charge of everything without the
slightest argument and is always consulted by all on the
most trivial matters. They are all her children. And in
spite of the fame they have won the head of the house is
still in its proper place.

You see Mary had the jump on Jack when it came to

stage experience. She had reached the venerable age of

six and had been a footlight favorite for two years before Jack, at the

age of three, even saw a stage. Jack made his theatrical debut as one of

the children in a play called "The Little Red School House." Mary was

Two views of
Jack being in-
itiated into the
inner circles of
cowboy life.

Photoplay Magazine

in it too and when Mrs. Piekford was not around had to see
that Jack's baby footsteps did not lead him into strange
places; that he did not pull the theatre cat's tail during sob
scenes and that he didn't drip taffy candy when it came his
time to step before the footlights.

When Jack was about eight years old Mary had her
feet firmly on the ladder to success and still having to
watch over Jack began, according to that individual "to
get a lot of new ideas."

"Mother, we should send Jack to school," Mary would
say. "Jack should have some music lessons," or "Don't
you think dancing lessons would be nice for Jack?" Jack
didn't have a chance but was packed off to St. Francis
Xavier College to get a lot of information out of books.

Jack held on pretty good — wasn't threatened with ex-
pulsion more than once a week — until he was thirteen.
By this time Mary was acting for some new fangled thing
they called moving pictures for the Biograph Company, so
Jack went over and declared himself in. When he wasn't
working he was home studying under the supervision of
a. tutor except the days he was scheduled for a music
lesson. Those days Jack vanished into thin air and did not
appear until the music teacher had given up in despair
and departed.

When Mary went with the Famous Players Jack saun-
tered after and in addition to playing one lead opposite
Marguerite Clark in Wildflower played small parts.

Everywhere that Jack went he got this "Mary's brother"
stuff until finally he held an executive session with him-
self and said: "Here I am, free, white and eighteen" and
all I have to show for myself is the fact that I am Mary
Pickford's brother — that's some distinction, but I think
I need a little reputation on my own hook." Right then
the war dance started, and trouble began to brew about
the reservation. Adolph Zukor, President of the Famous
Players-Lasky Corporation, had always been an adopted
father of the family so Jack called upon him and demanded
a chance to get a name for himself. Mr. Zukor with
his unerring insight and admiring the vigorous young man
who stood before him demanding "a place in the sun"
gave him a chance and Jack's name first appeared in
electric lights in "Seventeen" the Booth Tarkington story.
Jack made good in this and then in "Great Expectations."
Louise Huff was his co-star in both of these and then the
Famous Players people let Jack star alone in "The
Dummy" and suddenly awoke to the fact that young
Jack was making good on his own and the reference to
him as "Mary's brother" began to disappear.

Lionel Barrymore and sister, Ethel, studying a scenario at the Metro Studios where the celebrated star is being directed by her celebrated brother.

Ali

ice

for Short

Miss Joyce talks of things in
general and in particular
of her tiny daughter, Alice.

By
Frederick James Smith

WHAT do you think of the
screen as a career for a girl?"
I asked in an inspired mo-
ment. Inspirations like this
come rarely on a hot summer day, even if
you are close to the sea with a pretty girl
sitting before you in a charming little
bathing suit.

Alice Joyce laughed and kicked one sun-
burned foot skyward.

I repeated my question impressively.

But Miss Joyce merely giggled, seized
the aforementioned foot and placed one
sandy toe gracefullv in her mouth.

What? . . .

Of course, this was Alice Joyce Moore,
Jr., aged twenty months. I say this to
allay the anxiety of apprehensive movie
fans.

Alice Joyce Moore, Sr., has some inter-
esting thoughts on the subject of work for
women in general — and Alice, Jr., in par-
ticular.

"I could never be dependent," said Alice,
Senior. "Never — I believe every woman
should have some work in life. I feel that I must earn my
pocket money. I could never see a gown in a Fifth
Avenue shop window and then hurry home to ask the lord
of the manor for the wherewithal to buy it.

"No, indeed, I must earn my own money. I want Alice
to be self-supporting, too."

"Are you planning a screen career for her?" I asked.

"I don't think she will be a picture actress," replied Miss
Joyce. "The stars say other things are in store for her.
But, if she does decide to follow me, I shall help her in
every way. The screen and the stage offer no more dangers
to a young woman than any other business. It all depends
upon the girl herself.

"But I do not want her to be a stage child. I shudder
every time we use a typical theatrical kiddie in a photoplay.
They're wise beyond their years, precocious, old in every-
thing but age. Poor children, they lose out on their share
of childhood. Instead of living in the kiddie's world of
dreams and make-believe, they're dragged from studio to
studio by thoughtless, money seeking mothers."

I reminded Miss Joyce of her remark anent the stars'
prophecy for Alice, Jr.

"They say that she will be a great musician," explained
the star quite seriously. "Probably a violinist. I hope so.

Alice Joyce and her baby daughter, Alice Joyce Moore.

for 1 dearly love music. Besides, it is a profession away
from all commercialism."

Miss Joyce believes that one's name has a vital part in
bringing about success or failure. It all depends upon
the sound vibrations, or something like that, said the star,
who further remarked that, in order to get Alice's vibra-
tions just right, a middle name had been omitted. She's
just plain Alice.

Mamma Alice Joyce is an interesting student of the
motion picture. "I'm not a great actress," she says
frankly. "I realize all that. I'm at my best in simple,
direct roles — roles that avoid over-emotionalism. I believe
that's the serious fault of screen acting. Either one over-
acts or under-acts, according to the director's or one's own
lack of discrimination — or both."

Miss Joyce glanced at herself in her little vanity case
mirror — and smiled. "I'm distinctly not a tailor made
girl, neither am I a clinging vine," she said. "I've never
been able to understand just why I seem always to be cast
for the leader of a band of crooks, counterfeiters, moon-
shiners or occasionallv detectives. Take my part of Mary
Turner in 'Within the Law,' for instance. I am not a
leader. I can readily assimilate the ideas and suggestions
of others, but I couldn't march ahead.

Photoplay Magazine

"I want little Alice to understand her limitations if
she becomes an actress. Perhaps she will have all the
things I lack."

Little Alice didn't seem exactly worried about the
future at that moment. She was doing a doubtful
( harlie Chaplin walk across the bathing beach.

"What type of role do I like?" continued Mama
Joyce, adjusting her parasol at just the right angle to
permit observation of Baby Alice. "Not a sex analysis.
I detest that. Not a colorless ingenue. I can't do that
sill}' sort of thing. I like a part that provides some
depth or shading of character. I'm woman enough to
like a role with an opportunity to dress. I guess most
of all that I like photoplays with distinct atmosphere."

Miss Joyce says she detests the conventional screen
star. 'They simply play themselves — with now and
then a moment of over-acting, called the 'big scene.'
Perhaps that's why I love Mae Marsh. She lives a
part."

Miss Joyce has all the beauty that brought her from
art model to movie star with the Kalem company back
in the screen's palmy days. Her personality is yielding
and gentle. You would half expect her to be an old-
fashioned girl.

But she isn't. No Alice-Sit-by-the-Fire is Miss
Joyce. She is frank in analyzing herself. There is no
make-believe about her. "I like the open country pretty

A recent portrait
of Alice Joyce by
Campbell Studio

Miss Joyce has mastered the dif-
ficult art of make-up. Here she
is seen in her dressing room add-
ing the final touches to her toilet.

Five Years Ago This Month

well," she explained. "But not deeply. I like to take a '
walk in the woods sometimes. But not alone. I'm not
fond of solitude. I love to go about in the evenings. The
theater, the cabaret, the midnight city life quite appeal
to me. Not every night, of course, because one couldn't
do it and keep up with the strenuous studio life.

'Only a little while back I lapsed into the habit of
remaining at home each night. The studio days seemed so
hard. I let things slip. And I became morose. I wept if
any one as much as looked at me. So I decided that I
wasn't built for solitude."

All of which may surprise the Joyce fans who have
worshipped her as a simple country lassie since she used
to play mountaineer girls opposite Carlyle Blackwell in
the old Kalem days.

The Joyce career has more of a touch of romance than
is usual even in the movie world of romance. Alice Joyce
was born in Kansas City in the late '8os, her father, John

Joyce, being a smelter worker. The young woman received
her education in a convent at Annandale, Md., and, when
financial conditions at home became pressing, she came to
New York to earn her living. Miss Joyce's first position
was that of a telephone operator in the Gramercy exchange.
Her unusual type of beauty began to attract attention and
she came to pose for artists. It was but a step from art
model to the picture studio. Back in those days the
director demanded daring as well as prettiness. Alice
Joyce passed the test — and the days of struggle as a 'phone
girl became memories.

I attempted to shake hands with Alice, Jr., at parting.
But the future violin virtuoso wept — loud and lustily.

Perhaps she had the right idea about interviewers.

She kicked the sand. "Wow-ow!" she shrieked, with
the accent on the first syllable.

I intend to ask her later just what she meant by that
remark.

Five Years Ago This Month

Elbert Hubbard contemptuously dubbed
them "movies." The word "photoplay"
was used so seldom that the opinion was
current among those in the know that it
wouldn't last long.

Broncho Billy Anderson's name was a
household word. Out in Niles, California,
he was turning out "westerns," at the rate
of one per fortnight, which earned for
him the title of "the world's most popular
picture star."

Congress first took notice of the mov-
ing picture business. The copyright law
was amended so that it became illegal to
make adaptations from popular novels for
the screen without first securing the
author's permission.

Jack Kerrigan and his company of cow-
boys rode up the main street of Santa
Barbara and inaugurated America's studio
in that town. That was at the time when
Jack sent a box of candy along with every
letter he wrote to his matinee-girl re-
tainers.

Little Mildred Harris was attending
school at a convent in Santa Monica and
acting in Bison films after school hours.

Prize fighting pictures became a thing
of the past in the United States when
the House passed the Senate bill prohibit-
ing the transportation of such films be-
tween the different states and territories
and from foreign countries.

Then, Mr. Thanhouser invented the
"split" reel. He found that the film of
"Miss Robinson Crusoe," when trimmed
off, only lasted for a reel and a half, so
it was necessary, in order to give the
exhibitors their money's worth, to add
another five hundred feet of "animal
stuff" from the New York Zoological
Park, and so achieve the customary two
reels.

Helen Gardner was claiming the distinc-
tion of being the first vampire, while
Louise Glaum was playing ingenues in
c :tock company in Chicago.

'"The Coming of Columbus" with three-
hundred people in the cast, among whom
were Marshall Stedman (Myrtle's hus-
band) as the king, Kathlyn Williams as
the queen and Charles Clary as the
Genoese navigator, was- not a commercial
success. It was three reels long, and two
reels for a nickel was the rule. So what
could an exhibitor do with three reels?

A saloonkeeper of Chicago observed a
falling off in his trade. A few doors from
his saloon he found the youth who had
patronized his place, with hats off, en-
joying a picture show. Then one started
on the other side of his saloon. This was
too much. He sold out, went into the
moving picture business and made more
money, with a clearer conscience, than in
his former business.

John Bunny returned from fourteen
weeks spent in England filming "Pick-
wick" and other distinctively English sub-
jects.

The "movies" first broke into society.
This was accomplished when the Selig
Company produced a "stupendous thou-
sand-foot feature" (they measured them
with a foot rule in those days) called
"The Polo Substitute." Hobart Bosworth
played the lead, but three titled English-
men, in Pasadena at the time for the in-
ternational polo matches, condescended
to appear as "extras." It was doubtless
this fact which induced the manager of
the "richest suburb's" fashionable hos-
telry, the Hotel Maryland, to offer Di-
rector Colin Campbell the use of his
premises and servants for some of the
scenes, and to entertain the entire com-
pany at luncheon afterward.

They were letting Marshall Neilan play
second leads then, and regarding him as
"a young man of promising ability."

It was first suggested that the filmatis
personae, or cast of characters, be placed
before the public in conjunction with the
film itself. The producers were begin-
ning to think that people might like to
know who the players were.

Wilfred Lucas, Fred Mace, Mack Sen-
nett, Charles Mailes, Dell Henderson,
Eddie Dillon, Blanche Sweet, Clara Mc-
Dowell, Dot Bernard, Mabel Normand
(known as "the diving girl"), Mary Pick-
ford and Kate Tanquary were on Bio-
graph's payroll in Los Angeles, but their
salaries didn't cut so many figures then.

Three hundred dollars was the average
cost of production per reel, all salaries
included. The possible exception to this
was in the case of Sarah Bernhardt, the
first important stage star to turn to the
screen, and who received the princely sum
of three hundred dollars all by herself
from a Parisian film company.

The first under-water pictures were
taken, in Scotland, by Dr. Francis Ward,
who used a concrete tank fitted with a
window, behind which his camera was fo-
cused on the otters and water birds he
was experimenting upon.

The press agent had not yet come into
being, as far as pictures were concerned.
It was generally maintained that the film
business was not a show business, but
an industry, and, as such, required no
press agenting. Shortly after this, how-
ever, Charles Clary rescued two members
of his company from a burning building;
Anna Nilsson was operated upon for ap-
pendicitis; William Duncan, doing prison
stuff at the Colorado State Penitentiary,
was mistaken for an escaping convict by
the guard and shot at; Ruth Stonehouse.
Helen Dunbar, Francis Bushman, Bryant
Washburn and the rest of their company
were marooned on Devil's Island, in Wis-
consin, in a terrific storm; and Evebelle
Prout narrowly escaped drowning.

Who's

Married to

Who

THE make-believe romances of
the screen made in the glo-
rious California sunshine or
in the Cooper-Hewit.t glare of the
eastern studios are not the only
ones in which photoplayers take
part. Very often they have honest-
to-goodness love affairs and each
month we record a few film nota-
bles who have been victimized
by Dan Cupid. Moreover these
matches prove beyond a doubt
that women do not always marry
for a meal ticket, and men for
apple pies like mother used to
make.

Above — -The ever- youthful Fannie
Ward and her husband Jack Dean
at breakfast in their beautiful Cali-
fornia bungalow. They recently
severed connections with the Lasky
Studio.

Right — Charlotte Burton taking
charge of William Russell's cashbox.
They have played opposite in scores
of picture romances. Miss Burton is
a bride of a few months. Their home
nestles high in the Santa Barbara hills

Abo ve — M a b e 1 Taliaferro,
Metro star, and her husband
Thomas J. Carrigan. They
first met when he played
"Prince Charming" to her
"Cinderella" in the Selig pre-
sentation of the fairy story

Ruth Ann Baldwin, Univer-
sal director, and her husband
Leo Pierson, who has acted
in many pictures under her
direction, thus reversing the
usual order of things — in
pictures

Photo by While

I'nderwood A; L'mienvood Photo

Stars of the Screen and Their Stars in the Sky

By Ellen Woods

Nativity of Mary Pickford, Born April 8th. ■

WE do not wonder why she is called "The World's
Sweetheart." She has Venus, which provides
beauty and grace; Mercury, fertile mind; Sun,
power over all, and Jupiter, justice and honor, all in her
ascendant.

There are so many good things to say about her nativity
that if the Editor would allow me the whole of his maga-
zine, I would be unable to tell the half.

First, she was born with the power to sway the whole
world, as Aries was intercepted in the First with Mars, Lord
thereof, ruling the other eight planets.

She was born fortunate financially, but the best of all,
is her great love for her mother and religion. When Venus
rises with the ascendant, as it does in her chart, it gives an
inclination for music, singing, dancing and the theatre.
There are some players who show only one indication of
dramatic ability, viz. Venus and Mars in aspect, but "little
Mary'' has eight.

To go into Theosophy. I would say this is her eighth
reincarn. ^ion as an actress.

She has excellent business ability and should follow her
own intuitions in this respect.

If everybody were as pure minded as she. there would
be no sin in this world.

Nativity of William Farnum, Born July 4th.

AT this gentleman's birth, July 4, midnight, the Sun
was in the cardinal sign Cancer, with the artistic sign
Taurus on the Eastern horizon. Taurus is the day
house of Venus, which is found in the sign Cancer in con-
junction with Mars, lord of the Seventh.

The Seventh house is said to rule the marriage partner,
and those with whom we do business; therefore. I would
say this gentleman would live happy in married life and
could go into partnership with any one and do well.

Jupiter, as the Great Jehova, the God of the Hebrews, is
located in the Seventh, which rules also the public in gen-
eral, and Jupiter being there is the reason that Mr. Farnum
is loved so well.

Of course we find the indications of the good actor, viz.
Mars and Venus in aspect, and there are two other indica-
tions that help wonderfully in this direction. First, Uranus
in the Fifth house, the house of theatres, in good aspect to
three planets: Mercury, the mental planet; the Moon, that
rules the female portion of the world, and Venus, Lady of
the ascendant, which represents himself; second, Xeptune,
the God of the Briney Deep, and the God of Inspiration
and Intuition, rising with the ascending degree.

Mr. William Farnum has the power from Xeptune to
iudge correctly between truth and error.

'But wait and see the sunrise,' he said. "Why should you not? Your husband is in the desert.

Barb

ary

'Oh, that my Wood were water, thou athirst,
And thou and I far in the Desert Land,

How would I shed it gladly, if but first
It touched thy lips, before it reached the sand.

By Franklin Stevens

THE woman stared out over the desert, with eyes
widened in wonder at this first view of a spectacle
of which she had dreamed so long. The night's
mystery subtly deepened that inherent in the vast
and desolate expanse. Over all, the moonlight cast its
glamour, and the glamour of moon and sand and sky
touched the heart of the woman to a new rapture.
"It is my home. It is calling to me always."
The words, spoken in perfect French, came from the
man at the woman's side.

Katherine, Lady Wyverne, started at the sound of the
voice. For the moment she had forgotten this Arab, an
officer of Spahis, though he was indeed the cause of her
being here on the edge of the desert alone at night, while
Sir Claude, her husband, lay fast asleep in his hotel bed-
room at El Kantara. She winced a little as she thought
of Crumpet, who would never suspect that she, too, was

not safely asleep in the chamber adjoining his, who could
never believe that, instead, she was out alone on the desert's
edge with a man whom she had never seen until within
the hour, to whom she had never been introduced — and
that man one of an alien race, a Nomad, a Bedouin of the
Sahara !

But, even as she winced at thought of her husband, Lady
Wyverne, flushed in feminine appreciation of her escort,
who stood straight and still by her side. She stole a glance
at his face clearly lighted by the moon rays, and again
she wondered at the beauty of it. After all, she must have
no regrets. For this companion gave a final, vital touch
to the great adventure of her visions.

"Everything is out there," Benchaalal, the officer of
Spahis, said softly. His right hand swept out in a broad
gesture, and the woman noted with admiration the graceful
contour of it, with the fingers as slender and tapering as

Photoplay Magazine

her own. "Out there," the musical voice went on, "is
death, and life, and the mystery that lies beyond both —
and love."

The last word, so softly spoken, was like a caress. .The
listener thrilled under it. She felt herself strangely swayed
beneath the spell laid upon her by the night and the
desert and the man. She could not understand what the
desert might mean for her, yet she felt its lure in every
fibre of her being— a lure sensuous, luxurious, compelling.
Yet, she sensed, too, something morbid and sinister in the
thralldom, and she strove against it feebly.

"I must go back to the hotel," she faltered.

"Ah, not yet, surely!" Benchaalal protested. He spoke
deferentially, but there was a note of authority in his tones.
He laid the fingers of one hand lightly on Lady Wyverne's
arm. In any other place and time the audacity would
have been repulsed. Now, she endured the contact without
resentment, even with a guilty pleasure in the magnetism
that flowed through her. She was
aware that the man exercised over
her an influence almost hypnotic.
She hardly struggled against it.
It were better to yield. This man
was a symbol of the desert for
which she had longed, of which
she had dreamed dreams so beau-
tiful. Besides, she felt that she
could no longer resist, that the des-
ert she had come to seek had taken
her for its own.

"Look!" Benchaalal exclaimed,
more loudly than he had spoken
hitherto. He pointed a little to
the right. Katherine followed the direction of his ges-
ture, then shrank back in sudden fear.

A tall figure hardly a hundred yards away was swirling
and leaping within the billowing draperies of its burnouse.
It was an old man, for Lady Wyverne could see the silver
sheen of the beard beneath the moon. He was dancing
in an ecstasy of movement, but whether that ectasy was
of love or hate none could tell. Yet that it savored hate
and no softer emotion was proven in the next instant,
for the dancing figure now screeched curses in a falsetto
voice strained with agony. The English woman, who
knew no Arabic, had no need to ask for translation. Every
inflection carried to the ear a curse.

"What — who is it?" she questioned fearfully.

"That's the old Marabout. He's mad."

"But why — what caused his madness?"

Benchaalal told her the story. His fingers, slender as
her own, still rested on her arm. He told the story quietly,
yet with an intensity that thrilled the woman who lis-
tened. Already, she had seen the strength of his hands
that night. Yet, she never guessed the truth while he told
the story with his ringers lying so softly on her arm. She
had seen the man at his table in the dining-room of the
hotel, within the hour, as he sat cracking the walnut shells
so easily between those same fingers.

"The old man had a daughter, by a wife who died in
giving her birth. On her he lavished all his love. He gave
her a diamond necklace, which she wore always. Then,
once, he left her alone in the house. He came back to
find her dead. The diamonds had been torn from her neck.
The marks of fingers showed plainly on her throat."

As the Bedouin spoke, Lady Wyverne felt a slight tens-
ing of the fingers of his left hand. She took no thought
of it; only waited for the continuation of the story.

"She was found strangled, and the diamond necklace
gone. . . . Since then her father is hunting always for
the murderer. He is out there calling down curses on the
assassin."

Lady Wyverne, looking out at the fantastic figure on
the desert, failed to see the cynical smile on the face of

Barbary Sheep

Narrated by permission, from the photo-
play version of Robert Hichens' novel of
the same name, produced by Artcraft with
the following cast :
Katherine, Lady Wyverne .. Elsie Ferguson

Benchaalal Pedro de Cordoba

Sir Claude Wyverne Lumsden Hare

Achmed Macy Harlem

The Mad Marabout Alex Shannon

Innkeeper Maude Ford

the man who had told the story of hatred and revenge.

"1 must go back to the hotel," she said presently.

Benchaalal made no further objection. He gave her his
hand, and helped her to descend over the rough pathway.

"But the husband goes to shoot again tomorrow," he

said significantly.

And Lady Wyverne answered, "Yes."
*****

TT was hours before Lady Wyverne could sleep that
night. The origin of the night's adventure had been
of the simplest. In her vvakeful musing she saw herself
in the formal garden at home in England, walking with
Captain Allyne, whose listless air belied his high reputa-
tion in the Service.

They passed before the old sun-dial brought from the
East centuries ago by an ancestor of Sir Claude's.

"The inscription around the dial is in Arabic," Kitty
said. "Can you read it, Captain?"

The officer adjusted his monocle,
and stared languidly. "Some Mus-
sulman stuff — names of the five
daily prayers — Moghrob, and all
that."

"What is 'Moghrob?' "
"The hour of sunset," the cap-
tain explained. "The last prayer
of the Moslem day, when the Muez-
zins call from the minarets, and
the whole bally horde of Arabs
grovel in the dust. Rather gets
one, you know, to hear those calls
from the mosques as one rides in
from the desert."
So simple had been the cause of the adventure. Some-
how, the captain's closing words inspired her with strange,
wistful dreaming of the desert she had never seen. A
longing for it grew in her, a longing for it and for all
the colorful life that lay about it. She was bored at home.
Sir Claude was the best of husbands, and he adored her.
He had only one other passion, what she called his love
for killing things. But he was wholly prosaic, no figure
of romance. There was no excitement in Lady Wyverne's
life, and just now she craved excitement. So she seized
eagerly on this new idea. She would go to the desert,
would seek to penetrate to the heart of its mystery.

"Let's go to Algiers," she said to her husband that
same night. Then she added artfully: "Captain Allyne
said that there is plenty of good shooting in the country
round about."

Sir Claude's consent was easily won. They duly
reached Algiers. After a few days they went on to El
Kantara, the gateway to the desert.

Here Sir Claude secured the services of a guide, Achmed,
who claimed to know everything concerning the haunts
and habits of Barbary sheep and gazelle

"We're to start at three o'clock in the morning after
sheep," the husband said as he sat with his wife at din-
ner.

"Then I sha'n't see you off," Kitty declared with a
smile.

She spoke absently, for she was absorbed in contem-
plation of a man seated facing her at a table not far
away. He was unmistakably an Arab, and the burnouse
of spotless white which he wore set off the dark beauty
of his face. He raised his eyes suddenly and caught
and held her glance through a long moment. There was
nothing insolent in his gaze, but his expression told the
woman plainly his admiration for her loveliness. It
seemed to her that this man personified something of the
desert's mystery and charm.

Sir Claude noticed the direction of his wife's eyes, and
in his turn stared at the Arab. But there was no admira-
tion in his look; only a vague resentment, an instinctive

Barbary Sheep

uneasiness, which he could by no means define.

"Bally lot, those Arabs," he growled.

The waiter came up to the table and spoke softly.

"That is Benchaalal, officer of Spahis. He is a very
famous man. So brave! So strong! See — he cracks the
walnuts just with his fingers.

Sir Claude only grunted disapprovingly. But Kitty
watched with a certain fascination as those fingers, taper-
ing and slender as her own, crushed the walnut shells one
by one.

"If I'm to go after Barbary sheep at three o'clock, I'd
better get to bed early,'' Sir Claude said as he made an
end of eating.

"I'll stay up, and see the moon rise from the balcony,"
Kitty answered. As she spoke, her look went again toward
the white-draped form of the Arab. Once again his glance
and hers met and lingered for a little. Then she rose and
walked from the dining-room, followed by her husband.
As they passed through the doorway, there came the
sharp crackle of a breaking walnut shell. Sir Claude
turned at the sound, and regarded the Arab with in-
creased resentment.

"Bally lot!" he repeated to himself.

*****

"\Y7HEN, she had said goodnight to her husband
** Lady Wyverne went out on the balcony to which
the window of her room opened. She saw the glory of
the moonrise, and her imagination teemed with visions,
some weird, some exquisite, all thrilling. Then, at last,
she glanced down into the court, and saw standing there
below the balcony the officer of Spahis. As he raised
his eyes toward her, Benchaalal began to sing. The
voice was restrained, but musical, and the French ver-
sion of his des-
ert song came
clearly to the ears
of the listening
woman. a *zz£?

He lifted the neck-
lace carelessly into
full view before he
restored it to his
bosom.

"Oh, that my blood were water, thou athirst,
And thou and J jar in tlic Desert land,

How would I shed it gladly, ij but first

It touched thy lips, before it reached the sand."

As he ceased singing, Benchaalal smiled frankly, ap-
peaiingly. Kitty moved from her accustomed reserve
by the novelty of this serenade, let her lips curve in a
tremulous response. The encouragement sufficed the
Bedouin. He spoke eagerly.

"Has Madame seen the desert under the moon?"

Then, as Kitty shook her head in reply, he continued:
"There is nothing to fear — and it is so beautiful! It
is only five minutes walk to the gorge that opens on the
Sahara. Five minutes — and Madame can be under the
stars of the desert."

Kitty made no answer. Conventional training bade
her refuse, but a reckless impulse urged her to consent.

"Monsieur is asleep," Benchaalal suggested insinuat-
ingly, when she made no reply.

Kitty rose and went back into her bedroom. She
passed into her husband's room, and found him sleeping
heavily. She returned to her own chamber, and mechani-
cally picked up a cloak. With it on her arm, she passed
down the stairs and out into the court. She went almost
like one in a trance. It was as if some force outside
herself drew her on irresistibly. Was it the sorcery of
the desert that compelled her, or another sorcery, that
of the man clad in the flowing white who awaited her
to lead her out into the unknown?

"Monsieur will not go with us?" Benchaalal asked.

And Kitty replied in his own words of a few minutes
ago:

"Monsieur is asleep."

Then she added hastily:

"But I shall not go, either."

"Then why did you bring your cloak?" Benchaalal
demanded, and the mockery in his voice was offset by

Photoplay Magazine

the tenderness of his smile. He took the wrap from
her, and placed it over her shoulders. She submitted
meekly. For the time being, her will was supine. When
the cloak had been adjusted, Benchaalal walked forward,
and Kitty walked beside him.

It was thus that Katherine, Lady Wyverne had come
to the desert at night with the stranger of an alien race.

HT HE day following his visit to the desert with Lady
Wyverne, Benchaalal did two things. One was fool-
ish; the other was evil. The foolish thing was done while
he sat drinking coffee in the bazaar. Believing himself
unobserved, he took from his bosom a small necklace of
diamonds. He held it in the hollow of his palm, and
gazed in rapture on the shimmering beauty of it.

He did not see the mad Marabout approach, did not
guess that the old man's roving eyes caught the prismatic
gleaming of the stones. The Marabout moved noiselessly
until he stood just behind Benchaalal. He bent over
until he could see the necklace plainly — could see and
recognize it. At the sight, the sunken eyes blazed, the
talon-like fingers opened and clutched convulsively as if
to rend and destroy.

Then, abruptly, the observer controlled himself. He
seated himself quietly alongside Benchaalal. The officer
of Spahis, absorbed in the gems, gave no heed to
the intrusion. He lifted the necklace carelessly
into full view before he restored it to his bosom.
. . . And thereafter, wherever Benchaalal
went, the gaunt bowed figure of the
mad Marabout went also, skulking with
seeming aimlessness. And always the
sunken eyes kept watch on the officer
of Spahis, and in them flamed the fire
of hate and vengeance.

The evil thing done by Benchaalal
was this:

When, late in the afternoon, Sir
Claude and his guide returned to El
Kantara, the Bedouin accosted Achmed,
and drew him aside.

"You go again with the English Lord
tomorrow?" he asked.

"Yes," the young man replied.
"You will keep him away tomorrow
night," Benchaalal commanded.

Achmed would have protested, but
the officer interrupted him with an im-
perious gesture.

"You will do as I say," he com-
manded. "If not, worse will befall
you."

He produced a note for twenty francs,
which he thrust into the guide's hand.
"Take this, and remember — the Eng-
lish Lord must not return home to-
morrow night. Promise him gazelle far
away. You understand?"

Achmed held Benchaalal in high rev-
erence— in higher fear.
"Yes," he said simply.
At this same hour, Sir Claude, gun
under arm, greeted his wife joyously.

"Bully sport — these Barbary sheep!"
he exclaimed. "Off again in the morn-
ing''

Kitty smiled at him affectionately, as
she answered.

"How you do love to kill things!"
So it happened that again that night,
while the husband slept, the wife on the
balcony heard the song, and yielded to
its lure, and followed the singer:

"Oh, that my blood were water, thou athirst,
And thou and I jar in the Desert land,

How would I shed it gladly, if but first

It touched thy lips, before it reached the sand."

So, also, it came about that next day while Sir Claude
contentedly stalked the Barbary sheep, Achmed artfully
talked of the gazelle far away. Moreover, the guide led
his patron a long distance into the mountains, and then
finally made his proposal that they should remain in a
neighboring village during the night. Thus they would be
able next day to find the gazelle. A messenger could be
sent to Madame. There was an excellent inn in the village.

Sir Claude fell an easy victim. Early in the evening
he strode into the village inn. While he waited for supper
he chatted with his landlady, a vivacious Frenchwoman,
the widow of a non-commissioned officer in the foreign
legion.

"I suppose you've grown accustomed to these beggars —
Arabs, you know, Bedouins, and all that lot," Sir Claude
remarked.

The Frenchwoman shrugged her shoulders, and spread

Early in the evening he strode into
the village inn. While he waited
for supper he chatted with his land-
lady, a vivacious French woman.

Barbary Sheep

her hands, palms downward, in a gesture of disgust.

"Accustomed — yes! But that's not to say that I like
them. They're a lying, treacherous race. And there's no
conscience in them. They're all alike, except that some
are worse than others."

"Yes?" Sir Claude said vaguely. He was not in the least
interested. But, at the widow's next words, he became
suddenly alert.

"Now, there's Benchaalal. That man's a devil. I'll ad-
mit he's handsome enough to turn any woman's head.
And, too, he's the sort that women will follow like a dog,
without knowing why — or caring."

The name recalled to the Englishman the Arab sitting
in the dining-room of the hotel at El Kantara, whose slen-
der fingers had so easily broken the walnut shells, at whom
Kitty had looked with such interest, at whom he had
looked with such instinctive dislike and distrust.

"That Benchaalal is a wicked man," the Frenchwoman
went on. There was a venomous note in her voice. "He
is vile. Why, do you know, Monsieur, he has bragged to

Sir Claude wasted no more time in desultory conversa-
tion. He went out of the inn, and summoned Achmed, who
was busy caring for the mules.

"We'll go back to El Kantara," he ordered brusquely.

The guide regarded his patron with dismay. He had
thoughts of the terrible Benchaalal and of the punishment
that would be inflicted on himself.

"But it is impossible, Effendi," he faltered.

"We'll go tonight," Sir Claude repeated grimly.

Then his smoldering suspicion burst into flame.

"I'll give you a hundred francs," he declared, with wrath
in his voice. "Did Benchaalal pay you more?" He pulled
out his note-case, and tossed a bank-bill toward the young
man. Achmed cowered before the anger and scorn that
blazed in his patron's eyes. Secretly, too, he was shrink-
ing at thought of the punishment that would await him
should he fail in the duty commanded by the officer of
Spahis. But his eyes shone with avarice as he picked up
the note.

"Make ready at once," Sir Claude commanded.

"Yes, Effendi," Achmed answered.

me over his conquests with the French ladies, wives of his
commanding officers. Bragged — and laughed. He boasts
that any woman will come at his call."

JT was in the evening, while Katherine was sitting on the
veranda of the hotel with Benchaalal' beside her, that she
received the message from her husband. A sudden anxiety
welled in her as she took the note.

"Can anything have happened to Crumpet?" was her
unspoken question. Then she read the roughly scrawled
lines, and found herself surprised by the relief she felt
over the fact that her momentary' worry was unfounded.

"Mind very much if I don't come back tonight? Achmed
takes me further tomorrow for gazelle — back then without
fail, and ready to move on anywhere
you wish. Love.

Crumpet."

Benchaalal guessed that Achmed had
been a faithful servant. But there was
no hint of superior knowledge in his
manner as he addressed Lady Wyverne.
On the contrary, his tone was most
deferential and solicitous.

"There is no bad news, I hope."
Katherine answered a little disdain-
fully.

"Oh, no! Only, the sport is so good
that Sir Claude will remain away the
night."

"Ah, then we shall go to the desert
again." Benchaalal's ■ voice vibrated
with a significance that the woman
could not misunderstand. She made
no answer; she gave no rebuke. She
seemed to accept the situation with-
out hesitancy, without remonstrance.

So, once again, that night, Lady
Wyverne stood in her bedroom, and lis-
tened. With all her force she strove not
to listen. Somehow, that note from Sir
Claude had touched her, had stirred her
to a new realization of her love for him.
That love was an essential fact. She had under-
stood it, because of the sick thrill that so dis-
turbed her before she opened the note. She
almost decided that she would not go to the desert
this night with the man of the' beautiful face, of the
penetrant charm, of the alien race.
Katherine did not go out on the balcony. She stood
within the room, still undecided. The lure of the desert
■ — the lure of the man who symbolized the desert — called
her. Yet her thoughts ran toward that other man, her

Photoplay Magazine

husband. She remembered that thrill of fear lest some-
thing evil had befallen him.

When the song sounded, she stood in doubt. She went
to the shuttered window, whirled away from it in sud-
den distaste. With her hand against the casing, she
listened, despite her will, but with face averted.

Those same words came softly in the musical voice,
insistent.

"Oh, that my blood were water, thou athirst,
And thou arid I jar in the Desert land,

How would I shed it gladly, if but first

It touched thy lips, before it reached the sand."

Then, again, she yielded to the spell laid upon her by
those vague dreams that
had come to her before
the sun-dial in the gar-
den at home — those
dreams emphasized by
this man in the costume
of flovying white.

In her room, Kather-
ine listened intently. It
seemed to her that here
was a moment of crisis.
She felt that she should
dress for a supreme
part. She went to her
jewel case, and took
from it the historic dia-
mond necklace of the
Wyvernes. She clasped
the band about her
neck. For a moment
she stood before the
mirror, herself wonder-
ing at the glorious play
of color.

Then she went down
the stairs to walk with
Benchaalal to the edge
of the desert in her
husband's absence.

Yet she failed to see
that there were twin
passions in the man's

eyes as he looked on her — desire of her in her beauty,
desire of the splendid jewels that lay radiant on her bosom.

It was three o'clock in the morning when Benchaalal
spoke in answer to Katherine's declaration that she must
go back to the hotel.

"But wait, and see the sunrise,'' he said. "Why should
you not? Your husband is in the mountains."

As always, he spoke respectfully, and as always she
obeyed him, and waited.

It was just before dawn that Sir Claude came with the
mules and Achmed. The Englishman saw only the slen-
der figure of the Arab, standing there at the rocky mouth
of the pass. For, as they came, Achmed was whistling
merrily. Benchaalal heard the melody, and spoke hur-
riedly.

"Your husband is coming — quick!"

With a gesture he indicated that she should crouch
in the shadow of the rock behind them. He swept his
burnouse forward to cover the huddled form of the woman.

While she knelt there thus concealed, her husband drew
near and passed. He gave a word of greeting to the
Bedouin, who returned it nonchalantly.

"Did he see me?" Lady Wyverne questioned as she
stood up again. There was terror in her voice.

"I think not," Benchaalal replied. "But I cannot tell.
Bathe your eyes there in the stream before you^o back.

Sir Claude, gun under arm, greeted his wife joyously.

"Yes."

Lady Wyverne climbed down to the brook and bathed
her eves careiully while the Bedouin stood beside her.

' li only he doesn't look into my room! " Lady Wyverne
moared. Of a sudden she felt that the one thing worth
while in the world was her husband's respect. He must
not know this, her so dreadful folly.

"If only he doesn't look into my room!" She repeated
the words again and again as she stumbled back through
the street of El Kantara, clinging to Benchaalal's arm.
So Katherine, Lady Wyverne, came back to the hotel, and
made her way to her room. She listened at her husband's
door. She heard nothing, but prayed that he might be
asleep, that he had not looked into her room, where the
unused bed lay as a mute witness against her. She crept

between the sheets, hop-
ing that he could not
know, that he could not
guess. But it was long
before she fell into an
unhappy, a guilty sleep.
As a matter of fact,
Sir Claude, as he stared
at the Bedouin in the
pass, had felt a hideous
suspicion along with his
invincible repugnance of
the man. In spite of
this, he had gone on.
But, when he reached
the hotel, he had looked
into his wife's room — -
had seen the unused
bed.

J^ATHERIXE, Lady
Wyverne, found
herself at a loss next
day. Her husband, as
it seemed to her, was
unsuspicious, yet he was
somehow curiously re-
mote, aloof, as she had
never known him hith-
erto.

But in the afternoon
he came to her, and
there was a smile on his face as he spoke, though the
smile was a wry one.

"I'm going tonight with Achmed," he said. There was
a hint of grimness in his tones, but the smile remained on
his lips.

"I'm hoping to get some better game tonight." He
kissed her gently, and went out.

Yet, that night, Katherine, Lady Wyverne, yielded once
again to the wizardry of the desert, of the man that
summed its* spell. She fought against a subtle impelling
force, but she fought in vain.

Again, she stood in her room, waiting and listening.
A certain voluptuous desire in her at this appeal of the
desert and of the man who symbolized that desert, caused
her to go to her jewel case. She took again the diamond
necklace which had been her husband's bridal gift. She
clasped it about her neck, then waited for a moment,
listening. The words of the song came to her:

"Oh that my blood were water, thou athirst,
And thou and I far in the Desert land,

How would I shed it gladly, if but first

It touched thy lips, before it reached the sand."

Once again, she descended to the court. Once again,
{Continued on page 134)

Miss Weber directing a scene
for "Idle Wives" in front of a
Hollywood, Calif., picture theatre.
At the left of the camera Ben
Wibon is talking to Neva Gerber.

On the Lot with Lois Weber

By Elizabeth Peltret

Photographs by Stagg

LOIS WEBER, director, author, musician and anaes-
thetist to a suffering world.
This does not mean that Lois Weber, having
moved into her own new studio, intends to put the
world to sleep — not by any means.

The world, according to this greatest of all woman di-
rectors, is like a man with a jumping toothache. What a
man with a jumping toothache wants more than anything
else is to forget his tooth.

"That," said Miss Weber, "is just the way with the
world."

Consequently, she does not intend to produce any more
propaganda pictures. She used to be strong for them.
Remember "Hypocrites," "Where Are My Children?" "Idle
Wives" or "Even As You and I."

This statement will not seem in the least surprising to
anyone who has visited the new studio.

Studios, like crowds, cities, ships or individuals, are
almost sure to have distinct characters of their own. One
studio in Los Angeles has a smug, self-satisfied air, ex-
tremely disagreeable to the visitor. There is another that

welcomes one with a sort of joyous comradeliness, before
anyone in it has spoken a word. A third reminds the caller
of nothing so much as an ant hill.

But all of them have at least one thing in common ; they
look "Oh, so sudden! " that is, all but this new studio of the
Lois Weber Production Company.

This has the courtly dignity that belongs to the "old
school-' but is forever young. Its broad grounds, with rose
bushes and shade trees, the swing in the back yard, the
wide, hospitable doors, and the long, handsomely furnished
reception room are all reminiscent of some Southern manor
house. Miss Weber calls it "My 'Old Homestead.' "

Standing under a canvas covering, on an outdoor stage,
with the thermometer at least ten degrees higher than Los
Angeles' loyal sons would admit, Lois Weber directed the
making of her latest picture and, between scenes, talked
about the world, the toothache, and moving pictures.

At this moment there were several things wrong with
the set. She had ordered depressing wall paper and the
result was not convincing. While it was being changed the
conversation naturally turned on psychology.

£9

Photoplay Magazine

"Psychology has been of help to me in my work," she
said, "but the thing which has helped me the most has been
an intangible something that I cannot define. I can only
explain it by saying that I often know when there is some-
thing wrong with a set without knowing what the trouble
is. There are times when everything has to be moved
over and over before it looks satisfactory. A layman
might think that any pair of old curtains would have a
bedraggled appearance but we tried two dozen pairs before
we got the ones we wanted for this scene.

"It is the same with the pictures I am going
to produce," she went on, "I judge the public
a good deal by my own feelings. For instance;
there is no one I like to read so well as Epicte-
tus. And yet, when I am tired or worried, which
is the time I need Epictetus, I go home and
read a Xick Carter detective story.

''So it is when a man has a jumping tooth-
ache. If he goes to the theatre and sees
something bright, "frothy' and
entertaining he is likely to for-
get all about his pain. But
if the play is a heavy one, re-
quiring concentration a n d
thought, he finds it impossible
to keep his attention off his
tooth. The war is the world's •
jumping toothache and I want
to help the world forget about
it for awhile."

Lois Weber believes that the
world moves in cycles and
that individuals, as well as
periods, return again and
again.

"I believe that when, in this
life, a child shows some ex-
traordinary aptitude it is be-
cause the child remembers
something learned before.
That must have been the case
with my music. I believe that
I just took up a broken thread
followed it to the end."

In answer to a question, Miss Weber
told how her career on the concert stage
came to an abrupt and curious end when
she was only seventeen years old.

"I was touring the South as a pianist
under the direction of Valentine Apt" she
said, "and a large crowd greeted me
in a music-loving town. The size of
the audience made me very nervous
and anxious to do my best.

"Just as I started to play
a black key came off in
my hand. I kept for-
getting that the key
was not there, and
reaching for it. The
incident broke my
nerve. I could not fin-
ish and I never ap-
peared on the concert

stage again. It is my belief that when that key
came off in my hand, a certain phase of my
development came to an end."

At this point, Phillips Smalley came up and suggested
a change in the 'script he held in his hand.

"You're right," said his wife.

"Say, as usual," ordered Mr. Smalley.

"I won't," she answered with customary wifely obedi-
ence, and added in the manner of a side-show lecturer:

"Here you see the only theatrical couple in captivity

married thirteen years and still in love with each other."

Then harking back to the interview:

"If you must describe me I'll tell you the best descrip-
tion of myself I ever heard. My sister has been intro-
duced as Lois Weber's sister' until it almost drives her to
drink. In recent response to a man who made this bad
matter worse by remarking, 'You certainly have an ex-
traordinary sister,' she said, Y'es, but you don't know the
most extraordinary thing about my sister.' "

There are times when everything has to be changed
and over before Miss Weber is satisfied.

At work on a script in her study. She writes
nearly all her own scenarios.

'"What is that?' he asked.

" 'The most extraordinary thing about my sister is that
she is so ordinary,' was her answer."

What Lois Weber's sister — (with apologies to sister) — ■

should have said was that the most extraordinary thing
about Miss Weber is that she seems so ordinary. She
has the tactful simplicity that is inseparable from the great
director, the director who achieves big things.

Another Movie Miracle

CAN the leopard change his spots, or the Ethiopian
his skin?" The answer was always in the negative
until just recently.

Howard Small, the Ethiopian in question, is as black
as a New York Journal headline. He is nine years old,
and he takes'an important part in "House of Cards," an
Art Drama release.

Howard, being young and unused to the ways of the
world, is unfamiliar with the mechanics of the motion
picture. He had been brought up to believe that the black-
ness of his skin was permanent, and in his more pessimistic
moments it was a source of great sorrow to him.

Last week some scenes from "House of Cards" were run
off in the studio projection room. Howard was present.
He sat quite still through most of the picture, until sud-
denly a scene was flashed in which he himself appeared.

He stood up with popping eyes. His hands gripped the
sides of his chair. A long low gasp escaped from his throat.
Beads of perspiration stood out on his brow.

Then came a shriek which caused everyone in the room
to jump to his feet in alarm.

"I'se white! I'se white! I ain't no cullahed boy no
longer! De machine done made me all white!"

Sure enough, in the picture Howard appeared white as
the screen itself. The spectators stared for a moment,
then burst into laughter. Howard had not noticed that
everyone else in the scene appeared black.

It was cruel to tell him that the scene was shown in the
negative, and that in the negative, color values are reversed.
When he was finally convinced he burst into tears.

Only for an instant did perfect happiness come into his
little soul, and then it disappeared as quickly as it came.

Preceding Chapters of Pearls of Desire

WHILE Jack Kavanauph, gentleman adventurer, confirmed
misogynist and recognized overlord of certain enchanted is-
lands in the South Pacific, was occupying himself with a
pearl concession on Kailu, and altogether regarding life in much
the same fashion as Adam must have done before Eve took his
education in hand, society back in the States seemed stifling and
unreal. And then one day Captain Billy Connor's Favorite dropped
anchor in the lagoon and discharged three passengers — a Massa-
chusetts bishop, his widowed sister, fascinating Alice Stormsby ; and
their pretty niece, Enid Weare, the product of generations of strait-
laced old New England culture.

After a few days, the bishop surprised Kavanaugh with a request
that he and the two women be allowed to accompany their host
c n his expedition down to Trocadero Island to look over a new
pearl concession — and Kavanaugh, mindful of warm glances from
Mrs. Stormsby 's eyes and of
Enid's nymph-like charm,
pave permission. So the
expedition set out in his
schooner Circe. Accustomed
as he was to the free and easy
life of the Pacific, it was
rather vexing to Kavanaugh
to be continually on his guard
for fear of offending the silly
sensibility of a prudish school-
girl, who flew into a sudden
anger if the spill of the main-
sail or any wanton eddy
raised the hem of her skirt to
reveal an inch or two of ankle,
and he often felt like box-
ing Enid's small, pink ears.

Twenty-five miles from
Trocadero, a howling South
Sea squall drove the Circe
on a reef. All hands turned
to load the boats with sup-
plies and set out for Troca-
dero; where they arrived
safely. Here was a desert
island, bere was the primi-
tive, and here two men and
two women must live until
the boat crew, which had
been dispatched for help,
could return with another
vessel.

In the midst of this pre-
dicament, a horde of native
pirates raided the island one
morning before dawn, mak-
ing away with every piece of
moveable property save the
silk pajamas and "nighties" in
which the victims happened
to be garbed. Alice Stormsby
accepted this delicate situa-
tion sensibly, but Enid hys-
terically shut herself up in
the bungalow. When her
frightened relatives declined
to interfere, Jack Kavanaugh
went in to reason with her.
No profaned modesty was now evident in Enid. She was in a white
rage which took no heed of anything save the shame of his pres-
ence there, and she whipped suddenly around and gripped a stool
by one leg. A struggle ensued. Dicky, the diminutive bantam
cock, championed Enid and planted his wicked spurs in Kavan-
augh's eyes and the girl wrenched herself free and fled down the
beach. Though scarcely able to see for the blood and pain in
his eyes, Jack flung himself after her into the deep, green, shark-
infested water and somehow managed to bring her ashore.

When he recovered consciousness, Enid was leaning over him.
She had shed all her scruples and seemed utterly indifferent to
the scantiness of her attire, even after the removal of the salt-
water compresses which had been put over Kavanaugh 's eyes. The
women and the bishop collected dried seaweed for beds and made
tunics from the plumage of the wild fowl of the island. The casta-
ways became accustomed to primitive conditions and felt the rush
of clean, strong blood in their veins.

Weeks passed and then — a sail on the horizon ! Propinquity had
done its work and, prompted by a feeling of regret that their
cameraderie was so soon to be a thing of the past, Kavanaugh
asked Alice to become his wife. She demurred, for purely mer-
cenary reasons, as she quite frankly admitted, but assented to a

provisional engagement depending upon the success of his pearling
activities.

It was Channing Drake, a sort of modern Gil Bias, with a dash
of Don Juan thrown in for good measure, and reputed to be the
very worst blackguard in the whole Pacific, who, in order to curry
favor with the authorities who were watching his actions, had
come to the rescue with his buccaneer crew.

When Jack hauled in the fishnet, preparatory to leaving the
island, several big oysters were found caught in its meshes. And
then, as he and Alice were examining the exquisite black jewel
which one of the bivalves disclosed, Drake came upon them and
learned the secret of the newly-discovered pearl fisheries. Kavan-
augh had no gear with which to dive for the oysters; Drake had,
and insolently insisted upon a half interest in the concession. Al-
though Kavanaugh's papers had been stolen, he decided to stay on

alone and protect his legal
rights. In case Drake, af'.tr
taking the others back to
Kailu, should return before
the necessary reinforcements
could be sent to him, Jack
figured that, from the shelter
of the cave in which the few
remaining stores and weapons
had been kept, he could ef-
fectively hold up any opera-
tions which the fellow might
attempt on the pearling
grounds below.

Against this decision, the
bishop and Alice protested
feebly; and Enid remarked
cuttingly that, since her aunt
was Jack's fiancee, however
provisionally, it was her duty
to remain behind with him
while he made his stake.
Enid's high-handed manner
offended Mrs. Stormsby and
a lively quarrel ensued. To
relieve the somewhat embar-
rassing situation, Kavanaugh
suggested to Alice a stroll
down the beach and the two
started off in the witchery cf
the tropic twilight.

Drake's coming meant a
stepping stone from the is-
land to the outer world.
Pondering upon this fact,
Alice said, at length : "This
has been a charming idyll, my
dear, but, after all, one can
scarcely be sure of oneself
under such extraordinary con-
ditions as we have been
through. Perhaps it would
be better should we not con-
sider ourselves bound by any
pledge?" Probably Enid's
hot remarks had shown him
Alice in a new light. At any
rate, the man now saw l.er
as a conventional and rather
selfish woman who was not even a good sport — who wanted to
gamble, but with no personal risk — and so it was with a curious
sense of relief that he acquiesced in her desire to be released.

When the erstwhile lovers reached the bungalow, they found the
bishop alone and in low spirits. It appeared that Drake had
called, made slurring remarks about Jack's stubbornness and been
subjected to a scathing rebuke therefor by Miss Enid, who, when
her uncle had expostulated against her rudeness, had flung off
down the beach in a huff, and had not yet returned. This was
really serious. They searched for her and found her feathered
tunic and sandals lying in the sand — and Kavanaugh saw that the
flat sheen of the surface of the water was undulated by the fur-
row of the great, sinister body of a shark moving beneath.

Alice and the bishop, griefstricken and remorseful, were hur-
ried away from the scene and aboard Drake's ship.

Alone on the white, glistening beach, Jack suddenly realized
the crushing immensity of the solitude about him. Enid had been
right ; he was going mad ... he seemed to see a moving
figure shimmering in the moonlight and he recognized it as the
wraith of the drowned, devoured girl. A clear, quavering voice
called out: "Jack . . . I'm real. . . real!" And then the
moon began to rock and sway, and he slipped gently into oblivion.

Pearls of Desire

By Henry C. Rowland

A Twentieth Century Romance of the South
Seas — the Most Remarkable Story of the Year

Illustrated by Henry Raleigh

CHAPTER XII

BEIXG marooned upon a desert island has at least
this much to be said in its favor; one is not
worried by the exigencies of the outer world. It
makes no difference to you except in a purely
abstract way whether the rest of the planet which you
happen to infest be at peace or war, whether the stock
or other markets are up or down, whether business is dead
or merely shamming. You are not bothered by your
landlord, the ox, ass, man servant, maid servant or wife
of your neighbor, nor anything that is his.

And yet such a life has its anxieties and responsibilities,
especially when led in common with a person or persons
for whom it is necessary to provide. Cave men were
undoubtedly faced with many of the problems which
society is required to wrestle with today. There has
always been at certain periods the increased cost of living
and the necessity to scratch wider and deeper in order
to subsist, decently or otherwise. To the troglodyte the

We roamed over that
island precisely as
though it had been
the private preserve
of a game and fish
camp of which we
were the guests.

loss of the port or starboard quarter of frozen auroch meat
filched by a great cave bear or saber toothed tiger was a
domestic tragedy of the same magnitude as the loot of his
invested capital by the capitalist of today. Pessimists
are inclined to throw up their hands and exclaim: "I am

Photoplay Magazine

sure I don't know what the world is coming to!"' As a
matter of fact the world is not coming there at all. It has
always been there, and always will be until the High Gods
get tired of their joke and decide to suppress it.

This question of bodily provender now became to me a
very important one. After a certain duration of time the
digestive organs grow about as much attracted to the idea
of handling anything in tins as the manager of a general
store might be at a suggestion to invest heavily in hoop-
skirts and pantalettes. For all of his robust appetite the
mere sight of a can opener had been enough to give the
bishop hiccups, and he had always shown himself Catholic
enough in his tastes. Being a provident person, though
Irish, and a planter into the bargain with a natural desire
to see things grow, especially potatoes and tomatoes. I had
cleared a bit of ground and tended my little garden, more
for fun than because there seemed any real necessity for
taking so much trouble. The plants were doing splendidly
as the soil like that of all volcanic formations was rich in
nitrates and there was abundant water. It was also pro-
tected from the late sun by the shadow of the mole and
I did not think that it would be long before we might hope
to have some small tubers to mix with our soup and offset
the danger of scurvy. Our ordinary diet was principally
fish and sea-birds' eggs, and the latter, even the much
vaunted and expensive plovers' eggs soon become distaste-
ful to the point of repugnance.

We had also got tired of the lake fish and seldom went
after them, preferring the variety taken in our net. The
blacks had looted our poultry, Dicky alone who could fly
like a pheasant and had not been too proud to do so,
having escaped. Dicky was afraid of blacks, possibly
because my barnyard executioner was a Malanesian boy.
We still had, however, an abundance of rice and that was
our staple. Enid thinned down under this regime though
not to any great extent and on the whole becomingly for
she was a well rounded girl, but it seemed to me that I
actually gained in weight.

We had made ourselves some proper clothes from Drake's
flannels and calico. Enid's usual costume was a simple
sailor blouse with a short skirt while mine was merely the
ordinary jacky's working suit; jumper and breeches, the
legs of the latter usually rolled up over my calves. There
was sufficient material to supply us also pajamas and bath-
ing suits which latter we wore when hauling our net as it
was necessary to wade out often chest deep in order to
clear it from the occasional clumps of lava-coral on the
bottom.

Many writers of fiction have taken as their theme a
situation such as ours; a man and a woman shipwrecked
on a desert island, and have worked out the tale according
to the promptings of their imaginations, the clou on which
the story hangs being naturally the development of the
social relations between the pair. I have heard such posi-
tions discussed, the usual finding of which was that two
persons of opposite sex and normal instincts would sooner
or later inevitably mate. I have even heard it argued by
people of good moral principle that this would be sure to
occur after a certain lapse of time even though one or both
of the castaways happened to be already married. The
theory is apparently based on the assumption that with so
close a propinquity within such narrow confines and the
advanced degree of physical and mental intimacy which
must perforce obtain all previous conventions would be
annulled; all ethical ideas disregarded.

I do not think that this is true. Such a thesis presup-
poses that our primitive instincts are stronger than a
spiritual controlling agency; that animal impulse is more
potent than its restraining mentality. One might as well
argue that if the food supply became exhausted the
stronger of the pair would slay and devour the weaker.
Of course in the case of individuals of coarse moral fiber
and low in the scale of evolution almost anything might

happen, but I can see no more reason why a man and a
woman should not preserve their ethics and ideas upon a
desert island and in close companionship without degrada-
tion to their established principles than I can see any
reason why the cashier of a bank who might happen to be
in vital need of money but is yet an honest man could not
be counted upon to be faithful to his trust. It seems to
me that personal honor, conscience, the sense of right and
wrong, call it whatever you like, is not a qualitv to be
affected by local conditions.

Of course one may protest that love is different, that
passion knows no law especially when strong and mutual.
One might claim similar dispensations for intense hunger,
greed, fear, rage, the instinct of self-preservation. I can-
not see it in this way. It seems to me that a man who
would abuse one trust would abuse any other if the impulse
was sufficiently strong. I do not profess to be a saint,
whether of the Anthony or the Christopher species and
I have done plenty of violent and lawless things in my
time but while on Trocadero with Enid in my care I would
have protected her from myself precisely as I would have
done from herself, or from Drake.

It was not manj' days before I knew myself to be as
profoundly in love with her as I think it possible for a man
to be with a woman and I think that this very fact made
it easier, if anything. I doubt if I could have exercised the
same vigilant self-restraint with Alice, whom I did not love
at all. This may sound like a refutation of the above
statement that a man who will abuse one sacred trust will
abuse another. But the case was not the same. Enid was
the trusting depositor, whereas Alice was the person who
chooses to speculate on a margin.

Whatever the philosophy of the business the result was
that we continued to lead our lives on Trocadero just as we
had done before the departure of Alice Stormsby and the
bishop. The only difference was that whereas formerly
Alice had always been my companion in various excursions,
now Enid was. We roamed over that island precisely as
though it had been the private preserve of a game and
fish camp of which we were the guests. The slight detail
of our being the only persons upon it made not the slightest
difference in our behavior nor ideas. On returning to the
bungalow to eat and sleep there might just as well have
been a genial host and hostess waiting to welcome us. Our
conversations chiefly concerned the details of our daily
existence though we often discussed topics more remote
and were often sympathetically silent. Enid never talked
a great deal and I have always preferred to read or write
or think but while we would often pass considerable periods
without speaking these silences were not tiresome. We
never mentioned personalities at all nor did a single word
of love ever pass between us during that epoch.

As the time approached when we might expect the return
of Drake we moved our residence to the cavern in the face
of the cliff. On Enid's account I had abandoned all idea
of trying to prevent Drake's operations by force of arms,
but I preferred that he should not know that she was alive
and on the island. Enid was delighted with our new abode.

"It would be perfect if only it had an elevator," she
panted as she climbed over the ledge and entered the place.
"It is so nice to have running water and a few spare rooms
and the view is superb. The stairs are a bit steep but it's
worth the climb if only for the light and air. Besides
there's no danger of the roof leaking nor fire nor cyclones
and the rent is very reasonable." She looked thoughtfully
down at the lagoon. "That is where the pearls are. just
below. Do you think that Drake will really dare to help
himself against your orders? It would be downright
robbery."

"That is Drake's professional calling," I answered. "To
begin with he would refuse to recognize any claim of mine
and if I brought suit afterwards what could I hope to
recover? He would deny that he had found any pearls."

Pearls of Desire

"Then what was the use of your staying here?" Enid
asked.

"Because I had certain plans for the protection of my
property which are no longer feasible," said I. "Do you
see those two rifles and that shotgun and that ammunition
chest? And do you see this pool of spring water and these
stores which we jackassed up here with so much toil in
case of attack by more natives? Now observe how prettily
the pearling ground is spread out under these cliffs. I
could hit a duck swimming around there three times out of
five. Observe also these nice fissures to fire through and
think how difficult it would be for anybody down below to
pot the watchman up here and how very risky it would
be to try to take this fort by storm. It is a miniature
Gibraltar."

"Then why is it no longer feasible to hold it and protect
your pearls?" Enid asked.

"Because I have a greater and far more precious
responsibility, which is yourself," I answered. "What if
I did try to stand off these blooming pirates and one of
them was to make a fluke and get me? What would then
happen to that charming debutante, Miss Enid Weare
supposedly sacrificed to the gluttonous appetite of Sir John
Shark? Let me tell you, my dear, you would make no
more of a mouthful for Drake than you are supposed to
have done for that shark."

The blood surged up into Enid's boyish face and she
looked at me with her grey eyes narrowed and that
peculiar, steely look in them which I had previously
observed and wondered at. It was a peculiar expression;
less angry than coldly contemplative and utterly ruthless,
and went oddly with the face of a Narcissus and the body
of an Artemis. It was not precisely a cruel look but coldly
and consistently merciless; such an expression as one might
expect to see in the eyes of a field officer when trying by
drum-head court-martial a batch of prisoners for rapine
and about to pass the sentence of death.

"He would never dare," said she.

"Yes he would," I contradicted. "For one thing I am
the only person who knows that you are still alive. Drake
would appreciate that fact immediately and act upon it.
The man is actually a coward but he is also a drunkard,
and a drunken coward is the most dangerous beast to be
found."

She looked at me skeptically and her full and slightly
everted upper lip pushed out a little with a grimace of
disbelief.

"You are trying to frighten me, Jack," said she. "Such
things don't happen these days. Kidnapping girls, I
mean."

"Drake cold sober wouldn't dare kidnap a blind Chinese
brat," I answered, "but Drake about half drunk, which
is his normal state though few realize it, would kidnap
the Governor's daughter, and she riding with her pa. I've
heard it said that his customary daily ration of spirits is
about half a gallon, but he doesn't show it except in the
effect it has upon his brain. I've never seen him flushed or
stagger but I could always tell when he was carrying alcohol
in bulk from the restlessness of his eyes. They flitter,
like the eyes of a monkey instead of getting fixed and
glazed like the eyes of most men who have been drink-
ing hard, . . . ." and I continued on this not very inter-
esting theme of Drake while stowing our effects in the
various nooks and crannies and shelves of the cave. Enid
in the meanwhile sat on the ledge, which was now in
shadow, and cooled off. She sat with one plump bare leg
bent under her and the other dangling over the brink and
she looked in her full sailor blouse with its elbow sleeves
quite luscious enough to tempt a far less hardened black-
guard than Drake. But as I was continuing to descant on
the misdeeds of this ravisher Enid turned suddenly to me
what I mi<mt call her "forensic face;" the face of the
tribunal. Her father had been a celebrated jurist and so

had his and perhaps Enid may have inherited certain
judicial qualities. I learned afterwards that her maternal
grandfather had been known throughout his region of
Virginia as "the hangin' jedge." No doubt the civil popu-
lation of those days profited by the free use of hemp. I
have often thought that there is undue economy shown in
the employment of it today.

But that forensic face of Enid's gave me pause, as I had
remarked it previously and come to learn that it preceded
some sort of action; just as the still, even sheen on the face
of the sea precedes a squall which might pull out one of
your sound teeth while leaving your whiskers intact. I
had started to scale some fish while meandering along
about the badness of Drake and was getting on nicely with
my job and its attendant discourse when Enid interrupted
in her short, concise voice: "He mustn't be let."

"What?" I asked, for the oracular decision had no refer-
ence whatever to what I had been discussing at the
moment, which was that the crystalline lens of a fish's eye
was perfectly round, whereas that of animals whose vision
was adapted to the refraction of air was flattened. I was
mentioning the fact that if a native pearl diver were
supplied with spectacles adapted to the refraction of the
water he could tell much better what he was about, when
Enid gave her judicial finding that "he must not be let."
She repeated it.

"Why not?" I asked. "Is there any law against putting
spectacles on a pearl diver?"

"Not that I know of," she answered. "But there is a
law against letting a thief come into your place and plunder
your pearls while you sit in a hole in the rock with three
guns at your elbow and watch him do it."

"You might as well detach your bright young mind from
that problem," I answered, "because my own is quite made
up. I have decided. Curiosity is said to have once been
fatal to a cat but indecision has caused the destruction of
armies."

"So has indigestion," said Enid, and kicked off a piece
of stone for the fun of seeing it roll down the face of the
cliff.

"Well, we manage to digest pretty well, don't we?" I
asked. "What are you driving at, anyhow?"

"You," she answered.

"Oh, are you?" I asked. "At what particular section of
my anatomy?"

"The most intelligent part," she answered, promptly.
"He mustn't be let come in here and gobble the best of our
pearls, must he, Jack?"

"He certainly wouldn't have been let do it except for
you, my little girl," I answered.

She did not make any reply to this but went over and
began to examine the guns. Presently she asked me how
long it was apt to be after Drake's arrival before my own
people got there.

"A fortnight at the earliest," I answered. "The Madcap
is a big, fast schooner and my little tubs could not sail
one foot to her three. Besides, the season is breaking up
and we can look for gales. The Madcap could slam right
through weather which would make the others heave to.
Another thing, Harris will have to make a detour by Viti
Levu to get some diving gear as those black scoundrels
made off with ours and we have no other. If Drake cracks
right on back here from Kialu he ought to have an easy
fortnight's leeway and in a fortnight working two sets of
gear and a full gang of native divers, which he is almost
sure to pick up some place he could strip this little patch
of bottom clean."

"And you would sit here and let him do it?" Enid asked.
"With two of us it ought to he easy enough to keep them
off because we couldn't be taken by surprise."

I merely remarked that it was not worth while discussing
as my mind was quite made up and I did not propose to
stand a siege of perhaps three weeks with her on my hands.

And here was I with the drop on him, for I had rais?d my gjn rr.uzzle in line with

his belt, and none of his outfit armed, not one, that could have done him any good."

Photoplay Magazine

I must say it did make me rather sick to see how prac-
ticable the plan was and to have to abandon it in this way.
No divers' were going to be made to work with a good shot
sniping at them from a hole in a cliff within easy range.
There was also the chance that the siege might last longer
than I had counted, as Drake might not have gone to
Kialu at all but taken his passengers directly to Samoa
or Fiji. In that case our relief was bound to be consider-
ably postponed and while in the cave we would be con-
fined to our straight stores, which were not plentiful.

Rather to my surprise Enid made no more protest at my
abandoning the idea of defense. Our weeks of close
companionship had shown me that she was not only abso-
lutely fearless but was distinctly pugnacious. I did not
think that she would hesitate a second at taking a pot
shot slap at Drake if I were to have permitted it. She had
taken an instinct-loathing for the man and appeared to
consider him more in the light of a brute beast than a
human; the gorilla which he rather suggested, or a troll or
something.

So we sat down to wait for whatever might happen as
comfortably as possible and were not kept very long in
suspense. One morning as we were making our usual
breakfast of fish and rice, up over the distant horizon
pushed a white column which looked more a lighthouse
than a vessel as the schooner was standing in close hauled
on a light breeze.

"He ought to make the lagoon by midday," I observed.
"I suppose that he will start right in."

"You are still determined to make no protest?" Enid
asked, almost indifferently.

"Oh, I shall make a verbal protest, of course, but what's
the good in that? Even if I had my papers I don't believe
it would make any difference."

"Then I am to understand that my staying here instead
of being a help to you is more apt to cost you an enormous
fortune," said she.

"So it looks," I answered, "but what of it? You prob-
ably saved me from going off my chump that first night or
perhaps later. If only my crowd would come along and .
catch him in here! But there's not much chance of that.
He'll keep his eyes rinsed and slip away to sea at the first
sight of a sail. There never was any real fight in Drake."

"That makes your decision all the more foolish," she
answered, beginning to wash up and put away our meager
mess gear.

I did not tell her what was in my mind, which was merely
to try to make the best possible terms with Drake, in the
hope that he might prefer a smaller share and everything
shipshape and proper to the risk of trouble later. Since
unable to fight for my rights it seemed more sensible to
offer to divide. But I rather doubted he would now listen,
feeling that he had the cards all in his own hands.

So we watched the Madcap glide slowly in, Enid keeping
well back from the mouth of the cave as I did not wish
her to be seen. She seemed destined to be an important
witness of Drake's piracy and he would realize it and for all
I could tell make some effort for her suppression. I
thought him quite capable of trying to murder us both if
he felt such a measure advisable.

As the Madcap entered the lagoon we saw that her decks
were swarming with blacks; a score of them at least.

"Native divers," I said to Enid. "The brute means to
work them with the armored men and make hay while the
sun shines. Look at the big animal there at the wheel. I
could almost pick him off from here."

"Wait until he gets to work and then maybe you won't
be able to stand the temptation," she answered, hopefully.

"No fear," I growled. "I wouldn't risk your little finger
for all the pearls in the Pacific."

"Why?" she asked.

"Never mind," I answered. "You will know when the
lime comes."

She gave me a curious little smile. I could never tell
what was passing in her mind. Facial expression reveals
this to some extent in most people but Enid's features
instead of revealing her thought disguised it. Different
traits had also a habit of contradicting each other, as at
this moment when her lips were smiling and her eyes as
hard as jade. They narrowed as she stared down "at the
Madcap and she said, almost listlessly: "It seems a pity
that my shooting lessons should go to waste." For having
decided that we had no use for our ammunition I had
yielded to her request to let her try a few shots, just to
pass the time. Though never having handled a gun before
she quickly got the knack of the business and with a dead
rest in a fissure made good practice. But once having
learned the trick she seemed to tire of the sport, saying that
the detonations gave her a headache and the kick made her
shoulder sore.

I remarked rather absently that everybody ought to
know how to shoot, especially those having "a taste for
adventure. Then, as there came the splash of the Mad-
cap's anchor and the rattle of her chain cable I decided
that I might as well go down and interview Drake. Purely
as a defensive measure and because I thought it would do
no harm to let him see that I was not weaponless I took
the shotgun. I did not believe he would try any tricks in
the face of a crowd of witnesses, but all the same there was
no use running any risk. Enid watched my preparations
in utter unconcern. Only as I started to clamber down she
said: 'Keep out on the beach where I can see you,
Jack, .... and don't turn your back on Drake."

"No fear," I answered. "I won't be gone long. Drake
will laugh at my protest and tell me I was a fool not to
•accept his offer to go shares. But I want to get the news
of the others and learn how Alice recovered from the
shock of your loss, you little beast."

"If Alice had done her part it never would have hap-
pened," said Enid, calmly. She had never expressed the
slightest sympathy for her aunt, though she had admitted
that she was sorry for the bishop. But that regret did not
appear to have cut very deep. It had always struck me
as odd, because I could feel that there was affection lacking
in her. The explanation was no doubt singleness of idea
and ruthlessness in earning this out.

So I slid over the ledge and clambered down and as I
struck the beach two large whaleboats put off from the
Madcap and headed in for the bight. Both were crammed
with jabbering native divers and as they drew near I saw
that Drake was in the first, which contained the diving
gear and some of his regular bandits who had discarded
their pinafore rig and looked the proper pirates which they
were. As the boat grounded I walked down to meet it.

"Hello, Kavanaugh," said Drake, stepping out and I
noticed that he wore a heavy revolver on his hip. "Well,
here we are again."

"Been expecting you," I answered. "How did you leave
ouf guests?"

"Not too badly. They'd managed to pull themselves
together a bit. After all, there was no help for it and
nobody to blame unless it was yourself for not having
made them promise not to bathe at night. Here's a letter
for you."

"Thanks," I said, glancing at the writing which was in
a woman's hand. "Did you tell them that you were
coming back here?"

"Quite so. I said that I thought your tale of having a
concession was all a bluff and that as keen a business
man as you wasn't buying concessions until he had done a
bit of prospecting. I told her than in my belief you came
here to prospect with the idea of buying the concession in
the case of your finding it worth while. That is precisely

what I do believe " He turned to give some orders

to several of the hands who were starting to rig a spare sail
as an awning under which to open shell, I supposed.

'After all, she was only a girl and she wanted just now to be petted and comforted and consoled."

IOO

Photoplay Magazine

"Thai won't wash, Drake," I said. 'Harris has seen
the papers."

"Well," said Drake, "I haven't seen Harris and I haven't
seen the- papers, so I propose to do a little prospecting on
my own."

"Where was Harris?" I asked.

"At your upper plantation. I didn't wait for him to
come back." He grinned.

Here was a blow. But a worse was still to follow, for
Drake said in a casual voice:

"I wouldn't count too much on any immediate help from
Kialu if I were you, Kavanagh. The ketch was up in the
ways getting patched along her garboard strake and Harris
had sent the yawls off down the beach somewhere to fetch
a cargo of hemp. He couldn't get your crowd here for at
least another month."

"Perhaps not in our own boats," I answered, ' but
Captain Billy Connors or old Muller or some other chap
is apt to call there any time and in that case Harris will
charter the schooner and fill her up with the fighting men
of Kialu and give you a run for your pearls, my boy. But
what's more likely is that a patrol boat may drop in here
and catch you with the goods, and you know what that
means."

He shrugged his big shoulders. "Muller was at Kialu
three weeks ago," said he, "and Connors expects you to
carry your own stuff, now, in your new boat, so the chances
of his looking in are about one in a thousand. As for the
patrol boat, since they've leased you the concession as you
say, why the devil should they take the risk and bother
of poking in? There's nothing here."

"All the same," I said, "if you try to poach my pearls
you are going to get in a lot of trouble over it, and sooner
rather than later. You think you've got me where you
want me, but you haven't by a long sight. I'm willing to
admit, though, that you may be able to cost me a lot before
I can get you jacked up, so I'm willing to make a conces-
sion. Now which would you rather have; all the pearls and
shell you can manage to hog before you are stopped, and a
lot of trouble, or draw up a contract with me for half
shares?"

"No," he answered, "I won't. I wouldn't draw up a
contract giving you one per cent. You had your chance
and if you were such an obstinate ass that you refused it,

that's your look-out " He turned his head and bawled

at his mate who was superintending the operations of the
native divers to shift a little farther out. The blacks
were plugging ears and noses with the wax compound and
seemed waiting only for the order to start in. The white
crew of the other boat had set up their pumps and were
being buckled into their armor.

CHAPTER XIII

One can faintly imagine my feelings as I stood there
and watched these preparations. First I had taken a
chance and paid my hard-earned money for the concession,
then lost my schooner in getting to the island, then suffered
a shock far worse than that of shipwreck and the subse-
quent plundering of all my goods to say nothing of the
treatment of my guests, then the loss of time from my
affairs and the ghastly few hours which I had passed at
the time of Enid's disappearance, .... all of this only to
have my worst enemy, the man I most loathed and despised
calmly despoil me of the treasure which should have gone
to compensate for this succession of ordeals.

Now, as I looked at Drake and all of this swept through
my mind I knew suddenly the emotions of a potential
murderer. If it had not been for Enid up there in the
cave I really believe that I might have poured a load of
buckshot into him point blank, then disposed of the three
men engaged on rigging the awning (the only others
ashore) and retreated to my stronghold. The mere sug-

gestion of the thought must have made me tighten my grip
instinctively on the shotgun and no doubt flamed in my
face while Drake's animal intuition warned him of the
passions projected at him. 1 would never have given the
hulking brute the credit for such swiftness of thought or
action for scarcely had the murderous impulse swept
through me than he had spun about in his tracks, his
revolver out and up and ready to cut down upon me. Of
course, if I had really meant to kill him he would never
have got his hand to his hip, and perhaps he realized this
for he stood absolutely still, glaring at me with bulging eyes
and distented nostrils.

For a moment we stood so, staring at each other. My
shotgun was under my a'rm, muzzle forward but depressed.
If I had budged Drake would have fired into me, and if
Drake had budged I would have emptied the load of
buckshot into him. The chances are that each would have
killed the other, as we were less than five paces apart, and
we both knew this and stood fast. Then Drake broke the
tension, and his heavy voice shook a little as he spoke.

"By God, are you mad, Kavanagh? You might get me
but you know jolly well wht would happen, afterwards."

"I know what would happen to some of the rest of you,"
I answered. "This gun is a repeater and none of your
gang is armed." I swung away the muzzle. "But put up
your gun, Drake. If I'd meant to kill you I'd have
managed it all right. Your guilty conscience nearly did
for you that time."

The sweat broke out on him. Then he slipped his
revolver back into the holster.

"Don't be an ass," he growled. "You know what these
black boys are, to say nothing of my lads. You might
collect two or three but the rest of the gang would ask
nothing better than to knock off for a day and organize a
man hunt with a corroboree at the end of it."

"Don't be too sure," I answered. "They might not find
it so easy. However, I have no intention of killing ....
just yet. Get on with your work, if you like. I'm curious
to see what the result is going to be."

The native divers were ready and at Drake's hoarse
"turn to the divers, Bill," a curt order was given and they
took the water. And then, as the ripples were widening a
thing occurred which must have seemed supernatural to
Drake, though I doubt if for the second he was any more
surprised than was I.

From the face of the cliff which loomed behind and
above us and on which long, serried shadows were just
beginning to fall came a double report, the two shots being
so close together as to be almost simultaneous and the noise
of them amplified by the concave formation of the rock.
The bullets hummed over our heads and zipped into the
water close to the boat in which were the air-pumps.

Drake spun around and stared up at the cliff with his
mouth open, then gave a gulp and looked at me. He made
no attempt to reach for his revolver, which was a lucky
thing for him, though I felt no desire to shoot him. I had
the inclination to laugh, not only at his face, which sug-
gested that of a startled monkey but at the way that
Enid had outwitted me .and forced my hand. No doubt
she had planned this coup de theatre from the moment that
I had told her that her remaining on Trocadero had ruined
my chances of protecting the pearling grounds. We were
in for it, now. This was our declaration of war and
accompanied by active hostilities.

Drake, of course could not fathom it at all. Where
or how I had got reinforcements, two riflemen at least, he
could not imagine. The main thing was that here they
were, potting at his crew from a hole in the cliffs which
he could not even see. And here was I with the drop on
him, for I had raised my gun muzzle in line with his belt,
and none of his outfit armed, not that that could have done
him any good.

{Continued on page 124)

Why-Do- T/>ey-
Do-It

' I 'HIS is YOUR Department. Jump right in with your contribution.
■*■ What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of impossibility in pictures you have seen.
Your observation will be listed among the indictments of carelessness on
the part of the actor, author or director.

Fudge

WHERE can I get hold of Gladys Hulette's recipe for
fudge? All that she did, in "The Candy Girl," was
to take the stuff off the coal stove, pour it into the pans, put
the sticky kettle right back on the stove and mark the
fudge into nice, symmetrical squares. It certainly looked
easy. Goodness knows that, even after I cool my fudge
and beat it and everything, it has to be served on crackers
sometimes.

Helen Ross, Davenport, Iowa.

Quite A Few Oj Us Will Probably Be Doing the Same
Thing

CRANE WILBUR, as an American soldier in "The
Painted Lie," commits a rank breach of military
etiquette by raising his hat to the heroine instead of
saluting.

E. T. Evans, Vancouver, B. C.

The Sweet Girl Graduate

I CAN stand quite a lot; I'm not unreasonable. So I
won't say a word about the fact that every scene of
"As Man Made Her" in which Edward Langford and
Thomas Mills appeared was timed to happen after six,
because they did look well in their dinner coats, but those
campus scenes — well, they got a rise out of me, I'll admit.
Gail Kane, mind you, attends a college for women — not
a "fern, sem.," but a regular school — and the subtitle in-
forms you that it's commencement day. Then you see the
students gamboling on the green like a bunch of kinder-
gartners, not doing folk dances (as sometimes happens
during commencement week, althought not on the day)
but playing drop-the-handkerchief, or pussy-wants-a-
corner, I couldn't tell which.

Richard Peescott, New Orleans, La.

Court Etiquette

I MUST protest against the repeated mistakes in photo-
plays dealing with royalty or the nobility. In a World
play of Russian life called "The Crucial Test," in which
Kitty Gordon and Niles Welch played the leading roles, a
princess writes a dinner invitation and signs her title.
Evidently the fact that princesses have ladies-in-waiting
to attend to their correspondence is not known at this
studio, or that, in case the audience were so stupid as to
misunderstand a personal note from the princess, a "third
person" invitation was the solution of the difficulty.

Vitagraph also was guilty of several inaccuracies in a
play in which Lillian Walker took the part of a waitress,
and which was called "Sally-in-a-Hurry." With a brother

whose name is Lord Richard X , the hero is only a

plain mister. This is unusual, but it's the last straw when

the hero, in bidding Lady Clara Y goodbye, addresses

her as Lady Y . The person responsible for this break

undoubtedly felt that "Lady Clara" was a trifle too
familiar.

M. G. G.. Ottawa, Ont.

"The Jaguar's Claws"

ZOUNDS! Whoever heerd tell of an oil station "some-
where in Mexico" without any means of communica-
tion other than the "wild ride" that poor Tom Forman took
to the border? Or was the plot laid yars and yars ago?
If so, why the fashionable this-years' belted model on
handsome Tom Moore? But, anyway, Sessue, you are as
good a villain as you are a lover.

G. C. L., Butte, Mont.

Maybe He Had Tonsil it is

I LEARN quite a lot at the movies. Just recently, in
Vitagraph-y, I assimilated the idea of swallowing, or,
rather, swallowed the idea of assimilating, liquidless drink.
Viz: Nannette, pouring the whiskey for one of the men
in the cabin, hurriedly lifting the flask over the cup, put
therein a good-sized teaspoonful, and evacuated. The
gentleman, raising the cup to his lips, extracted therefrom
one, two, three, four . . . seven elephantine gul-1-l-ups.

G. G. S.. Gainesville, N. Y.

Page Mr. Darwin

IN "The Island of Desire," the hero sights an island (in
the South Seas) at least fifteen miles away, and, upon
looking at it through a pocket spy-glass, observes a couple
of monkeys bang-up against his face. Maybe the glass was
a pocket-edition of the one at Lowell Observatory — but
monkeys in the South Seas!

Albert Deane, Sydney, Australia.

Real and Reel Jurymen

"When he is forsaken,
Broken and shaken,
What can an old man do but die?"

THE answer is easy. Get a position as a moving
picture juryman. Senility seems to be the only
requirement for acceptance, as most motion picture
directors seem to lose sight of the psychology which
prompts attorneys in real life to prefer middle-aged or
even young men for such duty. Many a splendid reel is
marred by a weak court room scene. A real jury is
supposed to be composed of positive characters — men who
will neither be swayed by prejudice or sympathy. Yet
the average moving picture jury is composed of old men
sentimentalists, judging from their actions on the screen.

' 101

102

Photoplay Magazine

When a witness offers what is supposed to be damaging
testimony to the defendant's case, the aged jury lean
forward in their seats, strain their eyes, and, looking
knowingly, converse animatedly with one another. We
then find ourselves crying on one side of our face out of
sympathy for the prisoner, and laughing on the other side
of our visage at the antics of the jury. We laugh because
we recall that a real jury recognizes their place for talking
is in the jury room, after all the evidence has been pre-
sented and are, therefore, dignified and uncommunicative
while in the box.

If some one were to say: "Why don't you suggest
that it is by cleverly written 'leaders' rather than by
methodizing in the facial expressions or actions of the
jurymen that the dramatic is achieved in court room
scenes," we'd have to exclaim with Goldberg, "We never
thought of that!"

C. F. X. Hughes, Philadelphia, Pa.

11 'lien Carpet Bags Were So Stylish, Too

MAJORIE WILSON was all fixed up in crinoline, poke
bonnet and shawl in "Wolf Lowry," but she carried
her personal belongings around in two very modern-looking
suitcases.

George Carter, Salina, Kans.

Something Wrong With the Studio Wardrobe

WRATH," of the "Seven Deadly Sins," was the object
of my wrath yesterday. The early scenes take
place sixteen years ago. The Russian girl appears with
her hair over her ears and wears a gown with transparent
sleeves. Memory tells me that that wasn't the style in
iqoi. And then, Mr. Warner, though the son of a Grand
Duke, was so fond of the suit he was married in that he
wore it a year later on his trip to New York to trace his
wife and child. Flora C. Allyn, Mystic, Conn.

Store Teeth

ROSCOE ARBUCKLE is certainly some lightning
change artist! In "Rough House," he comes in con-
tact with the mop and with much ado ejects his beautiful
ivories onto the floor. By just passing back into the
kitchen, he regains his pearly incisors and throughout the
entire farce displays them to enhance every smile.

A Queer Tinotype

I WONDER if the type machine at the Lasky studio
doesn't contain any quotation marks. One would judge
not, on seeing the title quotations of "Her Strange Mar-
riage," starring Fanny Ward. Not a single mark and
every title a quotation.

No, Sewing On Baby Clothes Is Customary

IN film plays, approaching motherhood is invariably indi-
cated by the showing of a lace bonnet, crocheted jacket
or booties. Now, by way of a change, couldn't the victim
(they usually are victims) grab a nearby perambulator,
or shake a rattle, or something? It would be a relief.
L. C. Heineman, Buffalo, N. Y.

But Some oj 'Em Aren't Sane

I'M sure that no sane
author would ever have
acted as did the one por-
trayed in "At First Sight."
Why, that man was fairly
dying to read his latest
novel to anyone and every-
one. Also, he insisted
upon announcing to almost
everybody that he "did not
know what to do with the
heroine; she was almost
married to the wrong
man," and generously ask-
ing for advice.

Why do young men
always part their hair in
the middle and literally
plaster it down on both
sides when they wish to create an impression of foppish-
ness? I am sure that no self-respecting fellow, even if his
"most deadly sin was an occasional cigarette," would ever
have dared face this critical world with his hair in the
condition of Robert Walker's in "Lady Barnacle."

In "The Little Boy Scout," featuring Ann Pennington,
the heroine, having reached the U. S. soldiers on the border,
is endeavoring to escape to her aunt in Lowell, Mas-
sachusetts. Having no traveling clothes, one of the privates
is sent off, unaccompanied by the young lady, to a little
border town to "get the little girl something to wear."
Moreover, he must do this while the tyrannical guardian
of the girl is dashing back across into Mexico to secure
proofs of his right to act in that capacity. Here is a soldier,
alone in a frontier town, with about fifteen minutes in which
to act. x\nd yet, in the next scene, we see Ann togged out
in perfectly-fitting clothes which look suspiciously like
Fifth Avenue.

Iris Woodman, Brookline, Mass.

A Difference oj Opinion

I, FOR ONE, disagree with the writer of "Southern Stuff.-'
Everyone knows that the differences in pronunciation
and enunciation in the North and South are marked. Mote
than once, I have heard this peculiarly soft speech in the
South and turned about expecting to see a negro, when
the speaker was really a distinguished-looking plantation
owner. So why shouldn't Dorothy Gish and Elmer Clifton,
in "The Little Schoolma'am," speak with rolled r's and
Southern twist of tongue?

Marianne S. Watkins. Toledo, Ohio.

Patent Leathers

IN one scene of "The Silent
Master," Robert Warwick staggers
forth in old, worn clothes, but with a
new pair of shoes whose brilliancy
quite dazzles the spectator.

Walter E. Esser.

The Yellow Peril

I HAVE often wondered why pro-
ducers think the public is inter-
ested in seeing a Jap desecrate a
white woman. This occurs in pic-
tures so often here lately. Japanese
actors in pictures relating to Japanese
life are perfectly all right.

Mrs. A. S. Hughes,
San Francisco, Cal.

Photoplay Magazine — Advertising Section

103

Take a

KODAK

with you.

Wherever yon go, there yon ivit! find
Kodak lilm to tit your Kodak.

EASTMAN KODAK CO., Rochester, N.Y

When you write 10 advertisers please mention THOTOPLAY MAGAZINE.

Marc MacDermott:
Movie '49 er

"Poor Marc," the highbrow actor said, as he
ate his baked beans cold. "The movies'. Bah!
Our friend is nuts, he has sold his art for gold."

By James S. Frederick

MARC MAC DERMOTT would be a logical mem-
ber of the Old Timers' Club— if he wasn't so
youthful. For Marc entered the movie game
back in the old days when each week disclosed
something new to the screen pioneers. "A whole century
of discovery and progress has been crammed into my nine
years in the pictures," says Mac Dermott. "The photoplay
has zipped along like a comet."

Mac Dermott had been on the stage for a number of
years before he decided to take the desperate step. Friends
sighed and shook their heads. ''Poor Mac," they said,
''after playing with Richard Mansfield, Mrs. Pat Camp-
bell and all the rest!"

"I really wasn't taking a
chance," admits Mac Der-
mott. "Of course, over in
this country, folks did look
down on the movie player
then. They frankly sneered
at the film. But I had been
on the other side — in
France — ■ where the best
players were even then
playing before the motion
picture camera for the
Pathe and other organiza-
tions. I knew that the
same thing must come
about in America and I cast
my lot accordingly. So
you see I really wasn't tak-
ing a chance at all."

Mac Dermott has a
glorious brogue. "No, in-
deed, I wasn't born in
Ireland," he said in
response to an inquiry.
"My birthplace was
Australia, although my
parents were Irish through
and through.

"I went on the stage in
Australia. For seven years
I was in the company of
George Rignold, an idol of
his day famed for his play-
ing of Henry V. Oddly,
one of the directors now
with me at Vitagraph, Paul
Scott, was a member of the
same company. I played
for three years with Mrs.
Pat Campbell in London,

the British provinces and the United States. I was a
member of the companies of Dennis O'Sullivan and Marie
Dainton and I came over to America again to play with
Richard Mansfield. I was in stock for several seasons,
too."

Mr. Mac Dermott entered pictures with the old Edison
company, and there achieved his early popularity. "When
I first went with Edison," he says, "I was leading man for
Mabel Trunnelle.

"Our company numbered Charles Ogle, the late William
West and Charles Seay (now directing Bobbie Connolly for

104

MacDermott deserted Richard Mansfield and Mrs. Pat Campbell
for the shadowy pastels.

Vitagraph but then an actor) while Ashley Miller directed.
"Mary Fuller hadn't then attained her popularity. She
was still with Vitagraph. Oscar Apfel was a director.
Charles Brabin was another early Edison director. Viola
Dana came to Edison later. Her husband and present
director, John Collins, was then in the office clerical force.
He was afterwards made assistant of production, then
head of the production department and finally a director.
Bannister Merwin was writing many stories for Edison at
that time and stood at the forefront of his field. Merwin
is now with a motion picture organization in South
Africa.

"Edison made quite a name for itself by sending a com-
pany twice to England.
My wife, Miriam Xesbitt,
and I were members of both
companies. Miller directed
the first expedition and
Brabin the second. It was
during the second trip that
we made a number of the
'What Happened to Mary'
series. We had an exceed-
ingly rough voyage back
and it was necessary to
stage some of the deck
scenes with a rolling sea
that would almost capsize
the camera. Mary Fuller
was frightfully seasick.
I'll always remember how
she would lean against the
deck rail until the heart-
less Brabin would cry,
'Camera! ' for the start of a
scene.

"In those old days the
field of production was
largely in the hands of the
so-called 'trust' — the com-
bination of licensed com-
panies. I used to marvel
at their sincerity of produc-
tion, since the organization
held the whole industry in
the palm of its hand."

Mr. Mac Dermott makes
some interesting compari-
sons between the photoplay
of today and yesterday. "I
do not think the present
day stories equal those of
the old days. A single
reeler then had real punch and force. It had condensed
strength. There was no padding, no injection of unessen-
tial to make a story run five reels. And yet I recall how
we used to say, after finishing a one reel play, 'If we could
only have five hundred more feet.'

"The old days are pleasant memories. They were
strenuous — harder than our work today. Our experiences
were often amusing. I remember when J. Searle Dawley,
now a Famous Players director, was producing 'The Battle,
of Trafalgar.' At that time we used to pick up drivers,
cartmen, anyone as an extra. That was before the studios

Photoplay Magazine — Advertising Section

•°S

makes you proud
of your complexion

There can be no luxury for a woman equal
to the consciousness that her complexion is
clear, fresh, delicately radiant. To keep it so,
no amount of cosmetics can excel the regular
use of a soap which thoroughly cleanses, and
at the same time has just the right soothing,
healing action to maintain the natural health
and beauty of the skin.

Resinol Soap does this because it is an ex-
quisitely pure and cleansing toilet soap con-
taining the Resinol medication which physicians
prescribe, in Resinol Ointment, for the treat-

ment of skin affections. With its use, the
tendency to pimples is lessened, redness and
roughness disappear, and the skin usually
becomes a source of pride and satisfaction.

The same extreme purity and gentle Reeinol medi-
cation adapt Resinol Soap to the care of the hair, and
of a baby's delicate, easily-irritated skin.

If the complexion is in bad condition through neg-
ject or an unwise use of cosmetics, a little Resinol
Ointment should at first be used to help Resinol
Soap restore its health and beauty. Resinol Soap is
sold by all druggists and dealers in toilet goods, through-
out the United States and Canada.

When you write U advertisers please mention I HoTol'IAY MAGAZINE.

1 66

Photoplay Magazine

were besieged by throngs of would-be players. A large
set had been built in the studio showing the deck of
Nelson's flagship, the Victory. The deck was crowded
with supers.

"Dawley had been imploring the extras to register anima-
tion and finally, after several rehearsals, ordered the scene
taken. A few days later the scene was shown in the studio
dark room. Then, lor the first time, Dawley was horrified
to see an anxious super, standing on the quarterdeck, pick
up a papier-mache anchor supposed to weigh something
like a ton. With one hand the zealous extra hurled it over
the side. There was nothing to do but retake the whole
scene. But the anxious extra wasn't in the retake.

"Nowadays the mere appearance of a movie company
attracts a crowd of interested admirers. Years ago it was
different. I recall when an Edison company, in which my
wife and I played the leads, was at Alexandra Bay. We
were doing an Indian picture and we were both in redskin
garb. It had been a hard, trying day and we were pretty
well exhausted when our launch reached the hotel dock.
As we climbed up the rickety ladder, we came face to face
with two surprised tourists. One of them started at the
appearance of our war bonnets. 'What's that?' he de-
manded of his companion.

" 'Oh,' responded the other in a bored tone, 'just picture
people.'

"The other eyed us curiously. 'Anything to keep out of
work, I suppose,' he remarked."

When the Edison company waned, Mac Dermott still
retained his hold upon popular favor. Subsequently he
joined the Greater Vitagraph. He has been prominent with
the big "V" for some time. Recent vehicles were ''Whom
the Gods Destroy," "Babette" and "The Sixteenth Wife,"
besides "Mary Jane's Pa," in which he had the Henry
Dixey role.

Mr. Mac D e r-
mott's wife, Miss *^^. Marc MacDermott na

Nesbitt, has retired fflf«3j*^ pWed everythmg Jrom a

from the screen, by ™
the way. "It is a
permanent re-

tirement,"
says Mac Der-
mott. "Acting

for the movies is hard work — a man's job. Few women can
stand it. Me? I'll keep on as long as the public endures me."

The "still" shown above is from one of Mac Dermott's most successful pictures "The
Price of Fame," in which he played a dual role

Photoplay Magazine — Advertising Section

107

Buy Diamonds Now $

— at the Old Price!

ASCH is the house that has NOT raised

prices 35 to 50% on genuine diamonds. We are still
rades, but buy NOW. We must pay

low

each of the five
more for next importations and so must you. Diamonds now at
prices to suit every purse. Don't wait until prices advance again.

Carat

No. A123. Lever
Belf - filler, guaran-
teed non - leakable.
Barrel and cap are pare
Para Rubber. Your
Name Inlaid In Gold
Fraa. Pen is UK Bolirl
gold Iridium tipped and
hand tempered. Free
repairs for 2 CI flfl
years. Price v1,w

X74 X75

,'ac Dia. Complete .*4C Dia. Complete

$12.00 $21.25

X76

?&c. Dia, Complete
$35.00

/2C. Din. Complete %c. Dia. Complete
$48.75 ' $71.25

X79
Dia. Complete
$101.25

X80
. Dia. Complete
$125.00

X91 — Extra Special solid gold
Lav. and Chain. 2 pearls, ! dia-
mond. Complete $3.95

Cameo Brooch
Complete. $5.00

X94

Solid gold

Lav. and Chain,
2 pearls, I diamond
Complete, $7.75

Free Examination — Money-Back Guarantee — Catalog FREE!

BASCH takes all the risk. Diamonds sent
for free examination. You pay nothing until you have
examined and proved for yourself by comparison that
the diamond you ordered is a real Bargain. Table of prices be-
low tells the story of what you can save by buying here and now.

Our Money-Back Guarantee protects you

from any possible loss even after you have decided to

buy and paid for your diamond. You cannot lose.

38 years of business success proves our reliability — refer to

; any Bank. Express Co., Magazine or Mercantile Agency.

Genuine Diamonds, blue
white or orange white, bril-
liant—imperfect.
One-eighth carat . $ 8.25
One-fourth carat . 17. 50
Three-eighth carat 31.25
One-half carat . . 45.00
Three-fourth carat 67. 50
One carat .... 97.50

Blue white Diamonds of In-
tense brilliancy, fair per-
fection.

One-eighth carat .
One-fourth carat .
Three-eighth carat
One-half carat .
Three-fourth carat
One-carat ....

$10.00
25.00
43.50
62. 50
101.25

140. CO

Per Carat

Finest WeBselton bine
white, eight perfect, brilli-
ant and desirable.
One-eighth carat . $ 12.50
One fourth carat . 30.0O
Three-eighth carat . 57. no
One-half carat . . 82.50
Three-fourth carat 135.00
One carat .... 188.00

Rare Roberta Victor steel
Dlue diamonds, eye perfect,
extremely brilliant.
One-eighth carat . S 15.00
One-fourth carat . 35. OO
Three-eighth carat 67.50
rine-half carat . . 97. 50
Three-fourth carat . 175.00
One carat . . . 240.00

Send coupon for the Basch De Luxe ,'
Diamond Book— FREE— a big beautiful #<*
catalog of Diamonds, Jewelry, Watches,' +*
etc. The best diamond guide ever is-
sued. You cannot afford to
purchase a diamond until > .
you have read it. Send .4* ,-»?^ .&
for it TODAY. V JOs 9

■Per Carat;

L. BASCH & CO.

Dept N3520
State & Quincy Sts.

CHICAGO

Finest Jagersfontein steel
blue diamonds, absolutely
perfect and flawless.
One-eighth carat . $ 19 75
One-fourth carat - 47.25
Three-eighth carat . 84. 50
One-half carat . 125.00
Three-fourth ca. 217.50 ,
One carat . . 295.00 4*

When you write to advertisers please mention PHOTOPLAY MAGAZIXE.

Hints to Photoplay Writers

Knowledge of Camera Essential to Successful Photoplay Writing. Advice on Current Markets for Scenarios

^y Capt. Leslie T. Peacocke

»0 be a really successful writer of photo-
plays one should have a good working
knowledge of a camera; not necessarily
a moving picture camera, but of a cam-
era of some sort, no matter how small
and inexpensive.
A JL Jy Without such knowledge the writing

KftrJl of photoplays is purely guesswork. We

are writing for the camera and must therefore thoroughly
know its scope and its limitations. Otherwise a writer is
only an amateur in this particular line of business. What
would you think of a professional carpenter without a
thorough knowledge of the use
of his tools? Not much.

In the art of photoplay
writing you must either class
yourself as a professional or
amateur.

A professional is one who per-
fects himself thoroughly in a
line of business, and demands
good pay for his work and his
knowledge, and usually gets it.
An amateur is one who merely
dabbles in any particular line
of endeavor and is never taken
very seriously, and finds it dif-
ficult to make a decent living
from it. This is only just and
fair, as I am sure all will admit.
All, that is, except those who
are posing as professional scen-
ario writers without having a
technical knowledge of one of
the main tools of the craft: — -
namely, the camera. However,
their days are numbered. Scen-
ario writing has developed into
one of the acknowledged pro-
fessions and the incompetents
are being rapidly weeded out.

The day has passed when a
staff-writer can merely outline the synopsis of a photoplay
and follow that up by drooling it along into an ordinary
continuity of logical, commonplace scenes, interjected with
numerous subtitles, without due attention being paid to
whether the scenes outlined can be obtained by the camera
or not.

The efforts of such an incompetent only cause trouble
and annoyance to a director and cameraman, and the
labor entailed in rewriting such a photoplay only retards
a director's work and causes loss of time in a production,
and that means a big loss of money to the producing
company.

The producing firms have lost hundreds of thousands of
dollars through the employment of semi-incompetent staff-
writers. They have discovered this, at last, and now they
are looking for experts. Well, as I said, it is impossible
to be an expert scenario writer unless you have a thorough
knowledge of the scope and limitations of the camera.

When you consider that every time the camera is moved
constitutes a separate scene, you will get some idea of what
I mean.

Now, a free-lance writer can, with the aid of an ordinary
pocket camera, outline a short scenario into logical con-
tinuity, using only exterior scenes, and with the assistance
of several acquaintances, employing them to pose as the
actors, take photographs of each scene that will go to make
up the photoplay, and in this way see the actual result
on a series of films. The experiment will prove enter-
taining and will teach a writer more of the limitations of
the camera than any other means I know of.

Then, if a writer is in the position to afford it, there are
several inexpensive moving picture cameras now on the
market, which have a projection machine attachment, the

whole costing under $200, which
are in every way practical for
the filming and the projection
of moving pictures. I am sure
the editor of Photoplay would
be glad to give you specific
information about these
cameras.

By the aid of one of these
machines a writer can easily
film a short reel story himself;
develop the film, and then pro-
ject the picture in his own home
or in any local picture theatre.
To a writer who can afford this
luxury it will prove a most won-
derful assistance in developing
himself as an expert scenario
writer, besides acquiring a
knowledge of the camera that
could not be obtained nearly so
well in any other way, and also
a knowledge of directing pic-
tures. It would also prove an
endless source of amusement to
himself and his friends.

In fact, I think that everyone
engaged in the practical end of
the moving picture industry
should have a thorough work-
ing knowledge of the moving picture camera. Directors
most certainly should have; although many of those who
have been directing pictures for some years have not
taken the trouble to make themselves thoroughly
acquainted with the most important tool of their adopted
trade, and rely on the cameraman to guide and advise them
in their work. That is one of the main reasons we see so
many worthless pictures on the screen. A first class sur-
geon in a hospital would not dream of directing a critical
operation unless he was thoroughly conversant with the
instruments employed; he would not have the nerve: but
we are sorry to say that nerve is not lacking with some
so-called directors of the moving pictures!

Some of the most prominent railroad presidents in the
country have made themselves familiar with even.- phase
of railroading and most of them are capable of running
an engine themselves: yet I will venture to wager that not
five per cent of the financial magnates in the moving pic-
ture industry know anything about the camera.

The general public will hardly believe that the majority
{Continued on page 118)

Photoplay Magazine — Advertising Section

109

Than V2 on a $100 UNDER

E. W. S. SHIPMAN, President^

EVERYONE knows the reputation of the Underwood Typewriter. I will send you on
TEN DAYS' FREE TRIAL a High Grade No. 4 Visible Writing Underwood, with Back
Spacer, Tabulator, Stencil Attachment, Two-color Ribbon, Waterproof Cover and
Special Touch Typewriting Instruction Book, that will teach you to operate this simple
Underwood in one day. I will give you a written guarantee of FIVE YEARS' SERVICE
from date of sale and I will save you much more than one-half the manufacturer's price.

25 Years' Experience — Confidence of 200,000 Customers

I am the largest typewriter re-builder in the world, employing the most expert workmen
in the typewriter business. I handle only Underwoods, obtaining all my machines and all
new parts direct from the Underwood Company.

How I Double the Life of An Underwood

Do not confuse me with a second-hand dealer. I put each machine through a process that I have
spent 25 years perfecting. Each machine is taken apart and re-built from top to bottom.

The frame is re-enameled, the bright parts re-nickeled. All parts unfit

for further service are discarded and replaced by new parts purchased

from the Underwood Company. Every machine is equipped with

new type, new platen, new ribbon vibrator, front scale, feed roll,

ribbon, space bar, key rings, key glasses, rubber feet, etc. Expert

mechanics re-adjust and re-align each machine. It will stand any

mechanical typewriter test.

My Five Year Guarantee — Ten Days* Free Trial

I personally stand back of every machine that goes through my factory with a

WRITTEN FIVE YEAR GUARANTEE OF SERVICE. I guarantee to send you a

genuine Underwood, exactly as illustrated and described herewith. You don't even

have to buy the machine at the time you get it. You can try it

•^ for ten days FREE and then, if you conclude the machine I send you does not

(* look, work and write like new, you may return it and I will refund any deposit

or charges paid by you. This guarantee affords you complete protection.

Mail coupon or post card today for
special low price and terms. You can
applying six months' rental on purchase price, buy on easy

You May

RENT

APPLYING RENT

PURCHASE PRICE

FOR CASH OR

ON EASY \

PAYMENTS J

Rent or Buy

terms or secure discount for cash.

Our Other Plan Brings Underwood FREE

A new plan — our agency plan. You are not
asked to do any canvassing or soliciting for orders. You
simply co-operate with us, becoming part of our nation
wide organization. You can easily get your Under-
wood FREE in this way. Send name and address ^
on coupon today and learn about Offer No. 53. ^

v+ v

<f J1

•

if <?

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I IO

Photoplay Magazine— Advertising Section

Herbert
BrenoiL

AeFALL

Produced l^r special arrangement
withMr.Lewis J. Selzrdck and. the
Herbert Brenon Film Corporation.

in.

of tRe

ROM&NOFfS

Wk ILIODOR

(former conPidant of
Pasputin.Czdrand Czarina)

reveals the true story of

Rasputin, real ruler of

Russia, and most astound'

ing adventurer of modern

times; show's this false

prophet rising from peasant

filth to the silken splendors

of Petrograd, where he

makes Grand Dukes and

money masters his servants

and the Czar himself his

humble follower: depicts

his discovery of the Mad

Monk Hiodor, an educated

rrjan he endeavored to

enslave: portrays lliodor's

imprisonment and escape,

and graphically pictures

Rasputin's bloody ascent

to supreme power, the

great conspiracy ending in

his sensational death, and

the dawn of the Revolt

tion in which was born

the Free Russia of today.

Address All Communications

ILIODOR PICTURE CORPORATION

7Q9 Seventh Avenue

Every advertisement

'IIOTOPLAY MAGAZINE is guaranteed.

f QUESTIONS

AND

ANSWERS

!r^iTr^%— -^

*Y"OU do not have to be a subscriber to Photoplay Magazine
-*- to get questions answered in this Department. It is only
required that vou avoid questions which would call for unduly
long answers, such as synopses of plays, or casts of more than
one play. Do not ask questions touching religion,
scenario writing or studio employment. Studio addresses
will not be given in this Department, because a complete list
of them is printed elsewhere in the magazine each month.
Write on only one side of the paper. Sign your full name
and address; only initials will be published if requested. If
you desire a personal reply, enclose self-addressed, stamped
envelope. Write to Questions and Answers, Photoplay
Magazine, Chicago.

?.fcv

C. P., Franklin, Tenn. — You are right;
were it not for the interest which the screen
patrons take in the players, there wouldn't
be much to the film industry, so you are
entitled to get all the information you can
about them. Nazimova played "War
Brides." Herschel Mayall was the king in
"Civilization." Jack Sherrill is 20; Wallie
Reid 26. Norman Talmadge is with Selz-
nick. New York. No, you're wrong this
time; w. never guess at anything. If there's
anything, r/rong here, it's because the people
who should?, have done so, have misled us.

Anne, Hot Springs, Ark. — Earle Foxe
and Harold Lockwood were born in 1887,
Charley Ray in 1891, Henry Walthall in
1878. George Walsh is married to Seen;i
Owen. Those you mention answer letters
but we have no way of knowing whether
they employ secretaries or pound out the
letters themselves. It would hardly become
us to say which we thought the best looking
off the stage. Besides it might make all of
'em sore.

L., Dayton, Ohio. — Welcome to our fire-
side. To our distorted mind, half the fun
in going to the movies is in listening to the
comments of our neighbors.

Eileen, Sydney, Australia. — Francis
Ford and Grace Cunard appeared in "Lu-
cille Love," "Peg of the Ring," "The Purple
Mask" serials and many other pictures.
Florence LaBadie was born in 1894. Lewis
J. Cody played opposite Bessie Barriscale
in "The Mating."

G. A., Oakland, Cal. — Glad to get the
information you sent us. Was quite a sur-
prise. A divorce suit instituted by James
Young against Clara Kimball Young is pend-
ing in Los Angeles, but it has not come to
trial as yet.

Master Joseph, Syracuse, N. Y. — Sorry,
Joie, but we aren't buying any poems right
now, though we realize, as you state, we may
be flirting with disaster in turning you down.
However, just to show how much we like
you we'll print the sample you sent. We
always try to give as much pleasure as pos-
sible to our readers. Here goes :

Oh, sirs, will ye lisson to me?

I am doing what is right.

You'll be good, I'll do what I should,

And write poems for the people's delight.

Emily, Chicago. — Write Theda Bara, care
Fox Film Co., Hollywood, Cal. Think you'll
like her in "Cleopatra" which probably will
not be released until some time during the
winter. From what we have seen and heard
of the costuming, it will be a bare of a pic-
ture. Right you are, girlie; fifteen per regu-
larly lamming the ole typewriter beats three
pesos a day, some days, bucking the extra
list in the film studios. Nothing like the
experience, though, was there?

IN order to provide space
for the hundreds of new
correspondents in this de-
partment, it is the aim of
the Answer Man to refrain
from repetitions. If you can't
find your answer under your
own name, look for it under
another.

All letters sent to this de-
partment which do not con-
tain the full name and address
of the sender, will be disre-
garded. Please do not violate
this rule.

Just Me, Idaho Springs, Colo. — So you
think Warren Kerrigan would have been a
better converter than Billy Sunday had his
parents put him in the ministry? Well, per-
haps. We have no record of that Fox play.
Hope that your ambition will be gratified.
Kerrigan is included in the "Stars of the
Photoplay" book.

M. M., Boise, Idaho. — "Freckles" was

filmed in Hollywood and vicinity. No

Chinaman is given in the cast of "The Dis-
ciple."

C. H. S., St. Louis, Mo.— Chester Bar-
nett played opposite Norma Talmadge in
"The Law of Compensation." He has ap-
peared very infrequently since "Trilby" when
he played opposite Clara Kimball Young.
Your letter was very deeply appreciated and
we would be very glad to hear from you
again.

Catherine, Trenton, N. J. — Pauline
Frederick is a native of Boston and in her
early thirties. She had a very successful
stage career, having appeared in many Broad-
way successes, the last of which was "Inno-
cent." She was married once to Frank An-
drews, an architect, but was divorced. She
is five feet, four inches tall, weighs 130
pounds, has brown hair and blue eyes. Hope
this will prove satisfactory.

E. R. & S., Punxsutawney, Pa. — We
never had any idea that we inspired timidity
on the part of our readers. Always want
'em to be nice and friendly, just as though
we owed 'em money and they were afraid
they wouldn't get it. Henry Walthall was
born in Alabama. Carlyle Blackwell is
with World. Permits are required to visit
most of the studios. So you think that Bill
Hart is "an actor and not a clothing ad?"
Well ; that's quite a tribute.

D. H., Seattle, Wash. — Suppose you
didn't miss the picture of Mary Pickford
in the Art Section in August. Afraid you
will have to write to Paramount for pic-
tures from old photoplays of Miss Clark
and Miss Pickford.

V. C, Detroit, Mich. — Ruth Roland is
married. Mrs. Lionel Kent is her legal name
and hubby is an automobile man. Douglas
Fairbanks' real name is ditto. Mary Pick-
ford has no children. Watch your local
papers and you can learn if Clara Kimball
Young ever goes to Detroit. Same applies
to other stars. No, we never get tired of
answering questions — ho, hum. There are
three Pickford children and five Moores.

Lois, Toronto, Canada. — Tom Moore was
the doctor in "The Primrose Ring" with
Mae Murray. Harold Lockwood's address
is 1329 Gordon Avenue, Hollywood, Cal.

Norma, Menominee, Mich. — We didn't
forward your letter to a movie company
because you are much too young and haven't
gone far enough in school. You should
at least have a high school education before
you make a start starward.

C. S., Grand Rapids, Mich. — Brenton
Marchville played the Prince with Susan
Grandaise in "A Naked Soul." It was made
in France. The owners of the eyes and
lips were announced in the August number.

Ill

I 12

Photoplay Magazine — Advertising Section

MeeTyoiir iavorife
Movie Sfar

Take Your Choice

Make your Belection for
U many .is you want and
tiend with your remit-
tance. Our money back
guarantee protects you.

May Allison

Thcda Bara

Mrs. Vernon Castlo

Alice Brady

Billie Burke

Francis X. Bushman

June Caprice

Lon Chancy

Marguerite Clark

Viola Dana

Crace Darling

Grace Darmond

Douglas Fairbanks

Franklin Farnum

Neva Gerber

Myrtle Gonzales

Creigh ton Hale

W. S. Hart

Louise Huff

Rupert Julian

Mollie King

Harold Lockwood

Louise Lovely

Mary McLaren

Mane Osborne

Virginia Pearson

Dorothy Phillips

Jack Pickford

Mary Pickford

Eddie Polo

Myrtle Stedman

Norma Talmadge

Pearl White

Clara Kimball Young
600 others that you know.

These photo post
cards of your movie
favorite present
such exact like-
nesses, that to
possess them is
a good deal like
meeting them
personally. We
were the first to
sell by mail post-
card photos and
photographs of
the movie stars and to-
day are the largest di-
rect-to-you d ist ributors.
Personal acquaintance
with many screen favor-
ites enables us to include
exclusive and recent
poses at these low prices

100

for

25c

$1.00

For 25 cents you may

laveeightee
hoice or 1
orty or a

i of your own
0 centa for
dollar for a

100 for $1

MONEY BACK
IF DISSATISFIED

SPECIAL

Actual photographs in
attractive poses. Size
8x10 of all feature
Stars, at 50c each.
Wehavemany Stars
in different views
and poses. Get 3
beautiful photos of
your favorite. Spec-
ial at $1.00 for 3. Send
stamp for sample
card and our list.
Sent free with all orders.

The Film
Portrait Co.

127 A First Place
BROOKLYN, N.Y.

-The "LOVER'S KNOT" Switch-

WAVY
HUMAN HAIR
Double switch foi
dressing i ithi i my
lish or simple coif
fures by showing o
hilling the curls.

SELECT QUALITY

Lenfrth 20 inches—
Weight 2 ' ,' ounces.
Price $2.95 Post-
paid, Greys extra.
Send sample.

MONEY BACK IF
£N0T SATISFIED

Write for "VOGUE COIFFURES," our FREE CATALOG of
GUARANTEED HAIR GOODS

Transformations, Switches, Cur Is, Wigs, Pompadours, Waves, etc.

TOUPELS AND WIGS FOR MEN
ERANrTC DnDTDTC ffl THE MAIL ORDER HAIR HOUSE

rKAINlt^ KUulKIS l»., 100 Fifth Ave., Dept.314 New York

Questions and Answers

0 £XP£*r

BY AN EXPERT PENMAN

For full particulars and samples o( fine pen work, address
TEVIS & JACKSON, CMUicothe, Missouri

(Continued)

Brownie, Buj-jalo, N. Y. — Oh, fickle
Brownie! A new idol every week! Yes,
we're strong for Uncle Sam, too. Just think
what he's doing for the young men of the
country. Thousands of them who never
hoped to get a trip abroad will be sent at
his expense to various parts of Europe. Yes,
we like baseball, too. It takes you out in
the air. Your request for something about
Harry Carey has been shot over to the
boss editor. Where did you ever get the
idea that we were sometimes gruff? Why,
the very idea!

Reader, Parsons, Kan. — How does it
come that Francis Bushman is chewing gum
during the operation scene in "The Great
Secret?" The only explanation we can think
of is that he must have put some in his
mouth prior to the taking of the scene.
Mahlon Hamilton played opposite Petrova
in "The Black Butterfly." The principal
roles in "Patria" were enacted by Mrs. Cas-
tle, Milton Sills, Dorothy Green and Warner
Oland.

Lizzie B., Hollywood, Cal. — Lenore Ul-
rich's name is the same as her stage name
and she was on the legitimate stage before
entering screenland. Address her care Mo-
rosco, Los Angeles, and it will be forwarded.

H. H. Tampa, Fla. — Marjorie Daw
played the part of Joan's sister in the early
part of "Joan the Woman." Your Dexter
request has been attended to.

Betty, Philadelphia. — We have no rec-
ord of Jeanette Hackett. Turr'bly sorry.
Antonio Moreno is not married. Write him
care of Pathe for a picture.

Helena, New York City. — Forest Stan-
ley is married. He is now on the stage,
playing in "The Bird of Paradise. '

J. N., Plainfield, N. J. — What do you
mean, 'no pictures of Mary Pickford. There
were at least three of that young lady in
the August issue. Write Mrs. Castle, care
Pathe, Jersey City, N. J.

Dorothy, Emporia, Kan. — Irving seems
to have made quite a hit with you. Mr.
Cummings and Miss Sinclair w?ere married
last May. His favorite pastimes are mo-
toring and writing letters to his admirers
so you will be safe in writing him.

Alice, Bronx, New York. — Arline Pretty
has gray eyes and brown hair and her fa-
vorite pastime is buying new clothes. Arline,
Earle Williams, Bessie Love and Shirley Ma-
son are all enjoying unwedded bliss. Mr.
Williams was born in i88o. Dorothy Dalton
was the wife of Lew Cody, now pla;
opposite Gail Kane for Mutual.

R. D., Savannah, Ga. — There are no large
film companies engaged in manufacturing
photoplays in Georgia. Jacksonville, Fla.,
is the nearest cinema center.

Jltanita 'Admirer, Winnlpeg, Canada. —
We have every reason to believe that Tom
Chatterton and Juanita Hansen will never
marry each other. Miss Hansen is now
with Horsley and Thomas Chatterton will
soon be seen in "Whither Thou Goest."

E. M. N., PiTTsevr.G, Pa. — The Gish sis-
ters are "Somewhere in France" and cannot
be reached by letter without considerable
difficulty so you'd better wait until thty
come back home.

H. H. Favorite, Pasadena. Cal. — Write
Helen Holmes at 4560 Pasadena Avenue,
Los Angeles. There is no book containing
"The Lass of the Lnmberlands."

Dolly, Jamaica, L. I.— Douglas Fairbanks
will send you a photograph if you write him
care of Artcraft, Corner Vine and Selma,
Hollywood, Cal. Ralph Kellard is no longer
with Pathe. Herbert Heyes is with Fox.

Marjorie, Washington, D. C. — Pauline
Fredericks is in New York most of the time
and she'll be glad to hear from you if you
write her care Famous Players. Her birth-
day date is August 12.

L. C. W., Buffalo, N. Y. — Don't you
think your severe criticism of the bathing
girls in the July number would have car-
ried more weight if you had signed your
name to the communication ? And we'll bet
you ain't no man neither.

M., Stewartville, Minn. — By actual
count there were 59 questions in your two
letters, most of which are answered else-
w-here in this issue. The others are unanswer-
able. Write again and tell us what you
leallv want to know most.

Dana. Norfolk, Va. — Really, you are
quite embarrassing. Have you no regard
for masculine modesty? Don't understand
your reference to sarcasm as we never in-
dulge in anything like that. Charles Ray
is in a current stage of matrimony. There
aren't more divorces among movie people
than other folk. You just hear more about
'em, that's all. Strange that no Norfolk
theater is showing Paramount pictures. Talk
to your favorite movie manager; that is,
the manager of your favorite theater.

Fan, LaGrange, Ga. — Milton Sills played
opposite Clara Kimball Young in "The Deep
Purple.'' William Shay opposite Annette
Kellermann in "Daughter of the Gods." It
was about nine reels long.

Alice D., San Francisco. — Tom Moore is
with the Constance Talmadge Company at
present. Was born in 1880 and his wife is
Alice Joyce. Lottie Pickford is with Lasky.

B. W., Denver, Colo. — What do you
mean "darling answer man" and don't we
"adore Jack Pickford?" Jack is a very
clever young actor and ought to be a great
help to his family in time but — just noticed
your postscript confession of 13 year-
it's all right. We never allowr anyone older
than that to "darling" us. Write Jack at
Morosco Photoplay Co.. Los Angeles, Cal,
and he'll send you a picture.

Miss Bother, Hot Springs, Akk.— Mar-
gery Daw will next appear on the 5-
with Mary Pickford in "Rebecca of Sunny-
brook Farm." She is with Lasky and her
right name is Margery House. Her brothi".
Chandler House, is also a film player.
Madge Evans is eight. You certainl;
lucky to eel so much attention from Miss
Minter.

Marg. Tyler. Tex —The word "we" is
used by us in the editorial sense, just as
we use "us" as a singular pronoun. Only
two classes of people have the right to
, rivilege, editors and kings, and soon
it will be only the former. Dark red hair
photographs 2 soft black and the lighter
shades of red photograph the varying shacics
of brown. Pearl White's hair is a
auburn, iherefore appears light on the
sireen. Louise Lovely's husband's nan
Welch but not Niles. Creighton Hale was
the Prince in "Snow White." Bryant Wash-
burn is ; 8 and happily wed. Crane Wilbur
is in Los Angeles with Horsley. Why clubs

•amed for movie stars is one of
little mysteries we haven't attempted to -
ontinued on page 120)

Every advertisement in PHOTOPLAY MAGAZINE is Fuaranieed.

Photoplay Magazine — Advertising Section

"I Got the Job!"

Oakland Avenue and you can have a maid and take things easy. I tell you,
Nell, taking that course with the I. C. S. was the best thing I ever did."

Spare-time study with the I. C. S. is winning promotions for thousands of men
and bringing happiness to thousands of homes all over the world. In offices,
shops, stores, mines, mills and on railroads, I. C. S. trained men are stepping up
to big jobs, over the heads of older 1 tear out here

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6476, SCRANTON, PA.

how I can qualify for the position, or in the

— — ^ j 1

men, past those whose only quali-
fication is long service.

Explain, without obligating me,
subject, before which I mark X.

There is a job ahead of you that some
man is going to be picked for. The boss
can't take chances. When he selects the
one to hold it he is going to choose a
trained man with sound, practical knowl-
edge of the work. Get busy right now
and put yourself in line for that promo-
tion. You can do it in spare time in your
own home through the International
Correspondence Schools, just as nearly
two million men have done in the last
twenty-five years, just as more than
100,000 men are doing today.

The first step these men took was to
mark and mail this coupon. Make your
start the same way — and make it right now.

□ ADVERTISING

□ SALESMANSHIP

□ Traffic Management
D BUSINESS (Complete)
D Commercial Law

Q Certified Public Accountant

□ Higher Accounting
D Railway Accountant

□ bookkeeper

□ Stenographer and Typist

□ Good English

□ Window Trimmer

□ Show-Card Writer
Q Sign Painter

□ lIVIL SERVICE

□ Railway Mail Clerk

□ Mail Carrier

□cartoonist

□ illustrator

□ Perspective Drawing

□ Carpet Designer

□ Wallpaper Designer

□ Bookcover Designer

□ teacher

□ Common School Subjects

□ High School Subjects

□ Mathematics

□ AUTOMOBILE OPERATING

□ Automobile Repairing

□ electrical engineer

□ Electrician

□ Electric Wiring

□ Electric Lighting

□ Electric Car Running

□ Heavy Electric Traction

□ Electrical Draftsman

□ Electric Machine Designer

□ Telegraph Engineer

□ Telephone Work

□ architect

□ Architectural Draftsman

□ Contractor and Builder

□ Building Foreman

□ Concrete Builder

□ PLUMBER & STEAM FITTER

□ Heating & Ventilation

□ Plumbing Inspector

□ Foreman Plumber

□ CHEMIST

□ Analytical Chemist

□ MINE KOREMANORENGINEER

□ Coal Mining

□ Metal Mining

□ Metallurgist or Prospector

□ Assayer

□ TEXT1LEOVERSEERORSUPT.

□ Cotton Manufacturing
Q Woolen Manufacturing

a MECHANICAL ENGINEER
Mechanical Draftsman

□ Machine Designer

□ Machine Shop Practice

□ Boilermaker or Designer

□ Patternmaker

□ Toolmaker

□ Foundry Work

□ Blacksmith

□ Sheet Metal Worker

□ STEAM ENGINEER

□ Stationary Fireman

□ MARINE ENGINEER

□ GAS ENGINE OPERATING

□ Refrigeration Engineer

□ CIVIL ENGINEER

□ Surveying and Mapping

□ R. R. Constructing

□ Bridge Engineer

□ Structural Draftsman

□ Structural Engineer

□ Municipal Engineer

□ NAVIGATION □ Spanish

□ Motor Boat Rnnn'g □ French

□ AGRICULTURE □ German

□ Fruit Growing □ Italian

□ Vegetable Growing

□ live Stock &c Dairying

□ POULTRY RAISER

Occupation
and Employer-

Street and No..

City_

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

[14

Photoplay Magazine — Advertising Section

J-fair- (Po/or7?es/orer

MfffV

It is not a crude dye, greasy
and repulsive, but a clean,
colorless liquid that dainty

women
Acts

like to use.
like rnagic on those
first gray streaks.
Restores the orig-
inal color in from
4 #to 8 days no
matter how gray
the hair.

Applied by comb-
ing through the
hair, which it
leaves soft and
fluffy. Doesn't
interfere with
shampooing,
waving and
dressing. To
prove this we
offer a Trial
Bottle FREE.
Send for free
trial bottle with
special comb
ind test it on
a lock of
k hair. Say
in your
letter 'whether your
hair is naturally black,
dark brown, medium
brownorlight brown. If
possible, enclose a lock.
When you want the
full-size bottle you can
get it direct from us if
you prefer not to buy
of your druggist.

are "as a cloud before the sun" hiding
your brightness, your beauty. Why not
reruovethem? Don't delay. Use

STILLMAN'S

Cream

Made especially to remove freckles
Leaves the skin clear, smooth and with- ,
out a blemish. Prepared by specialists
with yeirs of experience. Money re-
f mi. led if not satisfactory. 50c per jar.
Write today for particulars and free booklet/

'Wouldst Thou Be Fair"

I Containsmanybeautyhints.anrt 1
I describes a number of elegant
J preparations indispensable to the
I toilet. Sold bij all druggists,

STILLMAN CREAM CO.
[Dept. 32 Aurora, HI.

Plays and Players

bride" from Universal City,
was the first.

Every advertisement in Photoplay is guaranteed
not only by toe advertiser, but by the publisher

COMMODORE J. STUART BLACK-
TON, one of the organizers of the
Vitagraph Company of America has
joined Adolph Zukor's Paramount organi-
zation. Mr. Blackton still holds his stock
in the Vitagraph Company but it is under-
stood he will sell out completely. The
new series to be produced by Commodore
Blackton will be known as the J. Stuart
Blackton Series of Photoplays. Four of
these will be made the first year, each to
be equal in scope to "The Battle Cry of
Peace."

THE decision of
Universal to dis-
continue the mak-
ing of pictures of less
than five reels' length
completes the final
standardization of the
photoplay. Of course
the decision does not
affect comedies or
serial episodes but the
old two and three reel
thrillers are now a
thing of the past.

NNA LUTHER,

the golden blonde

heroine of many
film escapades, is back
at the make-up box
after a long absence
from the mercury
lights. She will be seen
next in the role oppo-
site Charley Ray in his
initial Ince-Paramount
production.

SEENA OWEN and
Miriam Cooper,
wives respectively
of George and Raou!
Walsh, Fox star and
director respectively,
have retired, tempo-
rarily at least, from
camera activities. Miss
Owen had been filmed in numerous scenes
of a photoplay in which she was playing
opposite her husband for the first time
when illness caused her to quit and her
place was taken by Enid Markey.

NAZIMOVA, the original war bride,
dramatically speaking, has been
signed to appear in Metro Pictures.
She will be directed by Maxwell Karger
in a series of multiple reel productions.

FRANK E. WOODS, whose first experi-
ence with the motion picture industry
was as the conductor of The Specta-
tor column in The New York Dramatic
Mirror, and who later was closely asso-
ciated with D. W. Griffith in all his big
productions, has been engaged by the
Famous Players Lasky-Corporation. He
will act as general manager of productions
under Director General Cecil De Mille.
Mr. Woods is the author of the original
•scenario of "The Birth of a Nation" and
had much to do -with the last production

(Continued from page 33)

Betty Shade of Griffith, the magnificent and spectacular
"Intolerance." At the Lasky Studio he
will handle much of the work which for-
merly fell to Cecil De Mille who has been
overtaxed with production duties.

UANITA HANSEN' has quit Keyston-
ing and is lending her blondeness as a
contrast to the darker pulchritude of
Crane Wilbur. It is understood that Wil-
bur will soon make a new alliance — no,
not matrimonial, business — as his contract
with David Horsley has recently expired.

CLEO MADISON has been dallying
with her old love, the so-called legiti-
mate stage, after a
half dozen years or
more, in the movies.
Miss Madison has been
filling an engagement
in a San Francisco
stock theater.

EUGENE O'BRIEN
took the first train
back to New York
after the completion of
Mary Pickford's "Re-
becca of Sunnybrook
Farm." Not that he
had any objections to
Hollywood, but he said
he was so terribly tired
of sleeping, don't you
know.

|EGGY CUSTER,
one of the pretty
young things 0 f
Universal City, staged
an honest-to-goodness
wedding in July when
she slipped away to
San Diego with Cam-
eraman Jack Mc-
Kenzie.

Little Bobby Connelly, Vitagraph's juvenile
star, fell from the running board of an auto-
mobile and broke his right arm. This did not
cause even temporary let-up in his work for
his director immediately wrote a scenario in
which the broken arm figures prominently
and work is going on as usual.

KATHLEEN CLIF-
FORD, vaudeville
and screen star,
celebrated her fourth
accident several weeks
ago — a sprained ankle.
During the filming of "The Twisted
Thread" the Balboa serial which, is pro-
viding her celluloid debut, Miss Clifford
has broken a wrist, an arm and several
ribs. Yet she insists that vaudeville is
more exciting than the sun stage.

ILDRED HARRIS, who will b(
membered by the pioneer movie
fans as the Domino kiddie is now
a full fledged star. She appeared in the
first production made by Lois Weber in
her new studio and at its completion was
signed up for a year as a Weber star.
Miss Harris, after her kid days at Ince-
ville, was elevated to ingenuehood by D.
W. Griffith and was featured in Fine
Arts photoplays for a time.

'EYSTONE comedies are now being
made without the assistance of Mack
Sennett. father of that brand of film
recreation. The name having passed to
Triangle, that concern is engaged in turn-
ing out the product at the former Fine

tlsement in PnOTOT'LA-Y MAGAZINE is guaitiit.i d

Photoplay Magazine — Advertising Section

115

Look to Nela Park
for Better Lighting

New uses for light have been made possible by the
NATIONAL MAZDA lamp. It has greatly multiplied
the amount of light produced from a given amount of
current. The steady illumination at high intensities
and low cost has brought about, among other things,
the flood-lighting of buildings as shown below.

Flood-lighting, protective lighting, flag lighting; street
car, locomotive and sign lightingare but a fewexatnplesof
better results being secured with NATIONAL MAZDA
lamps than were possible with the older illuminants.

Now watch for better pictures in the movie theatres.
The light that throws the picture on the screen repre-
sents a more difficult illuminating problem than the
others, but it is not beyond the powers of the incandes-
cent lamp which has solved so many other difficulties.

For data on any kind of lighting connected with
the motion picture house write Nela Specialties Division,
National Lamp Works of General Electric Co., 134 Nela
Park, Cleveland, Ohio.

NATIONAL

MAZDA

» THE WAY TO BETTER jljGHT -

li*i>Ni

.19 1 ■_!,<

Ill t *

■ A.I iflll

I 1 1

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Relieve your
foot troubles

Misplaced bones cause most foot troubles.
Fallen arches cause p:nn in feet, legs, thighs,
and back. Lowered bones pressing on the
sole cause callouses. Misaligned bones cause
run -over heels. The
Wizard Adjustable

CaVoas /temover"

. ArchButfder

"!\fteet CereJer

give instant relief by
supporting misplaced
bones in normal position,
with soft inserts in over-
lapping pockets. Any adjust-
ment needed easily made.
Wizards are soft, flexible,
featherlight and feel fine. No
metal — no breaking in. Each
device made separate or

combined for cases with

more than one trouble.

For sale by shoe dealers.

If not by yours, write us.

"Orthopraxy o} 'the Fa ■' .1
•realist on foot troubles. Free.

WIZARD FOOT APPLIANCE CO.

tmmm 1517 Locust Street, St. Louis, Mo. mmbi

Every Bride, Groom, Young Man or Woman Needs

UAL KNOWLEDGE

A $2 BOOK FOR $

Complete — 320 pages — Illustrated
By DR. WINFIELD SCOTT HAIL, Ph.D.

PLAIN TRUTHS OF SEX LIFE

every person needs lo know; Safety

in marriage relations; Dangers of

Sexual Abuses; Diseases caused by

Sexual Ignorance; Secret of Sexual

Strength. Exposes "fakes" on sexual

weakness. Explains what, when and

how to tell children.

In plain wrapper, only $1.00 postpaid, if you memion

this advertisement. Money back if not satisfied.

The .

i'y

AMERICAN PUBUSHINGCO.,1030WinstonBldg.,Philadelphia

Arts studio while Sennett retains the old
Keystone studio for the manufacture of
Sennett-Paramount comedies.

GRACE CUNARD is again a worker in
the Universal vineyard, so to speak.
She went back to the old homestead
several weeks ago but it is not likely that
she will be seen opposite Francis Ford
in the immediate future. Ford is now
engaged solely in directorial work.

DOUGLAS FAIRBANKS' "Wild and
Woolly" was such a tremendous suc-
cess that he is again doing a western
comedy after a stuntless one. This one is
being directed by Joseph Henaberry, as-
sisted by Millard Webb, under the super-
vision of John Emerson. The story of
course, by Anita Loos. Before starting
the picture, the dynamic "Doug" made a
quick trip to Cheyenne to attend the
Frontier Day celebration.

THE Wandering Jew and The Man
Without a Country have been sue-.
ceeded by The Girl Without a
Home.

Mabel.

Mabel Normand.

Ever since March, 1916, the Keystone
queen's mysterious affiliations have been
a conversational buzz wherever picture
talk is going.

Likewise her merrily invisible
"Mickey," as nice a tradition as the
Brownies, upon which a phalanx of
directors, several armies of cast, several
miles of continuity, several warehouses of
scenery, several tons of props, several
leagues of film and several libraries of
publicity have been expended wuth noth-
ing (as yet) forthcoming.

PAT O'MALLEY, who became famous
with the Edison Company is with
Selig. He will appear with Lew
Fields in a drama entitled "The Barker."
O'Malley, like his noted namesake of fic-
tion, Charlie O'Malley of the Dragoons.

is a great rider, and does some remark-
able bareback riding in the new picture.

WELL, who do you think they have
snared into pictures? No, not Hin-
denberg; Texas Guinan, who has
led the Winter Garden Company in
some of its greatest triumphs. H. O.
Davis, big boss of the Triangle Company
saw great possibilities in the transfer of
her wonderful vivacity to the screen, and
luretl her out to Culver City. She has
only one complaint to make about Cali-
fornia. It has none .of those delightful
old-fashioned barouches that wander leis-
urely up and down Fifth Avenue of an
evening. Miss Guinan christened them
"wooleys" and the name has stuck.

DOROTHY DALTON is now a Para-
mount star. Thomas Ince has offi-
cially announced that Miss Dalton's
name has been added to those of Charles
Ray and Enid Bennett as Ince stars to
appear exclusively in the future in Para-
mount pictures. There will be eight
Dorothy Dalton pictures a year.

ARNOLD DALY is making his return
r\ to the screen in an adaptation of
Edward Hale's "A Man Without a
Country" made by the Frohman Amuse-
ment Corporation. Anthony P. Kelly
made the film version and John W. Noble
handled the direction. The battle scenes
were staged in Long Island, New Jer-ey.
and off Cape Cod.

CHARLES BRABIN, lately a Vital
graph director, has joined the Metro
forces to direct the Bushman-Bayne
combination. Before becoming a Metro-
ite, Brabin directed Peggy Hyland's first
independent release. "Persuasive Peecy "

CLARA KIMBALL YOUNGS first in-
dependent production is to be "The
Marionettes." The filming was done
at the Thanhouser New Rochelle, N. Y.,
studios. Emil Chautard directing.

A Protest Against a Needless Horror of War

By J. P. McEvoy

THEY want to send our movie stars
against the Gervian crowd,
I don't believe such cruelty in war
should be allowed,
A dark and diabolic mind conceived this

ghoulish part —
Imagine putting Hindenburg against our
William Hart!

What chance, I ask, would Hindy have,

the poor benighted Hun/
Why, Hart could roll a cigarette while

beating in his bun,
And poor old Crown Prince Freddy, with

Bill Farnum in the fight!
He'd be some Crown Prince Freddy, then.

for Bill would crown him right.

Alas for Kaiser William! Alas, for poor

old he,
With Douglas Fairbanks at the front and

leaping o'er the lea,

He'd reap a retribution for his kultur and

his sins,
For Doug' would shine his august eyes

and kick his royal shins.

I ask you please to paint the scene upon
your matter gray,

The wild, horrenduous battle sce?:c with
Chaplin in the fray.

With Charlie and his facial fringe of Lilli-
putian size

Bombarding sad-eyed German troops with
gooey custard pies!

So do not send our movie stars against

the Teuton horde.
Such grim, barbaric cruelty would merit

no reward.
In measures so malign as this we should

not have a part —
Let's fight with murderous gas and shell —

but let us have a heart!

Kv iy advertisement in PIlOTOrLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

117

Read What She Says
About

Itigrt&m's

MfflCw&ed

CtGatn

The letter on the right is the sincere acknowledg-
ment of a famous photoplay beauty to the efficacy of Ingram's
Milkweed Cream. There can be no question regarding the per-
fection of Miss Craig's complexion. Daily proof of it is given on the
moving picture screen— photographic proof that shows no favors.

Why spend time in applying merely cleansing or softening
creams when in the same time you can apply Milkweed Cream
and give your complexion all its additional benefits. Ingram's
Milkweed Cream is not a cold cream. It has positive curative
and corrective properties. It remedies roughness, redness and
sunburn. It prevents tan. It eradicates pimples and other
blemishes. It is the skin-health cream. There is no substitute.

It has been made and sold all over the world for a genera-
tion. We have thousands of letters, from women, like Miss
Craig's. They endorse all we say of Ingram's Milkweed Cream.

Buy It in Either 50c or $1.00 Size

Ingram's

XngtScm's

"Just to show a proper glow" use
a touch of Ingram's Rouge on the
cheeks. A safe preparation for
delicately heightening the natural
color. The coloring matter is not ab-
sorbed by the skin. Delicatelyper-
fumed. Solid cake. Three shades
— Dark, Light, and Medium — 50c.

FREDERICK F. INGRAM CO.

roouvcrainc

FACE POWDER

A complexion powder especi-
ally distinguished by the fact
that it stays on. Furthermore,
a powder of unexcelled deli-
cacy of texture and refinement
of perfume. Four tints— White,
Pink, Flesh and Brunette — 50c.

/ thought it might interest you
to know that your preparations are
not new to me. When I first came
here, the water affected my com-
plexion badly. A friend suggested
"Ingram's Milkweed Cream."
It worked wonders, and I frankly
tell you that I would not be
without it.

During that space oj time I
have tried one or two others that
only served to make me realize
the quality of "Ingram 's. " Your
cream is without equal. I mean
this sincerely and ask you to
accept my thanks for making
it for us.

NELL CRAIG.

Windsor, Can.

Established 1885
1 02 Tenth St., Detroit, Mich., U.S. A.

Send us 6c in stamps for our Guest
Room Package containing Ingram's
Face Powder and Rouge in novel
purse packets, and Milkweed Cream,
Zodenta Tooth Powder and Perfume
in Guest Room sizes. (57,

.YYYYYYYYYYYYYYYYYYYYYTrrYYYYYryYYYYYYJT^^

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Enjoy Your Motor Trip

You can fearlessly face the Sun,
Wind and Dust. Protected by Mag-
nolia Balm your com-
plexion is safe from
Wmdburn and Tan.

ThisLiquidPowder
is used before
exposure to
prevent injury
to the cuticle:
or afterward
to quickly|
relieve the
burning sensation. It is
soothing, cooling, refreshing and a great
comfort after a day's travel over dusty roads.

Magnolia Balm is the skin-saving beauty
secret which is regularly used when once tried.

Magnolia Balm

LIQUID FACE POWDER

Three Colors: White, Pink and Rose-Red

75c. a bottle at Dealers or by mail, postpaid.
Sample (either color) for 2c. Stamp.

Lyon Mfg. Co., 30 South Fifth St., Brooklyn. N. Y.

The

Birthright

of Every

Woman

The attractiveness
of Venus is in that
form divine — a per-
fect bust and figure—
'which has become fa-
. "rnous throughout the ages.
These glories of sex are nat-
ural to all women who can, if they wish, possess
them to an astonishing degree.

I have just written a book which tells how women
may satisfy their natural desires and secure the
beauty of bust development. The book is sent free
because it also tells about the

Kathryn Murray Method
of Form Development

by which any woman, young or middle-aged, may ob-
tain wonderful results. My method is simplicity it-
self. It does not comprise the use of massage, fool-
ish plasters, electricity, medicines, etc. It acts in a
natural way— securingthe enlarge-
ment desired in a short time.

This Book Free

Send for it and learn how to

add style and attractiveness to
your figure— develop your
bust— possess beautiful round-
ed shoulders.^ Book tells you
how to do it in a charmingly
natural and simple manner.
Write for it today. Sent free /
in plain sealed envelope. / \

KATHRYN MURRAY t-

Suite 1058-BGarIa nd Bid?., Chicago

m Trial Bottle

for 20<f

You have never seen
anything like this before

The fragrance of thousands of
^J* H> blossoms in a vial 2 inches high.
The most exquisite perfume ever
produced. Send only 20c for regular
25c trial bottle.

fTowarDrops

$1.00 an ounce at dealers or by mail. Send
check, .stamps, money order. Odors. Lily
of the Valley, Rose, Violet, Mori Amour.
Money back if not pleased.

Send 20c silver or stamps for large trial
(regular 25c size) bottle.

PAUL RIEGER, 230 First St., San Francisco

PARIS KAN KHANCISCO

Cardan Queen and Mon Amour are the latest
■ .., .c - ... odors. Rend for a bottle of each. Special:
Eiacf Size 25C Bottle Sand J1.00 Souvenir Box. 5 odors. 25c Bottles.

Hints to Photoplay Writers

(Continued from page 108)

of the prominent men in this stupendous
industry are utterly ignorant of the ma-
chine that is the main factor in the busi-
ness, yet it is an actual fact. Have they
ever realized that if the cameramen
banded together and called a "strike,"
the business would come to a standstill?
Yet, that might happen, and then, where
would they be? That is one reason I
urge that all directors and scenario writers
should learn how to operate the camera.

Directing a film production is by no
means the same thing as directing a stage
production, and a director of the former
should essay to know more than the mere
art of instructing famous stage stars how
to act. He should have a perfect knowl-
edge of the moving picture camera, and
should also be able to cut and assemble
the film.

Some of our best directors have per-
fected themselves in every detail of the
business, as they should, and they are
reaping the reward of their knowledge,
and it is safe to venture that many will
shortly find themselves in the discard if
they do not hasten to make themselves
thoroughly familiar with everything per-
taining to a profession that is rapidly
evolving' from slipshod incompetency to
thorough efficiency.

I have seen directors, with no knowl-
edge whatever of photography or of the
camera and its limitations, who would
brook no interference nor take any advice
from their cameramen, insisting on filming
scenes in impossible light and at abortive
angles, entailing the retaking of scenes
that should never have been attempted,
thereby causing an enormous waste of
film, the cost of which, needless to say,
did not come from their own pockets.

I guarantee that millions of feet of film
are wasted monthly in the studios through-
out the country that could easily be saved
if directors had a knowledge of the cam-
era, or allowed themselves to be guided
by the cameramen who know their busi-
ness.

To quote one case in point. I was
present all through one five-reel produc-
tion which was directed by a man of
colossal nerve. This director had secured
his position through being the bosom
friend of the general manager of the com-
pany. He knew nothing of stage craft;
had never been behind the footlights in
his life; had never read a play or a photo-
play scenario, and had never even seen a
moving picture camera until the day he
started to direct the production.

Well, he made no hesitation about di-
recting a famous stage star how to act.
and the two cameramen at his command
had to shoot every scene as he told them;
although they frequently protested against
faulty light and impossible angles; and in
the filming of the production over 25.000
feet of film were burned up. By the time
the production was completed all con-
cerned were so disgusted that an appeal
was made to the general manager to have
the director, ousted. This he refused to
do. The financial backers withdrew their
support; the actors and others levied at-
tachments on the production and on the
studio plant, and the picture has never
been released to this day. It is fortunate

for the famous star that it has not been
released, although the production cost
over 840,000.

Now, the day for that sort of thing is
past, or, at least, is rapidly passing, and
I think I am safe in saying that directors
from now on will be required to show that
they have a perfect knowledge of the cam-
era before they will be entrusted with the
producing of pictures by any reliable
firm. A good knowledge of the camera
will also be required of the staff writers,
so it will be well for those who hope to
make themselves worth while to make a
close study of the camera as soon as pos-
sible.

Several of the foremost companies are
giving their staff writers every opportunity
to learn the inner workings of the studio
and the working of the camera at first
hand.

The David Horsley Studios in Los An-
geles are always on the lookout for five
reel baby stories suitable for Little
Mary Osborne; but they must be real
baby stories and full of little human
touches; such as have made "Little Mary"
the popular child actress she is. Mary
McLaren is also, now, under the David
Horsley banner, and this famous 18 year
old star is always anxious to find stories
as good as "Shoes," in which it will be
remembered she first captured the film
world by storm. So, free-lance writers
have a good possible market there.

Col. Jasper E. Brady is now Manager
of the manuscript department at Univer-
sal City and announces that the needs of
that well known organization are "univer-
sal." He is anxious to secure, at all times,
one, three and five-reel dramas; one-reel
comedies; two, three and five-reel "animal
pictures," and five-reel comedy dramas.
Also five-reel dramas to feature little Zoe
R_ae, the Universal child actress. The
Universal Company is making a stand for
"chemically pure" pictures and will not
consider any story that is in the least wax-
suggestive . The Universal is really a
good market at present, and the best I
know of for free-lance wrriters.

There is no use in submitting comedies
to Charlie Chaplin, as he declares he is
preparing to do his bit against the sub-
marines. He is filling up on "War Food."
He says that everything he eats goes
"Right to the Front"! So. he has no
time to spare in reading scripts.

Stories dealing with war are not in de-
mand anywhere just now. There is too
much trouble and gloom recorded daily
through the press, so the more cheery and
optimistic you can make your photoplays
these days, the better chance they will
have of a ready market.

American stories, dealing with every-
day domestic life, are what the exhibitors
want, and they control the film market,
as they deal directly with the public. If
writers would allow themselves to be ad-
vised, to a certain extent, by the proprie-
tors of picture theatres in their towns they
would do well, because the producing
companies are catering to them and try
to make productions to meet their
needs. I know several free-lance writers
who consistently do this and have found
it very helpful.

Every advertisement in rHOTOrT.AY MAGAZINE is guaranteed

Photoplay Magazine — Advertising Section

119

The new way to manicure

Don't cut the cuticle — give your nails the
well-groomed loveliness you've wanted so long

Discard forever your manicure
scissors! Cutex softens and removes
surplus cuticle without cutting —
does away
with tire-
some soak-
ing of the
nails — takes
half thetime
heretofore
required.

Cutex is
absolutely
harmless.

You will

be amazed

to see how

easily you

a wonderful

Photo by Floyd. N. Y.
Naomi Childers, whose perfect fea-
tures noted artists tnue often com-
mented upon, says:" After my mani-
rurist had used Cutex but once, I saw
the difference, and now consider it
a matter of course not to have hang-
nails or uneven cuticle.' '

can give your nails
manicure with Cutex.

Just how to do it

Open the Cutex package. In it
you will find orange stick and ab-
sorbent cotton. Wrap a little cot-
ton around the end of the stick and
dip it into the Cutex bottle.

Then work the stick around the
base of the nail, gently pushing
back the cuticle. Almost at once
you will find that you can wipe off
the dead surplus skin. Rinse the
hands in clear water.

Finish with a touch of Cutex Nail
White. It removes any stains from
underneath the nails and leaves them
immaculately clean.

Cutex Cake Polish rubbed on the
palm of the hand and passed quickly
over the nails gives them a soft,
shimmering polish — the most de-
lightful you have ever seen. If you
like an especially brilliant, lasting
polish, apply Cutex Paste Polish
first, then the cake polish.

How you can cure overgrown

cuticle — prevent hideous

hangnails

Dr. Edmund Saalfeld, the famous spe-
cialist, in his work on the
care of the naiis, points out
that hangnails have two
causes. If the cuticle is al-
lowed to grow up onto the
surface of the nail, the skin
will tear, become detached
and form hangnails. Just as
frequently hangnails come
from improper or too vigor-
ous treatment of the cuticle.

Illlllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllilllllllllllllllillllilllll

With Cutex. work around the base of
the nail, gently Trashing back the
cuticle— leaves a smooth, even base.

Cutex Nail Polish
:ves a softly pink,
xling polish.

This complete manicure set
sent for 14c

tiittii

Photo by Tarr, N. Y.
1 Walker, known among pic-
'fans" as "the gi>l with the
dimples", sans: "Now that I know
how good Cutex is, I never allow my
maid to cut the cuticle. Cutex gives
my nails such a shapely look.

To prevent hangnails your whole effort
should be to keep the cuticle unbroken.

This is exactly what Cutex does — it
removes the
cuticle with-
out injury. It
leaves the skin
at the bate of
thenailsmooth
and firm, un-
broken. Even
people who
have been
most troubled
with hang-
nails, say that
with Cutex,
they have been
entirely freed
from this an-
noyance.

Until you use Cutex, you cannot real-
ize what a great improvement even one ap-
plication makes, you cannot know how
attractive your nails can be made to look.

Try it. See for yourself. Notice how
quickly it gives your nails the shapeliness
that everyone admires.

Start to have exquisite
nails today

Ask for the Cutex Manicure Specialties,
wherever toilet preparations are sold.
Cutex, the cuticle remover, comes in 50c
and $1.00 bottles; introductory size, 25c.
Cutex Nail White, which removes dis-
colorations from underneath the nails, is
only 25c. Cutex Nail Polish in cake, paste,
powder or liquid form, is 25c. Cutex
Cuticle Comfort, for sore or tender cuticle,
is also 25c. If your favorite store has not
yet secured a stock, write direct.

Send 14c for complete
manicure set

Don't think you can get along with
old-fashioned" cuticle-cutting— not even for
another day! Send at once for the Cutex
set illustrated below and know the differ-
ence. Tear off the coupon now and send
it today with 14c (10c for the set and 4c
for packing and postage) and get your
Cutex manicure set. It is complete and is
enough for at least six "manicures."
Address, Northam Warren, Dept. 306,
9 West Broadway, New York.

It you live in Canada, send 14c to
MacLean, Penn & Nelson, Ltd.,
Dept. 306, 4S9 St. Paul St. West,
Montreal , tor your sample set, and
gel Canadian prices.

MAIL THIS COUPON TODAY

| Northam Warren, Dept. 306

= 9 West Broadway, New York

E City State.

Will!' Turn." ,

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

120

Photoplay Magazine — Advertising Section

•itntcA.

CHALLENGE

CLEANABLE

COLLARS

Evetvwhite — dressy — just
like a linen collar only
water, dirt, grease and
perspiration proof.
Cleaned in a jiffy with a
little soap and water.

Cannot Wilt

Fine for motorists and busi'
ness men. Economical — ■
they save big laundry bills.
All accepted styles and half
sizes. At your dealers or
sample direct for thirty cents.
Mention style and size pre'
ferred. Booklet on request.

E. I. Du Pont de Nemours

& Company
The Arlington Works /•fiTi nnlrf\

725 Broadway, New York

TYPEWRITERS

SAVE FROM
$25 to $75

Up-to-date machines of standard
i lakes— Remingtons, etc., thoroughly
rebuilt, trademarked and guaranteed
the same as new. We operate the largest
rebuilt typewriter factories in the world. .
Kmciaot service through Branch Stores I
in leading cities insures satisfaction.
Send today for ..descriptive catalogue.

American Writing Machine Co., Inc., 339 Broadway, N. V.

THE SANITARY "O.K." ERASER includ-
es an Adjustable Metal Holder which keeps
Rubber Clean, Firm and Keen-edged; works
better and lasts longer.

Two Rubbers, the length of the Holder, are
made, one for Ink, one for Pencil. By slight
pressure, clean Rubber is fed down until us-
ed. Price 15c. New Rubbers 5c each.

ALL STATIONERS

By mail 2c extra. Booklets free.

The most Practical Eraser for Everybody
THE O.K. MFG. CO., Syracuse, N. Y.

Makers of the famous Washburne "O.K." Paper Fasteners

Every advertisement in Photoplay
is guaranteed, not only by the
advertiser, but by the publisher

Questions and Answers

{Continued from page 112)

Pickford Fan, LaGrange. Ga. — The Art-
craft production of "Rebecca of Sunnybrook
Farm," with Mary Pickford cast as Rebecca,
has been completed.

John D., New York City. — George Walsh
was born in your own little village in 1892.
Cast for Reliance's "The Headliner" : Gabriel,
George Walsh; Beatrice, Irene Hunt; Her
Father, Tate DuCrow; His Father, Philip
Gastrok.

Helen, Battle Creek, Mich.— Theda
Bara is in Los Angeles now but only for two
pictures at the Fox studio.

Billy, Columbus, O. — That surely was
mean of Mister Kerrigan to go and quit
Universal just when you had finished com-
posing your song about him. As you sug-
gest, the most fitting punishment would be
to send him a copy of it. Ad 'ress Bill Hart,
in care of Artcraft, Hollywood, Cal. He
has no secretary.

Pickford, Mae, Snyder, Tex. — Say, old
timer, don't stamps cost anything in Texas?
Montagu Love was Robert in "Bought and
Paid For." Mr. Shumway is still an actor.
You oughta be strong for Bessie Love, as
she is a native Tejana.

Dawn, Rock Valley, Ia. — Henry King
was bo'n in ole V'ginny and has been
with the Balboa company about two years.
Hope that you discover him to be your
long lost millionaire uncle.

Mary, Baltimore, Md. — "The Light of
Western Stars," somewhat modified or al-
tered, has been released under the title of
"The Heart of Texas Ryan." George Kuwa
was the same who played with Hayakawa
in "The Typhoon."

G. H., Cheyenne, Wyo. — There are hun-
dreds of persons in the movies whose names
are unknown to us and it is probable that
your friend is among them. If he is among
the well known players, perhaps he has
changed his name, as we have no record of
any Whiteley Johnston.

M. F., Plainview, Tex. — Here's a few of
the addresses you want : Edwin Carewe,
Metro ; Denton Vane, Vitagraph ; Colin
Chase, Morosco; Elmer Clifton, Universal
City; Eddie Lyons, Universal; Russell Bas-
sett, Selznick; Edwin Stanley, Thanhouser;
Marion Swayne, Pathe; Ethel Clayton,
World; Carlyle Blackwell, ditto; Margery
Daw, Lasky; Emmy Whelen, Metro.

Eleanor, Louisville, Ky. — Lucky girl, to
live in the same town in which that ador-
able J. Warren Kerrigan was born ! Why
is it that some people have all the luck in
the world? Mary Miles Minter doesn't "pre-
tend she's fourteen." She admits that she
was 15 on her last birthday. And Margue-
rite Clark is 30. You should be more charit-
able toward your own sex. "The Rise of
Susan" was Miss Young's last with World.

Frank, Victoria, Australia. — Terribly
sorry but we have all the art stuff available
that we can possibly crowd into the maga-
zine. Can't find any record of "Sons of
Satan." Perhaps it's a German production.
Think Miss Clark will send you a photograph
properly endorsed, without any remuneration.
No, your letter is not the longest we have
ever received, not by about 23 pages. The
"Seven Sisters" were Marguerite Clark,
Madge Evans, Dorothea Camden, Lola Bar-
clay, Jean Stewart, I. Feder and G. Fursman.
Conway Tearle was the chief male in it.

E. B., New York City.— Robert Warwick
has his own company now and may be
reached care of Selznick. He is married.

Km, Hastings, New Zealand.— Glad to
hear that so many of our favorites are also
yours. How could an actress born in 1895
be only 18? Simplest thing in the world.
She just doesn't have any more birthdays
after the eighteenth. So "The Broken Coin"
is setting 'em mad? Well, it was a long
time getting there.

Louise, Missouri Valley, Ia.— Theda
Bara and Harry Hilliard will send their
photographs and will probably also answer
>our letters.

Inquisitive, Minneapolis.— "The Haunt-
ed Pajamas" is Harold Lockwood's latest.
Carmel Myers plays opposite him. We have
told the editor about your William Court-
leigh, Jr. desire. We sincerely hope that some
time in the future thousands of readers of
Photoplay will pester us to death for in-
formation about you. Nothing could be
fairer than that.

R., Loggieville, New Brunswick. — Bet-
ter write to Miss Mitchell yourself. A letter
addressed to her in our care will be for-
warded.

Gladys, Pelham Manor, N. Y. — Harri-
son Ford is in his late twenties. Robert
Warwick, Doris Kenyon, Johnny Hines and
Jean Adair comprised the cast of "A Girl's
Folly."

C. R., North Adams, Mass.— "The Un-
welcome Mother" was filmed in the East.
The cast: Elinor, Valkyrien; Mason, Walter
Law; George Hudson, John Webb Dillon;
Ann, Violet de Biccari; Richard Russell,
Warren Cook; Old Peter, Tom Burrough;
children, Jane and Katherine Lee.

Dorothy, St. James, Minn. — Edwin
August has been turning his talents into
directorial channels of late. Don't think he
has appeared in a film play for more than
a year. He's married and gets his mail at
the Screen Club, New York City.

Peggy, Mount Vernon, N. Y. — Tina
Marshall and Tully Marshall are not re-
lated. "Patria" has fifteen episodes. Yes,
Marie Walcamp is the girl you mean. Gee,
but Mt. Vernon must be quite a place if
such celebrities as House Peters and Ann
Murdock and Ethelmary Oakland have lived
there.

Veronica, New York City. — Herbert
Prior was the doctor in "Poor Little Rich
Girl."

T. B., Norfolk, Va. — Address Bessie Bar-
riscale, care Paralta, Los Angeles.

Ruth, Shreveport, La. — Here's the cast
for "The Birth of a Nation": Col. Ben
Cameron, H. B. Walthall; Margaret Cam-
eron, Miriam Cooper; Flora Cameron, Mae
Marsh; Mrs. Cameron, Josephine Crowell;
Dr. Cameron, Spottiswoode Aiken; Wade
Cameron, George Beranger; Duke Cameron,
John French; Mammy, Jennie Lee; Hon.
Austin Stoneman, Ralph Lewis; Elsie Stone-
man, Lillian Gish; Phil Stoneman, Elmer
Clifton; Tod Stoneman, Robert Harron;
Jeff, Wallace Reid; Lydia Brown, Man'
Alden; Silas Lynch, George Seigmann; Gut,
Walter Long; Abraham Lincoln, Joseph
Henabery ; John Wilkes Booth, Raoul Walsh;
General Grunt, Donald Crisp; General Lee,
Howard Gaye.

Every advertisement in PTIOTOri AT MAGAZINE is guaranteed.

Photoplay Macazine — Advertising Section

121

Questions and Answers

(Continued)
Oswald, Atlanta, Ga. — Earle Williams is
37, an inch less than six feet, weighs 176
pounds; blue eyes. We lack the other in-
formation you desire, except the name of
the "finest star" in the movies. His, or her,
name is legion. As to the "strongest player"
you will have to be more specihe.

M. B., Pontaic, Mich. — William Farnum
is about 41, married and answers letters.
Write him, care Fox, Fort Lee.

M. G., Glens Falls, N. Y.— Neither
"Neptune's Daughter," nor "A Daughter of
the Gods" was published in story form, if
that's what you mean.

Gertrude, New Orleans. — Irving Cum-
mings is married. His wife is Ruth Sin-
clair. Theda Bara is about five and a half
feet tall and weighs about 125. June Caprice
is a blonde. Louise Glaum was born on
September 10, somewhere in the last cen-
tury and is the wife of Harry Edwards.
"The Birth of a Nation" was filmed in the
vicinity of Los Angeles.

L. H., Hartford, Conn. — Tom Forman
played opposite Blanche Sweet in "The
Ragamuffin," Thomas Meighan in "The Se-
cret Sin," and "The Sowers." Elliott Dex-
ter's first Paramount picture was "The
Morals of Marcus." Rita Jolivet played with
House Peters in "The Unafraid."

F. S., Nanpa, Idaho. — Betty Nansen is
still in Denmark, so we have no way of
telling whether or not she will return to
the screen. Miss Nichols is not a Virgin-
ian. Sorry to disappoint you. Your praise
is appreciated. .

M. M., Royal Oak, Mich. — We have no
record of Hy Russell, even though he has
quit Michigan for the Windy City.

Rose, New York City. — Yes, we can tell
by the handwriting whether the writer would
be successful in the movies. Your penman-
ship is good but lacks certain irregularities
that are a requisite to film success. Sorry.
Mary Fuller is not related to the Moore
Brothers.

Agnes, Fond du Lac, Wis. — Margaret
Loomis was the girl opposite Hayakawa in
"The Bottle Imp." She is not Hawaiian,
but a native of Los Angeles, where her
father is a prominent hotel owner. She
was a pupil of Ruth St. Denis. Why don't
Tom Forman send you his picture? Gosh-
swiggled if we know. He was born in
Mitchell County, Texas.

D. C, Richmond, Va. — What does the
"S." stand for in William S. Hart's name?
Nothing. It's silent as in onion. Write him
in care of Artcraft, Hollywood, Cal.

Ruth, Prescott, Ariz. — Edna Purviance
was the heroine of "The Fireman." Warren
Cook and Kathryn Brown-Decker were the
count and countess in "The Pride of the
Clan." We can assure you with every de-
gree of authenticity that Miss Clarke is
not in "her upper forties." Dorothy Kelly
was Edna May's sister in "Salvation Joan."

With That New Frock

YOU WILL NEED

So long as fashion decrees sleeveless gowns
and sheer fabrics for sleeves the woman of
refinement requires Delatone for the removal
of hair from under the arms. Delatone is an
old and well known scientific preparation for
the quick, safe and certain removal of hairy
growths — no matter how thick or stubborn.

Removes Objectionable Hair From Face, Neck, or Arms

You make a paste by mixing a little Delatone and water;
then spread on the hairy surface. After two or three
minutes, rub off the paste and the hairs will be gone.

Expert beauty specialists recommend Delatone as a most
satisfactory depilatory powder. After application, the
skin is clean, firm and hairless — as smooth as a baby's.

Druggists sell Delatone, or an original one-ounce jar will
be mailed to any address upon receipt of One Dollar by

THE SHEFFIELD PHARMACAL COMPANY

339 South Wabash Ave. Dept. C. Y. CHICAGO, ILLINOIS

M. B., St. Martinville, La. — Wallace
Reid is honest and truly the sure enough
husband of Dorothy Davenport. The af-
firmative side wins.

J. D., Greensboro, S. C. — Don't know of
any motion picture in Cincinnati although
we know that industrial pictures are made
in that city.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

122

Photoplay Magazine— Advertising Section

lllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll

100 Art Portraits

With

Biographical

Sketches

Only 50c

Your Money Back

if not

Delighted

Printed on special quality enamel paper.

Beautiful de luxe edition of "Stars of the Photoplay,"
with biographical sketches. Read what enthusiastic
purchasers have said about this remarkable volume.

Get your favorite players in permanent form. A
wonderful collection, superbly printed on beautiful paper. An
ornament for your library table, and a handy reference book.

Send fifty cents — money order, check or stamps — for your copy and
it will be sent parcel post, charges prepaid, to any point in the U. S.
or Canada. If it does not come up to your expectations send it back
and your money will be cheerfully refunded, also mailing charge.

Photoplay Magazine 350 n. ciark st. Chicago

IHIIIIIIIIIIIIIIIlllll!ll!lllllllllllillllllUIIIIIIIIIIIIIIIIIIII(illllilEII!lllllilllllllllllllllli:illlllll

TO CREDIT m
ONDS w

WATCHES /

Send for Free Catalog

There are over 2000 illustrations of
Diamonds, Watches, Jewelry, etc.
Whatever you select will be sent all
shipping charges prepaid. You see
and examine the article right in your
own hands. If satisfied, pay one-lif th
of purchase price and keep it, balance
divided into eight equal amounts, pay-
able monthly. Our Catalog shows all
the new watches— 15, 17, 19.21, 23 Jew-
els, adjusted. Guaranteed by the factory
and further guaranteed by us. Watches
that will pass railroad inspection as
low as S2.50 a month. Send for Catalog.

Loftis Solitaire Diamond
Cluster Rings

14 Karat solid gold:
Diamonds set
in Platin-im

94-S7!?
LooUshkc,
52dOsinglc
'stone. $15

I down, JB~ "*'-& The Loftis 7-
,S7.Gi) aXfce^_^-^ Diamond Clus-
>ntn^^ ter was designed especial-
ly for those who desire a
large showy ring for the least money,
as it has the exact appearance of a
Solitaire that would cost three or four times as much.
National Credit Jewelers. I stores in
Oept. E502 108 N. Stale SI. I i_eading
CHICAGO, ILL. | cities

I0FTIS

■■eRos&cai:>i

"Don't Shout

"I hear you. I can hear
now as well as anybody.
'How"? With the M0RLEY
PHONE. I've a pair in mv ears
now, but they are invisible,
would not know I had them in,
myself, only that 1 hear al
The M0RLEY PHONE for the

DEAF

is to the ears what
glasses are lo the eyes. In-
visible, comfortable, weight-
less and harmless. Anyone
can adjust it." Over 100,000 sold. Write for booklet and testimonials.
THE MORLEY CO.. Dept. 789, Perry Bldg., Phila.

/MOTION PICTURE
y Photography^

Bigr-payinir positions now open due to war. Earn $25 to $150 weekly
as studio, commercial or motion picture photographer. Easy, fas-
cinating profession. Few weeks' course covers all branches. Day
or evening classes; modern studios; expert instructors. Easy terms,
special orTer now. Call or write for free booklet.

New York Institute of Photography, 310 141 W. 36th St., New York Gty

»| l/iriYfr SCHOOLS— Est. 20 Years

i»Ll ¥ 13j1 1 Lj The Acknowledged Authority on

Each department a large school in
itself. Academic, Technical and
Practical Training. Students' School
Theatre and Stock Co. Afford New
York Appearances. W rite for cata-
logue, mentioning study desired.
A. T. IRWIN, Secretary
225 West S7th Street, near Broadway, New York

DRAMATIC

STAGE

PHOTO -PLAY

AND
DANCE ARTS

Questions and Answers

Continued)

Marion, Trenton, N. J. — We share your
opinion but we're scared to come out and
say so openly. Life is too sweet to jeopard-
ize it by getting into a controversy with a
pair of vampires. Did the June number
satisfy your craving for Frederick, pictures?

A. M., Centralia, Pa. — So you have nad
an ambition to shine on the silversheet
ever since you came to "the age of reason-
ing?" Well — we won't say what we
started to; ambition to better one's condi-
tion is always praiseworthy, but we have
enough to do keeping the folks in touch with
screenland, without operating an employ-
ment bureau.

Nellie, Indianapolis, Ind. — Carlyle
Blackvvell was the king in "Such a Little
Queen," with Mary Pickford. Richard
Barthlemess won Marguerite Clark in "The
Valentine Girl." You're entirely welcome.

R. W., Yorktown, Texas. — Most of the
pictures of the bathing girls were taken on
the banks of the Pacific Ocean, a well known
body of water near Los Angeles, California.
You'll see 'em along the coastline but be
sure to bring along your amber glasses.

Little Miss Fixit, Boston — Yours re-
ceived and enclosure carefully considered.
Notwithstanding which we again asseverate
that if Mr. Hart has three children, they
are keeping the news from him. Don't know
Richard Turner.

Ethel, Toronto, Canada. — Perhaps it's
because you are both natives of Toronto that
people think you look like Mary Pickford
Overjoyed that you like Photoplay so much.
Maybe we'll run some more double pictures
before long.

Sneezer, Dunkirk, N. Y. — Judging from
the manner in which your questions are
constructed we deduce that you have been
reading over some answers in this magazine
and now want to know if they are correct.
Yes, they are; as nearly correct as we can
make them. We had a story about Paul
Willis in the August number.

C. J., New Haven, Conn. — Jean Dumar
was the jockey's sister in "The Whip." We
have no record of the plays in which Hazel
Belford has appeared. Charlotte Green-
wood played in "Jane," done by Morosco.

K. J., Atlantic Beach, Fla. — We do not
make a practice of providing photographs
of the players. Write to Miss Pickford at
Hollywood, Cal., and she will send you a
photograph. All it will cost you is a stamp.

E. H., Dalton, Ga— Yes, Wallie Reid
has children — that is, he has one. It's a
boy and was born June iS; name, William
Wallace Reid, Jr. Why vacation in Dal-
ton?

Peggy 14, Philadelphia. — That was
rather absurd gossip you were told. Your
friend was spoofing you as we say in dear
old London (Ont.) Robert Warwick is
married. His wife's maiden name was Jose-
phine Whittell. Thanks for your criticism
of the magazine. The editors always want
to know what the readers think of it and
welcome intelligent criticisms. Write Blanche
Sweet at Lasky's, Mollie King at Pathe and
Grace Darmond, Technicolor, Jacksonville,
Fla. Here's the cast for Vitagraph's "Sally-
in-a-Hurry": Sallv. Lillian Walker; Walter.
Don Cameron; Bill, Thomas Mills; Peter,
William Shea; Aunt Mary, Mrs. West; Clara,
Eulalie Jensen.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Questions and Answers

{Continued)

Pickford Admirer, Grand Forks, B. C. —
If people like you would write direct to
the film producers and take them to task
for those "horrid pictures,'' we'd Ret some
cheerful results. However, the trend is the
other way now and the "horrid" ones are
going out of fashion. Glad you like "Pearls
of Desire;" quite some little yarn. Marshall
Neilan is Miss Pickford's director.

Virginia, Salt Lake City. — Ben Wilson,
Neva Gerber and Francis McDonald may
be reached by mail at Universal City, Cal.

J. G., Minneapolis. — Alice Joyce has one
child, a daughter. We didn't have the good
fortune to see "The Deemster."

Laura, Cincinnati. — Marshall Neilan will
probably send you a picture of himself.
Write him at Lasky's. May Allison and
Harold Lockwood have parted company.

Gordon, Duluth, Minn. — Why not write
to Bill Hart and tell him yourself?

Fatty, Griffin, Ga. — Wells in "The Law
of Compensation" is Edmund Stanley. Mil-
ton Sills is now with World. Bessie Barris-
cale's new address is Paralta Film Corp.,
5300 Melrose Ave., Los Angeles, Cal. Elmer
Cilfton is a director at Universal City. Seena
Owen is playing for Fox with her husband,
George Walsh, at Mr. Fox's Hollywood film
factory. Constance Talmadge with Selznick
pictures. Arline Pretty is no longer with
Artcraft. She's with Pathe.

Beatrix, New York City. — Glad you
finally made up your mind to write. Vir-
ginia Pearson's right name is Mrs. Sheldon
Lewis. June Caprice's right name is Betty
Lawson and she was born in Boston, Nov.
ig, 1899. Edward Coxen is a married man.
Harry Hilliard played with Miss Caprice
in "Little Miss Happiness." He is no longer
with Fox. We have never heard that Theda
Bara's name is Swartz.

C. S., Bronx, N. Y. — Experienced writers
stand a better chance of disposing of scen-
arios than amateurs. They should be type-
written. It is impossible to advise you about
the various agencies for the disposal of
scripts.

Grace, Germantown, Pa. — William Far-
num is married, 41 years old and resides at
Sag Harbor, L. I., when not in California.
Better get that heart back.

B. K., Philadelphia. — Yes, Wallie is to
be seen with Geraldine in her newest photo-
play. He'll wear a wig, and armor and
everything. He most certainly is the most
darlingest gink we know. Margery Wilson
is still with Triangle.

Carmen, Havana, Cuba. — Your descrip-
tions sound well. Try sending your photo-
graphs to some of the studios if you can't
make a trip to the States. Marie Prevost
is not French and Annette Kellermann is a
reel Venus, if that's what you mean.

K. R., Sacramento, Cal. — You are right.
Our "customers," so to say, pick their own
names. Theda Bara doesn't lisp. Yes, all
actresses hate to have their pictures in maga-
zines and interviews and such things, just
like little boys hate to go to circuses and
eat peanuts and play ball and things. You're
quite an artist. Keep it up.

Ralph, New Orleans, La. — Charley
Chaplin has blue eyes. We cannot promise
to print anything sight unseen.

Slats, Brockwayville, Pa. — We missed
"The Red Circle" through some prank of fate
so cannot tell you how they made it appear
on Ruth's hand. Fannie Ward's official age
is 43. Helen Holmes, 24. Herbert Rawlin-
son may be reached by mail at Universal
City, Cal. He is married. Mary Pickford's
eyes are hazel.

B. M. L., Detroit, Mich. — Ivy Martin in
"The Crab" was portrayed by Thelma Sal-
ter and she is eight years old. The Fair-
banks twins are not Doug's daughters. So
far as we know they aren't even cousins of
Doug. Jewel Carmen is 20. We believe
that it is a stage name.

Peggy, Chanute, Kan. — Mary Miles Min-
ter, to the best of our knowledge and belief,
was fifteen years old on April 1 last. She
is probably the youngest featured star ex-
cept for the screen children such as Baby
Marie Osborne and the Lee kiddies who are
now designated as stars.

Dorothy, Port Clinton, O. — Dorothy
Dalton uses her maiden name. She is a
native of Chicago, 23 years old, has gray
eyes and her latest photoplay is "The Flame
of the Yukon." She has been in the movies
since 1914.

Helena, Steubenville, O. — At the pres-
ent writing there is no crying need, so to
say, for girls who can shed real tears at
a moment's notice. The price of glycerine
is still within reach of the movie producers.

Glory, Minneapolis. — Bryant Washburn
has a young son. Have no record of any
big stars other than Miss Bayne who claim
Minneapolis as their home town. She is
about 23. Delighted to hear from you again
but fear we cannot advise you about that
place in the sun. Sorry.

O. H., Chicago. — You have all' the at-
tributes that go to make a successful movie
star: educated in public schools, love out-
door sports, favorite color green, twenty
years old some time ago, born in Cincinnati,
drive a Ford; hair wavy, sometimes. How-
ever, you have a sense of humor that may
spoil your entire career as a movie star.
You'll have to get rid of that first.

P. D., East Liverpool, O. — Here is "The
Valentine Girl" cast : Marian Morgan,
Marguerite Clark; John Morgan, Frank
Losee; Robert Wentworth, Richard Barthel-
mess; Lucille Haines, Katherine Adams;
Mrs. Haines, Maggie Holloway Fisher; Joe
Winder, Adolph Menjou; Mine. Blache,
Edith Campbell Walker.

W. H., Louisville, Ky. — Mollie King is
the girl in "The Double Cross" if that's
what you mean and the leads in "The Crim-
son Stain Mystery" was played by Maurice
Costello and Ethel Grandin.

Antoinette, Indianapolis, Ind. — "Hand-
some" Eugene O'Brien may be reached care
of Lasky and Enid Bennett gets her mail
ill care of the Ince Company, corner Pico
and Georgia, Los Angeles. Thanks for your
kind words.

English Girl, Jersey City, N. J. — "The
Scarlet Pimpernel" was filmed by the Fox
company. Arthur Ashley is a native of
New York and has been with Vitagraph,
Thanhouser, World and other companies.
He played in "The Juggernaut," "Tangled
Fates," "Sealed Lips," "The Bondage "of
Fear," and other well known photoplays.

(Continued on page 127)

leanliness an ai

iatoIoMh

mess

m\\

Perfect Cold Cream

3"£l«_ rCUi-d WvcU: rOj^fid"

Skin cleanliness is a duty — be-
cause it leads to skin health.

You owe your skin as much time
each day as you give to your teeth
or hair.

Each pore in the exposed skin,
like a tiny pocket, takes its daily
fill of dirt, too deep to yield to soap
and water, but effectively removed
by D. & R. Perfect Cold Cream.

A daily clean-up, quick and easy,
with D. & R. Perfect Cold Cream
brings rich reward, brings clean-
liness, health, comfort, beauty of
skin, charm of complexion.

Perfected for American women
more than twenty-five years ago by
Daggett & Ramsdell, and still man-
ufactured only by them, Perfect
Cold Cream faithfully fulfills its
proud purpose — promotes skin
hygiene, adds to the health and
beauty of womankind, prolongs the
period of her attractiveness and
influence.

When you buy toilet cream,
Safety First demands D. & R. Per-
fect Cold Cream, "The Kind that
Keeps" — as pure as it is perfect —
a daily need, a daily comfort, a skin-
reviving toilet delight for every day
in the year. Removes tan, sunburn,
roughness and lingering traces of
Summer's vacation. The Cream for

every person — a size for every purse.

•

POUDRE AMOURETTE— Another "perfect"
product from the D. & R. laboratories. A fairylike,
fragrant, fascinating powder for the complexion, that
gives a faultless finish to correct dress. Flesh, white,
brunette, 50c. Should your dealer be sold out, we will
forward a box to you by return mail on receipt of
50c in stamps.

TRY BOTH FREE

Trial samples of Perfect Cold Cream and Poudre
Amourette sent free on request.

Get a Free Sample
For Your Husband

Write for a sample of the latest "Per-
fect" product made only by Daggett &
Ramsdell — a shaving cream in which we
have scientifically incorporated D. & R.
Perfect Cold Cream. The first time your
husband tries this "Perfect" Shaving
Cream he will say, "Well, that's the best
shave I ever had." He will be as enthu-
siastic over "Perfect" Shaving Cream as
you are over Perfect Cold Cream. Sur-
prise him with a sample.

DAGGETT & RAMSDELL

Department 231
D. & R. Bldg.. NEW YORK

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I24

Photoplay Magazine — Advertising Section

STUDIO DIRECTORY

For the convenience of our readers who
may desire the addresses of Sim com-
panies we give tin' principal ones below.
The first is toe business office; (*i indi-
cates proper office to send manuscripts;
is) in <l i <-;i irs ;i studio; at times all three

may be a I one address.

American Film Mfg. Co., 6227 Broad-
way, Chicago; Santa Barbara, Cal. (.*>

Artcraft Pictures Corp. (Mary Pick-
ford), 729 Seventh Ave, New York City.
Balboa Amcsbment Producing Co.,

Long Jlrach. Cal. I *) (si.

Brbkon. Herbert, Prod., 720 Seventh
Ave., X. Y. c. ; Hudson Heights, X. J.
1*1 ts).

California Motion Picture Co., San
Rafael, Cal. (*) is).

Christie Film Corp., Main and Wash-
ington, Los Angeles, Cal.

EDISON, Thomas. INC., 2S20 Decatur
Ave., New York. City. (*) (s).

Essanay Film Mfg. Co., 1333 Argyle
si., Chicago. (*) (s).

Famous Players Film Co., 4S.5 Fifth

Ave., New York City ; 128 \Y. 50th St.,
New York City.

Fox Film Corp., 130 \v. 4<;th St., New
York City (*) ; 1401 Western Ave., Los
Angeles (*) (s> ; Fort Lee, N. J. (s).

Frohman Amusement Corp., 140
Amity St.. Flushing, I,. I.; Is E. 41st
St.. New York City.

Gaumont Co.. no W. Fortieth St., New
York City; Flushing, X. Y. (s> ; Jackson-
ville, Fla. (s).

Goldwyn Film Cohi>., 16 E. 42nd St.,
New York City; Ft. Lee, N. ,T. (s).

HORSLEY Studio, Main and Washing-
ton, Los Angeles.

Kallm Co., 235 W. 23d St., New York
City (*) ; 251 W. 19th St., New York
City (s) ; 14:;.-) Fleming St., Hollywood.
Cal. (s) ; Tallyrand Ave., Jacksonville,
Fla. (s» ; Glendale, Cal. (si.

Keystone Film Co., 1712 Allesandro
St., Los Angeles.

Kleins, George, 100 N. State St., Chi-
eajro.

Lasky Feati-rh Play Co., 485 Fifth
Ave., New York City ; 0284 Selma Ave.,
Hollywood, Cal.

Lone Star Film Coup. (Chaplin), 1025
Lillian Way, Los Angeles, Cal.

Metro Pictures Corp., 1470 Broadway,
New York (*). (All manuscripts for the
following studios go to Metro's Broadway
address i : Rolfe Photoplay Co. and Co-
lumbia Pictures Corp.. :; W. 01st St., New
York City (s) ; Popular Plays and Play-
ers, Fort Lee, N. J. (s) ; Quality Pictures
Corp., Metro office ; Yorke Film Co., Hol-
lywood, Cal. (s).

Morosco Photoplay Co.. 222 W. 42d
St.. New York City (*) ; 201 Occidental
Blvd., Los Angeles, Cal. (s).

Moss. B. S., 720 Seventh Ave., New
York City.

Mutual Film Corp., Consumers i?ldg.,
Chicago.

Pallas Pictures, 220 W. 42d St., New
York City : 205 N. Occidental Blvd., Los
Angeles, Cal.

Pathe Exchange, 25 W. 45th St., New
York City; Jersey City. N. J. (s).

Powell, Frank. Production Co., Times
Bldg., New York City.

Rothacker Film Mfg. Co., 1339 Diver-
sey Parkway, Chicago. 111.

Selig Polyscope Cb., Garland Bldg.,
Chicago (*); Western and Irving Park
Blvd., Chicago (>s) ; 3800 Mission Road,
Los Angeles, Cal. (s). '

Sblznick, Lewis J., Enterprises Inc.

720 Seventh Ave.. New York City.

Signal Film Coup., 4500 Pasadena
Ave.. Los Angeles. Cal. (*) (s).

Talmadge, Constance, 720 Seventh

Ave.. N. Y. C ; 807 Fast 175th St., N.
Y. C (*) (s).

Talmadge, Norma, 720 Seventh Ave.,
N. Y. C: 318 East 4Sth St., N. Y. C.
(*) (s).

THANHOUSBR Film Corp.. New Ro-
chelle, N. Y. (*) (s) ; Jacksonville, Fla.

(s).

Universal Film Mfo. Co.. 1000 Broad-
way, New York City; Universal City,
Cal. ; Coyetsville. N. J. (s).

Vitagraph Company of America, E.
15th St. and Locust Ave., Brooklyn, N.
Y. : Hollywood, Cal.

Vogue Comedy Co.. Gower St. and
Santa Monica Blvd.. Hollywood, Cal.

Warwick. ROBERT, Film Corp.. 807 E.
175th St., N. Y. C.

Wharton. Inc. Ithaca. N. Y.

World Film Corp.. 130 W. 40th St.,
New York City (*) : Fort Lee, N. J. (s).

Young, Clara K., Film Corp., 729
Seventh Ave.. N. Y. C

Pearls of Desire

(Continued from Page lou)

'"Well," I asked, tauntingly, "what do
you think of it, now?"

He gulped once or twice but did not
answer. I jerked my head toward the
cliffs.

"I've got a nice little toy Gibraltar up
there, all provisioned and with running
water, as you can see from the wet
stained rocks, and impossible to reach
without swarming straight up the side.
If you feel any doubts about the gun-
nery practice I'll raise my hand and some-
body will get bored. It might even be
yourself." I threw the shotgun to my
shoulder quickly and covered his chest.
He gulped again and his hands went up
automatically. "Turn your back," I or-
dered, sharply. He revolved like a dummy
on a pivot when I stepped forward and
with the muzzle against his spine relieved
him of his weapon, then drew back a few
paces. "All right," I said, "rest."

These swift maneuvers had naturally
been observed by the others and all oper-
ations had come to an immediate halt.
Drake himself seemed scarcely able to
speak, whether from fright or anger or.
surprise or the combination of all three.
There appeared to be, however, no great
necessity for his saying anything, so I
summoned up the situation myself.

"You are checkmated, you thieving
swine," I told him. "If it were necessary
I could stand you off here for a month.
But it won't be necessary as I've got a
bunch due to get here and raise the siege
most any day. If you try to send down
a diver I'll drill him from the cave
up yonder, and if you think you can
get the lot of us up there, why just try
it and see what happens. There isn't
one blessed thing that you can do except
to get aboard your boat and clear out.
I'll let you off this time, and you must
see from that that I don't feel there's
anything to fear from you, but the next
time I get as good a chance at you I
swear to rid these waters of a mighty
dirty blackguard. Now go ... . march
. . . . vamoose, and take your gang of
galley rats and cockroaches along with
you."

Drake stood for a moment licking his
lips with a dry tongue and his mottled
face working. I jerked my head toward
the Madcap.

"Go on," I said. "There's nothing
more to be said. Clear out before I
change my mind and dump this charge
of lead into your rotten carcass "

A few moments later the two boats
with their crews were pulling off for the
schooner.

The Madcap was lying close in to the
beach and Drake got aboard her before
I was able to scramble back up to the
cave. I had counted on this and was
therefore not surprised to hear the dis-
tant crack of a rifle and the spat of a
bullet against the cliff. But the range
must have been about 6oo yards and the
target poor as the rocks were in shadow
and of the greyish tint of my clothes, so
that there was nothing to be alarmed
about. In fact, I did not hurry for the
last twenty or thirty feet, preferring to
take a chance with Drake rather than
that of missing a foothold in the rotten,

crumbly lava-coral formation. He fired
half a dozen times before I reached the
entrance but never once struck within a
yard of me. Almost there 1 called up to
Enid to keep well under cover, which
order was treated with her usual obe-
dience for I saw her peeping down at
me over the ledge when I was within
about ten feet of it.

"Get inside," I panted. "Don't let
him see who you are."

"They can't see through my hat," she
retorted.

"Well, they can shoot through it," I
grunted, and a moment later was sprawl-
ing inside breathless and rather barked
about my bare knees and elbows.' Enid,
calm and unruffled, sat in her usual po-
sition on one hip and surveyed me
thoughtfully. But it seemed to me that
there was a warmer light than usual in her
grey eyes.

"Well," I observed, "you have gone
and done it, haven't you?"

She lifted her plump shoulders and
drew down her mouth a little at the cor-
ners.

"I tried to," she answered. "Since
you wouldn't do it for yourself I had to
do it for you."

"I suppose that you had it all planned
from the start," I said.

"Of course. If you hadn't been such
a silly old thing you'd have guessed as
much when I got you to teach me how to
shoot."

"The point is admitted," said I. "Did
you shoot to kill?"

She shook her head. "No, but I would
have done so if they hadn't stopped. I
saw that you were quite able to take care
of yourself. I was aiming at Drake
when he drew his pistol and would have
fired if you had had sense enough not to
put yourself directly between."

"I don't believe it," I declared, which
was not entirely true. It was beginning
to dawn upon me that there were latent
possibilities which nobody would ever
guess in this demure and pretty girl with
her boy's face and quiet speech. If she
had been of the lean, muscular athletic
northern type or even the voluptuous, lux-
urious but passionate southern one it
would not have been so hard to believe
in her capacities for drastic and radical
action. But here she was, the most fin-
ished specimen of a higher, not to say
effete, civilization, trained to the abhor-
rence of any sort of violence, quiet and
subdued of manner, simple and direct as
an honest schoolboy and with her ex-
treme femininity softly indicated in the
exquisite contours of her body. But I had
already learned that these graces did not
detract any from her strong and resilient
strength.

"You may believe it if I get another
chance," she observed.

"That is possible," I admitted. "It is
also highly probable that you will get
another chance. Drake will hardly quit
without a try for us. If it weren't for
the necessity of saving our ammunition
I would warm him up out there a little
now. On the whole, though it is better
to wait until he actually attacks us or
tries to put his divers to work. How

Every advertisement in rn0T0ri,AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

125

did you manage those two shots so close
together? Lash the two rifles?''

She nodded. "I shot at the boat with
one," said she, "and took a chance on
where the other bullet went. If anybody
had got hit, so much the worse for them.
The effect might have even been better
for us. But I wanted them to think there
were two more of us at least up here.
Did he tell you any news of Alice and
Uncle Geoff ry?"

"Here is a letter he was kind enough
to bring me," I answered. "Suppose I
read it aloud." I ripped open the en-
velope and read as follows, Enid looking
over my shoulder:

"Dearest Jack," it read, "at last this
terrible voyage is over, terrible because
of our grief at poor, darling Enid's fate.
Otherwise we have been comfortable and
Captain Drake has proved a most kind
and sympathetic host.

"We have done wrong to let you re-
main upon the island, especially as your
presence there can prove of no avail.
Captain Drake has frankly admitted that
he intends to return at once to 'prospect,'
as he says, though we can guess what
that means. He declines to accept your
claim to having a concession and says
that you may bring suit later if you wfsh.
As Mr. Harris is absent and Drake will
not await his return there seems noth-
ing much to do about it.

"As the case stands Drake appears to
hold all the cards, especially as one of
your boats is hauled up for repairs and
the others gone to fetch a cargo and not
expected to return for a fortnight. At
the best they are small and slow, from all
accounts, and Charley Dollar tells me that
you have no more diving gear. He ap-
pears to think that Drake will have
cleaned up the bed by the time they are
able to get to your support. So I am
afraid my dear that your prospects for
the pearls are not of the brightest. Drake
has promised me, however, to offer you
no violence and says that under the cir-
cumstances he is willing to offer you a
half share to be made over to you on
proof that you hold the concession, but
he doubts that you will accept the pro-
posal. I should most strongly advise your
doing so, Jack. Half a loaf is better
than no bread."

Then followed a page or two of what
struck me as rather vapid expressions of
gratitude to me for my care of them and
my hospitality and all such truck includ-
ing the opinion that I could not have been
so very lonely on Trocadero after all
with the constant flow of heartfelt sym-
pathy with which I had been sprayed,
rather as though I were a fireman astride
the flaming gable of a house with the fire
hose turned on me. The letter wound up
by saying that Charley Dollar had told
her they expected McGiffins' Dolores to
call in about a month, when they would
ask for a passage to the next steamer
port. And at the very end she said:
"As things stand between us I scarcely
know what to do about that magnificent
pearl you gave me, Jack. If it was an
engagement present, I suppose I ought
not accept it, as we are not actually en-
gaged. When so able please let me know

what you wish me to do about it "

And then many expressions of an affec-
tionate if not a loving character and her
signature, "Alice Stormsby."

Compare It With a Diamond

Solid Gold
Mountings

Flat Belcher Ring

No. 1. Solid gold mounting.
Eight claw design with fiat
wide band. Almost a carat,
guaranteed genuine Tifnite
Gem. Price $12.50; only $3.50
upon arrival, balance $3 per
month. Can be returned at our
expense within 10 days.

Ladies' Ring

No. 2. Solid gold mounting.
Has a guaranteed genuine Tif-
nite Gem almost a carat in size.
Price $12 50: only $3.50 upon
arrival. Balance $3 per month.
Can be returned at our expense
within 10 days.

Tooth Belcher Ring

No. 3. Solid gold, six-prong
tooth mounting. Guaranteed
genuine Titnite Gem almost a
carat in size. Price $12.50;
only $3.50 upon arrival. Bal-
ance $3.00 per month. Can be
returned at our expense within
10 days.

To quickly introduce into every locality our beautiful
TIFNITE GEMS, we will absolutely and positively send
them out FREE and on trial for 10 days' wear. In appear-
ance and by every test, these wonderful gems are so much like a diamond
that even an expert can hardly tell the difference. But only 10,000 will be
shipped on this plan. To take advantage of it, you must act quickly.

Send the coupon NOW! Send no money. Tell us which ring you pre-
fer. We'll send it at once. After you see the beautiful, dazzling gem and
the handsome solid gold mounting — after you have carefully made an ex-
amination and decided that you have a wonderful bargain and want to
keep it, you can pay for it in such small easy payments that you'll hardly
miss the money. If you can tell a TIFNITE GEM from a genuine diamond,
or if, for any reason at all, you do not wish to keep it, return it at our expense.

Remarkable
New Discovery

The closest thing to a diamond ever

discovered. In appearance a TIFNITE and
a diamond are alike as two peas. TIFNITE
GEMS have the wonderful pure white color
of diamonds of the first water, the dazzling
fire, brilliancy, cut and polish. Stand every
diamond test — fire, acid and diamond file. Mountings are exclusively
fashioned in latest designs — and guaranteed solid gold. *

How to Order Rings

To get the right size ring- cut a strip
of heavy paper so that the ends ex-
actly meet when drawn tightly around
the second joint of finger on which
you want to wear the ring. Be careful
that the measuring paper fits snugly
without overlapping, and measure
at the second joint. Send the strip
of paper to us with order coupon.

friiTridliduDdn

THE TIFNITE GEM CO.

Rand McNally Bldg., Dept. 221, Chicago, III.

/ Send me Ring No on 10 days' ap-

* proval. fin ordering ring, be sure toen-

* close size as described above.) If satisfac-

► tory, I agree to pay $3 50 upon arrival; and

balance at rate of S3. 00 per month. If not

satisfactory, I will relurn same within ten days

at your expense.

Send No MnnPV Just send coupon. Send no

UC11U 11V7 JTlUUCJi reference, no money; no obliga-
tion to you in any way! You run no risk. The coupon brings
you any of the exquisitely beautiful rings shown and described ■
here for 10 days' wear free. Be sure to enclose strip of •
paper showing exact finger measurement as explained. ^^^ »

MAIL THIS COUPON SPF?'

Send now and get a TIFNITE GEM on this liberal offer. Wear /
it for 10 days on trial. Every one set in latest style solid f
gold mountings. Decide then whether you want to keep it •
or not. bend for joure now — today— sure. Send no money. / Name.

THE TIFNITE GEM COMPANY /

Rand McNally Bldg., Dept. 221, CHICAGO, ILL. .*

-* Address

What One Dollar Will Bring You

More than a thousand pictures of photoplayers and illustrations
of their work and pastime. Scores of interesting articles about
people you see on the screen. Splendidly written short stories,
some of which you will see acted at your moving picture theater.

All of these and many more features in the six numbers
of Photoplay Magazine which you will receive for $1.

You have read this issue of Photoplay, so there is no necessity for telling you
that it is one of the most superbly illustrated, best written and most attractively
printed magazines published, and without a peer in the field of motion pictures.

Slip a dollar bill in an envelope addressed to

PHOTOPLAY MAGAZINE, Dept. 9E, 350 N. Clark St., CHICAGO

and receive the November issue and five issues thereafter.

When you write to advertisers please mention PIIOTOrLAY MAGAZINE.

126

Photoplay Magazine — Advertising Section

Samuel T. Freeman & Co.
AUCTIONEERS

1519-21 Chestnut Street, Philadelphia, Pa.

Liquidation
Sale

The Lubin Motion Picture Plant

HEAL ESTATE, MACHINERY
AND EQUIPMENT OF

Lubin Manufacturing Company

20th and Indiana Avenue

PHILADELPHIA, PA.

to be sold

Sept. 10,11, 12, 13 and 14, 1917

At 10 A. M. Each Day
ON THE PREMISES

REAL ESTATE: Valuable modernly
improved manufacturing property
adaptable for any line. Large lot, 3
fronts, 280 feet on Indiana Ave., 200
feet on 20th Street, and 200 feet on
Garnet Street.

Improved as follows: Factory building
60 by 250 feet, 2 story, concrete founda-
tion, brick curtain wall, reinforced con-
crete floors, etc. Studio building 60
by 135 feet, 2 story, concrete founda-
tions, prism glass on steel frames, steel
columns, etc. Factory and Adminis-
tration Building, 5 stories, concrete
foundation, brick walls, slow burning
mill construction, 4 stories 30x36, 2
stories 8% by 13, tower 20x25, 1 story
21 by 35. Garage 20 by 80 feet, 1
story, concrete foundation and floor,
brick walls. Boiler House 30 by 45
feet, 2 story and basement, concrete
foundation, brick walls, slow burning
mill construction.

MACHINERY AND EQUIPMENT

comprising a most complete moving
picture plant, equipment and property,
consisting of a machine shop, lathe, drill
presses, milling machines, shapers,
planers, etc. Belting, pulleys, and
shafting; electrical equipment, dyna-
mos, motors, wiring, conduit, cables,
transformers, Cooper- Hewitt equip-
ment ; large wardrobe, scenery, dra-
peries, property, camera and camera sup-
plies, studio supplies and equipment.

Full particulars, descriptive and illustrated
catalog upon application to the Auctioneers.

BY ORDER OF"
Nicholas G. Roosevelt, President

Lubin Manufacturing Company

UNDER THE MANAGEMENT OF

Samuel T. Freeman h Co.
AUCTIONEERS

1519-21 Chestnut Street, Philadelphia, Pa.

There was also an enclosure from the
bishop; a few brief, kindly words express-
ing sympathy and gratitude and affection
with some pious wishes for my future
success. A good old soul, the bishop.

"There," I said to Enid when I had
finished reading. "Now aren't you
ashamed of yourself"-'"

"No," she answered, "but I'm ashamed
of Alice. Fancy her asking you to tell
her what to do with that lovely pearl.
She knew you would say to keep it. Since
you are no longer engaged why doesn't
she leave it with Mr. Harris?"

"Never mind," I answered. 'Let her
keep the old black musket ball. There
will be plenty for my bride, although I
don't think that she is the sort whose hap-
piness depends on pearls."

"For once I agree with you," she an-
swered, softly.

"Thank you, "I said. "Have you any
idea who that lady is destined to be?"

"Of course I have. Her name is Enid
Weare."

"You are right," I admitted. "Know-
ing this lovely lady as you must, do you
think she would be offended if her pros-
pective husband were to explain a few of
his sentiments concerning her. It was
of course agreed that he was not to make
love to her until their escape from a pre-
dicament which entailed great intimacy,
considerable privation and now as it ap-
pears, a certain amount of danger. But
all the same, don't you think that he
might express his appreciation of some of
her qualities while yet not breaking his
promise?"

"I am afraid not," she answered, grave-
ly. "You see, Miss Enid Weare is un-
derneath her calm exterior a young lady
of some intensity of temperament and any
words of appreciation from a man whom
she has deliberately chosen for her mate
and has come to regard as almost actually
her husband might possibly result in be-
havior on her part and his which both
would consider to be unworthy of them.
Under the circumstances, I think that it
would be preferable to expend any great
desire for expression by taking a shot at
Drake."

I stared at her for a moment in amaze-
ment. Here surely was the steadiest and

straightest and sanest talk that ever
flowed from a pair of impassioned lips. I
looked at her with wonder; examined her
from the top of her golden head to the
tip of the pink toes peeping from the
well-worn sandals feeling that I was try-
ing to determine the character of some
rare and beautiful object which no science
had ever classified. And reaching her
eyes I let my own rest on them with
adoration and they met the gaze with the
cool, steady light which might come from
those of an angel in the stained glass
window of a church. Yet, it seemed to me
that in their depths twin candles burned.
"You are right," I answered, gravely.
"You are always right. Sometimes I
think that you are rather more than hu-
man; a visiting goddess with a contempt
for most of us mortals but condescending
to lavish an Olympic passion upon one of

them " I searched her face which

seemed all at once to have dropped its
boyish mask and wore a strained look,
dark beneath the eyes, pale of cheek with
red lips thrust slightly outward and droop-
ing like those of a child about to cry. The
delicate nostrils dilated almost impercep-
tibly with each deeply indrawn breath.
Jt was evident that a tremendous
emotional struggle was going on within
her; a fire within reach of explosives in
the hold of a vessel and the hatches tight-
ly battened down. There had been the
tension of her dealing with Drake; the let-
ters just read, the danger which threat-
ened and our prospect of imprisonment
there in the cave. After all, she was only
a girl and she wanted just now to be
loved and petted and comforted and con-
soled. But that clear reason and single-
ness of purpose held her in its iron grip.
She had chosen her mate, God bless her,
but she had determined not to take him as
such until it could be done as befitted
her rank and caste.

As I realized all of this an infinite
tenderness swept over me. I stooped
down, raised the hem of her flannel skirt
and brushed it with my lips. "Miss Enid
Weare is right," I said, "and she need
have no fear but that her wishes shall be
respected."

(To Be Continued)

Winners of the August Puzzle Contest

First Prize $10.00

Mr. Frank C. Washechek, Milwau-
kee, Wis.

Second Prize $5.00

Mr. William Jordan, Jr., Atlantic
City, N. J.

Third Prize ._. . . .$3.00

Miss Marion C. MacRobert. Tren-
ton, N.J.

Fourth Prize $2.00

Mr. N. D. Petersen, Minneapolis,
Minn.

Ten Prizes $1.00 each:

Mr. N. B. Moore, Portland, Oregon.
Miss Frances Benson, Dayton, Ohio.
Mrs. Gladys J. Carr. Auburn. N. Y.
Miss Dorothy Brunner. Circleville,

Ohio.
Mr. Harold C. Vail, East Marion,

L. I., New York.
Mrs. Ralph Ruble, Des Moines,
Iowa.

Mr. Lee Sterrett, New York Citv,
N. Y.

Mr. Bert E. Betts, Lakeland, Fla.

Mrs. Ida Sondheim, San Francisco,
Calif.

Miss Dorothy Ethel Seaman, Hous-
ton, Texas.

CORRECT ANSWERS TO THE
AUGUST PUZZLE CONTEST

Geraldine Farrar

Theodore Roberts

Nance O'Neill

Lou Tellegen

Viola Dana

House Peters

Stuart Holmes

Irene Hunt

Sarah Bernhardt

10.

Wallace Reid

Every advertisement in PIIOTOPI.AT MAGAZINE is guaranteed.

Fhotoplay Magazine — Advertising Section

127

uestions and Answers

{Continued f rum page 123)

A. H., Berkeley, Cal. — It is impossible
to tell you what types of plays are popular
with the various companies. Most of the
companies would have a hard time answer-
ins that question themselves. Harold Lock-
wood is with Yorke-Metro, 1320 Gordon,
Los Angeles. It is wise when submitting a
scenario to suggest the name of the player
it seems to fit.

Geo. R., Hamilton, Md. — We have no
record of Bessie Glantz. Write Theda Bara,
care William Fox Film Corp., Los Angeles,
Cal.

D. Fasnum Admirer, New York City. —
Dustin Farnum and Miss Kingston have
just concluded their last photoplay under
their Fox contract. It is "The Spy," a mod-
ern patriotic play. Franklyn Farnum is not
related to Dustin. He is a native of Boston,
34 years old, an inch under six feet and is
not married. Some of his photoplays arc:
"Love Never Dies," "The Stranger from
Somewhere," "The Devil's Pay Day," "The
Man Who Took a Chance." He gets his
mail at Universal City. Cal.

Thelma, Mt. Vernon, N. Y. — Accept our
most humble apologies for misconstruing
your previous letter. Mr. Walthall has been
traveling a bit which is possibly the reason
he has not replied to your letter. When \vr
see him next we'll ask him, as a personal
favor, to drop you a line.

H. M., San Francisco. — We regret ex-
tremely to inform you that Mr. Francis X.
Bushman is married and has five children.
Beverly Bayne is 23 years old; Neal Burns,
26 and Paul Willis, 17.

Dot, Greensboro, Ga. — Marguerite Clark'c
face appeared on the cover of Photo-
play for March, 1016. She was 30 years old
on Washington's Birthcby.

E. F., Pittsburg, Pa. — We're still in the
dark about that Seventh Deadly Sin, but
it's a pipe that it isn't "Love."

Kangaroo Klub, Kokomo, Ind. — The
mother of the Talmadge sisters played with
Constance in "The Girl of the Timberclaims."
A. D. Sears has been playing with Selig.
Write Blanche Sweet, care of Lasky.

E. C. Kansas. — Gypsy Abbott was not
given in the cast of "The Matrimonial
Martyr." Many thanks for the information
contained in your letter. It's always a
pleasure to get letters from persons who
remember what they've heard or read. And
you've sure got some memory.

W. W., Great Falls, Mont.— Paul Willis
hails from Chicago but went to California
while young. He is still with Metro
Madame Petrova left Metro for Lasky and
after two pictures for the latter had a dis-
agreement which resulted in a separation.
Her husband is a Dr. Stewart of Indianapo-
lis.

E. M. B., Dawson, Pa.— "Peg of the
Ring" was filmed in and about Universal
City, Cal. Fanny Ward has a husband,
viz. : Jack Dean, whom you have seen play-
ing with her. She is no longer a Laskyite.

L. A. C, Worcester, Mass. — We share
your admiration for Mr. Holding. Here is
his career briefly: Born at Black Heath,
Kent, England; educated at Rugby; stage
r-reer of twelve years; six feet tall; weight,
,_2 pounds; dark hair; blue eyes; address,
223 Riverside Drive, N. Y.

(Continued on page 128)

DON'T let dangerous coughs and colds get a start.
Ward them off with Smith Brothers'. Keep a box
handy, always. S. B. Cough Drops are pure — absolutely.
No drugs. One at bedtime keeps breathing passages clear.
SMITH BROTHERS of Poughkeepsie

Also makers of S. B. Chewing Gum

tVERYWOMA

Your Poise

rand carriage

are affected more by the unseen things
of your apparel than by outer garments

Vfe

HOSE SUPPORTER

contributes to your ease and comfort — allows
the utmost freedom of action and retains its
life and resiliency after long wear.

It is the only woman's hose supporter having
the Oblong Rubber Button which pre-
vents tearing and drop stitches.

GEORGE FROST COMPANY, MftKERS, BOSTON

I TRAIN YOU

By Mail The Electrical Profes-

sion is calling for live

young men. Let me train you to
earn $125 to $350 a month. In your
own home at small cost.
TOOLS and MATERIALS FREE

L. L. COOKE, Chief Engineer
44 Engineering Building, CHICAGO

^feem art's

FACE POWDER,

Beauty and artistic sense made

"PERDITA" ROBINSON the

popular actress of her day, even as
merit gave Freeman's its 30-year
vogue with women who know.
A II toilet counters. Sample mailed free.

The Freeman Perfume Co.

Dept. 101

Cincinnati, Ohio

Short - Story Writing

A course of 40 lessons in the history, form,
structure, and writing of the Sliort-Slorv.
taught by Dr. J. Berg Fsenwein, for yean
Editor of I.ippinrott's. Over one hundred
Home Study Courses under Professors in
Harvard, Brown* Cornell and leading
college*. UiO-page catalog; free. Wrile today.

The HomeCorrespondence School
Dept. 95 SPRINGFIELD. MASS.

REMEMBER —

Every advertisement in PHOTOPLAY is guaranteed,
not only by the advertiser, out by the publisher.

When j)ou write to advertisers please mention that
you saw the advertisement in PHOTOPLAY.

Every advertisement in. TIIOTOrLAY MAGAZINE is guaranteed.

128

Photoplay Magazine — Advertising Section

CLASSIFIED ADVERTISING

inn

p n n n

Rate
15 cents

per
word

TTJTT

rvnrmnnnn

n„n nn

All Advertisements

have equal display and
same good opportuni-
ties for big results.

U'UU.UU.U'LrU'U'U'UU

PHOTOR13Y

nnnn n n n h n'^n n n r

This Section Pays.

8T'" of the advertisers
using this section during
the past year have re-
peated their copy.

uuuuuuuuuuirir

uTTTTu

Rate

15 cents

per

word

mrc

FORMS FOR DECEMBER ISSUE CLOSE OCTOBER FIRST

AGENTS AND SALESMEN

PATENTS

GET OUB PLAN for MONOGRAMLNO AUTOS,

. Traveling Hags, etc., bj transfer method. Very

larKo i)roilts. Motorists Accessories Co., Mansfield, Oliio.

AGENTS— 500% PROFIT; FREE SAMPLES; GOLD
sign letters for store and office windows; anyone ran
put on. Metallic Letter Co.. 414 N. Clark St.,
Chicago.

WANTED IDEAS, WRITE FOR LIST OF PATENT
Buyers and Inventions Wanted. $1,000,000 in prizes
offered for inventions. Send sketcli for free opinion as
to patentability. Our four books sent free. Victor .1.
Evans & Co., Patent Aitys., 7U3 Ninth, Washington,

INVENT SOMETHING. YOUR IDEAS MAY' BRING

DECALCOMANIA TRANSFER INITIALS AND
Flags. Vou apply them on automobiles while they wait,
making $1.38 profit on $1.50 job: free particulars.

wealth. Free book tells what to invent and how to ob-
tain a patent through our credit system. Talbert &
Parker, 1724 Talbert Bldg., Washington, D. C.

Auto Monogram Supply Co., Dept. 12, Niagara Bldg.,
Newark, N. J.

PHOTOPLAY TEXT BOOKS

HOSIERY AND UNDERWEAR MANUFACTURER
offers permanent position supplying regular customers
at mill prices. $50.00 to $100.00 monthly. All or
spare time. Credit. I. Parker Co., 2733 No. 12tli St..

"HOW TO WRITE A PHOTOPLAY*" BY C. G.

Wink up, 1342 Prospect Ave., Bronx, New York City.
25 cents. Contains model scenario.

Philadelphia, Pa.

WRITE FOR FREE COPY "HINTS ON WRITING

ARE YOU LOOKING FOR AGENTS, SALESMEN OH
Solicit rs! Have you a good reliable arlicle to sell?
If so, let us assist vou. This classified section is read
every month by over 20 0,0 0 0 of the livest people in
the country. The cost is surprisingly low. Address

and Selling Photoplays, short Stories, Poems." Atlas
Publishing Co., 294, Cincinnati.

SONGWRITERS

Classified Dept , Photoplay Magazine, 350 N. Clark
St., Chicago.

SONGWRITERS' "MANUAL & GUIDE" SENT
Free. This valuable booklet contains the real facts.
We revise poems, compose and arrange music, secure
copyright and facilitate free publication or outright saie.

OLD COINS AND STAMPS

$2' TO $50 0 EACH PAID FOR HUNDREDS OF

coins dated before 1910. Send 10 cents for New Ulus-

Start right. Seno. us some of your work today for free
examination. Knickerbocker Studios, 160 Gaiety Build-
ing, N. Y. City.

prices. It may mean yonr fortune. Get posted. Clarke
Coin Company, Box 127, Le Roy, N. Y.

MANUSCRIPTS TYPEWRITTEN

WE PAY TO $S0.00 for certain large cents: $5.00
for certain eagle cents, etc. High premiums paid for
rare coins to 1912. Many in circulation. Watch your

MANUSCRIPTS CORRECTLY TYPED. TEN CENTS
page, including carbon. Anna Payne, 318 Sixth Street,
Brooklyn, N. Y.

and Stamp Circular. Numismatic Bank, Dept. 7 5,
Fort Worth. Texas.

SCENARIOS. MANUSCRIPTS TYPED TEN CENTS
page including carbon. Spelling, punctuation corrected.
Marjorie Jones, 322 Monadnock Block, Chicago,

HELP WANTED t

SCENARIOS TYPED INCLUDING CARBON COPY
10 cents page. Box 6, Upturn's Cor.. Boston, Mass.

GOVERNMENT PAYS $900 TO $1,800 YEARLY.

Prepare for coming "exams" under former Civil Service
Examiner. New Book Free. Write Patterson Civil Serv-
ice School, Box. 30 17, Rochester, N. Yr.

MANUSCRIPTS AND SCENARIOS TYPED. TEN

cents page, including carbon. Josephine Caputo, 9 2
Elizabeth Street, N. Y. C.

FIVE BRIGHT. CAPABLE LADIES TO TRAVEL.

demonstrate and sell dealers. $25 to $50 per week.
Railroad fare paid. Goodrich Drug Company. Dept.
59, Omaha, Neb.

MANUSCRIPTS ACCURATELY TYPED. EIGHT
cents page, one carbon. K. F. Miller, 611 Leland
Ave., South Bend, Indiana,

U. S. GOVERNMENT WANTS HELP. MEN— WOM-

en. 18 or over. $100 month. War necessitates hun-

TYPEWRITERS

dreds appointments. Y\rito immediately for list posi-
tions. Franklin Institute, Dept. F-212, Rochester,
N. Y.

TYPEWRITERS, ALL MAKES FACTORY REBUILT

by famous "Young Process." As good as new. look
like new, wear like new, guaranteed like new. Our big
business permits lowest cash priies. $10 and up. Also
machines rented or sold on time. No matter what your
needs are we can best serve you. Write and see, now.
Young Typewriter Co., Dept. 93, Chicago.

WOMEN TRAFFIC INSPECTORS WANTED BY

railways: supplant men called to colors. $12'5 monthly
and expenses. Short hours, travel, promotion. Prepare
at home in three months. Booklet A-8 Free. Frontier
Prep. School, BufTalo, N. Y.

BE A DRAFTSMAN— BIG PAY: TREMENDOUS

MOTION PICTURE BUSINESS

tions. Complete, practical course: drawing instruments
Free. We help you secure position when qualified.
Columbia School of Drafting. 2 2 McLachlen Bldg,
Washington, D. C.

BIG PROFITS NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by Government institutions. Cata-

CIVTL SERVICE EXAMINATIONS OPEN THE WAY
to good Government positions. I can coach you by mail
at small cost. Full particulars free to any American
citizen of eighteen or over. Write today for Booklet
CE 1449, Earl Hopkins. Washington, D. C.

Bldg., Chicago.

$100 TO $2 00 PROFIT WEEKLY. COMPLETE
Moving Picture Outfit, Machine, Films, etc.. furnished
on easy payment plan. No experience needed. Free

PHOTOGRAPHY

11 -A, 22'8 L'nion Ave., Memphis, Tenn.

FILM DEVELOPED 10c PER ROLL. BROWNIE

BUSINESS OPPORTUNITIES

Prints, 2c: 3x4, 3x5. la and Postcards. 3c each. Work
returned next day, prepaid. Kodak Film Finishing Co.,
112 Merchants Station, St. Louis.

AI-VERTISE— 2'5 WORDS IN 100 MONTHLIES

$1.2 5. Cope Agency. St. Louis.

Short Story Writets

■ 1) ___.#_ M W Thereisatremendous demand
WWSMfflGta 1 for £hort stones, photo plays,
"""""•" w magazine and newspaper ar-
ticles. 24,868 publications buy short stories. $3,000.00
a year ia a small lucome lor a wt iter. Yoo can be succeaaf ul.
Jack London said so. He end other preat writers have
endorsed our course. Learn at home during your spare time.

Write Today for Free Book &ffits8££iE&

It, also erlvcs details of the special introductory otter that is
being made for a limited time. Don't lo«e this opportunity.

Hoosier Itistihjte. Short Story Dent., rvnr. 1537, FnrtWavne. Ind

foiBIGPAY

Be a Cartoonist*- Illustrator

i o "i iii er clal Artist and

m J25 fo $100 a week. Learn

now at home in spare time by our

Instruction Method. Artist's Out-

i new students. Easy terms.

■ Handsome Book — FREE.

ofArtl262HSt.N.W.,Wasli.,D.C.

LEARN RIGHT AT HOME BY MAIL

DRAWONG-PAINTING

Be a Cartoonist, Newspaper, Magazine
or Commercial Illustrator; paint in
Water Colors or Oil. Let us develop
your talent. Free Scholarship Award.
Your name and address brings you
full particulars by return mail and
our Illustrated Art Annual FREE.
FINE ARTS INSTITUTE, Studio 397, Omaha. Neb.

If you are earning less than

$50 PER WEEK

and liko to draw —you should study

Commercial Art

Leading Art Managers — the men who know —

recommend us and employ our students. We

will eruarantee to make you successful— Learn at

| home in your spare time— or in our resident school— Day or evening.

Write for FREE illustrated catalogue.

I COMMERCIAL ART SCHOOL, 724. I16So. Michigan Ave., Chicago, III.

Questions and Answers

(Continued)
White Admirer, Plainfield, X. J. — Your
favorites will soon appear in the art sec-
tion. Yes, there is a Mrs. Creighton Hale.
Thanks for the information.

K. M. W., Decatur, III. — No, it wasn't
a mistake, as it is quite a few weeks since
Fanny Ward was 24. Caryle Blackwell and
Tom Forman are married but divorces are
pending.

Harold, Lexincton, Ky. — Charles Ray-
was born in Jacksonville, 111., and entered
pictures about three years ago. His home is
in Los Angeles.

G. W., Sydney, Australia. — DeWolf
Hopper is no longer engaged in screen work.
He is 59 years old. Henry Walthall was
born March 16, 1878. Robert McKim was
born in 1887 and his wife is Dorcas
Mathews, also of Triangle. Chaplin is now
making pictures for the First Xational Ex-
hibitors' Circuit, a co-operative marketing
concern. Always glad to hear from you.

Mac, Hamilton, Canada. — You omitted
two Fairbanks Triangle pictures. They are
'•Flirting with Fate," and "The Habit of
Happiness." Mr. Griffith did not direct
any of the Fairbanks films personally. Bes-
sie Barriscale played "The Rose of the
Rancho" for Lasky. Charles Ray is 26.

Alice M., El Paso, Tex. — Send to Mary
Pickford, care Lasky Co., Hollywod, Cal.,
and she will send you a photograph without
any cost to you.

R. D., Sydney, Australia. — Elmer Clifton
is 25, stands five feet ten inches and weighs
150; eyes grey-brown (whatever that means)
and has brown hair. He was born in To-
ronto, Canada, and is now a director with
Universal. Robert Harron who has been in
Europe with Griffith is a native of Xew York
City, 23 years old; brown hair and eyes
and has never been on the speaking stage.

Robert, Brooklyn, X. Y. — The last time
we saw Marguerite Clark she neglected to
inform us if she "had any intentions of
matrimony." You might get something au-
thentic if you write her direct, but don't
say we told you to.

Clutching Hand, St. John's, New-
foundland.— Quite some clutcher, old top.
Arthur Albertson was Bruce in "The Argyle
Case." That's quite an idea of yours, to
have a few pages of photographs of Photo-
play readers each month. But who'll pick
'em out?

Ethel, Napier, New Zealand. — Harry
Morey and Dorothy Kelly are married to
non-professionals. Here's the "Little Pal"
cast: Little Pal, Mary Pickford; Sid Gertie,
Russel Bassett; John Grandon, George An-
derson; Pillbox Andy, William Lloyd; Black
Brand, Joseph Manning; Frances Grandon,
Constance Johnson; Little Pal's Servant,
Bert Hadley. Ethel Clayton has played in
the following: "The Great Divide," "The
House Cat," "Broken Chains," "The Mad-
ness of Helen," "The Web of Desire." "The
Hidden Scar" and other photoplays.

Anxious 17, Richardson, Xt. D. — Geo
Madison has forsaken the screen for the
stage, temporarily at least. She has been
filling an engagement in stock at San Fran-
cisco. Her husband is an auto salesman.
Mae Marsh wasn't hurt when she jumped
off that rock in "The Birth of a Nation"
because she didn't jump.

{Continued on page 133)

Every advert Lscmt-iit in PIIOTOrLAT MAGAZINE is euaranteod.

Photoplay Magazine — Advertising Section

129

In the Scenario Editor's Mail Lift C

withF

How a scenario crazed nation is
trying to get its ideas celluloided.

By Helen Starr

to show
how kind a woman is."

That was the alibi given in the
author's letter. Surely a worthy reason
for spilling ink on paper, and quite as
good an excuse for shooting new scenarios
into the mail as many other people offer.

Every large moving picture company
receives an average of one hundred
scenarios each day. Certain plots come
in regularly each morning. The readers
can always count on twenty-five dream
plots. Those are the stories wherein the
hero gets so thick in the meshes of adven-
ture that no writer on earth could get
him out. The author solves the riddle
by having him wake up and discover it
was* all a dream. So simple you say!
Then there is the hit-on-the-head and loss
of memory stunt as a starter for a story.
The hero may be felled by a mountain
boulder, a rolling pin or ordinary plaster —
anything to produce the state of coma
which makes him tumble into trouble.
Near the close, perhaps more ceiling falls
and revives his memory or else the Eve
of the author's conception finds her poor
misguided hero and delicately hurls a
garden of Eden apple toward his weak
brain in order to bring him back to him-
self— and herself.

In another set of plots the young hero
— a self made man— agitates against the
rich mill owner. He loves his rival's
daughter and after securely copping her
heart stirs up all sorts of messy laborer's
strikes in father's mill. Of course young
hero is full of noble purpose and wouldn't
take a high salary and stop agitating for
anything. Then there is the plot of the
poor country girl seduced by the wicked
and never too busy theatrical manager,
the hidden will, discovered at the end of
a story to reward a ragged heroine, the
locket or split coin which unites brother
and sister after "yars and yars" and the
check forging plot. Of course, old sub-
jects handled in a new way are salable —
Galsworthy, the playwright, conceived a
new way of forging a check in his play
"Justice" and that was one of the great-
est play successes of the past New York
season.

One scenario enveloped in a yellow
folder began thus: "One beautiful sunny
morning Ethel was strolling along the
narrow path that led to the slums. Many
rude men had gathered together to see
her coming because they knew she was
the daughter of a millionaire. As Ethel
passed the saloon the men sneered at her
and grabbed her by the arm ruffly, etc."

Another scenario, from the back of its
pages, looked like a pianola record. The
strange typewriter that was used to bring
the story from mind to matter had all its
"O's" punched through the paper. If
played, the "O's" would surely have
brought out a snake dance, for the story
concerned a villain who was snoring in a
hammock until a gliding reptile wrapped

himself about the hammock and squeezed
the breath from the villain's body.

Another author begins to relate a story
concerning a brother and sister. Later,
he forgets his characters to the extent
of happily marrying them in the end.

A Spanish girl translates a copyrighted
story and submits it to us. One of the
lines reads, "The couple arrived with their
thoughts."

Another writes of a seasick hero and
explains that the blood is flowing the
wrong way to his heart so he is placed in
the center of the ship and the vessel is
run slow until both his blood and the
ship change their course. (One can imag-
ine a "close up" of the hero's face
when saved from his fate). Later, the
same hero is shipwrecked on a desert
island — also a Princess. Rainy and dry
seasons follow one another in their usual
tedious succession, the audience pre-
sumably being interested in weathervanes
and the two actors, for no discernible
story intervenes to improve this pros-
pective film.

A vampire story runs "All the allure-
ments of her husband's fake friend could
not tempt her to fall in the trap of his
setting to get her in his arms again."

Another begins, "San Francisco was in
the THROWS of early spring. . . .
etc."

A plot of tragic mien concerns a girl
who receives the present of a dress from
a man whom she has recently met. When
the package is delivered to her house,
her parents go to the attic and shoot
themselves.

A lady says that her heroine "inherited
the hot, wild blood of her father."

Another says her heroine gave "berth
to a baby." That was indeed kind of our
heroine and it is hoped that the purser
had other staterooms on the boat.

"Here is my first scenario," writes a
schoolgirl imparting information which
is self evident. Her story concerns a
country girl on her way to the city but
in some mysterious manner she gets into
the jungle woods where lions threaten
her. Thrills aplenty.

The plot of "Within the Law" arrives
daily in all disguises — noiseless revolver,
stool pigeons, Inspector Burke and all.
Sometimes Richard Gilder, Jr. and Sr.,
are confused and both made to suffer
awful penalties, but the unmistakable
framework of the story is there, so hard it
is for the amateur to get a way from
the dramatist's manner of building his
plot. "Peg o' My Heart," masked to be
sure, is a frequent visitor in the daily
mail as well as "The Great Divide" and
other well known stage successes.

Sometimes a good synopsis and working
continuity of a play like "Romeo and
Juliet" or a book like "Vanity Fair," will
be submitted, but the author has wasted
his time for these standard uncopyrighted
works are free for the use of anv film

A few drops of Freezone

loosen corns or calluses

so they peel off

Apply a few drops of Freezone
upon a tender, aching corn or a
callus. The soreness stops and
shortly the entire corn or callus
loosens and can be lifted off with-
out a twinge of pain.

Freezone removes hard corns,
soft corns, also corns between
the toes and hardened calluses.
Freezone does not irritate the sur-
rounding skin. You feel no pain
when applying it or afterward.

Women ! Keep a tiny bottle of
Freezone on your dresser and
never let a corn ache twice.

Small bottles can be had at any drug
store in the United States or Canada.

The Edward Wesley Co., Cincinnati, O.

Is You are Annoyed with Unwelcome Hair
or Fuzz on Your Face, Arms or Neck, Use

M. Trilety's Depilatory

Because it is perfect in every
way, being composed of in-
gredients that are of the
hitrhest puntv ami o.n;il-t\ .
and prepared discriminated
as well as scientifieallyttrulv
a depilatory that "

felylhe

,,,.!.

at
klv
ebhorn

01 tend

has tried it, as :t ha
not a repulsive or nau
rodor like the ma
iority of them.

MONEY REFUNDED IF NOT SATISFACTORY

bottle of M. Triletv':
I size of M. T.'t. Natur
ct from the laboratory

Depilatory toftethc
s Beauty Cr.-rne. wi

M.TR1LETY. Tclicl Requisites, Department 16, BINGHAMTON, N.Y-

When you write to advertisers p!ease mention THOTOPLAY MAGAZINE.

130

Photoplay Magazine — Advertising Section

yiiiiiiimiiiiimiii

IIIIIIIIIIIIIIIIIIIIIU

Eyes You Can't Forget

$. The eyes that make a lasting impression have no partic- ^

\ ular color. They . can be dark, blue, grey, or brown. ^

\ They may be flashing, sparkling or they may be soul- ^

%. ful, dreamy eyes. In all cases, however, the eyes ^

^, that make a lasting impression are adorned with ^

\ beautiful eyebrows and lashes, without which ^"

\ the eyes cannot possess charm. ^

^ It is quite possible, in fact, easy for you to double ^
■^ the attractiveness of your eyes. Simply use a little ^

^ nightly. Thousands of society women and actresses ^
^ noted for their beautifully arched eyebrows and long, ^
^ sweeping lashes owe their attractiveness to the use "$,
^ of this guaranteed pure and harmless preparation. ^
is a delicately perfumed preparation ^

SOLD IN TWO SIZES, 25c AND SOc

^? Send price for size you wish and we will mail LASH-BROW-INE "^

•$" and Maybell Beauty Booklet prepaid in plain, sealed cover. -^

■5" Avoid disappointment with worthless imitations. ^

^ Genuine LASH-BROW-INE manufactured only by ■£

C^ _— - •-■■■---. ■£

$" Mavh*»ll --*">- ~-»w 4008-54 "2

CT IViayDeil s rr„-,? ,~-£\,.r>,,^ 1,,>.<? ^ Indiana Avenue ^

Maybell

^ Laboratories
J?.

MiHiiimiiMMiimiinmii

4008-54
Indiana Avenue ^
CHICAGO ^

illllllllllllllllllllllMlllh-

For Fifty Cents

YOU can obtain the next three numbers of
Photoplay Magazine, in its new size, delivered
to you by the postman anywhere in the U. S.
This special offer is made as a trial subscription.
Also it will avoid the old story of "Sold Out," if
you happen to be a little late at the news-stand.
Send postal order to Dept. 17E.

Photoplay Magazine, 350 N. Clark St., Chicago, 111.

company and when a lavish production of
an old work of this sort is contemplated,
it is always the custom to have the script
prepared by the studio staff. Writing
scenarios from any published book, play
or poem is a mistake for there are com-
plicated copyrighted matters which must
be settled and these are better handled
by editors within the company than
writers without.

All the letters which come in a scenaric
editor's mail are not of humorous nature.
Sometimes a tragic story of hunger and
want slips into the few lines which go
with a scenario. There is bound to be
an ache in the editor's heart if he is
forced to return the story.

"Gone, But Not Forgotten," is the title
of a story in the "lost file'' of a large film
company. Very apropos, for in this in-
stance the author forgot to write his name
and address on the script so that it could
be returned to him.

Some authors play stamp tricks on the
editor. Unfortunately these tricks usually
react on the author himself. One of these
stamp tricks is to enclose a note with
the scenario explaining that sufficient
postage for the return of the manuscript
will be mailed the editor the following
day. The author believes the editor may
accept the note in good faith, then for-
get about it and put company postage on
the return envelope. Another never sends
enough stamps for return postage. In
this case, the company puts one stamp on
the envelope and sends it back — the post-
man collects the rest from the author.
But, if the author sends his manuscript
with insufficient postage in the first place,
and Mr. Postman tries to collect from
the editor, the latter refuses to accept it,
and the story is returned unopened to the
author.

What a lot of scolding letters the poor
editor receives because some scripts come
back showing evidences of never having
been opened or read at all! And because
the author was penurious with his stamps
in the first place he has to put a new set
on the envelope before it can travel back
again. To promptly return manuscripts
to the author who may have a dozen for-
warding addresses, to file and keep "losts"
lacking names or addresses until they are
sent for, to register and guard every
manuscript while it is in the company's
hands and to prevent the office boy from
swiping loose stamps and pennies for "re-
turns" is no small task.

And yet, with all this, the film com-
panies are very patient with the efforts
of the multitudes for scenario department
readers wade through this material daily
to find ideas worthy of purchase.

The correspondence schools of photo-
play writing have stirred up a lot of mis-
chief by making the entire public believe
that scenario writing was easy. Real
screen stories with novel plots, events
which happen in logical sequence and good
complications are rare. These plots re-
quire careful thought and development
and cannot be dashed off in an afternoon
like a letter to a friend. If the amateur
before sending out his story would ask
himself if his drama is spineless and if
his story is traveling anywhere in par-
ticular— also a few other very searching
and personal questions regarding the value
of his idea, he could improve on his story
before sending it out and save the com-

Erery advertisement in PHOTOrLAT MAOAZTVE is guaranteed.

Photoplay Magazine — Advertising Section

l3l

pany's reader time, even though it de-
prived the reader of a half hour's amuse-
ment.

The continued popularity of any pretty
moving picture star and the , test of a
director's worth as a producer depends
almost entirely on the supply of good
stories — the clay with which they work.
There is not only a rivalry between the
different companies to obtain the best
stories, but among the directors and stars
themselves in each picture plant. Go
into the scenario department of any large
picture company late in the afternoon
after the sun has gone down and the
day's screen work is over, and you will
see one director after another come in
to ask if any exceptionally good new
stories have been sent in. They con-
tinually look ahead to the next produc-
tion hoping it will surpass their last.

The paramount amateur question which
the professional scenario writer is asked
to answer is, "Where do you get your
ideas?"

Irvin Cobb says that when he sees this
emery forming on the lips of an aspirant
to literary fame, he says, "From news-
papers, from talking with my best friends
— and, in a dire emergency, out of my
head!''

One of the walls in the office of the
scenario department of the American
Company at Santa Barbara, Cal., is cov-
ered with extracts from odd attempts at
scenario writing and with letters from
authors.

One scenario starts : "Here is my PO-
TENTIAL synopsis.

Another letter from an author reads:

"Here is my second attempt at scenario
writing. I suppose you thought that your
refusal of my first would discourage me
but it didn't at all."

The editor often has to meet with such
stubborn determination on the part of
the would be literati.

One story runs:

"The Clavering mansion was situated
among the cool hills of Virginia. The
home was filled with many antiques. In
the library sat the three Clavering sisters
— Margaret, Ethel and Jane."

A letter from another author contains
this vital information:

"My story will be written out fully,
sealed with sealing wax in an envelope
and placed in another envelope which
will be marked to you special delivery
and registered if you will promise to
accept it and produce it. The price is

$10,000."

Another letter with a manuscript says:

"I wrote you a letter some time ago
and have received no answer so I have
sent you one of my plays wishing you
would be interested in it. I have made a
vow to myself that the first company who
buys from me six plays I will send free a
keystone and a scenario for colored pic-
tures."

Surely a generous author!

An author who writes from a small
town in Nevada says in his letter of ex-
planation that the marriage of the hero
takes place in the Goleta Baptist Church.
He says "Look at the church anyway for
it will make it a little clearer."

He further advises "Use the S. O.
Transfer and warehouse near the S. P.
tracks and also the building on the next
corner for scenes. The place the cops

~ There is a big
paying position waiting for you at the

MARINELLO

School of Beauty Culture

Every day we have urgent calls for Marinello operators from
Marinello Shops all over the United States — positions that pay from

$12.00 to $25.00 a Week

We can't begin to supply the demand. Think of it! $12 to $25

a week positions actually going begging ! Shop owners by the scores are eager
to pay these sums for competent help. We extend an opportunity that will
make you independent for life— a certainty of earning a big income and security
against "out of work" times. The Marinello School is the largest School of Beauty
Culture in the world. It is known the world 'round for its integrity, honesty of
purpose and excellence and thoroughness of its teachings. Our faculty consists of
the world's foremost beauty culture specialists and experts who have perfected
the most efficient Beauty Culture methods of modern times.

Our course is complete — instructors competent. You acquire

knowledge and skill which will enable you to actually earn from $12 to $25 a
week as an operator, or nn income of from S1500 to S5000 a year should you #♦
conduct a shop of your own. ##*

We Guarantee You a Good Position ,♦♦*

just the minute you qualify. Your enrollment ins&res your independ-
ence! No fear of iost_ positions — you are sure of your situation- sure

of your pay— no dull times— no loss from lay-offs. Many times easier ♦♦
to obtain a position at many times the salary most women earn. #*

* The
Marinello
Company

Should you desire to open a shop of your own. we take full #**L10 Mailers Bldg
charge of getting you firmly and profitably started. ♦* r, •

Under our successful system y»ur success is guaranteed. #* i-nicago

Send quick for free Catalog telling all about the ♦* Send me your catalogue
amazing successes made by Marinello Graduates. .♦ and free particulars regard-
Learn how little time, how little money it will #** ing Big money-making oppor-
take to fit y-'u forthemost pleasant and profit. .♦ tunities open to Marinello grad-
able work open to women of today. ,♦ uates.

Use Coupon NOW ♦♦**„„, x, „„

„ *L ,♦• Your Name

Marinello Company ,♦♦

110 MaUers Building #:»»*0n;z

CHICAGO, ILLINOIS ♦♦**State

Salesmen Lead

in the fight for

Commercial
Supremacy

Salaries
$3,000 to
$10,000

Yearly

I Have Earned $6,500
This Year

"Last year I only earn-
ed S800 as a clerk. This
year I have earned $6,500
and have been promoted
to Sales Manager and done
it by studying yeurCourse
during spare time. Your
Employment Bureau of-
fers one many good posi-
tions."— C. W. Birming-
ham. 129 Bank St., Day-
ton, Ohio.

I Now Earn as High
as $100 a Day

"I took your course two
years ago. Was earning
$15 a week clerking. Am
now selling many of the
largest firms in the U. S.
I have earned more than
$100 in a day. You secur-
ed me my position. Our
sales manager is a grad-
uate of yours." J. L- De-
bonis, 1628 S. Crawford
Ave., Chicago, Illinois.

Made Him a Real
Salesman
"Was clerking in a gen-
eral store. Your course
made a real salesman of
me. Am on the road and
doing fine." Willis R.
Osborn, 1985 Atlantic
Ave., Long Beach, Cal.

Your Course Makes
Success Easy

"More than two years
agol joined the N.S.T.A.
You secured for me a good
position with one of the
best firms in their line.
Am making fine wages.
Former experience is un-
necessary. Your course
makes success easy. ' '
Wm. H. Kessler, 199 N.
16th St., E. Orange, N.J.

Be a Salesman

Salesmen will alwayslead — Because they
are the direct producers of business and
business means profits. Their services
are indispensable — always the
greatest in demand. In-
side workers' earning
capacity is limited — a
salesman'sopportunities
are unlimited because, being able to sell is the
power to command large salaries. Don't let
the "daily grind" — poor working conditions and small
pay make you old and sickly before your time. Begin
now to fit yourself for a big future.

Study In Spare Time
Earn While You Learn

Get the required training NOW — during spare time.
Our Home Study Course in Scientific Salesmanship is

the one practical training that links ability to opportunity and fits
you to earn while you learn. Teaches you how to prepare a "Sell-
ingTalk"— how toapproach the prospect— how to manage the inter-
view—how to close the sale. N.S.T.A. 1 ining is recognized by
employers everywhere. Our Employment Bureau has constantly
on file more requests for salesmen than we can possibly fill.

Send For This Book

Write now for this 64 page book— large liet of openings
and testimonials from hundreds of successful membi

Address nearest office. Dept. 21-K

National Salesmen's
Training Association
Chicago San Francisco New York

Mail This Coupon (Send your request to the office nearest your home)

National Salesmen's Training Association Dept. 21-R.
Chicago San Francisco New York

Please send me your Big Free Illustrated Book, ' ■ A Knight of the Grip, ' ' and list of openings.
Name
ytre.t ~*

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

'32

Photoplay Magazine — Advertising Section

Sent on Approval!/

Letus send you Elgin's New-
est Thin Model 17 Jewel Watch.
This is the one Watch that has
carried modern efficiency to a high-
er plane than any other Watch of
the age. Ita accuracy has given a
value to seconds they never had
before. At our

Sensationally Low Price

and Easy Terms, it has planted the
flag of quality and economy upon
watchdom's topmost pedestal. It is
the one Watch thatismechanically cor-
rect. It is timed, adjusted andreg<
ulated for you at the great Elgin Factory
We make it possible for you and every one to
own this superb Watch or any Watch you
wish if you send your name and address now.

9091 — $09.50 Tiffany
Fine White — Genuine
Diamond King, remarkable
lustre, {50 value, 14k solid
gold mounting. Special
priceforour
Holiday
Club only

'39.50

Why Pay Cash?

We trust you and all honest
wage earners. You assume
no risk whatever. We make
quick shipment on 30 days
Approval. Comparison
will convince you that we
smash the terms, lower
the price and boost
the quality.

Free Catalog More than

— ahalf miJ-

llonpeoplehave Baid that our
Catalog was the real guide
for thrifty buyers. To get a
copy of this New Book, be-
fore this edition is exhaust-
ed you should eend us your
name at once.

HARRIS-GOAR CO.

Dept.

9091X— $49.50

Extra Fine Dia-
mond LaVallicre
new model— $C0
value. Special

g& $49.50

180
Wo Do

KANSAS CITY, MO.
Wo Advertise.

The Garter "Hit"
of the Season

The Mew Double Crip

Boston Garter

Ttvo'TeU'et Grips," Satin Pads, Cable Web

A new grade far superior to
any garter sold heretofore for
less than 50 cents. Holds
the sock at two points and
insures neat and trim ankles.
Ideal for year-round wear.
Worn with any style or
(weight of underwear. Try
a pair today. Ask for num-
ber 835 Boston Garter,35c

" Double Grips," 35c-50c
"Single Grips." 25c-50c

GEORGE FROST CO., MAKERS, BOSTON

I can teach you by practical work

the Electrical profession in your own home.
Short time required and easy payments. Material and
Tools Free. Write me today for free book on Electricity.
L. L. COOKE, Chief Engineer, 44 Engineering Bldg., Chicago, III .

Dr. Jack's Foot Relief

Will insure comfort for

tired and aching feet.

BOON TO SOLDIERS

A wholesome medicated cosmetic.

Makes tight ehoes comfortable.

Endorsed by women everywhere.

Price by maii, 25c.

Dr. Jack's Medical Co. soDNorv»™k.ncom

try to stop Bill is on the edge of the
city limits on Hollister Avenue/'

Another scenario reads:

"The Poor Little Milk maid has two
cows — the only means of supplying her
and her aged mother with their daily
bread."

Then there's the one with this sentence:

"A million Little aunt like coupies
(evidently Kewpies) are swarming in his
head instead of a brain."

An amateur author writes:

"All alone in the world and broken
hearted she tries to commit death on her-
self."

One modest scenarioist says in his
letter:

"I enclose a scenario. I dont say for
sure it is one but I think it is one. If
it is one I will receive an answer to this
and then I will write them night and day
for my head is full of them."

Another letter runs:

"I have a photoplay written for your
firms first chance to put on screen before
the public eyys. The contents of my pla
are as follows: A happy home of child-
hood, a jealous Suitor Fathers business
and his great love of wealth through
jealous suitor and temps to break home.
Court without Justic. Son as a peac-
maker. the old mill our last Hope.
Gods own judge son saves the old Home
and luxries of the loved home, sons love
shall it be a selfish love a,re shall it be
to save the old folks. The sons marriag
to a poor girl the unknown gide success
and happyness replace of old lose of the
Mill.

"This play is at your first choice hoping
to receive your offer at very earlyist
date."

Another writes:

"My typewriter has moved away but
anyone can read my photoplay. The
scenes are laid in Atlanta, Ga., New York
and Jamestown, N. Y. If you cantshow
it please send it back. I wil make one
up better but with less trouble. I could
not shake the idea at the bottom of this."

One good business woman writes:

"You can have this play for $1.50. I
would not let it go but it has no subtitle
so I hope you will buy it."

Here's another:

"Next appears Jane Adams' photograph.
A very sweet sympathetic expression with
a heavy mass of black curling hair. It is
fastened on the back of her head."

A letter runs:

"I can write all kinds of plays. I am
the best thinking writer in the world.
I do not copy from moving picture shows.
I think everything from my head and can
furnish one every day."

Then we have this beginning of a sce-
nario :

"The POOr By. (boy)

"Do not use auto in this picture — this
cupple do fiot live high make the straw-
berry field its natural color two reels only
each number a different picture — etc."

An author writes:

"I am selling 'Thorns and Roses' at cut
rates as I want to dispose of it as soon
as possible so as to start in and finish
other pretty stories and plays which I
have at my fingers tips.

"I am a member of the Daughters of
the Republic in Texas— Alamo Mission
Chapter — mention this so you know I am
all right."

Every advertisement in rnOTOrLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Questions and Answers

(Continued from page 128)
Dot, Holyoke, Mass. — We certainly will
accept your invitation if we ever get to
Holyoke. Thanks so much. Like you, we
sincerely hope they won't take the good
movie actors to war. Many of them are
worth more to their country where they
are than they could possibly be in the
trenches. Ethel Clayton is 26 years old.
Tom Forman is a soldier now. Harold
Lockwood has no regularly constituted
leading lady at the present time. Alma
Reuben was the Spanish beauty in "The
Americano." Wallace Reid is. not related
to Florence Reed. Wallie was the black-
smith in "The Birth of a Nation." You're
a very sensible girl no.t to want to be an
actress.

School Girls, Bovill, Idaho. — As nearly
as we can define it, a vampire in the screen
sense, is a human bird of prey of feminine
gender. The name came into general use
in film circles with the production of Fox's
adaptation of the Hilliard play based on
the Kipling poem, "A Fool There Was,"
with Theda Bara doing the vamping. Har-
old Lockwood has been married. May Alli-
son not. Baby Marie Osborne is not related
to Henry King.

J. W., Quincy, III. — Rockcliffe Fellowes
was the man in "The Web of Desire" and
Herbert Heyes in "Under Two Flags."
House Peters is a sort of brunette but not
decidedly so. So you thougHt J. Warren
Kerrigan used too much makeup when he
visited your city? Well, maybe it was due
to his desire to give the people plenty for
their money.

Reid Fan, Bellingham, Wash. — Some of
Henry Walthall's recent photoplays are "The
Truant Soul," "Little Shoes" and "Burning
the Candle." So you have never liked Dick
Travers since you saw him with a mous-
tache. Can't see that we blame you any.
You'll see Wallie with one soon.

G. E. M., Melbourne, Australia. — Why
is it that you Australians are such wonderful
letter writers? We sure love to get them.
True Boardman is his real name and if he
is married he hasn't advertised it. Write
Billy Burke, care Artcraft, New York. And
do write again.

Marie K., Yonkers, N. Y. — By the time
this is printed D. W. Griffith may have re-
turned from France, in which event a letter
addressed him, care Artcraft, New York City,
will reach him. More than ambition and
willingness are required. You must have
photographic qualities which cannot be ac-
quired.

H. T. H., Washington, D. C— We quite
agree with your comparative criticism of
the players but for obvious reasons we can-
not go into details. Yes, Wallie is learning
to act, but why put him away in costume
plays? It is becoming general practice to
have letter inserts written by the person who
is supposed to write it, in the photoplay.
Please write again.

L. N., Butte, Mont. — Crane Wilbur
played opposite Pearl White in "The Perils
of Pauline."

A. T., Denver, Colo. — Hobart Henley's
last production was "Parentage." He is a
native of Louisville, Ky., where he was born
in 1887. He had a long career in stock in
Cincinnati, Cleveland and Buffalo, and has
been a film player for four years. Address
him care Universal Company, 1600 Broad-
way, New York City.

(Continued on page 137)

Tabulator Stops
Marginal Stop1

Carriage
Release

Adjustable Paper Gu!d<

Forced Alignment Fork

Platen Release
ine Space
ustment

Carriage Return
and Automatic,
Spacer

ck Spacer;

Ribbon Reverse
Ribbon Shift 8,
Stencil Cutter

Tabulator Bar

ALL LATEST IMPROVEMENTS

133

I want, through this advertisement,
: iish is friendly business rela-
tions with you ;is I possibly can, I
want you to realize also, that it is my
1 effort and intention to fifive
you lull honest \ alue for every dollar
that you spend « 1th ii.' 1
only way I t .in ■. . ■ ■ 1 y adver-

tisement has appeared in the leading
magazines continuously for more
than tour

I am building up my business on the
foundation of nood value and square
dealings. I am saving thousands of
satisfied customers Thousands of dol-
lars, by supplying perfect — late style
— visible writing — typewriters, at
remarkably low prices.

All my transactions are handled
throughout by personal correspon-
dence. I assure you every courtesy
and consideration, in your dealings
with me. Your order will have my
prompt, careful, personal attention.
I will be glad to do business with you.

Q/<§nu4/rw^

V/////////////////////////////////SZW777.

TYPEWRITER SENSATION^

Free TRIAL— Use As You Pay

Send me only $2.50 a month until the low total price of $48.80
is paid, and the machine is yours

This is absolutely the most generous typewriter offer ever made. Do
not rent a machine when you can pay $2.50 a month and own one.
Think of it — Buying a $100.00 machine for $48.80. Cash price,
$45.45. Never before has anything like this been attempted.

STv1s^D L. C. SMITH

Perfect machines, standard size, keyboard of standard universal arrangement — universally used
in teaching the touch system. The entire line of writing completely visible at all times, has the
inbuilt tabulator, with billing devices, the two color ribbon — with automatic reverse and key con-
trolled shift, automatic flexible paper feed — automatic paper fingers, the back spacer — ball bear-
ing carriage action — ball bearing shift action — ball bearing type bars — in fact, every late style
feature and modern operating convenience. Comes to you with everything complete, tools, cover,
operating book and instructions, ribbon, practice paper — nothing extra to buy. You cannot iml
agine the perfection of this beautiful reconstructed typewriter until you have seen it. I have
sold several thousand of these perfect, latest style L. C. Smith machines at this
bargain price, and every one of these thousands of satisfied customers had this t"""""""*'
beautiful, strictly up-to-date machine on five days' free trial before deciding / IJ A CM1TH
to buy it. I will send it to you F. O. B. Chicago for five days' free trial, f n./\.OlVll 1 n
It will sell itself, but if you are not satisfied that this is the greatest type- / Room 851

writer you ever saw, you can return it at my expense. You won't want to ** 231 N Fifth Ave
return it after you try it — you cannot equal this wonderful value anywhere. •* V^A tr'K/~-f\ .,,

You Take No Risk — Put in Your Order NOW / shP me the l c sJm, f. 9.

When the typewriter arrives deposit with the express agent 88.80 and take / ?" cllica8°' as described in this
the machine tor five days' trial. If you are convinced that it is the best „• <^v„e"ue,ment- ]V n pili%n,V^
typewriter you eversaw keep it and send me S2.50 a month until my bar- » Jt°£° batnce °" the SPECIAL
gain price of S48.80 is paid. If you don't want it. return it to the express .* Afx Purcna?e P"ce' ?J the rate ?f
agent, receive your *8. 80 and return the machine to me. I will pav the » f2.50 per n.onth. The title to remain
return express charges. This machine is guaranteed just as if you paid • in you until fully paid for. It isunder-
SlOO.OOfor it. It is standard. Over one hundred thousand people own .* stood that I have five days in which to
and use these typewriters and think them the best ever manufactured • «arnlnc and try the typewriter. If I
The supply at this price is very limited, the price will probably be' »* chp°.se n°l to keeP " ' "'" carefully re-
raised when my next advertisement appears, so don't delay. »• Pack it and return it to the express agent.
Fill in the coupon today— mail to me — the typewriter will be • » 's understood that you give the standard
shipped promptly. There is no red tape. I employ no solicitors f guarantee for one year,
—no collectors— no chattle mortgage. It is simply understood /
that I retain title to the machine until the full 848.80 is paid. • ,,

You cannot lose. It is the greatest typewriter opportunity / Name

you will ever have. Do not send me one cent. Get the cou- *
pon in the mails today — sure. /

HARRY A. SMITH 851-2c3^AF<12hAve-/ A **""

KEEPS SHOES SHAPELY
HIDES LARGE JOINTS

PROTECTOR"

Affords instant relief for bunions and large joints, hides inegu-
larities of foot form. Worn in any shoe ; no larger size re-
quired. Over one-half million in use. Ash your shoe dealer
or druggist. Write today for special free trial offer. No pay
if no relief. State size of shoes and if for right or left foot.

The Fischer Manufacturing Co.

First National Bank Bldg., Dept. 35. Milwaukee, Wis.

Free Trial

Yes, you may keep

this new Edison —
Thomas A. Edist

jrreat phonograph

diamond stylus— and your choice

of records, too, for only $1. Pay the

balance at rate of only a few cents a day. Try the New Edison

in your own home before you decide to buy. Send no money

down. Entertain your friends with vour favorite records.

Il/rilp TnHiiv For 0ur Nev* Edison Book. Send your

W Tile 1 OOay name and addre?s for our new book and

pictures of the New Edison phonographs. No obligations.

F. K. BABSON, Edison Phonograph Distributors
1537 Edison Block CHICAGO, ILLINOIS

T£ £>m PYn h&/V Every advertisement in PHOTOPLAY is guaranteed, not only by the advertiser,
IXC file //LUC f but by the publisher. When you write to advertisers please mention PHOTOPLAY.

*34

Photoplay Magazine— Advertising Section

Milady After a Dusty Motor Trip

Has only to apply Ma«da on her face, then
remove with a dry cloth. The stains of travel
are erased and she feels and looks refreshed.

A Magda Massage at Night

Keeps the skin soft and silky and relaxes the
tired nerves. MagdaCream comes in 3 sizes —
travelers' tubes. 25c; the attractive Japanese
jar, illustrated, 75c; theatrical size tins, $1.00.

DRUG DEPARTMENTS OR DIRECT

Do You Need More Money?

To help your husband — to help your children —
to help yourself.' We can show you an easy
way that is dignified, honorable and profitable

The happy, contented women shown above
are all free from worry and with money com-
ing in. Each of them has founded, with our help,
a growing and prosperous business and every year
sees each of them making more monev." And
these cases are by no means exceptional, for
In More Than 1 3,000 Cases We Have Helped
ambitious, deserving women. You can do the same as they
have .lone. Sell World's Star Hosiery and Klean-Knit Un-
der vt-.ir in your home town. No previous experience is nec-
essary — we show you how to make money in an easy, con-
genial and profitable way. We sell direct from the mill to the
home through nur local representatives, and our lines of hosiery
an 1 underwear for men. women and children are famous the world over.

II rite today for our free catalog. It tells the whole story
We have been in business here for more than 22 years

WALTHAM
ELGI N
HOWARD
I R0CKF0RD
ILLINOIS
HAMILTON

Any Wam ^Xt

o.w CREDIT

One Customer writes : " ' »'a™ 4h,d m*

i -. . watrh just % year

today and our watch inspector says its the best time keeper on

the

ti.oo ■

our watch m^ri

Mease find enclosed my last monthly payment of
We have thousands of such letters on file from satisfied

customers, who have bought from us on

30 Days Trial £*j5S*f * £#«

You take no chances with me. I am ' Square Deal" Miller and
( trust (lie people. That is why 1 am dojng the greatest credit
Watch, Diamond and Jewelry business in the world.

waft lies Guaranteed for 25 Years

I Smash the Terms

NO REFERENCES DEMANDED

My terms will surely suit you. Tou get unlimited credit.

A Charge Account the same kind of credit y°u

get from your grocer No
matter where you live or what your income might be. you
can now own the finest of watches, a beautiful diamond or
any rare jewelry and never miss the money.

J*1 Z&tZ*1f\{i E-M&B-F- Send me your name and ad-
^•"•""C; ■ r**_«_ drass so I can mail you Free
and postpaid the most beautiful catalog of its kind ever print-
ed. 1 want you to have this book. It's a gem. Write TODAT

Square Dea! MILLER, Pies.

Miller- Hoefer Co. 907 Miller BIdg., Detroit, Mich.

Barbary Sheep

{Continued j

she walked by his side. Once again, they
came to the mouth of the gorge.

As they stood together there, looking
out over the splendid expanse of the
desert, the officer of Spahis spoke sneer-
ingly:

"And to think that the Englishman pre-
fers Barbary sheep!"

His eyes caught the gleam from the
diamond necklace about her neck.

"He prefers the Barbary sheep. In
the name of Allah, let him have them.
But let the Bedouin have — " He halted
for a moment, then added, with a tremor
of passion in his voice: "But let the
Arab, ' in the ' name of Allah — have the
desire of his life."

Suddenly the woman realized the pas-
sion of the man, and revolted against it.
Her feminine decency was affrighted.
She saw the flame in the man's eyes and
shrank before it.

She couid not know that the avarice in
the Bedouin's eyes was only half for her
beauty — the other half for the jewels that
circled her throat.

"Can you look at me, and not under-
stand?" Benchaalal asked. His voice was
hoarse with desire. "I only began to live
since your beauty burned my heart like
the searing blast of the Sirocco."

His arms enwrapped the woman. His
breath was hot on her face. "You're like
the sun shining upon the great prayer
after the feast of Ramadan. You are like
a diamond — one of the diamonds you
wear."

Kitty, Lady Wyverne, felt a loathing
for this man who had summed to her the
mystery and the glamour of the desert.
She recoiled from him in abhorrence.

As she retreated before his outstretched

rom Page 88)

arms, he clutched, in a frantic passion of
desire, at the gems, caught them in his
hand, wrested them from her neck with
a force that left a red weal on the tender
flesh.

At this physical contact, Katherine,
Lady Wyverne, shuddered and drew away
in abject terror. The little voice left to
her by the horror of the situation rose _n
a wavering shriek.

"Crumpet!"

And then again:

"Crumpet!"

UP among the rocks that bordered the
pass, a tall figure hac a rifle trained
on the two who stood so plainly re-
vealed under the moonlight in the pass.
The barrel of the rifle swung a little from
the man to the woman, as if the holder
were in doubt as to where his vengeance
should begin. His eyes followed the bar-
rel, sighted the two figures standing there
together. Then he saw the woman fight
against the man. A new spirit entered
him then. He realized that the wife he
loved was still his. He aimed his rifle
very carefully to kill the man who had
thus enticed her.

He would have pulled the trigger, but
there was no time — the Marabout came
leaping like a cat. And, like a cat, he
pounced all fours on the back of Ben-
chaalal. A long knife in his right hand
rose and fell. The . officer of Spahis
swayed for a moment, then sank to the
ground and, lay motionless, while the
mad man capered about him, howling
praises to Allah.

Sir Claude came running. Katherine
fell on his breast.

"Thank God." she said, "vou are here!"

Mollie of Manhattan

{Continued from Page ig)

ties. To keep a home intact means fight-
ing for it. I know lots of husbands — and
I guess you do, too — who would be per-
fect if they would exercise a little pa-
tience with their wives, and I know lots of
wives who could keep their little ships of
happiness off the rocks if they would only
remember that their husbands are work-
ing hard for them, and are to be humored
and treated with consideration.

"Marriage is give and take, and I shall
never marry until I am sure that the man
who becomes my husband is willing to
keep things balancing in our house and
humor me when I'm bad just as I'll humor
him when he's cross and tired.

"Professionally, the dreadful thing
about marriage is separation. That's
what the picture business is wonderful
for: it gives the actor and actress a
home, and their children can really grow
up with them."

Just which of her nineteen hundred
admirers on the active list will be per-
mitted to "keep things balancing" I'm
sure I don't know. Mollie admitted — as
several of them called her to the tele-
phone during my visit — that she didn't
either. Maybe it won't be any of them.

This little queen of a King made her
first stage appearance when eight months
old, so you see her troupeing is sort of
inbred. After appearing in several Broad-
way shows she and her sister Nellie
toured the Orpheum Circuit, and came
back to the Wintergarden's "Passing
Show of 19 13," in which Mollie was
really a wonderful Peg, in the burlesque
"Peg o' My Heart." Her first stage part
of consequence was as the child with
Ma.xine Elliott, in "Her Own Way." She
was then seven years old, and scored a
hit both in New York and London. As
a child actress she also played in "The
Royal Family," and "The Little Princess,"
and with Denman Thompson in his well-
remembered "Joshua Whitcomb."

School made a great interlude here, and
upon emerging from Wadleigh High she
became understudy to Elizabeth Brice,
then playing "The Winsome Widow."
After leaving the Wintergarden part just
named Mollie King was a leading sup-
port of Sam Bernard in "The Belle of
Bond Street."

Her motion picture work has been with
World and Pathe, in the past year and a
half.

Every advertisement in rnOTOn.AY MAOAZINE is guaranteed.

Photoplay Magazine — Advertising Section

135

The Shadow Stage

( Continued jrom Page 61 J

Grace Cunard, Francis Ford, Cleo
Madison and Dorothy Davenport have
been less conspicuous than formerly.

Of the thriving Metro aggregation
Viola Dana, consistent and persistent, has
done the best work of the year.

Mr. and Mrs. Sidney Drew have sup-
plied an almost flawless line of domestic
comedies, and of the character-makers,
Lionel Barrymore is probably first.

Ethel Barrymore's majestic art still de-
fies reduction to a gelatine medium; on
the stage swift, vital, tense and vibrant
with reserve power, Miss Barrymore is
cumbersome, slow, heavy rather than im-
pressive on the screen.

Mr. Bushman and Miss Bayne made a
really artistic Romeo and Juliet, and have
enjoyed what we might describe as a per-
nicious serial activity of late.

Outside of Chaplin, William Russell is
Mutual's best player of promise. He has
shown conclusively that in such pieces as
''The Frame-Up" he possesses the appeal
of pleasant youthful force to a degree un-
equalled by any man on the screen ex-
cept Douglas Fairbanks.

The little Minter is still a queen-
ingenue, a favorite from one side of the
world to the other, and, probably, im-
proving slightly in her acting ability.

And of other individuals there is much
to say if we had the space to say it. We
might comment on Bryant Washburn's
resultful comic activities in the Skinner
series; or upon the gradual disappearance
of such players as Henry Walthall and
Florence LaBadie, who seem to be sink-
ing out of sight for lack of material. Or
we might observe Balboa's interesting
young serial women, Jackie Saunders and
Ruth Roland.

There is Dustin Farnum, also less con-
spicuous than a year ago; and Roscoe Ar-
buckle, working hard making laughless
comedies.

George Beban trudges along in his nar-
row, Latin trench — he's a good actor;
who'll pull him out of the hole with a
first class photoplay?

What of Edward Earle, and Holbrook
Blinn, fine actors both, and rarely, if ever,
seen?

Florence Reed, rather swamped by
her awful part in "The Eternal Sin,"
came back strongly in "Today," and
waits other suitable roles.

Nance O'Neill, relinquishing the stellar
bee, has been playing excellently with her
husband, Alfred Hickman. Her work in
"Hedda Gabler" was especially fine.

Kathlyn Williams has been more than
holding her own; Myrtle Stedman has not.
Neither has House Peters.

Thomas Meighan has had a continuous
line of wretched parts; a good actor, this
is his misfortune.

Lenore Ulrich, like Mabel Normand,
has been neglecting her photoplay possi-
bilities. Just as Helen Eddy has been im-
proving hers.

So it goes, and so has gone the year.
Neither a catalogue nor a list of refer-
ence; merely some recollections.

By HENRY C. ROWLAND

The year's greatest story now under way in PHOTOPLAY.

Are You Reading It?

If not turn to it now. Two delicately matured women of the class we describe
as "ladies," stripped of every possession and flung like Eve in the jungles of
ah equatorial island, find nature kind instead of cruel. A man whose life
has been an aimless waste makes a great spiritual discovery. And back
of this wreathing drama of bodies and souls is the creamy gleam of
priceless shell and the red blaze of ferocious greed and primitive passion.

Illustrations by HENRY RALEIGH

GRAFLEX-KODAKS

Cameras, Lenses and supplies of every de-
scription. We can save you 25 to 60 per cent on
slightly used outfits. Write at once lor our free
Bargain Book and Catalog

listing hundreds of slightly used and new
cameras and supplies at money - saving
s. All goods sold on ten days' free
. Money refunded in full if unsatis-
factory. You take no chances hy dealing
with us. We have been established in the
photographic business over 16 years.
CENTRAL CAMERA CO.
124 S. Wabash Ave., Oepl. 128-Z, Chicago, III.

AFTER

THE
MOVIES

Murine*

is for Tired Eyes.

Red Eyes — Sore Eyes
-GranulatedEyelids
RESTS - REFRESHES - RESTORES
Murine is a Favorite Treatment for Eyes that
feel dry and smart. Give your Eyes as much of
your loving care as your Teeth and with the
same regularity. Care for them.

YOU CANNOT BUY NEW EYES!

Murin,. Sold at Drug. Toilet and Optical Stores
Ask Murine Eye Remedy Co.. Chicago, for Free Book

YOU WANT THIS CARD

Because it will represent you better, or do more for you than
any oihercard in getting some desired interview. The famous

Peerless Patent Book Form Card

is the exclusive choice of the man of distinction everywhere. It Is
one of the evidences of his distinction. You cannot appre-
ciate or understand the uniqueness of this card
without a visual examination ( "
it. The fact that you are not no
using it, if you are
not.isaccountedfor
solelybythe further
fact that you have
not examined it.
Examine it forth-
with. Send for a
sample tab today
anddetach thecards
one by one and note
their perfectly
smooth edges — Appearance of Our Neat Card in Case
their absolute perfection. It is the card you want.

THE JOHN B. WIGGINS COMPANY

705 People

Engr;

When you write to advertisers please mention TIIOTOPLAY MAGAZINE.

136

Fhotoplay Magazine — Advertising Section

Little Robert Taylor was born with deformed
feet. Plaster paris casts were used without
success — so he was brought to the McLain
Sanitarium. His parents' letter tells the story:

" We are more than thankful for what you did in straighten-
ing Robert's feet. Of course his feet are terribly scarred from
the plaster casts, but there are no scars from your work on
him. His feet are so straight; and he
runs, jumps and does anything any
other boy can do."

Mr. and Mrs. John W. Taylor.
1516 So. Flower St., Los Angeles, Calif.

Thh is not a selected case— neither is the result unusual. In correct-
ing this deformity no plaster paris or general anaesthesia was used.

CRIPPLED CHILDREN

The McLain Sanitarium is a thoroughly equipped private
Institution devoted exclusively to the treatment of chil-
dren and young adults afflicted with Club Feet, Infantile
Paralysis, Spinal Diseases, and Curvature, Hip Disease,
Wry Neck, etc. Our book, "Deformities and Paralysis";
also "Book of References,"free on request. Write for them.

THE McLAIN ORTHOPEDIC SANITARIUM
804 Aubert Avenue. ST. LOUIS

Pay As You Wish

We'll Bend yon a genuine Lachnite Gem for 10
full days free trial. Put it to every diamond test-
fire— acid — the diamond file— make it cut glass—
then if you can tell it from a mined diamond, aend
it back at our expense. If you decide to keep it
pay as you wish. Write today for new catalog

Set in Solid Gold

Genuine Lachnite Gems keep their dazzling

fire forever. The newest mountings— all kinds

Of jewelry. Write for new jewelry book.

HAROLD LACHMAN COMPANY,

2 N. Michigan Ave. Peot.1537. Chicago. HI.

SONG -WRITERS'

"MANUAL and GUIDE" SENT FREE

Write for this valuable booklet which contains the REAL
FACTS. We revise poems, compose and arrange music,
secure copyright and facilitate free publication or outright
sale. Start right with reliable concern offering a legitimate
proposition. Send us your work today for free examination.

Knickerbocker Studios ,6S ^^aTV"*"8

Stronger, Clearer
Voice for YOU!

Weakness,
huskiness

and harshness
banished. Your
voice given a won-
derful strength, a

wider ranfre, an amazing
clearness. Thiaisdone by
the Feuchtinger Method, en-
dorsed by leading* European
rnuBicians, actors and speakers.
Use it in your own home. Simple
client exercises taken a few minutes
daily impart vigor to the vocal organs
and give a surpassing quality to the
tones. Send for tbe facta and proofa.

Do Yon Stammer?

If yorj have anv voice impediment

this method will belo you. You need not
stammer or Hep — if you will follow our
Instructions. Mail coupon for free book.

WRITE!

Send the coupon and get our
free book and literature. We will

tell you just what this method Is how It is
used and what it will do for you. No matter
how hopeless your case may seem the
Feuchtiiitfer method will improve your voice
800 per cent. No obligation on you if you
ssk for this information. We gladly send it
free, postage prepaid. Just mail the coupon.

Perfect Voice Institute

ISlOWifsonAve. ClllCagO, III.

Send me the 000k and facts about the
Feuchiinger Method. Have put X oppo-
Bite subject that interests me most.

O Speaking

□ Lisping

STRAIGHTEN YOUR TOES
BANISHlliMffiSnON*

ACHFELDT'S
Perfection Toe Spring

Worn at night. with auxiliary applianco

for day use.
Removes the Actual Cause
ol the enlarged joint and bunion.
Sent on approval. Money back if
not as represented. Send outline oi
foot. Use my Improved Instep Sup-
port for weak arches.
Full particulars and advice free
in plain envelope*
M. ACHFELDT, Foot Specialist, Estab. 1901
Marbridge Building, Dept.X.M., 1328 Broadway (at 34th Street) NEW YORK

Comics, cartoons, com-
mercial, newspaper and
magazine illustrating,
Pastel and Crayon Por-
traits. By Mail or Local
Classes. lO LESSONS
FREE. Write for Art Book.
ASSOCIATED ART STUDIOS, 41B Flatiron Building, NEW YORK

<^n~eefnan's

% FACE POWDER ^

" Entrancingly lovely," says history
of Barbara of Cleveland. Loveliness
of complexion has been the gift of Freeman s
for 30 years to women of fashion. All toilet
counters. Write for free sample.
THE FREEMAN PERFUME CO.
DcPT. 101 ^*ts**. CINCINNATI, 0.

Destiny or Ambition?

(Continued jrum Page 56)

are conspicuous in the eyes of the picture
public, as tor instance the Empire All Star
Corporation, organized to put out Charles
rrohman plays in motion pictures; the
Lone Star Corporation, to which Mr.
Freuler assigned his celebrated S670.000
contract for a year of the services of
Charles Spencer Chaplin, a comedian of
some note; The Frank Powell Producing
Corporation which put out the Mutual's
Marjorie Rambeau and Nance O'Neil pic-
tures; and many others. Then there is
the States Securities Corporation, un-
known to film patrons but significant in
the scope of its financial operations.

Aside from the Charles Chaplin deal
one of Mr. Freuler's most spectacular or-
ganizations was the North American Film
Corporation which set a world's record
in length of production by making "The
Diamond from the Sky," a serial of sixty-
eight reels. "The Diamond" ran so long
that some of the exhibitors who started
showing it at their theaters raised fami-
lies and Van Dyke whiskers before it got
off their screens.

Mr. Freuler is the head, soul and body
of so many corporations that a flock of
clerks and secretaries is always following
him around looking for him to light some-
where a few minutes, long enough to pass
a few resolutions and approve dividends.

While Mr. Freuler is essentially a film
executive he is sometimes spoken of as
one of the leading railroad men in Amer-
ica for the reason that his gross annual
mileage of travel nearly equals the length
of uncut negative on a Chaplin comedy.
Doing business on a train is his particu-
lar favorite dish.

"The telephone calls don't interrupt me
so often on the Century," he explains.
Which is probably one of the reasons why
he spends so much time going to New
York so that he can come back from New
York, and why he goes home to Milwau-
kee from Chicago every night so he can
come back from Milwaukee to Chicago
every morning.

Incidentally Mr. Freuler is a prominent
patriot in these days of militant Ameri-
canism, being a member of various pat-
riotic organizations and chairman of the
committee of the motion picture industry
cooperating with the United States Navy.

The reader might get the impression
that Mr. Freuler does nothing but work —
and that would not be altogether inaccu-
rate. By way of pastime he keeps a fleet
of motor cars and holds memberships in
about a dozen clubs scattered from Los
Angeles to New York, including the Union
League of Chicago and the Blue Mound
Country Club of Milwaukee.

girl

one

Porter Emerson Browne's little
came home from Sunday school
morning and said to her mother:

"Mamma, in Sunday school to-day they
asked all the children whom they wanted
to be like."

"And whom did you tell them you
wanted to be like?" asked Mrs. Browne.

"I told 'em the Lord — but I meant
Marv Pickford." — Saturday Evening
Post.

livon advertisement in l'lloTui I. AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

137

Questions and Answers

(Continued from page 133)

Jill, Pottsville, Pa. — Your story in-
terests us strangely. Can it be possible that
you — but no, it could not be, as the descrip-
tion is all wrong, yet it seems — Ernesto
Pagani was the lead in "Cabiria." "Brilliant
and beautiful" Dorothy Green is now with
Pathe. You're kinda confused on "The
Flirt." Marie Walcamp played the title
role, Juan de La Cruz was the heavy and
Antrim Short was the boy. He is still alive.
The boy who played with H. B. Warner in
"The Raiders" was George Elwell, who died
last summer. Do write again.

R., Hutchinson, Kan. — We have no rec-
ord of a Miss Francis Roberts. Write to
Essanay in Chicago if she has played with
that company.

N. B., Sydney, Australia. — L. C. Shum-
way is the same Shumway who was once
with Lubin. Write him at Universal City,
Cal. He is 33, a native of Salt Lake City,
Utah, 6 feet tall, weighs 180 and is married.

F. D. San Jose, Cal. — Charles Clary is
not married. Jack Sherrill is, or was. The
latter may be classed as "a new actor" as
he is only 20 years old.

G. A., Abilene, Tex. — Glen White was
the gypsy and Herbert Heyes was Captain
Phoebus with Theda Bara in "The Darling
of Paris." Clara Kimball Young's last re-
lease was "The Easiest Way." Yes, James
Young has sued her for divorce in Los Ange-
les. Warren Kerrigan is with Paralta, Los
Angeles.

B. H., Douglas, Ariz. — Edith Storey signed
a contract with Metro in July. Leah Baird
is not engaged at the present moment of
time as Philo Gubb used to say. She was
born in Chicago in 1887 and her married
name is Beck. S. Rankin Drew is the name
of the first man with a moustache you ever
liked. Florence Turner is not playing now.

Sun-Lover, Kittanning, Pa. — "A Daugh-
ter of the Gods" was filmed in Jamaica.
Sidney Smith was the Spanish lover in "The
N'er-Do-Well," Wheeler Oakman had the
name part and it was Norma Nichols, not
Lois Wilson who played Chiqnita.

O. O., St. Paul, Minn.— "The Fatal
Ring" is the name of the serial in which
Earle Foxe is supporting Pearl White. Earle
may reply to your letter if he isn't too
busy.

Granny, Clarendon, Tex. — Edna Mayo
is not married. She was born on March 27
and is five feet, four inches upward. She's
a blonde and the size of her shoe is main-
tained as a deep secret.

Ceebee, Gainesville, Tex. — So far as we
know Universal is the only company in the
market for photoplays under five reels in
length. They accept synopses. Pearl White
is with Pathe at Jersey City, N. J.

B. R. S., Asbury Park, N. J. — We are
informed that George Walsh's hair, like
Topsy, just grew, and that he doesn't use
any hair tonic. Write him care William
Fox, Hollywood, Cal., for a photograph.

Lonesome, Greenfield, N. H.— Sorry to
have made you wait so long for an "answer,"
but this has been a year of great endeavor
in letter writing. No, we never get out of
patience with the writers, except those who
read an answer and then write us to as-
certain if it is true.

10c a Day!

You can have your choice of over 2,000 musical
instruments for one week's trial in your own home.
Then, if you decide to purchase, you can pay the
rock-bottom price at the rate of a few cents a day.
If you do not want the instrument, send it back.
The trial won't cost you a penny.

But first mail the coupon below for our new 194
page catalog illustrating every known musical instru-
ment. You will be astonished at the low prices.

We Offer—

— the best instruments that can be made.

— rock bottom manufacturer's prices.

— one week's trial at our expense.

— triple silver-plated cornet for only 10c a day.

— your choice of over 2,000 instruments.

WurijTzer

goo years of instrument making '

Wurlitzer has supplied the Tmited States
Government with Trumpets for 55 years
The name "Wurlitzer" stamped on musical instruments has
stood for the highest quality for nearly two centuries. We are
manufacturers or importers of every known musical instrument,
every one sold to you at direct-f rom-the-manufacturers price.

Play It a Week— At Our Expense

Try out the instrument of your choice in your own way before
you decide to buy. Compare it with other instruments. Test it.
Use it just as if it were your own. Then after one week's trial
—either pay a little each month or send it back.

Send the Coupon^

Just put your name and address y
on the coupon now and get our Jr
big, new catalog absolutely / 1
free. Please state what in- /
strument you are interested in y
and we'll send you the big 194- f Name

t Address

The Rudolph Worlitzer Co.

Dept. 1537

East 4th St. , Cincinnati, Ohio

South Wabash Ave., Chicago

Gentlemen : — PleaBe send me your

194-page catalog absolutely free. Also

tell me about your special offer direct

from the manufacturer.

page book free and prepaid.

The Rudolph Wurlitzer Co

Dept. 1537
E. 4th St. , Cincinnati, Ohio
S. Wabash Ave., Chicago f

llllllllllllllllllllllllllllllllllllllllll/ '

1 am interested in..

(Name of Instrument herej

A 7* D/>/7/7ii / The second edition of Captain

l\OW JXCClCly l Peacocke's great new book on

ScenarioWritin;

A Complete and Authoritative Treatise
on This New and Lucrative Art.

So great was the demand for the first edition that it was sold out two
months after it left the press. Capt. Peacocke is one of the most expe-
rienced and successful members of the profession, both as a scenario
editor of many of the largest companies and as an independent writer.

C The book teaches everything
that can be taught on the subject. It
contains chapters on the construction
of comedies, form, titles, captions,
detailing of action; also a scenario
from a library of scripts which have
seen successful production.

C. This book will be of especial value
to all who contemplate scenario writ-
ing, and who do not know scenario
form. In other words, it will be in-
valuable to the man or woman who
has a good story, but who does not
know how to put it together.

Send for it today — Price, fifty cents postpaid
Photoplay Publishing Co., 350 North Clark St., Chicago, 111.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

i38

Photoplay Magazine — Advertising Section

Sons and Fathers Meet at Billiards

-MAN TO MAN!

Play Carom and Pocket Billiards in your home and rear red-
blooded boys.

Unite all members of your family in this life-long comrade-
ship. Homes need the protection of these fascinating pastimes
shared in common — you owe your boys and girls your own society.

Parents who secured home tables for their young folks write us
that they themselves can hardly wait each day for the ' 'Billiard Hour.

HOME BILLIARD TABLES

Not toys — but scientific Carom and
Pocket Billiard Tables with fast Mon-
arch cushions, accurate angles and
ever-level playing beds.

Handsome designs in oak and mahogany.
Regular or folding styles in sizes to fit all
homes.

Easy Terms — Balls, Etc., Free

Brunswick prices range from $35 upward,
according to size and design. Popular Pur-
chase Plan lets you play while you pay —
on low monthly payments.

Expert Book of 33 Carom and Pocket
Games and High Class Outfit of Balls, Cues,
etc., given with every Brunswick.

Send for Billiard Book Free

Learn how billiards exhilarates mind and body,
aids digestion and — how it keeps boys off the street.

See the tables in attractive color reproductions
and get our low price and home trial offer. All
contained in our color-book, "Billiards — The Home
Magnet." Send your address today without fail
for free copy.

JHE gRUNSWICK-gALKE-£OLLENDER QO.

Dept. 53G, 623-633 S. Wabash Ave., Chicago

THE BRUNSW1CK-BALKE-C0LLENDER QO. .^ s ^g^., CH,CAGO

You may send me free copy of your color book — "BILLIARDS — The
Home Magnet," and tell about your home trial offer.

Name . .
Address

1' J

" Baby Grand "
DEALERS: Write foi agency
proposition without delay.

Every advertisement in PHOTOPLAT MAGAZINE is guaranteed.

White, pure, inviting — the very ap-
pearance of Fairy Soap suggests its
pleasing, refreshing quality in toilet
and bath use.

A dainty tissue wrapper and an in-
dividual box keep each cake of Fairy
Soap clean and pure as when made.

BJJM1 »:1 1 » « -l-i 1 1 AWM iWEil

'Have you a little Fairy in your home?"

in Your home ? *'

LL PRINTING COMPANY, CHICAGO

I\-

/el uourskin really brealhe alnighl

Powder by day as often as you like, but if you really want the charm
of "a skin you love to touch," do, do let your skin breathe at night

If you care for the looks of your skin, if you really
want a clear, fresh complexion, don't go to bed a single
night with powder flakes and the dust and grime of the
day still lodged in the delicate pores of your face.

Use this special Woodbury treatment regularly each
night and see what a wonderful difference it will make
in your skin.

Dip a cloth in warm water and
hold it to the face until the skin is
damp. New take a cake of Wood-
bury's Facial Soap and go over your
face with the cake itself. Then dip
your hands in warm water and with
the tips of your fingers work up a
lather from the soap left on your
face. Rub this cleansing, antiseptic
lather thoroughly into the pores of
your skin, always with an upward

and outward motion. Rinse thoroughly with warm
water, then with cold. If possible rub your face for
a few minutes with a piece of ice.

Get a cake of Woodbury's Facial Soap today and
begin tonight this famous skin treatment. A 25c cake
is sufficient for a month or six weeks of this treatment.

For sale
wherever
toilet goods
are sold.

b"«K\H*

«K«y

Send now for a week's-size cake

If you would like a sample of
Woodbury's Facial Soap, send 4c
and we will send you a cake large
enough for a week's use. Write
today! Address The Andrew Jer-
gens Co., 510 Spring Grove Ave.,
Cincinnati, Ohio.

If you live in Canada, address The
Andrew Jergens Co., Ltd., 510 Sher-
brooke St., Perth, Ontario, Canada.

}-,

£0

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

P^C

n~n

JU.

Novemjber
20 Gents

^SeSsiffisk

>-_-.->

Nntire to Reader- Wh**n you ifiniBh .r*»d'n« «>»•

HUllvC IO ncdUCl . nia«a2inc place a 1-cent •tamp
on this notice, hand name to any postal employe*;
andit will be placed in the hands of our aoMiertt Of
Bailors at the front. NO wrapping— no AUUKtsa.
A. S. Burleson, Postmaster General.

MAE MURRAY

Irene Castles
Own Story of
Her Early Struggles

"You Cant Escape 'Em"

By Charming Polloc\

Photographs ! Romance ! Reviews !
Film Personalities! Fiction! T^ews!

The Modern Method— Scientific Cookery

Formula No. 856

The Sauce Which We Bake With Van Camp 's

HERE is one example of the new-day
scientific cookery, as applied in the
Van Camp kitchens.
Compare it with the best you know in
chef-baked Pork and Beans. See what
can be done under expert methods, by
men who are college trained.

No Guesswork

The beans are grown on special soils,
which are very rare. The beans are ana-
lyzed before we start to cook. We know
exactly what we have to deal with.

They are boiled in water freed from
minerals, because ordinary water makes
beans harder to digest. They are baked
in steam ovens, because
hours of fierce heat can
thus be applied without
crisping.

As a result, this difficult
food is made easy to di-
gest. The beans are made
mealy — the food cells are

Pork&Beans EESS2SES

Also Baked Without the Sauce

broken. Yet the beans remain whole and
inviting, without a fibre crisped.

The ablest chefs in the finest hotels
would find such a dish impossible.

That Famous Sauce

The sauce in Van Camp's is the mar-
vel of millions. The formula for it is the
final result of 856 tests. That is, our ex-
perts made 856 blends to attain this zest
and flavor.

Now it never varies. That perfect for-
mula, in every minute detail, is forever
followed.

The sauce is baked with the beans, so
it permeates every atom.

Compare Van Camp's with the best
other beans you know.
Note how they differ in
texture and in flavor.
Then you will know what
scientific cookery means
to you and vours.

THREE SIZES
Prepared in the Van Camp Kitchens at Indianapolis

Order a test meal now.

Van Camp's
Pork and Beans

It will change your whole conception
of this ever-welcome dish.

Van Camp's
Spaghetti

Italian style — but our experts spent
three years perfecting that Italian style.

Van Camp's
Soups

18 kinds — each the result of counties
blends. No chef-made soup w.is eve
half so good.

;- i£fi

Van Camp's
Peanut Butter

A perfect blend of Spanish and Vir-
ginia peanuts, with every touch of
bitterness removed.

Photoplay Magazine — Advertising Section

fllllllftl^

BliiiiiiP

■ ■ -; _

ilHilrTnfr

; :' :: v'
. : ;■ ■ ■

■

ace

art a yenumeJearU(eccc/a
for your Jrttfe Qirl

Your Family ana Friends will
Keep It Growing

the L/->rirJc

(JLCLCl-^ I NECKLACE
consists of GENUINE ORIENTAL PEARLS,

possessing; real and lasting beauty of the truest worth.

There are twelve sizes to select from — as low as
$5.00 and up to $150.00.

Additional pearls of any amount may he added on
all gift occasions.

Descriptive folder and name of your nearest dealer
on request.

THE ADD-A-PEARL CO.

108 North State Street Chicago, 111.

ffiffi

'■M

N^,

r^ — '

^=^g

^~ ~

'ifift

ijftff

Ti>

5§?ijj]

When you write to advertisers please mention PHOTOPI \A" MARAZIXK

Photoplay Magazine — Advertising Section

A Mellins Food Boy

^ames £>.oKr^aJiap If 3len,doJe,-C>Q.]if.

Little James' rugged and robust appearance
is an excellent tribute to the merits of Mellin's
Food, properly prepared with cow's milk.

Mellins Food will do as much for your baby.

We will gladly send on request a Free Sample bottle

of Mellin's Food and a copy of our book,

"The Care and Feeding of Infants."

Mellin's Food Company

Erery advertisement in PHOTOPLAY MAGAZINE is guaranteed.

REG. U. S. PAT. OFF.

THE WORLD'S LEADING MOVING PICTURE PUBLICATION

PHOTOPLAY MAGAZINE

"The National Movie Publication"

"!i .Il»ii ' >"« " i ' "■"'■"

VOL. XII

Contents

No. 6

NOVEMBER, 1917

Cover Design — Mae Murray

Rotogravure: Mary Fuller Campbell Studio Photo.

Mabel Taliaferro Campbell Studio Photo.

Virginia Pearson Underwood & Underwood Photo.

Anna NilsSOn Campbell Studio Photo.

The Supremacy of Silence

The Crimson Corpuscle of the Celluloid

An Interview with a Two-Fisted Favorite.

The High-Browed Heroine

More Free and Frolicsome Verse.

Editorial
John Ten Eyck
Delight Evans

11
12
13
14
15

She Discovered Columbus Kenneth McGaffey

Having Discovered Columbus, Louise Huff Made Columbus Famous.

Doping His Own Dare-Deviltry

Bill Hart Making Bull's-Eyes with a Six-Shooting Typewriter.

The Fall of the Romanoffs Jerome Shorey

The Back-Stairs History of Russia. From the Brenon Photoplay.

Impressions Julian Johnson

Word-Etchings of Notables.

Frances Marion, Soldieress of Fortune * Elizabeth Peltret 31
Our Mary and Her Owen 34

Photographs Especially Posed for Photoplay.

The Big Scene (Fiction) Frederick Arnold Kummer 36

Illustrated by Charles D. Mitchell.
Was the Cameraman a Slacker, a Hero or an Accident?

(Contents continued on next page)

1 iiiiiiiiiiiiiiiiiiiiniiiiiiiii

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111.

Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. Robert M. Eastman. Sec.-Treas.

Alfred A. Cohn i Managing I Los Angeles

Randolph Bartlett | Editors ( New York

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba: $2.50

Canada: $3.00 to foreign countries. Remittances should be made by check, or postal or express

money order.

Caution— Do not subscribe through persons unknown to you.

Entered at the Postonue at Chicago. III., as Second-class mail matter.

Next Month

A Great Scenario Department

Photoplay will announce, in the De-
cember issue, a series of articles on the
making of scenarios, by the two greatest
experts in the world. Like previous
scenario departments conducted by this
magazine, it will be of practical value
to anyone who is trying to "break into
the game." But this series will go far-
ther than that. It will not merely deal
with the writing of stories and scenarios,
but will show the relative functions of
the author and the director, and the im-
portance of cooperation between the
two. Thus it will be of value, not alone
to the amateur, but to experienced writ-
ers and producers.

The Screen's Brilliant Enigma

Few people, who have watched the
career of Olga Petrova, do not believe
that she is one of the most highly gifted
women, mentally, in the film world.
Few, likewise, believe that she has ever
given expression to her greatest talent,
on the screen. Randolph Bartlett will ana-
lyze this brilliant enigma, and give an
intimate view of Petrova, the woman,
and her articles of cinema faith.

Here's Fiction for You

You are now well acquainted with
"Temperamental Tim," Edward S.
O'Reilly's hero, and you will be glad to
know that he will be with us for quite a
while. "Hydrant-Headed Reform'' is
the alluring title of his next adventure.
Frederic Arnold Kummer will maintain
the pace he has set for himself in this
number, with another story of moving
picture life, "The Test." Fiction made
from scenarios has been quite a problem
with us of late. We have hit upon a
new idea for the telling of these tales,
and believe you will like it.

Contents — Continued
Is a Chaperon Always a Hen? (Photograph) 41

A Story Picture of a Studio Romance.

Our Irene was the Village Queen Randolph Bartlett 42

Mrs. Vernon Castle's Own Story of Her Early Struggles.

You Can't Escape 'Em Channing Pollock 47

A Little Oregon Mining Camp Transformed by Movies.

Why Do They Do It? 51

Photoplay Readers Criticize Absurd Film Lapses.

The .Girl with the Bee-Stung Lip Alfred A. Cohn 53

A Little Sketch of the Girl on the Cover.

Millionaires Frolic with Movie Nymphs 54

Exclusive Bar Harbor Welcomes the Kellermann Company.

The Dubb Family Mingles with Class Hildegarde Rudin 56

More Doings of This Family of Fans.

The Shadow Stage Randolph Bartlett and Kitty Kelly 57

Reviews of Current Silversheet Features.

Mr. and Mrs. Hayakawa and Their New Shoji 62

Special Photographs of These Japanese Stars at Home.

Rotogravure: Sessue Hayakawa and Tsuru Aoki in Their

Garden 63

Geraldine Farrar Invades the Land of Villa 64

Bessie Barriscale Learns a Few Card Tricks 66

Close- Ups 67

Editorial Comment on Incidents and Conditions.

Norma Makes the Calendar Look Silly 69

Fall Fur Fashions Photographed as Mercury Boils.

A Whack at the Muse (Fiction) Edward S. O'Reilly 70

Illustrated by D. C. Hutchison.
Further Adventuies of Temperamental Tim.

Teasing the Ocean Ethel Rosemon 74

The Cruel Director Thwarts Both Sea and Sirens.

Kathlyn's Memory-Box Frances Denton 76

Miss Williams Recalls Past and Peeps Into Future.

Married! (Photograph) 79

Pictorial Proof of the Domesticity of Jack Pickford and Olive Thomas.

Plays and Players Cal York 80

News and Gossip from Catalina to Sandy Hook.

A Storm in the Making 83

How Film Lightning is Canned in Chicago and Shipped to California.

Stars of the Screen and Their Stars in the Sky Ellen Woods 84

Horoscopes of Bessie Love and Harold Lockwood.

Making the Movie Do Its Bit Frederick James Smith 85

Practical Information on Church, School and Club Entertainments.

Douglas Fairbanks' Own Page ' 87

Old Doc Cheerful Joins Photoplay Family.

Pearls of Desire (Serial Story) Henry C. Rowland 88

Illustrated by Henry Raleigh.
Another Installment of This Fascinating Novel.

Who's Married to Who 92

Screen Notables and Their Matrimonial Partners.

He Owes It All to a Penny Arcade Paul Grant 93

The History of Albert E. Smith, Which is the History of Vitagraph.

H. 0. Davis to Announce Scenario Contest Winners 96

Five Years Ago This Month 98

Ancient History of This Lightning Swift Industry.

Questions and Answers The Answer Man 103

Winners of September Puzzle Contest 133

Next Month

When an Empire Crumbled

The second installment of The Fall
of the Romanoffs is even more fascinat-
ing than the first. In the present issue
you will learn how an ignorant scoun-
drel rose to supreme power in Russia,
bending the Czar to his will. The re-
mainder of the story depicts the corrup-
tion at court, the orgies, and the intrigue,
which finally destroyed the Romanoff
dynasty. This is not fiction — it is his-
tory.

A liig, Two-Sided Man

Not long ago a man with a brilliant
business brain entered the film world.
He proved that not merely could he
reduce the tremendous waste of money
in productions, but that he had a keen
vision in the creative department of the
photodrama as well. Alfred A. Cohn
will tell you what manner of man he is
— H. O. Davis, the new guiding genius
of Triangle.

A Little Girl and a Littler One

Violet Mersereau, petite and vivacious,
is one of the many reminders that the
moving picture is a babe in arms. For
Violet is an old-timer, as stars go these
days, and she is only eighteen. A breezy
interview with her is ready for your
delectation. Little Mary MacAllister,
as dainty a maiden as ever won your
heart, has been interviewed too, and tells
a few little factlets about her little self.

Not Forgetting

Of course" the regular members of the
family will be present, just a little more
entertaining than ever. Old Doc Cheer-
ful Fairbanks, the Dubb Family, the
Horoscopes, one of Delight Evans' al-
most-poems, and so on, and so on, will
be with you.

The Boy and the Circus.

Not many years ago, the one big
event of summer in the life of every
healthy boy was the arrival of the cir-
cus, not only on account of the show,
but because he was allowed to carry
water for the elephants. The moving
picture has rubbed a great deal of tinsel
off the circus, and provided newer and
better entertainment. Has it provided
a substitute for the joy of watering the
pachyderms? We have accumulated
photographic proof that it has, and will
show it to you next month.

Besides Which

"Great !'' a certain picture producer
wrote us, upon seeing last month's
Photoplay in the new size. "I have
previously instructed my publicity de-
partment to put you at the top of the
list for the very best photographs they
could get. Now I have authorized them
to devote a lot of time to gathering ex-
clusive pictures for you, because there
is no other magazine being printed to-
day in which the layouts are so artistic."

Photoplay Magazine — Advertising Section

he didrit want to be

a Little Girl !

/"T^vEAR, funny, lovable little Bab— the "Sub-

1 J Deb" of seventeen, with her grown-up

ways and longings. She tumbled into mischief

and out again — into seething romance and

tragic troubles — head over heels.

Maybe you read the delicious Bab stories in
The Saturday Evening Post, Mary Roberts
Rinehart wrote them. Now Paramount and
dainty Marguerite Clark have brought Bab to
life upon the screen. There will be a series —
five delightful Bab pictures.

But Marguerite Clark is only one of many
Paramount stars, and her plays are just a few
of many

(^aramoitntC^IcUires

Paramount Pictures were the first feature
photoplays. They represent today a library of
motion picture classics.

Paramount visualizes the plays and books of the
past and present. More than a million followers
of Paramount Pictures, in thousands of theatres
in two hemispheres, daily renew acquaintance
with the famous places and characters of classic
and contemporary literature Paramount Pic-
tures preserve indelibly for all generations the
world's greatest stories and plays, acted by the
leading artists.

A few of the most recent Paramount Pic-
tures now being shown in the country's
leading theatres are Billie Burke in "The
Mysterious Miss Terry," by Gelett Burgess;

NEW YORK
Controlled by Famous Players-Lasky Corporation

Adolph Zukor, 'Pre*. Jesse L. Lasky, Vice-Pres.

Cecil B. De Mille. Director-General

Jack Pickford and Louise Huff in "The
Varmint," by Owen Johnson; Sessue Hay-
akawa in "Hashimura Togo," by Wallace
Irwin; Vivian Martin in "Little Miss Opti-
mist," George Beban in "Lost in Transit,"
Fannie Ward in "On the Level," Mme.
Petrova in "Exile," Pauline Frederick in
"Double-crossed," Wallace Reid in "The
Hostage," Julian Eltinge in " The
Countess Charming," Charles Ray
in "The Son of His Father," and y

J. Stuart Blackton's "The
World for Sale."

Send us coupon herewith for a
sample copy of our illus- s

trated magazine, "Picture s '

Progress." Mailed free /

on request. ,'

, ' 485 Fifth Ave., New York

Paramount

Pictures

Corporation

S magazine.

Please send me free a sample copy of your
Picture Progress."

Name-

Address-

When you write to advertisers please meation PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Herbert SS^Sraste tJieFAIMhe
Breaon. 2g£ffi£lSZ£& ROMANOFFS

Every advertisement In rHOTOPI.AT SIAGAZIXE is guaranteed.

Photoplay Magazine — Advertising Section

ave You More

Than 1/2 on a $100 UNDERWOOD

E. W. S. SHIPMAN, President^.

25 Years' Experience — Confidence of 200,000 Customers

How I Double the Life of An Underwood

Do not confuse me with a second-hand dealer. I put each machine through a process that I have
spent 25 years perfecting. Each machine is taken apart and re-built from top to bottom.

The frame is re-enameled, the bright parts re-nickeled. All parts unfit

for further service are discarded and replaced by new parts purchased

from the Underwood Company. Every machine is equipped with

new type, new platen, new ribbon vibrator, front scale, feed roll,

ribbon, space bar, key rings, key glasses, rubber feet, etc. Expert

mechanics re-adjust and re-align each machine. It will stand any

mechanical typewriter test.

My Five Year Guarantee — Ten Days' Free Trial

I personally stand back of every machine that goes through my factory with a
WRITTEN FIVE YEAR GUARANTEE OF SERVICE. I guarantee to send you a
genuine Underwood, exactly as illustrated and described herewith. You don't even
have to buy the machine at the time you get it. You can try it
for ten days FREE and then, if you conclude the machine I send you does not
look, work and write like new, you may return it and I will refund any deposit
or charges paid by you. This guarantee affords you complete protection.

Mail coupon or post card today for
special low price and terms. You can

RENT, applying six months' rental on purchase price, buy on easy

terms or secure discount for cash.

easy A

' ,&

Our Other Plan Brings Underwood FREE

A new plan — our agency plan. You are not jt^S <$>

asked to do any canvassing or soliciting for orders. You xr $ V ^P
simply cooperate with us, becoming part of our nation- ~^ v <
wide organization. You can easily get your Under- &J c® $§"
wood FREE in this way. Send name and address ^F+ *$ ^
on coupon today and learn about Offer No. 53. q ^w <jy

When you write to advertisers please mention PHOTOPLAY magazine.

Photoplay Magazine — Advertising Section

Examine your ikin closely, I ind out ju -r what is wrong with it. Then read below how

i erred it.

The girl who sighed for a lovely skin

There once was a girl whose sallow* blemished skin spoiled all her pleasure, until one day she learned
how she could give her skin the fresh smoothness, the radiant complexion she had always longed for.
The secret she learned is o:te you, too, can learn and use to make your skin as lovely as you want it.

WHAT is the matter with your skin? Are there little rough
places in it that make it look scaly when you powder? Is it
sallow, colorless, coarse-textured or oily? Is it marred by
blackheads and blemishes, or conspicuous nose ports?

Whatever it is that i> keeping- your skin from being beautiful, it
can !>e changed.

The skin of your face, like the rest of your body, i- continually
changing. As the old skin dies, neto forms. By proper treatment

with the right kind of soap you can make this new skin just
as fine, clear and fresh-looking as you have always wanted it.
Woodbury's Facial Soap L the result of years of study and experi-
ence by a skin specialist. For thirty years John H. Woodbury made
a constant study of the skin. He treated thousands of obstinate skin
troubles; made countless skin tests, until he evolved the formula for
Woodbury's Facial Soap. Find below the treatment just suited
to your skin, and begin tonight to get the benefit of it for your skin.

If\our trouble is an oily ski
and shiny nose, make tin
treatment a daily habit.

To correct an oily skin and
shiny nose

First» wash in your usual way
with Woodbury's Facial Sosp
and warm water. Wipe off the
surplus moisture, lr_t leave t!.e
skin slightly damp. Now work
up a heavy warm water lather
of Woodbury's i 1 your hand:?.
Apply it to your face a id rub it
into the pores thoroughly. Rinse
with warm water, then with
cold — the colder the better. If
possible, rub your face for a
few minutes with a piece of ice.

This treatment will make
your skin fresher and clearer
the fir-t time you use it. Make
it a nightly habit and before long you will gain complete
relief from the embarrassment of an oily, shiny skin.

Troubled with blackheadsr

Apply hot cloths to the face until the skin' is reddened.
Then with a rough wash cloth work up a heavy lather of
Woodbury's Facial Soap and rub it into the pores thor-
oughly — always with an upwj rd and outward motion.
Rinse with clear» hot water, then with cold — the colder
the better. Dry the skin carefully.

Do not expect to get the desired results by using

(' < i treatment for a time and then neglecting it. But

make it a daily habit, and it will rid your skin of
ugly, embarrassing blackheads.

Is your skin "pimply," blemished?

Just before retiring, wash in your usual way with
Woodbury 's Facial Soap and warm water finishing

Blackheads come from improper cleansi-ng.
This treatment will keep your skin free
from this annoying trouble.

witli a dash of cold water. Then dip the tips of your
ringers in warm water and rub them on the cake of
Woodbury's until they are covered with a heavy "soap
cream." Cover each blemish with c. thick coat
of this and leave it on for ten or fifteen minutes.

Then rinse verycarefully
with clear hot water,
then with cold.

Repeat this cleans-
ing, antiseptic treatment
every night until the
blemishes disappear.

Send 4c for a week's-

size cake and this

complete treatment

booklet

You can get all the
famous Woodbury treat-
ments, together with
many valuable facts a' cut
the skin, in this little
booklet, "A skin you love
ta touch." For Ac v c
will Bead you this beck-
let and a cake of Wood-
bury's Facial Soap large
enough for a week of
any Woodbury treatment.
Write today. Address
The Andrew Jergens
Co., 511 Spring Grove
Avenue, Cincinnati,
Ohio.

If you live in Canada,
address The Andrew
Jergens Co., Ltd., Sll
Shrrhrooke Street, Perth,
Ontario.

for salt- wherever toilet goods are sold. A 25c cuke is sufficient for a month or six weeks9 use.

Disfiguring blemishes need
the" soap cream'"' treatment.

PHOTOPLAY MA :AZTXE is guaranteed.

rHE name of Mary Fuller has been connected with moving pictures since the old Biograph days,
and she was the star of the first multiple reels productions made by Edison. Then she joined
Universal. Mary hasn't been entertaining the lens much lately, but she's coming back soon, she says.

EVERY few months some theatrical manager comes along and holds up a nice pleasant-faced con-
tract in front of Mabel Taliaferro, but she won't leave the pictures. She began her stage
career at two and a half years, and carved a great name for herself in the annals of the theatre.

CfTRANGE as it may seem Virginia Pearson was once a demure assistant librarian in Louisville,
kj Ky., and not so many years ago. The footlights lured her away from her index files, and soon
the camera stole her from the stage. Since that event she has been true to the creeping pastels.

ClWEDEN gave Anna Nilsson to motion pictures. She was a much sought after artists' model
O when she attracted the attention of the Kalem Company. When asked about their favorite pastime
most actresses profess a fondness for "all outdoor sports." Miss Nihson admits she's a bookworm.

<
<

<
<
<
<

<
<
<
<
<
<
<

<
<

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

PHOTOPLAY

VOL. XII

NOVEMBER, 1917

NO, 6

IW^S^

w|g

T/>e Supremacy of Silence

^ILET^CE, the mighty monarch, is enthroned in the Courts of Speech.
\ The drama counted its subjects by the thousands; the picture
numbers its vassals by the millions.

Jealously, King Speech watched the rise of the new ruler, called him
charlatan, upstart, pretender. He saw his own armies waver in their
loyalty and thundered denunciations against the new Prince and all who
followed him. He saw his own trusted courtiers and advisers, one by one,
join his rival, and shrieked that they were destroying themselves.

Undismayed by attac\s, unwavering in the face of cruel injustice, con'
scions of his own strength and his high destiny, Prince Silence went on his
way. Self glorification was the least of his aims. He was wording for his
people, for he loved them and they were learning to love and trust him.
"Never vjas ruler less despotic, more democratic than he. Into lives that
had \nown little of light or joy he brought floods of sunshine and happiness.

Less perilous to the rising Prince were the enemies from without than
those from within. J^o charlatan himself, soon many arose within his
councils. These he left to their own devices, \nowing full well that only
truth and right can survive in the great world battle. Calm and serene he
went on his way, daily gaining in wisdom and strength.

At length the haughty despot, King Speech, was forced to recognize his
master, and King Silence was crowned in his place.

Tet the new monarch did not become arrogant and autocratic in his
hour of triumph. Gratefully he ac\nowledged his debt to his predecessor,
nor sought to banish him utterly. Rather he set aside a certain principal'
ity, and here the former ruler is free to wor\ out his own destiny.

But in the Courts of Joy, Silence is King.

^^M/VMY.MMMMMM¥,/VvVv^/VvV/Yx¥vV^

jW^WVWTTO^vVvVvV.VV^MWvMVKV,1

Bill Farnum is no
kid glove farmer.
Back of his house,
he may be found
any day while off
duty, hoeing and
weeding.

DEAR Will Farnum," said a letter to the star
from Ireland a short time ago, "I just saw
'The Spoilers.' You're the greatest actor in
the world. After seeing that fight, I know you're
an Irishman."

This note from the green isle across the Atlantic
caught something of the world's primal love of a
good fighter. That, at basis, is the secret of Far-
num's screen popularity. He personifies vigor rampant.
He is Brute Force Gone to College.

Indeed, Farnum's mail for weeks contained pleading
letters from a prize fight manager who longed to direct the
star in the ring. "It all goes to show what impressions are
created by one's roles," says Farnum.

Now there is a curious thing about fighting folk — about
all strong men, in fact. This is that when they are not
fighting or working, they are almost invariably discovered
in the simplest and gentlest of occupations and diversions.
Some day I shall write a fascinating book on the private

habits of warriors and pugilists. Meanwhile, to the case
in point. Fighting Bill Farnum. in hours of ease, is a
gentleman farmer. And not too much the gentleman to be
a real, practical farmer, either.

The Crimson Corpuscle
of the Celluloid

Sh-b-h — keep it dark — Bill Farnum,
the jightin'est guy on the screen,
once stooped to Shakespearean roles

^y John Ten Eyck

At his country home, North Haven, Sag Harbor, many
acres are under cultivation, carefully planted and looked
after by its owner. The place is situated about four
miles from Sag Harbor proper, on the shores of an arm of
Shelter Island Bay. The Farnum lands roll back from
the water's edge, with the beautiful residence, the artis-
tically arranged out-buildings, and Mrs. Farnum's beauti-
ful flower gardens in the foreground. The potato fields and
the truck garden are in close proximity to the house, with
the exception of a newly plowed field, farther away, which
Mr. Farnum has planted with potato seedling.

As the visitor rolls into the Farnum grounds from the
main traveled highway to the Shelter Island ferry and
Greenport the eye is greeted with a pretty vista of flowers
and shrubbery, while in the distance the house and water
beyond form the prettiest picture
imaginable. Shade trees line the
roadway, leading to the porch,
and around the
front of the
house, where the

Just ask Jim, the
Sag Harbor
messenger
"boy," who is
the greatest act-
o r in the
world. He'll
tell you pretty
durn quick.

prospect opens to the waters of the
bay.

Immediately in the rear of the house —
the front when coming from the village — ■
are Mr. Farnum's smaller vegetable gar-
dens, where he may be found when not en-
gaged in a picture, in hoeing or weeding.
At home Mr. Farnum leads an ideal
farmer's life. He dons a working man's
regalia, helps with the chores, spends an
hour or two in the garden, confers with
his superintendent, and generally takes an
active interest in everything that is being
done. He watches with interest the growth
of the little pigs, notes with jealous eye the
progress of his onion bed, the lettuce or the asparagus. But
the chief interest at present on the Farnum farm is the
stretch of plowed land, along the shore of Sag Harbor
Bay, which is planted only with potatoes. This plot is
the particular "bit" Mr. Farnum is doing with the other
"potato patriots" of Long Island.

At "the end of a perfect day" Mr. Farnum dons the

a gentleman farmer and enjoys his

recreation hours, with book and

pipe, on the porch of his lovely

home. He may gaze off over the

negligee costume of

Photoplay Magazine

It's much easier to eat
an oyster than it is to
open one. Bill can
do both with amazing
alacrity.

waters of the bay
to the distant
hills of Montauk
on the east, or to
the north, where
his boat tugs at its moorings, and
beyond where the government ex-
periments with its newly made
torpedoes.

It was not in this idyllic spot,
however, that we discussed the ca-
reer of the fighting farmer. Our
interview actually took place in a
little French cobble stone street.
Quaint houses, studdied with tiny
balconies, fronted the road; across
the way was a stone church; close
by a fountain played. And up and
down passed a ceaseless flow of
peasants. It wasn't really France,
of course, but Grantwood, N. J.
William Farnum was doing Jean
Valjean in Victor Hugo's "Les
Miserables." He sat in tattered
trousers and blouse, a heavy — and
real — stubble of whiskers on his
face, and a gnarled club in one
hand.

^2-m.i.\ • . .

—

Bill pays his respects to two of his most ardent rooters

This forbid-
ding figure was
once a chubby
baby. William
Farnum was
born in Boston, his brother,
Dustin, being a little more than
eighteen months old at the mo-
mentous occasion.

"We came to the stage nat-
urally and legitimately," says
Farnum. "My father and mother
were both connected with the
theater. Father managed Rob-
ert Downing for years, while my
mother, known professionally as
Adele La Gros, was quite well
known as an actress. I've Irish
and French blood, a baffling com-
bination, isn't it?"

But "baffling" is hardly the
word. Considering the events of
the last few years, "battling"
would be better. Xo wonder Bill
is a fighter, with such ancestry.

"I don't believe it has ever
been related before but my stage
debut was made at the age of

The Crimson Corpuscle of the Celluloid

five at Bucksport, Maine," said the star reminiscently
did a cornet solo for the folks in our home town.

"Our real debut came when I was thirteen and Dus'
was fifteen. We appeared briefly
with Thomas E. Shea, who toured
then and still tours in repertoire.
We presented a song and dance
specialty between the acts. A year
later, I left home, determined upon
a stage career. Dustin, although
older, did not start until a little
later. For five years I played in
the classic drama. Believe me, the
young actors of today sadly need
this sort of training. Playing in a
classic toga, one had to acquire re-
pose. We had no pockets in which
to thrust our hands, no cuffs to ad-
just, no handkerchief to toy with.
We had to learn repose. Usually it
was pounded into us. The older
players wouldn't tolerate much
from the cub of the troupe. For
three years I was with Robert
Downing and two with Edwin
Ferry, then a widely popular tour-
ing star.

"Ferry played all the classic
tragedies, from Shakespeare to
'Damon and Pythias' and 'Virgin-
ius.' My first big advancement
came with Ferry when I was six-
teen. We were playing an Ohio town and the house was
sold out. We sadly needed the money, too. But one of
the principal players was suddenly taken ill and the man-
ager was in a quandary. I volunteered to fill the vacancy,
although the role was one of the principal ones in 'Damon
and Pythias.' I got through the part safely and continued
in the missing actor's roles for a week. I was pretty dis-
consolate when he returned, you can imagine. Then a
curious thing occurred. That very night our leading man
disappeared and again I volunteered. So I went on as
Marc Antony and kept on for the next few days as Pythias,
Iago and through the list.

"In those days a young actor was supposed to memorize
every role. So being ambitious, I had studied the com-
plete text of each play. Naturally, it was comparatively
easy for me to jump into new roles. Besides I had
all the confidence of sixteen. I wish, indeed, that I had
that confidence now. I was just as big physically at six-
teen as I am now. That, of course, helped a lot.

"After my week in the leading man's role, Ferry came
to me. 'Well, Willie,' he said, T guess you'll be the lead-
ing man for the rest of the season.' I was — and I've been
a leading man ever since.

"After my five years in the classics," continued Farnum,
"I joined the Lothrop stock company in Boston. There
I had my first taste of the modern drama. My first role
was the lead in 'The Streets of New York.' I remember
how I came striding onto the stage at rehearsal. You
could see the classic toga all over me.

"The stage director looked at me amazed. 'What's the
idea of that walk?' he demanded. Then he showed me how
to walk in modern drama, an alert and chipper sort of
stride. I was terribly cut up but I saw that here was really
an entirely new school of acting. And I started out to
master it.

"After the Lothrop stock I played with Margaret
Mather. There my ability to handle a foil came in good
stead. I played Tibalt in 'Romeo and Juliet' and won,
if I do say it, a good many notices purely through
fencing skill. Mother and father had known the value of

He's a devil in his own home town, is Bill; the champion
horseshoe pitcher of the village.

the various player's essentials — and swordplay was one of I'm really a boy at heart."

them. Indeed, my grandfather had been an instructor
of fencing in Civil War days. At one time, when I was
thirteen or fourteen, I had half contemplated becoming an
instructor myself.

"The rest of my stage career is
pretty familiar. I was leading man
for Olga Nethersole in 'Carmen,'
playing Don Jose. I was with the
Frohmans three years. I appeared
for five years as 'Ben Hur,' two
years in 'The Prince of India' and
two in 'The Littlest Rebel.' Then
came my screen debut in 'The
Spoilers.' "

Mr. Farnum has definite
thoughts on the screen. "I firmly
believe that spectacle is coming to
be relegated to the background.
The sweeping scenes showing multi-
tudes and warfare, are frequently
necessary but they must be subordi-
nated to the big thought of the
photoplay. That is, the spectator
must have an intimate personal
feeling for one or two, perhaps
three or four, characters. The big
scenes must -be flashes, while the
story is kept close to the audience.
In life, you know, we're not inter-
ested in the sweep of things. Take
the world war, for instance. We
are not concerned so much with the
thousands of miles of trenches, as we are with what hap-
pens to Brother John or Neighbor Jones' son on one tiny
fraction of that battlefield.

"I can see the time coming when the workings of a
human soul will be flashed across the screen. We have
moments of it now. The great drawback of the industry
has been the steady effort to turn out drama by the yard.
It can't be done. I am glad to see open productions com-
ing and the weekly programs disappearing. When a pro-
ducer turns out one or two photoplays regularly each week,
the result can only mean one thing: a lot of inferior screen
plays are going to be made in order to keep up the pace.

"The lack of voice and audience is a serious drawback
which I can never dismiss. Applause draws the best out
of a player. In screen work you lack all that. I find that
music helps. Indeed, I believe I started the use of music
during the making of a photoplay.

"The photoplay is advancing more and more in its ability
to put a thought over. Today a scene conveys its thought
without subtitle or explanation. That will steadily grow.
Certain captions will always be necessary. For instance,
it was vital in 'The Tale of Two Cities' that we give Syd-
ney Carton's last speech.

"The director must always remember his audience.
The spectator out front is as much a part of the picture
as the actor. The director must be able to send a thought
straight from the player's mind to that of the spectator.
I consider myself lucky in having Frank Lloyd as a di-
rector. He is one of the coming really great men of the
industry. Lloyd has youth, enthusiasm, concentration and
mentality, backed up by several years' experience as an
actor on the stage. He is going a long, long way."

We had returned by automobile from Grantwood to the
William Fox Fort Lee studios. Farnum sat before his
dressing table, ran his hands through his curly black
hair and studied his stubble-covered face in the mirror.

"I have been twenty-eight years an actor, and I'm forty-
one now," he said thoughtfully, and with a tinge of sur-
prise in his voice. "Great Scott, do you know I'm what
you would call an old timer? It seems impossible, for

High -Browed Heroine

Delight Evans

I-fERE we have

*■ *■ The High-Browed Heroines.

Well, well — what of them?

They are Vague.

They never know

What will Happen Next.

Their Eye-Brows are Elevated

In a position of Perpetual Surprise.

Nothing Human

Ever Escapes them.

They Pose

Stiffly, in a high-backed chair,

Ringed Hand on hip,

All Signs Pointing

Heaven-ward.

And they Employ — oh Joy ! —

That Princess-Effect.

They are Among

The Great Sinned-Against.

They have Always,

In some Remote Existence,

Done Something —

Not Much, you understand,

But Something.

They are Wide-Eyed.

They have Suffered.

Life

Holds Absolutely Nothing More

For them.

They Love

To Dab at their Eye;

With bits of lace.

They Heave

Beautifully.

Always

They are Simply Soaked in Sorrow —

Somebody Told them

They have Souls.

They Raise themselves Haughtily

To their Full Height,

As if they were not Tall Enough

As it Is.

They panthea

Allovcrtheplace.

Their Lives are Dark — Dark.

They Stage

Little Divertissements

On a chaise-longue,

Featuring A Finger to be Kissed

And A Why-am-I-here Expression.

They Love

At arms-length ;

They Lack only

A Hair-Ribbon, and "Elsie Dinsmore."

Usually

They are

Battle-cruiser weight,

And Going Strong.

They Flop to the Floor,

Then Raise themselves

Shudderingly, on one Elbow,

And Gaze Painfully at the Adjacent Scenery,

And Pass their Hands

Over their Brows.

They Simply Have to do It.

They are

Flat Tires,

A la Few we.

Here we have

The High-Browed Heroines.

Well, Well!

Anyhow, They Got a Good Sleep!

Two cowboys who worked as extras in a picture be-
ing filmed at one of the large studios at Fort Lee,
across the river from New York, were becoming rapidly
exhausted through lack of sleep. They roomed to-
gether in a large front room with an eastern exposure,
but sleep was rendered well nigh impossible by a large
electric street light just ouside their window. Then
when morning came and the light went out the sun
came pouring into the room. They were due at the
studio every morning at 8:30.

One night they were desperate and one of the pair hit
upon a big idea. They hadn't slept for two nights,
and were dead tired. They bought a can of black paint
and daubed it all over the windows, closed them tight,

and turned in for a sleep. For the first time in weeks
the light wasn't shining in their eyes and they sank
into a sound slumber, that could have been heard a
block away.

When they awoke the clock pointed to 8 o'clock.
They climbed into their clothes and made the studio
at 9 o'clock. They were greeted by the director with
a barrage of profanity and abuse.

"Aw, say, boss, what's the row?" pleaded one of the
cowboys. "We've never been late in six months, and
we're only half an hour late today."

"Half an hour — half an hour," exclaimed the director,
tearing his hair. "Where were you yesterday and the
day before?"

She Discovered Columbus

And having made the disconjery, Louise Huff started out to make Columbus famous

By Kenneth McGaffey

IOOD old Mr. Encyclopedia Britannica
announces to the eager world that Co-
lumbus is a city and the county-seat of
Muscogee county, Georgia, U. S. A.,
and that it is on the east bank and at
the head of navigation of the Chatta-
hoockee river.

The same old E. B. gives us the
startling information that the city has a public library.
The E. B. is a great publication with a lot of interesting

information, and some not so interesting, but right here
we show it up.

It tells for nearly a half a column that Columbus,
Georgia, has a public library, valuable water supply, cot-
ton compresses, iron works, flour and wool mills, and that
on the 1 6th of April, 1865, it was captured by the Union
forces under General James Harrison Wilson and a num-
ber of Confederates were taken prisoners.

That kind of dope is all right for those that like it, but
the Encyclopedia Britannica makes the most startling

Photoplay Magazine

error of its career by overlooking the fact that Col-
umbus, Georgia, has its main excuse for being,
and its chief bid to fame, in being the
birthplace of Louise Huff.

What care movie fans about the
water supply and the cotton
compresses? If the E. B.
were the snappy little pub-
lication it is supposed to
be, it would carry a pic-
ture of Louise Huff in
its columns, a close-up J
of the house in which
she was born, and i |
perhaps throw in a jfj?
few little inciden-
tals and observa-
tions showing this
Famous Players-
Lasky star at the
age of five, pad-
dling in the well
known Georgia
mud in front of
the said birth-
place, or playing
in amateur theat-
ricals in the barn at
the rear of the now
famous Huff mansion.
However, Fate de-
cided that Louise was
not to spend all her young
life as the radiant beauty
of Columbus. She stayed
there just long enough to ac-
quire a most charming southern
drawl, and then hiked to New York
City, accompanied by her
mother and sister. At the right, Lou-

Having acquired quite a ise Huff in "Jack
little dramatic training in and JaL"
amateur theatricals in the
county-seat of Muscogee county, Louise
decided to go on the stage, and with
the confidence of youth and Georgia,
presented herself at the offices of Klaw
and Erlanger, the biggest theatrical
managers in New York City. The re-
vival of "Ben Hur" was being made,
and Louise, when she expressed herself
in her southern drawl, was promptly
engaged and given a part in this pro-
duction, and someone has facetiously
remarked that she put the "Hur" in
"Ben Hur." Anyway, she was with it
all season, and scored a big success, be-
ing engaged for the next year. When
she came back at the end of the season,
a faint flicker of the celluloid caught
the Huff eye, and she departed from
the gay white way to appear in pictures
for Lubin, leaving the spoken drama
speechless, so to speak. She was not
kept long in the background and it was
not many moons before a close-up
attracted the attention of a company
who was just starting on a southern
story, and Miss Huff came to New
York. Here, the Famous Players-
Lasky Company, always looking; for
clever young ingenues, spied Colum-
bus' fairest flower and thrust a

No, Louise and
Jack are not long-
ing for Broadway.
It's just a "still"
of them from
"The Varmint."

contract into
her hand. She
played "Great Expec-
tations," "Seventeen" and
several other productions, but
the cold northern blasts of New
York began to chill her warm southern
blood, and Miss Huff and her co-star, Jack
Pickford, were transferred to the western
studio.

After doing a picture with House Peters
at the Morosco studio, she and Jack ap-
peared together in "Freckles" at the Lasky
studio. Since that time the two youngsters
have been sent back and forth; one produc-
tion they will do at the Lasky studio; and
then they will be sent over to the Morosco,
and then back to the Lasky. Among their
more recent productions are "What Money
Can't Buy," "The Varmint" and they have
just completed a clever little story called "Jack
and Jill."

Although she has a dressing room at each
studio, Miss Huff has one permanent home
which is presided over by her mother — a cute
little bungalow stuck in the side of a hill in
Hollywood. The star's old colored mammy
who has been with them since she left Col-
umbus, presides over the kitchen and is
known as the "fried chicken director-gen-
eral of Hollywood."

Miss Huff and Jack Pickford are doing
another picture, because the public has ex-
pressed a great fondness for these two clever
youngsters and they are liable to be seen
together for some time to come.

The hand that

works the

shooter taps

the keys.

$/*

OPE I! SIHD

Doping His Own
Dare-Deviltry

Were you to listen outside Bill Hart's dressing room these
days, you would hear a click, click, click; then a long and
painful pause — followed by some more clicks and a few choice
Nevada cuss words.

Bill is trying to convey his thoughts to an eager public
through the medium of a typewriter. Somehow, Bill can't
quite get the hang of the thing, and the finger that is so quick
on the trigger is strangely stiff on the keyboard. As yet,
Bill is a one- fingered artist.

As a typist, Bill makes a corking fine cowpuncher.

Fritz ana tltc group ere in the oloee tea: foreground, .
Trie i.ien tens show they tf see him approaching, una begin
to stall, as they , jefcth feigned carelessness, ber-tn to
csonavr.to, v/alki:;g doi.Ti into the buok,'vound toward
the seat of the horsee, ae quickly returns the nods of o
cou.-le of the".,/)Vp( (ma rltuxno their nods, standing hy
Fritz, eel nateMng then as they leav e.

S OF 105 *ff»

laT'lS AUW.2 OF yra

SESS

y 1&

lash of the

his

sheriff and ite men glanoing 'oacl:

trying to hide their real foelinge-

•jpcasior.p.i",.y. and trying to hide their real foelinge-
fcnfl also 4£ip Bhorzing that they half auspeot they vcts
ti -ned the-isdves off to kin.

S «a •

He is standing , witfc one hand on the ponyr( s neel:
looking off the scene, .and in spite of tie-erect

iVmger ho is In, he 1b enjoying the situation./
Suddenly hcv;ever3otty fl&chos into hiB mind and
Jti3i^£aLKa>:Eh7^pH3.idjcct hln osrproscion changes in a flesh to one
of blank dinmay.

The Fall

Jerome
Shorey

To the audience chamber of the Winter Palace came the Czar and Czarina, and patiently awaited the arrival

of the erstwhile drunken driver of sleds.

NICHOLAS ROMANOFF, Czar of all the Russias,
absolute monarch of the largest territory ever
governed by one man, sat in the library of the
barbarically beautiful Winter Palace, and sighed.
He was, in this year of grace 1901 still in full and un-
questioned power, not yet even a dummy duma to ask

awkward and imperti-
nent questions. Yet
the fates were unkind —
no man so unfortunate
as Nicholas Romanoff.
For of what use was all
this power if the Czar-
ina would insist upon
giving birth to mere
daughters. The arrival
of another was an-
nounced just that morn-
ing, and for hours the
Czar, before whom mil-
lions trembled, had sat
there, biting his fingers
and drumming nervous-
ly on the table.

He felt curiously
alone and helpless. The
latest of a long succes-
sion of "holy men" had
died, and no successor
had been found. It was
a peculiar office, osten-
sibly religious in nature,
but in practice anything
but that. It combined
the duties of private
confessor and medicine
man. Though head of
the church, as of the
state, Nicholas was more
superstitious than the
most ignorant of his
mujiks. He knew he
was weak, and knew
therefore that any insti-
tution which submitted
to his spiritual guidance,
must be unsound. Thes?
things he did not admit
even to himself, and yet
he surely felt them, for
constantly he turned,
not to the bishops, but
to obscure mystics, de-
manding guidance and
prophecy.
So, his holy man being dead, it was necessary to find
another. There were still strong men in Russia, even
among the Grand Dukes, who could have been of the
greatest value to Nicholas — who might, indeed, even yet
have saved the rotting fabric of the dynasty. But it was
not good common sense that Nicholas wanted, but some-

of the Romanoffs

An authentic account of the back-
stairs history of Russia rwhich led to
the downfall of the Czar and the
founding of the Russian Republic

thing which could be construed as a message from an-
other world. So he had made known his need of a holy
man with the gift of prophecy, to his bishops, and now
nibbled his nails waiting for word from them. At length
Bishop Meliti was announced. It was indeed a message
of hope that he brought.

Several years before, the good man told the Czar, he had
been absent from home for several weeks. Returning by
way of a certain village, he went to the home of one Ras-
putin, a sled driver, to engage him for the remainder of
the journey.

"No sooner had I told him my name," Meliti continued,
'"than he was overcome with violent tremors. Then he
gasped out that my wife and child were dead.* To this
he added that I would become a monk, then a bishop. We
hurried to my home. I found it full of mourning neighbors.
His first prophecy was fulfilled. Now the other two have
been fulfilled also. I was so impressed that I proclaimed
him prophet then and there, and sought his blessing. I
believe he has devoted himself to wandering about, preach-
ing, and like many another prophet, rejected and scorned
by his own people. Send for Rasputin, Your Majesty, for
I believe he is in truth a holy man."

"There is an old saying," Nicholas mused, "that the
Romanoff dynasty will be saved by a monk from the
Siberian wilderness. Perhaps this is he. In any event, it
is worth trying. Prince Felix shall go for him. What you
have told me renews my confidence in my destiny."

What the simple Bishop did not know was that the
drunkard Rasputin had heard of the death of Meliti's wife
and child in a vodka shop, and as for the prediction of his
advancement, what more natural? It was the way all
bishops were made. Nor did Meliti know that previously
Rasputin, so far from any claim to holiness, had been
notoriously sacrilegious. He had even committed the un-
forgivable sin of tearing the sacred ikon from the wall of
his home, and ignoring the terrified screams of his wife
and children, had dashed it to the floor. Yet, strangely
enough, liar and charlatan though he was, he went from
Meliti's house that night a changed man, with a fixed belief
in his own destiny. He could not guess what that destiny
might be, but he returned to his home, bearing a big.
roughly made cross, and informed his family that he was
going out into the world to preach a new gospel. The
villagers laughed, and flung stones when he insisted upon
preaching, and his family thought him insane, so he dis-
appeared into the wilderness and went from village to vil-
lage, a strange, weird figure.

But no matter how holy his mission, Rasputin never
permitted it to influence him in the face of necessity. If
he could not get what he needed in any other way, he stole.
Being in need of a horse collar when near his former home,
he made his way into the shop of a harness dealer at
night, and might have escaped but for an alarm raised
by a child. He was caught, and next day paraded through
*Priests in the Russian (or Greek) Catholic Church are not requi

They saw first, and never quite forgot, two great staring eyes,
looking out beneath shaggy brows.

the streets, the collar hung around his neck, a foolscap on
his head, and the words "Thief" in big letters across his
shirt. On his feet were huge boots, weighing forty pounds
each, which he dragged wearily along while the crowd
hooted and reviled him.

In all that throng he had but one friend. In the wilder-
ness he had won the dog-like admiration of Anna, a gypsy
girl, and through all his vicissitudes she had accompanied
red to take the oath of celibacy.

Photoplay Magazine

him, never complaining, always his slave and votary.
Beautiful, in her wild way, she struggled like a tigress with
Kasputin's captors, until she was bruised and exhausted.
Rasputin trudged on in silence, neither commending her
nor telling her to desist her foolish efforts.

Then a cracking of whips and the shouting of Cossacks
— the turning point in the life of Rasputin had arrived.

' Way for Prince Felix, messenger of the Czar, ' shouted
the leader of the troop, and a royal equipage was driven
into the midst of the now silent and wondering throng.
Dully Rasputin looked at the Prince.

"Who can tell me where I may find Rasputin, the holy
man?" Felix demanded.

The villagers shifted uneasily and the more timorous
souls began to skip away to their homes. Knouts had
been wielded for less — much less, than this, the punish-
ment of a man wanted by the Czar for good or ill.

"Well, speak up," Felix called,
impatiently.

Again silence.

Rasputin raised his head and
shook his shoulders like a great
bear, awakening from a long sleep.

"Speak dogs," he roared. "Is
there no one with courage to tell
the messenger of the Czar that /
am Rasputin?"

"You! " Felix exclaimed.

"Yes, I. But do not punish these
stupid people, Your Highness.
They do not appreciate me."

"Then release him," Felix or-
dered. "He is summoned to court."
There was nothing for it but to
obey the mandate, even though the
man was, apparently, a thief.

Another moment and Rasputin
was seated beside the Prince, and
looked down upon his former neigh-
bors with scorn so intense that, in

view of the sudden change in his fortunes, it was laughable.
Only not to Anna. Through her bewilderment came the
realization that she was losing the one thing in her life that
she lived for. Flinging herself on her knees before the
carriage she pleaded with Rasputin, to take her with him.

"W7ho is she?" Felix asked. "Your wife?"

"I do not know the woman," Rasputin replied coldly.

"She must be insane. Let us drive on."

* * *

To the audience chamber of the Winter Palace came
Nicholas Romanoff, Czar of all the Russias, and his Czar-
ina, and there surrounded by relatives and courtiers,
patiently awaited the arrival of the erstwhile drunken
driver of sleds. The nervous tension told on everyone.
Who could say what this event might portend? Most of
the court folk, less superstitious than the Czar, looked
only for another charlatan. But would he be a powerful
influence, or a man easily handled by the circle that really
ruled Russia? That was the problem. The Czar him-
self, with all the simple, credulous faith of childhood,
waited for this rascal as if he himself had been the rascal,
and about to be visited by a Czar. Rasputin was an-
nounced, the door opened, and a strange apparition ap-
peared on the threshold.

They saw first, and never quite forgot, two great star-
ing eyes, looking out beneath shaggy brows. They saw a
dirty face, crowned by a mat of knotted, greasy hair, with
long, black beard, tangled and twisted. They saw a tall
figure, clad in rags, but less conscious of those rags than
the Czar of his uniform. They saw a rough cross, shaped
of natural boughs from the forest, held aloft. This strange
apparition advanced toward them with uneven steps.
Fie reached the table beside which the Czar was

The Fall of the Romanoffs

NARRATED from the story told by Ili-
odor, himself, upon which is based the
Herbert Brenon photodrama.

Cast of Characters

Rasputin Edward Connelly

lliodor . Iliodor

Czar Nicholas 11 Alfred Hickman

The Czarina Nance O'Neil

Kaiser Wilhelm George Dunueburg

Czaravitch (Age 3) ...Lawrence Johnson

Czaravitch (Age n) Cyril Brenon

Anna Galanta

Feojan William E. Shay

Rasputin's Father Ben 'Graham

His Mother Virginia Ross

His Wife Germaine Bourville

Meliti J. R. Echazabal

seated, paused a moment, and then with all his strength
brought his huge, hairy fist down upon the table with a
crash. Several courtiers stepped iorward, their hands
upon their swords. The Czar leaned back in his chair,
gasping.

"The shock, Your Majesty, where did you feel it — in
your head or in your heart?" cried Rasputin.
"In my heart," the Czar barely whispered.
"Then, Your Majesty, rule Russia from your heart, and
God will reward you in that you shall have a son."

Thus, at the first moment of his arrival at court, Ras-
putin disarmed suspicion and ingratiated himself with the
Czar. The scheming bureaucrats saw nothing to fear in
this wild-eyed fool who told the Czar to rule from his
heart. The phrase became a jest in the secret councils.
And His Majesty, naturally, was highly flattered by the
suggestion that he really loved Russia, and had the in-
terests of his people at heart. So
Rasputin was tolerated by the rul-
ing class, and left to strengthen his
hold upon Nicholas without op-
position. Had the bureaucrats
guessed how absolute would be-
come the rule of Rasputin over
their royal master, he would have
been disposed of before he had time
to learn how to protect himself
against his enemies. But Rasputin
was too clever to let his cleverness
become known too soon to them
who might later have cause to fear
him. So he took up his abode in a
magnificent suite in the Winter
Palace, and subtly, day by day,
tightened his grip upon the weak-
ling who pretended to rule Russia.

In a barren cell in a monastery,
Iliodor, a young monk from Siberia,
devoted his days and nights to
penance and fasting. But night after night came the dream
of a great pyramid of humanity, the peasants at the bottom
supporting the. landowners and manufacturers, these hold-
ing upon their shoulders the aristocracy, and the latter in
turn sustaining the throne, while the oppressed masses
below groaned unheeded. Ignorant of politics, the young
monk thought his visions sent by the devil, and prayed
incessantly to be purified so that he might no longer sin
even in his unconscious moments by imagining such mon-
strous things of his Czar.

* ^ ^

One day the Czar summoned Rasputin, and with all the
glee of a child, imparted the information that his prophecy
concerning a son was to be fulfilled. It never occurred
to him that the child might be a girl. So completely, in
small matters, had Rasputin, by studying his desires, won
the confidence of Nicholas, that Rasputin could have made
the most extravagant promises, and the Czar would have
believed. So he had promised that there should be a son,
and that settled the matter. If Rasputin himself had any
doubts, he succeeded in concealing them. With everything
at stake, never was gambler so cool as he. Should an-
other daughter be born. Rasputin's very life would be en-
dangered by the wrath that would result, and would
demand a victim. But apparently Rasputin was as per-
fectly convinced as his master, and calmly awaited the day
that would make him absolute in his control over Russia's
monarch, or send him back to the wilderness, an outcast,
perhaps a fugitive.

History records the facts. The gambler, charlatan,
drunkard, libertine, liar, thief, and all-round scoundrel
won. Some have been so shallow as to see in this perhaps
some shadow of proof that Rasputin did possess occult

Rasputin had been notoriously sacrilegious.

He had even committed the unforgivable sin of tearing the sacred ikon from the wall of his home
and dashing it on the floor.

powers. But he knew, when he was first brought to court,
that he had been summoned because Nicholas was in the
depths of despair over an addition to his extensive collec-
tion of daughters. He knew there was just one thing the
Czar wanted to hear, and regardless of consequences he
must be told that one thing — that he would have a son.
Ignoring that step would be turning away from the oppor-
tunity. So Rasputin took the chance, and won. But not
once again in all his career at the court of the Romanoffs
did he attempt to prophesy unless the dice were loaded.

So this holy man considered the conditions at the Winter
Palace, and concluded that now he was sufficiently safe
so that he could indulge himself in dissipations and in-
trigue. Until now he had been extremely cautious, almost
ascetic, in fact, in his conduct. But with power, such as
never had been possessed by any man not born to the
purple, his mind went back to Anna, the faithful, dog-
like Anna. He recalled that she was a clever woman, in
her way, and certainly her beauty would be of great value
to him at court. He decided to go in person to his old
home, and find her.

But if he expected that his high honors would win for
him the cringing adulations of his former neighbors, he

was mistaken. For while he was rising in the world, his
family, which he had forsaken, was starving. His mother
was dead, his father and his three young children gone —
where, no one knew. His wife, still faithful to him, refused
to go with them, but stayed on, confident that her husband
would one day come for her. He came, but not for her.
Anna still lingered in the village too, for the same reason.
She was an outcast, but she did not care. She was used
to hardships from childhood.

So Rasputin came in grandeur, riding in a sleigh from
the royal stables, with an escort of Cossacks. Nor, from
the glowering looks that he encountered, was this an un-
wise move, aside from the matter of display.

Very well, then, if there was no welcome for him, he
would make his visit brief. Quickly he found where Anna
lived, and soon she was beside him, wrapped in the heavy
fur robes. Turn, driver — back to court. But not until a
figure darted from one of the humblest of the huts in the
village.

"My husband! You will not go without me!" she
shrieked.

Rasputin's reply was a curse. The sleigh disappeared in
a shower of snow from flying hoofs. The wife dropped in

Photoplay Magazine

the snow unconscious. A short time later she died — broken
hearted — while Anna was installed in that home of all that
was iniquitous, the Winter Palace, one of her gowns in
itself costing enough to have supported a peasant family
for a year.

The belief that Anna's cleverness would be useful in the
jntrigues of court, was soon justified. The gypsy girl
quickly learned in what she was deficient, and adapted her-
self swiftly to conditions. Moreover, she became at once
unscrupulous. With the revelation that Rasputin had not
brought her to the Winter Palace merely because of affec-
tion, but to employ her as a tool, and with the opening
up of the exciting life of the court, playing with huge stakes
among men and women of vast influence, Anna lost some-
thing of her singleness of idea. Rasputin was still first,
but the intense, overpowering, emotional appeal was tem-
pered by the realization that it was one-sided. She was his
ally, rather than his mistress.

Then came the revolution of 1905, and in the turmoil
that swept Russia there were other things demanding the
immediate attention of the court, than the petty back-
stairs diplomacy in which Rasputin was the ringleader. At
first the Czar and his ministers believed that they could
suppress the disturbances in the same manner in which the
Romanoffs had ruled for generations — with gun, sword and
knout. But this time it was no mere mob in the capital
with which the soldiers had to cope. All Russia was
aroused. The peasants had begun to catch the meaning of
democracy, and were demanding a voice in the govern-
ment.

So again the Czar turned to Rasputin for advice, and
that scoundrel, now beginning at last to understand some-
thing of statecraft, told His Majesty that the only means
by which the unrest could be quieted was by convincing
the people that they were wrong. He urged the sending
out of orators — spellbinders — who would work upon the
patriotism of the masses.

In a barren cell in a monastery,
Iliodor, a young monk, prayed
to be purified so that he would
not imagine monstrous things
of his Czar.

Meanwhile, the young monk Iliodor had ceased dream-
ing, and had achieved a reputation in Feofan's Academy
as the most brilliant orator of the day. To Feofan Ras-
putin went, and so met Iliodor. No greater contrast could
be imagined than between these two men, who were destined
Lo become the leaders of the two great factions in Russia —
the one fighting to maintain the unholy despotism, the
other, when finally enlightened, seeking as determinedly to
destroy it. Rasputin was uncouth, illiterate, brutal, living
from day to day in a world of despicable thoughts and
more despicable actions. Iliodor was cultured, refined,
gentle, a dreamer of the highest dreams. Rasputin imme-
diately recognized in him a tool perfectly shaped for his
purpose.

At first Iliodor, in sympathy with the people, was re-
luctant to undertake the mission that Rasputin proposed.
His reluctance was the stronger because he was shocked
by the ignorance of this vulgarian who spoke to him in the
name of the Czar. But then his charitable nature asserted
itself. After all, were not the twelve who followed the
master, men of ignorance. Besides, Iliodor still had faith
in the Czar. Living remote from court, he had no means
of knowing the real character of the man who pretended
to rule Russia and was willing to believe that the cause
Rasputin urged upon him was a just one. So he accepted.
Soon afterward, Iliodor — popularly christened "The Mad
Monk" — made his famous tour of the Russian cities, with
a huge mechanical serpent, labeled "The Spirit of the
Revolution." He told the throngs that once this serpent
fastened its coils upon Russia, the people, no less than
their rulers, would be destroyed. Then he would summon
a giant, whom he called Truth, who set the serpent afire,
whereupon, out of the gaping mouth, there rushed troupes
of children garbed as imps. The simple allegory was effec-
tive as much on account of Iliodor's impassioned appeals,
as because of its own effect upon the childlike imaginations
of the populace. Iliodor became famous overnight, and
after a pretense at reform, the Czar granting what was
expected to become a representative parliament, the revolt
subsided.

Iliodor now, through his association with the leading
men of Russia, discovered the extent of Rasputin's in-
fluence over the Czar. And Rasputin was impressed with
the fact that he needed just such ability as that of this
young monk, to enable him to perfect his position. He was
still the butt of the intellectuals, and he was too lazy to
acquire the learning he needed to cope with them. So he
decided to draw Iliodor to his cause as he had Anna. But
he knew that here the task was more difficult. He could

not openly tempt Iliodor with wealth or power.

He knew the young monk was conscientious and

sincere. So he made his appeal in the name of the

good of the nation.

Iliodor came to the Winter Palace to see him,

his faith already shaken. He was no longer the

monastic innocent, but a man of experience, on his

guard.

"I want you to join me, here at court, to be my

right hand in. everything," said Rasputin.
"But why?" Iliodor asked.
"You know I have no education. I need your

"Why do you need my help?"

"Because I rule Russia, and I want you to write speeches
for me, and help me in all things where I need you,'7
Rasputin blurted out.

"You rule Russia? I thought the Czar ruled Russia."

"I tell you / rule Russia," Rasputin thundered, pounding
the table.

"But how?"

"Come with me. I will show you how."

Rasputin seized Iliodor by the arm, and hurried to an-
other part of the Winter Palace. It was a sort of throne

'Where did you feel the shock, Your Majesty, in your head or your heart?" .... "Then rule Russia from your heart and God

will reward you in that you shall have a son."

room, and the strangest gathering was assembled that
Uiodor had ever seen. Fortune tellers of all kinds, crystal
gazers, fakirs, spiritualists, they huddled about in little
groups, a throng of human harpies.

"What is this? What does it mean?" the bewildered
monk demanded.

"Wait. Be silent. Listen. And watch," Rasputin re-
plied.

In a moment the Czar entered, and with all the dignity
he would have assumed at a gathering of princes, seated
himself upon the throne. Rasputin stationed himself at
his master's right hand. The Czar spoke a few words in
a low tone to Rasputin, and that worthy addressed the
crowd :

"His Majesty says that the Duma has become trouble-
some. It is making unreasonable demands. It is trying
to rob His Majesty of his rights. Tell me, my friends,
what shall we advise His Majesty to do?"

The charlatans busied themselves with their incanta-
tions, each in his own manner. There was a babel of
noises, a writhing mass of contortions. Finally from a
corner came a shrill voice in weird tones:

"I see the Duma dissolved. I see the rascals going to
iheir homes. The Little Father calls for a new Duma."

"Ah, that is it, Your Majesty," said Rasputin. "Dis-
solve the Duma and summon a new one — and," he added
in a lower tone, "see that the elections are conducted more
carefully this time."

"Good! " Nicholas exclaimed. "Good." Then he whis-
pered to his adviser again.

"My friends, the Jews are becoming troublesome again,"
Rasputin called. "What do the spirits tell us should be
done with the Jews?"

Again the rabble performed its function, and again a
voice called out:

"I see the Jews flying from before the Cossacks. The
Cossacks shoot them down and hack off their heads. The
ground is covered with the blood of the dogs."

And so another pogrom was ordered.

A certain regiment had mutinied against its officers,
accusing them of various kinds of oppression. At the sug-
gestion of the mob, the Czar ordered the soldiers all flogged.

Iliodor would wait to hear no more. Fortunately the
session of this strangest tribunal the world has ever known,
had ended, and the Little Father departed. The monk
approached Rasputin, holy zeal blazing in his eyes.

"So this is how you rule Russia, you scoundrel," he
(Continued on page no)

Impressions

OLIVE THOMAS
Dimples; a hundred
and thirty pound box
of chocolates; blue
cornflowers in a white
vase; boudoir furni-
ture.

WILLIAM
DESMOND

Cucumbers and Peo-
nies; Shamrocks and
Lilies; Verbenas in a
whiskey glass; a cler-
gyman at a prizefight,
swearing enthusiastic-
ally.

IRENE CASTLE
Bad dreams of "Eat
and grow thin;" a der-
vish from Dubuque;
a suffragette of the
dance; vaudeville.

MARC

MACDERMOTT
A Roman citizen, a
figure from Thack-
eray; an artist who has
had a successful busi-
ness career against his
will.

MOLLIE KING
A breathing sapphire;
a'titian girl, three cen-
turies after; the laugh-
ter of the pretty baby
at the next table.

ANTONIO
MORENO
A gentleman in the
train of Isabella; Marc
Anthony, the boy;
what a Hapsburg
Monarch ought to
look like.

<By

Julian
Johnson

CHARLES CLARY
A courtier of Louis
XVI; the original aris-
tocrat; Steveremonde
the ist; the spirit of
Prussia.

ALICE JOYCE
Mona Lisa, of Cleve-
land; the Madonna;
Nora Helmer of St.
Louis.

GEORGE M.

COHAN

Little Mr. U. S., the

spirit that will wallop

Germany; Broadway

in pants; Chicago's

motto.

CONSTANCE
TALMADGE
Mrs. Rinehart's Sub-
Deb; a sheaf of golden
rod; Webster's defini-
tion of "ingenue.''

RAYMOND
HATTON
Hamlet; Quasimodo;
Rigoletto; Pagliaccio;
the king who wished
to save Joan and slew
her.

ALMA RUEBEN
A Miniature upon
ivory; deep red roses
in an onyx vase; a
tropic sunset; the
Minnehaha of Long-
fellow's dream.

Frances Marion

Soldieress of
Fortune

She Reversed the Trail
of Her Forefathers
and Went Eastward
to Fame and Fortune

By
Elizabeth Peltret

THE incarnate spirit of
San Francisco is
Frances Marion, sol-
dieress of fortune and writer
extraordinary of see-able
screen stories. Not the kind
of free lance soldier that seeks
relaxation in overturning a
South American republic twice
a month, but a sort of fem-
inine Lochinvar who came out
of the West to win a place for
herself in the sun, just as her
ancestors trekked over the
plains or rounded the Horn in
the late '40s to seek adventure
and gold in a California that
was little more than a myth
to those on the other side of
the continent.

Miss Marion has been suc-
cessful, if a salary that ap-
proximates something like
$30,000 a year is any criterion.
She only has to write photo-
plays for Mary Pickford now
but prior to her return in
state to the land of her birth
a few months ago, she had
written for other famous stars,
including Clara Kimball
Young, Marguerite Clark,
Billie Burke, William Farnum,
Alice Brady, Robert Warwick,
Marie Dressier and Kitty
Gordon.

Frances Marion is the
daughter of a long line of

California pioneers who helped to build up the Golden
State from its Argonaut days. And it was this same spirit
that took her with her mother to Alaska in the days of the
second gold rush, and following the same lure, farther
into the Yaqui Indian country of Mexico than any white
women had ever dared venture before.

But on a certain day in August of the current year this
venturer into paths that few of her sex have dared explore,
sat in an upstairs room that seemed composed chiefly of
windows which commanded a vista of beautiful Hollywood.
The room was tastefully furnished and the only indica-
tions of its business-like purpose were a typewriter and a
swivel chair.

Photograph by Mishkin

"I prefer working at home," began the heroine of this
tale, "because the studio is such a bee-hive of activity.
And how can they expect a poor scenario writer to plunge
into deep and silent study when Rome is burning on the
lot across the street; Julian Eltinge, outside your door, is
discussing the latest New York fashions with Mary
Pickford; and 'Doug' Fairbanks is shooting up a Mexican
village not twenty feet from your window! While at
home there is nothing to worry about but work — except
seeing to the cook's comforts and keeping her in good
humor!"

The latter, impresses Miss Marion, is the greatest
responsibility of her life.

Photoplay Magazine

Frances Marion was born in San Francisco and educated
al the public schools. Three years were spent at Hopkins
Institute of Art preparing for a career as an artist. At
the same time she was studying with some of the foremost
Fnglish scholars, hoping to combine illustrating and short-
story writing.

One day Jack London, an intimate friend of her family,
said to her:

"If you expect to write stories pulsing with real life,
or put upon canvas compositions that are divinely human —
you must go forth and live! Luxuriating at home, learn-
ing, parrot-like from books — these are only the first
stepping-stones, necessary but not inspirational."

"How shall I go about it?" she asked helplessly.

"Live the lives of the masses, study human nature by
rubbing elbows with the people. Go out and work with
them, eat with them — dream with them. That is what I
have always done."

"I did," said Miss Marion, laughing. "I started out
with dramatic seriousness — confident that some day I
would become a great authority upon sociological prob-
lems. But, like Hashimura Togo, before I mastered the
situations I was always fired for in-
competency !

"There were three days spent
in a telephone office, for
instance. Always im-
patient with the
Hullo Girls,' I

needed but two hours to become a sympathetic admirer.
My head throbbed, my ears and arms ached — and no one
dreams of how many cross-patches with barbed-wire voices
there are in a telephone operator's world. After my 'You
are not suitable for the position' — I wrote an unpublished
volume of 'life at the switch!'

"The next 'job' was in a cannery. It was peach season.
Here I thought I would find much and varied color — and
I did. Women of all stratas of life were working there —
from all nations — and of all colors! To the swish of the
peach and click of knife, they talked much — as women
will — about themselves, their homes — and their neighbors!
All went well, the volume on sociology grew fatter — until
one day a peach slipped from my tired hands and
'Keystoned' the woman sitting next to me. She was of
the Latin race, weighed three hundred pounds — and was
temperamental! She said that I did it on purpose! Ten
minutes later the foreman gave 'walking papers' to all
that was left of me!

"As the weeks went by I accepted many positions of

interest, and, though I did not plan for it at the time, these

varied experiences have been worth their weight in gold

to me — especially in the writing of

scenarios. For there is no phase of

ife the screen does not touch

upon.

After the great fire

when San Francisco

was chiefly occu-

In recounting her ex-
periences as a member
of San Francisco's art
colony Miss Marion
proves that the oft
repeated story of the
poor struggling artist
isn't always a myth.

Staee
Photo

"I'll never forget the mo-
ment I first saw myself on
the screen" said Miss
Marion "I confided to
myself right then that as
an actress I was a very
good cook."

Frances Marion — Soldieress of Fortune

pied in looking out for the
necessities of life, she joined a
colony of merry but moneyless
artists and writers who lived in
studios up on the top of Tele-
graph Hill. Keith, Cadenasso,
Harrison Fisher, Will and Wal-
lace Irwin and Jack London
are only a few of the names
that made history for San Fran-
cisco's art colonies.

"Art is a very cruel master,"
sighed Miss Marion reminis-
cing, "and there were many
days The Colony was forced
into a scanty diet of French
bread and coffee. But we were
happy — because it was Art, you
see — and being artists, even if
it were painful, we could not
abandon our superior disregard
for anything so unaesthetic as —
food! Our 'bete noir' was our
landlord! Three times a day
the Unrelenting One would
trudge up the Hill and drag us
from our hiding places — under
the sink! One day, when even
my new excuses failed to work
their charm, I decided upon
the only alternative. I would
sacrifice my art! Keeping it a
dark secret from The Colony I
accepted a position painting
street car signs. While The
Colony thought that I was sat-
isfying my soul by sketching
eucalyptus trees shadowed in
fog, I was really at work paint-
ing vermilion tomato cans on
lavender backgrounds, or ex-
pressing in brilliant hues the
charms of the 'Fifty-seven
Varieties.' And, as I was hun-
gry, those impressions were a
good deal more vivid than the
more aesthetic impression I had
of the wind swept hills of Marin
County.

At the end
of the week,
with my enor-
mous salary of
fifteen dollars,
I invited the
whole
Colony to
dinner. I
cooked it
all myself
and what
a feast it was!
We had big plat-
ters of ravioli and
spaghetti — and we bought
many long loaves of the French
bread which can be found no-
where so good as in San Fran-
cisco. With it all we had some
of San Francisco's 'red cham-
pagne'— the kind costing twenty-five cents a gallon!

"As the meal progressed tongues were loosened — and we
all confessed! Starvation had driven us to the slaughter of

Art. A painter of prominence was designin
plates; a celebrated authoress was writing 'sob'
(Continued on page 124)

Photo by Stagg

g fashion
columns;

Obliging the photographer on the Moore- Pickford lawn at Hollywood.

Our Mary and A
Her Owen

Photographs posed especially for Photoplay

Is Mary giving her chauffeur
the remainder of the day off?
She is not. She is telling
Friend Husband that he
missed one bump on the way
home, and he can't drive her
any more.

Mary is so tender hearted,
she just can't bear to see
Owen hit the poor little
inoffensive ball with that
nasty big club. Who
wouldn't be a golf ball,
in such circumstances?

Mary and Owen are more like
friends than married folks.
Perhaps this is because Owen
has learned the fine art of
listening, a great accomplish-
ment in a husband.

"Percival Malone, you're a coward!" exclaimed Constance Randall. We all thought, from the slight pause she made before
the word "coward," that she was going to employ a qualifying adjective of a nature more positive than polite, but she didn't.

The

"BIG SCENE"

This is the first of a series of great short
stories with motion picture themes by the
author of "The Painted Lady," "The
Brute, " "A Song of Sixpence, " and other
"best-sellers." Watch for his second
story, "The Test" in the December issue.

ILLUSTR
CHARLES D.

kERCIVAL M A L O N E ,

you're a coward!" ex-
claimed Constance Ran-
dall, in her very best
screen manner. Then she turned,
with a look of unutterable scorn,

and without once glancing back, walked out of the studio.
It was a most effective exit.

We all thought, from the slight pause she made before
the word "coward," that she was going to employ a qualify-
ing adjective of a nature more positive than polite, but she
didn't. As for myself, I instinctively stepped forward, as
though to ask her to hold the pose. It was quite the best
thing I had ever seen her do.

Everybody was watching her so interestedly, in her
fetching Red Cross uniform, that they paid no attention to
Percy. Everybody, that is, except our "heavy," Jerome
Kerns. He said, afterward, that Percy actually wept. I
thought it not at all unlikely.

Percy Malone was the best camera man the International
possessed, which was saying a good deal. But once it was
said, there seemed nothing more to add. He was one of
those men who apparently feel that instead of belonging in
the world, they have somehow intruded, and must therefore
assume an attitude of constant apology. Good-natured,
smiling, always ready to do anyone a favor, he still man-
aged to convey the impression that he felt himself continu-
ally in the way. The world is apt to take such people at
their own valuation, to assume that they are mere lay fig-
ures, incapable of appreciating the turbulent passions, the
love, and hate, the jealousy and the revenge, that circulate
about them. Of course we all knew that he absolutely wor-
shipped Constance Randall, in a self-effacing sort of a way,
but none of us took it seriously, being no doubt far too
much occupied with our own affairs — of the heart, or other-
wise.

None of us, that is, except Constance. She was a girl
who took everything seriously, including her duty, as she
conceived it, to her country. Hence it did not greatly sur-
prise us, when she gave up her modest seventy-five a week
and joined the Red Cross. Constance had been a trained
nurse, before she went into pictures, and many of us
at the studio thought she would have done better to have
remained one.

She could do certain small things well enough — light,
unimportant parts that nobody else wanted, but nature
had not designed her to be a second Mary Pickford, and
it was to her credit, I think, that she knew it. And yet,
she was pretty — undeniably pretty; but it takes a lot more
than that to make a screen star. Jerome Kerns, who
boasted continually of his success with women, recognized
her beauty before she had been with us a week, and
attempted an affair with her, but Constance, with her usual
seriousness, told him that she was not contemplating mar-
riage at the moment. It jarred Jerome more than he was
willing to admit, and accounted for his dislike for Percival
Malone.

I was busy in the projection room all the afternoon, on
the sub-titles of a picture I had just finished, and forgot
all about Percy and his affairs until I was leaving the studio
to drive up to town. It had begun to rain, a nasty drizzle,
and just as I turned out of the gate I saw a dejected figure
step aside to allow me to pass. It was Percy, making for
the trolley. Something pathetic in the droop of his shoul-

By Frederic Arnold Kummer

ders arrested my attention,
stopped.

ATET> BY
MITCHELL

'Get in," I called to him, "and
I'll drive you up."

He hesitated for a moment,
and I thought he was going to
refuse. Then quite suddenly he climbed in beside me, mur-
muring apologies for giving me so much trouble. He was
quite wet.

As I contemplated his slender figure, his almost deli-
cate hands, I found myself wondering about his name.
Not the first part of it — that seemed appropriate enough,
but the Malone end. Shades of the fighting Irish! How
had it happened?

"What was the trouble between you and Constance this
morning?" I asked, conscious of a mild curiosity. "Why on
earth did she call you a coward?"

He shrank back in his seat at the word, as though I had
physically hurt him. Then he answered me, in his curious,
jerky way.

"Because I am one. She's right. A damned coward. I
wish to God I weren't, but I am."

"Nonsense," I laughed. "Why?"

"Don't you see? She's going over there as a nurse.
Right behind the firing line, I guess. She wanted me to
go, too, but I — I hadn't the nerve — hadn't the nerve."

"The nerve! " I roared. "You'd have had a blamed sight
more, to have left the company in the lurch, when you
know how short we are of good camera men!"

"No." He received my outburst quite placidly. "It
wasn't that. I didn't think about the company. I'd have
gone, quick enough, if I'd had the nerve. But I hadn't."

"What was the idea, anyway?" I asked. "Why should
she have wanted you to go?"

"Don't you see?" His slender fingers were twisting and
untwisting nervously. "I — we were engaged. Naturally,
when she decided to go, she wanted me to go, too. As a
stretcher bearer, or something of the sort. Carrying in the
wounded, you know." He shuddered. "It's not that I'm
afraid to die," he continued, with a sudden uplifting of the
chin that I liked. "I guess I can face that, when the time
comes, the same as anybody else. But it's suffering —
standing pain — having your arm or your leg blown off —
that sort of thing." He turned to me, his face twitching.
"I don't know why it is, but I never could stand pain. I'm
ashamed of it. Horribly ashamed of it. I wish I were like
you, and Jerome Kerns, you fellows with lots of nerve and
all that, but somehow, pain seems to get me. Even going to
the dentist. Things like that. I couldn't have a tooth
pulled without taking gas to save my life."

He gazed for a while in moody silence at the wet fields
as they flashed by. "Of course, when I told Constance I'd
decided not to go, she broke the engagement, and — well —
you heard what she said this morning. They've sailed by
now. She wouldn't even let me come down to the boat to
see her off. Naturally I feel pretty badly." He tried to
cover up his agitation by lighting a cigarette. "You see,
I'm in love with Constance. Terribly in love. I wanted
her to stay, and we'd get married, but she wouldn't do it.
Said she'd never marry a coward. Well, I guess she's
right. Only I can't help being the way I am. Not any
more than I can help having black hair, I guess. People are
just born the way they are, and that's all there is to it.
So what's the use?" He relapsed into gloomy silence.

Photoplay Magazine

I drove along for a time, not knowing in the least what
to say. I had never been bothered by what we call
''nerves," and as for Jerome Kerns, he weighed two hun-
dred, and was regarded as a scrapper of no mean order.
He despised Percy for his timidity — we all realized that,
since the day he presented him with a cheap wrist watch.

"Here, Percy," he had said, with a grin in Constance's
direction. "Wear this on your lily white wrist."

The funny thing was that Percy didn't get angry, or any-
thing like that, but took the matter quite seriously.

"Thanks, old man, I will," he said, buckling the watch
on. "All the fellows in the trenches do." Which some-
how spoiled the point of Kerns' joke.

Suddenly I realized that the man beside me was suffering
horribly. And who wouldn't, when the woman he loved
had just turned him down? I put my hand on his arm.

"Buck up, old man," I said. "We all have to go through
these things, at one time or another. I don't think Con-
stance has treated you quite fairly. Wasn't it General
Sherman who said he was scared stiff every time he went
into battle?"

"But he went," Percy remarked mournfullv. "And I
didn't."

We talked of other things after that, about a new picture
we were to start in a few days, with some war scenes in it,
and I think Percy forgot his troubles, for the moment, in
his interest in the thing. His picture sense was extraor-
dinary. It was a pleasure to direct, with him at the cam-
era. I thanked heaven that Constance had departed alone.

A week later an astonishing thing happened. We were
out on the lot, doing our best to get that big trench scene
with something of the atmosphere of actual warfare in it,
when the Chief, who had been looking us over earlier in
the day, sent word that he wanted to see me in the office.
I went, with an uncanny feeling that something was going
to happen. It did.

"Sam," he said, in his explosive way, "I don't think much
of those trench scenes you were shooting this morning.
They're phony."

"Of course they're phony," I replied. "Why wouldn't
they be, with a bunch of extras that don't know the differ-
ence between a bayonet and a balloon? What do you
want me to do? Shoot up the works?"

He chewed his cigar for a moment, walking up and down
in that nervous way of his. Presently he turned to me.

"We ought to give them the real thing," he remarked.
"The success of the picture depends on it."

"Then we'd better start for the other side at once," I
said. "The real thing isn't to be found over here."

"Just what I was thinking," he came back at me, with-
out batting an eyelash. "I'm going to send you to France."

I came to a moment later.

"I'm game," I said, "if they'll let us."

"I think I can arrange it in Washington," he said. "Go
on with your interiors. I'll let you know in a couple of
days."

How he managed it, I don't know, but the upshot of
the matter was that I was to take Stapleton, our lead, and
Jerome Kerns, and Kathryn Howard, to the other side, just
for the purpose of making a few hundred feet of film that
could all be shot, leaving out rehearsals, in less than half
an hour. Some expense, that, for just a few scenes, but
the Chief is a big man, and does things in a big way.

"Besides the big scenes, you'll be able to pick up a lot
of real stuff, troops, and artillery and all that. It will give
the oicture what it needs — reality. And think of the adver-
tising value of the thing. 'These scenes made in actual
trenches at the front.' You've got the chance of a life-
time. And you needn't be away over three weeks, if all
goes well. Go to it. I'll make all the arrangements."

In the excitement of the thing I forgot all about Percy
and his sorrows. I was reminded of them, when I told him
what we were going to do.

"Get ready, my boy," I said, slapping him on the back.
"We're going to France. Sail Saturday."

He turned suddenly, and I saw that his face had gone
white.

"You — you mean to say we're going into the trenches?"
he gasped.

"Not as bad as that," I replied, a bit annoyed by his
sudden show of fear. "They wouldn't let us in the first
line, even if we wanted to go, which I'm frank to confess
I don't. But we'll be somewhere up near the front, depend
on that, and maybe a shell or two will drop in the neigh-
borhood, and give us a bit of local color."

Percy didn't take to the idea at all.

"I— I'd rather not, Mr. Burton, i/ you don't mind," he
said. "Can't you get someone else?"

"Look here," I said sternly. "You're going over there
and shoot that scene if I have to give you knockout drops
and carry you on board on a stretcher. You know very
well there isn't anyone else I'd let handle it. Don't be a
quitter, my boy. After all, you'll not be taking any more
chances than the rest of us. Forget that first name of
yours, and remember the other one's Malone."

I think this last remark hit him worse than anything
else. He swallowed hard for a moment, then turned away
without a word. As he went. Kerns remarked to Stapleton
with that sneering laugh of his:

"Oh, mama! Please don't let any horrid soldier man
slap me on the wrist. I never could stand it, really."

Kerns began to pick on Percy the very day we started.
I imagine he'd never forgiven him for winning out with
Constance. He made fun of his seasickness, and smoked
strong cigars under his nose. He explained in detail the
chances against us from submarines. He pictured the hor-
rors of the sinking of the Lusitania. He told about open
boats under fire, about floating mines, raiders, German
prison camps, airplane attacks. From morning to night
he never let up, and I could see that the boy's nerves were
being worn to a frazzle. So I went to him.

"Cut it out, Jerome," I said. "I want a camera man
when we land, not a nervous wreck. Let the kid alone."

He promised to stop it, but I don't believe he did. Kerns
was a natural born bully.

On our last night out, while taking a little constitutional
on the upper deck, I came upon Percy, sitting huddled up
in a deck chair. He had a life preserver about his waist,
and another on his lap, and beside him was his satchel.
He shrank from my glance.

"What's the matter, Percy?" I asked.

"Nothing. Just thought I'd sit up here for a while."

"Aren't you going to bed?"

"No, Mr. Burton, I don't think I will, if it's all the
same to you."

I turned away in disgust. Percy and his fears were
beginning to get on my nerves. I began to wonder whether
I'd go to bed myself. Kerns, with all his bluster, spent the
night in the smoking room. I know, for I was there with
him.

The Chief must have been something of a diplomat, for
our credentials passed us up to the front with scarcely any
delay. Everything had been arranged through London,
and we were most courteously received. We left Kathryn
Howard at a receiving station, where she was to play the
part of a nurse, when we brought the wounded hero in,
and the rest of us motored up toward the firing line, in
charge of an agreeable young lieutenant. We saw a lot
of men, and ammunition trains and the like, but we did not
waste any time on them, at the moment, for I was anxious
to get through with that big scene.

We needed an actual trench for it, with real soldiers in
it, machine guns, and the like, and of course it was sup-
posed to be a first line trench, with the enemy only a short
distance away. Stapleton, the hero, was to be lying,
wounded and helpless, out in no-man's-land, and Kerns,

After all, it v/as not so very different from operating a camera. The motions were in
many respects the same. With a glinting fire in his calm grey eyes he sent a steady
gust of bullets down the slope, and into the faces of the approaching line of men.

Photoplay Magazine

the villain, instead of letting him die, was to crawl out
under fire, at the last moment, and redeem himself by
bringing him in.

After considerable grumbling on the part of the officer
in charge of the particular trench section we selected, we
arranged to pull off this little stunt early one morning; as
soon as the light was right. We supplied the men in the
section with unlimited cigarettes, and found them a splen-
did lot of fellows, from an Irish regiment, who did all in
their power to help us, and seemed to regard the whole
thing as a great joke. One of them in particular, the cap-
tain of a machine gun crew at the apex of the trench, took a
great fancy to Percy, and I was not long in discovering why.

"Sure, and so your name's Malone, is it, me bhoy?" he
grinned, extending a hairy paw. " Tis me own, as well,
and none better. Niver a Malone but enjoyed the smell
of powder better than annything else in the worrld, barrin'
a nip of the crature. Come and take a look at me beauty
over here." He led the way to his machine gun.

Kerns, who was standing nearby, started to laugh, but
when Malone of the machine gun turned and looked at
him, he swallowed it suddenly and very nearly choked.
Percy, in a sort of trance, listened while his new-found
friend explained the mysteries of the gun to him, and
showed him how to operate it.

The bit of trench we were in ran up to a sharp angle,
at the crest of a little rise, not over half a mile from the
firing line, and of course might have been under actual
shell fire at any time, but the front at this point had been
quiet for many months, and we anticipated no danger.
Still, on account of snipers, we kept pretty well under cover.
The officer in charge of our party didn't seem to mind, how-
ever, and rather laughed at our precautions.

We got everything ready the night before. Stapleton
and Kerns, in their uniforms borrowed for the occasion,
were to spend the night in the trench, so as to get in the
spirit of the thing, but Percy and I were to come out with
the camera at dawn. I did not think it wise to take any
chances with my operator, knowing his state of mind.
Kerns had been giving him nasty little digs all the after-
noon, and he was inclined to be jumpy. So I got him to
bed in a wrecked farm-house about two miles in the rear,
and bade him good night. He seemed a bit queer, when I
left him, so, an hour later, observing the glimmer of a can-
dle from his cubby-hole of a room, I went to the door,
very softly, and looked in. Percy was kneeling beside his
bunk, praying.

His face, in the candle-light, was drawn and pale. He
reminded me of a picture I had once seen, of a young
knight, praying in the chapel, the night before the battle.
I didn't know whether to smile, or be angry with him for
taking himself so seriously. In the end I did neither, but
went away as silently as I had come.

The next morning, a little before dawn, we started out.
The young officer who had been assigned to look after us
thought it better for us to take the trip through the com-
munication trench before it got light, as, for a part of the
journey, it was under the enemy's observation. We
plodded along through the mud, our elbows touching the
moist earth walls, our way lit up by the flash of the electric
torch carried by our guide. There was no suggestion of
actual warfare about us, the night was quiet, except for.
a distant rumbling of guns, far off, and occasionally I could
catch the gleam of a star bomb, over the bit of rise on
which the trench we were making for was located. For
any signs of actual fighting, we might as well have been
back on the lot at home. And yet, in spite of that vague
and oppressive silence, I sensed something of danger all
about, something that made me feel creepy and cold, and
then hot all over. I saw that Percy felt it. too, for his legs
wobbled a good deal, and his face, in the grey light of the
dawn, was greyer still.

"Let me take the camera, Percy," I said, in a whisper,

and he did so at once, with a look of gratitude that spoke
louder than any words. I began to wonder whether he
would lose his nerve, at the critical moment, and make a
mess of everything.

It was fairly light when we reached the trench, and we
found Stapleton and Kerns having breakfast with the crew
of the machine gun. They invited us to join them, and I
was very glad of the opportunity, for I had breakfasted on
some crackers and cheese, and the frying bacon smelt very
good. Percy, however, declined, on the pretext that he
wanted to set up his camera, and would eat later.

"Hurry up, Percy, old dear, and get her set before it
grows light, or some Boche may drift over in an airship
and drop a bomb down your neck," Kerns called after him.

Malone of the machine gun crew looked at him keenly.

"Faith, me lad," he remarked, " 'tis by no means im-
possible. There was wan flirtin' about yesterday mornin'.
Like as not she was gettin' the range of us."

Kerns subsided, and I noticed that he seemed to lose
interest in his breakfast, after that, and kept looking up
at the sky whenever he thought no one was observing him.

For the next hour I rehearsed Stapleton and Kerns in
their scene, and quite forgot any possible danger we might
be in, in my interest in my work. The gun crew sat around
and watched us, making sarcastic comments. But at last
we got everything right, and were ready to go ahead. Our
official guide, apparently bored by the proceedings, had
wandered off down the communication trench, and we had
things pretty much to ourselves.

I turned to Percy, who was standing like a statue behind
his machine.

"Camera!" I shouted. "Come on, boys. Everything
ready!" Then seeing that Stapleton and Kerns were in
their places, I turned once more to the camera.

"Shoot!" I said. Percy began to turn the crank, cool
as a veteran on parade.

The two men on the edge of the trench went through
their scene. Percy, in spite of his wavering knees, worked
with steady precision. The gun crew watched the affair
with grim smiles, while the men in the trench went through
the motions of firing their rifles, to keep up the illusion. I
was just congratulating myself on having successfully pulled
off the stunt, when there came a prodigious roar, as though
all the devils in hell had begun to beat an anvil chorus with
titanic hammers. And above the roar came a long, whining
phriek, followed immediately by a second and a third. Our
friends across the way had started a bombardment.

Things in that trench woke up with the suddenness of a
lightning flash. The gun crew sprang to their posts. The
men who had been doing the dumb show firing for us
made for their bomb proofs. Orders flashed along the line.
A tremendous explosion, not fifty yards from where I
stood, shook the ground, and a section of the trench, a
little further down the hillside, rose in the air, carrying
with it earth, planks, fragments of men. Stapleton, in the
act of being rescued, took matters into his own hands,
rolled over into the trench and crawled into one of the shel-
ters. Kerns, the valiant Kerns, who had laughed so
blithely an hour before, ran screaming down the communi-
cation trench, collided terrifically with the young officer in
charge of our party, who was hurrying back, and both
of them disappeared in a sea of mud. In my own headlong
dash for safety I paused just long enough to glance at
Percy. To my amazement, he stood calmly at his camera,
looking over across the machine gun emplacement toward
the enemy's lines. What he saw there I did not know, for
at that moment there came a crashing report, a mushroom-
like cloud over the machine gun, and when it disappeared,
the gun crew had disappeared with it. A fragment of the
shrapnel case cut one of the legs of Percy's tripod, and his
camera tumbled to the ground.

"Percy! " I screamed. "For God's sake get under cover! "
(Continued on page 112)

Is a Chaperon Always a "Hen?

' I 'HE young man who is so ardently holding his
own hands is William Parke, Jr. Why he
should hold his own hands when there is at least
one hand of Gladys Hulette not otherwise engaged
calls for explanation. For though Miss Hulette's
hand is not engaged, she herself is, and it is to
young Mr. Parke that she gave her promise true.

So the only possible reason why Mr. Parke holdeth
not the hand of fair Gladys is that there is an old
hen of a chaperone ri ht on the job. The young
folks met on the Tha 'aouser lot at New Rochelle,
where Jr's Sr. was directing Miss Hulette, and
that was more than a year ago, so you see they
have been very deliberate about the affair.

OUR IRENE
VILLAGE

IRENE FOOTE didn't learn to dance— she
danced. From the time she began to walk

her feet tingled whenever she heard music.
Rhythm meant movement. Her father, Dr.
Hubert Foote, of New Rochelle, believed in
the principle that all girls and boys should
be taught to earn their own living. So as
time went on, and little Irene's feet insisted
upon tingling and twinkling, Dr. Foote came
to the conclusion that the best thing for her
to do was go on the stage. Xot in a resigned tone
of voice like, "Well, I suppose there's nothing
for Irene but to go on the stage," but in a matter of course man-
ner of a sensible man seeing the right thing clearly.

And so Mrs. Vernon Castle became the most popular dancer

By Randolph Bartlett

How a determined little girl from
New Rochelle became a dictator
of fashions in dress and dancing,
and eventually a picture star.

of two continents, set the style in
the art until she voluntarily aban-
doned it, is the most photographed
woman in the world, created fash-
ions that were the admiration and
despair of millions of her sex, and
finally adopted a moving picture
career with equal success.

Just like that?

Well hardly.

Between

Paragraph

was

QUEEN

One and Paragraph Two several years
elapse — years of work, struggle, work,
disappointment, work, poverty and still
more and forever, WORK. She told
the story of those years — told it for pub-
lication for the first time — one evening in
her magnificent country home at Engle-
wood, told it as simply as a child telling
of some game, without affectation, with
full appreciation of its humors no less than
of its tragedies, told it so casually that the
listener hardly realized that it was a rec-
ord of achievement independent of influ-
ential aid, with few equals in the history
of the stage and its allied arts.

Written, the story can never be so im-
pressive without the memory of the pic-
ture of the slim bit of a woman who told
it — more petite even than she appears on
the stage and screen — slender, yet even in
relaxation suggestive of tremendous vital-
ity and strength. I shall try to repeat the
story in her own words, though the swift
flow of narrative outraced my best short-
hand. And right here I must interpolate a
personal tribute. Mrs. Vernon Castle is the
only woman I ever interviewed who does
not fly into confusion at sight of a pencil,
and exclaim, "Oh,
please don't put that
in." She had

\*—r *

Irene Castle didn't learn to dance, she danced;

her feet tingled whenever she heard music.

Before she was ten years old she was taking part

in all sorts of entertainments.

When Mrs.

Castle was

in her 'teens

it was decided

that she should

go on the stage.

But "getting on" was

not easily accomplished.

decided to tell the story, went
about it in the same businesslike
manner that has been a great
factor in her success, and knew
when she had finished. Here it is:
"When I was a child in New
Rochelle, I used to play with
boys most of the time. I cannot
remember when I could not ride
and swim. I learned to dive
through boys throwing me into
the' water. I suppose that's
where all the fear was knocked
out of me. The only thing I am
afraid of is fire.

"Dancing came to me just as
naturally. Before I was ten years
old I used to take part in all sorts
of entertainments. Father believed
in every boy and girl learning some-
thing so that they could support them-
selves, and as dancing was the only thing
I cared for, it was decided, when I was only
in my 'teens, that I should go on the stage.
A distant cousin was in the Klaw & Erlanger of-

Photoplay Magazine

1 ■ ipyrighted

by I mlenvood
& 1'iuterwuoU

"Shortly after that we went to Paris. Vernon had a
part in a Revue. It was one piece of bad luck after
another. First of all, we did not know that the
fe^ sale of tobacco is a national monopoly in France,
and we took a lot of cigarettes with us. The cus-
toms authorities found them, and we were fined
600 francs as an introduction to Paris. Then,
we had taken my favorite bulldog with us,
and she developed some sort of eye disease,
and almost went blind. There was a big
doctor's bill for that. As the rehearsals
were going on we had to borrow money
from the management, and soon were
away in the hole.

"Finally the Revue opened,
and Vernon loathed it. He
played a burlesque of Isa-
dora Duncan's husband,
with a long robe and a
funny wig; he had some
lines, and his French was
little shaky. At last he
couldn't stand it any
longer, and quit. We
found ourselves
stranded in Paris

A recent picture of
Mr. and Mrs. Castle :
Vernon is wearing the
uniform of the British
Royal Flying Corps.
At present he is an
instructor in an avia-
tion camp in Canada.

Mrs. Castle is
exceedingly
fond of ani-
m a 1 s. At
home she has
two monkeys
and twelve
dogs; traveling
she is sure to
be accom-
panied by a
dog or two and
often one or
the monkeys.

fices, and he tried to get a position for me. I didn't care
what it was — even the back row of a chorus — but every-
where it was the same — 'What experience have you had?' —
and that let me out. I wonder how managers think they can
keep the profession alive, if nobody will give a beginner a
chance. It takes a lot of determination to go on the stage.

''Well, I had the determination, but received no encourage-
ment. Then I married Vernon. He was with Lew Fields then,
in 'The Henpecks,' and they gave me a small bit. Still they wouldn't
let me dance. I wanted to come on at the close of one of Vernon's
numbers and dance with him for the finish, but Mr. Fields was afraid
I would spoil Vernon's act. Mr. Fields could have signed Vernon and
me for life at $100 a week then, but I guess he would have thought it a
crazv idea.

Our Irene was the Village Queen

with about ten francs — $2 — and nothing in sight. We took
a little apartment out on Montmartre and began look
ing for work. An old colored servant who had been
in my family for ages was with us, and he did all
the cooking, washed, mended and pressed our
clothes, and somehow we managed to keep
'a front.' Sometimes he would come in
with an orange he had pinched, to cheer
us up. He was the best, cheerfullest
old thing in the world, and when
everything else failed he would teach
us to play seven-up.
"Our sole recreation was window-
shopping. We would make the
rounds of the stores and the won-
derful pastry shops, and pick out
the things we would buy if we had
the money. We kept up our spir-
its by sheer determination.

"Then, suddenly, our opportu-
nity came. We were given an en-
gagement by the Cafe de Paris.
From the very first we made- a hit
Paris was crazy about ragtime, and we
worked out a Texas Tommy dance
Vernon would throw me around and
down between his legs and Paris thought
it was great. When they Mrs. Castle and
like you at the Cafe de
Paris they throw gold coins
and jewelry to you, and
they did like us. Then we
came back to America, and
you know the rest. But
before we came back we
went around to those places
where we had window-
shopped, and bought the
things we had wanted when
we were broke."

Success is a rolling snow-
ball, growing as it moves.
All women will remember
that one phase of Mrs.
Castle's success was the
originality of her clothes.
The secret of that original-
ity lies in the fact that she
designs everything she
wears. The Dutch Hat and
the Castle Band are still
fresh in the memory of
thousands of women who
wondered why they looked
great on Mrs. Castle and
awful on almost everyone
else. The answer is that
Mrs. Castle designed them
for Mrs. Castle, with a full
understanding of her own
unique personality.
* * *

It is not generally known
that a recent adventure of
Mrs. Castle's almost de-
prived America of her pres-
ence "for the duration of
the war." While Vernon
was serving with the Brit-
ish Royal Flying Corps in
France he was wounded,
and went to England to re-
cuperate. Mrs. Castle

Hill
Photo

Mrs.
Castle

designs
her own cos-
tumes with a full
understanding of her
own unique personality.

crossed the Atlantic to see him, and when
he had recovered and was about to re-
turn to the front, she prepared to return
to America.

"I discovered," she says, "that I was
a British subject, because of my mar-
riage to Vernon, and they were prohibit-
ing all English people from leaving Eng-
land. Even women were detained, as
they might be needed for bus drivers,
munition makers, and what not. They
wouldn't even look at my passports. I
told them I had property in America that
needed attention, that I had contracts
to fill, but they would not listen."

"How did you get back?"

"Well, finally the situation was ex-
plained by an influential friend to some
influential friend of his and — well, influ-
ence is a great help in such cases."

Speaking of Vernon Castle recalls a
remark of Will Rogers in one of his mono-
logues at the Midnight Frolic. Vernon
recently returned to America—he is now
an instructor at an aviation camp in
Canada — and was at the Frolic. Said
Rogers: "We used to be worried about
you, Vernon, out there at the front, but
when we saw Irene in 'Patria' we decided
she was in still greater danger. If she
does another serial, she's got you
beaten."

But Mrs. Castle never thinks of dan-
ger. She thinks only of what she is do-
ing, when she is going through her peril-
ous stunts for Pathe.

"I am not the least bit afraid so long
as it all depends upon myself," she says.

Photoplay Magazine

'The only time I get nervous in the slightest, is when I
have to depend upon someone else doing the right thing at
the right moment. For instance, in a recent picture, I had
to make a high dive off a bridge, across some rocks. If I
didn't jump far enough I would probably dash my brains
out on the rocks, and it was a long jump. I knew it was
dangerous, but it all depended upon myself, and I had no
hesitation. I must admit, though, that when they told me
the film was faulty and I had to go back the next day and
do it again, it gave me a little shiver."

"What is the most dangerous stunt you have done in pic-
tures?"

"A fire scene on a ship," Mrs. Castle replied without a
second's hesitation. ''The flames were so close I knew I
was burning. I beat Milton Sills up the rope ladder by a
length and a half."

It would seem that the scenario department doesn't call
it a day until some new hair-raising stunt has been invented
for Mrs. Castle.

"So you really like your work in these adventur-
ous pictures?" I asked as I reached for my hat.

At the risk of Mrs. Castle repudiating the inter-
view, I insist upon her reply going on record ( Pathe
officials please shut their eyes) :

"Like it? Why, if they wouldn't pay me for it.
I'd do it for nothing."

Strawberry time
at the Castle
country place,
and one of the
twelve dogs.

The Fable of the Studio Villain

Once upon a time there was a movie actor who played
all the villain parts. He was tall, had black hair, white
teeth, and a mustache that looked like a pirate's. When
there was an old gentleman to be strangled, a young
girl to be shot, a hero to be double-crossed, or any
kind of dirty work to be done, they called him in.

As a villain, he was a great hit on the screen. Women
never wrote mash notes to him but whenever crooked
work was mentioned they thought of him. And as a
villain, he became famous.

One Saturday he drew his salary and started home.
On the way he met a boyhood chum who invited him

into a bar-room. Twenty minutes later he staggered
out.

When he got home his wife met him at the door.
She weighed 96 pounds and wore glasses, and she seized
his pay envelope with practised hand.

"You are fifteen cents short!" she said judicially.

"Enough! My proud beauty," he cried, and with
the fumes of the dark beer in his head thought he
was in a 5-reeler and reached for her neck.

Before his fingers found it, she knocked him cold
with a skillet.

Moral: You never can tell from where you sit.

.-"

& 2T' St ■

.■•:3MflH

MOVING
PICTURES

Yo u Can't
Escape 'Em

by Chamiing FollOCk transformed a little

mining camp in Oregon

EVERY mental manufacturer I know — every man
whose business is conducted in the top story — has
his own private danger signal.

Something recognizable by him, that clicks, or
knocks, or flashes red by way of saying: "Bill, the
dynamogenesis is burned out, the encephalon has quit re-
volving upon its cerebrospinal axis, and 'safety first' dic-
tates shutting down the power plant."

One friend, an author of musical comedies, takes to the
tall timbers when he finds himself rhyming the last word
in any sentence addressed to him.

"Gosh," someone says, "how I hate the humidity!"

My friend replies promptly: "Destroys lucidity!"

At last, comes dread of getting into a chat about
"oranges" or "Pittsburg," and the unfortunate librettist
hies him to Nova Scotia, where conversation is conducted
in words of, one syllable.

My danger signal is mathematics. When I begin figur-
ing that, if I live to be three score and ten, I shall have
to shave twelve thousand times, and that, but for my
dislike of barbers, the scraping would cost me three thou-
sand dollars, my brain cells are closed for repairs, and I
go fishing.

For two years I've been writing motion pictures — an
experience recounted to you in "An Author in Blunder-
land" — and so, quite naturally, last Spring I found my
multiplication tables set with celluloid. In that dreadful
hour before dawn, I'd lie awake estimating how many
murders it would take to run a film from New York to
Zamboanga, and how long Cleopatra would have required
to win Antony with kisses of the sort prescribed by the
Pennsylvania Board of Censorship. "If I were you," said
my doctor, "I'd trot off to some benighted community that
never heard of the cinematograph."

"That," I replied, "is the only inexpensive advice
that ever came out of the museum of ancient magazines
you call your office. Seventy miles from town. I've a
bungalow in a village populated by simple bankers and
college professors whose first inclination, upon hearing of
a "moving picture," is to conjecture the snap-shot of an
eviction!"

I left at 4:32.

The family promised to follow as soon as it could ac-
cumulate a maid.

In the smoking compartment sat Professor Derwent
Terwilliger, most of whose sixty-seven years have been
devoted to discovering why the artt never lays less than
six eggs. Last summer the learned man completed his
tenth volume on this exciting topic, and I settled myself
to sleep through a two-hours' dissertation upon the com-
parative niggardliness of the common or garden hen. As
the doze developed, I caught an upward intonation, denot-
ing inquiry, and the tail of a sentence ending with: " — true
that she has ten thousand a week?"

"Eggs?"

"Dollars."

"The ant?"

"Whose aunt?"

"Let's begin all over again. Were you discussing the
productiveness of the female Formicidae?"

"No," said the professor; "I was discussing the pro-
ductiveness of Mary Pickford."

Then it came out — gobs of it — a monologue that reached
right into the wilds of Long Island. The professor had
shelved ants, and taken up motion pictures. How old was
Mary Pickford? What was the history of Dustin Farnum?
And didn't I think that long literary experience, covering
the every-day life of the ant from the cradle to the grave,
could be utilized in the preparation of scenarios for Theda
Bara or Olga Petrova?

The station mistress, through whom we secured what
was left of our trunks, observed: "I saw something of
yours last night."

"Suit case?"

"Picture. Why didn't you — "

"You saw a picture of mine!"

'Yes. Marie Doro. Why didn't you let the girl — "

"Where?"

"Port Jefferson. Why didn't you let the girl marry the
reporter?"

Saved! Port Jefferson is half as far away as Sheridan!
But that night the family 'phoned to say no maid could
be got to go into the country unless there was a picture-
house within reach. "There is," I responded, triumphantly;
"at Port Jefferson!"

Well, would I motor the menial over every Thurs-
day?

Later on, "Larry" Giffen, a scenario broker, dropped in

Photoplay Magazine

In the day time Moving Picture Hall is used
as a reading room.

to talk shop, and the next morning, at a cove down the
beach where I used to go for quiet with pad and pencil,
I found a hero in negligee shirt and knickerbockers thrust-
ing his sword through a pasty-faced pirate, five of whose
companions were endeavoring to give creditable impersona-
tions of gentlemen whose mortal coils had been thoroughly
shuffled off.

So I hopped into the car and started for Yaphank.

Yaphank — accent upon the first syllable — has a popula-
tion of five hundred souls and five million mosquitoes. The
mosquitoes are hungry, and a paternal government is pre-
paring to send them sixty thousand soldiers. It would be
soothing, I thought, to see this draft army trying to find a
draft too strong for the insects, and learning the use of
citronella in modern warfare. A native at a crossroads
told me: "There ain't much to look at yet. That is —
soldiers. But the Y. M. C. A.'s running a couple of pic-

General view of Mammoth Copper Mining Co. at Kennet, Calif.

ture shows, and, if you know anybody there, I guess you
can get in."

I got out.

Out of Yaphank, out of Shoreham, off of Long Island!

Moluncus Lake is thirty miles from a railway station,
where Maine wobbles about on the border of New Bruns-
wick. Once upon a time, when I was younger and thought
pate de Joie gras had nothing on green venison, buried
out of sight of the game wardens, I used to go there with
a guide, named Luvie Swett, and as many Broadway
Indians as could be lured away from the happy hunting
grounds contiguous to Times Square.

(Twelve years ago we brought along a supply of beer,
which, in deference to the state legislature's prejudice
against anything stronger than sarsaparilla, had been made
up to resemble a cask of kerosene. We drove that cask
twenty miles, and canoed it ten, and smashed in the head
at midnight, with our tongues hanging out, only to dis-
cover that what it contained was kerosene. En route, the
keg had got mixed up with a shipment of the real article,
and ever since, when the conversation lags, or I'm listening
to Professor Terwilliger, I wander off to wondering whether
the individual who got the changeling was as disappointed
at not being able to burn our kerosene as we were at not
being able to drink his.)

Anyway, I went to Moluncus.

The charitable farmer, at Kingman, who used to sell
us ham and eggs at a dollar an egg, and throw in the ham,
asked whether I'd come up on business.

"Business?" I inquired.

"Show business?" he replied. "I seem to remember
you've got something to do with a theyater."

"True," said I; "but what would I do with a theyater
at Moluncus? Theatrically speaking. Moluncus is the only
spot in the universe that one wouldn't book in preference
to Newark."

"Yeh," assented the rustic; "quite a show-town —
Moluncus. Us fellows run up there twice a week now. A
lumber company's cut the woods; they's a thousand men

You Can't Escape 'Em

at work; and movin' pictshers at both ends of the camp.
Which do you like best, neighbor — Charlie Chaplin or
'Fatty' Arbuckle?"

"When I was a little boy, at my mother's knee," I
answered, "she made me promise that I'd never laugh at
either. What time does the next train leave for Boston?"

The next train left very shortly, but it was an accom-
modation— though hard to regard in that light — and I'd
nothing to read. A forgotten periodical lay upon one of
the seats. The Photoplay Magazine!

Boston was hot that night; just the evening for a musi-
cal comedy. Half a block from the hotel stands a theatre
noted for all-summer runs of girl-shows. I got tickets at
the newsstand, had 'em put on my bill, and, the hour being
late, hurried into the auditorium. The place was dark, and
across the stage wended its way a procession headed by the
Savior. A feature film of the life of Christ!

Oh, well — one could sleep! Back to the hotel; into
pajamas and bed. An index-finger upon a button "doused
the glim." But, from somewhere, light came into the room.
From where? The street. A fire! How fortunate!
Breathes there a man with soul so dead that he can't be
interested in a first-class conflagration? I rose, and went
to the window. From the roof of a building over the way
hung a huge screen, and upon this appeared alternately
motion pictures of marching troops, and battleships at sea,
and advertisements of corsets and summer hotels up the
coast. One of these summer hotels boasted: "Free cinema
exhibitions every night."

The following morning I dug up my uncle. This rela-
tive represents all the learning that ever seeped into my
family. He is a chemist, a mineralogist, a civil engineer,
and vice-president and general manager of a big smelting,
refining and mining company that maintains offices in Con-
gress Street. Here, at least, was a man with a mind above
motion pictures. And here, at last, I wasn't disappointed.
"I've a new interest," observed my uncle. "Call it social
welfare work — though it isn't. We're trying to make life
better worth living for the people who help earn dividends.
Monday I'm starting for one of our properties — the Mam-
moth Mine, at Kennet, California. Like to go?"

"Yes."

"Meanwhile, I've got to run over to Philadelphia. How
about that?"

Again I answered in the affirmative. The trip would

Below: Amusement Hall, maintained by the U. S. Smelting Co.,
at Bingham Canyon, Utah.

mean eight hours conversation about things of real im-
portance— the social-democratic movement in Germany,
the slow-but-sure reintergration of Mexico, the way to cook
fish daubed with clay in a campfire. When the porter had
hunted out the most inaccessible spots for our baggage, I
asked: "You haven't found copper in Philadelphia?"

"No. I'm going over to see about some motion pic-
tures."

Something "missed" in my brain — something that gave
meaning to the nonsense Swinburne wrote to the effect that
"the nick of the tick of the time is a tremulous touch on
the temples of terror."

"Motion pictures!" I aspirated. "Not motion pictures!
For pity's sake, tell me you didn't say 'motion pictures'!"

"Ah," smiled my uncle; "but I did."

After all, he.was my uncle, and my host, and it was "up
to me" to talk on any topic he elected. I began me-
chanically. "Mary Pickford gets ten thousand a week.
'Intolerance' cost more than half a million. Charlie Chap-
lin's salary, in dollar bills, placed end to end — "

My uncle said: "You know W. L. George's book, 'En-
gines of Social Progress'? Well, that's what the cinema is
— an engine of social progress."

(A strong man always decks his weaknesses with frag-
ments of his strength. The poet in love with a chorus
girl forever sees her as a poetess.)

"We had a mine, called the — Never mind! It wouldn't
be fair — now — to tell you the name. But it was a par-
ticularly grim mine in a particularly desolate spot. Noth-
ing to do, nothing to see, nowhere to go, and little to lure
you back if you went. Naturally, the men, and their wives,
took on the character of the place. Interest evaporated
into the dry, hot air. The women became slatterns. The
children were washed only for purposes of identification.
The pretty cottages the company built fell into ruin — with
discarded kitchen ware in the front yard, and nothing grow-
ing except in the paths. Around the settlement was a

An interior view of Amusement
Hall.

fringe of saloons, and the man who
went to bed sober was thought to
be eccentric.

"We did all we could to change
conditions, but, somehow, our
efforts seemed only to inspire re-
sentment. One night, a year ago,
when I was in the town, a wander-
ing impresario bobbed up with a
picture show. Everybody went,
and this brief rousing from leth-
argy gave me an idea. I pre-
sented the camp with a screen and
a projecting machine, suggesting
the formation of a committee on

Photoplay Magazine

&^=

entertainment, and stipulating that the admission charged
should not be more than ten cents. A week later, when I
left, the tide had started to turn.

"It began with the committee. To be elected to that
committee was an honor — the only opportunity for dis-
tinction that ever had presented itself at the mine. Men
felt the need of being liked, of doing something different,
such as wearing a collar in the evening, if they were to get
into the public mind as possible candidates. Once the am-
bition was achieved, they had responsibilities. Meetings
had to be held, and the welfare of the community discussed,
and business transacted with the outer world. Three
miners, become official, stopped lolling, and drinking, and
conducted themselves as became men of affairs and leading
citizens.

"The company gave credit for material — there's nothing
the laboring man resents as
he does charity — and, in its
spare time, the village built
a hall. When you're build-
ing a hall in your spare
time, you can't devote that
same time to absorbing al-
cohol. The saloon-keepers,
one and all, declared
against motion pictures as
a menace to the morals of
the community. In due
course, came the gala first
performance. Did the
women dress for it? Well,
you know women. The
trouble about being all
dressed up and having no
place to go is that, if you've
no place to go, you don't
bother to dress up. The
spirit of sartorial rivalry
was awakened. Neat shirt-
waists, and skirts, and more
pretentious frocks, were
dug out of trunks, and
packing cases, where they
had lain forgotten, and a
society reporter would not
have lacked inspiration for
descriptive writing when
the season opened in that
camp on the edge of the
world.

"Once the women had
'dolled up,' and found how good it felt, they stayed 'dolled.'
And, as a clean shirtwaist wouldn't remain clean in a dirty
house, the cottages began to show the influence of rake
and hoe and scrubbing brush. You've only to begin that
sort of thing, you know. A dead level may go on being a
dead level, but, when you start up, each step leads to one
a little higher. What was the use having a hall occupied
only two nights a week? The men polished the floor, the
women made a canvas covering to put over it on 'picture
evenings,' and, between times, there was dancing.

"Dancing meant an orchestra. A big mucker knew how
to play the violin. A car-boy once had been able to do
wonderful things with a trap-drum.

"Within three months there was a band. Music? Music
— and then some. The man who could make the most
noise, made it, and the envious smaller fry waited for
him to become exhausted, and then sailed in on their own
account. 'Traumerei' and the Hungarian Rhapsodie were
given in the same tone and tempo, and Emmet's 'Lullaby'
would have awakened any infant not under an anesthetic.

"I don't know much about these things, but, if the
loudest music written is 'forte,' this gang started at eighty-

■By Charles McMurdy.

A LL I hear at home is Douglas Fairbanks,
■^* Every day at morning, noon and night!
Mother's al-ways telling of his rare pranks,

Sister lo'ves to see him in a fight.
Laura'd like to be the leading lady —

He's the talk at breakfast every morn.
Everybody's crazy over Fairbanks —

And I 'wish the fello-w never had been born !

Never rwas a bird like Douglas Fairbanks!

. Fights a dozen gunmen all at once —
Fotls the villain's plot and -wins the girl's thanks —

'Does a thousand death-defying stunts !
Climbs right up the sides of lofty buildings —

If he ever slipped he'd be a -wreck !
Nothing seems too difficult for Fairbanks;

Some day the fellow's going to break his neck!

Oh, Fd like to feel like Douglas Fairbanks,

Al-ways full of ginger, punch and zip •'
Always up and coming with some new pranks,

Living life at such an awful clip!
All the girls declare he's so magnetic,

Say he's put all others on the shelf.
Everybody's crazy over Fairbanks —

And I kinda like to see the cuss myself

five and never dropped below seventy until the car-boy had
beaten his drum into insensibility.

"However, in time, enthusiasm waned, and proficiency
took its place. Ear-muffs ceased to be the appropriate
decoration at a concert. The music got to be pretty good,
and the dancing, and then came the need of refreshments.
A soda and ice-cream department was established in the
hall. Somebody thought it a pity that the place should be
closed all day, and somebody else conceived the idea of a
library. The pictures, you see, had worked up an interest
in stories. Whenever there was a film adapted from one
of the standard authors, that author jumped into instant
popularity, and the camp grew to be strong for Charles
Dickens and Victor Hugo. Moreover, a little conniving
between the committee and the company brought in an
occasional 'Safety First' picture, or 'The Importance of

Sanitation,' and so reforms
were suggested subtly that
could not have been
effected by any other kind
of propaganda.

"If you'd known that
camp a year ago, and
stopped off there tonight,
you'd think you'd slept
past your station. There
isn't a saloon in miles.
They were starved out. If
New York had half the
civic pride you wouldn't
be in danger of breaking
a spring every time you
drove down one of the prin-
cipal thoroughfares. The
committee, of course, has
been responsible for some
class feeling, but the chief
result of that is a general
effort to get into the 'upper
ten' — or, rather, the upper
three. Everybody dresses
neatly, and what Mrs.
Brown wore last night is
as absorbing a topic in min-
ing circles as in Fifth
Avenue. If you ever write
this story, and want a pic-
ture of the municipality,
just rob one of the street
cars and use a sketch of
Spotless Town."
"And," said I, "you attribute all this to the 'movies'?
Wouldn't any interest have done it? Drama?"

"How are you going to get drama into a forlorn corner
of Oregon? And, if you did, the people wouldn't be par-
ticipating in it. A library or an art gallery would have
been too far above 'em. To uplift, get under!

"What happened in Oregon has happened everywhere
else, only more so, because the 'engine of social progress'
hadn't so far to travel. Kennet was always neat, and
orderly, and self-respecting. We have a smelter there, and
a mine, and there is an opera house that, like its prototype,
serves also as dance hall, refreshment pavilion, and library.
Adults are charged ten cents admission to the pictures,
which are free to children, and the entertainment com-
mittee records a profit of about three dollars a night. When
this profit aggregates thirty or forty dollars, a feature film
is obtained, and there is a gala performance, given gratis,
with dancing to follow. The women always looked well
in Kennet, but mines are dirty places, and the men were
inclined to be a bit slouchy. Now that they mingle with
women not their own, in a public amusement resort, this
(Continued on page 124)

Why-Do-Tbey-

Do-It

Mary's An Awfully Modest Girl

IN one scene of "The Long Trail," Mary Fuller and Lou
Tellegen are caught in a snowstorm and he carries her,
exhausted or unconscious, to his cabin. When he places
her in a big chair, she stealthily adjusts her skirt to hide
a small expanse of hosiery that happens to be exposed.
Rather queer act for an unconscious person — whai?

Slim Jim, Pittsburgh, Pa.

Referred to Doc Watson

GEORGE FISHER certainly was up against it when, in
"Periwinkle,'' his pajama-clad person was washed
ashore on a coast where a life saving station was the most
civilized thing in sight. But presently he produced a
suitcase from the Lord knows where and we conclude that
the natty flannels he wore were a fair sample of its con-
tents. Still, we know that he hadn't communicated with
New York, because it transpired later that everybody
there thought he was dead.

John Smith, Tucson, Ariz.

Honored Editor:

CAN we, in a good natured way, rise up and take a
little swipe at Bunk, that creature that seems often to
over- feed itself in the young pastures of the photoplay?
First swipe, herewith:

PIFFLE, PIFFLE, LITTLE STAR!

"I wash my hair six times a week!"
(We hear the dainty starlet speak.)

"And I always drive a rose-hued car."
—Piffle, piffle, little star.

"My poodle's name is Pinky Poo;

I think he's awfully sweet, don't you?
I clean his feet with honey tar."

—Piffle, piffle, little star.

"I have a mole upon my back;

My fav'rite fruit is cracker jack;
My fame is spreading wide and far!"

—Piffle, piffle, little star.

"A thousand letters every day

Is what I get, and they all say,
'What a gee-ne-yus you are!' "

—It's all piffle, little star!

E. J. S., Chicago.

Satan & Co.

I SAW "The Brand of Satan" last night. The name did
the piece a great injustice. It should more properly
have been called "The Brand of Satan and his Disciples,
Nero, Michiavelli, Ivan the Terrible and a Few Others,"
for the play revelled in four or five murders, two or three
instances of burglary and robbery, a few cases of rape,
a dual personality which was enough to make Robert Louis
turn in his grave, illegitimate children, a little bomb inci-
dent, a case of assault, with quite a liberal sprinkling of
Apache dive scenes here and there, and ended by the
hero's sending his father to death, via "Madame Guillo-
tine." What a night it was! But it was tough on Montagu
Love.

A. J. Hertz, Bronx, N. Y.

"Coming Soon"

THE facade of my movie theatre makes me dizzy, plas-
tered as it is with
gaudy posters of Bill
Hart holding the whole
of Red Eye Gulch at
bay and E a r 1 e W i 1-
liams getting a genteel
strangle hold on the
ingenue, to say nothing
of questions like
"Should a Woman
Tell?" and "What
About Your Neighbor's
Baby?" — not one of
which gives me the
slightest inkling of
what's going on inside.
Native Son,
St. Louis, Mo.

Probably a Victim of Insomnia

IN "The Wax Model," Thomas Holding comes home,
after visiting Vivian Martin in her rooms, and sits in
an armchair to ponder. This is at night. We then see
happenings of the next day and come back to Thomas
Holding still sitting in his chair, still thinking. Are we
to believe that he has been sitting there all that time, in
the same attitude?

Rita Reilly, Wayne, Pa.

Did She?

I DON'T mean to carp and criticize, but didn't I catch
the glint of a wedding ring on Mary Pickford's finger
in "The Little American?"

Florence Harding, Denver, Colo.

Perhaps That's What It Had Been The Day Before

IN "Bawbs o' Blue Ridge," Bessie Barriscale sat on the
floor beside the kitchen stove, in the old log cabin.
A close-up showed this floor to be as smooth as that of a
ballroom. V. M. S., Brooklyn, N. Y.

But Who Wouldn't Die for Wallie?

IN "The Squaw Man's Son," don't you think it was
awfully nice of Dorothy Davenport, as Wallace Reid's
wife in the picture, to die just in time for him to marry
Anita King?

John Bullington, Dallas, Tex.

'Mother Sleigh t-oj -Hand Artist

IN "The Auction of Virtue," we see Naomi Childers, as
Phyllis, enter the modiste's establishment with the "bor-
rowed" dress, which she held behind her — at least we were
led to assume that the dress was in the package she was
attempting to conceal — then when she brings the package
around in front of her, not only has it increased consid-
erably in size, but the paper is different: one a neatly
wrapped package, the other a large, bulky one.

A. C. P., Kansas City, Mo.

Try This On Your Underwood

TELL me where I can get a typewriter, like they have
in the movies, on which I won't have to use a shift
key to make a capital letter. Actresses write whole pages
without using the shift key once, and when flashed on the
screen, most every other word is capitalized.
Glaring example: "The Golden Idiot."

L. Gates, Chicago.

That Convenient Porch Roof

WHY, after a sheriff's posse or two and every available
citizen in sight, to say nothing of women and chil-
dren, have assisted in the capture of the Vicious Villain or
the Hunted Hero (Hart, Fairbanks or Wallie), why does
every man of them go away, leaving the captured one
entirely alone in a bedroom opening on a porch roof, or
tied to a tree with a large spike in it, against which he can
saw his bonds? In rare cases where a guard is left, he
either drinks himself to sleep in short order, or rolls over
a cliff.

F. Hyde, Pottsville, Pa.

Some Car, All Right

I AM a pianist in our local the-
atre and have just finished play-
ing for "The Race" (Victor Moore
and Anita King). An "ocean to
ocean" race takes place between
these two players, during which
Miss King's car is seen to leap
over a bridge and is dashed to
pieces below. The girl is found
in the wreckage by Victor Moore
and is assisted to a nearby farm-
house. Next morning, however,
she is able to start off jauntily
again in the wrecked car.

Florence Thomson,
Owen Sound, Ont.

Why—

— does the hero or heroine or any other character sit
down, and, with a few wavering dashes across the page,
write a four-page letter?

— does the heroine, when registering grief or excite-
ment, almost chew off her knuckles?

— is it that, in one scene, the heroine's hair is mussed
and ratted, and, in the next, is freshly marcelled?

Winifred Jones, Glendale, Cal.

Photoplay Magazine

"The Great Secret"

First Chapter

NOW, Francis X. B. is a beaut,
A fact we cannot dispute;
He's certainly a grand one
When driving a tandem;
But, why cavalry spurs on his boots?

Last Chapter

THE GREAT SECRET" was surely some tale,
Enough to make one turn pale.
As a bride, dear Beverly was shy;
But, Francis was certainly a guy
To strain his first kiss through a veil.

G. L. K., Malden, Mass.

The Overworked Rector

WHY, in almost every picture that calls for a marriage,
is the officiating clergyman either a Catholic priest or
an Episcopal rector? Do Methodists, Jews or Baptists
never have romances? Spencer K. Binyon, Chicago.

She Must Have Had a Little Fairy Somewhere

THE most atrocious of all the atrocities in "The Woman
in White" was that robe which she wore for months
out there in the woods without once getting it soiled or
torn.

Margaret Ellingwood, Dixon, 111.

Clothes and the Screen

IN plays where the action covers five years or more, why
does the star wear the same cut and style of costume
throughout? For instance, in "Gloria's Romance," Billie
Burke was first shown as a schoolgirl, then as a woman five
years later. In all scenes she wore 191 7 costumes,
although everybody knows that, in Taft's administration,
flare skirts would have been laughed at. Alice Brady is
guilty of the same careless error in "Frou-Frou." In fact,
I have never yet seen a play in which this detail of correct
costuming wasn't overlooked.

I also noted one flaw in the historical detail of "Intoler-
ance." The French courtiers wore high-heeled shoes. Now.
the high-heeled shoe was first adopted by Louis the Four-
teenth, a short man who wished to appear tall. The shoes
of Catherine de Medici's time were, I think, very broad
at the toe, sometimes six inches across, and without a heel.
This is noticeable in full-length portraits of Henry the
Eighth.

Priscilla P. Ingalls, Brooklyn, N. Y.

Showing Up Mr. Brady

IN "The Weakness of Man," starring Holbrook Blinn,
the heroine, a supposed widow, is married at home,
although everything points to her being a. Roman Catholic,
and she wears bridal white, including the veil. Surely Mr.
Bradv knows that this is not good form.

M. G. G., Ottawa, Ont.

The Girl with
the Bee-
Ilf Stung Lip

By Alfred A. Cohn

SOME poet, or press agent, dubbed Mae Murray "the
girl with the bee-stung lip." People are likely to
remember that after they have forgotten that this
same Mae Murray was "the Original Brinkley Girl."

Miss Murray came to the silversheet from Mr. Zieg-
feld's Follies, a form of entertainment to which New York
and its environs has become permanently addicted. The
Follies fulfills an important function in our national life
in that it scours the world for youth and beauty — for the
screen. At any rate, there are a number of instances on
record of Follies discoveries having been won over to the
camera stage, and once won over, the Follies no longer
sees them in the footlights' glare.

Mae Murray enjoys the unique distinction of being the
first Follies star to abandon that institution for the silent
drama. But it was her film burlesque with Leon Errol in
the 191 5 Edition of the Follies that led to her capture by
the screeners. She was an instantaneous success with
Lasky, under whose auspices she "debutted" into the photo-
drama, and since then — a little more than a year and a
half ago — she has rapidly mounted toward the topmost
rungs on the screen's ladder of personal popularity.

In real life Miss Murray is a Peter-Pannish sort of
creature. Although it is possible to look upon her with-
out the faintest possibility of incurring astigmatism or

Pholo by Apeda

At the left, Miss Mae Murray, and her director
Robert Leonard.

eye-strain of any sort, it is well nigh
impossible to look upon her as a grown
woman, even with the knowledge that
she is no longer a child. She is the
perfect ingenue, not only in type, but
when either at work or play.

Recently Miss Murray signed a two
years' contract with the Lasky com-
pany, but some difference arose and she
transferred her affiliation, her luggage
and her bee-stung lip to Universal. She
is now at Universal City, devoting her
time and talents to the propagation of
Bluebird photoplays under the direction
of Robert Leonard, her camera mentor
of Lasky days.

Grapes from a palatial

hothouse, arrive just in

time for Miss Keller-

mann's breakfast.

A billion - dollar clam - bake.
The lady in the heavy coat
near the middle of the picture
is the guest of honor, Miss
Kellermann. . The adjacent
white hat and black moustache
are attached to the person of
Ernest Lorillard; Jimmy
Sullivan, husband of Miss K.,
stands between Mr. Lorillard
and his wife; George Whelan,
president of the United Cigar
Stores, nurses one ankle in the
foreground; kneeling behind
him, Director John G. Adolfi
seems to be smiling because
Mrs. George Dickson, at his
left, is side -glancing the flash-
light. The other side of Miss
Kellermann is Mrs. Herbert
L. Satterlee, sister of J. P.
Morgan, and to her left Victor
N. Cushman, Mr. Satterlee,
Miss Mabel Satterlee. In
front of Mrs. Satterlee is her
younger daughter, Eleanor,
while the gentleman seated
beside her, grabbing his wrist,
is George Dickson.

Millionaires Frolic with
Movie Nymphs

Bar Harbor's Exclusive Summer Colony Mingles Demo-
cratically 'with Annette Kellermann 's Mermaids and
Mermen as they Film "Queen of the Seas" for William Fox.

Misses Eleanor and Mabel
Satterlee giving an imita-
tion of two young women
just mad about an actor,
the actor being Hugh
Thompson, leading fish
of the Kellermann school.

.*fl»ft

1~- *f

* Jt -»>*s

fttiv

S"^

*. 5j

>*-_

**'■

^Mgh

W&4i *

»\ i

j t,

~JL J

The grand stand.
Seats overlooking the
picture scene were sold at
50 cents each, and the proceeds
given to Bar Harbor Hospital.

wAI

Above, a typical busy day. Di-
rector John G. Adolfi telling Miss
Kellermann what a hard worker
he is, while Friend Husband
Sullivan sympathizes1, and
Assistant Director John Kellette
registers approval.

A few million dollars' worth of
audience. Skipping Director
Adolfi on the left, they are George
Whelan, of the United Cigar
Stores, W. F. Meehan and J. G.
Ogden, the latter two gentlemen
being listed among Wall Street's
favorite sons.

The Dubb Family Mingles with Gass

^y Hildegarde Rudin

'Decorations by R. F.JAMES

MRS. DUBB finishes up the supper dishes and
hangs up the wet dish towel.
Mr. Dubb lights his pipe, gets out his specs
and reaches for the Gasfitters' Home Com-
panion.

The Dubb kid prepares for a quiet sneak to join the
gang.

Sweet-Sixteen Dubb picks an ancient grass-skirt tune
on her $2.98 ukelele.

Mrs. Dubb suggests a trip to the De Lux Cinema
Emporium.

Dubb tries to chloroform the idea by knocking the
highbrow pictures.

Sweet-Sixteen says the family should mix with class
at the quarter theatre to live up to the automobile.

Mrs. Dubb says she wants to sit in a good seat once
— she's tired of the dime dens.

Dubb surrenders, the kid growls, and they start for
the De Lux.

They park the muddy Henry between a Packard
and a Pierce-Arrow.

The picture was a souperfeature, "Around the world
before you start."

Dubb got in the box office line.

The family wandered around the lobby looking at
the pictures.

Dubb finally reaches the window.

The ticket seller said something to her friend about
a nut being in again.

She slips Dubb a bum quarter in the change.

Dub discovers it and goes back.

The girl points at

, 1

the sign about no
mistakes rectified
after leaving the
window.

Sweet- Sixteen
whispers not to
make a scene over a
quarter, to show
some class.
. They are ushered
into seats the bass
drum is trying to
occupy.

Sweet Sixteen says the seats are too close — she can't
see a thing.

The picture begins to spill.
The' Dubb kid says the drum hurts his ears.
Mrs. Dubb tells her shackle mate to change the seats.
He writhes his way out of the theatre.
The ticket seller asks her friend who left the door
open.

Dubb gets seats in the cheap section and doesn't
know the difference.

The family does a light brigade over the deadheads
in the front row, and climbs into its new seats.

Some one says something about nobody being at
home.

Dubb says the highbrow picture is rotten.
The man next to Dubb with the walrus droop mous-
tache goes to sleep on Dubb's shoulder.

The Dubb kid wants to see Charlie Chaplin in "The
Souse" across the street.

Mrs. Dubb says they will all stay if it kills them.
Dubb tells her a lot of her classy friends are leaving the
show cold.

A bridge-club leader behind asks in a loud voice why
such vulgar people are admitted.

Mrs. Dubb rises with dignity, hands out a 32-degree-
above zero stare, and heads the tribe out.

They climb into the Henry while Dubb exercises his
arm on the crank.

Mrs. Dubb inquires icily why they can't go anywhere
without being disgraced by Dubb's actions.
They drive home in a dense fog of silence.

Mrs. Dubb won-
ders what chance
children have with
such a father.

Dubb goes out to
forget his troubles.
Three hours
elapse.

Dubb staggers
into the house.

The Dubb kid
hears an argument.
The end of a per-
fect evening.

The Shadow
Stage

A Department of Photoplay Review

Randolph Bartlett

and

Kitty Kelly

Florence Reed as
Lily Morton is
called to account
for her finery in
"Today."

By Mr. Bartlett

WAR pictures we have had with us since a few
weeks after August i, 1914. Until the summer
which has just passed they were mostly of two
sorts — propaganda for war and propaganda for
peace. Being propaganda pictures they were inevitably
for the most part of two grades as entertainment — bad and
worse. With the entrance of America into the conflict the
attitude of producers and public automatically changed
overnight. Peace pictures
were immediately placed
under government ban;
pro-war pictures became so
much junk. It was no
longer a question of pic-
turing situations as between
a neutral, though imperilled
nation, and the combatants,
but of stating in terms of
the pantomimic drama the
spirit of a nation which
had finally worked out its
alignment. Xo longer was
it necessary to veil, thinly
or otherwise, the identity
of the opposing powers.
'"A ruthless monarch" was
instantly the Kaiser, "a
military nation" at once
became Germany. The
subterfuges of allegory
were no longer necessary,
and the scenario could
frankly employ actual
events as the background
of the personal element in
the story.

Thus, substituting basic
truth for speculation and
preachment, it is possible
to create war pictures pos-

Eileen Percy, Fairbanks' leading
is a lovely

sessing national vitality. To a nation athrob with drums,
to a people which daily sees its manhood marching away
in khaki, to men and women among whom there are few
who have not at least one relative or acquaintance soon
to embark for "a French port," these war pictures are big
with meaning. In that column of troops that moves
steadily across the screen, He may be marching. Volunteer
or conscript, he is answering the call. The war is a reality

to the throng in the theater.
See to it therefore, you
producers, that your war
pictures are based upon
that reality, and not upon
mere melodramatic vapor-
ings. If you are mere
charlatans, employing a
tremendous fact as a cor-
nerstone for an edifice of
lath and stucco, the public
will soon find you out.
But if you tell the truth, so
far as in you lies, you are
performing a real service —
creating real literature as
surely as Lowell's "Com-
memoration Ode" and
Whitman's "O Captain!
My Captain!" are litera-
ture.

THE SLACKER — Metro

And so William Christy
Cabanne's "The Slacker,"
is literature, and through it
Metro wins the war medal.
"The Little American" was
more Pickford than patri-
otism, less pro-America
than anti-Germany. "The

woman in "Down to Earth,"
pouter.

Photoplay Magazine

"Jack and the Beanstalk" is a prodigious piece of entertainment
for children.

They shoot Dustin Farnum, hero of "The Spy," instead of the author.

The Norma Talmadge smile comes into its own in "The Moth.'

Slacker'' is a veritable work of genius in that it reaches
heights of nationalism without once dragging in the enemy
to stir the emotion of hatred in the hearts of the spectators.
Its philosophy is based, not upon misdeeds of another
nation but upon the awakening of our own people. To say
that we can make war without hate is to say that we can
drink whiskey without becoming intoxicated. But unless
that hate is backed by sincerity and determination it is
about as potent as a curse in the teeth of a tornado. Mr.
Cabanne has constructed a story which deals with the
building up of our own spirit, not with the tearing down
of others.

In the story no character is all good or all bad — they
are all just human. The slacker himself — you read the
story in Photoplay last month — was no physical coward,
nor did he lack the courage in the face of opposing waves,
to declare that all this war talk bored him excessively.
Likewise, the opposed character who promptly enlisted,
was no "thin red hero," but, whether or not Mr. Cabanne
so intended, something very like a moral snob. Thus
the story is fundamentally sound. The types are true
Americans — individual and erect even in their weaknesses.
And when, to complete this excellence, Mr. Cabanne had
the self-restraint to send the soldier boy off to war, and
end the picture there, instead of inceing and blacktoning
through a reel of smoke and horror to an amorous half-
nelson, he achieved a triumph of reality. The story dwarfs
the players.

THE SPY— Fox

Consider, on the other hand, the case of "The Spy," a
Fox-Farnum film foisted upon a public that has learned
to expect better things for the immaculate Dustin. Just as
"The Slacker" studiously avoids scenes of horror and
hatred, "The Spy" offers little else. Just as "The Slacker"
is populated with human beings, "The Spy" contains only
white angels and black devils. Here is a story in which
we are expected to believe that a veteran general will spout
to a whole roomful of men (albeit members of a patriotic
organization) the news that he has FOUND JUST THE
MAN TO GO TO BERLIN AND GET THE LIST OF
GERMAN SPIES IN AMERICA; that a servant in this
patriot club, a spy, would be the only person in the room
so deaf as not to hear what the man was going to Berlin
for, but would hear that he was going on some secret mis-
sion; that the head of the German secret service would
show a list of German spies in America to a man known to
be on a mysterious mission for the American government,
for the mere reason that he was trying to wean this young
American over to the German cause; that an amateur
burglar could walk unchallenged into the house of the
Berlin secret service chief, crack a safe and his confederate
escape with the papers. All it needed to make the chain
consistent was that the Honorable Dustin Farnum should
himself escape and marry the girl. But no! Here a new
technique is introduced. Dustin is tortured gruesomely,
until the audience is glutted with the horror of his agonized
face, and upon still refusing to divulge the whereabouts of
the papers, which, as a matter of fact, by this time he does
not know, he is taken out and shot. A suggestion: Let
this last scene be retaken and the author substituted for the
star. The story is by George Bronson Howard, whom a
New York magistrate recently sued successfully for libel.
While the stupidity of the German secret service has be-
come notorious, it still has good cause for action against
Mr. Howard for the way he has maligned it in this
drammer

WAR AND WOMAN— Thanhouser

"War and the Woman" is the Thanhouser-Pathe contri-
bution to the current flickerature of the embattled world.
Here again the spy theme, but without the ponderous

The Shadow Stage

attempt to bolster up improbabilities by hitching a vanload
of fiction to an ant of fact. In "War and the Woman" a
man is discovered by his stepdaughter to be furnishing
some unnamed foreign foe of America with valuable data.
She runs away, becomes the wife of an army aviator, and
then the country is invaded. The enemy gains important
advantages, and the girl is made prisoner in her own home
by officers of the typically brutal and amorous type orig-
inally invented, if memory serves correctly, by J. Stuart
Blackton. These fellows are so busy lovemaking it is
strange they win so many battles. But let that pass. The
girl's husband gets a message to her that he will be at a
certain spot with his aeroplane at a certain time. She
manages to obtain a large quantity of explosive, and as she
escapes sets off the powder so that the house blows up,
destroying the leaders of the invading army, and presum-
ably, leaving their forces helpless. Little pretense is made
that this is based upon fact or probability. It is sheer
fiction, and as such quite equal to half of the war yarns
that are spun in the magazines. It is entitled to more than
perfunctory notice, moreover, because Florence LaBadie,
seldom favored with good scenarios, here has more than
customary opportunity to display her beauty and her talent.

THE WARRIOR— Italian

Still observing the current war films, consider now an
importation from Italy, "The Warrior." This latin cinema
is constructed primarily for the exploitation of the unique
physiology of one Battista Pagano, who is better known to
fame as Maciste, the mobile statue in ebony from "Ca-
biria." Something more than a year ago there was divulged
in New York a curious melodrama entitled "The Marve-
lous Maciste," devised for a similar purpose. But so
ludicrous were the situations that the American public —
or that small fraction of it which occasionally infests the
Park Theater — refused to accept the thing as either good
melodrama or good farce, and it passed beyond our ken.
Now this Pagano, or Maciste, is so tremendously powerful
of muscle, that his feats are always in danger of appearing
ludicrous. So in "The Warrior," the alert Italian pro-
ducers have taken advantage of the fact, and have con-
structed scenes which have a certain humorous trend. The
principal incidents — the entire half dozen reels being
episodical — are one in which Maciste goes on a single-
handed raid of the Austrian lines in the snow-clad Alps,
and comes back with a whole squad of prisoners, whom he
has outwitted and outfought, and another in which he
engages in a dougfairbanks with the Austrian defenders of
a certain castle. There is just a shred of plot in this series
of happenings, but the picture is one of the best entertain-
ments of the year, since it is all orginal stuff, and well
done.

THE CONQUEROR— Fox

But enough of war. Let us have peace. And it is
almost a platitude, that the triumphs of peace are greater
than those of war. For the sins committed in "The Spy,"
Fox is absolved, and given a front seat among the Sunday
trail-hitters because he has given to the world "The Con-
queror," and assigned the role of Sam Houston to William
Farnum. So the Farnum family breaks even, the brothers
starring in the worst and best of the month — or perhaps
the year. In the background of American history are
scores of picturesque, romantic, strong men, who make
the bloodless heroes of scenarios written for no other reason
than that when they sell, they bring in about $500 each,
look like female impersonators. Nor is there any immor-
ality in the fact that Henry Christeen Warnack, in devising
the plot, calmly ignored such matters of record as that
Houston's father died when he was thirteen, that Houston,
so far from being illiterate until he reached manhood,
taught school when he was sixteen, that Mrs. Houston left

In addition to comedy thrills, "The Warrior" offers war scenes.

Arthur Hoyt's study of inefficient " Mr. Opp " is unique and entertaining.

Natalia Lesienko, at the right, one of the voluptuous stars of the
Russian Art Films.

Photoplay Magazine

The alert beauty of Dorothy Phillips is manifested in "The Rescue."

William Russell is pugilistically professional in "Pride and the Man."

Bessie Barriscale is a mischievous kitchen wench in "Borrowed Plumage."

her husband three months after their marriage, instead of
Samuel quitting the roof-tree the night of the wedding.

That he did marry Eliza Allen, and that the years when
he was becoming a power in Tennessee were the years
possibly devoted to courtship, is sufficient. What is more
to the point, is that this film is splendid entertainment, and
no attempt is made to gloss over the weaknesses of the hero
so that the flappers in the audience may regard him as an
angel from heaven on a short vacation. There are, doubt-
less, states in which the censors will order deleted the
scene in which Houston sells a skin to an innkeeper, gets
his dog to steal it back, and so sells it over again, thus
getting money to buy drinks for the town commissioners
and persuade them to appoint him constable. Ah, brethren,
this is sin heaped upon sin! And besides, the Chamber
of Commerce of Houston, Texas, may be expected to rise in
its might and denounce such calumny against its patron
saint.

To William Farnum must go the customary bouquet
that he earns in every picture of late, and to Director
R. A. Walsh even greater honors. In fact, this is a di-
rector's opus. The players were merely instruments in
the orchestra. "The Conqueror" is Walsh's symphony.

TODAY— Harry Rapf

"Today" has entered its third and final metamorphosis.
Abraham Schomer's original Yiddish drama was a study of
the Jewish home in conflict with demoralizing White Way
influences. George Broadhurst transposed it into terms of
the American family, losing most of the original meaning
and retaining only the sensational story of a finery-loving
wife selling herself for clothes. Harry Rapf has now
utilized the fable for a photodrama, and, curiously enough,
while he used the American name of Morton for the family,
the elder characters were played by distinct Jewish types,
thereby restoring something of the original flavor. Its
chief value, however, in this latest transmigration, is that
it provides Florence Reed with numerous good reasons for
making one of her too infrequent appearances in the
darkened theater. It leaves the impression of a series of
pantomimic solos by this brilliant virtuoso. Her silent
recitatives and arias in this opera of shadows cause one to
speculate as to why some producer has not seen fit, after
the manner of the times,, to organize the Florence Reed
Film Corporation for the more frequent exploitations of the
Reed beauty and intelligence. There is no role too big for
her, and no magnificence so splendid that she cannot
dominate the scene — as witness the splendid Brenon mis-
take of last winter, "The Eternal Sin," almost redeemed
by her valiant efforts. In "Today" her conception of the
petted and petulant wife, the gay sinner, and the woman
paying the tragic penalty, all are human and convincing.
Too bad that the scenarioist — or producer — considered it
necessary to pander to the sentimentalists by making the
entire tale a dream. Too bad that the story was told badly
and without imagination. Too bad that Frank Mills made
the husband appear a chronic dyspeptic. To seek relief
from such a man is almost a virtue. The wife should have
sold the furniture and bought a ticket for Reno.

THE MOTH— Selznick

The radiant Norma Talmadge smile comes into its own
in "The Moth." The former Selznick novelettes featuring
this vivacious little brunette have been rather somber af-
fairs— mostly quite satisfying, and among the most popular
of the year's celluloids — but not permitting the petite
Norma to smile as often as we, and probably she also, would
desire. "The Moth" is no less serious as a story, but the
tragedy works its sinuous way beneath a surface of gaiety
that is frequently hilarious. Lucy Gilliam, married when
only a child, a mother of two children while still a girl,

The Shadow Stage

discovers that her husband is interested principally in her
wealth. She finds relief in frivolity, leaving the children
to the servants. Her frivols are innocent enough, though
they disturb the peace of mind of her guardian, Ned Cun-
ningham. Captain Auchester joins the fashionable circle,
and makes love to Lucy. She repulses him, not without
unmistakable signs of distress. Gilliam wants more money,
threatens to bring down a scandal upon Lucy, naming
Auchester. A woman intimate of Gilliam's commits
suicide in his presence and he is suspected of murder. To
save Lucy from disgrace Auchester tries to divert the
suspicion to himself. The truth comes out. Prospective
happiness looms ahead. Not an especially noble yarn, but
it provides the best framework erected recently for the
exploitation of fashionable life, dissipation and intrigue —
and the Talmadge smile. To say nothing of the Talmadge
gowns. Norma Talmadge is approaching her perihelion.
She has still to find a great story.

THE MANXMAN— Imported

"The Manxman," a picturized translation of Hall
Caine's novel, is an importation from Great Britain. This
is one of the novels which made a reputation for the
Manx author and permitted him to get away successfully
with works in which the fire of genius did not burn so
brightly. To place the story as originally conceived, upon
the screen in these days of supersensitive guardians of
public morals, is impossible. Hence George Loane Tucker
is entitled to the highest praise for having deftly avoided
the open statement without completely abandoning the
spirit. The plot is too familiar to warrant an unsatis-
factory synopsis here. It is not a fable for infants. Into
the story Hall Caine poured all the vitality of his earlier
years of creative virility. The picture is, perhaps, the best
treatment possible in our age of superficial morality of
the cinema.

DOWN TO EARTH— Artcraft

It is not difficult to discern the division of labor between
the star, director and scenario writer in the latest Douglas
Fairbanks creation, "Down to Earth." The credit line
might read — "Action by Fairbanks, psychology by Anita
Loos, drama by John Emerson." Where such another
trinity of talent? The program informs us that it was Fair-
banks' story, but no one now writing for the silversheet
except the petite giantess Anita, could have made that
story such a delicious satire upon the foibles of neuras-
thenics. Bill Gaynor, a wealthy young western rancher,
loves Ethel (patronymic not stated) but she elects the
dizzy fashionable life of Gotham as against matrimony.
The speed wears her out, and she goes to a sanitarium,
where Bill finds her among a lot of other people who are
coddling their pet maladies. To save the girl he buys out
the sanitarium, abducts the patients on his yacht, and
maroons the entire party on what he pretends is an other-
wise uninhabited island. There he compels his victims
to work for their living, all except himself being helpless in
the aboriginal conditions. A simple tale, yet quite sufficient
to exploit the Fairbanks personality, the Loos knowledge
of humanity, the Emerson punch and the Eileen Percy
pout.

THE AMAZONS— Paramount

After sitting twice through "The Amazons," such
esoteric mysteries as "The Letters of a Living Dead Man,"
and other supernatural phenomena of literature, are as
transparent and limpid as the lemonade they serve at
Sunday School picnics. When Pinero wrote "The Ama-
zons," Marguerite Clark was six years old. Yet the
Paramount picture proves positively that the play was
written solely and exclusively to the purpose that it should
(Continued on page 127)

Marc MacDermott and Mildred Manning are purveyors of comedy
in "Mary Jane's Pa."

1__ . -

KZNHHMHMaHHMUHHMMHMHHMMMHHnHHBMHB^HBHraHnSflHIHHHHMMBfll

The blind man makes Emily Stevens ashamed of her husband
in "The Slacker."

Beautiful Edna Goodrich is restored to filmland in "Reputation.

Mr. and Mrs.

Hayakawa

and Their

New Shoji

C*J

ONE of the greatest charac-
teristics of the Japanese is
their adaptability. Sessue
Hayakawa takes kindly to his
Hollywood mission bungalow,
and is as much at home as in
his original fragile home in
Japan of bamboo and paper. To
complete the reversal, he has ac-
quired a French bulldog. We
wonder if he also has a French
chef. "Honorable visitors ap-
proach," say Mrs. Hayakawa and
the dog, but Sessue is calm, as be-
fits a star.

Photos
by

rOKIO? No, Hollywood, California. Yet you can almost detect the faint odor of cherry blos-
soms. It's Sessue Hayakawa (pronounced just as it is spelled) and his delightful little wife,
Tsuru Aoki, enjoying afternoon tea in the charming Japanese garden in back of their new home.

Jerry
the Land

MEANING quite naturally
that Miss Geraldine Far-
rar has been participating in a
photodrama of Mexican locale.
But it was long before Villa's
time. In her new production
entitled "The Woman God
Forgot" she plays the role of
Tezca, daughter of Montezuma,
Aztec ruler of old Mexico, who
betrays her country for love
of the young Spanish adven-
turer Alvarado, played by
Wallace Reid. There are many
thrilling battle scenes ending
in the death of Montezuma,
the defeat of the Aztec indians,
and the capture of their tem-
ple and treasures by the Span-
ish invaders under Cortez.

Alvarado (Wallace Reid) bids

Tezca farewell and prepares

to rejoin Cortez.

Below — Tezca, alone in her garden, ap-
peals to the Aztec gods.

Invades
of Villa

Prescott, Bancroft and other
historians never mentioned a
word in their books about the
Aztec Indians using telephones.
As a matter of fact Miss Farrar
is telephoning her housekeeper
that she has to work, and will
be late for dinner.

The victorious Spanish invaders cap-
ture the Aztec Temple.

The gentleman in the galvanized Kuppen-
heimers is none other than Hobart Bos-
worth, who plays the role of Cortez.

rjlHEY'RE waiting for a set to be completed at tlie Paralta studio, and Bessie Barriscale is trying

J. to learn some sleight-of-hand tricks from David Hartford, who is miusually clever at that sort

of thing. Robert T. Kane, president of the new Paralta Company, is an interested spectator.

Manners A film producer-director in New
Ad Lib York who has made a fair financial
success with pieces of rather maud-
lin appeal recently undertook a more ambitious
scenario: a manuscript calling for some episodes
in what the hall-boy and ribbon-clerk are
pleased to term "society."

Our friend— whose distant ancestors climbed
the Mount of Olives, and whose nearer fore-
bears inhabited Poland — progressed without
punctures until the moment he launched the
leading people into a drawing-room. They
were real swell, and the room was real swell,
and as there was no dramatic action at the mo-
ment they should, of course, supply atmosphere
by doing something real swell. The only busi-
ness indicated was a short telephone call.

"Tek down the 'phone," directed. "That's
it — line's busy — sit down, lady, and — " he was
stuck — "you know: monkey around for feefty
feet!"

The Walling fords About the roughest pro-
of the Pictures. motion game in the world
seems to be that of form-
ing a local moving picture corporation. There
seems to be no end of the variations rung upon
this method of taking advantage of civic pride
and ambition. Ignorance of the business leads
otherwise level-headed men to fall for the oily
talk and vast promises of incompetents with
trails of failures in their shady pasts.

Nor would it be so bad if only the local cap-
italists were the victims. "Once a farmer,
always a come-on," said an O. Henry character.
Some one will get the easy money anyhow. But
these "slickers" generally succeed in persuading
some well-known player to lend a previously
unblemished name as bait.

The local investor has about as much chance
in this game as a yokel placing wagers on an
electrically controlled roulette wheel. Photo-
play's advice to the community seeking a place
in the sun through the formation of a local
moving picture corporation is — Stop, Look,
Listen, investigate^ the promoter, and then write
for advice to the Reno Chamber of Commerce.

Annoying, even though inevitable,
is the fact that no sooner does a
player hit upon some clever trick of
make-up or manner, than a host of
imitators arise. This may be the sincerest
form of flattery, but who wants to be compli-
mented by a person so lacking in intelligence
and originality? However, these imitators con-
tribute to, rather than detract from the popu-
larity of the originals, for their efforts are cer-
tain to be but wobbly approximations of the
copperplate at the top of the page. One young

Imitations
and their
Limitations.

Who Put the
Con in Contract.

woman is being "starred" for no apparent
reason other than that she is able so to arrange
her coiffure as to make her hair something like
that of Mary Pickford; yet the public does not
seem to be unduly excited over the fact. A
young man has obtained for himself a pair of
brogans, a bamboo stick, and a shred of mous-
tache, and other of the obvious externals em-
ployed by Charles Chaplin in his antics; he has
seemingly overlooked the fact that he has not
the material for an imitation of what Charlie
has inside his head.

Within the last few months
there has been a veritable
field meet among the picture
players. Various notables have vied with each
other in seeing which could most successfully
hurdle their contract fences, to browse in
greener pastures where the salary checks were
more umbrageous and succulent. For varying
reasons, Douglas Fairbanks, Clara Kimball
Young, Mary MacLaren, and William S. Hart
— to name the more noted entrants in this
classic — have declined to carry out the con-
tracts under which they were working. We
would be the last to chide any person for sel-
ling his services in the best market. The de-
plorable thing about this widespread condition
is that it gives color to a feeling entertained by
certain observers of the photodrama — that it is
an unstable, undependable industry, not con-
ducted on the same solid business basis as, say
the manufacture of automobiles. So far we
have failed to discover a case in which the
courts have called upon a player to carry out
his contract. Is this because most picture con-
tracts are inequitable, because producers do not
keep faith, or because the courts decline to
consider seriously so frivolous a matter as a
deal in amusements? Where there is such an
accumulation of similar instances, there must
be some one general problem that demands
solution. Until a moving picture contract is as
dependable as a contract for the erection of a
building, the business will remain very much of
a gamble, and cannot reach its highest possi-
bilities.

One of the great American
indoor sports is kicking our
national legislators around,
but every now and then
there emanates from Washington a despatch
which proves that there are, in the two Houses,
men who have not forgotten the intimate,
human side of life. Few more illuminatingly
patriotic acts have been recorded than that
performed by the Senate war tax committee
when it recommended that moving picture
theatres charging 25 cents admission and less

Here Is Real
Patriotism — A nd
the Senate.

i x

Photoplay Magazine

should be exempted from the special levy which
is required to finance the war. We can add
nothing to the paragraph of the committee's
report dealing with this point. It reads:

"Your committee recommends that moving
picture shows, the maximum charge for admis-
sion to which is 25 cents, be exempted from
the admission charge proposed in section 700
of the House bill. The moving picture show
has become a national institution. It possesses
many valuable educational features. These
pictures are exhibited not only in places of
amusement, but they are used in schools and
colleges for the purpose of illustration and
education.

"In addition they are largely patronized, espe-
cially those of the kind proposed for exemption
from this tax, by people of small means. These
reasons as well as others that might be given
justify the exemption from the admission taxes
of this class of amusement."

No one can now say that the poor man has
been forgotten in Washington.

"Cherchez la Inexcusable French, of course,
Boche. " but the Boche's practice is also

inexcusable.

United States government officials have just
discovered that certain Scandinavian exchanges,
notwithstanding petty quarrels with Sweden and
Norway about shipping and embargoes and all
that sort of thing, have found constantly in-
creasing demands from their clientele for
American films.

The devotion of the Swedes to anything and
everything that came from America was almost
touching.

Was the subject old? What matter! Were
the prints cracked and wrecked as to sprocket
holes? Well — they'd patch them up, somehow.
Were the reels mere duplicates of those which
had gone forward the month before? The in-
terior villages simply couldn't get enough of
these scenes of American life! Just send — any-
thing, but send.

So the government, interested as always in
our dear admirers, endeavored to hunt them up
in order to be able to thank them in person for
such tempestuously wholesale appreciation.

They traced the films to their destination.

And their destination was Germany, where
the celluloid stock was being turned into high
explosive.

Now the poor dear Swedes are not seeing so
many Amei ican pictures.

Too Far Behind We believe this may be said

To Catch Up. °f tne §eneral run °f Europe-
an films. America has passed
the continent in practically all the photoplay
points : direction, acting, story, location, interior
equipment, photography.

Occasionally a rare film such as "The War-
rior," the new war-comedy featuring Maciste,

puts our continental skepticism to rout, but
these exceptions are too isolated to figure in the
ruling.

America will maintain her balance after the
war. Once upon a time France unwound the
comedies par-excellence, and, on successive
photoplays — "Quo Vadis" and "Cabiria" — Italy
led the world. But America has produced a
comedian whose humble antics touch every
man's humor, and in the products of Griffith,
or Brenon, or Lloyd, or DeMille, she has estab-
lished standards which may be attained but not
maintained across the seas.

Here's a In compiling its Animated

Curious Decision. Weekly, the Universal, a
few months ago, obtained a
picture of Mrs. Grace Humiston, the woman
lawyer who solved the Ruth Cruger murder
mystery. Mrs. Humiston brought action in the
courts against the Universal to prevent the
company from exhibiting the film. The Uni-
versale claim was that newspapers did not
obtain the consent of persons either in public
or even private life before printing their pic-
tures, and that the weekly was simply another
form of newspaper. The judge handed down
the curious decision that the Animated Weekly
was made and exhibited for money-making
purposes, and therefore could not claim the
newspaper precedent. The inference that
newspapers are not run for profit is too ingen-
uous to call for comment. Perhaps the learned
judge would suggest that the newspaper receives
no direct return from printing a certain specific
picture; neither does a bank receive money
from its depositors in direct payment for marble
pillars and mahogany furniture. These are
business lures, not for sale in themselves, but of
the utmost value in attracting customers. This
issue is too important to be dropped at such a
crucial stage, and the Universal will continue
the fight until there is no court left to which it
can make appeal.

Pathe Stirs Into the peaceful councils of the
Jmmortah French Academy — the Immortals —
Monsieur Pathe has hurled a bomb
no less explosive than those which are causing
disturbances elsewhere in France. Jules Claretie,
director of the Theatre Francais, died recently,
leaving a vacancy in the Academy's forty chairs.
M. Pathe, a pioneer in the European cinema
field, nominated himself as candidate for the
empty chair. Mon Dieu ! Qu'est que e'est cela?
That a moving picture person should desire
admission to our sacred institution ! But if M.
Pathe does not achieve his ambition he need not
feel hurt. Among others similarly slighted in
the past have been Moliere, Racine, Rousseau,
Beaumarchais, Diderot, Stendahl, Balzac, Gau-
tier, Flaubert, Zola, Daudet and Guy de Mau-
passant. One would about as soon be listed with
these as with the favored ones. So oblique is
the perspective upon contemporary genius.

Norma Makes

the Calendar

Look Silly

Photos by Charlotte F.urchild

The coat worn by Miss Talmadge
in the picture at the right is a charm-
ing combination of beaver and seal,
and certainly looks capable of defeat-
ing the best efforts of Jack Frost.

Below: Norma's new ermine scarf.
Her muff is the new "canteen" model
and matches the scarf perfectly.

WITH the thermometer at a hundred and something in the shade and
people dying by the hundreds from heat prostrations, the Norma
Talmadge News Agency devastated the New York office of Photo-
play with photographs of that charming lady in her new furs. Which ex-
plains why they arrived in time for the November number.

Miss Talmadge does not endorse the sentiments of screen stars who sigh
for the simple life. She prefers regal furs and costly gowns to calico and
homespun and she doesn't hesitate to say so. In fact the young star might
be styled the "Empress Josephine of filmland" without exaggeration, so
extravagant is her wardrobe. She has fur coats galore, and for each picture
in which she appears she buys a complete set of frocks and wraps.

Of course Norma has resources other than her own weekly stipend. Mr.
Schenck, her husband, is one of the wealthiest men in the picture business.
Consequently Norma can well afford to indulge her expensive tastes and
inclinations.

A Whack at the Muse

By Edward S. O'Reilly

The author of "Temperamental Tim" in the October number.

Illustrated by D. C. Hutchison

IF old Tim Todhunter don't break his neck or get fired I'm goin' to hunt
another job. I'm crackin' under the strain.
You see when I first joined on with Skidmore here at Celestial City I
was supposed to be corral boss, and have charge of the live stock we use
in the western stuff. Also I was supposed to kind of look out for the extra cow
punchers who need a fatherly hand now and then around pay days. But now
the old man has ordered me to ride herd on this Todhunter hellion and it's more
than any one man can do.

It makes me sad to think that Skidmore hires this uncurried old outlaw on
my recommendation, because he's got the meanest face west of the Pecos. He's
made a hit in these bad man parts too, and the old man wants to keep him,
but I'm the one that's got to suffer. It's all on account of his dad blamed tem-
perament.

Don't think that old Tim isn't a real bad man. Half the whites and all the
Mexicans on the Rio Grande heaved a sigh of relief when he went into the
movies. He is a post-graduate in the art of truculence. They used to say down

"Romeo outs with his

sword and yelk 'draw

and defend thyself,

thou varmint.' "

^^tHvtvl*« $0*

rtf^T-

at San Simon that he'd fight a
rattlesnake and give it the first
two bites.

At first the boys around the lot used to haze him but
after several serious accidents had happened they made
other plans. Now they amuse themselves in another way.
The poor old bandit has begun to take himself serious,
thinks he's a pre-ordained actor and all that, and he'll
believe anything they tell him.

Especially he falls for the girls. You see he never had
a white woman act friendly to him before. Down in the
Big Bend he ain't popular with the ladies because he
thinned out the husbands too much, but here in Celestial
City they all flirt with him when they ain't got nothin'
else to do. It's gone to his head and ruined a first-class
cow hand.

For instance. The other day he came to me in the
corral lookin' like he had somethin' on his mind. He
wore that sneakin' horse thief look that he's always got
when he's been thinkin'.

"Slim," says he, "I've got a whale of an idea and I need
your help."

"Shoot," I groaned, sittin' down to listen.

"Well, you know I've been doin' right well at this actin'
business," he proceeds. "Well, I've just come to the con-
clusion that I'm in the wrong end of the game. It's them
writers what make the big money. Just look at Rex Beach,
that Alaska poet, and Charlie Dickens, the fellow that
wrote about 'The Tale of Two Cities.' I'm goin' to horn
in on that author stunt."

"How in Sam Hill do I come in on that?" I asks him.

"Well, I never did have much schoolin' in the rudi-
ments," he admits. "I'm just naturally bright. Now, I'll
work up the stories and dictate them to you, and you do
the manual labor of writin' them down. You can be my
Nemesis and I'll pay you anything in reason."

"I've been the horse wrangler and general teetotum
around this lot for three years but I never had no expe-
rience as a Nemesis," I complained, scentin' trouble.
"However, I'll try anything once."

"Round and round they go whackin' at each other with

them swords. First Romeo cuts off Joliet's ear and then

Joliet cuts Romeo's throat."

"I got a dandy plot," he con-
fided with a ghastly smirk. "Now
I don't want to take all the credit.
The rough outlines of this plot was give to me by another
person, but I've been fillin' it in and puttin' the originality
to it."

"Who was this person?" I asked him.

"Why, I don't mind tellin' you," he goes on. "It was
Miss Tessie Truelove, one of the squarest little senoritas
that ever came off the range."

"Oh, that's it," I sneered cautiously. "And how about
Mayebelle La Tour that you was tryin' to get your rope
on last week."

"That deceiver," he snorts. "I've expelled her utterly
from my thoughts. Never again can she kick up a qualm
in my heart. Let her go ruminatin' around with that Smith
husband of hers all she wants to. Now Tessie's different.
She's a poor abused little thing what's been misunderstood.
She told me so herself."

"But how about this plot that she and you plotted out
together," I asked him, tryin' to get the worst of it over.

"Well, this is an entirely new, highly original story that's
goin' to hit old man Skidmore right between the eyes," he
admits. "It's the story of a feud between the Montagues
and Capulets."

"That's a rotten idea. Them feud pictures is all old
stuff," I said, intendin' to discourage him. But the man
don't live that can discourage Tim Todhunter.

"The trouble with you, you haven't got the dramatic
instinct," he said. He's picked up a lot of words like that
since he's been on the lot. "This ain't no ordinary feud
picture. It's antique. The mise-end-scene is laid way
back in the medieval past before Columbus discovered
Isabella.

"Now, just sit still and let me sketch the rough fundi-
ments of the story. You see there's two gangs, the
Montagues and Capulets, that lived way back in Italy,
and they are always waylayin' each other. Don't you see
the great openin' right there? It gives you the chance to
illustrate the original Wop before he came to America.

Photoplay Magazine

"Well, these here
Montagues and ("apu-
lets have terrorized
two or three counties
with their scrappin'.
Each family is just
naturally hell bent on
exterminatin' the other
one. If a Montague
goes project in' around
after dark some C'apu-
let will bust him over
the bean with a
machete. Then next
day some Capulet will
slide into the corner
saloon for a drink and
a Montague will sneak
around and put sheep
dip in his pousse cafe.
There's another artistic
touch. Pousse cafe is
an antique drink that
used to make these
prehistoric Wops act
that way.

"I didn't tell you
that this here story
takes place in Venice,
which is a Dago town
near Constantinople.
Just see the chance for
local color in that.
Venice was just clear
full of local color.
Here are these feudists
chargin' around on
gondolas slashin' away
with their knives, all
lit up in them funny
clothes they used to
wear."

"Wait a minute," I
begged him. "What's
the name of this here
masterpiece."

''Romeo and Joliet,"
he says, without battin'
an eye. "You see
Romeo is the he wolf
of the Montagues and
Joliet is head feudist
for the Capulets. I
ain't just decided on
that title either. I've
got another one that's
awful original, 'The
Maiden's Revenge.' "

"What's that got to
do with the story?" I
asks.

"It ain't got nothin'
to do with it," he says.
"But you see it gives
the woman interest,

and you got to have a strong woman interest in a picture
these days."

"Sounds reasonable," I admits, just to avoid argument.
"But proceed."

"Well, I've been givin' an awful lot of thought on this,"
he goes on. "And what I'll need is atmosphere. Now to get
atmosphere you've got to use a lot of that ancient language
like the Wops talked in Venice. I've got a few lines that

"So Romeo climbs up

the lightnin' rod and

sits on her window sill

and makes love."

are great and besides
they're all new. Here's
a few of them, 'Gad-
zooks,' 'By my hali-
dom,' Odds Fish,' 'Be-
gone foul catiff or I'll
swat thee on thy scurvy
sconce.'

"Ain't them great
lines? I don't know-
just how I'll work them
in yet, but that'll come
when I devote a little
more thought to the
subject. There's an-
other swell line, 'A
horse, a horse, my
kingdom for a horse.'
Romeo pulls that line
when they shoot the
gondola from under
him and got him cor-
nered in a back lot.
Don't you like that
line?
"Like it? It was always good," I remarked.
"Thought you'd see the possibilities. But I ain't got to
the nub of the story yet. The ne plus ulterior as it were.
There's a girl comes in."

"Ha, ha, that's original," savs I. "How did you think
of it?"

"Oh, just a kind of inspiration," says Tim. "But wait.
This is the knockout. There's two fellows in love with the
same girl. Ain't that a wonder? Funny somebody never
thought of that before. Two fellows after the same girl.
Just sense the possibilities. I'm thinkin' of usin' a line
along in there about 'The Infernal Triangle.' Do you get
it? The triangle, you see, two men and one girl, that
makes three, and — "

"Yes, yes, go on," said I, tryin' to head him off. "Does
she marry one or both?"

"That's the strongest point of this scenario," says Tim.
"She don't get either. This is a tragedy."

"Well, to go on with the plot. There you've got the
main characters. Romeo and Joliet, the two head gang-
sters, both in love with the girl."
"What's the girl's name?" I queries.
"Desdemonia," he responds right off the reel. "There's
something new and snappy about that name. Then there's
a few minor characters like the old count, that's Desde-
monia's father, who keeps her shut up in his castle and
don't let her go to any of the dances or anything. Then
there's another bad actor named Othello. He's a kind of
nigger what's the Jack Johnson of Venice in those days,
and ain't such a slouch of a fighter himself."

"Marvelous," I exclaimed at him. "How do you get all
this new stuff?"

"Well, I want to be fair," he says. "Tessie Truelove
helps me with some suggestions, but the main theme I
worked out myself. Now you know all about the fightin',
I want to tell you some of the sentiment. There's one
scene when this guy Romeo comes to Desdemonia's castle
one night and sings a little ragtime on his lute."

"What's a lute?" I asked him, for this thing was comin'
too fast for me to handle.

"A lute is a kind of cross between a banjo and a mouth
organ," he informs me. "It was very popular with lovers
in those days. Well, he lilts his lute under her window and
she gives him the high sign. So Romeo climbs up the
lightnin' rod and sits on her window sill and makes love.

"Ain't that a swell chance for sentiment? I'll work the
moon into that scene. 'Swear by yonder moon that I'm
the only girl you ever kissed,' Desdemonia tells Romeo and

A Whack at the Muse

he ups and swears. That sure is original, bringin' the moon
into it that way. Then I'll have soft breezes blowin' and
birds twitterin'. Oh, there'll be a hell of a lot of sentiment
in that scene."

"But," I protested. "It ain't accordin' to Hoyle. Birds
don't twitter at night."

"I'll have to explain for your poor benighted benefit,"
Tim says with disgust. "An author has a poetic license
and has a right to say things like they ain't just because
he thinks they ought to be that way."

"Let them twitter then, and see if I give a hoot," said I.
"What happens to this galivantin' porch climber?"

"I haven't just got that worked out yet but the whole
scene up there has got to be almighty tender," Tim goes on.
"You see the motif of this scene is youthful love. It'll have
them all cryin'. There are several classes of persons what
like a husky love scene. There are young maids, old
maids, bachelors and married folks.

"Now after wringin' the hearts of the audience for a
while with this balcony stuff on the back porch I thought
I'd end it with a little comedy touch to relieve the tension
as it were. This is the way I planned it. He's kissed her
seven or eight times and she gives him a lock of her hair.
That's another original touch, that lock of hair. Well,
anyway, her old nurse wakes up at the sound of them
kisses and comes out and busts poor Romeo over the head
with a broom handle.

"Romeo thinks he's bein' Capuleted and turns loose all
holds and slides down to the ground."

"Where does the laugh come in?" I asked him.

"Why in comin' down he tears his pants on the lightnin'
rod."

"Did Tessie give you that line?" says I.

"No, I claim the credit for that myself," replies Tim,
throwin' out his chest.

"What happens to the lute?" I puts in.

"That's a good idea," shouts Tim, showin' some interest.
"That'll work in fine. I'll have him sit on the lute and
bust the strings. 'The Lost Chord.' That'll be the sub-
title. I thought of that line before but didn't have no
place to use it.

"But the wind-up. That's the scream. These Mon-
tagues and Capulets go on fightin' until they're pretty well
killed off. Then Desdemonia, who's havin' a hard time
decidin' whether she likes this Romeo or Joliet the best
gets up a little scheme.

"One night she sent word to both of them to come to
her boudoir. Each comes to the happy tryst thinkin' he's

won the dame. She's taken some sleepin' powders that
makes her look like she's dead. So when they come slippin'
into the room there she is stretched out cold on her bier."

"What's a bier," I asks. You can get a lot of information
and facts by askin' Tim these questions from time to time.

"Oh, a bier is the ancient name of a sanitary couch," he
says. "Romeo and Joliet are sure non-plussed for a minute
when they find Desdemonia dead, although she really ain't,
you see. I just put that in to keep up the suspense. So
Romeo outs with his sword and yells, 'Draw and defend
thyself, thou varmint.' Ain't that a line?"

"How do you get them swell phrases?" says I to Tim.

"Oh, they just seem to kind of bubble out," he tells me.
"Well, anyway, this is the star fight of the whole show.
Round and round they go, whackin' at each other with
them swords. First Romeo cuts off Joliet's ear and then
Joliet cuts Romeo's throat and they keep it up until they're
all cut to pieces. That'll go swell on the screen. Finally
they both drop dead.

"Then this sleepin' powder gets over its effect, and
Desdemonia comes to. She takes one look around the
room, and finds herself completely out of lovers. She has a
regular fit right there, oullin' her hair all over the place and
alternately kissin' the cold brows of Romeo and Joliet.
Then she th"ows herself on the bier and weeps, and weeps
in the hysteria of a young girl gone completely wrong.
Now isn't that some finish?"

"I'd never have thought it possible," I admits. "But
there's one thing that puzzles me. What happens to this
heavy weight Othello you mentioned?"

"Oh, yes," went on Tim. "I forgot about him. Why he
slips in the room just then and smothers poor Desdemonia
in a bolster. Then he commits suicide. I told you this
story was a tragedy."

"Do you think the old man will put it on?" I asks him,
not wantin' to shatter his dream.

"Of course he will," he asserts. "He'd never turn down
a scenario like that. Slim, this is goin' to give me a chance
to appear before the public in a serious role. It'll make
me for life."

"So you're figurin' on playin' one of them parts your-
self," I says. "Which are you goin' to be, Romeo or
Joliet?"

"Well," says he with a sickly simper. "Seein' as this is
the child of my own brain I thought maybe he'd let me
double in both parts."

Now wouldn't that cock your pistol? That's why I say
that either Tim's got to get a new friend or me a new job.

The Intoxication of Wealth

On Forty-eighth Street, New York, just off Times
Square, there is a hotel which is liked by many theatrical
folk because it is quiet, unpretentious, not too expen-
sive and yet comfortable. Around the corner from
this hotel is a dairy lunch, where you sit on stools at
a long counter, and get good, wholesome food, at about
one-tenth the prices charged by a nationally famous
restaurant two doors away.

Edgar Lewis, director of "The Barrier," "The Thief,"
"The Bondsman," and other successes was living at
this hotel while directing "The Bar Sinister." The
picture completed, the world rights were sold almost
immediately, the director receiving as his share a check
for $110,000. The next morning he rose at the usual

time, shaved himself, dressed, and then turned to Mrs.
Lewis.

"Do you realize that we're rich?" he asked. "We
have $110,000 in the bank, all our own, to do as we
like with."

"Yes, Edgar," his wife replied. "It does seem good,
and you deserve every cent of it. After all your hard
work, it will seem good to see you able to enjoy life,
and have anything you want."

"It surely is good," Edgar mused, and then — "Well,
let's forget about it and go down to the dairy lunch
and get some breakfast."

And with $no,ooo in the bank they perched on
stools, the happiest couple in New York that morning.

ALL dressed up and no
place to go is bad
enough; all undressed,
with the ocean present, and
not allowed so much as to
wet the tip of an eager toe is
ten times worse.

So you can imagine how
bad it was when twenty of
the prettiest girls Director
William Christy Cabanne
could find in New York,
found themselves in this pre-
dicament one of the hottest
days of the summer at Long
Beach (L. I., not Cal.).

The rosebud garden of
gigglers was engaged for the
purpose of making "The
Slacker" look slicker. In the
story, Emily Stevens is en-
gaged to a comfort-loving
young man who declines to
get interested in the war.
Just to show that this was
not because he lacked physi-
cal courage, a scene was ar-
ranged where he rescues a
drowning man — a perfect
stranger too. Then, to doll
up the scene, a score of
damozels were mobilized,
their sole requirement being
the capacity for miking bathing suits happy.

Until that day, the record from the station to the surf,
changing clothes en route, was twelve minutes, three and
two-thirds seconds. Twelve of Director Cabanne's girls
made it in ten minutes flat, and the others said they would
have beaten this if Pop, the wardrobe mistress, hadn't given
them stockings that wrinkled in an important place, and
had to be changed.

Emily Stevens ( in white ) is
holding her hands, Director
Cabanne is holding Miss
Stevens' summer furs, and the
bathless bathers are holding a
council of war on what they
think of it all.

Teas
the

Ethel
Rosemon

"Hurry," called the ringleader. "We'll have time for a dip before
the camera is ready."

But Cabanne was waiting.

"Keep away from that ocean," he shouted through his megaphone.
"Don't get those bathing suits mussy. You're here to be photo-
graphed, not to kellermann."

And there lay the ocean all day, moaning and coaxing and creep-
ing up toward the damozels, trying to embrace them, and there was
nothing doing. Director Cabanne brought down the finest array of
teasers of the whole season, and then left the ocean flat.

Two of the girls went into executive session, and started down the
beach. Cabanne called, but they could not hear. In a minute they
were splashing in the rollers, deciding that they did not need the
$5 badly enough to forego the swim.

Eighteen were sufficient for all practical purposes, and the camera
began grinding. The sea-hungry girls were photographed on the
veranda of a hotel, on the board walk, on the sands, everywhere but
where they wanted to be.

"And they told us we were going to have such a fine day at

the beach,'"

moaned.

one

your
a

Director Cabanne takes twenty beauties to
the beach, and then leaves the -water flat

ful
time, take
me home, take me
home, take me home," an-
other caroled in minor key.
Trouble was, they thought they had been hired as players,
when, as they were beginning to discover, it was all work
and no play.

But finally the scenes were completed.
"Goodie, now for a swim," the chorus rang.
"Fifteen minutes to catch the train," called Pop, and a
dismal troupe of damozels poutingly doffed their dry bath-
ing suits.

"Oh well, never mind," said the one optimist in the party.
"We are all sunburned, and nobody will know the dif-
ference."

Photo by
Witzel

KATHLYN WILLIAMS
likes corn beef and cab-
bage, steak with fried
onions, big round sausages fla-
vored with garlic, Epictetus,
(which she says, is a different
kind of food altogether), two
little puppies in a box in the best
room upstairs (little pink and
white things that didn't have
their eyes open), leopards (with
cages or without), Mark Twain.
A Child's History of England,
and writing scenarios for George
Beban. She likes to go to the
theatre and laughs in the right
places and cries in the right
places, too. She frequently for-
gets to criticize and seldom
forgets to applaud. All of
which goes to show that Kathlyn
Williams is a regular highbrow,
and the best fellow in the world
to have "out front" and, inciden-
tally, an actress, with the em-
phasis on the ACT — but nobody
needs to be told that.

Kathlyn Williams and George
Beban are two stars without a
spark of jealousy between them.

Miss Williams has just finished writing a scenario for
George Beban whose talents she praises highly, and he

Kathlyn'

Pioneer Screen
Heroine Tells
of the Early
Film Days and
•what she sees
in the Future

By
Frances
Denton

Kathlyn Williams and Wheeler Oakman in
from "The Ne'er Do Well."

"The worst
reminiscing, '
has returned the compliment by writing a scenario for her. every scene.

( Romance hunters please
note: George Beban has a per-
fectly good wife and Kathlyn
Williams is married to Charlie
Eyton, manager of the Morosco
studio, and very happy, thank
you.)

From the scenario she had .just
written, the conversation drifted
to the moving picture of the
future.

"I wonder," the famous Kath-
lyn said, thoughtfully, "if the
pictures we are making will look
as crude a few years from now
as those made by the old Bio-
graph Companv look to us
now?"

Kathlyn Williams joined that
famous company just a little
later than Mary Pickford,
Blanche Sweet and Mae Marsh.
However, she considers herself
very much of a pioneer having
been the star of the first serial
picture ever made. This was
the famous Adventures of Kath-
lyn. The "Adventures" ran
about fifteen months and many
an audience sat with its collect-
ive muscles tensed and its col-
lective mouth wide open, while
an "episode" closed with the
heroine standing on the end of
i scene a bluff and looking into the face

of a yawning tiger,
nuisance of all in those days," Miss Williams
was the trade-mark. It had to appear in
Remember how, during some particularly

Memory Box

pathetic parting, the circle with "AB" on it, was
always the featured prop? I only appeared in
three pictures with the Biograph and then I
joined Selig. There you recall the brand was the
'diamond S.' Once, after the making of a scene
in one of our worst thrillers, Mr. Bosworth and
myself were both badly bruised up. Just as we
were congratulating ourselves on having finished
the thing, we discovered that the property man
had forgotten to hang the trademark in a suffi-
ciently conspicuous place and we had to do it all
over again. Sometimes we would get miles out
on location, discover that the trade-mark had
been forgotten, and be unable to do a moment's
work until someone went back and got it."

Miss Williams was so suspicious of everything
connected with the pictures at the time she met
D. W. Griffith, that she was surprised when he
paid her for her work.

"I was playing in stock,"
she explained. "One week
when I was not working,
someone called me up from
the Biograph studio and asked '
if I would work two days for
them. I was dreadfully in-
sulted at first, but I went out
of curiosity expecting to be
offered about fifty cents a day.
Mr. Griffith met me and said
that he would give me ten
dollars a day for two days
work. Frankly, I didn't be-
lieve him. Later, he told me
that he had run out of checks
and would pay me in full the
next day. Naturally I thought
it was all a bluff. The only
reason I ever went back to the
studio was to see how he
would wiggle out of giving me
the money. That night he
gave me two crisp ten dollar
bills and the shock nearly
killed me."

Miss Williams' first picture

Miss Williams at home. Kathlyn's peril-
ous adventures have thrilled, us so many
times that it is hard to associate her
with anything as tame as needlework.

Miss Williams had the distinction

of being the star in the first

serial picture ever made, "The

Adventures of Kathlyn."

with Selig was "Mazeppa," in one
reel. It was very widely adver-
tised and was considered the
greatest moving picture ever
made.

"Imagine a subject like that
being put into one reel today,"
she said. "Why, almost any com-
pany would give nine hundred
feet to the wild ride of Mazeppa
alone. We had a real wild horse,
too. A maverick fifteen years old
that had never been touched by
the hand of man. Some men
dragged him down from the hills
for the making of that picture."

"This sounds like a press-agent
story," she added, looking at me
with a deadly-serious expression
in her blue eyes, "but it really
isn't. Everyone has forgotten
that picture long ago." I nodded,
and she went on.

"The first three-reel picture was
a great sensation. Nearly every-
one in the business said that the
public would never sit through so
long a picture regardless of how
good it was. In these days when
many a story that could be told
in one reel is put into five, it
seems funny to recall those re-
marks about 'long' pictures. This
picture was 'Ten Nights In a Bar
Room' and, we thought, cost a
fabulous sum. But the scenery
was so flimsy that whenever a
door was closed the whole set
would shake. However, nobody
noticed a little thing like that."

"Kathlyn" was born in Mon-
tana, a country of magnificent
distances. The permanent effect
her early surroundings must have

Photoplay Magazine

had on her character is shown in
the design of her house, as well
as in her every movement. The
house is built on the side of a
hill and has very large rooms,
ceilings of extraordinary height,
a wide veranda, and two wide
driveways. Miss Williams' bed-
room is as large as three ordinary
rooms. Her occasional gestures
are always upward and outward,
never inward, toward herself.
She talks in a quiet, straight-for-
ward manner and looks directly
at one from clear blue eyes set
rather far apart.

"What did I want to be when
I was a little girl?" she said, re-
peating my question. "Oh, that
was funny! Nearly every girl
has wanted to be a nun /

at one time and an ac-
tress at another, but I
wanted to be both at
the same time. It was
a very real
tragedy to me
that I couldn't
figure out some
way in which
the two could /
be reconciled. /

"How doth the little busy star
improve each shining hour"
And it would be hard to find 1M

a busier one than Kathlyn.

When I grew to be a little older I realized that
it would be absolutely necessary for me to
choose between them. So, I decided to be an
actress."

Kathlyn Williams believes that the costume
picture will be the most popular picture of
the future. This does not necessarily mean
the big spectacle with an involved plot, elab-
orate processions, and innumerable characters.
But rather the short, ro-
mantic stories that history
and the Bible abound with
and the beauty of which
is almost invariably lost
when changed from one
period to another.

"Some day," she said, a
little wistfully, "I may get
. a chance to try with all the
best in me to 'put over' the
'tender grace of a day that
is dead' so that people will
feel the real romance and
humor of it all as I do."

Stnttg
Photo

arrie

The hard-working laborer, Jack Pickford, about to leave for
a day of toil at the Lasky Studio; his bride, Olive Thomas,
apparently enjoying a day off, from her Triangle duties.

^jL 0 {**

ays an

dJp/c

ayers

Facts and Near-Facts About the Great and Near-Great of Filmland

Wy CAL YORK

WITH no beating of tom-toms or
shouting from the housetops, Adolph
Zukor, the organization genius of Para-
mount, has reached out that long arm of
his and quietly encircled the lusty Selz-
nick organization. This makes him now
the controlling factor in Paramount,
Famous Players, Lasky, Morosco, Art-
craft, and Selznick. Likewise the
Zukor reach was long enough to bring
Clara Kimball Young back into the
fold, though it is whispered that a
clause was inserted into her contract
with Mr. Zukor that he might have her
pictures distributed by any person he
chose, but Lewis J. Selznick's was not
to appear in any way in connection
with her productions. Perhaps this is
the reason why the Select Pictures Cor-
poration was formed to absorb the
Selznick Enterprises. After all "Select"'
and "Selznick" have a certain similar-
ity of flavor.

But while the statuesque Clara was
being taken back, it is whispered in
some places and loudly proclaimed in
others, that Herbert Brenon quietly
slipped out of the back door, and will
have nothing to do with the new com-
bination. Brenon has always stood
guard jealously over his individuality,
and it will be difficult to convince him

If you don't send your favorite star
a quarter when you write for her
photograph, gaze upon this — one
day's shipment of pictures by Mary
Miles Minter — and blush.

i hat in the huge Zukor family he would
not be neglected, or slighted for men
who have been longer in the big concern.
No official announcement is made as yet,
by either side, on this point. Mean-
while, the fact that no public statement

ever has been authorized of Mr. Zukor-s
control of either Artcraft or Selznick,
indicates that every means will be taken
to prevent the public and the exhib-
itors from regarding this combination as
the beginnings of a trust.

There can no more be a picture trust.
however, than a vegetable trust. The
sole public interest in all these manip-
ulations is this: Mr. Zukor in the
past has given the world good pictures
at reasonable prices; if his extensive
control does not lower the quality or in-
crease the price, the eyes that gaze upon
the silversheet will not be turned upon
him in anger.

A FTER all, they haven't taken many
*» of our screen idols to the trenches
to have their hair mussed up, or other-
wise disturbed. Among those who
found their names in the draft list,
Wallace Reid and Charles Ray were ex-
empted. Wallie's exemption being a
temporary one, so that probably he
will be called with the next army.
Bryant Washburn also has a wife and
young son but he was refused exemp-
tion. Ray is married. Tom Forman
was one of the first to get into khaki as
he enlisted in the Coast Artillery Corps
before the draft came. He was made

This is how the girls treated Taylor
(Bunker Bean) Holmes on his first
day at Essanay, filming "Efficiency
Edgar's Courtship." Taylor is a
little better acquainted with the
studio beauties now.

Plays and Players

a corporal soon after
and by this time ought
to be a sergeant. James
Harrison, former Fine
Arts juvenile and later
seen in Christie Come-
dies, also went into the
Coast Artillery.

It was a source of
much satisfaction last
month when Charley
Chaplin was given a
clean bill of health by
the British embassy in
Washington. It was of-
f i c i a 1 1 y promulgated
there that Charley was
no slacker and that he
was doing his duty in
giving freely to the vari-
ous war and relief funds,
and in keening the sad
old world alaughing. In
a recent interview Chap-
lin said that he was will-
ing to go to the trenches
when his country called.
The Northcliffe papers
in England have been
leading the attacks on Chaplin, which
have been confined almost wholly to
British sources.

FAY TINCHER is back in the har-
ness, or rather, the motley of the
screen comedienne. After a vacation
that would have financially embar-
rassed nearly any of the high-priced
stars, Fay has organized a company to
make her own comedies for Pathe dis-
tribution.

FEELING the call of the wild (bank-
roll), Bessie Love has jumped the
Triangle reservation and, at this writ-
ing, is with Lasky. Bessie went to
the Triangle studio when Fine Arts dis-
integrated, on a long time contract.
Then Tom Ince staged the revolution
which denuded Triangle of Bill Hart,
Charley Ray, Dorothy Dalton and
others who had helped to make Tri-
angle famous.

A press agent's a

ffidavit accompanying this
both

picture says Bill Farnum had whiskers on be
sides of his face, and half of them didn't pho
graph. He grew a full crop to play " Les
Miserables."

At the top, what is called a"mess,"
but if Winifred Allen (Triangle)
were the permanent waitress,
many a lad we know would cease
to be a slacker. Below, poor,
starving little Vivian Martin hid-
ing behind the door of several
thousand dollars' worth of auto-
mobile. Too bad her initials on
the door don't show.

Bessie was one of the
few personages remain-
ing, but desertion was in
the air, and a row be-
tween the youthful star
and the management re-
sulted in Bessie jumping
her contract. Ince also
endeavored to persuade
the Triangle scenarioists
to treat their contracts
like "scraps of paper,"
but H. O. Davis, the
new manager of Trian-
gle, held them to their
agreements.

NOTHER combat-
ant in the Tri-
angle-Ince war was
Enid Bennett, the little
Australian screen star,
who went over with the
rebels but later returned
to Triangle when notice
was served that the Da-
vis organization would
institute legal proceed-
ings against her. Miss
Bennett is now plaintiff in a suit against
Ince and the New York Motion Pic-
ture Corporation, the Triangle subsid-
iary, to ascertain her legal status.
All in all, it's a fine little bit of inter-
necine warfare with both sides evincing
a no-quarter spirit.

'""THE play's the thing" is to be the
■*• new Triangle policy with the stars
merely incidental. Among the former
Triangle-ites who will be featured are
Louise Glaum, William Desmond, Mar-
gery Wilson, Alma Rueben and Olive
Thomas, and new Triangle names which
are expected to appear in incandes-
cents are Texas Guinan, former Winter
Garden and vaudeville star. Ruth
Stonehouse, once a stellar light of Es-
sanay and Universal, Roy Stewart and
Belle Bennett.

LULE WARRENTON, better known
as "Mother" Warrenton, is back
at Universal City, after trying inde-
pendent producing. She directed sev-
eral "kiddie" pictures during her ab-
sence.

PEGGY O'NEIL was coaxed back
into pictures for two weeks to im-
mortalize on the celluloid the role of
Peggy in Clara E. Laughlin's story "The
Penny Philanthropist," which is being
made by the Wholesome Films Com-
pany, at the Rothacker Studios in Chi-
cago. Miss O'Neil owes her start to
moving pictures, having been a mem-
ber of the first Lubin group of players.

JACK DEVEREAUX has gone and
done it. The Triangle star is now a
benedict. His bride is Louise Drew,
the only daughter of John Drew.

CATHERINE CALVERT, widow of
the late Paul Armstrong, has signed
a contract with Art Dramas. She has
made four productions with the Her-
bert Blache companv, "The House of
Cards," "The Peddler," "Think It
Over," and "Behind the Mask." Miss

Photoplay Magazine

If what Alice Lake is hid-
ing is as attractive as what
she is revealing, she should
be a Universal favorite.

Corner of Waikiki Ave-
nue and Market Street.
From the nature of the
necklaces it appears that
Wallace MacDonald and
Alice Joyce are strong for
each other.

Calvert appeared in sev-
eral of her husband's
plays, "The Deep Purple,"
"A Romance of the Under-
world,'* and "The Escape,"
but since his death has de-
cided upon a picture ca-
reer.

WILLIAM CHRISTY
CABANNE has com-
pleted his sequel to "The
Slacker," called "Draft
•No. 258," and therewith
his contract with "Metro
expired. He has organized
a company to produce in-
dependently— ■ distributing
affiliation not ye"t an-
nounced— and says that an
immediate enterprise will
be a continuation of the
patriotic pictures, aimed
to stimulate recruiting.
He believes that through
photodramas like "The
Slacker," he can win 100.000 fighting
men to Uncle Sam's cause, who might
otherwise neglect or evade their duty.
Mabel Taliaferro will have the leading
role in "Draft No. 258," with practi-
cally the same supporting cast that was
with Emily Stevens in "The Slacker."

EDITH STOREY has begun work
with Metro. Her first picture will
be made from a story, "The House in
the Mist.'' a recent magazine novelette.
Her leading man is Bradley Barker, her
director, Tod Browning.

ALLEN EDWARDS, leading man
for Violet Mersereau in "The Girl
by the Roadside," drives a Packard, and
came within a shoestring of driving it
into a nice cool cell in a Jersey jail
recently. The traffic wilhelm of a ham-
let found him guilty of four simultane-
ous breaches of the law, having to do
with speed, lights, muffler and something
else Allen cannot recall. He was in-
instructed to appear at the court two
days later. The following day a man
brought his daughter to the Coytesville
studio, with a note from the Universal

office, asking them to make a film test
of the young lady, who wanted to get
into pictures. Allen played a little
scene with her, and as she left, her
father said he was much obliged, and
any time he could do anything for
Allen he would be pleased. He there-
upon slipped Edwards his card, which
bore the information that he was dis-
trict attorney of the county in which
the actor was pinched. Allen unbur-
dened his soul, and was given an im-
munity bath. This story smacks of
graft, but anyone who knows the ways
of the bucolic cops of Jersey will un-
derstand that any means used in
thwarting them is justifiable.

ANNA CASE, prima donna so-
prano, star of the Metropolitan
Opera, has followed in the footsteps of
Geraldine Farrar and decided to dip
into the movie waves, via the Julius
Steger springboard. The aristocratic
Metropolitan frowned upon the Farrar
episode, and attempted to discipline
the lady, but discovered that the pub-
lic would not permit. The people who
pay to hear the singing at $6 per pay,
don't seem to care whether the singer
has been doing silent dramas or not. So
Miss Case has decided to take a
chance too.

WILLIAM FARNUM'S desire for
realism led a number of his
friends to play a practical joke on him
at the Lambs' Club recently. In the
role of Jean Valjean, the hero of "Les
Miserables," Farnum allowed his razor
to rust in its case for three weeks.
Learning of his intention to visit the
Lambs' Club one evening his friends
prepared a reception for him. As he
was about to enter, he was seized by
two policemen who threw him forcibly
out the door into the gutter of 44th
Street with advice to move on — that
bums were not allowed to panhandle

"Keep it dark," says Director Henry Otto
(right). "I'm not as black as I'm being
painted," says Tyrone Power. The occa-
sion— making "The Lorelei of the Sea."

in that institution. Nor would they let
him explain. They kept pushing him
down the street until he showed signs of
fight. Then the cops decided that there
was no money big enough to pay them to
(Continued on page 106)

oA Storm in the Making

JUST at midnight a silent figure opened the door and
stood with her hands clutched to her bosom. It was
raining as only it can rain when a girl must go out into
the midnight blackness. Drawing a deep breath she
bravely faced the un-
known. The wind was
driving the rain against
her in gales, clashing
her hair over her eyes,
blinding her path. Sud-
denly every tree and
limb stood out with
dazzling brilliance and
the vase standing in
her father's garden fell
apart as the bolt of
lightning crashed to
the ground at her feet.

A scene like the
above is thrilling in-
deed and every one in
the audience admires
the girl who braves the
raging storm.

To step behind the
curtains a moment :

One of the queer
things about motion
pictures is that the
things that look dan-
gerous never are and
the ones that don't
look so usually send
half a dozen persons
to the hospital.

Not so much to dis-
credit the lassie as to
arrive at scientific ac-
curacy, it must be
explained that our

In the upper picture a negative is shown on which lightning is registered.
(Below) filling an order for lightning; to be shipped to California.

heroine was in about as much danger as if sitting in a

drawing room playing an ukulele.

The picture above was made at noon on an open air

stage, with the sun a pleasant spectator.

To the left we have
the camera man and
beyond him a screen to
reflect the light. In
the middle, housed in
by the roof, we have
the rich man's garden
with its trees and
shrubs where our hero-
ine made her plucky
flight. Above may be
seen two men. They
are the rain dispensers.
Their method of pro-
ducing rain consists of
pouring water into a
tin box pierced with
nail holes at appropri-
ate distances, which
form the falling water
into the regulation
sized drops. To the
extreme right is the
wind. Here a balmy
summer breeze or a
wintry blast, whichever
the scene requires, is
made to order by
simply turning on the
current. The girl
comes out, the rain
falls, the propellor
blade blows it across
her and the audience
thrills and writes the
plucky girl a letter.

Photoplay Magazine

The lightning? Oh, yes, the lightning.

Several days before a silent man in a raincoat might
have been seen standing on the roof of a skyscraper with
his camera pointed to an ominous cloud as the torrents
fell about him Suddenly the cloud was reft and there
was a brilliant flash of lightning. The film, with the light-
ning's flash safely recorded on it, is taken to the company's
morgue and filed away in a tin can under "L." When it
conies time, in the joining room, to show the lightning
striking the vase in the rich man's garden, the film is
merely cut and the lightning inserted.

Looking at the picture you would swear that it was
taken on John D. Rockefeller's estate and that the clap

must have knocked sixteen servants out of bed. But not
at all. It was taken on a motion picture stage, at ten
minutes after noon and not a cloud in three hundred
miles.

Many thousands of feet of film are made each year in
Santa Barbara, California, and about once a week one of
the stories calls for lightning. But there is no lightning in
Santa Barbara, so they send to Chicago for it. Chicago
has all the lightning that anybody could ask for and lots
of times there is practically no market for it, so the com-
pany telegraphs to its Chicago office, "Send twenty feet of
lightning," and the technical director looks under L, gets
out the can and hands it to the expressman.

Witzel Photo

Sarony Photo

Stars of the Screen and Their Stars in the Sky

By Ellen Woods

Nativity of Miss Bessie Love, Born Sept. ioth.

A T the hour of her birth the Zodiacal sign scorpio was on
■*»■ the Eastern horizon, with Mars, Lord of Scorpio in the sign
cancer, near the ninth house, the house of journeys, which all
means that Miss Love will be before the public and will also do
much traveling the most part of her life, and will take many sea
voyages.

Miss Love was born very fortunate, in many ways. First, we
find Venus the lady of pleasure and beauty, in the ascendant,
which gives her those beautiful eyes and that charming smile.

Uranus is also in the ascendant which indicates intuitiveness
and an intellect much above the average woman. Uranus is
magnetic — when one sees Miss Love in a photoplay where she
has to change expressions quickly, one will feel oneself getting
into her part working as hard or suffering as much as she.

We find the Sun, the planet of honor and fame, with Mercury
ihe mental planet in his own home in Virgo.

John Gadbury, a noted English Astrologer (1658), said: "Mer-
cury in Virgo gives a good understanding, and the Native that
so hath him, shall be of an admirable Judgment."

Miss Love was born to fame which will always be with her.
We find the benign Jupiter in the eleventh house, which indicates
that she will never want for a friend.

Her greatest triumph will come on her twenty-ninth birthday,
and again eight months later which promises lasting success.

Nativity of Harold Lockwood, Born April 12th.

IN this nativity we find pure thoughts and veneration of women.
Mr. Lockwood has large ideality, with fine artistic ability, and
should, if ever taken up, make an artist or a good cartoonist.
When he retires from photoplay drama he should choose some-
thing that could be carried on by writing or drawing only. He
should never deal with the public where he comes in personal
contact, and should never rely on the spoken drama, as Mer-
cury, the ruler of the tongue, is located in Pisces in his detri-
ment. Pisces is a watery sign, which is represented in the
Zodiac by two fishes — well, we all know that the fishes do not
talk for a living. Mercury being well aspected to Saturn, Venus
and Neptune and located in the third house, indicates a steady,
loving and artistic mind, sound judgment, that cannot be per-
suaded to do other than justice.

Mr. Lockwood will always have many friends, mostly
among the clergy, lawyers, judges, and clothing merchants. I
would advise Mr. Lockwood not to argue on religion, wife's
relations, take sea voyages, or make aeroplane flights. The
greatest happiness in man's life will come to Mr. Lockwood in
1921; the most honors will come to him in 1924, and the high-
est financial success will begin in the year 1919 and will last
for the next fifteen years. The most unlucky days during any
year for him to start any business deal are July 22 to 25, Octo-
ber 6, 7, 8, 15 and 22, December 21 to 23, and March 27, 28, 29.

Saturday afternoon "services" at Grace Methodist Church, New York City. The sermon was a moving picture, and not a preachy one either.

Making the Movie Do Its Bit

Organizing the Church, School and Y. M. C. A. for the Presentation of Motion Pictures

By Frederick James Smith

(Photoplay Magazine last month took up the possi-
bilities of the motion picture as an aid to the school, church
and Y. M. C. A. In this issue Photoplay is outlining,
in practical fashion, how an institution may be organized
to utilize the film;)

'Y message to every church in the land is — wake
up to the great possibilities of motion pictures
and get them harnessed and working as agencies
for social uplift. Let me venture to predict
that one day another Carnegie or Rockefeller will have
the vision to see the need of the isolated community and
the wisdom to satisfy that need in motion picture theaters,
provided and managed under a great system." Is this the
dream of a motion picture producer, you ask? No, indeed.
The prediction of a village pastor, Rev. Harry E. Robbins,
who has worked out the possibilities of the movie in tiny
Canasaraga, near Salamanca, N. Y.

The fulfillment is still far away, unfortunately. The
rector, the school superintendent, the Y. M. C. A. secre-

tary must fight the battle alone. In securing information
for Photoplay Magazine, I talked and corresponded with
about fifty ministers, teachers and Y. M. C. A. officials who
have actually tried and are using the motion picture with
success. Their experiences are invaluable to a newcomer.

First the field of operations must be considered. Rev.
Dr. Robbins has compared the problem of the city and
country organizations. "So far as moving pictures are
concerned as applied to the social problems," says the
minister, "the city and country present two distinct needs.
In the country the motion picture theater has to be built
and equipped and run by the organization interested in
the movement. In the cities the fine theaters are already
built and running. The function of the church and Y. M.
C. A. and other social organizations is not to build or equip
competing theaters, but to co-operate with those already
built and in operation to the end that the quality of pic-
tures may be improved.

"Here is where I made my biggest and most expensive
mistake," continues Dr. Robbins. "When I opened the

Photoplay Magazine

Star theater in Hartford in order to show a model program,
there were already two fine theaters much better located
than the Star. The Star was a splendid theater, perfectly
equipped, and, while I showed good clean pictures and
had one of the best orchestras in New England, I was
unable to make it pay, partly because I had not then
thoroughly mastered the business; partly because of its
bad location; but mostly because it was not needed as a
separate enterprise. As secretary of the social service com-
mission, if I had organized the commission, the clergy and
the Y. M. C. A., and co-operated with the other two large
theaters, the best results could have been obtained. And
that is the solution of the city problem. The churches
and Y. M. C. A. need
waste no money in
separate theaters, but
by co-operation they
can accomplish every
good result in an effi-
cient way.

"In the country the
problem is different.
When I came to Can-
asaraga more than two
years ago, there was
nothing in the way of
amusement or means
of recreation. Most of
the people had never
seen moving pictures.
They had never seen
much of anything. I
went there as rector of
an Episcopal church.
I found nothing to
work with in the vil-
lage. It was a village that was
true to its type as a rural com-
munity far removed from a city.

As the theater which I established over two years ago is
running with increasing success and usefulness, I feel that
I have succeeded in putting into practice what I had for
many years held as a theory."

Dr. Robbins believes that the city organization should
use the motion picture as an auxiliary and aid, much as
it is being used by Rev. Christian F. Reisner, rector of
Grace Methodist Episcopal Church of New York.

An institution considering the possible use of the motion
picture must look over its field of activity — and plan
accordingly. Success or failure depends upon this. The
actual cost of installing a motion picture outfit and equip-
ping an auditorium, of course, is dependent upon local
conditions. It may be roughly estimated at from $500 to
Si, 000 and upward.

"It is not possible to swing a successful motion picture
project on a picayune basis," says Walter H. Brooks,
auditorium manager of the Y. M. C. A. at Coatesville,
Penn., where the motion picture has been handled suc-
cessfully. ''We have a house seating 1,040 with every
modern convenience, and we stand as the leading theater
in the territory, and among the foremost in this section
of the state.

"A church, or school or Y. M. C. A. that has the nerve
to tackle the proposition," continues Mr. Brooks, "had
better capitalize with sufficient funds to put over a project
that will stand among the best, and then place the active
management in the hands of a man thoroughly versed in
the tricks of the trade. There are too many peculiarities
in the motion picture industry to make it possible for
amateurs to get away with it these days. Any church or
school or Y. M. C. A. can swing such a plan to a success-
ful end, if they go about it on the basis of making it win
commercially, forgetting that the church or school or

The Auditorium of Prospect Avenue Y. M. C. A., Cleve-
land, used for movies almost as often as for meetings.

Y. M C. A. has anything to do with it except to guide
its moral and financial policy."

Rev. Dr. Reisner, pastor of the Grace M. E. Church of
Xew York, gives practical advice on organizing for the
presentation of films. He says: "I do not believe it would
be difficult for any church to go to business men outside
of their organization and raise the money to put in a
motion picture machine, especially if it was to be used
for children and young people. It is surprising how eager
unchurched men are to help the church when it takes up
a progressive movement. A number of machines have
been thus installed. Five hundred shares of stock at one
dollar could be sold in such a way that the dollar was a

contribution, and yet
the owner hold a piece
of paper showing the
investment. This would
bring in enough to
purchase a plant.
Where there is a will
there is a sure way.-
People are eager to
help the aggressive
church — and the mem-
bership will not oppose
the use of the right
kind of pictures after
the drawing and teach-
ing power of pictures
have been proved. It
is a ripe moment for
motion picture produc-
ers and the church to
get together."

Rev. Dr. Robbins
speaks from practical
experience when he says that the
money should be raised among
the business men of the com-
munity. "People always appreciate such things more when
they buy them than where they have no money interest
in them," he says. "I had not the slightest difficulty in
getting all the money I needed and these same men have
been volunteer workers ever since. The most prosperous
business man in town has sold tickets for over two years
and he religiously opens his roll number by paying for his
own ticket. He has a high power, luxurious motor car,
but he never lets the car interfere with his duty at the
theater. Other business men do the rest of the work
without pay."

Recognizing this growing field of activity, various mak-
ers of projection machines have been zealous in aiding
churches, schools and other organizations in their efforts
to present pictures. A special department is maintained
to provide advice and help for ministers and teachers.
Outside of the equipment of an auditorium, the biggest
initial outlay will, of course, be for the machine. This
should be the best — for the best is the safest and most
economical in the end. One of the latest models, complete
with motor drive, costs $337.50, while the same machine,
hand driven, is listed at $290. The same company has a
less expensive motor driven model costing $307.50, while
the hand driven style in this line is $260.

These machines have a road equipment adaptable for
traveling purposes, particularly designed for the use of
schools, where the machine must be moved from building
to building for various exhibitions. The cheapest machine
made by this firm costs $225.

It may be noted that all these prices include projection

lens and mechanism, fire shutter, arc lamp, lamphouse,

cast iron stand, film shields, upper and lower magazines

for film, two reels, adjustable rheostat, switch, wire con-

( Continued on page 112)

DOUGLAS
FAIRBANKS'

Oiwi

PAGE

Old Doc Cheerful
Joins the Staff of
Photoplay and be-
gins calling himself
"we" just like a reg-
ular editor. But
he's "a regular
guy" so it 's all right

I'LL never say again that an editor has a cinch.
When I consented, quite nonchalantly, to edit a
page for Photoplay, it looked awfully easy. "Sure,"
said I to the editor, "what shall I write about?" Just
like that.

And the editor said: "Oh, any little thing you happen
to think about, such as advice to the ambitious youngster
about going on the stage or screen; how to succeed in
business; how to be a great athlete — anything you think
will be of interest to our readers; just use your own judg-
ment and we'll throw the little old blue pencil away when
your stuff comes in."

Now that sounds like a very fair proposition, doesn't it?

Well, being a creature of impulse, I fell for it. You
see I've always cherished a secret wish to be a writer and
even the writing of my book "Laugh and Live" hasn't
cured me. Funny, isn't it, how the average mortal thrills
when he sees that "By Henry So-and-So" at the head of
an article. But we digress. (You will note how easily one
annexes the editorial "we.") Let's get started.

Of course, the first thing in
writing articles is to pick on some-
thing to write about and then write
it. That's logical and apparently
easy, but no film play, has ever
given me the mental exercise that
this job did right in the start. Dur-
ing our recent trip to Wyoming, I
laid awake night after night, after
the hardest kind of a day's labor,
trying to figure out a series of arti-
cles for this page, but I always got
back to the same problem — how to
make the introduction, filmatically
speaking. I felt that once properly
launched the rest of the voyage
would be easy.

So I finally hit upon the first
suggestion of the editor: Advice
to the ambitious youngster about
going into my profession. Perhaps
it will serve the purpose by telling
a little of my own history. So
we'll now cut back to the boyhood
of our hero (using this appellation
only as a euphonious figure of
?peech).

I do not come from a theatrical
family. My father was a lawyer
with a knowledge of the drama
such as few professionals have had.
From the time I was able to eat I
was fed on Shakespeare. When I
was 12 years old, I could recite the
principle speeches in most of that
gentleman's plays.

My dramatic education was aug-
mented by frequent contact with

The biggest jump Douglas Fairbanks ever made. The

crosses show where he started and finished. This stunt

was performed during the filming of "The Man from

Painted Post."

great actors. My father was a friend of Mansfield, Edwin
Booth, Stuart Robson, John Drew, Frederick Warde arid
other famous actors who were his guests whenever they
visited Denver.

I once asked Mr. Mansfield about the best way to pre-
pare for the stage and he told me that there was no such
thing as preparation for the stage; but that there were cer-
tain accomplishments that were essential to great success.
These included a knowledge of fencing, painting and the
French language. Modesty precludes a discussion of the
result of following that advice. Suffice to say, I can defend
myself fairly well with rapier or broadsword, I can tell a
Corot from a Raphael without the aid of artificial devices
and I have made my way through France without being
arrested or going hungry.

Writers who give advice to the ambitious usually cite
experiences from their own book of life, but if any young
man were to follow in my footsteps, he'd take a rather
devious path to the stage and he'd have to travel some.
My parents were far from convinced that I was cut
out for the stage, so I was sent to
the Colorado School of Mines to
become a mining engineer. But
there didn't seem to be any room in
my head for calculus, trigonometry
and such things. I could never
master higher mathematics; there-
fore I could never be a mining en-
gineer, so I quit.

Now I'm not desirous of inflict-
ing a recital of my troubles on a
magnanimous public; just trying
to show that one may fail in many
things before finding one's niche in
life. Certainly I failed in many
ventures, even in my first attack on
the American stage. The first on-
slaught didn't even make a dent on
that historic institution.

Important results have often
hinged on trivial things. Tiny
causes have had titanic effects. If
a certain actor hadn't been sent to
jail in Minnesota a dozen and a
half years ago, I wouldn't now be
writing this because no one would
want to know anything about the
history of a broker, or cattle dealer.
If my career as an editor is not
arbitrarily ended by the editor-in-
chief after this effusion, I'll write
next month about my big chance
coming because a fellow actor was
thrown in jail. Perhaps, also, in
order to cinch the job I may give
a little advice — if I can think of
any. Quien sabe? as my vaqnero
friends say.

Pearls of Desire

By Henry C. Rowland

A Twentieth Century Romance of the South
Seas — the most remarkable story of the year

Illustrated by Henry Raleigh

"Love would

account for it,"

says I.

S& ^ fi.

T^NGAGED in the indolent, though venture-
1— » some, life of a South Sea planter, Jack
Kavanaugh tranquilly lorded it over his par-
ticular corner of the Pacific and forgot all
about the discomforts of civilization. But
one day his free-and-easy existence was dis-
turbed by the advent of three travellers from
the States — a Massachusetts bishop; his wid-
owed sister, fascinating Alice Stormsby; and
their niece, Enid Weare, whose nymphlike
charm was tempered with an air of cold stor-
age conventionality.

Kavanaugh was on the point of going down
to Trocadero Island to look over a new pearl-
ing concession and could not refuse the genial
bishop's request that his party be given a
"lift." Twenty-five miles from Trocadero,
the schooner Circe was driven on a reef. A
landing was effected, however, some supplies
saved and the boat crew dispatched for help.

In the midst of this predicament, a horde
of native pirates made a nocturnal raid on
the island and took away with them every
piece of moveable property save the guns and
ammunition, fortunately hidden in a cave at
the top of the cliff, and the silk pajamas and
"nighties" in which the victims happened to
„ be garbed. Enid hysterically shut herself up
in the bungalow and, when her frightened rela-
tives declined to interfere. Jack Kavanaugh
went into reason with her. In a rage, the girl

CHAPTER XIV

ENID and I stood watch and watch throughout the
night. About sunrise I was awakened from a light
doze by a lively racket aboard the Madcap. It
sounded like a young boiler factory just turning to.

"What's up now?" I asked of Enid, who' was sitting in
the mouth of the cave.

"I don't know," said she. "They seem to be doing some
sort of ironwork on deck."

There was no question of this. A tremendons hammer-
ing and banging was going on and through my glasses
(which I had been wearing the morning when we were
plundered by the natives) it seemed to me that they were
sheathing up two large packing cases with sheet after sheet
of corrugated iron roofing.

"Trying to make bullet shields to protect the boats," I
said. "That won't do them much good. We are too
high up."

Nevertheless I was a bit worried. They might manage at
least to protect the armored diving crew sufficiently to
enable them to work with a fair amount of impunity. With
the men at the pumps working behind the bullet shield

the divers were safe enough as they could go down on the
lee side and we could pepper the boat itself indefinitely
without doing any damage. A few plugs whittled to fit
the bullet holes and there you were. Their only danger
would be in going and coming from the schooner, and even
this might be obviated by sufficient work and material.

We got our breakfast and sat down to w:atch them. All
day long this hammering and banging went on, the white
crew doing the work while the black divers were despatched
to the other side of the lagoon in what apparently looked
to Drake like a promising place and there turned to. The
effort was apparently unsuccessful as presently they shifted
to another locality nearer the entrance.

Watching the operations aboard the Madcap I discovered
that Drake's bullet proofs were apt to prove efficient even
against my new model Winchesters, being constructed of
successive layers of corrugated iron and oakum. Two of
these shields seemed to me ridiculously small, being
scarcely more than large enough to shelter a single man.
I had half a mind to hamper their proceedings by a little
target practice, but it seemed scarcely worth while, espe-
cially as their methods appeared to be purely defensive.
For one thing I was rather relieved as I did not believe

attacked him, dashed down the
beach and was narrowly saved
from drowning by her host.

Rescue arrived, in the shape
of Channing Drake and his buc-
caneer crew, and Kavanaugh.
upon learning that Drake knew
of the pearls, and planned to
come back and help himself to
them after depositing the cast-
aways at the nearest port, re-
solved to stay on alone and pro-
tect his interests until his men
could arrive with diving gear.
When Mrs. Stormsby and the
bishop were ready for depart-
ure, Enid had disappeared and
her feathered tunic and sandals
lying on the sand, and the un-
dulation of the water of the la-
goon, as though from the mo-
tion of a shark's body, were
ample evidence of her fate.

Drake sailed away with his
two passengers. Alone on the
white, glistening beach, Jack
suddenly realized the crushing
immensity of the solitude about
him, and his nerves, his reason
even, gave way. He seemed to
see a figure shimmering in the
moonlight and then Enid was
assuring him that she was real
and had been hiding in the cave
all the time.

The two settled themselves in
this natural fortress overlooking
the pearling grounds, although
Kavanaugh insisted that resist-
ance to Drake's anticipated at-
tack would be too risky. When
Drake arrived, however, Enid
solved this difficulty, and in-
cidentally almost bowled that
would-be robber over with sur-
prise, by firing the first shot her-
self from the shelter of the cav-
ern, while Kavanaugh was down
on the beach parleying with
him. Believing the girl to have
been eaten by sharks, he could
not but conclude that Jack had
reinforcements up there behind
the walls of his toy Gibraltar.

The worst of it was we were so helpless, as it seemed to me we were fairly trapped.

that Drake would attempt to molest us as long as he could
carry out his plans unheeded. The darkness finally hid
them from view, though the hammering went on for a
couple of hours longer.

The midwatch was mine and as I sat there rather
drowsily looking out across the water I heard presently
the splash of oars. The moon had set and there was a
thin haze which obscured the stars so that the night was
dark, but there is always a certain sheen upon the water,
especially when it is absolutely still, and presently I was
able to make out two dark blotches creeping in toward the
pearling ground. They could be nothing else but the
Madcap's boats and in fact by listening intently I could
catch the gurgle and suck of oars, yet they scarcely seemed
to move. Apparently they had some heavy object or
objects in tow and I thought at first it must be the bullet
proofs, possibly stuck on rafts made from spare spars and
which they intended to moor over the bed and I was rather
admiring Drake's cleverness, as even the native divers could
have worked under such protection, when suddenly I dis-
covered at a considerable distance beyond the boats a huger
and blacker mass, and at the same instant the masts of
the schooner shaped themselves against the opaque sky.

Now what was the meaning of this? Apparently the
Madcap was towing in to the beach. The tide was at the
last of the ebb but even at high water she could not have
got in close enough for the divers to work under her lee. Be-
sides, Drake would never have risked getting aground at
any tide, not knowing at what moment he might have to
slip his cable and run to sea. Another puzzling feature
was that with the Madcap another 250 yards nearer the
beach anybody moving about her decks would be danger-
ously exposed to our fire. She had apparently slipped
and buoyed her other cable for just as I was trying to
make up my mind whether or not it would be worth while
to fire on the boats she let go her other anchor. The boats
quickly returned alongside, one presently creeping out
astern, as I presumed to carry out a ketch in order to
prevent her swinging.

Well, here seemed to be a perplexing business and I
awaited with some impatience for the daylight to show
what it all might be about. I did not rouse Enid but lay
in the mouth of the cave dozing intermittently, for I had
not the slightest fear of attack. Drake had something
better in his starboard locker than to waste men by having
them sent rolling down that 650 slope like shot coneys.

Photoplay Magazine

Besides, I doubted that any of them would have tackled
(he job.

Towards dawn I must have fallen soundly asleep, and
this military crime might easily have cost us both our lives.
I was awakened by three simultaneous shocks: two rifle-
shots almost together, a cry from Enid and a stinging,
scorching pain as though scalding water had been poured
over my left shoulder. And as I scrambled up and into the
cave like a scared rabbit there came from close at hand a
roar of laughter in which joined many voices, both deep
and shrill.

Enid had sprung up, also, and I swung her under the
shelter of a projecting spur of rock. For it had needed
just one backward glance before I plunged inside to show
me how craftily Drake had fooled us. Not four hundred
yards as the bullet flies and almost on the same level as the
mouth of the cave were the two mastheads of the Madcap
and rigged on each like fighting-tops were the bullet shields
which we had watched them constructing the day before.

"Are you hit?" I asked.

'T'm afraid so," she answered. "Here, just above the
knee. Oh, Jack . . your shoulder! "

"Never mind the shoulder," I answered, and made a
quick examination of her injury, which proved to be
merely a skin-graze, painful but not dangerous. My own
hurt was no more serious, a bullet having smashed against
the rock beside me and spattered my shoulder with stone
splinters. In our dismay at what had happened we scarcely
gave a thought to either of these minor wounds.

For here were the tables unexpectedly turned and we
found ourselves in a very bad fix indeed. The ledge at the
entrance had entirely protected us from below while
enabling us to make use of its fissures as loop holes and do
our sniping with a minimum of risk scarcely worth con-
sidering. But Drake's improvised fighting tops were rigged
a little above the mastheads, which brought them on our
level and enabled them to fire straight into the cave, this
fire enfilading slightly from the distance between the two
masts. This made it impossible for us to get near enough
the ledge to look down on the beach, let alone to shoot
down without being openly exposed, as what might be
called the vestibule of the cave was rather funnel-shaped.
What was even worse we would be obliged to remain in the
dark recesses of the place, as they continued to fire into it
intermittently. In fact, while we were discussing the
situation they let go a volley which filled the air with
flying chips and fragments.

The busness looked really pretty black. At 400 yards it
needs a good deal of a swivel-eye to miss a hole about ten
feet by seven and there was always the danger of the
riccochet. It seemed most probable that a buccaneer like
Drake would be well found in ammunition and the cheerful
way in which they kept pouring it into us at intervals
showed that he did not appear to see the use of economy
in this respect.

The worst of it was we were so helpless. We might have
taken a chance and built up some sort of a breastwork if
there had been any loose stone in the place, but there was
not, while the walls were too smooth to attack without pick
or drill or crowbar. Here was a fair specimen of Drake's
ingenuity and I gave him all due credit for it as it seemed
to me that we were fairly trapped. At night we might
dare to venture out a little but during the day we should
have to skulk in the recesses and listen to the faint babel
of cries coming up from below where two armored divers
and about twenty natives were stripping our wealth from
the bottom of the lagoon. The idea of it drove me frantic
but I said to Enid that at least I might have the satis-
faction of sniping one of the sharpshooters aloft as he
went up or down, or at least compel them to remain up
there all day.

But not a bit of it. Drake's cunning had deprived me
of even this slight pleasure for at eight bells we saw being

hoisted aloft the two smaller bullet-proof cases which I had
observed the day before, and which were no more than
impermeable elevators to relieve the watch. Right atop of
the others they were hoisted by the topsail halliards and
though I blazed away at them repeatedly nothing seemed to
come of it. The man inside slipped down into the larger
box through the open bottom of the lift which dropped
slightly inside the larger one. It was certainly a neat
contrivance and efficient and knowing that its impervious
qualities must have been already well tested (for we had
heard several shots from the schooner the night before) it
seemed scarcely worth the while to waste our ammunition.
At four hundred yards one could scarcely hope to hit a
loophole just big enough to shoot through. Besides, each
shot of mine was fired at some risk and brought a volley.

I must admit I was nearly in despair. There was no
telling how long we might be kept there in that close
captivity. The humiliation of it was the hardest to bear.
If we had been able to fight back, having the excitement of
defending ourselves and protecting our property it would
have been a different thing. But as the case stood our
position was ignominious beyond all endurance. And we
had been so cocky about it the day before! I sat down on
a ledge and buried my face in my hands, trying to think up
some counter move. There were plenty of caves like ours,
some larger, some smaller, all along the face of the cliff
and it was possible that some one of these might be better
adapted for defense. But I doubted that any of them had
water as I would have noticed the wet stains on the cliff.
Besides, there was only one way down and I thought it
probable that Drake would keep the foot of the cliff
patroled at night. It would not do to expose Enid to such
a risk, especially as we would have to make a number of
trips to transport our stores. Also there would be the
difficulty of locating a suitable place in the dark.

I explained all this to Enid and she agreed with me that
the plan was not feasible.

"Why don't you scold me for having got us into such a
mess, Jack?" she asked.

"You did what you thought was for the best," I an-
swered. "I was pleased as Punch with the state of affairs
until they served us this one. Well, it looks as if we'd just
have to make the best of it. The chances are that he will
make his clean up and get out in a couple of weeks."

Enid rested her chin on her knuckles and looked at me
meditatively.

"I am sure that'I can stand it," she said. "But it does
seem a pity that you should have such false ideas of
generosity, Jack."

"As what?" I snapped.

"Oh, as to give a pearl worth thousands of dollars to a
woman who had never given you a thing, not even an un-
qualified promise . . . and to give the whole bed that
it came from to a man who would have given you a bullet
through the head if he had got the chance. Things would
have been so simplified if you had only shot him instead
of giving him your gracious permission to depart and pro-
ceed with his arrangements to shoot you."

"It is all very well to talk," I said, "but it's not an easy
thing to kill a man in cold blood, even if you do think that
he deserves it. All the same, I wish now that I had."

"So do I," she answered. "I could stand the loss of the
pearls, but it's too outrageous to be boxed up in this
burrow like a pair of bunnies. I know now what squirrels
and foxes and rabbits and other hunted beasts feel like.
We shall just have to hibernate, that's all. I suppose we
shall come out eventually pale and bleached and blinking."

"If you talk like that'" I said, "I shall take the shotgun
and go down and run amuck and leave you here to
weather it out alone."

"I'd go with you." Enid answered. "But what's the
use of getting ourselves killed, Jack? Don't you think
we've got happiness enough ahead of us to afford losing

And then a final shove, a despairing yell and the abyss absorbed him.

a week or two out of our lives? Is it so awfully hard to be
shut up here with me for awhile?"

"It's going to be," I muttered.

She reached over and laid her hand lightly on my lips.
"No it's not," she answered. "Our bodies may be im-
prisoned, Jack, but our minds are free. We must keep
them occupied and turn this term of jail into some good.
Why not teach me Kanaka? Or whatever it is you speak
on Kialu? After we are married we shall probably live
there for some years and I've got to learn the language
sooner or later, Then what can I teach you? French you
know already. How about music? Do you know anything
about that?"

I told her that I could play a little by ear but knew
nothing about notes, then asked how she could teach me
without the instrument.

"We'll make a mute keyboard with a strip from one of
these boxes," she answered, "and mark it off with the
proper keys. When our term has been served you'll be
able to read music and play by note and I'll be able to
converse in Kanaka. It's going to be fun, dear, just to see
what we can do with our minds when the activities of our
bodies are curtailed. Oh, another thing I can teach you
is the deaf and dumb language. I learned it as a child to
talk with a little neighbor who was deaf and dumb. It's
often useful. Now cheer up, my dear; it's really not going
to be so bad."

Here was an example of Enid's personality; still another
phase of it. Every new and trying condition seemed to
unfold to my astonished perceptions some fresh source of
strength and courage and sweetness and common sense.
And this the girl whom I had at first assayed as a narrow
minded priggish little prude and undertaken to discipline

to the point of actual violence! This the girl whom I had
thought of at various times as pert, sulky, secretive, in-
tolerant, ungoverned, conceited and giving herself airs of
an unmerited superiority in attempting to criticize the
words and actions and ethics of an older and wiser (sic)
and far more experienced person than herself. I felt like
a fool. Worse than that as I doubt if a fool particularly
minds being one. Most that I have known rather enjoyed
their estate. My emotions were rather those of the casual
traveler who after some days of disgust at the stupidity of
his deck-chair neighbor discovers him to be a world famed
savant who is slightly deaf and inclined to be sensitive
about it. There was nothing the matter with any of
Enid's special senses, or general ones either and I decided
that the trouble lay in *the blurred quality of the vibra-
tions emanating from those about her.

But even greater than the smack of my forehead against
the cinders my worship of her as my own proprietary diety;
nobody else's but mine. That reflection alone should, I
told myself, be quite sufficient to keep me content boxed
up indefinitely in a hole in the rocks so long as she was
there and not unhappy. Kissing her would have helped a
lot at that moment, but reason warned me that to make
amorous advances at this late moment would smack too
greatly of moral surrender. If only for our prides' sake
we must defy the situation rather than permit of its
coercion. So far it had not so much as eroded the edges of
our fixed principles; the code of our caste, and now that
the pressure to break down this resistance had been aug-
mented so must we strengthen the lines of our defense. We
were not of the sort to discount future happiness at the
cost of self respect.

(Continued on page 100)

l'liolo
by Lumiere

Marguerite Snow and Jimmy Cruze are real old married folks,
as history runs in filmdom. They heard the call of the wed-
ding bells when they were playing in "The Million Dollar
Mystery," and have remained husband and wife ever since,
though at present they are playing leading roles in a temporary
domestic tragedy, "Wedded and Parted." Miss Snow was
George M. Cohan's leading woman in "Broadway Jones" and
Husband is Somewhere in California with Lasky.

Corinne Griffith will be
marrying Earle Williams
regularly in future, having
been engaged by Vita-
graph to play leads with
him; but this has nothing
whatsoever to do with the
fact that she is actually
the wife of Webster
Campbell, a popular
juvenile.

Who's Married
to Who

We know just as "well as you do
that "Who's Married to Who"
violates the grammatical rules of
English, but as isoe have remarked
before, " What's grammar among

/I OH
rienasr

l'lioluplayers Studio

■■■■■■Mm

K'itzel Plioto.

Miss Gretchen Hartman,

California.
Dear Madam:

You ought to come back to New
York. Your husband, Alan Hale,
looks lonesomer and lonesomer every
day, and nobody in the Friars Club
will play pool with him any more,
because he always wins. Can't you
do something about it?

A FRIEND OF HE

oplayers Studio

He Owes It All to a Penny Arcade

Albert E. ("Silent") Smith gives an interviewer, for the first time, the story of Vitagraph

^y Paul Grant

ONE evening in 1895 a young man visited a penny
arcade, somewhereinnewyork. He dropped a
penny in the slot of a kinetoscope and saw a few
seconds of moving pictures of a boxing exhibition,
or something of the sort.

Even if this had not happened, Albert E. Smith might
still have become founder and organizing genius of
Vitagraph. But the cold fact of history is that Vitagraph
was born in those few peeping seconds. Mr. Smith had
been a photographer, he was a skillful mechanic, and at

that time owned a part interest in a traveling vaudeville
show, in which he himself performed sleight of hand tricks,
and possibly "doubled in brass." There were practically
no moving picture exhibitions then — twenty-two years ago.
As he peeped into the curious machine it occurred to him
that if a means could be devised of throwing these moving
pictures on a sheet where a whole audience could see them,
a hundred nickels could be gathered in at one time, where
the kinetoscope harvested only pennies.

A few films were being made, and the problem of the

Photoplay Magazine

projection machine was being attacked by scores of in-
ventors. Mr. Smith worked a little faster than the others.
In 1896 he completed his first apparatus and became an
exhibitor of pictures. The vital principle of his machine,
since incorporated into all projectors, was a "setting"'
device which keeps the picture in its exact position on the
screen. A year later he bought out another machine, and
Vitagraph was born of the combination.

Originally, therefore, Vitagraph was an. exhibiting com-
pany. It did not even sell the Smith machines, but rented
them out for entertainments, after the demand for pictures
had become so great that Mr. Smith's company could not
personally conduct all exhibitions. It was not until 1899
1 hat the company engaged in a side issue which eventually
absorbed all its attention — making pictures.

Vitagraph was then located on the top floor of 140
Nassau Street. Meanwhile W. H. (Pop) Rock had come
up from Louisiana with picture shows of his own, and had
cut into the Smith monopoly, so Smith took him into the
company. Then they decided to try their hand at making
pictures. Edison was the only important American manu-
facturer, and the demand was growing. Comedies fifty feet
long (one-hundredth the length of today's average feature)
were the standard. So they took a camera up on the roof of
140 Nassau and made the first Vitagraph, the negative of
which, most unfortunately, was destroyed in a fire. It was
"The Burglar on the Roof," and the cast of characters
comprised J. Stuart Blackton, the stenographer, the office
boy and the janitor's wife.

"That picture was full of pep," Mr. Smith mused, as he
looked clear through the upholstered offices in Flatbush
back into those exciting, creative moments, eighteen years
ago. I sincerely believe that, at that moment, Mr. Smith
would have traded the entire negative of his new feature,
"For France," for the fifty wobbly feet of "The Burglar
on the Roof." A man who can create anything will do
foolish things of that sort sometimes. I think this was
one of the times.

"I'm glad you came to talk about those days," he said.
"I like to think about them, but I'm so busy that I don't
have much time for it."

Surely the memories of the strides Vitagraph made from
that fifty-foot comedy, full of pep, to its present dimen-
sions, must be pleasant. Especially to Albert E. Smith.
For the history of Vitagraph with all its ups and downs —
and it has been refinanced at least twice — has been the
history of one man, Smith. It has traveled pretty much in
a straight line, its only problems being those of any big
enterprise which, from time to time, outgrows its working
capital. One year after making the first comedy Vitagraph
moved to larger quarters on Nassau Street, where it estab-
lished a regular plant and studio. t Five years later, five
lots were purchased on Elm Avenue, Brooklyn, and a build-
ing, forty by sixty feet, erected. Today the Vitagraph
plant at this spot covers one and a half city blocks, and
has the largest floor space of any single picture factory in

the world in its rectangle of four-story buildings. A plant
also has been established in Hollywood, and one was about
to be opened in the environs of Paris when the war neces-
sitated a postponement.

Such the fruits of a peep into a slot machine.

The one thing Mr. Smith possesses in greater degree than
any other leader of the film industry I have met, is the
genius for seeing beyond the big city. He sees all America
in truer proportions than the men whose experience and
vision are bounded by the limits of Times Square. You
never find him around the Astor, where the "magnates"
foregather. And he emphatically declares that policies
which have a tendency to place the best moving pictures
out of the reach of the small town and village exhibitor,
must fail.

"The moving picture," he says, "has succeeded because
it has taken the big city to the hamlet. Before its time,
farmers' wives were constantly going insane through lone-
liness and lack of communication with the world. Then
came a combination of two inventions and a business inno-
vation— the pictures, the cheap automobile, and the mail
order business. The wives of many farmers are now often
garbed as fashionably — and certainly in as good taste — as
women on Fifth Avenue. They learn the art of dress and
home decoration from pictures, and the mail order house
does the rest.

"These isolated people were almost foreigners in their
native land until the Ford and the moving picture brought
them into the fold. Nor are they unconscious of the fact.
Go to the little country town and see the long lines of
farmers' machines in front of the one picture house. It is
to this patronage that the films owe their great success.
Such houses as these cannot afford big prices. The future,
no less than the past of pictures, depends upon keeping
them within reach of those who need them most."

The Vitagraph has been called "the cradle of stars."
Among the now famous players who began their careers
with this parent concern are E. K. Lincoln, Donald Hall,
Corinne Griffith, Mildred Manning, Norma Talmadge,
James Young, Clara Kimball Young, James Morrison,
Mabel Normand, Ralph Ince, Anita Stewart, Earle Wil-
liams, Edith Storey, Antonio Moreno, Lillian Walker.
Frank Daniels, Myrtle Gonzales, William Duncan, Dorothy
Kelly, Mr. and Mrs. Sidney Drew, Maurice Costello, Vir-
ginia Pearson, Charles Richman, S. Rankin Drew, Harry
Morey, Leah Baird, Lucille Lee Stewart, Naomi Childers,
Mary Anderson, Bobby Connelly, Nell Shipman, Arline
Pretty, John Bunny, Flora Finch, Hughie Mack, Wallie
Van.

But the arrival and departure of notables has caused no
turmoil in the corporation. Behind the events of the day.
the month, the year, was one consistent, constructive mind,
the balance wheel that maintained the momentum, the keen
brain that was back of the keen eyes that peeped into a
slot machine in a penny arcade in 1895, the «enius of
Albert E. Smith.

Acquitted!

After centuries of wrongful accusation, woman has
been exonerated from the crudest of all indictments
against her.

Ever since the incident of the apple, woman has
been the object of calumny.

She has been called "the weaker sex," the temptress,
a parasite. She has been scolded for her vanity and
for her extravagance. She has been ridiculed for her
adherence to fashions.

But all these charges she has disproved. She has
shown herself capable of doing the work of men; she

has exposed the fact that in all these things of which
she had been accused, man was an equal offender.

One thing has remained, until now. Upon one point,
man has insisted that she stood alone, the great culprit.
And woman has bowed humbly before her accusers.

They have said that she talked too much, that she
could not control her tongue, that she must always
have the last word, that she gossiped — in short that
she was a slave to speech.

But that was yesterday; today the truth is revealed.

For in the Silent Drama woman is supreme.

Photoplay Magazine — Advertising Section

Don't be afraid
of the Camera

Send for Sample of
Pompeian NIGHT Cream
and Art Panel of
Mary Pickford :

TO have the exquisite, soft, smooth skin
that can stand the critical eye of the cam-
era is really most simple. At bedtime, to
remove the traces of the day, apply a little
Pompeian NIGHT Cream, then — go to
sleep. That's all. While you sleep the sooth-
ing, refreshing properties of this delightfully
fragrant, snow-white unguent will be sooth-
ing and beautifying your skin. Use Pom-
peian NIGHT Cream faithfully and a soft,
smooth youthful skin will be your joyful pos-
Jars 35c and 75c, at the stores.

session.

Is anybody in your family troubled with
Dandruff? If so, don't let the matter be neg-
lected, as Dandruff often causes the hair to
fall out. Our new product, Pompeian
HAIR Massage, has already won thousands
of friends all over the country because it has
stopped their Dandruff. It is a liquid (not
a cream) and is not oily or sticky. Delight-
ful to use. 50c and $1 bottles, at the stores.
Both products guaranteed by the makers of
the famous Pompeian MASSAGE Cream.

1918 Mary Pickford Art Panel

(No advertising on the front)

Miss Pickford has granted Pompeian exclusive rights for a 1918

Mary Pickford Art Panel. Beautifully colored. Size 28x7#

| inches. Art Store value 50c. Most attractive picture

JL of this popular little film star yet reproduced. Clip

^W~, the coupon, enclose 10c and receive both Art Panel

and sample of Pompeian NIGHT Cream.

SL-

yjompean

ffA/R

■ sage

The Pompeian Mfg. Co., Cleveland, Ohio

(Stamps accepted, dime preferred)
The Pompeian Mfg. Co., 2131 Superior Ave., Cleveland, 0.

Gentlemen: I enclose 10c for a 1918 Mary Pickford Art
Panel and a sample of Pompeian NIGHT Cream.

Name

Address.
City

. State.

! i

-3> mf

eian

Cre

am A

jv\

y *£

Pompeian Nidht Cream

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

H. O. Davis, vice-president and general manager of Triangle, and James R. Quirk, editor and general manager of Photoplay,
going over the record of manuscripts of the Scenario Contest.

H. O. Davis to Announce
Scenario Contest Winners

AFTER several months of unavoidable delays, as
annoying to Photoplay as to the many contributors
to its big scenario contest, a telegram was received
from Mr. H. 0. Davis just before this issue went to press,
that the race had narrowed to ten manuscripts, and a final
decision would be reached at an early date.

Mr. Davis is vice president and general manager of the
Triangle Film Corporation. He is the final tribunal in
the awarding of the four prizes, $1,000 for the first, $500
for the second, $300 and $200 for the third and fourth.

In the last few months the Triangle Company has under-
gone a complete reorganization under the direction of Mr.
Davis, an acknowledged genius in constructive work of
this kind.

When Thomas H. Ince deserted Triangle there imme-
diately arose a controversy as to whether or not he was
entitled to the fruits of the contest which was begun while
he was the principal Triangle director. It was decided
that the Triangle Company had the right to the prize win-
ning manuscripts as Mr. Ince was merely an employe of
the company when the contest was organized.

Meanwhile, experts read the thousands of manuscripts
which were entered, setting aside those with the greatest
possibilities, and returning the others. Another elimina-
tion reading followed, resulting in an even hundred being
reserved. These were sent to Culver City, California.

Owing to the fact that with the departure of Mr. Ince.
the entire policy of the Triangle was changed, with the
intention of producing still better pictures than before,
Mr. Davis found it necessary to have the cream of the
manuscripts read once again, with his new policies in view.

All these complications have caused delay, and the im-

patient authors must try to realize that everything which
has been done was to the end that their interests should
be safeguarded, and there has been no neglect on the part
of either Mr. Davis or Photoplay.

In his telegram, Mr. Davis expressed extreme satisfac-
tion with the quality of the ten manuscripts which had
been selected in the final combing as the best of the hun-
dred. He said that the final decision of the prize winners
would be reached in September, and no expense or- effort
would be spared to make productions worthy of the stories.

No better fortune could have come to the prize winners
than that their stories should be recorded for the screen
under the direction of Mr. Davis. He has taken the deep-
est interest in the contest, and has declared his intention
of making the resultant productions the finest that the
resources of the Triangle corporation can procure.

Mr. Davis' record in the film world makes this declara-
tion one of the utmost importance. It was he who made
Bluebirds the success they are today. While his greatest
work as controller at Universal City was supposed to be
the institution of an efficiency system for preventing
waste, it was he who saw the possibilities in the higher
class of productions from the big plant. He proved at
once that he was no mere counting-room manager, but
had a keen insight into the best achievements of the
camera and the screen. The present high status of Blue-
bird pictures is a direct result.

So within a few weeks the patience of the contestants
will be rewarded, not alone by the prizes, but in the
knowledge that they will be given a big boost on the road
to fame when Triangle produces their stories under Mr.
Davis' personal supervision.

Photoplay Magazine — Advertising Section

Per Carat

Buy Diamonds Now!

"4 X75 X76 X77 X78 X79 X8(

'so. Dia. Complete J4C Dia. Complete %c. Dja. Complete he Dia. Complete %c. Dia. Complete Ic. Dia Complete IUc. Dia. Complete

$12.00 $21.25 $35.00 $48.75 $71.25 $101.25 $125.00

/ihX

X9I— Extra Special solid gold
Lav. and Chain. 2 pearls, I dia*
mond. Complete .^_^$3.05

X93 "5oncT gold
Cameo Brooch
Complete. $5.00

X94

Solid _ gold
Lav. and Chain,
2 pearls, 1 diamond
Complete. $7.75

You Save 35%

when you buy from
L. Basch & Co., di-
rect importers of dia-
monds. All middlemen's profits are eliminated when you buy from
us and in this way we save you actual cash. While these prices last
you may secure beautiful %-carat stones as low as $20: %-carat
at $48.75; %-carat at $72.00. Write for Diamond Book TODAY.

Money-Back Guarantee

This is a Legal Contract in which we attest the true
carat weight, quality, color and value of the diamond; we atjree to
take back the diamond at any time and give you credit for the full
price paid to apply on any exchange; and we furthermore agree
to take back the diamond at any time within one year and we
pay the full price in cash less lOTo. "See that your diamond is
Basch guaranteed."

FREE Examination

Just select any diamond from this ad or from our cat-
alog, and we will forward the article for your free ex-
amination, entirely at our expense and without obligat-
ing you to buy unless you are fully convinced that it is
the very best value you can secure for the money.

We refer you to the Union Bank of Chicago, the
publishers of this magazine, Dunn and Bradstreet's J'
Mercantile Agencies, any express company and to /

Great

Foun-
tain
Pen

Value,

Only

$1.00

No. X70I
This'
is a safe-
ty lever I
self- fill-
ing foun-
tain pen.
The lever-
self - filler '
is the sim-
plest and
mostTirac-
tical foun-
tain pen
ever man-
ufactured.

A perfect
flow of ink
is assured
at all times.
The bnrrel
and cap are
made of
(ir-st quality
Para rub-
ber.

YOUR
NAME
INLAID
IN GOLD
FREE.

The pen
is made of
14 K solid
gold, irid-
ium tipped
and hand
rem percd,
full 6>2 in-
fhes long.
We guar-
antee free
repairs for
2 years.
All mailing
charges
prepaid.
Gift case
free. Send
for this pen
NOW. only

$1QO

many satisfied patrons in your town whose names/

we shall be glad to give you on request.

Write for 1917 De Luxe Diamond Book

L. Basch
& Co.

Dept. O3520

State and Quincy Streets
Chicago, U. S. A.
We will forward you, postpaid, a copy of this valuable book upon receipt of your name and f ttottt? -,u <■ u

address. The book contains expert and authoritative facts on diamonds needed to buy safe. / Please «°ai1 ™J?S£z t^vi^AtT
Wonderful guide to the selection of gifts for all occasions. It shows thousands of illustra-/1'
tions of fine diamonds, watches, jewelry, silverware, cut glass, leather goods, etc., all^1
quoted at monev-saving prices. Mail coupon or write us a letter or post card for your »♦
free copy NOW!

i'MOND book.

.♦ I\'amt_

Dept.O3520 ,

BASCH & CO.

State & Quincy Sts., CHICAGO, U. S. A.

.♦ Adresi

When you write to advertisers please mention PHOTOPLAT MAGAZINE.

Five Years Aqo This Month

g°

Mae Marsh, after succeeding Alice
Joyce as Kalem's leading woman, went
over to Director Tom Ince's company to
succeed Ethel Grandin in ingenue parts.

They were careful not to overtax
your intelligence in those days. When
Kleine produced "Shylock," in two reels,
several minor characters in the original
drama were thoughtfully omitted, not for
artistic purposes, but because the dear
public was not conversant with the plot
and would become confused by so numer-
ous a cast.

No longer being able totally to ignore
the existence of the upstart movies, stage
celebrities assumed a graciously con-
descending attitude. Otis Skinner, play-
ing in "Kismet" in Chicago, was a guest
at the Selig studio. He must have been
impressed, because, in an address made
some days later before the City Club
of St. Louis, he admitted that motion
pictures were "often educational, fur-
nished a cheap form of entertainment
for the masses and were destined to make-
as great advancement in the future as
in the past."

Below:
Studios of
the Ameri-
can Film
Company,
Inc. as they
look today.

A London artist, happening in at a
cinema theatre, saw a "Flying A" film.
"The Call of the Range." Recognizing
in the leading character a perfect speci-
men of American manhood, he communi-
cated with the actor, who thereupon sent
him a photograph, with permission to use
it for a model. That's why visitors at
the South Wales Art Academy at Cardiff
are puzzled by the haunting resemblance
between the features of the man on can-
vas and those of Warren Kerrigan. The
picture represents the cowboy of our
great plains, mounted on a pinto pony
and gazing off toward the mountains in
the west.

"The youngest leading lady in motion
pictures" was Ruth Stonehouse's soubri-
quet.

Flo LaBadie did a picture called
"Some Fools There Were," the plural
number being adopted doubtless because
it was considered to be more consistent
with the accepted birth-rate.

Mary Miles Minter and the Farnum
boys were playing in "The Littlest Rebel"
on the stage.

Facade of the "Flying A" Studio in Santa Barbara as
it was five years ago when the American Company
settled there. The Studio was built in the cor-
ner of an ostrich farm which has given way
to commercial improvements.

Gene Gauntier went over to
Ireland to write scenarios and
play leads in them, under
the direction of Sidney
Olcott.

California had been dis-
covered, but wasn't nearly
so popular as Chicago as a
producing center. Edendale.
in one corner of Los Angeles,
was the chief outpost of the
sunshine pioneers.

Sixty per cent of the films used
in England were American, fifteen per
cent Italian, ten per cent French and six
per cent British. That was because the
American films were in-
variably "westerns." The
demand for "westerns" was
so great that European
producers tried to satisfy
it by duplicating Broncho
Billy's stuff in their own
back yard and got all
gummed up by having
their "Indians" ride, not
the scrawny, undersized
"snakes" of the plains, but
sleek, bob-tailed French
cavalry mounts.

Kathlyn Williams was wearing a very
good-looking watch won in a golf match.

The Screen Ciub held its first election.
King Baggot was chosen president and
John Bunny, G. M. Anderson and Arthur
Johnson were vice presidents.

The original company of cowboys who made the

old "Westerns" lined up, with President Samuel

S. Hutchinson on the extreme right.

By act of Congress, the national copy-
right law was extended to include motion
picture photoplays and motion pictures
other than photoplays.

Motion pictures for the
first time were a feature of
a presidential campaign.
President Taft had himself
motographed in colors, the
Colonel did a few poses
which doubtless have been
of great inspirational value
to "Doug" Fairbanks, and
Woodrow Wilson, more
coy, was chased by the
camera man from stump to
stump.

Creighton Hale was playing on the
London stage.

Romaine Fielding was appointed deputy
sheriff of Prescott. Arizona. He was
directing Lubin pictures there.

Photoplay Magazine — Advertising Section

Polish and Protect Your Linoleum

With Johnson's Prepared Wax. Any housewife can easily apply it and
keep her floors in perfect condition by simply wiping up the dust occa-
sionally with a dry cloth. Less than an hour is required for polishing a
good-sized floor and it may be walked upon immediately. Johnson's
Prepared Wax brings out the pattern of Linoleum and preserves it.

A Dust-Proof Furniture Polish

Polish all your furniture — including the piano — with
Johnson's Prepared Wax. You will be surprised at the
wonderful improvement. It cleans and polishes in one
operation — protects and preserves varnish, adding years

to its life — covers 'up mars and small surface scratches
and prevents checking. Johnson's Prepared Wax
will quickly and permanently remove that bluish
cloudy appearance from your mahogany furniture.

JOHNSON'S

*Zy*Q uj'c/ arr?(//>Grs/e

PREPARED WAX

Johnson's Prepared Wax is now made in Liquid Form as well as paste.
Many people prefer the Liquid Wax as it polishes instantly with but
very little rubbing — you can go over a roomful of furniture, a good
sized floor, or an automobile in half -an -hour. Johnson's Liquid Prepared Wax is ex-
actly the same as the Paste Wax except that it is Liquid.

Contains No Oil

Johnson's Prepared Wax contains absolutely no oil,
consequently, it gives a hard, dry, glass-like polish which
does not collect or hold the dust. It never becomes soft or
sticky in the hottest weather or from the heat of the body.

Tell your dealer that Johnson's Prepared Wax is now made
in Liquid Form and insist upon his supplying you with it.

A Splendid Auto Polish

With Johnson's Prepared Wax you can make your
car look like new and save the cost of revarnishing.
It covers up mars and scratches — removes road oil — pre-
vents checking and cracking — sheds water and dust — and
makes a "wash" last twice as long. It preserves the varnish and
protects it from the weather, adding years to its life and beauty.

Write for our folder on Keeping Your Car Young — it's free.

S. C. JOHNSON & SON, Dept. P.P. 11 Racine, Wis., U. S. A.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

IOO

Two days passed, the first very trying
I must admit; the second not so bad. We
were not greatly annoyed by Drake's
sharpshooters, though they fired into the
cave at irregular intervals apparently as a
warning to us to keep well under cover.
They fired also at night when the moon
had risen, so that we had to be very
careful.

Fortunately the recesses of the cave
were roomy and as long as we remained in
them we were in no danger. I had moved
our stores and beds and firewood into
them under cover of the darkness and
the water was also accessible without risk.
These recesses were of irregular shape,
containing chambers on different levels,
some of them communicating by passages
where one had to stoop low to squeeze
through. The longest of them penetrated
for perhaps fifty feet into the cliff and
then broke up in various impassable di-
verticula. Our "living room" as we called
it was fairly well lighted up to about four
o'clock, but we had a lantern and a drum
of kerosene. Most of these things the
bishop and I had hauled up to the cave
during the first days of our exile.

Acting on Enid's suggestion we organ-
ized our classes and what with these and
the preparation of our simple meals and
little games which we invented we man-
aged pretty well. Many victims of op-
pression have suffered worse things than
to be shut up in a cave with the one most
dearly beloved. There are no doubt many
free agents who would be quite willing to
exchange a few weeks of liberty for such
an incarceration. We slept a great deal
and ate sparingly, for our stores were lim-
ited and it was necessary to economize in
the matter of fuel. The worst of it was
really, I think, the knowledge of how we
were being plundered and of how Drake
must be chuckling as he went about the
business.

Then, the morning of the third day as
we were getting our frugal breakfast the
racket made by the gang below suddenly
ceased, or rather, it changed its key. A
moment later Drake's big voice began to
bellow orders and presently we heard the
whine of sheaves and the clank of the
windlass, also the rattle of oars and a
great deal of excited jabbering.

"Holy St. Christopher . . ."I cried
to Enid, "they're clearing out. Somebody
must be coming!" I sprang up and looked
out and that moment of curiosity and lack
of caution came near to being my bane, for
as if by way of a parting benediction a
whole volley was fired into the cave, one
bullet striking just above my head and
filling my eyes with grit. I wiped them
clear and peered out more cautiously and
presently the peak of the mainsail became
visible as it crawled rapidly up and the
halliards took the weight of half a dozen
of the blacks. Then up came the foresail
and directly after the jib, hauled
aback to catch the light draught fanning
in from the sea. Lying with so short a
scope the anchor was quickly broken out
and in an incredibly short time the Mad-
cap was standing across the lagoon on a
short tack which would enable her to
make the passage of the entrance on the
next.

Photoplay Magazine
Pearls of Desire

{Continued from pa<je yi)

The men in the fighting tops kept up
a steady fire until the schooner passed out
of range, when the bulky affairs which
had been hoisted to strops about half-way
up the topmasts were lowered to the deck.
Enid and I had gone to the ledge outside
the mouth of the cave as soon as the fir-
ing stopped and now we looked eagerly
out to sea. For a moment there was
nothing visible on the horizon, when all
at once a thin column of black smoke
rose and drifted off to leeward.

I fixed the spot with my glasses and
discovered two slender spars so closely
spaced as to show that the vessel was
heading straight in for Trocadero. She
was still hull down even from our eleva-
tion and could scarcely have been discov-
ered but for the smoke, the topmasts being
barely visible even through the glasses. I
looked anxiously at the Madcap, gliding
rapidly out with a swiftly ebbing tide and
a freshening breeze which would be even
stronger once out from under the lee of
the crater.

"That chap that's coming will never lay
eyes on Drake," I said to Enid. "By the
time he gets up over the horizon Drake
will have the island between them. The
breeze is going to freshen right along and
before this steamer, whatever she is, gets
up here Drake will be out of sight, espe-
cially as Trocadero is a place that one
doesn't care to rush at full bore."

"Well, anyhow we are out of our dun-
geon," Enid answered, "and I suppose
that you will never learn to play the
piano by note or learn to converse fluently
with the deaf and dumb. Do you think
that Drake made much of a haul?"

"From the jabbering going on it sound-
ed like it," I answered, gloomily. "How-
ever, the hand is not played out yet."

We sat talking and watching the ap-
proaching steamer until presently I began
to be impressed by the fact that she did
not approach at all. From time to time
there would rise fresh puffs of smoke,
showing that her fires were being vigor-
ously tended, but the length of topmast
visible remained precisely the same.
"What ails the critter that she can't haul
herself chest over the sky-line?" I asked.
"From the way he's been coaling up
you'd think it was a destroyer and the
boy in command late for his date ashore,
but I can't see that she's budged for the
last twenty minutes. If that's the best he
can do Drake might have got in another
watch of work."

And then came a surprise. For, as I
stared intently at the small, slender spars
they seemed to swell and widen and whiten
and then to separate and lo! Here was
no steamer nor gunboat but a small
schooner making sail and not so very far
away, being merely hull down. Up went
jib and forestaysail and then as I caught
the general expression of her sail plan I let
out a yell in praise of the patron Saint of
those who go down to the sea in ships.
There could be no mistake. The dispro-
portionate size of this schooner's mainsail
to the rest of her rig distinguished her
even at that distance as none other than
Captain Billy Connors' Favorite. How
she happened to be there I could not
imagine, but I understood the smoke.

"It's good old Billy Connors, God bless
his puckered old mug," I cried to Enid.
"He's got wind of the fix I'm in somehow
or other and come to raise the siege. He
made that smoke to bluff Drake out, and
that's better than if he had sunk the Mad-
cap. Drake is as sensitive to ridicule as
a nigger or a child and Billy will see that
the yarn spreads like yellow jack."

Enid did not answer and I looked at
her in surprise. I had expected transports
of joy, but it appears that I had yet a
great deal to learn about my fiancee. Now,
her broad and low forehead was faintly
creased and her eyes had the "hanging
look" which might have been found in
those of her jurist ancestor. Her general
expression in fact gave the impression of
suppressed anger and resentment.

"I wish that Captain Connors hadn't
done that," said she.

"Frightened Drake away?" I asked.

"Yes. He should have waited until
night and then sailed in and caught him.
There is a moon now. As it is, Drake has
got off scot free."

"Oh, hang the pearls," I answered.

"Why, certainly," she retorted, "and
hang Drake. That part of it is much
more important." And she turned and
walked back into the cave.

CHAPTER XV

If there is any case of unalloyed hap-
piness on record I should like to hear
about it in order to express my disbelief.

For even when the Favorite swam up
into the lagoon and I saw lined up along
her rail my faithful Charley Dollar with
six of the fighting men of Kialu and real-
ized that Billy Connors must have been
sent by Harris there was still a fly in my
amber cup of content. This was I ac-
knowledge rank ingratitude on my part
and must have been irksome to the blessed
Saint Christopher who had so benignly
served me, to say nothing of a certain
pagan goddess of love by whom I had
been so divinely favored. And yet Enid's
words had left their sting and I knew that
I should never be entirely happy until I
had settled my score with Drake. For
this scoundrelly and debauched freebooter
had threatened me, outwitted me, shamed
me and mocked me by shutting me up in
a hole in the rocks with the woman I was
bound to protect, wounded us both no
matter how slightly and then after four
days' plundering of my property de-
camped none the worse for the venture
and no doubt considerably the richer for
it. If I could fish up a great black pearl
in the bight of a seine there was no tell-
ing what he might have taken in four
days' time with such a gang as he had
operated.

All of this had not struck me in the
first flush of exultation at our relief, and
it might not have struck me at all but for
Enid's words. But now I looked rather
bitterly at the Favorite and did not speak
to Enid who was standing at my side on
the edge of the beach, herself as silent as
Lot's wife after her crystallization and no
less bitter than either that unfortunate
(Continued on page 114)

Photoplay Magazine — Advertising Section

IOI

20 Ampere— 28-30 Volts — National Mazda C Lamp

Announcing a New Lamp

Flickerless light makes better pictures. This new NATIONAL
MAZDA lamp produces a steady, uniform, evenly distributed light.
It will provide steadier, sharper, more brilliant pictures than lamps
now in use.

NATIONAL MAZDA lamps are a very real contribution to the
enjoyment of motion pictures. They project clear, steady, un-
wavering light. They throw a sharper picture on the screen, one
that is as brilliantly clear at the outer edges as at the center. All
the flickering of light is gone. You can have no idea what a relief
this is to the eyes until you have yourself seen a NATIONAL
MAZDA-projected picture.

The operator has "nothing to watch but the film". He works
no longer in dangerous fumes. If there were no other reason, the
public ought to insist upon NATIONAL MAZDA projection,
and the management ought to accept it most willingly, because
it so completely removes the worst hazards of the operator's job.

You have not looked in vain to Nela Park for the better lighting
of homes, stores, factories, streets, trains, and automobiles. Now
in this newest lighting field, you have the solution of your problem
for Nela Park accomplishment has again come.' Full information
on the projection lighting problem on request. Nela Specialties
Division, National Lamp Works of General Electric Co., 135
Nela Park, Cleveland, O.

NATIONAL

WAY

TTER

Whin j.ju wrile to advertisers please mention PHOTOPLAY MAGAZTVK

102

Photoplay Magazine — Advertising Section

Keep your Kodak Busy.

"The Army lives on letters" is the way the boys at the front
put it. And when those longed-for envelopes with the home
town post mark contain pictures of the home folks and home
doings, they go far toward making lighter hearts and happier
faces.

Keep your Kodak busy for the sake of the lads in the trenches,
the boys in camp and on shipboard. Help keep tight the bonds
between the home and those who are fighting for that home.

EASTMAN KODAK COMPANY, Rochester, N.Y., The Kodak City.

Every advertisement in PHOTOrLAY MAGAZINE is guaranteed

f 'QUESTIONS 1

AND

x?"

ANSWERS

% i

gj^-^^^ag

"Y"OU do not have to be a subscriber to Photoplay Magazine
to get questions answered in tiiis Department. It i^ onlv
required that von avoid questions which would cull lor unduly
long answers, such as synopses of plays, or casts of more than
one play. Do not ask questions touching religion,

scenario wriling or studio employment. Studio addresses
will not be given in this Department, because a complete list
of them is printed elsewhere in the magazine each month.
Write fin onlv one side of the paper. Sign your full name
and address; onlv initials will be published if requested. If
you desire a personal reply, enclose self-addressed, stamped
envelope. Write to Questions and Answers, Photoplay
Magazine, Chicago.

Admirer, Washington, D. C. — As a rule
we disregard questions concerning employ-
ment in the motion pictures, but in your
case we will make an exception. If you are,
as you say, nineteen years old and weigh
135 pounds and wear your hair in long
curls, there should be a summary court
martial and — but what we intended to say
was that it is very difficult for an outsider
to break into the movies at this time; Octo-
ber particularly, being one of the twelve
most difficult months in which to make the
attempt.

S. A., Buffalo, N. Y. — There is a J. Frank
Glendon who has been with Lubin, Kalem,
Metro, and Gaumont. His address is Screen
Club, New York City.

Desolate, Belen, N. M. — Ham and Bud
are no more ; that is, there are no more Ham
and Bud comedies as Lloyd Hamilton and
Bud Duncan have dissolved partnership and
quit Kalem. Hamilton is now in Fox come-
dies.

Mildred, Fresno, Cal. — William S. Hart
has always worn that name and he was on
the stage for a good many years before look-
ing into the clicking camera.

L. V. M., Philadelphia. — Is it an argu-
ment you want or what? David Powell is
married. Unfortunately they don't allow the
Answer Man to edit the whole magazine so
occasionally contradictory statements creep
in. Please accept our most humble apology
and we won't do it again, maybe.

Theodora, Larchmont, N. Y. — Do we be-
lieve in schools? If you had to read some
of the letters we pore over daily, you'd be
a great booster for our institutions of learn-
ing, particularly those in which writing and
spelling are taught. Geraldine Farrar was
born in Melrose, Mass. Write her care
Lasky's, Hollywood. Pauline Frederick was
born in Boston,' about 32 years ago. Earle
Foxe is 29 and has been married several
times.

Pelham, Pelham Manor, N. Y. — Gerda
Holmes is the wife of Rapley Holmes a well
known actor. William Desmond is mar-
ried. "Devil's Payday" cast runs something
like this: Gregory Van Houten, Franklyn
Farnum; Jean Haskins, Leah Baird; Hazel
Davidson, Gertrude Astor; James Hanley,
Charles Perley ; Mrs. Haskins, Countess Du
Cello; Mr. Haskins, Seymour Hastings.

Nettie, Brooklyn. — Guy Coombs is back
behind the footlights. Agnes Vernon is not
married to Herbert Rawlinson because Her-
bert Rawlinson is already married to Rob-
erta Arnold, who might object to Herb
marrying somebody else. Clara Kimball
Young's pictures made by her own corpora-
tion are "The Common Law,'' "The Fool-
ish Virgin," "The Price She Paid" and "The
Easiest Way."

All letters sent to this de-
partment which do not con-
tain the full name and address
of the sender, will be disre-
garded. Please do not violate
this rule.

Nick, Newcastle, Australia. — Arthur
Johnson died a year ago last winter.

D. A., Stamford, Conn. — Lew Cody is
now earning his ice cream sodas at Santa
Barbara, Cal., playing with Gail Kane for
Mutual. Before that he played in Mabel
Normand's "Mickey" for a year or so.

Isabel, Diamondville, Wyo. — Synopses
are outa our line. Muriel Ostriche played
opposite Arthur Ashley in "The Speed King."
Mr. Ashley has brown hair and blue eyes.
How's that for a description ?

M. A. P., Punxsutawney, Pa. — It was
Marie Doro and not Viola Dana in "Com-
mon Ground" and Thomas Meighan was the
nice looking judge.

G. F., S.aginaw, Mich. — A. D Sears was
the government investigator in "The Girl of
the Timberclaims" and Bennie Schuman the
secretary. Niles Welch is 2Q and is married.

M. B., Huntsville, Ala. — Your catalogue
received and contents noted. To the best of
our ability the following constitute part of
the answers : Mary Pickford weighs about
105 and her latest picture is "Rebecca of
Sunnybrook Farm." Marguerite Clark
weighs go pounds and her latest the "Sub-
Deb," story by Mary Roberts Rinehart.
Norma Talmadge is five feet, three inches
high. Billie Burke was born in Washington,
D. C. Her eyes are blue. Anita Stewart
is five two, and weighs 125. It's her real
name. Shirley Mason was born in Brooklyn
and weighs 94; hair brown, eyes grey.
Louise Lovely was born in Sydney, Australia
in 1896, is a blonde and her real name is
Louise Welch. Bessie Love weighs 100
pounds and her latest picture is "Wee Lady
Betty." (P. S. All weights subject to
change.)

Amac, Melboltrne, Australia.— Sure en-
joyed your novelette and some day when
you have lots of time write us another. You
are perfectly right about the dearth of good
picture stories. It is rapidly becoming a
tragedy and something is bound to happen
pretty soon. Many thanks for your en-
comiums, bouquets, etc. Hurts our feelings
awfully to be told such nice things.

Lindy, Kinsman, O. — It will certainly
cheer her up immensely if you write Marie
Walcamp that she is pretty. She is at Uni-
versal City; so is Eddie Polo and Francis
Ford and Grace Cunard, and Jack Holt is
at Lasky's.

Mary, Los Angeles. — Sorry to have made
you wait so long but your letter appears to
have been resting on the bottom of the deck.
Edwin Arden, Bliss Milford and Kathryn
Browne-Decker played the principal roles
in "The Beloved Vagabond."

C. E. S., Baltimore, Md. — The colored
stills that are used for lobby displays may
be obtained only from the various film ex-
changes. Photoplay was started about six
years ago but has been under the present
management only about two and a half
years

E. K., Holstein, Ia. — Molly Malone is 20
years old. Cleo Madison and Grace Cunard
were married this year.

Fuller Fan, New York City. — Gene-
vieve Hamper and Mary Fuller seem to be
temporarily in retirement.

103

104

Photoplay Magazine — Advertising Section

Take Your Choice

Make your selection for
as many aa you want und
fiend with your remit-
tance. Our money back
guarantee protects you.

May Allison

Theda Hara

Mrs. Vernon Castlo

Alice Brady

Millie Burke

Francis X. Bushman

June Caprice

Loll Chaney

Marguerite Clark

Viola Dana

Grace Darling

Grace Darmond

Douglas Fairbanks

Franklin Farnum

Neva Gerber

Myrtle Gonzales

Creigh ion Hale

W. S. Hart

Louise HurT

Rupert Julian

Mollie King

Harold Lockwood

Louise Lovely

Mary McLaren

Marie Osborne

Virginia Pearson

Dorothy Phillips

Jack Pickford

Mary Pickford

Eddie Polo

Myrtle Stedman

Norma Talmadge

Pearl White

Clara Kimball Young
500 others that, you know.

18 100

for for

25c $1.00

For 25 cents you may
have eighteen of your own
choice or 50 cents for
forty or a dollar for a
hundred.

These photo post
cards of your movie
favorite present
such' exact like-
nesses, that to
possess them is
a good deal like
meeting them
personally. We
were the first to
sell by mail post-
card photos and
photographs of
the movie stars and to-
day are the largest di-
rect-to-youdistributors.
Personal acquaintance
with many screen favor-
itesenables us to include
exclusive and recent
poses at these low prices

18 for 25c

100 for $1

MONEY BACK
IF DISSATISFIED

SPECIAL

Actual photographs in
attractive poses. Size
8x10 of all feature
Stars, at 50c each.
We have many Stars
in different views
and poses. Get 3
beautiful photos of
your favorite. Spec-
ial at $1.00 for3. Send
stamp for sample
card and our list.
Senl free with all orders.

The Film
Portrait Co.

127 A First Place
BROOKLYN. N.Y.

Sertd. :£o:

MiNIATUREBOtTLE

You have never seen anything
like this before

The most concentrated and exquisite perfume
ever made. Produced without alcohol. A
single drop lasts days. Bottles like picture,
n ith long glass stopper, Rose or Lilac, $1.50;
Lily of the Valley or Violet, $1.75.
Seod 20c silver or stamps for miniature bottle.

ffowrtSops

The above also comes in less concentrated
(usual perfume) farm at $1.U0 an ounce at
druggists «r by mail, with two new extra
odors/'Mon Amour" and "Garden Queen,"
which are very line. Send $1.00 lor souvenir
box, five 25c bottles same si/.e as picture,
different odors. _ Send stamps or currency.
PAUL RIECER; 235 First St., San Francisco

Questions and Answers

(Continued)

N. Pole, High Prairie, Alta., Canada. —
You sure gotta get 200 miles away from a
movie show to appreciate the silent stage.
Wot ? Sometimes we wish we could get that
far — what we started to say was that Theda
is not married and Pearl is still serializing.

A. H., Asheville, N. C. — How do you
distinguish between those players whom you
are "crazy about" and those you "adore?"
Of course, if you have seen Billie Burke in
more photoplays than "Peggy" and "Gloria's
Romance," you have the advantage of us.
Dick. Travers is with the Sunshine Film Co.
Write again but do, child, go easier on the
paper.

J. M., Nashville, Tenn. — Dustin Farnum
at Fox, Hollywood, Cal., and Marguerite
Clark at Famous, New York City.

Mabel, Omaha, Neb. — Kathlyn Williams
was Cherry in "The Spoilers" and Constance
Talmadge is "wonderful." Rudolph Cam-
eron has appeared in other than those plays
you mention.

J. B., Victoria, Australia. — Neither Marie
Walcamp nor Violet Mersereau are married.
Both are with Universal.

T. G., Pittsburgh, Pa. — Having seen
Douglas Fairbanks since "In Again; Out
Again," you have probably seen the answer
to your question concerning his plays. They
certainly do have sure-enough music for ball-
room scenes. You mustn't ask if certain
players are "stuck on themselves" or
"prigs." Self-esteem is a relative quality.
Some persons would consider a man with a
normal quantity of self-respect "stuck up."
Self-confidence is a requisite to success on
stage or screen, yet many mistake that qual-
ity for conceit. Don't try to get too far
back of the screen.

Frankie, Turin, N. Y. — Norma Nichols
was Blanche Sweet's sister in "Tides of Bar-
negat." It's hard to tell what stories will
be re-filmed, but we would like to see some
of the old favorites done over again accord-
ing to modern standards. Did you like the
story about Vivian Martin in a recent issue?

Friend, Spokane, Wash. — You may cut
out all formality with us. Also questions
concerning our identity. If it will do you
any good we can assure you that your
mental picture of the Answer Man is an
hallucination, as it were — way off, kid.
That baby in "Whose Baby?" was just one
of those borrowed babies. Miss Pickford's
cute little niece bears this name, Mary char-
lotte Pickford Rupp.

Billy Penn, Philadelphia. — Better late
'n never; yes? Hawaii is a United States
territory, which is one reason why they
use U. S. money there. However, "The
Bottle Imp" was not filmed in that country,
but in California.

Mary, St. Louis, Mo. — Marguerite Clark
played in St. Louis a number of times while
on the stage. As you say, there is little dif-
ference between some directors' conception
of unsophistication and the popular concep-
tion of feeble-mindedness, but those direc-
tors whose symbol of unsophistication is a
game of ring-round-rosy for the ingenue are
fast passing into the discard.

G. B., Pittsfield, Mass. — Billie Ritchie
is now acting in Fox Comedies. Francis
Ford's correct surname is Feeney. The des-
ert scenes in "Aladdin from Broadway"
were made in California.

E. S., Little Rock, Ark. — Some of our
friends pronounce it she-nah-reeo with the
accent on the site, but personally we prefer
the Anglicized pronunciation. Helene, with
a dingus over the second e, is pronounced
Hell-ayne, with the accent not on the hell.

A. C, Grinnell, Kan. — So far as we
know, "The Iron Claw" has not been re-
duced to book form.

Florence, Rochester, N. Y. — Your crit-
icism is well taken. We, too, have won-
dered about the boys and girls of the films
who invariably have white haired mothers.
Motherhood to the average director appar-
ently means wrinkles and white hairs.

J. D., Eureka Springs, Ark. — Max and
George Davidson are not related. Max is
now with Fox in Los Angeles and George
with Metro.

C. D. A., Coeur d'Alene, Idaho. —
Mignon Anderson had the lead in "The Mill
on the Floss" and Harris Gordon was her
brother. Theda Bara was the vampire in
the screen version of "A Fool there Was."
Virginia Pearson played it on the stage,
Theda never. Bessie Barriscale in "The
Painted Soul" with Charles Ray opposite.
Ethel Barrymore is married to Russell Colt
and they have three children. Al. St. Johns
is still with Fatt Arbuckle. We do not
know of Pearl White owning a villa in Italy.
Villa is in Mexico yet, we think.

O. G., Shawnee, Okla.— Write E. K.
Lincoln, care Mutual, and he'll get the let-
ter, or write care Photoplay.

F. C, Ontario, Ore. — Shirley Mason and
Leonie Flugrath are the same girl. The
man you inquire about is J. W. Johnston.

X. K., Bassett, Xeb. — In addition to the
principal roles enacted by Grace Cunard
and Francis Ford, the other members of the
"Purple Mask" cast follow: Dr. Lund,
owner of circus, Marc Fenton; Flip, the
Clown, Pete Gerald; Mrs. Lund, Jean Hath-
away; Marcus, Irving Lipner.

Billy, Sydney, Australia. — " ou've
guessed it. Wallie, F. X. and J. Kerrigan
would have to quit if the Answer Man got
into action. But they're safe for a while.

XT. D., Philip, S. D. — We have no record
of the Chaplin comedy you ask about.
Piano wires are used to get the floating ef-
fects you saw in "Inferno." Mary Fuller
was born in 1803 and is not married. Her
last picture was "The Long Trail."

F. E., Mason City, Ia. — Edward Coxen
is playing in Los Angeles and may be
reached at the Stowell Hotel, that city. He
has brown hair and blue eyes.

J. R. K., Wausau, Wis— Robert War-
wick's wife is Josephine Whittell and she is
with Paralta in Los Angeles.

W. S., Jackson, Ala. — Barbara Tennant
played opposite Robert Warwick in "The
Dollar Mark." Do not ask us about the
religious beliefs of the film players.

Dorothy W., New York City. — If you
subscribed you would receive your Photo-
play several days sooner, at least.

M. D., Troy, Ida.— Bill Hart's latest is
"The Narrow Trail." Warner Oland is not
a Japanese; his forefathers were Vikings.
Wallace Reid is of military age.

{Continued on page 133)

Every advertisement in THOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

The Oliver Typewri

You Save $51
By New Efficiency

N March 1st The Oliver Typewriter
Company reorganized its business. Its
officials knew war and after-war con-
tions meant new planes of efficiency,
rom that date there has been no expensive sales
f 15,T)00 salesmen and agents, no high office
50 cities, no idle stocks, no costly subsidies, no
ribution costs.
Instead we substituted the most direct line of sale — from
the factory to the user. Thus we save $51 in sales costs.
This now goes to you. Our price to you is $49 for the iden-
tical machine that was formerly $100. Not one change has
been made in design or materials. Each machine is brand
new — not second-hand or rebuilt.

The entire facilities of the Company are devoted ex-
clusively to the production and distribution of Oliver
Typewriters.

The $100 Model

Only the sales policy is changed — not the machine. It
is the same splendid Oliver Nine, our latest model. Before
March they were priced at $100. This Oliver Nine is the
finest, the costliest, the most successful model we ever
built. If any typewriter is worth $100 it is this handsome
machine, our greatest triumph.

It is the same commercial machine used by U. S. Steel
Corporation ; National City Bank of New York ; Montgomery
Ward & Co.; Curtis Publishing Co.; Pennsylvania Railroad;
Hart, Schaffner & Marx; Morris & Company; Baldwin
Locomotive Works; Ward Baking Company; Jones & Laugh-
lin Steel Company; Western Clock — "Big Ben"; Encyclo-
paedia Britannica; and a host of others. Over 600,000 have
been sold. An increase in output of over 300% this year.

Free Trial

To make the economy of the Oliver Nine available for
all, we have arranged a simple plan. Here it is:

We ship an Oliver Nine to you for five days' free trial.
Use it in your office or at home. Try it out without anyone
to influence you.

If you want to keep'it, send us $3 per month until the $49 is paid.

If you want to send it back, do so at our expense.

We even refund the transportation charges you paid.

That is the entire plan. You are the sole judge. At no time

during the trial are you under the slightest obliga-
tion to buy. Superiority and economy alone must
convince you.

Fill out and mail the coupon now. It will bring
a free-trial order blank, our latest catalog and the
amazing book entitled "The High Cost of Type-
writers—The Reason and the Remedy." All free.

You may then have an Oliver for trial, if you
wisii. And own it for 50 per cent less than other
standard makes.

Don't wait — know all the facts now — all the
inside secrets exposed for the first time. Mail
the coupon now.

The Oliver Typewriter Company

1478 Oliver Typewriter BIdg., Chicago, HI.
(Canadian Price, $62.65)

THE OLIVER TYPEWRITER COMPANY
^1478 Oliver Typewriter BIdg., Chicago, III.

□ Ship me a new Oliver Nine for five days' free
inspection. If I keep it, I will pay $49 at the rate
of $3 per month. The title to remain in you until
fully paid for.

My shipping point is

This does not place me under any obligation to buy.
If I choose to return the Oliver, I will ship it back at
your expense at the end of five days.

□ Do not send a machine until I order it. Mail me
your book— "The High Cost of Typewriters — The
Reason and the Remedy," your de luxe catalog and
further information.

Street Address
City

State.

When you writi to advertisers please mention PHOTOPLAY MAGAZINE.

io6

Photoplay Magazine — Advertising Section

<^ee man's

FACE POWDER,

A reigning beauty a century and a half ago
was Elizabeth Linley Sheridan.

Beauty consists in keeping your skin and
complexion daintily groomed and entrancing.

Choose wisely your toilet accessories— use Freeman s
Powder; for 30 years the friend of refined women.
Guaranteed the equal of any 50c or $1 powder.

All tints, at all toilet counters. Write for free sample

THE FREEMAN
PERFUME CO.

Dept. 101
Cincinnati, Ohio

Wear the Stylish Things
You Like,Take Months to Pay

My Style Book pictures 1,001 Gold Medal
styles for women and children. It is free to
you if you ask for it now.

With my Style Book will come a Credit Card
opening your account here. So when you wish
anything, you simply tell me to send it on ap-
proval, prepaid.

If delighted, you spread the cost over many
months. I don't want cash. You wear and
enjoy pretty things as you pay for them. My
prices will astonish you for their lowness.

To get my Style Book, you must ask for it at once.
A postal will bring it to you— now.

MARTHA LANE ADAMS

3434 Mosprat Street (1433) Chicago

SEXUAL
KNOWLEDGE

ILLUSTRATED

By WINF1ELD SCOTT HALL. M.D.. Ph.D.
SEX FACTS MADE PLAIN

What every young man and

Every young woman should know
What every young husband and
Every young wife should know
Postpaid What every parent should know
Mailed in plain Cloth binding — 320 pages — many illustrations
wrapper Table ot contents and commendations on request

American Pub. Co., 1130 Winston Bldg.. Philadelphia

Plays and Players

(Continued from page 82)

tackle Bill Farnum when he got fighting
mad so they made a hasty retreat. When
Farnum got back into the club about
forty members were waiting to give him
the ha ha. He led them all up to a long
straight counter with a characteristic rail
for the right foot to rest upon and said
in his best club manner, "What will you
all have?"

KATHLEEN CLIFFORD has quit. In
other words our famous lady colonel
has left the movies flat. And no one who
knows will censure her. Miss Clifford
went to Balboa for the serial, "The
Twisted Thread," a fifteen chapter af-
fair. During the filming of the same,
she suffered a half dozen accidents, in-
cluding broken arms, fractured ribs,
sprained ankles and a lacerated scalp.
Anyhow, at the conclusion of the fif-
teenth episode, Kathleen said "Adios" to
cameraland, and treked back to the vari-
eties, as we used to say when referring
to vaudeville.

WHILE discussing the news from Long
Beach, Cal., it might be not amiss
to record the fact that the Balboa public-
ity inventor has christened Anita King,
"The Queen of Kings," which is quite
some appellation. Miss King, who will
be remembered for her historic crossing
of the continent in an automobile with-
out a top or something, left the Lasky
company several months ago. She will
be seen in five reel Balboa features.

EDDIE LYONS, who has been mar-
ried before the camera 832^ times —
in one of his comedies the girl was al-
ready married which accounts for the
half — is now a real sure-enough husband.
The Universal comedian was married to
Virginia Kirtley, also well known to
screen-see-ers, early in August. There
was no military motive, so to say, as
Eddie brazenly admits having passed his
thirty-first birthday.

THERE is another pair of newly-weds
at Universal City, Mr. and Mrs.
Justine H. McCloskey. Prior to the
ceremony, Mrs. McCloskey was Miss
Eileen Sedgwick, better known as "Babe"
Sedgwick. She had to get her parents'
consent as she hasn't as yet reached her
nineteenth birthday. The groom is the
assistant director of Miss Sedgwick's com-
pany.

WILLIAM FARNUM has signed a
new contract with the Fox Com-
pany at a figure said to exceed his lately
expired one, calling, it is said, for a weekly
pay check of something like $2,000.

EDITH STERLING, one of the best
known portrayers of "Western Girls"
in the old plains thrillers, has brought suit
for divorce against her husband. Art
Acord, to whom fell the honor of play-
ing "Buck Parvin," the screen hero made
famous by Charles Van Loan. Acord is
in the Theda Bara company and has an
important part in "Cleopatra."

MARION DAVIES, musical comedy
star, makes her motion picture de-
but in "Runaway Romany" under the
auspices of the Ardsley Art Film Corpo-
ration, a newcomer in producing ranks.
Her support includes such screen notables
as Pedro de Cordoba, Gladden James,
Matt Moore, Joseph Kilgour and Ormi
Hawley.

ANOTHER recent arrival on the coast
is Rosemary Theby, who having
severed her screen partnership with Harry
Myers, returned to Universal. Miss
Theby is appearing with Eddie Lyons and
Lee Moran in Nestor comedies, notwith-
standing the fact that she had been cher-
ishing hopes of getting away from the
black-and-blue comedy and resuming dra-
matic work.

HAL COOLEY has also gone back to the
old homestead at Universal City after
trying other "remedies." Hal has the
distinction of being the only juvenile on
the screen who admits that he once was
a waiter, the waiting having occurred in
the torrid town of Yuma, Arizona, while
Hal was slowly en route to California,
after deserting the paternal rooftree. Hal,
Rena Rogers and Lena Baskette, the child
actress, are being featured.

JAMES YOUNG has made up his differ-
ences with Essanay and as a result will
direct a film production of "Hawthorne
of the U. S. A."

J WARREN KERRIGAN experienced
* a bit of hard luck several weeks ago —
quite a bit in fact as it will keep him
idle for months. He had just completed
his second Paralta picture, "A Turn of a
Card," at Santa Barbara, when his horse
stumbled and fell with him. Kerrigan
was taken to Los Angeles with a badly
fractured leg.

RICHARD ORDYNSKI, the Russian
playwright and producer, has been
acquired by the William Fox Company.
Mr. Ordynski was visiting the Hollywood
studio of the Fox concern and was intro-
duced to Theda Bara. Miss Bara sug-
gested that he write her a Russian in-
trigue play. Her director, J. Gordon Ed-
wards, seconded the motion. Three days
later Ordynski appeared with the play.
Ten days later the filming of the new
Bara photoplay began with Ordynski in
the opposite role, and officiating as co-
director at Mr. Edwards' request. The
story has to do with the recent revolu-
tion in Russia.

HENRY WALTHALL is back in Hol-
lywood after a long absence. He will
be seen in Paralta photoplays. For two
years he was with Essanay, after leaving
the Griffith fold. Mary Charleson. who
has been acting with the "Little Colonel"
in Chicago, will be seen opposite him.

WRITE your own joke about this:
The Squirrel Film Corporation has
been organized in New York.

Every advertisement in PHOTOPLAY MAGAZIN*E is guaranteed.

Photoplay Magazine — Advertising Section

107

Perfect Feet -
Free From Corns

Dancers Can't Have Corns
Many Use Blue =Jay

f S

■QH(B

mmmmmmom

>G(Q)jp)© HMm

UradO©

IMMEDIATE relief— then the corn
comes out in 48 hours. That has been
the experience of millions of users of
Blue-jay. This gentle, easy way removes
the dangers of paring or harsh liquids.
Prove it yourself — suffer no longer.
Free yourself tonight. Blue-jay is for
sale at all druggists, 25c the package.

BAUER & BLACK, Makers of Surgical Dressings
CHICAGO and NEW YORK

Every advertisement in I'HOTOl'LAY MAGAZINE is guaranteed.

ro8

Photoplay Magazine — Advertising Section

UftC

A few drops of Freezone

loosen corns or calluses

so they peel off

Apply a few drops of Freezone
upon a tender, aching corn or a
callus. The soreness stops and
shortly the entire corn or callus
loosens and can be lifted off with-
out a twinge of pain.

Freezone removes hard corns,
soft corns, also corns between
the toes and hardened calluses.
Freezone does not irritate the sur-
rounding skin. You feel no pain
when applying it or afterward.

Women ! Keep a tiny bottle of
Freezone on your dresser and
never let a corn ache twice.

Please Try Freezone

Small bottles can be had at any drug
store in the United States or Canada.

The Edward Wesley Co., Cincinnati, O.

^1 1 1 1 1 1 lljjilllllllllllllli:llll![lit:i M:lLLIII[IIIJIlllJllllillIirilMllirMlllllllllllllJJJIlJlimillMIIIIII[I[lilIlllllllllllllllllll]Jllllllll^y

IREDUCE YOUR FLESH I

Wear my famous Rubber Garments and your |
superfluous flesh will positively disappear. 1

DR. JEANNE WALTER'S 1

Famous Medicated

RUBBER GARMENTS |

For Men and Women

Cover the entire body or any part, i

The safe and QOiclf way to reduce by ^

perspinition. Endorsed by leading m
physicians.

n Eradicator $2.00 =

Reducer 2.00 I

Neck and Chin Reducer .... 3.00 |

Bust Reducer ■ 5.00 |

Abdominal Reducer 6.00 I

Also Union Suits, Stockings. Jackets. 1

etc., for the purpose of reducing the n

flesh anywhere desired. Invaluable to n
those sutferimr from rheumatism.

Brassiere, Price $6.00 n^j£l21 "p^^wSK.™ I

&SSSSSriXt JEi*^a,!u-pa,-,.„*ALTER I

inn rubber with Billings Building, New York

coutil back. S. E. Cor. 34th Street, and Fifth Ave. 1

iiiniiiiimiiii'ii" .'iimiiii niiiuiraiiiiiiiiiimm

Wrestling Book FREE

Re an expert wrestler. Learn at home from the
world's undefeated champion and his famous trainer

Frank Gotch and Farmer Burns

I Quickly learned by mall at home Know the art

•■ ell -defense and jiu-jitsu. Have pel I

... -rn how to defend yourself Handle big men

ESTLINGlwIth ease. Send for free book. State your ane.

HEALTH | Farmer Burns, 1538 Ramgo Bide., Omaha. Neb.

LJAYIXG completed "The Little Prin-
*■ *■ cess," Mary Pickford is engaged in
transferring to celluloid an adaptation of
William J. Locke's novel "Stella Maris"
under the direction of Marshall Neilan.
It is stated that a large sum was paid the
English novelist for the right to produce
the story.

•"TRUE BOARDMAN will be seen in
*■ the title role of "K," the Lois Weber
film adaptation of the Mary Roberts
Rinehart novel. Boardman was with Ka-
lem and was starred in the "Stingaree"
series. Albert Roscoe, who played an
important part in the Bara "Cleopatra"
is cast as Dr. Max and Mildred Harris
plays Sidney.

CHARLEY CHAPLIN is now a real
hero. He swam out into the Pacific
Ocean near Santa Monica, Cal., several
weeks ago and saved from drowning little
Mildred Morrison, the seven-year-old
daughter of a broker living at New Ro-
chelle, N. Y. Charley was on location
at the time and was hampered in his res-
cue act by his moustache, baggy trousers
and over-size shoes. The child had fallen
from a rock.

JULIETTE DAY has returned to
Broadway (N. Y.) and the footlights
after trying out the sunshine stage. The
experiment was made at the Mutual
studio in San Barbara and comprised sev-
eral five reel features which were directed
by Rollin Sturgeon.

BECAUSE the Universal Film Com-
pany showed scenes from a Los An-
geles cafe in a white slave play, said
scenes not reflecting any great amount
of credit on the said cafe, S. A. McKee,
the owner of the place, brought suit
against the company for $100,000. The
complaint alleged that the cafe, since the
release of the picture, had been held to
ridicule, contempt and hatred and that
the illwill of the public would continue
unless the exhibition was restrained. He
obtained an injunction. The objection-
able scenes were eliminated in the film
that was exhibited in Los Angeles after
the restraining order was obtained.

ALICE BRADYr has left the World
Film Corporation to head, after the
fashion of the period, her own Alice Brady
Pictures. This may seem to the by-
stander like playing a low trick on old
dad, after William A. had spent two years
of time and energy in making daughter
a star. But in the circumstances which
are divulged by the Longacre gossips, it
appears that Father William is quite in
sympathy with Daughter Alice. The tale
has it that Ethel Clayton and Alice Brady
both wanted the same director, Miss Clay-
ton advancing the prior claim, while Miss
Brady's influence at court made her more
likely to win. Miss Clayton, however,
made an issue of the matter, and carried
the battle to the directors of the corpora-
tion, threatening to leave if she did not
get what she wanted. The directors ruled
that she was entitled to the director in
question, and reversed the president's de-
cision. So Miss Brady was the one to
quit. Whether or not it is her father who
has organized her independent company,
is not stated.

F\OT KELLY may return to the Vita-
L-' graph family. For quite a while
she has been numbered among the miss-
ing, but her admirers imputed it to the
fact that she recently acquired a husband
and was taking a little time off to look
him over.

1V/IARY MAURICE — beg pardon,
*»•*■ Mother Maurice — has just cele-
brateed her fiftieth anniversary as an ac-
tress. She made her debut just half a
century ago in August, in a stock com-
pany in Pittsburg, the play being a farce,
"My Neighbor's Wife." (Sounds like
Pittsburg.) After a long and successful
stage career she went to the Vitagraph,
and has never left that company. For
more than a decade — as long as there
have been pictures — she has been playing
loved and lovable old ladies in the Flat-
bush studio. She will be seventy-three on
November 15, and is still as active as
any director could demand.

]W[ARY PICKFORD and Douglas
**1 Fairbanks have each received an of-
fer from Pathe of 820,000 a week, the
contract to go into effect upon the expi-
ration of their present arrangements with
Artcraft. Coming from a less conserva-
tive concern than Pathe, this would sound
like wildcatting. But Pathe Freres are
not emotional in business matters. This
proposition, involving an outlay of
$2,080,000 a year, gives rise to the specu-
lation whether there is any limit to the
salary possibilities of the great stars.
Charley Chaplin's million is now exceeded.
What next? Incidentally, this is not the
only bit of evidence that Pathe is about
to embark upon a series of big produc-
tions, designed to compete with the most
advanced companies. It is said that a
big studio soon will be built in or near
Hollywood for this purpose. Fannie
Ward has already been signed up by the
naturalized French firm.

p\OUGLAS FAIRBANKS has become
*-** an adopted son of Wyoming. He re-
cently spent nearly a month in that state
in the filming of his newest photoplay.
As may be guessed from the location, it
is another western affair, made to Doug's
order by Miss Anita Loos, his authoress-
in-chief.

CONSTANCE TALMADGE is at work
on her second picture since her star-
dom began. It is taken from Cosmo
Hamilton's novel, "Scandal," which ap-
peared in serial form in Green Book.
As the scenario called for many scenes
on a big private yacht. Miss Talmadge.
Director Charles Giblyn, and the remain-
der of the entourage, were able to pass a
large part of the heated spell on Long
Island Sound.

AROUND Times Square they are ask-
ing what happened to the first of
the Mae Marsh-Goldwyn pictures.
"Polly of the Circus," one of the last
of Miss Marsh's pictures, was the first to
be released. Meanwhile no person can
be found who has seen the first. The star
herself was not permitted to see it, and
when the director, Ralph Ince. is asked
about it he changes the subject to the
European war or the weather. The story
was by Irvin S. Cobb, and Miss Marsh

Every advertisement in mOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

II ~ MQl - 14.,. .-.i ■ -.- ., „ , , .■ ■, . ,,-. .«.1 ...| 1

109

• Q9CZ=><\BCZ2a»C=>Q$C=TO}

Pond's Cold Cream has
an oil base. Send for
the free sample and try
it for cleansing and
massage.

Pond's Van ishing Cream is greaseless--
contains no oil and vanishes the moment
you apply it. It prevents chapping, or
relieves it in one application. Send
for the sample tube.

Why your skin needs two creams

Every normal skin needs a cleansing and mas-
sage cream — and also a protective, skin soften-
ing cream. Read why one cream cannot do both.

[ Photo by Lumiere Studio]
Norma Talmadge, the well-loved
motion picture star, suits ■ "/
have found Pond's Vanishing
Cream wonder fu I as a base for
rrfitfriip. It leaves my skin re-
freshed and clear ."

For cleansing the skin and for
the nightly massage, you need an
oil cream, a smooth, easily spread
emollient. Pond's Cold Cream is
just the Cream fortius purpose. It
has an oil base and was prepared
especially to meet the need for a
pure, dependable oil cream.

When you need Vanishing
Cream

For the protective cream your skin
needs to keep it soft, white and
clear, and to keep it free from
chaps, use Pond's Vanishing Cream.
It is greaseless and has for its chief
ingredient a product which is rec-
ognized by dermatologists as being
of the greatest value in keeping the
skin soft, smooth, and free from
chaps all winter.

Apply it just before you go out.
The moment you use it, the skin
absorbs it. it will never reappear

on the face — cannot make the skin
look oily.

Neither Pond's Vanishing Cream
nor Pond's Cold Cream will pro-
mote the growth of hair on the face.

At all drug stores and at the
toilet counters of department stores.
Get a tube or jar of each cream
today and see how their use will
improve your skin.

Get these free samples
and test them

If you would like to test Pond's
Cold Cream and Pond's Vanishing
Cream, fill out the coupon
now and we will send you |
samples of each cream free.
Or send 4c for enough of
either cream to last two |
weeks — 8c if you wish both. 1
Write today . Add ressPond' s "

When to use the Cold Cream

For cleansing: With Pond's Cold Cream
you can cleanse the skin thoroughly with-
out creating the least irritation.

For massage: You will find Pond's
Cold Cream wonderful for massage.

If your skin is too dry: Pond's Cold
Cream will add just the oil your skin needs
to restore its pliancy.

WhenVanishingCream is needed

For chapped skin: One application
of Pond's Vanishing Cream will relieve
chapped skin.

As a protective: Just before you go
out. apply a little Pond's Vanishing Cream.
Compare the soft, fresh condition in which
it keeps your skin with the drawn, dry
feeling that generally follows exposure to
wintry weather.

As a base for powder: Pond's Vanish-
ing Cream makes such an excellent base
for powder that one powdering is suffi-
cient for a whole evening.

Pond's Extract Co., 13S Hudson Street, New York City

Extract Company, 138 Hud

son Street, New York City. I

Please send me free the items checked :

□ A free sample of Pond's Vanishing Crearr
D A free sample of Pond's Cold Cream

Instead of the free samples. I desire
the items checked below, for which
I enclose the required amount,

□ A 4c sample of Pond's Vanishing Crearr
D A 4c sample of Pond's Cold Cream

I Name"

■ Street.
I

City.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I IO

Photoplay Magazine — Advertising Section

He is going over
the top! and he
needs a smoke
to cheer him up!

Americans, our fighting men in
France need tobacco. They are
giving their lives to defend you.
Do your part to make them com-
fortable during the dreary hours
in the trenches.

Twenty-five cents provides
enough tobacco to make one of
our gallant defenders happy for a
week. $1.00 sends a month's supply.

Prominent magazines and news-
papers stand back of this move-
ment. The War and Navy De-
partments endorse it.

A War Souvenir for You

In each package is enclosed a
post card addressed to the donor.
If these come back they will be
war souvenirs much treasured.

Mail Coupon Today

"OUR BOYS IN FRANCE
TOBACCO FUND"

25 W. 44th St.

New York

Gentlemen:— I want to do my part to
cheer up the American soldiers who are
fighting my battle in France. If tobacco
will do it— I'm for tobacco.

(Check below how you desire to contribute

I send you herewith.

-, my

contribution toward the purchase of to-
bacco for American soldiers. This does
not obligate me to contribute more.

I enclose $1.00. I will adopt a soldier
and send you $1.00 a month to supply
him with 'smokes" for the duration
of the war.

Name

Address

played the part of a little French milli-
ner, who came to America as an immi-
grant, and vampired a young millionaire.
It is difficult to imagine the sympathetic
Mac in such a role, and perhaps this is
why the film has not seen the light of the
calcium.

pHARLES W. TRAVIS, a well known
^ character actor who played with most
of the prominent companies, died recently
in New York at the age -of 52 years,
following a stroke of apoplexy. He
played the part of the parson in "Davy
Crockett," the first Bison picture.

DOMAIXE FIELDING, formerly lead-
•!•*■ ing man. author and director, with
the Lubin company, has been amputated,
matrimonially speaking, by his wife. Ma-
bel Vann, a stage actress who played for
several seasons in Fiske O'Hara's produc-
tions. The divorce was granted in Min-
neapolis, Mrs. Fielding's home, and
restores her right to use her maiden name,
Mabel Van Valkenburg. Miss Mabel Vann
Fielding Van Valkenburg is not working
on the stage or in pictures at present.

LAST minute information adds the fol-
lowing names to the list of members
of the Hollywood colony included in the
first quota of the draft army, now in
training at American Lake, Washington:
Joe Moore, husband of Grace Cunard,
and brother of Owen, Tom and Matt ; Jay

Belasco, Christie comedies; Milton S.ius
and William Franey, Universal comedi-
ans; Ray Griffiths, Keystone; Pliny
Goodfriend. husband of "Sunshine" Mary
Anderson, Vitagraph; Horace E. Davey,
director for George Ovey comedies.

SWIFT as the picture camera itself,
has been a romance which will make
Miss Mae Marsh a bride some time be-
fore Thanksgiving. In Chicago in July-
she and Brooks Spencer of St. Louis met
and mutually capitulated, and there will
be no long wait before the wedding bells
ring out. Mr. Spencer is the son of a
capitalist, and is now engaged in master-
ing the details of the railway business.
He is 28, she 22. Miss Marsh, it is un-
derstood, will not abandon her screen
career, probably remaining, for the pres-
ent at least, with her present manage-
ment.

OLGA PETROVA announces the for-
^-' mation of her own company to pro-
duce stories which she will select, in a
manner such as she will approve. Mme.
Petrova parted company with Paramount
because it was found that netiher she nor
the producer could work under the terms
of the contract, as each one had the other
tied up with so many safeguarding clauses
that things reached a deadlock. Mme.
Petrova will be under the management of
Frederick L. Collins, who fathered the
McClure Pictures.

The Fall of the Romanoffs

{Continued from page 29)

shouted. "And I have helped you, not
Jcnowing what a devil you are. But I
will help you no longer. Your days are
numbered."

"Come," Rasputin replied. "Don't be
a fool. This is the way all countries are
governed. Join me, and if you can sug-
gest improvements in my system, we will
try them."

"Join you," Iliodor retorted angrily.
"Sooner would I make common cause
with Satan himself, for at least he fights
openly, and makes no pretense of being a
'holy man.' "

But Rasputin was not to lose his man
so easily. Iliodor had resisted the temp-
tation of power, but it remained to be seen
whether h'e would be able to retain his self-
control against a more insidious personal
lure. Iliodor was young, he had lived'
a life of abstinence and seclusion, he did
not know the sensation of being sur-
rounded in an unbridled orgy by the most
beautiful women in the empire. For Ras-
putin, the stern, wild wanderer, accus-
tomed to the coarsest food, the most vul-
gar companions, the greatest hardships,
had discovered the delights of luxury and
the fascinations of unbridled license. He
had become almost clean in his personal
habits, and beside the uncouth creature
who first confronted the Czar, he was
almost a dandy. Only his eyes did not
change — only his eyes and the vicious
brain behind them. His eyes looked out
upon an already corrupt court, and his

brain conceived the possibility of turning
all this depravity to his purpose. Good
women learned to shudder at his presence,
honest men to loathe him at the same
time that they feared his unscrupulous
cunning. But women and men alike,
whether fearing or loathing him, feared
still more to come between him and the
thing upon which he had set his ambition.
It might easily mean exile from court, for
what little will power the Czar of all the
Russias had ever possessed, he now
seemed to have resigned to Rasputin. So
of all the bacchanals, the orgies, the sat-
urnalia, that took place in the Russian
capital, those over which Rasputin pre-
sided were the wildest. And the scoun-
drel, after his years of hardships, finally
became convinced that no man could
resist the lure of the fleshpots. He saw
in Iliodor a man who had lived a life of
asceticism, and he believed that, by kin-
dling the flames of the human passions in
his breast, he could bind Iliodor to him.
So Rasputin temporized. He asked Ilio-
dor not to form his final judgment imme-
diately. He appealed to the young man's
sense of charity, and gained his consent
to attend a gathering the next night in
Rasputin's quarters in the Winter Palace.
Rasputin pretended it was to be an as-
semblage of the closest friends of the
Czar, and in the hope of fathoming this
bewildering mystery of the royal court,
Iliodor accepted the invitation.

I CONCLUDED NEXT .MONTH)

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

III

Exquisite Nails

without cutting the cuticle

Why cutting ruins the cuticle

DON'T cut or trim the
cuticle. Read how you
can give your nails the
most delightful manicure you
have ever had!

Start today to have the
shapely, well-kept nails that
make any hand lovely. See how
smooth and firm the use of
Cutex will make your cuticle
without trimming or cutting
it. See how easily and quickly
you can give your nails a won-
derful manicure.

After your first Cutex mani-
cure, you will never go back to
the old cuticle-cutting method

With Cuttx, gently
work around the base
of the nail, pushing
back the cuticle.

again

Shoemaker, the famous skin
specialist, says: Some persons
are so obtuse to the beauty of
the delicate edge of skin at the
base of the nail, that they actu-
ally trim it away, leaving an ugly
red rim like the edge of an in-
flamed eyelid."

At last a way to have a
perfect manicure

Send for the Midget Mani-
cure Set offered below and see
how completely Cutex solves
your problem.

In the Cutex package you
will find orange stick and ab-
sorbent cotton. Wrap a little
cotton around the end of the
stick and dip it into the bottle.
Work the stick around the
base of the nail, gently pushing
back the cuticle.

This complete
manicure set
sent for 14c.

This talented little
motion picture star,

Dorothy Cish, says:
"1 have Cutex to
thank for a quick,
beautiful manicure.
Neiler before
has my cu-
ticle been so
smooth and
even, my
nails so
shapely. ' '

A touch
Cutex JV a
White unde
n e at h 1 1,
nails gii.
them s n o it
white tips.

Finish with Cutex Nail
Polish: gives you Just the
delightful polish you want.

Almost at once you will find you can wipe
off the dead cuticle. Then carefully rinse
off the fingers in clear water.

A touch of Cutex Nail White underneath

the nails makes them immacu-
lately clean — snowy white.

Finish with Cutex Nail Polish Cutex
Cake Polish rubbed on the palm of the
hand and passed quickly over the nails
gives you just the waterproof finish you
want. If you like an especially brilliant
polish, use Cutex Paste Polish first,
then the Cake Polish.

Until you have used Cutex you can-
not know what a great improvement
even the first application makes in your
nails. You have no idea how
lovely they can be.

Buy Cutex in all drug or
department stores

Cutex, the cuticle remover
comes in 50c and $1.00 bottles,
with an introductory size at
25c. Cutex Nail White is 25c.
Cutex Nail Polish, in Cake,
Paste, Powder, Liquid or Stick
form, is 25c. Cutex Cuticle
Comfort for sore or tender cu-
ticle is also 25c. If your store
has not yet secured a stock,
write direct.

Send for this complete trial
manicure set

Send the coupon today with
14c — 10c for the manicure set
and 4c for packing and postage
— and we will send you a com-
plete manicure set for you to
try, enough for at least six
"manicures." Address

NORTHAM WARREN
Dept. 307, 9 West B'way, New York

Ifyoit live in Canada, send 14c to Mac Lean, Bettn
& Nelson, Ltd.. Dept, 307, 489 St. Pan/ Street West,
Montreal, for your sample set ami get Canadian prices.

MAIL THIS COUPON TODAY

Northam Warren

Dept. 307. 9 West Broadway, New York

Name.

■ Street

City.

State

When you write to advertisers please mention 1'llOTOl'LAY MAGAZINE.

I 12

Photoplay Magazine — Advertising Section

<77ie
<&er/ume

t&Cuisioe

nirc /nt<~/anm

re/inecf
arms

, ■ L I :

. ■//':' ' ■ sea/
upon receifi/cf/Of

The Big Scene

(Continued from page 40)

13 a asfe aid to a eoft. clear,

health; ;=kin. I se-1 as a mas-

■comfle drjnesfr and

the tendency to wrinkle.

c3 tlie Btine and

out of wind, tan

and son burn.

Send for testimonials.
/ Use Mai vina Lotion :trd
Ichthyol Soap »ith Mal-
/ vina Cream to improve your
complextun.
f At all druggists, or sent post-
paid on receipt of price. Cream
50c, Lotion 50c, Soap 25c

©OO 1 1 if II I CI C MANDOLIN, VIOLIN,
WCU USVuLtLC GUITAR OK COKNET

We have a wonderful nev.- ststem of teaching note music by mail.
To tirs'. pupils in each locality, we'll give a $20 superb Violin, Man-
dolin. Ukulele, Guitar or Cornet absolutely free. Very small charge
tor lessons onlv expense. We guarantee to make you a player or
no charge. Complete outfit free. Write at oner; — no obligation.
Slingerland School of Music, Pept. 158, Chicago. 111.

THE SANITARY "O.K." ERASER includ-
es an Adjustable Metal Holder which keeps
Rubber Clean, Firm and Keen-edged; works
better and lasts longer.

Two Rubbers, the length of the Holder, are £*H
made, one for Ink, one for Pencil. By slight flK-J
pressure, clean Rubber is fed down until us- / J ,*i

ed. Price 15c. New Rubbers 5c

ALL STATIONERS

By mail 2c eitra. Booklets free.

The most Practical Eraser for Everybody
THE O.K. MFG. CO., Syracuse, N; Y.

Makers of the famous Washburne "O.K." Paper Fasteners

\^J <r^-*

Remoh Gems

Look and wear like diamonds. Bril-
liancy guaranteed forever. Stand file,
acid and fire like diamonds. Have no
paste, foil or backing. Set only in 14 karat
'. solid poll] mountings. About l-30th the
of diamonds. A marvelous synthetic
will outclass. Guaranteed not an imi-
tation, and to contain no glass. Sent CO. D.
subject to examination. Write today for
our illustrated catalog. It's free.
Rernoh Jewelry Co., 62P Washington Ave., St. Lours, Mo.

MURINE Granulated Eyelids,

■ Sore Eyes, Eyes Inflamed by
I Sun, Dust and Wind quickly
* relieved by Murine. Try it in
• your Eyes and in Baby's Eyes.
► No Smarting, Just Eye Comfort
Murine Eye Remedy £$Eg&8S!mtJ2&

Eye Salve, in Tubes 25e. For Hook of the Eue — Free.

Ask Marine Eye Remedy Co., Chicago d

1 don't believe he even heard me. Cer-
tainly he paid not the least attention to
me. But he had heard something else, and
that was the war-cry of the Malones, al-
though whether it came to him from the
wounded Irishman, lying beside his gun,
or from some ancestor, speaking to his
spirit, I do not know. But this I do know,
for I saw it. Percival Malone walked up
to that machine gun as though there were
not a German within a thousand miles,
and started to operate it.

A look over the edge of the trench
showed me why. From the little bare
patch of woods through which ran the first
line of trenches there burst forth a line of
grey-coated figures, whose shouts I could
even now hear.

Percy Malone did not know what had
happened. It had indeed all happened too
quickly for that. The mysteries of raids,
surprise attacks, barrages, sudden thrusts
to gain observation points, were not for
him. But he knew that a few feet away
stood the machine gun he had examined
so curiously the day before, and that be-
yond him some half a mile, but approach-
ing at top speed, were the enemy, bent on
capturing the little ridge on which he
stood. His duty was plain. He would
operate the machine gun. After all, it was
not so very different from operating a
camera. The motions were in many re-
spects the same. With a glinting fire in
his calm grey eyes he sent a steady gust of
bullets down the slope, and into the faces
of the approaching line of men. With
meticulous care he sprayed them, raking
their now faltering lines with sudden de-

struction. His left arm fell limp at his
side, but he did not flinch or falter. In-
stead, he spat disdainfully on the ground,
and continued his firing with a steady
hand. Percival Malone had become a
man. From beneath the debris beside the
gun came a weak but prideful voice.

Wurra! Wurra! Praise God for the
Malones." It was the wounded machine
gun captain, voicing his pride.

The scene in which the wounded hero
was brought to the receiving station was
carried out, but Percy, not Jerome, was
the injured man. And to my surprise, it
was not Kathryn Howard who threw her
arms about his neck, but Constance Ran-
dall, whom Kathryn had been in commu-
nication with, and had somehow dug up
as a surprise for Percy when he came.
But it all worked out very nicely. Con-
stance had the satisfaction of nursing not
only her lover, but a hero.

Yes. He was. Decidedly that, judging
by the fuss they made over him. It
seems he'd saved the whole position. They
gave him a decoration, and all that but he
has told me since that the best thing of
all was when Malone of the gun crew, shot
through both legs, took his hand in a hairy
grasp and said to him:

"Me bhoy, you're wan of us."

Percy is still my camera man, and as
modest and retiring as ever. He insists
that he thought he was grinding his cam-
era all the time. Constance is still nurs-
ing— a young Malone. As for Kerns, he
has gone to the Metagraph. We made him
finish the picture, though, and the big
scene was superb.

Making the Movie Do Its Bit

(Continued from page 86)

nections and film rewinder.

The same company has an incandescent
equipment designed for use on low voltage
in communities where no stronger power
can be obtained. This is said to secure
a picture about 9 by 12 feet upward to
100 feet projection. This can be pur-
chased as a part of the equipment of the
various machines.

In installing a motion picture projec-
tion machine, there are to be considered
the requirements of the local authorities.
All requirements — fire department, under-
writers, etc. — should be given careful con-
sideration before laying out plans. Regu-
lations vary, a permanent operating booth
being required in one place where, in
another, an asbestos board and portable
booth are permissible. Again an asbestos
cloth booth of the portable junior type
will be approved in one locality, while in
another a specially designed booth, of
sheet metal, asbestos board or one built-

in with fire brick is required. In the case
of churches a builder in the congregation
will usually take care of these matters
at cost. In the same way the necessary
wiring can be handled by a local electri-
cian. A rough idea of the expense of
starting the presentation of pictures may
be obtained from the expenses of the
Y. M. C. A. at Worcester, Mass. That
branch paid $231.30 for a projector. Si 50
for installing an asbestos semi-portable
booth, this price including booth in place,
electric fan and exhaust pipe to outside
of building, and $41.20 for the wiring
from feed pipes to booth.

The church and school contemplating
the presentation of pictures should cor-
respond with the National Board of Re-
view of Motion Pictures, and more
particularly with Herbert F. Sherwood,
the publicity manager of the National
Committee for Better Films. Offices are
located at 70 Fifth Avenue, N. Y. C.

Let Photoplay Service Bureau Help You

Photoplay has worked out a plan whereby schools, churches, and other
organizations may obtain a complete equipment for moving picture entertainments
free of cost.

Write to the Editor for full details of this plan.

Or if you already have the projection machine, and other equipment, let us
help you to obtain the pictures you desire for your entertainments.

Any other information connected with these enterprises, will be furnished by
Photoplay free, upon application.

Every advertisement in rilOTOFT AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

113

the MINNEAPOLIS heat

REGULATOR
The Heart Of The Heating Plant IV

PUTS ON COAL

AND LEAVES THE

DAMPERS AS

THEY ARE

DAMPERS OR
THERMOSTAT
NOT TOUCHED
AIL DAY AND
TEMPERATURE
72° AT
DINNER
TIME

REPEATED DAILY FOR 8 DAYS
ATONE WINDING of MODEL 5 5

A Minneapolis Heat Regulator takes complete and
accurate automatic charge, day and night, of the
dampers of any style heating plant. For the house-
wife it eliminates the worry and drudgery of watching the
room temperature and all bother of damper tending. The
man of the house is especially interested in the coal it
saves as well as the convenience. The cost is so satisfac-
tory that no home owner need hesitate to install one.
Renders service as long as the house stands and the
up-keep cost is practically nothing.

The "Minneapolis" is made in several models. The
lowest priced model is as accurate in its service as the
highest priced, the difference lying in the extent of ser-
vice rendered.

Our Model No. 55, requires attention
every eight days and then only the mere
winding of the clock. It affords two auto-
matic changes of temperature daily — reduces
it at bedtime and raises it before "getting
up" time in the morning. For complete-
ness of service, accuracy, simplicity and ease
of adjustment our No. 55 is unequalled.

Minneapolis Heat Regulators are in-
stalled by the heating trade in every part
of the country — in either new or old homes.
We back the dealer in extending a binding
guarantee of satisfaction.

Write for our catalog describ-
ing all models. You can then
easily tell your dealer which
one you will have him install.

Minneapolis Heat Regulator Co.

2760 Fourth Av. So., MINNEAPOLIS

BOSTON SYRACUSE 'CLEVELAND

77 Summer St 218 E. Washington St. 1335 East 105th St.

ST. LOUIS CHICAGO

1412 Syndicate Trust 231 Insurance Exchange

I ■

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

STUDIO DIRECTORY

For ii"' com i hi. i ur readers who

may desire the addresses of film com-
panies we give the principal ones below.
The lirsi is the business office; (si indi-
cates a studio ; in Borne cases both arc
at One address.

a m ri. ii w i'i i m Mfg. i !o., 6227 Broad-
way, Chicago; Santa Barbara, Cal. (s).

a ki craft I'ii ,i res < !obp. I Mary i 'ii It-
ford), i_".i Seventh Ave., New York City J
Hollywood, Cal. (s).

Balboa Amusement Producing Co.,
Long Beach, Cal. (s).

on. Hi rber i . Prod., 729 Seventh
Ave., N. V. C. ; Hudson Heights, N. J.

( hristie Film Corp., .Main and Wash-
ington, Los Angeles, Cal.

Edison, Thomas, Inc., 2826 Decatur
Ave., New York City. (s).

Empird All-Stab Corporation, 220 s.
State St., Chicago; Myrtle Ave.. Glendale,

I [. (SI.

Essanay Film Mfg. Co., 1333 Argyle
St.. Chicago, (s).

Famous Plavebs Film Co., 485 Fifth
Ave., New York City; 128 W. 56th St.,

New Ymk city, (s).

Fox Film Corp., 130 w. 46th St.. New
STork City; Hoi Western Ave., Los Angeles
i si ; Fort Lee, N. J. (s).

Gaumont Co., 110 \v. Fortieth St.. New
York City ; Flushing, N. Y. (sj ; Jackson-
ville, Fla. (s).

GOLDWTN Film Coup., 16 E. 42nd St.,
New York City; Ft. Lee, N. .1. (sj.

Horsley Studio, Main and Washing-
ton, Los Angeles.

Kalem Co., 1255 \Y. 23d St.. New York
city ; 251 W. 19th St.. New York City isi ;
1425 Fleming St., Hollywood, Cal. (si ;
Tallyrand Ave.. Jacksonville, Fla. (s) ;
Glendale, Cal. (s).

Keystone Film Co., 1712. Allesandro
St., Los Angeles. *

Kleine, G-eobgb, 1GG N. State St., Chi-
cago.

Lasky Feature Play Co., 485 Fifth
Ave., New York City ; 0UN4 Selma Ave.,
Hollywood, Cal. (s).

Metro Pictures Corp., 1470 Broadway,
New York city; Rolfe Photoplay Co. and
Columbia Pictures Corp., 3 W. 01st St.,
New Y'ork City (s); Popular Plays and
Flayers. Fort Lee. N. J. (si : Quality
Pictures Corp., Metro office; Yorke Film
Co.. Hollywood, Cal. (s).

MOROSCO Photoplay Co.. 222 W. 42d
St.. New Y'ork City; 201 Occidental Blvd.,
Lis Angeles, Cal. (s).

Moss. B. S., 729 Seventh Ave., New
Y'ork City.

Mutual Film Corp., Consumers Bldg.,
Chicago.

Pabalta Plays Inc., 720 Seventh Ave..
New Y'ork City; Los Angeles, (si.

Tatiil Exchange, 25 w. -)."itii St., New
Y'ork City; Jersey City, N. J. (s).

Powell, Frank, Production Co., Times
Bldg., New Y'ork City.

Roth acker Film Mfg. Co., 1339 Diver-
sify Parkway, Chicago, 111. (s).

Selig Polyscope Co., Garland Bldg.,
Chicago; Western and Irving Park Blvd.,
Chicago (si : :.!S00 Mission Road, Los An-
geles. Cal. (s).

Sblznick, Lewis J., Enterprises Inc,
720 Seventh Ave.. New York City.

Signal Film Corp., 4500 Pasadena
Ave.. Los Angeles, Cal. (s).

Talmadge, CONSTANCE, 729 Seventh
Ave., N. Y. C. ; 807 East 175th St., N.
Y. C. (s).

Talmadge. Norma, 720 Seventh Ave.,
N. Y. C. : 318 East 48th St., N. Y. C.
(si.

Thanhouser Film Corp., New Ro-
chelle, N. Y. is) ; Jacksonville, Fla. (s).

Triangle company. 1457 Broadway, New
York City; Culver City, Cal. (S).

Univbbsal Film Mfg. Co.. 1000 Broad-
way, New Y'ork City: Universal City,
Cal. ; Coyetsville, N. J. (s).

Yitaguapii Company OF AMERICA, E.
15lli St. and Locust Ave., Brooklyn, N.
Y. ; Hollywood, Cal.

Yogfe COMEDY Co.. Cower St. and
Santa Monica Blvd., Hollywood, Cal.

WHARTON, Inc., Ithaca, N. Y'.

World Film Corp.. 130 W. 40th St.,
New York ( ity ; Fort Lee, N. J. (si.

Pearls of Desire

(Continued from [hkjc 100)

lady or myself. Such is human nature.
Instead of prancing \filh joy at our re-
lease we were sulky because Drake had
got away.

Captain Billy was over the side almost
with the splash of the anchor and as the
boat grounded and he hopped out and
greeted us 1 wondered at the cheery, mat-
ter-of-fact way in which he addressed him-
self to Enid at whose presence there he
showed no surprise at all. In fact he
appeared to be inwardly amused.

"So here y'are, all safe and sound, the
two av you," said he. "And where is
Drake?"

"You scared him away with your smoke,
Billy," I answered. "It's rather a pity, as
he had been working four days with two
armored divers and about twenty native
ones. The Lord only knows what he may
not have lifted off the bottom. But never
mind Drake. How is it you are not sur-
prised to find Miss Weare here on Tro-
cadero? Didn't they tell you that a shark
had got her?"

He chuckled. "They did," said he.
"But mind ye, lad, there are a dale of
things tould me which I do not believe."

"What were your reasons for not be-
lieving this?" Enid asked in her terse
voice.

Captain Billy's frosty little eyes twin-
kled at her merrily. "They were siv'ril,
and the result o' my cross questionin'
Mrs. Stormsby," said he. " 'Tis quite a
tale that needs some time for the proper
tellin'. Lave us go out aboard for a cup
of tay. . . ."

So we went out aboard and were en-
thusiastically greeted by Charley Dollar
and the other boys and then while revel-
ling in the first cup of tea which we had
tasted for many weeks Captain Billy spun
his yarn, which was something as fol-
lows:

"To begin wit'," said he, "I had not
thought to call at Kialu, thinkin' that wit'
his new schooner Jack wud have nothin'
for me. But at Viti Levu I saw Bismarck
who had just returned from Samoa and
he tould me Jack's schooner was still
there and all hands wonderin' why he did
not come fetch her. ' 'Tis dom' str'range,'
says I to mesilf, 'but if she is still there,
then she is not at Kialu, and if she is not
at Kialu there may be a cargo to carry.'
so I made a small detour and got to Kialu
the day after Drake had sailed. The first
thing I see is Charley Dollar cavortin' on
the beach, and I t'ought him mad. 'Have
ye lost your sinsis?' I asked him as the
boat slid up to the landin', 'or had ye nivir
anny to lose?' So he tells me the tale
and knowin' yon scalawag Drake I was
worried. But ayvin then I had me doubts
about Miss Weare . . . or to square
away before the trut', I had no doubts at
all. No, not from the very fir'rst."

"Why not?" asked Enid.

"Wait, young lady," said Captain Billy,
with his puckered little smile. "I am
beatin' up to it. Young Harris was away
so after a few more wor'rds wit' Charley
Dollar I tould him to musther six picked
men av the Kialu po-lice and have them
aboard the Favorite before the turn av
the tide. I made bould also to requisition
a dale of stuff from the storehouse. Thin

I wint up to the bungalow where I found
Mrs. Stormsby and his Riverince com-
platin' a hasty toilet to receive me, for
'twas but an hour afther sun-up. 'Do not
cry, ma'am,' I said to her, T have rayson
to believe that Miss Enid nivir made a
bonne bouche for no shar'rk that swims.'
She gripped me by the arrum. A str'rong
grip she has. 'What do you mane?' she
cries. 'Just that, ma'am,' I answered.
'Compose yourself and listen. Now here
are the facts. . . .' I had been talkin'
already wit' his riverince who had con-
firmed me diagnostics av the case. . . .
Listen, ma'am,' says I, 'and tell me if I
go astray. For ten weeks ye had been in
the habit av bathin' in the same place by
night as well as day and nivir a sign av a
shark close adjacent?' 'True,' says she,
'but we were always together.' 'The
greater the attraction for John Shark,'
says I, 'and the more apt you were to ven-
ture into water more than bosom deep.
Now it stands to rayson that the young
lady alone, and at night, would be timid
av the black watter and the monsters that
might be lurkin' in wait and would no
more that wet her knee cap in the erect
position. Ayvin where sharks do not
abound the watter is forbiddin' at night,
especially when one is alone. I would bet
the Favorite against the ribbon in your
hair that a four-foot dog-fish would have
gone hard aground before ever reachin'
her. And agen, the tide was two hours on
the ebb, and sharks skull out wit' the ebb.
There would be no shark in such a place
on the ebb tide. On the flood, yes.' "

"I never thought of Aat," I muttered.

"Small "wonder, lad. Y'have not my age
and sinse. There is p'int number one.
P'int number two is this: there was no
scr'ream. Had there been his Riverince
would have heard because he was sittin'
outside the bungalow not far away, and
nervous. Now a person taken by a shark
screams always wance at least. I have
heard such screams . . . and will
hear thim always."

He paused and made a gesture with his
hand as though to wipe away some horrid
memory. A little chill went through me
and I dropped my hand on Enid's and
wondered why it was so cold. Her brows
were drawn slightly down and she was
staring at Captain Billy through narrowed
lids.

"You told all this to Aunt Alice?" she
asked.

"I did. We came thin to the next pint,
which was that a young lady desirin' to
give the impression that she had been et
by a shark cud have walked back into the
scr'rub lavin' no tracks, the rocks bein'
still wet from the ebbin' tide. And her
clothes? The gown she had gone off in
was lyin' where she had laid it down, but
had Mrs. Stormsby looked to see if anny-
thing was missin' from her niece's ward-
robe? Not she. Nor annybody else. All
hands had taken wan lep to the tragic con-
clusion . . . and then had not the
stren'th to lep back agen."

Captain Billy paused and his frosty lit-
tle eyes twinkled at us. It seemed to me,
however, that he was slightly embarrassed,
also, for he kept puffing out and then con-
tracting his lips and seemed rather unde-

Evciy advertisement in PHOTOPLAY* MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

l'5

It has been made and sold all over the world for a genera-
tion. We have thousands of letters, from women, endorsing all
we say of Ingram's Milkweed; Cream.

There
Beauty

Buy It in Either 50c or $1.00 Size

Ingram's

rodi

Dear Sirs : —

I find in Ingram's Milkweed
Cream properties that are en-
tirely absent in face creams of
the usual sort. Its use conserves
the complexion and keeps the
skin in a clear healthy con-
dition. Yours,

MARGUERITE CLAYTON

Chicago, Aug. 5, 1917

f\c£.o/a

iouvtrainc

FACE POWDER

Itigt&m's

J?ougre

"Just to show a proper glow" use
a touch of Ingram's Rouge on the
cheeks. A safe preparation for
delicately heightening the natural
color. Thecoloringmatter isnotab-
sorbed by the skin. Delicately per-
fumed. Solid cake. Three shades
— Light, Medium and Dark, — 50c.

Send us 6c in stamps for
our Guest Room Package
containing Ingram's Face
Powder and Rouge in novel
purse packets, and Milkweed
Cream, Zodenta Tooth Pow-
der and Perfume in Guest
Room sizes.

(60)

FREDERICK F. INGRAM CO.

Windsor, Canada

Established 1885

102 Tenth St., Detroit, Mich., U. S. A.

YYYYYYYYYYYYyYY^VyVYyyYtYYyYyYtnYYTYJWtYVYYrTyyYYYVXYYY^yYrnYYYTYYYyYTYTn

When you write to advertisers please mention PHOTOPLAY MAGAZIN'E.

Photoplay Magazine — Advertising Section

#sl DOWN

FREE
TRIAL

Big Fun — Little Cost

You can have your own Billiard and Pool Table at
home and play while paying for it. Tile most delicate
shots, calling for the highestskill, can be executed ( n i a

edeis;

Billiard and Pool Table

Can Ik: mounted on dining or library table or on Its own I
lr^'s or folding Stand. No special room is needed. Put up

or down in .1 minute. Sizes range up to- 4}*jx9 ft. (stand-
ard). Prices ol Tables JiS upf$i or more down). Balls,

, etc., tree.
The original Burrowes Home Billiarrl and Poo! Tables H
the standard ol the world. They are splendidly built g
11 every particular. The Burrowes Regis High-Speed
Rubber Cushions are the best made.
Burrowes Tables are now on sale in many cities and towns, g
FREE TRIAL — Write us for catalog (illustrated), con- g
ling tree trial offer, prices, terms, order blanks, etc.

The E. T. Burrowes Co, 184 Spring Si., Portland, Me. j

■ L.i

$100,000
Free Book

My latest Style
Book which I
will gladly send
you on requer'
contains 1.001 ar-
ticlesof women's
and children's
wear.

Suits — Coats
Dresses — Waists

Skirts — Hats
Shoes — Lingerie

Furs — Under-
weai — Children's

Wear. Etc.
Also 300 Kinds
of Piece Goods

Wear the Stylish Things
You Like — Take Months to Pay

With my Style Book will come a Credit Card
opening- your account here. So when you wish
anything you simply tell me to send it on ap-
proval, prepaid.

If delighted, you spread the cost over many
months. I don't want cash. You wear and enjoy
pretty things as you pay for them. My prices will
astonish you for their lowness.

To get my Style Book, you must ask for it at
once. A postal card will bring it to you— now.

MARTHA LANE ADAMS

3433 Mosprat Street (1431) Chicago

Complete Tatting Outfit-the biggest

1 bargain ever offered to needlework-

ers. Think of it! For only 10c we will

(Msend you complete 16-page Tailing Book
,j£i2_» with handsome designs and fullin-
■ -3a?' structions. 1 Ball of Texazilk— size 70 (any
color) and 1 Rapid Tatting Shuttle. This outfit retails
regularly for 25c— you get it on this offer all for
only 10c. Money back u you are not pleased.

W COLLINGBOURNE MILLS, Dept.467

ELGIN, ILLS.

HTPHOTOGPAPHY

MOTION PICTURE ""■
STUDIO and COMMERCIAL

Write or call f,.r bo,.klVt — fi

N. V. INST. OF PHOTOGRAPHY
Dept. 811, 141 W. 36th St., N. Y.Clty

tided whether to proceed or not. Enid
administered the vis a tergo in the non-
chalant manner of a Mexican muleteer
thumping a burro with a club.

"(io ahead, please," said she. "What
did you jump to?"

"Onto delicate gr'round, me dear young
lady," said Captain Billy, promptly. "But
wance there I saw no use for jumpin'
back. 'You tell me that your niece
thought it a burnin' shame to leave Kav-
anagh alone on Trocadero,' said I, 'and
that she was ayvin lackin' in respect to his
Rivirince for not stoppin' on to kape him
company and from goin' daffy wit' soli-
tude?' 'That is true,' says the bishop.
T was nivir so astonished in my life,'
says he. T could not imagine what had
got into the girl. She had nivir shown
any particular likin' for Jack, and if he
chose to remain on the island what dif-
ference did it make to her?' says he. 'Fact
is, I was rather under the impression that
she held him in no great esteem,' says he.

" 'Well, sor,' says I, 'and you too, Mrs.
Stor'rmsby, lookin' at the matther be the
cold light av rayson, does it not seem
strange that Miss Enid shud deliberately
have quarrelled wit' the two payple she
loved most on account av a man for whom
she cared less than nothing at all? Had
he not in the very beginin' outraged all
av her finer feelin's ayvin to the point av
layin' vi'lent restrainin' hands upon her?
And though makin' the best of it like a
gir'rl av sinse, had she not rapped out at
him from time to time, belittlin' his
wor'rds and actions and holdin' him to
scorn? And thin' all of a hop and wit' no
warnin' like the weather at this sayson
does she not jibe over and fetch up all
aback at the idee of his cryin' himself to
sleep o' nights, all alone on Trocadero?
And why? What wud you call it? Me-
silf, I would call it love.' "

Captain Billy paused and regarded us
with a sort of benign anxiety. Something
he saw in Enid's face appearing to reas-
sure him he continued:

" 'Love would account for it,' says I.
'Love is the only thing that could account
for it, and by the same token love can
account for almost annything in this
wor'rld. She was secretly in love wit'
him,' says I, 'and could not a-bear the
thought av layvin' him there to his fate.
So she gave you both your chance and
tould you what she thought to be your
juty and then, as you cud not see it that
way and as she knew that Jack was as
obstinate as his namesake av the ass fam-
ily she quietly decided to stop there wit'
him herself. She knew av coorse that
she would not be let, if it took all hands
and the cook to hale her aboard, so she
resorts to guile. Slippin' another dress
benathe her gown she gives it out to his
rivirince she is goin' to bathe, and then
droppin' the gown and sandals be the edge
av the lagoon she walks off into the bush,
or rocks or whatever was there. Sharks?
I wud stake the savin's av twinty years
against a str'ring av cowries that no shark
iver got a shmell av her. Ye wud have
had to put him on rollers to have got him
near enough to wish her good day. She
lay quiet as a hare in the whins until the
Madcap was out of hail and then she
came out twistin' the hem av her skirt wit'
one finger in her mout' and says coy and
bashful: "Here I am, Jack, and please do
not scold. I feared for your rayson, you

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

nivir havin' given me the impression of a
mon anny too sound in the superstruc-
ture . . ."' "

He broke off suddenly to dodge my
swing at him, then turned chuckling to
Enid, his puckered little face broken into
a thousand tiny wrinkles. "Was I right,
my dear?" he asked.

She nodded. "It's refreshing to meet
somebody with some sense, captain," said
she. "What did they say to that?"

"They were impressed, but not con-
vinced," said the little captain. "Also
they were excited, as was natural consid-
erin' the rough way I had hauled ye back
from the belly av a shark. His Rivirince
was the more encouraged av the two.
Mrs. Stormsby sat starin' straight in front
av her, twistin' her handkerchief and the
gr'reat yellow eyes of her swimmin' like
liquid amber. T can't believe it . . .'
says she, to herself. T can't believe it.
Enid would never do such a thing . . .'
says she, low and hot. His Rivirince
was not so sure. 'Twas plain that in his
opinion a gir'rl that wud bait a bishop
and him her uncle wud be capable av any
folly. 'If the captain is right she will be
irretrievably compromised,' says he. 'Her
reputation will be gone forever . . .
but let us hope for the best,' says he,
lavin' me in some doubt as to which he
considered to be the best, inside Jown
Shark wit' a reputation or on Trocadero
without one. 'Jack will have to marry
her,' says he. . . ."

"Jack is going to marry her as soon as
we get back," I interrupted, not too
pleased with the old chap's personalities.
I looked at Enid to see how she was stand-
ing this rough, sea-going banter, but she
did not appear to have been listening.
Now, she asked:

"Why did you send up that smoke, Cap-
tain Connors, and frighten Drake away?
If you had slipped up after dark you
could have caught him red-handed."

Captain Billy nodded. "Yes," he an-
swered. " Tis a pity. Had I known he
was four days ahead av me I wud have
done so. Av coorse the little Favorite is
not in the same class wit' Drake's Madcap
but crackin' on as I was I did not think he
cud be many hours ahead av me. Belike
I am becomin' a man av peace in me ould
age and it seemed to me better to scare
him away if indeed he was inside. So I
put me bare spars in line and made a
smudge and prisintly from- up aloft I
sighted the sassenach jibin' 'round the ind
o' the island to put it betwixt us. 'Ho-ho,
Drake, ye thafe,' says I to mesilf, 'ye will
be long in hearin' the last o' this. "Have
a smoke, Drake," will be your greetin'
around the islands.' But nevertheless
Drake cornered wud fight, and I says to
mesilf: 'What is the good of bloodshed
if I can manage without? At best he can-
not have had time to do much poachin'.' "

"Then Uncle Geoffrey and Aunt Alice
are still at Kialu?" said Enid.

"They are, and there they will stop un-
til my return wit' you, young lady. They
did not feel up to the discomforts av an-
other voyage to Trocadero wit' a possible
disappointment at the ind av it, and I,
knowin' the character av Drake acted in
me own initiative and have brought Char-
ley Dollar and his boys to stop here wit'
Jack until Harris can send an outfit.
What wit' men and arms and" stores and
all Jack need have nothing to fear, so you

Photoplay Magazine — Advertising Section

II7

LET THE LEADING
CARTOONISTS HELP YOU

MctCEE BARCLAY

These Men Will Help You to Success

/TAODAY the world is looking for men who can sway
A public opinion. The cartoonists helped sell the Liberty

Loan. The cartoonists educated America to patriotic acceptance of the draft.

One Cartoonist Makes $125,000 a Year

Great cartoonists are well paid. Clare Briggs makes an income estimated
to be half as much as that of the President of the United States. Reuben
Goldberg is said to receive $125,000 a year.

Why not make your ideas work for you?

The cartoonist does big things. He does not punch a clock.

IN ONE COURSE:

Cartooning Animated Motion Picture Art

Chalk-Talking Window Card Writing

Bart (Charles L. Bartholomew), for 25 years cartoonist of the Min-
neapolis Journal, has gathered with him on the Advisory Staff of the Federal
School of Applied Cartooning the 25 leading cartoonists of today. The car-
toonists whose pictures are shown here compose the staff of the Federal School
of Applied Cartooning. Together they have instituted a complete service in
Cartooning, Chalk-Talking, Animated Motion Picture Art, and Window
Card Writing.

In this course these men give you all the fundamentals of these arts. They
tell you how they marketed their first work and what is the best way to make
your start. Bart's famous course in chalk-talking is included in this instruc-
tion. Winsor McCay, the originator of Animated Motion Pictures, here
tells the secrets of this coming art for the first time.

Send for "A Road To Bigger Things" Today — "A Road to Bigger Things" contains
studio pictures of America's most famous cartoonists, with the story of how they made their way.

Federal School of Applied Cartooning

7108 Federal Schools Building

Just cut the coupon here-
with along the dotted line —
sign your name and address

v^"^

MINNEAPOLIS, MINN.

— and mail it now, "A Road
To Bigger Things" will
be sent by return mail.

,:*'11111I§11

FONTAINE FOX WILUAM IRELAND .

■■SiBMfe Wz***1-

HERBERT JOHNSON i KIN. HUBBARD

D J. LAVIN C L. BARTHOLOMEW CL1VE WEED CAAR WUXTAMS

•»#*^1

iSIDNEY- SMITH S

Please send by return mail my free copy of "A Road To Bigger Things."

Name .
Street.

City and State

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

1 1;

Fkotoplay Magazine — Advertising Section

Here is one of those rare books

all of us look for and

seldom find

LAUGH arid LIVE

By Douglas Fairbanks

If your boy is leaving home,
give him a copy. It will give
him something to go by —
something to cling to — some-
thing to come back with.

Springfield Union says: "If this great
inspirational book does not develop into
the finest sort of best seller, the American
public is losing its taste."

All Bookstores $1.00 net
Postage extra 10 cents

BRITTON PUBLISHING CO.,N.Y.

The Ideal Gift

Loftis Perfection
Diamond Ring

The Most Popular Solitaire Dia-
mond Ring. Each Diamond is
specially selected by our dia-
mond experts, and is skilful-
ly mounted in our famous Cmd in Handsome Ring Boi
Loftis "Perfection" 14k solid gold 6-prong ring,
possessing every line of delicate grace and beauty
ff C Down, $2.50 a Month, CI C Down, $7.50 a Month,
*« buys a $25 Ring. 9 > <* buys a $75 Ring.

CO Down, $4 a Month, COfl Down. $10 a Month,
4><J buys a $40 Ring. *'U buys a $100 Ring.

CIO Down, $5 a Month, COC Down. S12.E0aMonth,
9 1 U buys a $50 Ring. **« buys a $125 Ring.

Send for Free Catalog

There are over 2000 illustrations of Diamonds, Watches,
Jewelry, etc. Whatever you selact will be sent, all ship-
ping charges prepaid. YOU SEE AND EXAMINE THE
ARTICLE RIGHT IN YOUR OWN HANDS. If satis-
fied, pay one-fifth of purchase price and keep it; bal-
ance divided into eight equal amounts, payable monthly.

Our Catalog shows all the new watches — 16, 17, 19, 21
and 23 Jewels, adjusted. Guaranteed by the factory
and further guaranteed by us. Watches that will pass
railroad inspection as low as $2.50 a month.

Christmas Presents ^sftf-

venient way to make handsome, "worth-while" presents
is to send for our Catalog, make your selections in the
quiet of your own home, and have everything charged in
one account. By this plan you can make very little
ready money supply all your gifts. Send for Catalog.

The National Credit Jewelers

PEPT.F502 108 N. Stats St.,

CHICAGO, ILL.
STORES IN LEADING CITIES

2 SO

A Month
Buys a
VisibleWriting

C. SMITH

Perfect machines onlv of stand-
ard size with keyboard of
standard universal arran ce-
ment— has Backspacer — Tabu-
lator — two-color ribbon — Ball
Bearing construction — every
operating convenience. Five
Days' Free Trial. Fully guar-
anteed. Catalog and special
price sent free.

H. A. SMITH, 851-231 N. 5th Ave.. Chicago, III.

TYPEWRITERS SSSJSS

Up-to-date machines of standard
makes — Remingtons, etc., thoroughly
rebuilt, trademarked and guaranteed
the same as new. We operate the largest
rebuilt typewriter factories In the world.
Efuciont service through Branch Stores
in leading cities insures satisfaction.
Send today for ^descriptive catalogue.

American Writlnz Machine Co., Inc., 339 Broadway, N. V.

had best make your plans to start back
wit' me as soon as may be, Miss Enid,
and Jack to follow later."

Enid thrust out her chin. "Thank you,
Captain/' said she, "but I prefer to see
the thing through. Since nothing is left
of my reputation, according to Uncle
Geoffrey, it doesn't matter much, does it?
Besides, I am not crazy about listening to
Aunt Alice's reproaches. I'll send her a
letter asking her to forgive me and we
shall have to let it go at that, I'm afraid."

Captain Billy scratched his curly, griz-
zled head and looked at me rather doubt-
fully.

"What ought we to do, lad?" he asked.

"Well, Billy," I answered, "it's hardly
worth while talking about what we ought
to do. Even from my own limited ac-
quaintance with this young lady I should
not hesitate to assure you that we are
pretty apt to do whatever she says, so we
might as well do it with as good a grace
as possible. . . ."

CHAPTER XVI

The Favorite got away the following
morning and we watched her departure
with no especial feeling of regret. Cap-
tain Billy had left us ample stores and
with Charley Dollar and six big fighting
men I had no fear of Drake's return. They
quartered themselves in a cave similar to
our own but nearer the spring. Enid and
I decided to return to our bungalow quar-
ters. It is all right to be a troglodyte
once in a way, but to be one under com-
pulsion greatly lessens the charm. Misan-
thropic people who like to shut themselves
up in their rooms and refuse to see any-
body ought to be put in a cave for awhile
with a guard to slap bullets against its
sides every time they start to move about.

As the Favorite shrank into the blue dis-
tance I remarked to Enid that by all rights
she ought to be aboard her and desired to
know if she thought she was treating her
relatives as their many kindnesses to her
deserved. The question brought to her
face a peculiar expression of cool and
quiet ruthlessness, which I have several
times mentioned. It could scarcely .be
called a "hard" look. It was no more
hard than is the face of a vixen fox as
she contemplates a half-killed squirrel be-
ing worried by her cubs. Enid's boyish
features expressed under certain emotions
that peculiar indifference to the feelings
of others which one might expect to find
in some creature of human guise yet not
quite human of soul; a dryad or fairy or
water nymph or something of the sort of
whom the moral responsibilities are nil.
Very young children wear often the same
look when tempted by the dawning con-
sciousness of superior force they deliber-
ately and wantonly maltreat an animal or
a smaller companion.

So now when I put this query Enid's
face assumed that exposition of cool and
limpid relentlessness and she answered
evenly: ' "Why should I go back? If
Alice had been so wild to know the truth
she would have come here with Captain
Connors. But she did not even write to
either of us, and she must have prevented
Uncle Geoffrey from doing so, because he
sent all sorts of affectionate verbal mes-
sages, in the hope of my being still alive."
"But she sent a lot of your things," I
protested.

"Captain Connors insisted on having
them. No, my Jack, Alice will never for-
give me. S/.e might forgive my having
given her such a shock, but she could
never forgive me for having stayed here
with you."

"What did you say in your letter?" I
asked.

"Merely that I was sorry to have. been
obliged to cause her and Uncle Geoffrey
such pain but that even now I did not see
how it could possibly nave been avoided
under the circumstances. That was about
all. . . ."

It seemed as though Captain Billy's
coming and the presence of Charley Dol-
lar and his men had opened a new epoch
in the cycle of our stay on Trocadero.
The first phase had been when as thor-
oughly well found castaways we had tak-
en up our abode there to camp with a
comfort akin to luxury until relieved.
The second phase was on our being de-
spoiled and reduced to basic principles of
life. The third was when Enid and I
found ourselves there alone; an Adam
and Eve in a fruitless and serpentless
paradise; a sort of sterilized paradise.
This present epoch with Charley Dollar
and his Kanaka fighting men was the
fourth. There would still have to be
three more, and I wondered what they
would develop. All finished courses move
in series of seven but for the life of me
I could not see how more than one more
was to be worked out in our existence on
Trocadero. That one would be the arri-
val of my outfit when we would strip the
place clean and depart. Short of the
crater taking it into its head to erupt or
a tidal wave to wash out the lagoon I
could not imagine what else could hap-
pen. Which proves that I was very de-
fective in imagination.

Now that we had no lack of service I
held that we should repose ourselves and
accordingly detailed Charley Dollar as
maitre d'hotel and had him take up his
abode in the bishop's former billet. Char-
ley Dollar understood Polynesian cooking,
the theory of which is precisely that of a
New England clam-bake. In fact I am
inclined to believe that the clam-bake had
its origin through ideas brought back
from the Pacific by Yankee whalers. The
other boys did the fishing and hunting,
Charley Dollar did the cooking and Enid
and I did the eating, and eat we did after
weeks of tinned stuff and fishy stuff and
oily stuff and rice. "I never want
to see rice again." I said to Enid.
"When we are married I shall sup-
ply teosinte or barley or oats or some
other blooming thing to heave at us as we
depart."

So we ate of the good fresh food and
read the new books and magazines and
newspapers which were published less
than ten weeks previously and felt our-
selves thoroughly in touch with the world
again.

The evening of the day after Captain
Billy's departure I observed to Enid that
unless we desired to become disgustingly
obese we had better take a little exercise,
and as a moon of which the creamy color
and inflated proportions would have
brought ridicule upon any painter daring
so to depict it was well on its way aloft
we decided to circumnavigate the crater
by way of constitutional. This had been
a favorite promenade for Alice and me

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

119

These)Are The Hours That Count

MOST of your time is mortgaged to work, meals and sleep. But the hours
after supper are yours, and your whole future depends on how you spend
them. You can fritter them away on profitless pleasure, or you can make those
hours bring you position, money, power, real success in life.

Thousands of splendid, good-paying positions are waiting in every field of work for men trained to
fill them. There's a big job waiting for you — in your present work, or any line you choose. Get ready
for it! You can do it without losing a minute from work, or a wink of sleep, without hurrying a single
meal, and with plenty of time left for recreation. You can do it in one hour after supper each night,
right at home, through the International Correspondence Schools.

Yes — You Can Win Success in an Hour a Day

Hundreds of thousands have proved it. Frank E. Fehlman, Vice President of the Gossard Corset
Company, in charge of sales and advertising; Robert E. Ramsey, advertising manager of the Art Metal
Construction Company; A. B. Hall, director of service of the Greenleaf Advertising Agency, and
hundreds of others in important sales and advertising positions, climbed to success through I. C. S. help.
Jesse G. Vincent, Vice President of Engineering of the Packard Motor Car Company and designer of
the famous "Twin-Six" Motor, and hundreds of other engineers, won their way to the top through
I. C. S. spare-time study. The builder of the great Equitable building, and many other architects and
contractors, prepared themselves for success in spare hours under I. C. S. instruction.

For 25 years men in offices, stores, shops, factories, mines, railroads — in every line of technical and
commercial work — have been winning promo-
tion and increased salaries through the I. C. S.
Over 130,000 men are getting ready right now
in the I. C. S. way for the bigger jobs ahead.

Your Chance Is Here!

No matter where you live, the I. C. S. will come
to you. No matter what your handicaps, or how small
your means, we have a plan to meet your circumstances.
No matter how limited your previous education, the
simply written, wonderfully illustrated I. C. S. text-
books make it easy to learn. No matter what career
you may choose, some one of the 280 I. C. S. Courses
will surely suit your needs.

Make Your Start Now!

When everything has been made easy for you —
when one hour a day spent with the I. C. S. in the
quiet of your own home will bring you a bigger income,
more comforts, more pleasures, all that success means,
can you afford to let another single priceless hour of
spare time go to waste? Make your start right now !
This is all we ask: Without cost, without obligating
yourself in any way, put it up to us to prove how we
can help you. Just mark and mail this coupon.

INTERNATIONAL

TEAR OUT HERE — — —

CORRESPONDENCE

SCHOOLS

BOX 6477, SCRANTON

Explain, without obligating me, how I can qualify
subject, before which I mark X.

PA.

for the position, or in the

D ADVERTISING

D salesmanship

□ Traffic Management

□ BUSINESS {.Complete)

□ Commercial Law

□ Certified Public Accountant

□ Higher Accounting

□ Railway Accountant
D BOOKKEEPER

□ Stenographer and Typist

□ Good English *

□ Window Trimmer

□ Show-Card Writer

□ Sign Painter

□ civil service

□ Railway Mail Clerk

□ Mail Carrier

□ cartoonist

□ illustrator

□ Perspective Drawing

□ Carpet Designer

□ Wallpaper Designer

□ Bookcover Designer

□ teacher

□ Common School Subjects

□ High School Subjects

□ Mathematics

□ U TOMOB1LE OPERATING

□ Automobile Repairing

□ Auto. Electrical Work

□ ELECTRICAL ENGINEER

□ Electrician

□ Electric Wiring

□ Electric Lighting

□ Electric Car Running

□ Heavy Electric Traction

□ Electrical Draftsman

□ Electric Machine Designer

□ Telegraph Engineer

□ Telephone Work

□ architect

□ Architectural Draftsman

□ Contractor and Builder

□ Building Foreman

□ Carpenter

□ Concrete Builder

□ PLUMBER & STEAM FITTER

□ Heating & Ventilation

□ Plumbing Inspector

□ Foreman Plumber

□ CHEMIST

□ Analytical Chemist

□ MINE FOREMANORENG1NEER

□ Coal Mining

□ Metal Mining

□ Metallurgist or Prospector

□ Assayer

□ TEXTILE OVERSEERORSUPT.

□ Cotton Manufacturing

□ Woolen Manufacturing

□ MECHANICAL ENGINEER

□ Mechanical Draftsman

□ Machine Designer

□ Machine Shop Practice

□ Boilermaker or Designer

□ Patternmaker

□ Toolmaker

□ Foundry Work

□ Blacksmith

□ Sheet Metal Worke.

□ STEAM ENGINEER

□ Stationary Fireman

□ MARINE ENGINEER

□ Ship Draftsman

□ GAS ENGINE OPERATING

□ Refrigeration Engineer

□ CIVIL ENGINEER

□ Surveying and Mapping

□ R. R. Constructing

□ Bridge Engineer

□ Structural Draftsman

□ Structural Engineer

□ Municipal Engineer

□ NAVIGATION □ Spanish

□ Motor Boat Bnnn'e □ French

□ AGRICULTURE □ German

□ Fruit Growing Q Italian

□ Vegetable Growing

□ Live Stock & Dairying

□ POULTRY RAISER

Name.

Occupation
and Employer.

Street and No..

City.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

120

Photoplay Magazine — Advertising Section

El-Rado

The "Womanly" Way
to Remove Hair

It is with El-Rado that refined women attain
clean, haiifree underarms of babylike smooth-
ness, so essential to the proper wearing of
sleeveless gowns or sheer blouses as well as
for plain, everyday comfort. For weeks follow-
ing the use of El-Rado you will enjoy a new,
delightful sensation of underarm cleanliness.

El-Rado is a liquid, sanitary, colorless, easi'y
applied with piece of absorbent cotton. To
use El-Rado is no more trouble than washing
the skin, and quite as harmless — it does
not stimulate or coarsen later hair growth.
El-Rado is the safest, most agreeable way to
remove hair from the face, neck or arms.

Ask for "El-Rado" hair remover at any
toilet goods counter. Two sizes, 50c. and
$1.00. Money-back guarantee.

If you prefer, we will fill your order by

mail, if you write enclosing stamps or coin.

PILGRIM MFG. CO., DepL P, 112 E. 19th St.. New York

CANADIAN ADDRESS, 312 ST. UEBAIN. MONTREAL

the New Way

Revolutionary new method! Different from the old
touch .system as day from night. Based on Gymnastic
Finger Training. Is doubling and trebling salaries
of stenographers everywhere. Already, hundreds
formerly earning but $8 to $15 a week, are drawing
$25, $35, and even $40 weekly.

80 to 100 words a miuute ff'&ffSSS;

ins unless fully satisfied. EASY FOR EVERY OPEKA-
TOR. Quickly learued in spare time.
rnrr Write for all particulars, fully explaining
* MVHjJCj this new system. Describes in detail the
wonderful Gymnastic Finger Exercises, their marvel-
ous effectiveness. A revelation as to the SPEED and
SALARY possible to typists. Write today.
TULL0SS TYPEWRITING SCHOOL, 7531 College Hill, Springfield, Ohio

YOU WANT THIS CARD

Because it will represent you better, or do more for you than
any olhercard in getting some desired interview. 1 he i.ui.ous

Peerless Patent Book Form Card

is t lie exclusive choice of the man of distinct tun everywhere. It is
one of the evidences of his distinction. You cannot appre
date or understand the uniqueness of this card
without a visual examination of
it. The fact that you are not now
using it, if you are
not.isaccountedfor
solely by 1 ie Eurther
tact that you have
not examined it.
Examine it forth-
with. Send for a
sample tab today
anddetach the cards
one by one and note
their perfectly
smooth edges — Appearance of Our Neat Card in Case
their absolute perfection. It is the card you want.

THE JOHN B. WICGINS COMPANY

Engravers, Die Embossers, Plate Printers
705 Peoples Gas Bldg , CHICAGO, 1104 SOUTH WABASH AVE.

I TRAIN YOU

By Mail The Electrical Profes-

■ sion is calling for live

young men. Let me train you to
earn $125 to $350 a month. In your
own home at small cost.
TOOLS and -MATERIALS FREE

for
nee.

L. L. COOKE. Chief Engineer
51 Engineering Building, CHICAGO

A High School Course
In Two Years te^asm

thorough, com-
i •!('*»'. :inrl simplified high school course that > on can
finish in two years. Meets all college entrance re-
quirements. Prepared by leading members of the
Eai ii 1 1 i.s of universities and academies.

American School of Correspondence. Depl. P-1538, Chicago, U.S.A.

and after the first stiff climb of about a
hundred feet the going was fairly good.

If you have ever visited the Paris Tro-
cadero you may be able to form a good
idea of the island which bears its name.
Imagine the two towers as small craters
superimposed on the middle lip of the
huge one which .forms the atoll. The
lower buildings on either side of the
lowers which sweep out in a semi-lunar
arc are represented by the higher part of
the atoll at the depth of the lagoon, but
in the case of the island they swept
around almost to meet at the entrance.
In the larger of the two smaller craters
was the lake, our cave being on the side
of the lagoon. The smaller one was
steeper, scarcely pitted, and in fact more
of a mole than a baby volcano. It was
rather like a pimple, except that on the
seaward side many centuries of thunder-
ing surf had eroded its base and when
the overhanging mass became too heavy
it had sloughed down into the sea which
in time it had clogged and hampered in
its attacks so that in ordinary weather the
great billows never broke against the mole
itself but dashed themselves to pieces
against the huge, broken fragments be-
tween which were deep frothing pools

A little below the summit there was a
shelf which one could follow all the way
around although in places it shifted its
altitude and made it necessary to climb
up or down. There was a place on its
seaward side where this shelf widened
considerably, the cliffs dropping for about
sixty feet sheer into the sea. It was a
wild spot, this, and I found it a great
relief to go there, at times if only to get
away from the everlasting glare and lim-
itations of the lagoon.

So we scrambled up, puffing a little as
the result of Charley Dollar's good fare,
and on reaching the precipice which I
have just mentioned we were halted by
the beauty of the moonlight on the sea.
Just at the foot of the cliffs the swirling
eddies were in shadow but a little farther
out the surface of the sea was swept in
white flames which flashed and darted
forward and receded as the burnished
swells swung in from the fathomless
depths. We seated ourselves on a flat
stone and presently fell silent, as often
happened during our companionship.

Perhaps this dual revery lasted but for
several minutes; perhaps for an hour, I
could not say. At any rate it was broken
by the last sound which one would have
expected of the time and place: a human
cough. But what galvanized my nerves
into an astonished tension was the fact
that I recognized it immediately as
Drake's cough.

There could be no mistake. It was
that sudden, explosive cough which punc-
tuated Drake's speech at intervals and-
was part hiccup; the single stomach cough
of the steady drinker caused as I have
been told by a sympathetic irritation of
the pneumo-gastric nerve. One scarcely
noticed it in Drake, any more than one
would notice the asthmatic cough of age.
It seemed to belong to him, like his am-
phorous alcoholic voice and restless eyes.
Sometimes, especially when he was stand-
ing in the glare of the sun it became part
sneeze.

Enid had recognized it, too, and her
hand gripped my knee as she turned to
me eyes wide with amazement. Drake

here on Trocadero? It was incredible
. . . impossible . . . outrageous.
How had he got there and what was he
doing on the seaward flank of the mole?
And as these impossible queries were pre-
sented to our minds for immediate solu-
tion it came again, that eruptive cough,
nearer this time, and we heard heavy
breathing and the rattle of a loose stone
the other side of the shoulder of rock
against which we were sitting.

Whatever the answer, here was Drake
in the flesh, armed of course and ripe for
mischief, whereas I had not so much as a
stick. We had risen to our feet and were
standing in the full blaze of the moon
and Drake was bound to discover us the
moment he rounded the spur of rock.
Tlide was really but one thing to do, and
that was to rush him the instant he ap-
peared and shove him over the edge.
This time I had no qualms. Drake had
tried his best to slaughter us in the cave
and had wounded Enid and now here he
was back again like a prowling beast of
prey. It flashed through my mind that
he had probably decided to run back and
reconnoiter the situation and approach-
ing Trocadero on the seaward side of the
mole he had landed in one of the several
coves and climbed up through a fissure to
the ledge.

At any rate, here he was and this time
I did not intend to take any chances.
Man to man I realized that I stood no
show with Drake's gorilla strength. Let
him grip me once and the game was up
for all that I might be able to accomplish.
The best that I could hope for lay in tak-
ing him by surprise and rushing him over
the brink before he realized what was
afoot. If in doing this he managed to
cling to me and carry me along then so
much the worse, but at any rate Enid
would be safe in the care of Charley
Dollar and the fighting men of Kialu.

This was the swift framing of the sit-
uation in my mind as I stood there tense
and set behind the rocky buttress and
waited for Drake to round it. He came
scuffling along very noisily for a person
making a reconnaissance and the soft
quiet of the night augmented these
sounds. Ordinarily they would have
been lost in the deep diapason coming
up from below, but the sea was so still
and the swell so long that there was no
churning and swashing from the foot of
the cliffs. Sucking, gurgling sounds like
giant babies profiting by their pap. And
there were little hissings as the big waves
welled high up on the sheer wall without
breaking, filled the myriad crevices and
then retreated, leaving them to drain be-
fore the next surge loaded them again.
Drake's wheezing breath and staccato
bark t ut through these fluid sounds with a
sort of challenge, like a pig rooting for
acorns in the silent hours, but more ag-
gressive; as though he had more right to
puff than the Pacific compressing air in
the pockets of the cliffs. There was a
sort of vulgar profanity in the way he
slammed along, as though he considered
himself to be the vitalized essence of
large e'emental forces and estimated that
it would take at least a few million miles
square of sea and land and all therein
contained to boil down the crystallized es-
sence of a Channing Drake.

"Here you go back into your solution
again, old boy," said I to myself, as I lis-

Evory advertisement in PITOTOrLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

121

. . .

— —

^ r—

$10,000

^r*

"■■"■■

$7,500

~r—

r , 1 1

— »*2 *i^<^^

$5,000

a T

$2,500 j

— r~'"]

— ,

■ *»»

$1,200

I -

_™P-

$1,000

5d&

2'° YEAR

3» YEAR

4'* YEAR

5" YEAR

0" YfcAh

r* YEAM

How Men Raise Their Incomes
Through Higher Accounting

The above chart tells the story. An ambitious man on a small
salary capitalizes his brains by getting knowledge that is in large
demand. He learns Higher Accounting. He acquires the ability to analyze businesses and to tell
officers and directors how to eliminate waste and install economies. This is the kind of knowledge that large com-
mercial organizations are willing to pay for — and the call for it is constant and growing every year.

This is a day of commercial efficiency and every progressive house in America feels the need of the highly trained man

who can apply scientific, analytical methods and work out economies in its production, accounting and selling problems.

Here is the opportunity to realize your ambition to attain more prestige and a higher income. Increase the

worth of the service you can give and you will find plenty who will pay the value of it. The more you know the less

will be your competition. The hard struggle is for small positions. Offers come
to the trained man. You can be the man with the training that the. corporation,
the bank, the large business organizations of every kind are looking for. Write
today for information about the Higher Accounting training course and Consult-
ing Service offered by the LaSalle Extension University.

LaSalle Students
and Graduates

can now be found employed in the executive de-
partments of practically all the large railroads,
business houses and commercial organizations in
the United States. Many prominent business
concerns can be named in each of which 100 to
900 or more LaSalle students or graduates from
our several specialized departments are employed
in responsible positions, for instance —

Pennsylvania R. R 913

American Telegraph

6* Telephone Company ... 259

V. S. Steel Corporation . . . 250

Baltimore 6> Ohio R. R. ... 664

Armour & Company . ... 162

Chicago &N.W.R. R. ... 392

Ford Motor Company .... 122

Swift 6* Company 187

Standard Oil Company . . . HO

Among the numerous firms and corporations
employing 50 to 100 or more LaSalle students or
graduates are the following:

Western Electric Company
International Harvester Company
B. F. Goodrich Company
Wells Fargo Express Company
Goodyear Tire and Rubber Co.

and every important railroad company in the
United States.

More than 125,000 men in active business life
including a large number of corporation officials
have enrolled and are receiving the benefits of
LaSalle training and service. Over 20,000 new
students now enroll annually. The LaSalle or-
ganization consists of 800 people, including a
staff of 300 business experts, professional men,
text writers, special lecture writers, instructors
and assistants. LaSalle students and graduates
occupying responsible positions can be found
throughout the entire English-speaking world.

Free Consulting
Service

As a LaSalle student, you will also be entitled
to the free use of our Consulting Service which
gives you the privilege of calling on our staff of
experts in any department at any time when you
need special help or counsel. LaSalle Extension
University is a clearing house of business inform-
ation and through its many highly specialized de-
partments is organized and equipped to render
» practical and distinctive service which cannot
be supplied by any other institution of similar
character.

Learn Higher Accounting By Mail

You can have the instruction of our
expert accountants, by mail. While you hold
your present position you can prepare yourself
for one that will pay a larger salary. Every
phase of the science of Accounting and Audit-
ing, Business Organization and Business Man-
agement will be made clear to you. You will
have, at all times, the personal direction of our
staff of experts who will guide you step by step
to your ultimate goal. No special education is
necessary to acquire this knowledge — only in-
telligence and the purpose to succeed. That is
the experience of thousands of successful men
who have taken this LaSalle training by mail.

The LaSalle Course in Higher Accounting
helped C. B. Kinkead of West Virginia to
double his salary in a few months.

J. V. Hawkinson, Idaho, had his in-
come doubled in a year. J. L. Reeves, Ohio,
was promoted to a managership as a result of
his training. J. H. Worl, Illinois, quickly re-
ceived two salary increases after he had begun
this study. Hundreds of other LaSalle students
send similar reports of rapid advances directly
traceable to the training gained at LaSalle
Extension University.

Our gradutes are given special preparation for
the C. P. A. examinations. Certified Public Ac-
countants receive large fees for expert work in
Auditing. Many Public Accountants earn from
$3,000 to $10,000 a year. Some executive cor-
poration accountants earn even more than
that. They are men who are considered ab-
solutely indispensable.

Our institution places its coarse within the grasp of the man of moderate
or even small income on the basis of convenient monthly payments.

Send The Coupon

It will bring you our book on Accountancy

Facts and full information about this course and our Con-
sulting Servicein Higher Accounting. Also our book"TenYears'

Promotion In One, "and we will give you informa-
tionaboutthe tuition and easy terms. All this without cost or
obligation to you. Make this the decisive hour. Mail thecoupon.

I LASALLE EXTENSION UNIVERSITY

"The World's Greatest Extension University"
Dept. 11302-H Chicago, Illinois

Without cost or obligation on my part, please send me your Accountancy
Catalog describing your Home Study Training and your Consulting Ser-
vice in Higher Accounting. Also a copy of your valuable book for the am-
bitious man, "Ten Years' Promotion In One."

I
I

I Name.
I

Address.

\ Present Position .

When you write to adtertisers please mention PHOTOPLAY MAGAZINE.

122

Photoplay Magazine — Advertising Section

nmnmniiTiiir

"in"M"""1""1"""1"""1"""

TMfr.S,

I can improve your figure-
buildup your strength make
you weigh what you should.
I know I run I ht; nisei have

helped over 35,000 women
gain L0 to 35 pounds— not only
Kain flesh, Init they arc now

oh, so well —and rested !

One pupil writes: "One PMTBfFO

i ■ I only I u0 pound now I

;,»nd,oh,l i.rlsowi'll!-'

I want, to help you attain
your proper weight. In your
room Without drugs. By
scientific, natural methods
Buch as your physician sp-
p roves,

If you only realized how
s i rely, how eaailj . how in-
expensively your weight can
be increased, I am certain you would write mo at once.

You will surprise your family and friends.

Do write! I want so much to help you as only a
woman can. I've had s wonderful experience. Let me
tell you about it. Write lor mj Free Booklet, No. 85.

Susanna Cocroft

<f A DAY

Terms aa low as
^r $1.00 down and

I $1.50pcrnionth. Mando
lin or Guitar sent on ap.
proval. Liberal allowance
on old instruments in ex
change forthe'Gibson" .
Get our new Free Book—
112 pages. Ill illustr;
lions. Valuable info;
mation for player and
teacher. Explains "
derful new violin __
struction wth carved and graduated
'!,.., Li.'l i:.i k :m<i Stradivarius Arch-
ing. Also FREE treatise on "H
to Practice."

Teach and Sell the Gibson
Make $1,800 to $5,000 a
Year or IVIore igss^^g:

nities for Mandolin and Guitar teach-
era— either sex, in every locality, for
ptivr.te find class instruction and sale
of "Gibsons." We have permanent
teaching and business opportunity
now open for either sex. Other
positions pending. Write promptly.
A. C. Brockmeyer. St. Louis, lWo.,
Teaelit r and Director, writes: 'Will
do $10,000 busine:s in 1917; did
$7,000 in 1910. Wm. Place, Jr. Prov
dencc, K. I., Star Soloist for Victo
unqualifiedly endorses the"C ibson.

Do Business on Out* Capital

Become our agent. Wo help sell. Agents' territory protected.
Stock furnished. We pay the advertising. You make the pro! it.
You pay (or the scooda when sold; return gcoda not jtola. . Tr,"

FAEE to those interested our new-$1.00 b.
— — — , "The O.gaoization. Direction and
G-K<on Mando in-Guia

471 Parsons St. Kal

Mich. U.S. A. Gentlemen: With- » successful director, wm.Place
out obligation send me freo book \ Jr. Write now for ( atalog.
complete Catalog, free treatise, » Treatise How You C
also information about the Wm. • Qualify to leach and Sell
Place, Jr., book and instrument \ all free. Don t • wait; ACT
checked. If teacher check hererj \ NOW, fill out the coupon,
D Mandolin OMando-bass \ G|BS0N-M AND0LIN

GUITAR CO.
471 Parsons St.,
Kami , Kalamazoo, Mich.,

Address \ U.S.A.

Be sure you have ■■becked instrument^

"Still Hu

□ Mandola
D Mando-cello

OGu

D Harp-guitar

Mr. Edison's ^.Jr'a'p-n

Fre© Trial

\ es. you may keep

this new Edison-

Thomas A. Edis... .

great phonograph with the

diamond stylus— and your choice

of records, too, for only SI. Pav the

balance at rate of onlv :i few cents a day. Try the New Edi

in vour «>wn home before you decide to buv. Send no money

d iwn. Entertain your friends with vour favorite records.

YVritp XnHsiv For 0ur New Edison Book. Send your

Wwl lit J. Olldy n5ime and address tor our new book and

pictures nf the New Edison phonocranhs. No obligation*.

F. K. B&BSON, Edison Phonograph Oi
1538 Edison Block

Remember

That every advertisement in
PHOTOPLAY is guaranteed,
not on ly by the ad vertiser, but by
the publisher. When you write
to advertisers please mention

Photoplay

lened to his approach. The sounds of
this ceased presently and I might have
been taken napping but for Enid. She
scuffled with her feet, and then pointed,
and I saw Drake's face peering at me
around the corner of the rock. It gave
me the impression of a straight fringe of
black hair crowding his eyebrows nearly
together, a deep wrinkle above the latter,
like the care worn physiognomy of apes,
and a general expression of surprise and
fright.

Apparently Drake's keen animal in-
stinct had warned him of our presence in
some subtle way and he had crept quietly
up to the projecting rock to look around.
So there for a moment we stood, glaring
at each other, our faces not six feet apart.
I do not know what my own expression
could have been like but Drake's showed
startled terror and I believe that if he
had not been armed he would have turned
and bolted. But I was the first to act
and realizing that he must not be given
time to draw I spun around the rock and
let drive at his jaw with my fist. The
blow landed fairly well but scarcely so
much as staggered him. He growled like
a bear and tried to clinch but I dodged
his rush and struck again, landing this
time on the heavy muscles of his neck.

The ledge at this point was about thirty
feet wide, sloping slightly downwards and
outwards with a clear drop from its brink
into the sea beneath. Its floor was fairly
smooth though irregular. It was not the
place which one would choose for a spar-
ring bout and as we circled, Drake watch-
ing me warily I had to be careful of my
footing. I wondered that he did not draw
his big revolver. It is probable that the
holster button was stiff and he did not
dare lower his guard for fear I might get
in a jab that would drop him, or perhaps
he did not wish to give the alarm, not
knowing but what there might be a gun-
boat in the lagoon.

Three times I sprang in and struck
and avoided his clinch. He did not run
after me. All he did was to grab when
I struck and fortunately for me he was
slow. I wonder to this day why he did
not try to use his fists. Perhaps he had
never learned how. But it was quickly
evident to me that I was not apt to ac-
complish much. The man was too heavy
of bone to suffer much from the blows of
a lean, wiry chap like myself and as for
knocking him out or even down that
seemed hopeless.

I was beginning to wonder how the
business would end, wishing that Drake
would take the offensive and rush me
when a white figure slipped around the
rock directly behind him. He was lean-
ing slightly forward as though ready to
spring at me on my next lead and his
weight was well on the balls of his feet.
I was facing him, my back to the ledge
and about to jump in and strike. But
before I could accomplish this Enid
sprang forward and dropping her hands
on Drake's shoulder blades thrust him
ahead. Overbalanced as he was he could
not recover himself; could not check. A
child catching a grown person in this
tottering condition could run him along
for a little space and Enid was a solid
girl and vigorous. Besides, the sloping
ground was in her favor and before Drake
could regain his equilibrium or even turn
aside she had him fanning the air upon

the brink. It would have been ridiculous
but for the awfulness of it; big Drake
hustled fiappingly to his doom by this
plump girl, waving frantically on the edge
of the precipice, and howling, his great
arms tossed frantically about. And then
a final shove, a despairing yell and the
abyss absorbed him!

It was astounding, bewildering, unbe-
lievable. Here was this sinister peril
which had faced me a second or two be-
fore gone, eradicated, abolished . . .
and for good. Rubbed out by this school-
girl! I could not seem to take it in. I
stared at Enid, then at the brink, half
expecting to see Drake's shock head come
bobbing up again. Enid, perilously close
to the edge was looking down, contem-
platively. Staring down into that
black maelstrom where even the foam
flecks were scarcely visible I shuddered
and drew Enid back from the brink.

"You marvel," I said, "there's an end
of Drake."

"I hope so," she answered, evenly. "I
told you that I'd fix him the next chance
I got. Let's go round and see if the
schooner is there."

I did not answer and we made our way
in silence along the shelf until presently
rounding another buttress we saw the
Madcap sitting on the swaying sea like
a sleepy bird perched uncomfortably upon
a swinging limb and so forced at times
to flutter its wings. She was about a
mile away and in that polished calm and
plastered by the moonlight very beautiful
to behold. Shadows flirted in her tall
sails, playing hide-and-seek as she rolled
and her reflection stabbed the depths be-
neath her ; a phantom ship ; a shadow ship
for Drake who was down there to com-
mand. Looking at her I wondered what
sort of ghost a man like Drake would
have, and if it would cough.

Enid was more practical about the busi-
ness. After studying the Madcap for a
few moments she turned to me and said:

"I suppose his boat is waiting for him
in some of these holes in the cliff. If we
hurry back and get Charley Dollar and
his men they might be able to catch
them."

"Aren't you satisfied with having done
for Drake?" I asked.

"No," she answered, shortly, "I believe
in being thorough."

"Very well," I answered, "let's go back,
then."

So back we went, never once speaking
until we reached the camp when I told
Charley Dollar what had happened. Enid
interrupted my narrative rather impa-
tiently.

"Why don't you let them go?" she de-
manded, then turned to Charley Dollar
who was regarding her most worshipfully.
"If you can catch them," said she, "take
them out to the Madcap and bring back
the boat. Tell them to go away and leave
us alone. But be sure to bring back the
boat. We have needed a boat ever since
we have been on this island and this
seems to be a good chance to get
one. . . ." She looked at me and the
moonlight cut the fissures of her frown.
"What are you chuckling about, Jack?"
she demanded.

"You, my cave lady," I answered.
"Enid, her housekeeping on Troca-
dero. . . ."

(To be concluded.)

Every advertisement In THOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

123

Compare It With a Diamond

I Solid Gold
Mountings |

Flat Belcher Ring

No.l. Solid gold mounting.
Eight claw design with flat
wide band. Almost a carat,
guaranteed genuine Tifnite
Gem. Price $12.50; only $3.50
upon arrival, balance $3 per
month. Can be returned at
our expense within 10 days.

Ladies' Ring

No. 2. Solid gold mounting.
Has a guaranteed genuine
Tifnite Gem almost a carat in
size. Price $12.50; only $3.50
upon arrival. Balance $3 per
month. Can be returned at
our expense within 10 days.

Tooth Belcher Ring

No. 3. Solid gold, six-prong
tooth mounting. Guaran-
teed genuine Tifnite Gem
almost a carat in size. Price
$12.50; only $3.50 upon ar-
rival. Balance $3 per month.
Can be returned at our
expense within 10 days.

To quickly introduce into every locality our beautiful TIFNITE
GEMS, we will absolutely and positively send them out FREE and on
trial for 10 days' wear. In appearance and by every test, these wonderful gems are
so much like a diamond that even an expert can hardly tell the difference. But only
10,000 will be shipped on this plan. To take advantage of it, you must act quickly.

Send the coupon NOW ! Send no money. Tell us which ring you prefer. We'll send it at
once. After you see the beautiful, dazzling gem and the handsome solid gold mounting — after
you have carefully made an examination and decided that you have a wonderful bargain and
want to keep it, you can pay for it in such small easy payments that you'll hardly miss the
money. If you can tell a TIFNITE GEM from a genuine diamond, or if, for any reason at
all, you do not wish to keep it, return it at our expense.

Remarkable New Discovery

The closest thing to a diamond ever discovered. In appearance a TIFNITE
and a diamond are as alike as two peas. TIFNITE GEMS have the won-
derful pure white color of diamonds of the first water, the dazzling fire, brilliancy, cut and
polish. Stand every diamond test — fire, acid and
diamond file. Mountings are exclusively fashioned
in latest designs — and guaranteed solid gold.

Send No M

oney

Just send coupon. Send no reference, no money, no obligation to you
in any way ! You run no risk. The coupon brings you any of the exquisitely
beautiful rings shown and described here for 10 days' wear free. Be sure
to enclose strip of paper showing exact finger measurement as explained.

Mail This Coupon mr /

id now and get a TIFNITE GEM on this liberal offer. /

How to Order Rings To get tl}e risht size

o ring, cut a strip of
heavy paper so that the ends exactly meet when
drawn tightly around the second joint of finger on
which you want to wear the ring. Be careful that
the measuring paper fits snugly without overlap-
ping, and measure at the second joint. Send the
strip of paper to us with order coupon.

Mail This Coupon

Sen
Wear it for 10 days on trial. Every one set in latest style
solid gold mountings. Decide then whether you want to keep it
or not. Send for yours now — today— sure. Send no money.

The Tifnite Gem Company /

Rand McNally Bldg. Dept. 255 Chicago, 111. m

THE TIFNITE GEM CO.

Rand McNally Bldg., Dept. 255, Chicago, 111.

Send me Ring No on 10 days' approval.

(In ordering ring, be sure to enclose size as described above.)

If satisfactory, I agree to pay $3.50 upon arrival: and bal-
ance at rate of $3.00 per month. If not satisfactory, I will
return same within ten days at your expense.

Name

Address

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I24

Photoplay Magazine
Frances Marion — Soldieress of Fortune

and one of the greatest illustrators in
this country today admitted that he had
been working in a Market Street candy
store — wrapping chews!"

It is interesting to note that the first
scenarios Miss Marion sold were on
artist and shop-girl life. Now, of course,
she writes scenarios on every subject
available — and finds it all so absorbing
and interesting.

Recognized as a successful illustrator
and short story writer, she was earning
more money than many girls ever dream
of, when she dropped it all to go to Los
Angeles and begin all over again as a
scenarioist.

She saw that there was a great future
in screen stories and it was in her blood
to answer the call of the "new diggings."
It was the same call that made her ances-
tors leave a good strike for what they
thought would be a better one.

At first, she bought "tickets" from the
extra girls, giving them more than the
company would have paid them for the
day's work, in order that she could study
the methods of such directors as D. W.
Griffith, the De Milles, Alan Dwan, the
Smalleys, when directing great mob
scenes.

It was at this time that she met the
woman whose influence gave her the cour-
age to stumble on until she reached the
highroads. This was Lois Weber.

"She, alone, at the Studio knew of my
ambitions to become a writer and never
lost an opportunity to help me.

"I'll never forget the moment I first
saw myself on the screen," she went on.
"In stalked a tall, gawky girl — (she is

(Conti)iued from page 33)

about five-four and anything but gawky)
— whose waving arms looked like two
very busy windmills, a stranger who made
a few grimaces and then dasned off again.
I confided to myself right then that as an
actress I was a very good cook I "

Miss Marion played in pictures, small
parts, then leads, and, finally, heavies,
playing opposite Miss Pickford in "The
Girl of Yesterday."

This reminded her of a very good joke
on Mary Pickford. She and Mary are
chums, and one day, out on "Location,"
they stood together in front of an apart-
ment house.

A woman living in the house recognized
"Little Mary." The front door was open
and they could see this woman running up
the stairs and hear her yelling in a voice
like a fog-horn, "Mary Pickford's out-
side! Mary Pickford's outside!"

"Here's where I escape," said Miss
Pickford, and she did, leaving Frances
Marion on the spot to explain to the di-
rector just why his star had flown. In
about a minute everyone in that apart-
ment house had crowded onto the front
porch and proceeded to give Miss Marion
the "Once Over."

"Well!" said one woman, "if that's
Mary Pickford, I can't say that I think
much of her!"

On second thought, the writer doesn't
think the joke is on Mary Pickford. Any-
way, in telling these last two stories. Miss
Marion was certainly "writing herself
down."

After a year of picture acting and han-
dling publicity for the Bosworth Film
Company, during which time she was able

to be almost constantly "on the lot," she
again felt the call of "the new diggings,"
so she went to New York "on her nerve."
After a few weeks of freelancing she was
"honored," as she expressed it, by an of-
fer from William A. Brady.

From scenario writer she became sce-
nario editor, holding this position until
she joined the forces of the Mary Pick-
ford Company.

Miss Marion dictates all of her scena-
rios because it is easier for her to put life
into a subject when she is talking to some-
one than when she writes it out with an
unsympathetic pencil.

"Then, too, I feel a bit under obliga-
tion to entertain the secretary who must
listen only to my voice — day after day.
So, in my eagerness to amuse her, to make
less drab the story I am unfolding, I find
myself thinking of all sorts of extravagant
and amusing situations. In fact, this is
the way I often visualize my audiences,
for when she smiles I see a thousand
smiles through her's, and if, perchance,
there are a few tears glistening in her
eyes, — then I am secretly confident of its
pathos."

After reading all these adventures of
Frances Marion the feminine contingent
will perhaps look at each other and say
"I wonder — how old is Ann?"

If we "count time by heart-throbs" the
Interviewed One is at least a centenarian.
But if we judge by her fair skin, soft,
golden-brown hair and youthful-looking
dark-blue eyes, she is younger than many
a star whom press agents keep well within
the teens. She has some time to go be-
fore she reaches thirty.

tendency has disappeared, and a mucker,
at eight o'clock, might be mistaken for
any broker's clerk off on a holiday. Men
dressed up, mingling with the other sex,
taking girls home in the moonlight, begin
to think of marriage. Cupid came to
Kennet with the 'movies.'

"You'd be surprised to find how critical
these people get to be. Chaplin is popu-
lar at the mines, and Max Linder, and
they like Douglas Fairbanks, but the great
demand is for pretty love stories revolv-
ing about some cute little girl with blonde
curls. This, of course, means Mary Pick-
ford. I've seen bearded men, who had
spurned an anesthetic for the amputation
of a couple of mashed fingers, weeping
copiously at the troubles of Viola Dana
or Marguerite Clark. They're awfully
fussy, though, about clean pictures, and
the sensational stuff, about the lady .who
smashes thirty dollars' worth of second-
hand furniture defending her virtue,
doesn't go at all.

"We've promoted a hall at every mine,
smelter and refinery where the ordinary
cinema show isn't accessible. There's no
need of anything of the sort at Graselli,
Ind., or Chrome, N. J., where we have
refineries, but the company has gone in

You Can't Escape 'Em

(Continued from page SO)

strong for art at the Gold Road, King-
man, Arizona, and the Rainbow, in Rye
Valley, Oregon. The Mexicans are crazy
about 'movies.' You'll find half a dozen
picture houses where we operate at Pa-
chuca and Real del Monte. Wherever we
have a projecting machine we have a con-
tented population, and no labor troubles.
At one time, the company thought of es-
tablishing its own exchange, and going
into the show business as a side line, but
that notion was abandoned. I've just
heard of a firm that makes a specialty of
providing films to concerns of our kind,
and that's what's taking me to Philadel-
phia. Tomorrow we'll start for Kennet,
and I'll show you a cinema exhibition
comparable with anything you'll find on
Broadway, outside of the Strand or the
Rialto."

"Thank you," I answered, "but I think
I'll stop in New York. They have pic-
tures there, of course, but you're not
obliged to see 'em. And New York ap-
pears to be the one place in the world
where the cinema doesn't invade your
home, wink at you from blank walls, or
supply the only alternative of a delirious
evening spent counting the daffodils on
the wall paper. When you began talking,

I'd a wild scheme of getting myself ar-
rested and sent to jail to escape the
'movies.' A friend of mine, a cartoonist,
named Fornaro, who got into durance for
slandering Mexico, told me once that he
had done his best work on Blackwell's
Island. But, at the last moment, I re-
membered reading somewhere that they
have pictures now in all well-regulated
prisons. And in the navy, and the
trenches, and pretty nearly everywhere
else. New York seems to be the one way
out, so New York is where I get out, and
stay out!"

I did, but — I wonder!

The cinema an engine of social prog-
ress!

Is it possible that, with all its murders,
and train-wrecks, and cheap-sensational-
ism, and general buncomb and flapdoodle,
the motion picture has a real part in the
development of humanity? Is it possible
that, popularizing literature, and the
drama, and the graphic arts, the cinema
may uplift by getting under?

Certainly, a Chautauqua wouldn't have
made over that mining camp in Oregon.

"Si vis ad summum progredi, ab in-
fimo ordire."

Or words to that effect !

Photoplay Magazine — Advertising Section

125

my*

Americans Simper =P©p C®rai — T©asfty Flavored

-and Butter-Kist in Your Day.

The New-Day Driving Force in Retail Business

Pop Corn is America's own delicacy. It was found here when the Indians roved
the country. And our early settlers cheered their firesides

Today this national treat is popped in enterprising Drug
Stores, Confectioneries, Picture Theatres, Bakeries, Department
and Five-and-Ten-Cent Stores, Lunchrooms and Cigar Stores.
Nearly every kind of retail establishment has this business-
getting Butter-Kist Pop Corn Machine.

Four years ago it was little known. Last year folks bought
over 60,000,000 bags. Estimated sales this year 120,000,000
packages. What better proof that Butter-Kist is wonderfully
palatable and delicious?

poppm corn.

Somewhere in your neighborhood is a Butter-Kist machine.
For this remarkable invention is the center of interest in thou-
sands of cities and towns of all sizes from 300 inhabitants up.

No hands touch Butter-Kist. For this machine pops, takes
out the unpopped grains, butters each fluffy white morsel with
pure creamery butter and super-heats them all. This process
imparts the new-found, toasty flavor.

Renew old pop corn days. Look for this machine. Try
Butter-Kist Pop Corn — learn new delights.

Mr. Storekeeper, Will You Share This Money?

Let us mail you signed sales records to prove conclusively
that the Butter-Kist Pop Corn Machine pays $600 to $3120
NET profits per year, and more, from a little waste space
only 26 by 32 inches.

Runs itself — requires no extra help or stock investment.

PAY US OUT OF PROFITS

Our masterly book, "America's New Industry," gives
full details, with photos of establishments like yours in all
sized towns where this machine is yielding large returns.
The coupon brings it FREE.

HOLCOMB & HOKE MFG. CO.

632-646 Van Buren St. Indianapolis, Ind.

Largest Makers of Pop Corn and Peanut
Machines in the World

TEAR OFF THIS COUPON HERE — MAIL NOW

HOLCOMB & HOKE MFG. CO.

632-646 Van Buren St., Indianapolis, Ind.

You may send me, free, your book, "America's
New Industry," containing full information about
the Butter-Kist proposition, with proof of profits,
easy terms, etc.

Name .

Business

Address,

When ynu write to advertisers r'oase mention THOTOPLAT MAC;AZI>rE.

126

Photoplay Magazine — Advertising Section

Every advertisement in PHOTOrLAY MAGAZINE is guaranteed

Photoplay Magazine — Advertising Section

127

The Shadow Stage

{Continued from page 61)

in this year of grace, be made into a
photo-comedy for the exploitation of the
unique charm of this daintiest of women.
Pinero constructed the comedy as a satire
on the then novel idea of women taking
the place of men in the world. He in-
tended that Lord Tommy should visualize
the absurdity of trying to smother fem-
ininity with masculine attire and destroy
grace by physical training. He proposed
to prove that it could not be done, yet as
I have seen "The Amazons" played in the
theater of garrulity for two decades, the
actresses who have essayed to imperson-
ate Lord Tommy have proved beyond
doubt that Pinero did not know what he
was talking about. Clothe the average
actress — or other woman — in a suit of
men's or boys' garments and one of two
things invariably happens. She becomes
a giggling, simpering ninny; or she be-
comes a strutting, brazen hussy. In the
knickers and sweaters and tuxedos of
Lord Tommy, Marguerite Clark is as su-
premely unconscious of her clothes as a
Hottentot is of his absence of clothes. I
verily believe that if the director asked
Miss Clark to play Portia in a pair of
pajamas and a picture hat. she would do
so with magnificent unconcern. Let me
rave on. This Marguerite is one of my
hobbies. Whenever opportunity offers in
this compendium of current comment, I
shall doubtless blare my whole orchestra
sforza sjorzando with a lot of added
issimos, in her praise.

HASHIMURA TOGO— Paramount

The Paramount novelty of the month
is the screen introduction of Wallace Ir-
win's Japanese Schoolboy, "Hashimura
Togo," whom an admiring public has fol-
lowed through half a dozen magazines and
syndicates, and the still more surprising
introduction of Sessue Hayakawa as a
comedian. The general nature of Irwin's
stories lead you to expect a farce, but
William C. De Mille and Marion Fairfax
have utilized the Irwin material only for
decorative comedy. The titles alone are
worth the price of admission. If this is
the first of a series, however, may a plea
be entered for more of Irwin's schoolboy
and less of a rehash of the works of Theo-
dore Kremer?

THE MYSTERIOUS MISS TERRY—
Paramount

The first Billie Burke-Paramount is a
Gellett Burgess fantasia, "The Mysterious
Miss Terry." As Director J. Searle Daw-
ley has succeeded in dispelling all the
mystery in about one and one-half reels,
one can settle down to a thorough enjoy-
ment of the piquancy of the star. Miss
Bille was never so burkish as now. Mat-
rimony and maternity seem to have set
her clock back several years. The story
deals with the adventures of an im-
mensely wealthy young woman, bored
with fashionable .life, who loots her own
home of money, jewelry and clothing, and
goes to live in a <,neap boarding house.
Here three youths become enamored of
her, and she of one of them. She acts as
fairy godmother to their fondest wishes.

And they all live happily, etc. Walter
Hiers as a rotund Romeo, and Gerald 0.
Smith as an aspiring dry goods clerk help
make the comedy move, while Thomas
Meighan is as glum as an owl, and how
Billie ever comes to love him is more than
we can gosh-darned guess.

SEVEN KEYS TO BALDPATE -Artcraft

To analyze George M. Cohan's second
Artcraft picture is to analyze a streak of
greased lightning. "Seven Keys to Bald-
pate," a melodramatic comedy, is six reels
of incessant action. This is where Mr.
Cohan is supreme. He is the speed king
of the amusement world. Anything which
does not serve his purpose in this respect
is pushed aside. He cares not at all for
character development, for subtlety of
suggestion, for psychological motive. "Do
something, and keep on doing something,"
seems to be his sole stage direction. Yet
he himself, as the author who goes to
the deserted inn on a wager that he can
write a book in twenty-four hours, is dis-
tinctly the star of the cast, not merely
because the plot circulates about him, but
because of one certain trick he has of
placing his hands on his hips, turning his
head sidewise, and considering a situation
with a quizzical smile. It is a simple
attitude, a mere gesture, a mannerism,
yet in this piece it is so perfectly symbol-
ical of the entire story that the pose re-
mains in the memory long afterward.

LITTLE MISS OPTIMIST— Paramount

Vivian Martin in "Little Miss Op-
timist"— a sweet Paramount melodrama
which brings memories of "Little Lord
Fauntleroy," "Polyanna," "The Dawn of
a Tomorrow," "Mrs. Wiggs of the Cab-
bage Patch," and all other confections
in which the good are always happy, even
when they suffer, and the bad are sure to
be punished, and the man marries the
girl.

A MAN'S MAN— Paralta

Enter Paralta, latest member of the
Triangle family. Separate the word into
sections and you have par-alta — meaning,
possibly, on a par with the highest. The
first production by this new organization
is "A Man's Man," Peter B. Kvne author,
J. Warren Kerrigan star. As an example
of direct and lucid story-telling, this cer-
tainly is on a par with the highest. The
tale itself is not brilliantly original, but
in the screening, Director Oscar Apfel has
given the theme of the American hero in
a Central American revolution so many
interesting twists that something as good
as originality is the result. Brilliant it
is in its character delineations. John
Cafferty, the down and out Irishman, re-
deemed to heroic stature, as played by
Ed Coxen, is a greater role than many
that are often starred in lesser produc-
tions. Ida Lewis, one of the greatest
character actresses in the world, makes
the humorous and pathetic character of
Mother Jenks and her fixed idea, the
avenging of her "sainted 'Enry," an-
other side glimpse worthy of a whole pic-

Whether you motor for health,
for pleasure, or convenience, do not
let it be at the expense of your good
appearance. The one bane of auto-
mobiling is the toll imposed by wind
and dust on the soft, sensitive skin
of the face, neck, arms and hands.
Flying dust settles on the skin, is
driven into the pores by the rush-
ing, roughening wind, and imbedded
beyond the reach of soap and water.

DAGGETT*RAMSDELLS

PERFECT COLD CREAM

TJie Kmd T/i-cti SCeops

Remove it with D. & R. Perfect
Cold Cream, "The Kind that Keeps,"
the kind that cleanses, clears and
beautifies— the perfect after-motor-
ing clean-up. The dirt is removed,
roughness gives way to velvety
smoothness — the skin is revived,
made young again.

Made exclusively by Daggett &
Ramsdell for more than twenty-five
years, D. & R. Perfect Cold Cream
has helped thousands to stay the
signs of passing time, kept fresh the
bloom and beauty of earlier years.
A satisfying, complexion - saving
toilet need for every day in the year.

The cream for every person — a
size for every purse.

POUDRE AMOURETTE-Supremeamong
face powders, companion in quality and
perfection to D. & R. Perfect Cold Cream.
Pure, perfectly blended, dainty and dis-
tinctive, the final exquisite touch on dress
occasions. Flesh, white, brunette, 50c.
Should your dealer be sold out, we will
forward a box to you by return mail on
receipt of 50c in stamps.

TRY BOTH FREE

Trial samples of Perfect Cold Cream and
Poudre Amourette sent free on request-

Get a Free Sample
For Your Husband

DAGGETT & RAMSDELL

Department 232
D. & R. Building, NEW YORK

When you write to advertiser:] please mention PHOTOT*T AT MAGAZINE.

128

Photoplay Magazine — Advertising Section

Be Curious!
Send a Postcard TODAY for your

■ MamiltoAI >;

I Save $5 to $10 / 1

i
I
I

No. S05P— Dress offi
quality French S>
grey Broadcloth t>
inings. Patent Leatht

belt .... sil.r;

No. 306P— Coat of good

heavy quality IVoo

Large genuine

■v Collar and

Cuffs .... S16.7S

Fifth Avenue Styles
For Fall and Winter

AT WHOLESALE PRICES

plus a small amount to cover the
cost of handling single sales.

Our beautiful FreeCatalog
illustrates, with photographs
taken from life, the pick of the
exclusive models thatcrefica/New
York women are now buying at
our Showrooms, 307 Fifth Avenue.

\^>ucanselect, fromournew

*■ Style Book, at the lowest of

prices, the very modes now being

worn on fashionable Fifth Avenue.

Buy direct from manufac-
turer. YougetthesameStyles,
Workmanship and Fabrics as are
shown in exclusive Fifth Avenue
stores, but you save at least $5.

Our beautiful new Catalog is yours
for the asking. Send for it TODA Y

SUITS COATS DRESSES

10.75 lo $30 $5.75 to $50 $5.75 to $30

Conservative as well as novelty styles for all ages'
Satisfaction guaranteed or money refunded.
We prepay all express or mail charges.

IfVMILTDVM

MamfadwmofCbatsSu/tsSDmm

b. .,1 IVstcard for Free Cataloz TO-DAY to

SK P-lU34-140West26thSL,N.Y.

ture to itself. Kerrigan plays the part
of a mining engineer who, enmeshed in a
triple tangle of friendship for a man,
love for a woman, and delight in adven-
ture for its own sake, makes possible the
successful overthrow of a Latin despot.
Lois Wilson, as the heroine, promises one
day to be an actress. For the present, all
she is asked to do is wear pretty clothes
and be decorative.

There is every evidence that it is the
Paralta intention to turn out the best pro-
ductions possible. Without delving into
technique, all these points encourage the
belief that the new concern is sincerely
endeavoring to keep pace with the most
advanced ideas. Therefore — welcome
Paralta.

THE LAW OF THE LAND— Paramount

Concurrently with the news that Mme.
Olga Petrova has seceded from Para-
mount to produce under her own absolute
control, comes her version of the Broad-
hurst drama, "The Law of the Land," in
which the star's control over the produc-
tion is all too apparent. The story itself
is nothing to write home about, but it is
not improved by the Petrova idea of what
constitutes intense emotion. There is
little doubt that Mme. Petrova is one of
the most brilliant women, mentally,
among all the priestesses of Thespis, but
for some reason she has yet to translate
this mentality into terms of the photo-
drama.

RUSSIAN ART FILMS

By the time this signpost of cinema
chronology reaches the reader, it is prob-
able that, the first of the Russian Art
Films will have been presented publicly.
Frankly, we are almost as interested as
the importers of these phototragedies, in
learning how they will be received by
America. In those we have seen "A
Painted Doll" and "Thy Neighbor's
Wife," there has been displayed such act-
ing as seldom emanates from American
studios. These Russians are serious
artists. They do not employ the eye-

brow and chest technique so popular
among many exponents of American thea-
trical art. And the stories are free from
heroes and heroines. Rather do they go
too far in the opposite direction, the prin-
ciple apparently being that there is a
great deal of bad in the best little girl —
and boy. The deluded maiden takes
kindly to her luxurious downfall. The
dying husband, so far from forgiving, de-
vises a cunningly awful fate for his wife
and false friend. The Slavic emotions,
the world well knows, are terrific, and
these Russians have written those emo-
tions in letters of human fire.

"BABY MINE"— Goldwyn

"Baby Mine" is Margaret Mayo's
pousse cafe offered as evidence that Gold-
wyn believes the public wants six-reel
farces.

JACK AND THE BEAN STALK— Fox

Children's entertainment should be
light and brief. Ten reels of fairy lore
is rather prodigious. "Jack and the
Beanstalk" is, therefore, somewhat top-
heavy, but its novelty may redeem it, in
spite of the fact that it is not the old tale
we read at mother's knee.

REBECCA OF SUNNYBROOK FARM —

Art craft

Well, it all depends on your viewpoint.
If you are a Pickford-in-any-piece devotee
you'll think "Rebecca of Sunnybrook
Farm" is just too sweet for words. It's
all Mary Pickford, and pouts and curls,
an extreme back swing of the pendulum
of expression. If she was too tragic and
sophisticated in "The Little American,"
certainly that criticism cannot be brought
against the Chaplinette whose reels em-
brace her present capers. We've got to
be thankful for one thing — there was not
one custard pie thrown. However, this
seems to be what the dyed-in-the-wool
Pickford fans want, so it was a good pic-
ture, with enough of Mary to satisfy
everyone, and not enough story to take
the mind off the star.

By Miss Kelly

In the process of evolution, cycles are
slow, and one cannot see always the trend
advance. Thus it is in cinema land. In
the quarter century growth of this new-
est of the arts there has been a revolu-
tionizing, though not conspicuous devel-
opment. Suddenly we realize that the
motion picture story is out of the tad-
pole stage. It has sloughed off the tail
of sensationalism by which it had pad-
dled into a large section of public favor.
We have now the evolution of the cellu-
loid mechanical, into the celluloid human.
And a lot of us, in keeping with the uni-
versal public attitude toward improve-
ments, don't approve of it. There is the
same receptiveness that was accorded the
installation of machinery. The public,
the while it howls about the shortcomings
of the cinema, doesn't care, yet. for the
human interpretations which have been
achieved in such remarkably poignant
fashion. A case in point is "The Res-

Every advertisement in PHOTOrLAY MAGAZINE is guaranteed.

cue," a Bluebird made without mechani-
cal fireworks, being a straight cross sec-
tion of pulsing life fiber.

"W.e ca*n't give it away," quoth a Blue-
bird representative wearily. Yet here is
a genuine photoplay, the kind of thing
writers about the photoplay, students of
it, and many patrons of it. have been sigh-
ing for, aching for. It may be that the
public wants such things and exhibitors
don't know it. but the public registers its
approval by the box office, and exhibitors
have their ears closely attuned to the tin-
kle there.

THE RESCUE— Bluebird

"The Rescue" is a photoplay that de-
mands intent attention and commands
deep admiration. Again it disproves
the idea of producers that they must go
forth and wreck trains, tear down sky-
scrapers, race automobiles and aeroplanes.

Photoplay Magazine — Advertising Section

129

to put thrills into their celluloid. This
is of the simplest texture, just some peo-
ple moving through some sets that one
quite ignores in the contemplation of their
actions, unraveling their emotional tan-
gles by their reaction upon each other.
That doesn't cost much money, except to
have emotional adepts; it does take gen-
ius of player and director, and it results
in something life-worthy. That is what
"The Rescue" is, under the combined ef-
forts of Ida May Park, director, and the
players, Dorothy Phillips, Mollie Malone
and Gretchen Lederer. William Stowell
and Lon Chaney are in it, too, but they
rank as the negligible groom.

The story has to do with the knitting
up of two divorce-raveled threads of life.
The woman, Dorothy Phillips, has re-
turned to the husks of fame, leaving the
man she loved out of her life. Circum-
stances bring her back, and make her
play for him again, against the counter
game of a sweet youngster, unsophisti-
cated in the ways of grown-up kind, but
most adept in man-trapping. Theirs is
a masterly conflict, each woman's wit of
rapier sharpness and speed, with the little
one many times seeming to get the best
of it. In the end, the elder wins, as is
right she should, and there's a happy bit
of wholesomeness that gives the story a
sweeter breath than it would otherwise
have had. Miss Phillips is one of the
women of filmdom commanding high ad-
miration for her alert beauty, her suav-
ity of behavior, her general apparent
intelligence. The little Malone is a
charming child, surprisingly forceful un-
der her flower-petal prettiness. This pic-
ture is one of the season's most worth
while endeavors, redounding to the credit
of cast and director — and it is almost en-
tirely woman made, though Mr. Stowell
has lent it a handsome hero person.

MR. OPP— Bluebird

"Mr. Opp" is a delicate little study, all
done in emotional pastels, the kind of a
story that puts a teardrop just behind the
lashes but never lets it quite break
through. It moves gently, its climaxes
so mild that one scarcely knows it is
climaxing, but as it unreels it gets at the
heart. Done in the commonness of small
town terms, this little idyll of the idealist
has a world-wide appeal. It's the kind
oi thing nearly everyone can understand.
Arthur Hoyt, as Mr. Opp, the gentle soul
of dreams, optimism, altruism, awkward-
ness and inefficiency, accomplishes a char-
acterization for its marvelous fidelity,
remindful of Wilfred Lucas' bank clerk
in "Acquitted."

THE CLEAN-UP— Bluebird

"The Clean-Up," another featuring of
Brownie Vernon and Franklyn Farnum,
has good plot but sad discrepancies in
the developing of it. There are such
blemishes as the hero, right on Main
street before the town's collection of tab-
bies, kissing the nice girl, and the palm
trees that flourish ungeographically along
the streets of the Illinois town. Even
the refreshing naturalness of Miss Ver-
non, and the cleverness of idea cannot
blot out completely the plain carelessness
that admits of such lack of care and
common sense.

Complete

In Solid Gold

$50 * *

In 14 Karat

Gold Filled

$35

/imarmoniL Q)-e^i&6 of (JMicm6

'brings the Elgin Company into the

limelight asdesigners of complete watches.

For fifty years this great organization

has designed and built watch movements

of world famous excellence. Now it is

designing both movement and case as a

complete unit, under the Elgin guarantee.

The Streamline is a man's watch,

dressed in a style that will last.

The design, as shown in the "close-up" view at the left, is notable

for its smoothly flowing lines. The movement is the celebrated

G. M. Wheeler model, with 17 Jewels and 5 Adjustments.

Your Jeweler will take pride in showing you this new $50 Stream-
line and the $25 Streamline previously announced, also Elgin
Bracelet Watches for women. Illustrated folders on request.

ELGIN NATIONAL WATCH CO., EIGI]
Designers and Producers

V. &.A.

All that Can Be Taught on Photoplay Writing

Hints On Photoplay Writing

By CAPT. LESLIE T. PEACOCKE

Captain Leslie T. Peacocke's remarkably popular book on
the craftsmanship of scenario writing. It is a complete
and authoritative treatise on this new and lucrative art. This
book teaches everything that can be taught on the subject.

Written by a master craftsman of
many years' experience in studios.
It contains chapters on construction,
form, titles, captions, detailing of
action; also a model scenario from a
library of scripts which have seen
successful production.

This book will be of especial value to
all who contemplate scenario writing,
and who do not know scenario form.
In other words, it will be invaluable
to the man or woman who has a
good story, but who doesn't know
how to put it together.

The price is 50c, including postage charges.
Send for it today.

PHOTOPLAY PUBLISHING

Dept. 10E 350 North Clark Street

COMPANY

CHICAGO

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

'3°

Photoplay Magazine — Advertising Section

CLASSIFIED ADVERTISING

vn n

rmn„n

Rate
15 cents

per
word

rem

J U U L

nn.n.n.n.n.n.n

All Advertisements
have equal display and
same good opportuni-
ties for big results.

CLfLrLann nji„nnn,nq

PHOTOPIAY

This Section Pays.

81 '■■ of the advertisers
using this section during
the past year have re-
peated their copy.

nni

U'UU'UU U'U U.UUU'UUUU UUUU'U"

Rate
15 cents

FORMS FOR JANUARY ISSUE CLOSE NOVEMBER FIRST

AGENTS AND SALESMEN

PATENTS

$5 TO $10 A DAV EASILY EABNKD TAKING
Li. lor our liigli grade Soaps and Toilet Prepara-
tions, our goods well known — nationally advertised.
Ladles and men make 1009! profit. No experience
necessary. Write ror sample case oiler. Crofts & Reed
Co., Dept. C 125, Chicago. Ills.

WANTED IDEAS, WRITE FOR LIST OF PATENT
Buyers and Inventions Wanted. (1,000,000 in prizes
offered for inventions. Send sketch for frei
to patentability. Our four books sen! tree. Victor j.
Evans & Co., Patent Attys., 703 Ninth, Washington.

GET OUR 1'LAN FOB MONOGRAMING AUTOS,
Trunks, Traveling Hags, etc., by transfer method. Very
large profits. Motorists Accessories Co.. Mansfield, Ohio.

AGENTS— 500% PROFIT; FUEE SAMPLES; COLD
tore and office windows; anyone eau

put on. .Metallic Letter Co.. 414 N. Clark St.,

INVENT SOMETHING. YOUR IDEAS MAY BRING

wealth. Free book lells what to invent and h n

lain a patent through our credit system. Talbeit &

Parker, 4724 Talbeit Bldg., Washington. D. C.

PHOTOPLAY TEXT BOOKS

"HOW TO WRITE A PHOTOPLAY'' BY C. G.

Wink pp, KM 2 Prospect Ave., Bronx, New Y'ork City.
25 cents. Contains model scenario.

HOSIERY AND UNDERWEAR MANUFACTURER

permanent position supplying regular customers

at mill puces. $50.00 to $100.00 muiilhly. All or

spare time. Credit. I. Parker Co.. 2733 No. 12th St.,
Philadelphlai Pa.

SONGWRITERS

ARE YOU LOOKING FOR AGENTS. SALESMEN OR
Solicit' rs? Have you a good reliable article to sell?
11 si. let us assist you. Tins classified section is read
every month by over 200,000 of the livest people in
the country. The cost is surprisingly low. Address
led Dept, Photoplay .Magazine. 3:.U N. Clark
St., Chicago.

SONGWRITERS' "MANUAL. & GUIDE" SENT

Free. This valuable booklet contains the real facts.
We revise poems, compose and arrange music, secure
copyright and facilitate free publication or outright sale.
start right. Send us some of your work today i.
examination. Knickerbocker Studios. 1U6 Gaiety Build-
ing, N. Y'. City.

OLD COINS AND STAMPS

WRITE THE WORDS FOR A SONG. WE WRITE

CASH PAID FOR OLD MONEY OF ALL KINDS;

S". .mi for certain eagle cents; $7. do for certain 1853
Quarters, etc. Send -lc. Gat Large Illustrated Coin

music and guarantee publisher's acceptance. Submit
poems on war, love-, or any subject. Chester Music Co.,
10 30 Wilson Ave.. Suite 112. Chicago.

Circular. May mean your large profit. Send now.
Numismatic Hank. Dept. 7 5, Fort Worth, Texas.

MANUSCRIPTS TYPEWRITTEN

$2" TO $500 EACH PAID .FOR HUNDREDS OF

coins dated before 1910. Send 10 cents for New Illus-
trated Cum Value Book, 4x7. Showing guaranteed
prices. It may mean your fortune. Get posted. Clarke
Coin Company. Box 127, Le Roy. N. Yr.

MANUSCRIPTS CORRECTLY' TYPE1>. TEN CENTS

page, including carbon. Anna Payne. 31S Sixth Street.
Brooklyn, N. Y.

SCENARIOS. MANUSCRIPTS TYPED TEN CENTS
page including carbon. Spelling, punctuation corrected.
Marjorie Jones. 3 2 2 Monadnock Block, Clucago.

GAMES AND ENTERTAINMENTS

TRICKS. PUZZLES, JOKES, MAGIC GOODS.
plays, wigs, stage supplies, mindreading acts, sensational

SCENARIOS TY-PED INCLUDING CARBON COPY

10 cents page. Box 6, Upham's Cor., Boston, Mass.

catalog. Oaks Magical Co.. Dept. 442. Oshkosh. Wis.

TELEGRAPHY

PLAYS, VAUDEVILLE SKETCHES, MONOLOGUES,
Dialogues, Speakers, Minstrel Material, Jokes, Recita-
tions. Tableaux, Drills. Entertainments. Make Up
Goods. Largo Catalog Free.

T. S. Denison .V- Co., Dept. 70, Chicago.

TELEGRAPHY— ROTH MORSE AND WIRELESS
aKo Station Agency, taught quickly. Tremendous de-
mand— much greater than supply — Peimanent Positions
Secured. Big Salaries — recently raised. Ideal Working
Conditions — short hours, vacations with pay, sick and
death benefits, etc. — prevailing. Great Opportunities

HELP WANTED

GOVERNMENT PAYS $01)11 TO $1,800 YEARLY.
Prepare for coining "■exams" under former Civil Service
Examiner. New Book Free. Write Patterson Civil Serv-
ice School. Box 3017. Rochester. N. Y.

tor Advancement. Women Operators also greatly desired
by Railways and Western Union. Tuition reasonable.
Cheap living expenses— can be earned, oldest and larg-
est school — established 43 years. Endorsed bv railway
Western Union ami Marconi Telegraph Officials. Large
illustrated catalogues free. Correspondence courses also.
Write tnday. Enroll Immediately. Dodge's Institute,
Peoria St., Valparaiso. Indiana.

THOUSANDS MEN— WOMEN, 18 OR OVER.
Wanted Immediately for Government positions. $100
month. No layoffs. Write for list positions open.
Franklin Iirstitute. Dept. G-212, Rochester, N. Y.

RAILROAD TRAFFIC INSPECTORS WANTED.

TYPEWRITERS

$125 a month and expenses to start; short hours; travel;
three months' home study under guarantee: we arrange
for position. No age limit. Ask for Booklet L-6.
Frontier Prep. School, Buffalo, N. Y.

TYPEWRITERS. ALL MAKES FACTORY REBUILT

by famous "Young Process." As good as new. look
like new, wear like new. guaranteed like new. Our big
business permits lowest cash prifes. $10 and up. Also
machines rented or sold on time. No matter what your
needs are we can best serve you. Write and see. now.
Young Typewriter Co.. Dept. 94, Chicago.

FIVE BRIGHT, CAPABLE LADIES TO TRAVEL,
demonstrate and sell dealers. $25 to $50 per week.
Railroad fare paid. Goodrich Drug Company. Dept.

59. Omaha, Neb.

MOTION PICTURE BUSINESS

WOMEN TRAFFIC INSPECTORS WANTED BY

railways; supplant men called to colors. $12'5 monthly
and expenses. Short hours, travel, promotion. Prepare
at home in throe months. Booklet A-8 Free. Frontier
Prep. School. Buffalo, N. Y.

BE A DRAFTSMAN— RIG PAY: TREMENDOUS

BIG PROFITS NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by Government institutions. Cata-
log Free. Capital Merchandise Co., 510 Franklin
Bldg., Chicago.

demand. Our students Quickly Qualify for good posi-
tions. Complete, practical course; drawing instruments
Free. We help you secure position when Qualified.
Columbia School of Drafting. 2 2 McLachlen Bldg,
Washington, D. C.

$100 TO $200 PROFIT WEEKLY. COMPLETE
Moving Picture Outfit, Machine. Films, etc.. furnished
on easy payment plan. No experience needed. Free
book explains everything. Monarch Film Service, Dept.
11-A, 228 Union Ave.. Memphis, Tenn.

CIVIL SERVICE EXAMINATIONS OPEN THE WAY

MUSIC

at small cost. Full particulars free to any American
citizen of eighteen or over. Write today for Booklet
CE 1449, Earl Hopkins. Washington. I). C.

INSTRUCTION

ORCHESTRA MUSIC; ASSORTED PUBLISHERS;
five hundred copies, $5.00. twelve hundred, $10.00
cash with order. C. Fischer Library. South Haven. Mich.

OF INTEREST TO WOMEN

lU'XDRKDS OF PF.OPLE MAKE BIG MONEY

wining Photoplays. Stories, etc. Why don't you? Write
US for free details. Bookmart Co.. Dept. 8, Auburn.
N. Y.

LADIES— FASCINATING HOME BUSINESS TINT-
ing postcards, pictures, etc. Spare time for profit. $5
on 100; no canvassing; samples 10c (stamps) . Partic-
ulars free. Artiut, 529-A, 91 Meserole St. Brooklyn.

PHOTOGRAPHY

N. Y.

i BEAUTIFUL IIANDCOLORKD PHOTOGRAPHS

:;'_.x.">'. for 25 cents. Farrar, Locfcwood, Fairbanks.
Anita Stewart. Bart, 1'earl White. Talniadge, Earl Wil-
liams and others. Allograph Co., 123 Shippen St.,
Weehawken, N. J.

BUSINESS OPPORTUNITIES

ADVERTISE EVERYWHERE. 25 WORDS IN 100

monthlies. $1; 100 weeklies, $2.50; 40 Sunday papers
$10. I'll. Cope Agency, St. Louis.

Guaranteed Genuine Leather Pocketbook

The "American Bankroll " — 1918 Model. Combination Bill-
fold, Coin-purse, Card and Photo-case of Finest, Genuine
Black Seal Grain Leather with the show and elegance of a
Dollar Article for only 50c, postpaid. ($5. -lit per doz.) Any
name beautifully engraved in 23-Karat Genuine Gold free
I street number and city 20c each extra.) Iron -strong, yet won-
derfully limp :">d flexible. Measures 3x4 3-4 in. folded. Has
COin-porae, bill-pocket, photo or pans-window, 2 secret pockets.
i beck book holder and 48 page Memo-Diary, brimful of interest-
ing and necessary information. If unable to get money order or

bank draft, aend postage stamps. 1 2th annual catalog of high-
grade GUARANTEED LEATHER GOODS and NOVELTIES
free with orders for "Pankr-.ll" or sent alone for 10c postage.
U. S. LEATHER GOODS COMPANY Established 1906

D 'Pl 11 ''• 106-8-10 W.Lake St.. Chicago Incorporated 1910

Satisfaction

Quaram teed
Fits any Pocket

For Caa ■

tlf mo

(iotwTinc»riow)

(stcttn pochets)

THE SHOW-DOWN— Bluebu-d

"The Show-Down" sounds like a crook
play, but instead, it's a gentle bit of
satire on the desert island deluge, but
with incident enough to carry it along as
a story in itself. The people of it, well-
to-do, sophisticated, bored to death, all
set sail, by various notions led, on the
same ship, and are submarined, reaching
finally a desert island. Here begins a
testing out of the stuff they're made of
in nature's own little laboratory of primi-
tive necessities. There's none of the usual
desert island moralizing, for everybody is
rescued before anyone is reduced to the
stage of dressing in his button holes. It's
a nice, clean, entertaining little picture
with a good bit of common sense filtering
through its fictiony proceedings. One sad.
sad sub-title there is, in the print ob-
served, which reduced the audience to gig-
gles, involving the expression "sailors's."

MOTHER O' MINE— Bluebird

"Mother O' Mine" is a special Blue-
bird flight, made of sentimental old stuff,
but stuff, alack, perennially true. Suc-
cessful sons do neglect quaint, old-fash-
ioned mothers, and such heartaches trail
through the ages. Rupert Julian directed
and played the neglectful son* efficiently,
Ruth Clifford lent her wholesome self to
a nice handling of the blueblood financee,
and Ruby LaFayette did a mother of
transcendent charm, giving the screen
what Mable Bert has given the stage as
Mrs. Bascom in "Turn to the Right."

POLLY OF THE CIRCUS— Goldwyn

Goldwyn, which has been laboring for
almost a year, gave first glimpse of its
accomplishment in the Mae Marsh photo-
play, "Polly of the Circus" made from
Margaret Mayo's play. It is a good pic-
ture, but not at all a great one. The
difficulty was too many accessories.
There was a great play, so far as success
and popularity went, there was a great
circus, and in aiming adequately to use
both of these, the greatest asset of all,
Mae Marsh, was overlooked. So the
photoplay is full of circus atmosphere,
designed to please small folk immensely
— all show itself, like the circus they
love, with glimpses of the alluring mys-
teries behind the canvas, but with none
of the human conflict which is Mae
Marsh's forte. In billowing tulle ballet
skirts she has the chance to look be-
witching, which she does, but there is not
much further chance. She gets at the
observer's heart through her translation
of emotion, and when she has none to
translate, she is lost. "Polly of the Cir-
cus" is made of things rather than of
feelings.

THE LITTLE DUCHESS— World

"The Little Duchess" introduces an-
other juvenile player to five reel featur-
ing, Madge Evans. She has been World's
baby, reuniting warring parents, and pro-
viding noble motives through many a reel
of adult struggling. The trend of the
times which is giving us youthful play-
ers as the mainspring of stories that are
suited to them, is providing filmdom with
many delightful bits of entertainment
suitable for whole family consumption.

Every advertisement in PITOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

I31

Madge Evans is a talented and delight-
ful little player, giving an illuminating
version of the aristocratic, little princess.
Lord Fauntleroy type of child, in this
story of the poor little girl, passing
through the stages of poverty, orphan
home, and circus, to her ancestral ducal
castle and her gouty grandpa lord. The
story is of youthful caliber, but it has
point, incident, and human nature in it
sufficient to engross the elders, to whose
hearts, anyhow, the shortest road is
through the little child.

THE MARRIAGE MARKET— World

"The Marriage Market" is one of those
fine old dramas redolent of the mellow
ten-twent'-thirt' days, in which the girl
sells herself in marriage to the man with
money to save father's war baby nursery.

MASTER OF HIS HOME— Tnangle

"Master of His Home" stirs up echoes
of Mrs. Smalley's "Where are My Chil-
dren?" though less pathologically de-
tailed.. Mr. Desmond, impersonating
Carson Stewart, a stalwart gold miner of
Colorado, becomes suddenly enamored of
a New York society splasher, even though
she doesn't rise to his poetic declamation
that the lord made dogs and children just
to show us how good he could be. So
far as the lady was concerned, she had
no interest in the lord's handiwork in
regard to children and when she married
the man, she let him look in vain for a
little partner, the whiles she translated
his gold mine into resplendent raiment
and flirted with the villain. His amuse-
ment, in that meantime, as Tyrone Pow-
er's had been, was looking longingly at the
children next door. But there came a
time when the man rejoiced, the woman
lamented, and society mother-in-law
talked dictatorially. After a physical and
mental explosion, back goes Mr. Des-
mond to his mine, and in due time follows
the wife, with her small human surprise.

IN SLUMBERLAND— Triangle

"In Slumberland" is a thing of fancies
wrought, containing Thelma Salter as the
histrionic piece de resistance. It is quaint
Irish folk lore showing indubitably that
fairy tales do come true. The Salter
child leads the pilgrimage into the land
of betwixt and between, seeing wondrous
fairy things that youngsters will revel in
and grown ups enjoy in the dark without
being obliged to confess openly they still
like "kid things." The imaginative bits
are handled with inspiration that gives
them poetic grace.

BORROWED PLUMAGE— Triangle

''Borrowed Plumage" turns Bessie Bar-
riscale into a maid of the old country in
the old days when lords lived in manor
houses and had regiments of servants to
keep their households going; the days of
silken knee breeches and powdered wigs
above stairs, and rags and tatters below.
Miss Bariscale is the mischievous kitchen
wench, wishful for the fine feathers of
fine ladyhood. In time there is a blessed
pirate scare whence all the castle flees,
save the maid. She sees here a chance
to wear the fine lady's clothes, and is

I WISH I KNEW OF SOME

Your wish

can be gratified. The Marinello

School of Beauty Culture offers you the

means of making money, big money of your very own.

It is the largest, most efficiently and elabor-
ately equipped college of the kind on the face of the
globe — the most reliable. Its students are composed
of America's best classes. The services of its gradu-
ates are sought by the most discriminating. Every
factor of the science of beauty culture is taught in the most
thoroughly scientific manner. Every girl or woman com-
pleting the course becomes an expert cosmetician, an
adept in the high art of beauty culture. As taught by the

MARINELLO

School of Beauty Culture

this profession is one of which a woman may
be justly proud. When the course is completed you may take up the work as an operator —
working for someone else — profitable employment paying from V

$12 to $25 a Week /

We guarantee you a position as soon as you qualify. You may open * th
a shop of your own— devote your entire time to the work and make more money + Marinplln
than many of your leading merchants. Thousands of Marinello shop owners r '™arlnell°
are now earning from $1500 to $5000 a year. If you wish, you may give S
treatments in your own home in spare minutes and realize a greater +
income from a few hours of pleasant employment each week than ^

1154 Mailers Bids

CHICAGO

you work for yourself or work for others you'll find a final, sat- ^' , r'nudlMMenfflMs'
isfactory answer to the question of "How can I make some ^making oprortunwesopen
money for myself? Investigate. Learn how you can S to Marinello graduates
easily earn enough to gratify yourdesires and ambitions. /
Write immediately for our handsomely illustrated cata« ^

logue and full particulars of what we have done for other r Your name

women situated just us you are. Use coupon NOW. S

Chicago S ouy

MARINELLO CO. "MS?"

Morrslo Cvcmm has always been used
lvld5Ud V*r«5<UIl by the most famous
women of the 8tage — and who are more exacting?

The history of Magda Cream has been written by
such famous beauties as IMaxine Elliott, whose
name conjures a vision of dazzling loveliness. She
wrote us. '*It is delightful" — because it is made only
from beneficial oils. deJiciously perfumed, guaran-
teed free from arumal fats or injurious chemicals.
Money returned if you don't, like it.

Comes in three sizes — 25c tubes, the beautiful 75c
Japanese jar illustrated, and $1.00 tins. Sold by
druggists and department stores; or if you can't get
it from your dealer, sent direct, postpaid.

ifreemcm's

FACE POWDER.

Keeps your skin soft and fine in
texture — Freeman's has been doing
this for smart women for 30 years.
Does not rub off. Guaranteed equal
to any 50c or $ I powder. All toilet
counters. Write for free sample.

The Freeman Perfume Co.
Dept. 101 Cincinnati, O.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

'32

Photoplay Magazine — Advertising Section

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiigiiiiiiiiiiiiiiiiiiiiHiiiiiiiiii

100 Art Portraits

With

Biographical
Sketches

Only 50c

Your Money Back

if not

Delighted

Printed on special quality enamel paper.

Beautiful de luxe edition of "Stars of the Photoplay,"
with biographical sketches. Read what enthusiastic
purchasers have said about this remarkable volume.

Get your favorite players in permanent form. A
wonderful collection, superbly printed on beautiful paper. An
ornament for your library table, and a handy reference book.

Photoplay Magazine 35oDNPckrk st. Chicago

iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiigiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiniiiiiiiiiiiiiMi

A I VIFISIP SCHOOLS— E»t-20 Years
J\L*V llLl id Tilt Acknowledged Authority on

Each department a large school i
itself. Academic, Technical
Practical Training. Students" School
Theatre and Stock Co. Afford New
York Appearances. Write for cata-
logue, mentioning study desired.

A.T. IRWIN, Secretary
225 West 57th Street, near Broadway, New York

DRAMATIC
STAGE

PHOTO-PLAY
AND

DANCE ARTS

Learn at Home to
Write Short Stories

You can learn how to write short stories, photoplays,
and newspaper article9 ri^ht In your home. Jack London
Said SO. Ho has endorsed thiaccurse of trafnine. S3, 000 a

f'ear i a a small i ncome for a pood short Btory writer. Personal
nstruction. Manuscripts carefully edited.

Write for Free Book gS5? SSk ZS&JS&tf&ZZ

flay about learning how to write at home. Special offer
now being made. No obligations. Writ9 today.

Karn $35 to $100 a week as Cartoonist —

Illustrator — Commercial Artist.
Learn quickly at home by new instruction method.
Easy terms Outfit FREE to new students. Write today
for handsome Booklet, free, and Special Offer HOW.

WASHINGTON SCHOOL OF ART, 1273 H St., N. W., Washington, D. C.

DO YOU LIKE TO DRAW?

CARTOONISTS ARE WELL PAID

We will not give you any jrraml prize if you

answer this ad. Nor will we claim

to make you rich in a week. But if

you are anxious to develop your

talent with a successful cartoonist,

you can make money, send a copy

of this picture, with 6c in stamps for

portfolio of cartoons and sample lesson

plate, and let us explain.

The w. L. Evans School of Cartooning

850 Leader Bldg., Cleveland, O.

Short - Story Writing

A course of 40 lessons in the history, form,
structure, rind writing of the Short-Slow,
taught by Or. J. Berg: Esenwein. for years
Editor of I.ippim'otCs. Oi'er one hundred
Heme Study Courses under Professors in
Harvard, Brown, Cornell and hading
colleges. 2oO-pagc catalog free. Write today.

The HomeCorrespondence School
Dept. 95 SPRINGFIELD, MASS.

ELECTRICITY

I can teach you by practical work

LEARN RIGHT AT HOME BY MAIL

DRAWING-PAINTING

Be a Cartoonist, Newspaper, Magazine

or Commercial Illustrator; paint in

Water Colors or Oil. Let us develop

your talent. Free Scholarship Award.

Your name and address brings you

full particulars by return mail and

our Illustrated Art Annual FREE.

FINE ARTS INSTITUTE, Studio 398, Omaha, Neb.

If you are earning less than

$50 PER WEEK

and like to draw — you should study

Commercial Art

Leading Art Managers — ilio men win, know —
recommend us and employ our students. Wo
will guarantee to make you successful learn at
home in your spare time— or in our resident school— Day or evening.
Write for FREE illustrated catalogue.

COMMERCIAL ART SCHOOL, 724. 1 16 So. Michigan Ave., Chicago, 111.

bedrummed by fate into playing up to
the clothes. Here then comes fun, high
patriotism, valor and romance, so nicely
set forth that the picture has the quality
ol line old story. It is richly clone through-
out. One of the most satisfying bits in
the whole procedure is the actual turn-
ing of the roasts upon the spit— a thing
always done in the kings' kitchens in
fairy books, but never before seen by my
mortal eyes in concrete illustration.

THE FOOD GAMBLERS— Triangle

"The Food Gamblers'' hails from the
east with Wilfred Lucas and Elda Miller
attacking the high cost of living, thus
joining in the efforts of the w;hole wide
world. The picture lays the burden on
the middleman, working it out through
wicked monopolist Mr. Lucas, who seeks
to corner the supply of potatoes, and a
crusading newspaper reporter, Miss Mill-
er, who seeks the high cost of living
trouble and finds it in Mr. Lucas. It is
propaganda stuff that strikes a chord of
public sympathy. Mr. Lucas has a little
chance to show his fine playing mettle,
but it is a mediocre picture.

WOODEN SHOES— Triangle

"Wooden Shoes'' is Raymond West's
pretty framing of Bessie Barriscale in
Dutch lace caps. There's some Holly-
wooded Holland and an inconsequentially
pleasant little story about a grandfather
hunt that ended happily.

WEE LADY BETTY— Triangle

"Wee Lady Betty" is Wee Lady Love's
latest cinema, an Irish transposition all
full of picturesqueness with the Bessie
person as a pretty, blarneying, spunkful
maid of the ould sod, not so much so as
the Barriscale Bessie, but in her more
youthful, gentler fashion, creating a char-
acter of her own. Of story value, there
is no great amount, but it is pleasantly
presented, making an attractive stretch
for seeing.

REPUTATION— Mutual

"Reputation" restores Edna Goodrich
to filmland. She has come back very
beautiful, very formatively trig, and mis-
tress of distinctive reserve in playing.
Her vehicle doesn't strike out sparks of
inspiration, though it is veined through
with good playing. But finesse does not
rule its procedure. Director John O'Brien
fashioned much better, when he left his
small town atmosphere behind. — where
he bungled badly, — for his city stuff has
interest holding quality. Miss Goodrich
with her grace and her gorgeous gowns
has that, too, and the production is one
on the whole that will give most observers
return for their time.

RICHARD THE BRAZEN— Vitagraph

"Richard, The Brazen" is admittedly
a society drama, with Alice Joyce carry-
ing most of the millinery phase of the
society. It has sprightly comedy and a
spirit of good fun, hampered only by the
fact that Harry Morey is too grown-up
and dignified a person to play a sportive
juvenile.

Every advert! ement in PHOTOPLAY MAGAZINE is guarantcul

Photoplay Magazine — Advertising Section

133

Winners of the September Puzzle
Contest

First Prize $10.00

Miss Jean Rush, Cleveland, Ohio.

Second Prize $5.00

Mrs. L. Tussner, St. Louis, Mo.

Third Prize $3.00

Miss Charlotte Singer, Rutherford,
N. J.

Fourth Prize $2.00

Miss Bessie Blanchard, Milwaukee,
Wise.

Ten Prizes $1.00 Each

Miss Dorothy Randolph Robins,

Richmond, Va.
Miss Josephine Gault, St. Louis. Mo.
Miss Donna Norton, Nixon, Texas.
Wayne M. Maxwell, Hopkins, Minn.
Mrs. Cecelia Baer, Cincinnati, Ohio.
Miss Elsie D. Gessner, Chicago, 111.
Mrs. H. C. Currens, Des Moines,

Iowa.
Mrs. F. J. Walsh, New York City,

N. Y.
Miss Maude M. Ely, Phila., Pa.
Miss F. D. Flake, Toronto. Canada.

CORRECT ANSWERS TO THE
SEPTEMBER PUZZLE CONTEST

1. Jack Gardner 6. Jane Lee

2. E. H. Sot hem 7. Fritzi Brunette

j. Earle Foxe 8. George M. Cohan

4. Ham and Bud 9. Tom Moore

5. Walter Long 10. Crane Wilbur

Questions and Answers

{Continued from page 104)

Bara Lover, Richmond, Va. — Now don't
try to get us into a controversy on the
relative vampings of the vamps. Theda is
entirely unmarried and particularly so with
respect to Stuart Holmes. Viola Smith has
been rechristened Viola Vale and is seen op-
posite Charley Ray in his first picture for
Paramount. Here's the "Tiger Woman''
cast : Princess Petrovich, Theda Bara ;
Prince Ditto, E. F. Roseman; Baron Kesingi,
Louis Dean ; Count Zerstorf, Emil de Varny ;
Stevan, John Dillon; Edwin Harris, Glenn
White; Mark Harris, Herbert Heyes; Mrs.
Mark Harris, Mary Marten; their child,
Kittens Reichert; father of Harris boy, Ed-
ward Holt; Marion Harding, Florence Mar-
tin.

Pauline, Plainfield, N. J. — Harry Hil-
liard's eyes and hair are brown. Pearl
White's first film play was a wild west
thriller for Pathe.

E. B., Salt Lake City, Utah.— Willard
Mack's right name is Charles McLaughlin.
Frank Borzage is another man entirely,
though also of your village. Pauline Fred-
erick has no stage name and no husband at
this writing. Wallace Reid and Dorothy
Davenport have been married about four
vears. Thomas Meighan has no children.

Tin Lizzie, Montreal, Canada. — Doug-
las Fairbanks and Harold Lockwood make
a practice of sending their photos to all
comers regardless of monetary enclosures.
Write Geraldine Farrar at Lasky's.

F. D., Spring Hill, Ala. — Marie Wal-
camp is unmarried. We have no informa-
tion as to William Garwood's family af-
fairs. Awfully sorry.

Olive G., Frankfort, Ky. — Gretchen
Hartman's right name is Greta Ahrbin. She
is Swedish, not German. Tom Forman is
a soldier now — corporal in the Seventeenth
Company, California Coast Artillery.

Infantile Paralysis

left 8-year-old Evlyn Olson so crippled she had to
crawl on her knees. Five months' treatment at the
McLain Sanitarium restored her feet and limbs to the
satisfactory condition shown in the lower picture.
Her mother has this to say:

We feel it our duty to recommend your Sani-
tarium. Evlyn was stricken with Infantile Paraly-
sis in August. 1915. March 1, 1916. we carried
her to you. Five months later she could walk
without crutches or braces. Words cannot
express our thanks.

Mr. and Mrs. John Olson,

R. D. 7, Grinnel, Iowa.

FOR CRIPPLED CHILDREN

The McLain Sanitarium is a thoroughly equipped private Institu-
tion devoted exclusively to the treatment of Club Feet, Infantile
Paralysis, Spinal Diseases and Deformities, Hip Disease, Wry Neck,
etc., especially as found in children and young adults.

Our Book, "Deformities and Paralysis";
also "Book of References, "free on request.

THE McLAIN ORTHOPEDIC SANITARIUM

804 Aubert Avenue, ST. LOUIS

The

Birthright

of Every

Woman

The attractiveness
of Venus is in that
form divine — a per-
r 'feet bust and figure—
which has become fa-
"mous throughout the ages.
These glories of sex are nat-
ural to all women who can, if they wish, possess
them to an astonishing degree.

I have just written a book which tells how women
may satisfy their natural desires and secure the
beauty of bust development. The book is sent free
because it also tells about the

Kathryn Murray Method
of Form Development

by which any woman, young or middle-aged, may ob-
tain wonderful results. My method is simplicity it-
self. It does not comprise the use of massage, fool-
ish plasters, electricity, medicines, etc. It acts in a
natural way — securingtheenlarge- /™ — -*
ment desired in a short time.

This Book Free

Send for it and learn how to
add style and attractiveness to
your figure— develop your
bust— possess beautiful round-
ed shoulders. Book tells yoa
how to do it in a charmingly
natural and simple manner.
Write for it today. Sentfree
in plain sealed envelope.

KATHRYN MURRAY

Suite 115S-B Garland Bldg., Chicago

Why She Turned
Her Head Away

The woman with super-
fluous hair never for
one minute forgets her
disfigurement. She is
continually self con-
scious. She is afraid
of close scrutinyindaily
business or social life.
X. BAZIN Depilatory
Powder will rid her of this embarrass-
ment. It has been used for over 75
years by women of the stage and by
society women, by leading surgeons
in hospitals. X. BAZIN is easily ap-
plied, acts quickly, and effectively.
We have sold over one million
bottles to American women. This is
the best guarantee of its efficiency.

50c and $1 at Drug and Department Store*

// they do not have X. BAZIN,

send us 50c for large bottle.

HALL & RUCKEL 2,3NEwhYrJRKSt-

SPECIALLY PRICEDW

TO INTRODUCE OUR XMAS GIFT CATALOG

FORTUNATE purchase before leather advanced inprice
enables us to offer 28,000 of our PRACTICAL BILLFOLD
at what the leal her alone is worth today.

THIS INVALUABLE combination currency-card case, a
distinctive Xmas Gift, in genuine Sealgrain Leather yours at
this low price of 60c ($5.40 Doz.) prepaid while they last.
Thin model design with photo frame, transparent identifica-
tion card, 1918 calendar and loose leaf MEMO PAD.

SIZE closed 3x31-2: open 8 x 3 1-2 inches. Packed in
handsome gift box, with engraved card. SAMEin fine Mo-
rocco Leather, only $1.00 '$10 Doz. ) prepaid. Order some
of each at once. Order skipped day received. Illustrated
catalog FREE. Send draft, M. O. or stamps TODAY.
A. Landa & Sons Co.. Mfrs., Dept. F-74 Chicago

23-kt. Gold

For Ladies and
Gentlemen

SOHG^n^Moou^

E A BANKER

Prepare by mail for this high profe:
litie

nd for fre

riih-

n. in which there
term. Diploma
to Become a

awarded.

Banker." EDGAR G. ALCORN. Presid.

AMKUICAN SCHOOL OF BANKING

457 East Stats Strest COLUMBUS, OHIO

I will send my 25c Book

STRONG ARMS and
MILITARY SHOULDERS

for 10c in stamps or coin

Illustrated with 20 full-page half-tone cuts,
showing exercises that will quickly develop,
beautify and gain great strength in your should-
ers, arms andhands, without any apparatus.
PROF. ANTHONY BARKER

Studio 200 127 \V. 42nd Street New York

Comics, cartoons, com-
mercial, newspaper and
magazine llliutratiiig.
Pastel and Crayon Por-
traits. By Mail or Local
Classes. 10 LESSONS
FREE. Write for Art Rook.
ASSOCIATED ART STUDIOS, 41B Flatiron Building, NEW YORK

When you write to advertisers pleas? mention IJHOTOPLAY MAGAZINE.

•34

Photoplay Magazine — Advertising Section

Eyes You Can't Forget

eyes that make a lasting impression have no partic
color. They can be dark, blue, grey, or brown,
may be flashing, sparkling or they may be soul
dreamy eyes. In all cases, however, the eyes
that make a lasting impression are adorned with
beautiful eyebrows and lashes, without which
the eyes cannot possess charm.

It is quite possible, in fact, easy for you to double
the attractiveness of your eyes. Simply use a little

nightly. Thousands of society women and actresses

noted for their beautifully arched eyebrows and long,

sweeping lashes owe their attractiveness to the use"

of this guaranteed pure and harmless preparation.

LASH-BROW-INE is a delicately perfumed preparation

that nourishes the eyebrows and eyelashes in a natural

manner, thereby making them thick, long and silky, thus

giving depth and expression to the eyes.

SOLD IN TWO SIZES, 50c AND $1.00

Send price for size you wish and we will mail LASH-BROW-INE

and Maybell Beauty Booklet prepaid in plain, sealed cover

Avoid disappointment with worthless imitations.
Genuine LASH-BROW-INE manufactured only by

Maybell
Laboratories

4008-54

Indiana Avenue

CHICAGO

^/////////^////////^^^^

What One Dollar Will Bring You

All of these and many more features in the six numbers
of Photoplay Magazine which you will receive for $1.

Slip a dollar bill in an envelope addressed to

PHOTOPLAY MAGAZINE, Dept. 9F, 350 N. Clark St., CHICAGO

and receive the December issue and Jive issues thereafter.

^///^//^/////^^^^^

Questions and Answers

(Continued)

Cholly, Roanoke, Va.— Gee, we were al-
most ascared to read your letter. Thought
it was another bawling-out by the Bushman
Club membership. Ruth Travers is with no
company at present.

Sara, Los Angeles, Cal. — What do you
think of Photoplay now? Nan Carter is
still with Fox and one of her recent pictures
was "The Serpent." Norbert Wicki was
Ivan Romoff in "Panthea." He also played
in "Darkest Russia."

The 84's, Cleveland, O. — Yes, we could
tell at a glance that you are intelligent
girls, but never fear, we'll keep your secret.

Mabel, Baltimore, Md. — Afraid you have
a long, long wait if the man who you are to
marry must be "an exact duplicate" of Earle
Williams. The crop of duplicates is verv
meager this year. But Earl really is single
and you don't have to believe it if you think
it's too good to be true.

M. M., New York City.— A search of the
records indicates that Pearl White has never
been married to E. H. Sothern, who at the
present time is the husband of Julia Mar-
lowe.

M. S., Indianapolis, Ind. — Jack Holt is
with the Lasky company, his last appear-
ance being with Sessue Hayakawa, the Japa-
nese star.

Glory, Minneapolis, Minn. — The action
is photographed on a negative film and
printed on positive film just the same way
that you print pictures from a kodak film
Violet Wilkey played Flora Cameron before
Flora was old enough to have Mae Marsh
play her in "The Birth of a Xation." Eric
Campbell was the man who played the big
waiter with Chaplin in "The Immigrant."

Frederick, Macon, Ga. — So you couldn't
find any pictures of Mary Thurman last
month ? Well, you poor fellah ! Write
Mary, care Sennett Company, Los Angeles.
The other girl in that medicine ball pic-
ture was Marie Prevost who is with the same
company. How'd you like to be living in
Los Angeles?

Kathryn, Fitchburg, Mass. — Pearl
White's hair is red, her eyes are brown and
she has no husband to make her frown.
If Kipling ever sees the foregoing he'll quit
the poet business.

Karl, Cleveland, O. — Ann Murdock.
Nance O'Neil, Charlotte Walker, Holbrook
Blinn, H. B. Warner. Shirley Mason and
George LeGuere had the leading roles in the
various Sins comprising McClure's "Seven
Deadly Sins." Kerrigan played both roles
in "Gay Lord Waring." G. M. Anderson has
forsaken the films for the musical comedy
stage and Marguerite Clayton is with Essanay
in Chicago. The American at Santa Barbara
produced "Purity." The Vitagraph dog
"Shep" is dead.

C. R., Oconomowoc, Wis. — You probably
refer to Marshall Wilder who died something
over a year ago.

Elsie, Wellington, New Zealand. — We
crave your pardon for any sins of omission.
It won't hapen again. So far as we know
Miss Bara did not wear a wig in "Romeo
and Juliet." The girl's mother in "The
Social Leper" was portrayed by Isabelle Ber-
win. We are very proud of our New Zea-
land readers as represented by those who
write this department. Pretty classy gang.

Every advertisement in PHOTOPLAT MAGAZINE 1: cuari

Photoplay Magazine — Advertising Section

i3S

Questions and Answers

(Continued)

A. Cornstock, Wellington, New Zea-
land.— Robert Vaughn played the doctor in
"Still Waters." Gladys Hulette is about 20
and not married — yet. William Parke, Jr.,
has played in most of her recent plays.
Francis Ford is 35. William Roselle played
Stafford in "Gloria's Romance."

D. M., Sydney, Australia. — You Aus-
tralians sure can ring the bell when it comes
to writing letters. That one of yours was
a darb and we'd like to be able to publish
it just to show what you ginks think of us
but lack of space prevents publication. Mary
Fuller lives at 40 W. 44th Street, New York
City. Rain effects are obtained by the use
of perforated pipes and a sixty-mile gale
can be had on a moment's notice by the
use of an airplane propeller.

F. B. Muskegon, Mich. — "American
Methods" was an adaptation of Georges
Ohnet's novel "The Ironmaster" and the
names of the characters were taken from
the book.

Busy-Bodies, New York City. — Both of
you have a chance; neither Bill Hart nor S.
Holmes is supplied with a wife. Frank
Keenan not only is married but is a grand-
father. He is now on the stage.

Helena, Schenectady, N. Y. — Where do
yuh get that "Old Baldy" stuff? Better can
it. Claire Alexander has been playing oppo-
site George Ovey. Can't provide you with
any correspondent's address without taking
out a marriage agency license.

Joe, New Orleans, La. — Willie Collier, Jr.,
better known as "Buster," is .now with
Lasky-Famous Players, playing with Jack
Pickford in "Tom Sawyer" and "Huck
Finn." The nearest any star came to being
born in New Orleans was when Mary Miles
Minter was born in Shreveport. That ought
to be'glory enough for the whole state.

M. F., Wayne, Pa. — So you are willing to
bet that Wallie Reid is "glad he is himself?"
Well, what would you? Mighty poor puhson
who doesn't think fairly well of himself.
William Courtleigh, Jr., played opposite Ann
Pennington in "The Rainbow Princess."

Mabel, Colorado Springs, Colo. — The
best way to obtain photographs of the play-
ers is to write to them direct. Nearly all of
them make a practice of sending out their
pictures whether or not any money is en-
closed to pay the mailing fee. That is, those
who can afford it.

A. R., Apple Creek, Ohio. — Jack Mower
was the man in "The Butterfly Girl." Jay
Belasco has been drafted but a letter ad-
dressed to him care Christie Film Co., Holly-
wood, Cal., would undoubtedly reach him.

E. R., Plainfield, N. J— Don't pay any at-
tention to such stories. People just naturally
love to talk about the players, both stage and
screen, and every little story, no matter how
absurd or worse, finds a lot of credulous folk
only too eager to believe it and pass it along.

Harriet, Charlottestown, P. E. I. — (Bet
a lotta them'll wonder what that stands for.)
John Bowers gets his mail at Fort Lee, N. J.,
care World Film Corp. Creighton Hale, we
are reliably informed, is a married man.

L. H., Berkeley, Cal. — House Peters is a
six-footer and is somewhere over thirty. He
is married and has a little son almost two
years old. He is not affiliated with any
company at present.

700,000,000

Sold Last Year

That number of SMITH BROTHERS' was used by
the people of the United States in one year. The out-
put for this year will be much greater.

One shipment from the Poughkeepsie Factory was
a trainload of 20 freight cars containing 95,000,000
SMITH BROTHERS' S. B. Cough Drops. This
factory, by the way, has the largest hard-candy equip-
ment in the world. It is used wholly for making S. B.
Cough Drops. A large addition was made to it last
year. Another is being constructed now.

Think of the great benefit
to the nation in 700,000,000
S. B. Cough Drops. Think
of the coughs relieved, the
colds warded off, throats
soothed and voices cleared.

Who uses these cough
drops ? Opera singers and
policemen. Soldiers and
sailors. Letter carriers and
congressmen.

School children and
actors. Woodsmen and
public lecturers. Motorists
and sportsmen.

Is there anyone who
doesn't know and use S.B.

Cough Drops ? They have
been a national standby
for 70 years.

S. B. Cough Drops are
pure, absolutely. No drugs.
No narcotics. Pure ingre-
dients with just enough
charcoal to sweeten the
stomach.

Cold, damp, raw, cough-
producing weather is
around the corner. Be pre-
pared with abox of SMITH
BROTHERS'.

Put one in your mouth
at bedtime to keep the
breathing passages clear.

SMITH BROTHERS of Poughkeepsie

Also makers of S. B. Chewing Gum

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

i36

Photoplay Magazine — Advertising Section

f SunshVne \ \\ ,

3 Boxes for 10c

. You will be delighted with these exqui-
site, refined creams, which are especially
prepared, after a secret formula, exclu-
sively for private sale. They are never
sold in the stores — and to give you an
opportunity of testing them we will send
three liberal size boxes, postpaid, for only
ten cents in coin or stamps.

Sunshyne Creams

are wonderful for beautifying the complex-
ion, building up the skin tissues and pre-
venting wrinkles or sagging. They are
made from the finest imported Oil of Sweet
Almonds, and other unusual ingredients—
too expensive to be used in the ordinary
toilet creams.

^*»nirl 1 0/» for the three liberal boxes of
uclm * v/** SunshyneCleansingCreani Skin
Food and Powdering Cream. Do it now— before
you forget.

SUNSHYNE LABORATORIES

4 Sunshyne Lodge West Milton, Ohio

Tjh- e Ibtur TTcxxtlo u_ s

,7)

tf-9

Jon

CROCHET

BooBas

I-.--

**§.

o*JiTsE»

W-Z

A rare opportunity to
crochet under the direction
of Lady Duff-Gordon, the
world's greatest fashion
authority. Rich designs,
stylish^ suggestions and
original ideas for the adorn-
ment of lingerie, wearing apparel
._ honcchcld linens. Prepared exclu-
sively for the Richardson Silk Company. Fully
illustrated with complete, simple directions.
Book No. 16 Crochet Yokes and Blouses
Book No. 17 Edges and Insertions
Book No. IB Irish and Clt:ny Crochet
Book No. 19 Crochet Boudoir Caps

Price 10 cents each, everywhere By mail 12 cent9
RICHARDSON SILK CO., Dept. 1988. Chicago, III.

Dealers: Write for full particulars

"Don't Shout"

For Fifty Cents

You can obtain the next three issues of
Photoplay Magazine, in its new size,
delivered to you by the postman any-
where in the U. S. This special offer is
made as a trial subscription. Also it will
avoid the old story "Sold Out" if you hap-
pen to be a little late at the news-stand.

Send postal order to Dept. 17F.

PHOTOPLAY MAGAZINE

350 North Clark Street, Chicago, 111.

"I hear you. 1 can hear
now as well as anybody.
'How'? With Ihe MORLEY
PHONE. I've a pair in my ears
now. but they are invisible,
would not know 1 had them
mvself, only that 1 hear
"The MORtEY PHONE

to the ears
[lasses are to the eyes,
visible, comfortable,
less and 1-armless. Anyone
can adjust il" Over 100,000 sold. Write for booklet and testimonials.
THE MORLEY CO.. Dept. 789, Perry Bldg., Phila.

Questions and Answers

I c ontinued)

Wally Tou jours, Seattle, Wash. — Your
"Herculean Apollo" merely went over to the
Morosco studio to do a picture or two, that
studio being part and parcel of the Lasky-
Famous Players concern. He is 6 feet high,
has brown hair and blue eyes.

- N. H., Concord, N. H. — Questions con-
cerning the religion of the players are dis-
regarded, but we can intimate without vio-
lating any confidence that "Xavier" is not
a Hebrew name.

W. C, Roanoke, Va. — You don't mean
to say that you'll quit Photoplay if we
don't quit printing "all that Bushman mar-
ried stuff? Have you no compassion; no
thought of what the cancellation of your
subscription will mean to us? We recog-
nize your rights as a "fullfledged member
of the Bushman Club" and would greatly
regret a decision on your part to sever
friendly relations. We want to assure you
that we have no "grudge" against "our
big Francis" — far be it from such ; we only
aim to tell our readers the facts, as we
know them, concerning the plays and play-
ers they are interested in.

T. B., Grand Junction, Colo. — Jean
Sothern was reported some months ago as
having married and retired from the screen
but she recently rejoined Art Dramas and
is again cavorting before the camera. Enid
Bennett is at Triangle, Culver City, Cal.
Arthur Johnson's death was caused by lung
trouble.

K. H., Dallas, Tex. — Raymond Hatton
has been married for more than a year.
Mary Pickford and Owen Moore have been
married about seven years.

Grace, Lincoln, Neb. — We have no sta-
tistics as to the screen wrongings of Bessie
Barriscale and Theda Bara. Maybe you'll
find it in Dr. Jaynes' Almanac. Bessie's
real name is Mrs. Howard Hickman; she
has a young son and very blonde hair.

R. W., Blue, W. Va. — We have no rec-
ord of the players in "Our American Cou-
sin" which you say was produced at Ford's
Theater in Washington, D. C, in April,
1865. How many reels was it and who did
the directing?

M. G., New York City— H. M. Hork-
heimer, president of the Balboa Company,
is married and has a child. We are of the
impression that his wife was an actress.

Blossom, Sydney, Australia. — So you
are learning cinema acting? Well, well; we
hope you will be the Mary Pickford of Aus-
tralia. Anna Little is now with Commo-
dore Blackton's company in Brooklyn which
is making pictures for Paramount. Frank
Borzage is directing for Triangle. Constance
Talmadge has her own company under the
Selznick banner, just like Sister Norma.

T. C, San Diego, Cal. — Never heard of
your pal "Fudge." Bet he was the candy
kid though. Glad to hear you are a "study
reader" of Photoplay.

Cal. Sunbeam, Hudson, Mass. — Think
the one you refer to in "Under Two Flags"
was Stuart Holmes. Must be awful to have
your home in Hollywod and have to live
in Massachusetts.

George K., Tuscola, III. — Hazel Dawn
appeared last in "The Lone Wolf," a Brenon
production recently released. Milton Sills
is now with Ivan Films

A. K., Des Moines, Ia— At this writing
Mr. Hart is not betrothed to anyone, as we
are certain he would inform us the moment
anything like that occurred. Margery Wilson
is in her early twenties.

Kitty, Chase City, Va.— Wallie Reid is
27, has brown hair and blue eyes. Florence
LaBadie is still with Thanhouser and her last
picture is "The Woman in White." Your
terribly welcome.

H. S., Washington, D. C— Count Ferdi-
nand in "Civilization" was Howard Hick-
man, now with Paralta. He is the husband
of Bessie Barriscale and has appeared in many
Triangle pictures.

M. S., Boston, Mass. — Write them at
these addresses: Muriel Ostriche, World,
Fort Lee, N. J.; Jean Sothern, 500 West
105th St., New York City; Ella Hall, Univer-
sal City, Cal.

Stella, Sydney, Australia. — We trust,
Stella, that you aren't trying to spoof us, and
all that bally rot, don't you know. If we
went as a war correspondent, we'd probably,
from force of habit, write about the marital
status of the generals rather than their mar-
tial deeds.

N. T., Oklahoma City, Okla. — "Is Any
Girl Safe?" appears from our records to be
castless. Universal made it. Harry Morey
doesn't talk about his age so he is probably
over the draft requirements. Ruth Roland
has been devoting her time tb personal ap-
pearances in theaters during the last month.

G. B., Jamesville, N. Y.— Jack Holt
played opposite Mary Pickford in "The
Little American" and Eugene O'Brien in
"Rebecca of Sunnybrook Farm." Douglas
Fairbanks has one son, nearly eight years
old.

Helen, Yonkers, N. Y. — Pearl White was
born in 1880 and Missouri, has brown eyes,
reddish hair and Earle Foxe for her leading
man at present. She is not married. Mae
Murray is; and has gray-blue eyes (Civil
war stuff) . Louise Huff has violet eyes.

Hallam, N. S. W., Australia. — As there
are two telephone companies in Los Angeles,
you would have to write to both to get a
complete record in the way of that city's
telephone subscribers. They are the Pacific
Telephone & Telegraph Co. and the Home
Telephone Company.

A. M., St. Louis, Mo. — Your poem read
with a great deal of interest. Suggest that
you send it to Smart Set.

Faith & Hope, Watch Hill, R. I.— We
have every reason to believe that Gene
O'Brien's locks are natchelly curly. Yes,
that moustache of Wally 's in "Big Timber"
was "perfectly frightful" but he has prom-
ised not to do it again. He was drafted but
was granted temporary exemption because of
his wife and baby.

Mary, DeSmet, S. D. — Success in stage
plays at home does not necessarily augur a
successful motion picture career, but it has
been done. Creighton Hale sends out photo-
graphs to those who write and tell him what
a wonderful actor he is. or words to that
effect.

Pauline, Lowell, Mass. — Webster Camp-
bell was Rosa's lover in "The Evil Eye."
Gladden James is strangely silent as to his
vital statistics, but he isn't so very old.

advertisement in I'HOTOPT.AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

137

SPECIAL!

A $75 solitaire rim,*
(style shown by picture
above) reduced to $45
by direct importing,
elimination of middle-
men's profits and cash
methods. VVesselton
Blue White perfect cut,
of richest brilliancy:
guaranteed weight 1-2
less 5-64 K. Engage-
ment quality 14K. solid
gold mounting. -AC

Special price ^ 1U
Platinum Tips $2 Extra

14K solid gold hand
carved rings set with fine
brilliant extraBIueWhite
dia., guaranteed weight
>£K. Your choice $33.33.

14K solid gold Tiffany
style ring. Perfect cut
fine quality Steel Blue
White diamond. Retail
value $20. Dia. headquar-
ters special price $9.88.

Direct From

Barnard y Co.

m©

Headquarters

At World's Lowest Prices

Here are the secrets of my money-saving prices on diamonds: With my world-
wide business of tremendous volume, I can buy direct from the cutters of Europe,
then resell direct to you at the smallest margin of profit. I have eliminated all
middlemen — all waste — in the selling of diamonds and guarantee that you cannot
match my prices anywhere, wholesale or retail. If you don't see a saving of 35% in
the diamond I send you for free examination, send it back!

Small
Sizes

$50

Per Carat

Extra
Blue White

$133

Per Carat

Wesselton
Blue White

$177

Per Carat

Jagers
Steel Blue

$233

Per Carat

Jai|ers
Blue Perfect

$288

Per Carat

Send No Money!

Merely send for my beautiful Diamond Book — select the diamond and mounting
of your choice, and I'll ship it for your inspection — at my expense and without
obligating you to buy. As we get all our business in this way our success proves
our prices lowest by comparison.

Bankable Money Back Guarantee

The only bankable Money Back Guarantee in the diamond business. You can take it to any bank
and cash in your diamond investment if you want to. The only guarantee without red-tape, delays or
evasions. It is also a legal certificate of carat weight, quality and value of the diamond. Allows you
to exchange it at full value at any time.

Solid Gold Cuff
Links

Set with two diamond
chips . . . $1.8i
Cut diamonds . 32.3;

1918 De Luxe Book PDrr
of DIAMONDS * IvEiEi

Profusely illustrated in colors. Shows thousands of the great*
est bargains in diamonds. Tells you all about diamond qual-
ities, colors, im-

perfectione.
, Shows every
fashionable
and popular
style of mount-
ing in 14K solid
gold and platinum at
actual factory cost. Also all sizes of
diamonds in 7 different qualities
at import prices. Free for the asking.

Barnard fr Co.

j X

- - *=i

1 «»«9«*fi»C9i

«e&esei&«»e»

&&>ez CiCS.

»<»«>*»«»

««►#»«*«»

• •«.«>«#

©«e>

Book
Coupon

BARNARD & CO., Dept 2388-P
# N. W. Cor. State and Monroe, Chicago

/Without expense to me or the slightest

/ obligation please mail 1918 DeLuxe Book
of Diamonds to

N. W

Cor. State and Monroe Sts.
Dept. 2388-P

Nairn

/ Address..

m Headquarters Chicago, u. s. a./

^ ' City

.State.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

i38

Photoplay Magazine — Advertising Section

i'liiiniiiiii

Low Prices, Easy Terms
Balls, Cues, Etc., Given

Brunswick prices today are
extremely low for tables of such
masterly construction and beauty.

Our Popular Purchase Plan
lets you play while you pay.

With every table we give a high-
class Playing Outfit Free — Balls,
Cues, Rack, Markers and Expert
Book of 33 Games, etc.

Send f or Billiard Book Fre£

iiiimiimii

One Father Writes of

BILLIARDS

"We've a Full House All the Time!"

Put a Brunswick Carom or Pocket Billiard Table in your home and
watch how quickly it surrounds your boys and girls with good companions.
Young people idolize Home Billiards. And these princely contests
act as a tonic on older folks.

Carom and Pocket Billiards are never twice alike,
but ever enlivened by friendly jest and laughter.
Among life's most enduring memories are the
happy hours and comradeship of billiards.

THE BRUNSWICK -gALKE-COLLENDER £0.

Dept. 56B, 623-633 S.Wabash Ave., Chicago

You may send me free copy of your color
book —

"Billiards— The Home Magnet"

and tell about your home trial offer.

X time .

HOME BILLIARD TABLES

Even the cottage or small apartment has room for a genuine
Brunswick. And it gives you scientific Carom and Pocket Billiards
— life, speed and accuracy!

The " Baby Grand " is a home-size regulation table for spare
rooms, attics, basements and private billiard rooms.

The "Quick Demountable" can be set up anywhere and easily
folded away when not in play.

See these tables in handsome color reproductions, get our low
prices, easy terms and home trial offer. All contained in our
new billiard book. Send your address at once for free copy.

JHE gRUNSWICK-gALKE-^OLLENDER £0.

Dept. 56B, 623-633 S. Wabash Ave., Chicago

A ddress.

| DEALERS : Write at once for attractive agency proposition.

^llltllllllllljrilllllllllltllllllllltllllltlllllllltltllllltlllllllllirtlllllllllllllflllllllllillllllltirilflllllllMIIIIIMIIlMllIlllllllilllTllllllllIIMllllllMlIlllllllllllMilTIIIIllMlllllllllll iTp.

I.wi.v advertisement in rnOTOri.AY MAGAZINE is guaranteed.

Chases
Dirt

Tile

Linoleum

^/ood Floors

■ : ■*■■:■:■:■.■ .„...:«*£'.:; ■

. F. HALL PRINTING COMPANY, CHICAGO

V-'dO

i^k

* ■• * *

mi' W

■

ERSONAL daintiness, the most appealing of feminine
charms, is bewitchingly expressed in As-the-Petals, one
of the Lazell Cloth-of-Gold perfumes.

It has the fascination of fairylike elusiveness, but is of an
enduring fragrance— just as delightful at the evening's close
as in the early hours of the day. A bottle of As-the-
Petals perfume is a gift that will delight any woman.

You may have Cloth-of-Gold toilet requisites in extract,
toilet water, face powder, greaseless cream, sachet, smell-
ing salts, talcum and rouge. Our new package carries both
rouge and face powder which you may blend to any tint.

Use Lazell's Creme de Meridor, the original greaseless
cream, before exposing your skin to the cold and wind. It
protects the complexion against chapping and roughening.

A complete assortment of Lazell Cloth-of-Gold toilet
requisites will be sent you for 50c (65c in Canada). It
contains a miniature box of face powder, a bottle of per-
fume, a jar of greaseless cream— all in As-the-Petals odor
— and a cake of soap.

arte.

PERFUMER

Depi. 24-S
NEWBURCHON-THEHUDSON

New York

Canadian Office :
53 Yonge Street
Toronto, Ontario

■

•

December"
20 @Qnts

Notice to Redder: When you
readjhg tTfcs magaz*^s>lact
stanty onjlhis noticjyf'and fcame to
a poaJaTemrjfflPe ami\ it will lye placed
in chnhands of otafsoldiers<A- sailors
atthefront. No nrjpplrlx, no'tddreis.

A. S. Burleson, Postmaster General.

BILLIE BURKE— Painted from Life by NEYSA McMEIN

p w j T •

Issue

I 1 Olga Petrova, Henry Walthall, Douglas Fairbanks,

'" •*■ '/ O O/zVe Thomas, Violet Merscereau, Geraldine Farrar,

Billie Burke, Mary Pickford, Edna Goodrich, Louise

Glaum, Mary McAllister, and other Shining Stars.

Announcement of Winners

of the $2,000

Photoplay -Triangle Scenario Contest

fN selecting a Sheaffer Pen or *
Sharp Point Pencil for a Christmas
gift, you can feel sure that it will not

only meet with instant appreciation but will become doubly
time proves its daily usefulness and unfailing reliability. For the
Pen does not blot nor leak and the Sharp Point Pencil is always
and always ready for use. The Gift of Gifts for Army and Navy

Sold by Good Dealers Everywhere

UNDER MONEY BACK GUARANTEE

W. A. SHEAFFER PEN CO.

Fort Madison.

Iowa

SERVICE STATIONS
203 Broadway. New York City
1004 Consumers Bldg., Chicago
Monadnock Bldg., San Francisco

Photoplay Magazine — Advertising Section

The Car of Good Cheer

The long sharp edge of winter, so soon to come,
will not stop the activities of closed car owners.

Closed Cars

$3265 to $4750

Open Cars

$2950 to $3500

Prices subject to increase
■without notice.

/fS comfortable and secure as in a lounging
Q/l room> they wiH travel to their engagements
in serene good temper. Protecting health,
saving time, and promoting cheerfulness, no matter
what the weather, the closed car is essential to well-
rounded living thruout the year.

Coupled with these advantages, the Winton Six
buyer may express his individual taste in the color
harmony, finishing fabrics, appointments, and body
design of his closed car, so that it becomes a
delightful personal possession, a car characteris-
tically his own.

Early delivery requires an early order. Better tele-
phone our nearest branch house or dealer right now.

The Winton Company

734 Berea Road, Cleveland, Ohio, U. S. A.

Branches in New York, Boston, Newark, Baltimore, Philadelphia,
Pittsburg, Cleveland, Cincinnati, Detroit, Chicago, Milwaukee,
Minneapolis, Kansas City, Los Angeles, San Francisco, Seattle.

When you write to advertisers please mention PHOTOPLAI MAGAZINE.

Photoplay Magazine — Advertising Section

J cart a yenumeJearu(ec&/a
iovyouvjTpfe Qirl

Your Family ana Friends will
Keep It Growing

ace

rTricl-a-KGar

ECKLACE
consists of GENUINE ORIENTAL PEARLS,

possessing real and lasting beauty of the truest worth.

There are twelve sizes to select from — as low as
$5.00 and up to $150.00.

Additional pearls of any amount may be added on
all gift occasions.

Descriptive folder and name of your nearest dealer
on request.

THE ADD-A-PEARL CO.

108 Nortb State Street Chicago, 111.

E 105- 5 PEARLS
$5,00

EJ09-9 PEARLS
$1000

Every advertisement in riTOTOrLAT MAGAZINE 13 euaranteed.

PHOTOPLAY MAGAZINE

Nrp-ei

"The National Movie Publication"

James R. Quirk, Editor

VOL. XIII

Contents

No.

DECEMBER, 1917

Cover Design — Billie Burke
From Pastel Portrait by Neysa Moran McMein

Rotogravure: May Allison

Clara Kimball Young

Pearl White

Evelyn Greeley
The Happy Ending Editorial

Petrova— Prophetess Randolph Bartlett

Who Sees in the Moving Picture Unlimited Capacity for Good.

Announcement of Winners in the Photoplay-Triangle
Scenario Contest

"Gee Whiz"

An Expression of Douglas Fairbanks.

The Reformation of "Wally"

Henry Walthall has Forsworn the Morbid.

The Test (Fiction) [Frederick Arnold Kummer

Illustrated by Charles D. Mitchell.
The Second of a Series of Great Short Stories.

Claire Fixes It for Violet

An Old Timer Introduces Her Little Sister.

The Unforeseen (Fiction) Marvin Dana

From the Photoplay of That Name.

Mary Miles Minter and Her Sister, Margaret Shelby
(Photograph)

(Contents continued on next page)

By Delight Evans
Alfred A. Cohn

John Dolber

19
20
21
22

28
30

1111 nil

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111.

Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. Robert M. Eastman, Sec.-Treas.

Alfred A. Cohn i Managing \ Los Angeles

Randolph Bartlett f Editors ) New York

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba; $2.50

Canada; $3.00 to foreign countries. Remittances should be made by check, or postal or express

money order.

Caution— Do not subscribe through persons unknown to you.
Entered at the Postoffice at Chicago, 111., as Seiond-class mail matter.

Next Month

Mary MacLane, Herself

Yes, the Mary MacLane, she who
collaborated with copper ore to make
Butte, Montana, famous, has gone into
pictures. Like most very real people
she is a devoted moving picture devo-
tee. And although she doesn't realize it
she is one of the keenest analysts of the
silver-sheet we have ever met. Mary
MacLane is now entertaining the camera
in the filming of one of her most
famous books, "Men Who Have Made
Love To Me."

In the January issue of Photoplay
she will tell you just what she thinks
of motion pictures, of her favorite play-
ers, of what the pictures mean to her,
and of her experiences in a studio.

And Photoplay's Camera man will
be right there to visualize for you this
remarkably clever and tremendously
feminine celebrity.

Here's a Combination for You —

Who do you think is going to inter-
view Marguerite Clark? You'd never
guess it. "Tex" O'Reilly (Edward S.
O'Reilly) who wrote "Temperamental
Tim" in the October issue of Photo-
play, and "A Whack at the Muse" in
the November. If you knew "Tex" you
would better appreciate what this story
is going to be. He is a typical Texan
of the storybooks. In fact Rex Beach
put him right into one of his books.
Tall, and rangy, with a punch in his
right fist that has won respect for his
kind of American in many climes, he
has a typewriter that can turn out some
of the most expressive English that
ever graced a page, and a bit of a brogue
that's as smooth and easy on the ear
as an emerald is to the eye.

The subject is tiny, wistful little
Marguerite Clark, the favorite of mil-
lions of fans. Miss Clark occupies a
little niche all by herself in the hearts
of her admirers, and her charm is one
that is worthy of a writer like O'Reilly.

Contents — Continued

John, Anita and the Giftie Paul Grant

A Remarkable Combination — John Emerson and Anita Loos.

Queen Jerry Abdicates ( Photograph )

Bobo's Billie Delight Evans

Mary McAlister, Essanay's Six Year Old Star, is Interviewed, also Bobo.

His Own Page By Douglas Fairbanks

More Philosophy and Advice from "Doug's" Typewriter.

All Feminine Except the "Billie" Harriette Underhill

Billie Burke, Her Baby, Her Husband and Her Home.

The Great Liberty Bond Holdup (Photograph;
Just Five Years Ago (Photographs I

Some More Not -Very -Ancient History.

A Broadway Queen Gone West Jack Lloyd

Something about Olive Thomas.

Neill of the Guards

The Story of Mary Pickford's Screen Daddy.

The Shadow Stage Randolph Bartlett and Kitty Kelly

Reviews of Current Photoplays.

Shades of Captain Kidd! ( Photograph I

Edna Goodrich Must have Found Where He Hid 'Em.

Why Do They Do It?

Close Observers Criticize Inconsistencies of the Screen.

Rotogravure: Rhea Mitchell

Baby Pictures — By the Old Home Town
Photographers

Mary Pickford
Close -Ups

Editorial Comment.

Jerome Shorey

The Fall of the Romanoffs

The Story of Herbert Brenon's Photodrama.

She Was Padded to Fame J. B. Woodside

But Margery Wilson Doesn't Have to Use Them Now.

And Their Pay Goes On Just the Same (Photographs)

Some Up -to -the -Minute News Items.

Not a Home Was Wrecked! ( Photographs)

Louise Glaum Leaves New York Just Where She Found It.

Eddie and Lee— The Boys E. V. Durling

Eddie Lyons and Lee Moran.

Stars of the Screen and Their Stars in the Sky Ellen Woods

Horoscopes of Norma Talmadge and Lou-Tellegen.

Off Duty Gordon Seagrove

Drawings by Herbert M. Stoops.
The Student Officers Welcome the Love, Home and Mother Reels, but
Shy at War Pictures.

Who's Married to Who

Screen People and Their Chosen Mates.

Plays and Players

I :ems of Interest about Idols and Others.

Pearls of Desire (Serial Story)

Cal York

Henry C. Rowland

Illustrated by Henry Raleigh.
The Concluding Installment of This Absorbing Serial.

Pictures as Life Savers

Films Used by Railroads to Educate Employees in "Safety -First."

Questions and Answers The Answer Man

51
52

58
59

72
74
75

91
92
95

Next Month

Mary Miles Minter

Many readers of this magazine have
been asking from time to time for a
sure-enough personality story of the
little blonde star of the Mutual Pictures,
and in the January issue they're going
to set it. And such pictures

Reginald Barker, Director

Here's a director for you. He is
one of the kind of fellows who say,
"I want to break in. I can make good.
If I cannot I don't want a cent." And
did he? Did he? Right off the bat.
He started right in making some of
the finest pictures turned out of lnce's
New York Motion Picture studio — "The
Coward," for instance. He it was who
brought Charlie Ray right out into the
limelight as an actor. If you want to
see some action in photography see the
pictures Stags took of him especially
to illustrate this yarn. They're worth
the price of admission alone.

The Scenario Contest

Now that the strain is over, and the
winners of the Photoplay Magazine-
Triangle Film Corporation Scenario
Contest are announced, we will tell you
something about the winners in the
January issue: what kind of people
they are, what their stories are like,
and everything you would want to
know about folks who won out in a
field of seven thousand efforts of clever-
ness.

There is one story you should not
miss under any circumstances. It is
an intensely human story of a woman in
her late twenties who has believed in
herself in spite of years of discourage-
ment— in spite of rejection slip after
rejection slip. And her faith in her-
self won the victory.

Frederick Arnold Kummer

will be along with a story of studio life
that equals his narrative in this issue.
Here is a great fiction writer who has
caught the living, breathing spirit of the
most romantic of all professions A
director of one of the large producing
companies wrote recently :

"Send me Mr. Rummer's address. A
man who can write like that and at the
same time knows our work so well
ought to be a great relief from most
authors who assume we producers know
nothing and should go to school to
them."

Three Stories from Photoplays

There are many of our readers who
enjoy Actionized versions of photoplays.
Others write us they are intolerable,
that they sometimes differ in some slight
particulars from the pictures as they are
finally released. Photoplay puts these
stories into the hands of master crafts-
men, short story writers of established
reputations, to insure our readers the
best possible. In the January issue
there will be three splendid ones.

Photoplay Magazine — Advertising Section

The Education of

A Modern Cook

See It in Any Van Camp Dish — The Difference Will Amaze You

The cooks employed in Van Camp kitchens are now college
trained. They must know chemistry, because materials are now
selected by analysis. And every cookingprocessisdirectedfromthe
laboratory. They must know dietetics — must know food hvgiene.
For right cooking, above all else, means fit food. They must have
scientific training, for science means exact-
ness. All guesswork is abandoned in these
kitchens at Van Camp's.

Mark the Difference

Under old methods cooks used chance
materials. Here seeds and soils are studied.
Materials grown to order. Then
analysis reveals their exact com-
positions.

Recipes used to be iiu x~c?
They werepleasingbuthaphazard
blends — never perfect, never
scientific. In the Van Camp
kitchens every formulais elaborate
and exact. Some cover pages
of minute instructions. On some
our experts have spent years.
Some have been perfected by a
thousand tests. And each insures
that a Van Camp dish never
varies an iota.

A score of details used to be
guessed at. Now every detail
has a scientific basis. The aim
of all is ideal quality and flavor and perfect digestibility.

As a result every Van Camp dish is a supreme creation. It

Pork&Beans &S5S2ES

Also Baked Without the Sauce

THREE SIZES

Prepared in the Van Camp Kitchens at Indianapolis

■ . :■

Van Camp's Pork and Beans

An economical dish, more nutritious
than meat, and made a delicacy

v"^§Niy!

Van Camp's Soups

Each made from a formula which noman
can improve. There are IS kinds

embodies every possible betterment. Some are ten times better
than old-time dishes. Each is a masterpiece of culinary art. We
urge you to make comparisons. See what vast difference these
new methods make. It will bring you new respect for the
technical schools of today.

Our Premier Creation

These expert cooks have specialized
on Van Camp's Pork and Beans. That
was always our premier dish.

Now the beans we use are grown on
special soils. Each lot is analyzed before
westarttocook, for each lot needs
a somewhat different treatment.
The water used is freed from
minerals. The beans are baked
by super-heated steam, to apply
a fierce heat without crisping.
But the steam doesn't touch the
beans.

The tomato sauce was per-
fected by testing 856 formulas.
It is unique in tang and zest
and flavor. It is baked with
the pork and beans, so every
atom shares it.

The result is mealy beans,
easy to digest. Beans uncrisped
and unbroken. And beans with
a wondrous savor.
Please order some now. They will be a revelation. Learn
how good this dish can be when properly prepared.

Van Camps Spaghetti

Made from a formula which we value at
$500,000. Italian style, bu! not Italianquality

Van Camp's Peanut Butter

Made from a lend of Spanish and Virginia

peanuts roL sled exactly right. It means

multiplied delights

When you write to advertisers please mention THOTOPLAY MAGAZINE.

1'noioPLAY Magazine — Advertising Section

aUXtSKt/nMotion/fdarer

The same attractions that have played to
$10,000, $12,000 and $15,000 per week at
America's finest theatres are now re created
in motion pictures. They are staged with
the lavish splendor that has always char-
acterized Charles Frohman enterprises. They
feature the talented players who originally
created the roles of Frohman Plays on the
speaking stage.

Among the stars and plays to be found in
Charles Frohman Successes in Motion Pic-
tures, now showing or shortly to be issued, are

ANNMURD0CK

'OUTCAST" "QUMPOSTOR,"
"% BEAUTIFUL ADVENTURE"

Qirededby DELL HENDERSON

"MY WIPE"
Virededby DELL HEHDEIHON

■<MCRESTGLRL"

DiKdedby ALBERT C4PMAM

/INN
MURDOCK

JULIA fANDERTON

SANDI:KSON

"QJ,e RUNAMyY"

®i reded by DELL HEHDERSON

OLIVE TELL

Vk UNFORESEEN"

Qirededbif JOHNBOmiEN

With an all-star supporting cast headed
by David Powell.

Stars you ordinarily pay $2.00 per seat to
see at the speaking-stage theatres are now to
be found in Charles Frohman Successes in
Motion Pictures at the best theatres every-
where. If you wanttosee these famous Froh-
man Plays in Pictures write the Mutual Film
Corporation, 220 S. State St., Chicago, 111.
Ask for Them at Your Favorite Theatre

Produced by

EMPIRE ALL-STAR CORPORATION

James M. Sheldon, Pres.

Distributed by

MUTUAL FILM CORPORATION

John R. Freuler, Pres.

&Q %

fe n«isa

i D""J

Christmas
Spirit

is best expressed
through a gift that
shows you thought of
what the recipient
would really want.

Your friend will ap-
preciate PHOTOPLAY
MAGAZINE for a
whole year. They will
remember that you
thought of what would
really appeal to them.

Each and every month a
better magazine and each
and every month a reminder
of your thoughtfulness.

That Boy in France

You are going to send him
something. Why not a sub-
scription to PHOTOPLAY
MAGAZINE. He will need
something to cheer him up
when off duty. Every issue
will be a reminder that you
are the thoughtful provider
of several hours of good read-
ing and interesting news.

To enable you to send this
gift subscription in a correct
and most attractive way, an
artistic Christmas Card has
been provided, stating that
PHOTOPLAY MAGAZINE
will be sent for whatever
period you desire. Your name
and Christmas greetings will
appear on this card, which
will be sent either to you or
to the recipient of the gift.

When you return coupon at-
tach a Postal or Express money
order or a Check. Better hurry.

Photoplay Magazine

350 North Clark Street
CHICAGO ILLINOIS

i
k

<^^f. \.4£^si

Christmas Subscription Coupon

Year, $2.00. Six months. $1.00. Three months, $.50.
Canada, $2.50 per year. Foreign Countries, $3.00 per
year. All subscriptions to our soldiers in France
at U. S. rates.

Photoplay Magazine 350 N. Clark St., Chicago

Gentlemen
Send to— Name

Enclosed find $ for

■LtMipth of subscription)

Address

From — Name.

Address.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

The Ultimate In

Motion Pictures

Genius - nothing less

MARY PICKFORD

"The World's Sweet-
heart"in"Rebecca of Sun-
nybrookFarm,^' "The Lit-
tle American." "The Little
Princess.''

GEORGE M. COHAN

chose Artcraft for his
screen appearance in
"Broadway Jones" and
"Seven Keys to Baldpate."

GERALDINE FARRAR

reaches millions with the
splendor of her screen act-
ing. Direction, Cecil B. De
Mille in "The Woman God
Forgot. "

is what Artcraft exacts. And the greatest of all
motion picture stars and directors come to this organ-
ize tion — ins tin c ti vely.

Artcraft reflects their own high ideals — that is why.
It realizes their need of a uniform standard in photo-
plays, which means to the public something better
and finer,

Just as the painter recognizes his final attainment in
the acceptance of his picture by the Louvre or Met-
ropolitan Museum of Art, so the artist of the screen
reaches his or her finest triumph when allied with
the Artcraft name.

AETCBAFT
PICTUBES

And just as there is one Louvre in Paris— one Met-
ropolitan Museum of Art in New York— so there is
in almost every community one theatre of highest
artistic standards where is visualized the best in fic-
tion on the screen. These pictures bear the Artcraft
signature.

Have you found the Home of Artcraft Pictures? It
is easy to find for it shines forth like a flawless gem
in the night life of your city.

CECIL B. DE MILLE

For years with David Belasco, he
reflects that master's great tech-
nique— plus his own advanced
ideas. "Joan the 'Woman," that
masterpiece production, showed
him at his best.

DAVID WARK GRIFFITH

The whole world knows him as the
creator of "The Birth of a Nation"
and "Intolerance." Mr. Griffith is
now at the European battlefront, en-
gaged upon the greatest of all war
pictures, under the auspices of the
British War Office.

DOUGLAS FAIRBANKS

in the Artcraft successes,
"In Again. Out Again,"
;|Wild and Woolly,"
"Down to Earth." A cork-
ing new one coming.

ELSIE FERGUSON

The screen 'find" of the
year in the Artcraft play,
'Barbary Sheep, "from the
novel by Robert Hichens.

WILLIAM S. HART

Greatest screen 'Western-
er of all. See "Bill" Hart
in "The Narrow Trail,"
directed by Thomas H.
Ince.-

THOMAS H. INCE

has built up a producing organiza-
tion which long has been regarded
as exceptionally efficient. Mr.
Ince will personally supervise the
William S. Hart productions for
Artcraft Pictures Corporation.

Write for Portfolio containing handsome Rotogravure portraits of all the Artcraft Stars— suitable for framing
We shall gladly send you a copy if you will send us your name and address on the accompanying coupon

-with ten cents in stamps for postage.

ABTCBAFT PICTUBES OOBPOMTION

s' Artcraft
• "* Pictures

* Corporation

s' 729 Seventh Ave.
," New York, N. Y.

-> Enclosed find ten cents

' in stamps. Please send me
Portfolio of the Artcraft Stars.

Namc-

729 Seventh Avenue, New York City

Controlled by FAMOUS PLAYERS -LASKY CORPORATION

ADOLPH Zt.'KOR, 1'rea. JESSE L. LASKV. Vice-Pres. CECIL B. DE MILLE, Director-General

Address-

City and State..

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Herbert Brenon

presents

BRENON PRODUCTIONS
Ibso/iaZ/i/ ■ ty/rec/oi/ fly _ */r. Srenon

4*r^& ;-.->

Burt Lytell
who enacts

Takes you
down into the
East Side that
modern Babel,
where crime
flourishes like
ragweed in a
neglected gar-
den; where
hopes and am-
bitions are bur-
ied behind the
walls of misery;
where beauty
and purity are
sold thru bitter
poverty; down
there where
"Empty Pock-
ets" spells its
worst.

Empty
Pockets

Rupert Hughes

1 : i • i \- advertisement In PITOTOn.AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

"Look at Him Today ! "

"Six years ago he started in here just as you are doing. Now he's General
Manager and makes more in a day than he used to make in a week. I'll tell you
how he did it. The first week he was here he began to. train for the job ahead
by studying in spare time with the International Correspondence Schools.
Inside of six months he got his first promotion. But he kept right on with the
I. C. S. I tell you a man like that is bound to get ahead. Some day he'll be
President of the Company. You've got the same chance he had, young man,
and if I were you I'd follow his example. Take up some I. C. S. course and do
it right away. Use your spare time. Study. What you are six years from now
is entirely up to you."

This is the story of thousands of successful men. They did their work well,
and in spare time, with I. C. S. help, trained themselves for advancement.
That's the thing for you to do.
Whatever your chosen work may
be, there is an I. C. S. Course that
will prepare you right at home for
a better position with bigger pay.

More than 100,000 men are
getting ready for promotion right
now in the I. C. S. way. Let us tell
you what we are doing for them
and what we can do for you. The
way to find out is easy. Just mark
and mail this coupon. It won't
cost you a cent or obligate you in
the least, but it may be the first step
toward a bigger, happier future.
Don't lose a minute. Mark this
coupon and get it into the mail
right now.

- — " — — — — — TEAR OUT HERE — — — — — — .

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6478, SCR ANTON, PA.

Explain, without obligating me, how I can qualify for the position, or in the
subject, before which I mark X.

□ advertising

□ salesmanship

□ Traffic Management

□ BUSINESS (Complete)

□ Commercial Law

□ Certified Public Accountar

□ Higher Accounting

□ Railway Accountant

□ bookkeeper

□ Stenographer and Typist

□ Good English

□ Window Trimmer

□ Show-Card Writer

□ Sign Painter

□ CIVIL SERVICE

□ Railway Mail Cl.rk

□ Mail Carrier

□ cartoonist

C Illustrator

C PerspectiTe Drawing

□ Carpet Designer

C Wallpaper Designer

□ Bookcover Designer

□ TEACHER

□ Common School Subjects

□ High School Subjects

□ Mathematics

□ automobile operating

B Automobile Repairing
Auto. Electrical Work

□ ELECTRICAL ENGINEER

□ Electrician

C Electric Wiring

C Electric Lighting

C Electric Car Running

□ Heavy Electric Traction

□ Electrical Draftsman

□ Electric Machine Designer

§ Telegraph Engineer
Telephone Work
ARCHITECT

□ Architectural Draftsman

□ Contractor and Builder

□ Building Foreman

□ Carpenter

□ Concrete Builder

□ PLUMBER* STEAM FITTER

□ Heating & Ventilation

□ Plumbing Inspector

□ Foreman Plumber

□ CHEMIST

□ Analytical Chemist

□ MINE FOHEMANOHENClNKUt

□ Coal Mining

□ Metal Mining

P Metallurgist or Prospector
U Assayer

□ TEXTILEOVERSEERORSl l-l.

□ Cotton Manufacturing

□ Woolen Manufacturing

S MECHANICAL ENGINEER
Mechanical Draftsman

□ Machine Designer

□ Machine Shop Practice

□ Boilermaker or Designer

□ Patternmaker

□ Toolmaker

□ Foundry Work

□ Blacksmith

□ Sheet Metal Worker

□ STEAM ENGINEER

□ Stationary Fireman

□ MARINE ENGINEER

□ Ship Draftsman

□ GAS ENGINE OPERATING

□ Refrigeration Engineer

□ CIVIL ENGINEER

□ Surveying and Mapping

□ R. R. Constructing

□ Bridge Engineer

□ Structural Draftsman

□ Structural Engineer

□ Municipal Engineer

□ NAVIGATION □ Spanish

□ Motor Boat Hnnn'g □ French

□ AGRICULTURE □German

□ Fruit Growing □Italian

□ Vegetable Growing

HUive Stock & Dairying
POULTRY RAISER

Name

Occupation
and Employer-

Street and No..

Clty-

When you write to advertisers jjlc-ase mention PHOTOrLAY MAGAZINE.

Photoplay Magazine — Advertising Section

YOUNG MAN, the fastest growing
profession of all — needs you. The
most Profitable and Fascinating
Business on Earth— WANTS YOU. I
will train you to become an Electrical
Expert in a few months' time. My
graduates hold the best positions.

Practical Training

IN YOUR OWN HOME

I'll teach you by mail what a practical Elec-
trical Engineer must know. I'll train you in
the necessary theory and the actual practice of
Electricity. My simplified course is just what
you have hoped to find. It is broad, deep and
full. It is thorough and practical. Don't be
afraid that Electricity is too hard for you. My
course simplifies the subject, tells about it
in plain words, and illustrates everything.
I will teach you until you Know you Know.

ELECTRICAL
OUTFIT

I will furnish you with a splendid outfit of
Electrical Tools and Materials, absolutely free.
With these tools and materials you can start
right out and do Electrical jobs for money dur-
ing your spare time. This outfit is valued at $17.

WRITE ME TODAY

I am Chief Engineer of the Chicago Engi-
neering Works. I want to send you my won-
derful book of "Electrical Opportunities." Now
be prompt, and I will send you this book free —

ADDRESS

MR. L. L. COOKE, CHIEF ENGINEER
Room 123-39 E. Illinois St. CHICAGO. ILL.

FREE

High School Course

In Two Yeats ft-ft-ft!

Here la a thorough

you can complete in t . . .

Prepared by leading professors in un.

plete. simplified HlR-h School Course that
Meets cullesre entrance requirements,
rsities and academies.

Don't Stop Growing!

Keep on going? Train your brain! Broaden
yiiur mental vision! A hi^h school educa-
tion multiplies your chances for success in
business or social life.

Study this intensely Interesting course In
Idle hours at home without interfering with
your regular work. "Cash in" on your
natural ability.

High School Book Free

Send your name and address on a letter or
post-card and get our new 24-page Illus-
trated Book. No ol- ligation. It is abso-
lutely free. Write today,

American School of Correspondence
Dept. P1539 Chicago, Illinois

Make up

for Lost
Time!

Men and women who
were denied a high-
school training can
"catch up" by tak-
ing this simplified
course at home.
Hundreds have prof-
ited by this remark-
able opportunity.

A I VIF'ftlF SCHOOLS— E.t. 20 Years
Jr\lJiV llLii 1 Hi The Acknowledged Authority on

The Acknowledged Authority on
DRAMATIC
STAGE"
THOTO-PLAY

AND
DANCE ARTS

Each department a laree school in
itself. Academic, Technical and
Practical Training. Students' School
Theatre and Stock Co. Afford New
York Appearances. Write for cata-
logue, mentioning study desired.

A.T. IRWIN, Secretary
225 West 57th Street, near Broadway, New York I

Earn$25toi00aWeek

Motion Picture, Studio and Commercial*
Phototrraphers earn hifr money. Big onportu-*
in ties nnw.You can qualify for this fascinating }

profession. Aa^

LEARN PHOTOGRAPHY , . \ A

Three months' course covers all / i\l

branches. Experts train you in new, / /
Up-to-date .studios. Davor evening /-J

classes. Easy terms. CnU or wrlti

for free booklet.

N. V. INST. OF PHOTOGRAPHY
Dept. 312, 141 W. 36th St.. N.Y. City ^.

All that Can Be Taught on

PHOTOPLAY
WRITING

Now Ready — Fifty Cents

Captain Leslie T. Peacocke's remarkably pop-
ular book on the craftsmanship of scenario
writing. It is a complete and authoritative
treatise on this new and lucrative art. This book
teaches everything that can be taught on the subject.

Written by a master craftsman of many years1
experience in studios. It contains chapters on con-
struction, form, titles, captions, detailing of action;
also a model scenario from a library of scripts which
have seen successful production.

This book will be of especial value to all who
contemplate scenario writing, and who do not know
scenario form. In other words, it will be invaluable
to the man or woman who has a good story, but who
doesn't know how to put it together.

The price is 50c, including postage charges.
Send for it today.

Photoplay Publishing Company

Dept. 10E 350 North Clark Street CHICAGO

Every advertisement Ln i'llOTOPLAY MAGAZINE is guarameed.

Photoplay Magazine — Advertising Section

Compare It With a Diamond

Solid Gold
Mountings

Send the coupon NOW ! Send no money. Tell us which ring you prefer. We'll send it at
once. After you see the beautiful, dazzling gem and the handsome solid gold mounting— after
you have carefully made an examination and decided that you have a wonderful bargain and
want to keep it, you can pay for it in such small easy payments that you'll hardly miss the
money. If you can tell a TIFNITE GEM from a genuine diamond, or if, for any reason at
all, you do not wish to keep it, return it at our expense.

Remarkable New Discovery

Flat Belcher Ring

Ladies' Ring

No. 2. Solid gold mounting.
Has a guaranteed genuine
Tifnite Gem almost a carat in
size. Price $12.50; only $3.50
upon arrival. Balance $3 per
month. Can be returned at
our expense within 10 days.

Tooth Belcher Ring

Just send coupon. Send no reference, no money, no obligation to you
in any way! You run no risk. The coupon brings you any of the exquisitely
beautiful rings shown and described here for 10 days' wear free. Be sure
to enclose strip of paper showing exact finger measurement as explained.

Send No Money

Mail This Coupon s»r* l

Send now and get a TIFNITE GEM on this liberal offer. /
Wear it for 10 days on trial. Every one set in latest style #
solid gold mountings. Decide then whether you want to keep it W

Dr not. Send for yours now— today— sure. Send no money. #

The Tifnite Gem Company /

How to Order Rings To Bet the r'x^ht. size

® ring, cut a strip ot
heavy paper so that the ends exactly meet when
drawn tightly around the second joint of finger on
which you want to wear the ring. Be careful that
the measuring paper fits snugly without overlap-
ping, and measure at the second joint. Send the
strip of paper to us with order coupon.

Mail This Coupon

THE TIFNITE GEM CO.

Rand McNally Bldg., Dept. 276, Chicago, 111.

Send me Ring No on 10 days' approval.

Iln ordering ring, l>e sure to enclose size as described above.]

If satisfactory, I agree to pay $3.50 upon arrival: and bal-
ance at rate of $3.00 per month. If not satisfactory, I will
return same within ten days at your expense.

Rand McNally Bldg.

Dept. 276

Chicago, 111.

Address

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

U(7he Starr
As 7ihet/Are

Twelve single-reel peeps into the
lives of the shadow players —
a new high-class subject every
month, beginning soon ! The title :
PHOTOPLAY MAGAZINE
SCREEN SUPPLEMENT. Pic-
ture the contents of Photoplay
Magazine — the world's leading
motion picture magazine — come
to life, and you will appreciate the
treat that awaits you in Photoplay
Magazine Screen Supplement.
Imagine how you will enjoy seeing
"off-the-screen" motion pictures
depicting such favorites as William
S. Hart, Charlie Chaplin, Henry
Walthall, Mary Charleson, Bessie
Love, Edith Storey, and a host of
others — many stars in each release.

Ask the manager of your favorite
theatre when the first one will
be shown. Urge him to screen it.

Photoplay Magazine

Chicago, Illinois

Every advertisement in I'UOTOI'LAY MACAZIXE is guaranteed.

Photoplay Magazine — Arvertisinc Section

Theatres all over the United States and Canada will soon be
showing Photoplay Magazine Screen Supplement — a novelty in
motion pictures. You'll want to see it without fail — for it's
literally Photoplay Magazine come to life on the screen — all
your favorites in motion pictures doing the things of which you
have read in Photoplay Magazine. To make sure of seeing it,

Ask the manager of your favorite theatre today

when he's going to show it. Don't be satisfied with any kind of a
promise. If enough regular readers of the magazine insist upon
seeing it, the theatre manager is going to be just as anxious to
present, as you are to see, Photoplay Magazine Screen Supplement.

Photoplay Magazine

When you write to advertisers please mention PHOTOPIAY MAGAZINE.

Photoplay Magazine — Advertising Section

j4><4>

My friends asked me to
write a book. I did. It's
not a book of jokes, but
a message from me to you.

Laugh and Live

Is the name of his new book

DOUGLAS FAIRBANKS set the world to
laughing and has kept himself happy and
well. His book will inspire you. It gives life
a new meaning. You will find it most helpful
towards your own success and happiness.
Beautifully illustrated with eighteen intimate
action photographs of the author. It is like
a charming visit with one of the most admired
and best loved men in public life. Here's
what the country thinks of "Laugh and Live.79

The Los Angeles Times say s "Douglas
Fairbanks' 'Laugh and Live* gives
something practical to live by. It is
clean, inspirational, and bubbling
over with good humor,"

The Pittsburgh Leader says : "It is
for people of all ages, — young men
starting out — and their elders of
both sexes who have need of the
right sort of optimism. "

The Spokesman Review says: "Doug-
las Fairbanks lives the life he
preaches, consequently it will ap-
peal as well as invigorate. It is
just the book for young men >tart-
ing out in life."

The Springfield Union says: "If this
great inspirational book doesn't
develop into the finest sort of best
seller the American public is losing
its taste."

For sale everywhere. Library edition $1.00 net.

Special bindings— Khaki for the boys going to the front(fits the pocket)

$1.00 net. Leather (boxed) $2.00 net. Ooze (boxed) S2.50 net.

Postage extra 10 cents.

Get it.

Read it.

BRITTON PUBLISHING CO., N. Y.

books
over here

are picked to please three
totally different moods that
,most everybody has.

If you care for superb fiction read

THE ROAD OF AMBITION

a great novel by ELAINE STERNE
of which the New York Tribune says:
"TT'S a big story about a
A big man who did big
things in a big way."

A story that casts a verit-
able spell over the reader.
A man's book — a woman's
book — a story for both the
masses and the classes.

Over 300 literary editors praise
this novel. Here is what a few of
them say about this great book.

The Pittsburgh Press says: "One is
owed by the bigness and vitality of
this book which fairly shakes with
power. It is the bestnovel in years."
The Atlanta Constitution says: "Miss
Sterne has written a great big
American novel of wonderful mag-
nitude about a real man."

The New \ork World says: *'A story
vividly and richly human, dash-
ing, completely convincing."
The Philadelphia Press says: "It is
seldom that a novel is character-
ized by such a keen sense of dra-
matic values, deftness in dialogue,
and skill in characterization."

All Bookstores Price $1.35 net—Postage 12 cents

THE CASE OF MARY
SHERMAN

by Jasper Ewing Brady

If you like a rapid fire
romance full of mystery —
love — fight — detective work,
this is your book.

All Bookstores 81.35 Net

Postage extra 12 cents

A THOUSAND WAYS TO PLEASE
A HUSBAND

A Wonderfully Pleasing Gift Book
by Louise Bennett Weaver and Helen Cowles Le Cron

AN instantaneous hit because, under the guise of
romance a most delightful and unusual cook book
comes into being. Running through it is a little story
about "Bettina" and how she made a real home for her
"Bob." It's

The Romance of Cookery
and the inspiration of housekeeping

It's all sensible, simple and
precise — you can't go wrong —
and best of all it's very econom-
ical and not full of scientific
terms like "proteids," "calor-
ies" and words like that.

Tells two people in particu-
lar and small families in gener-
al exactly what to do and how
to do it.

479 pages Extra illustrated $1.50 net Postage 12 cents

BRITTON PUBLISHING CO., N. Y.

Annie Fellows Johnston's "Georgina of the Rainbows"
now selling in beautiful popular edition — 60 cents.

Every advertisement in PHOTOPLAY MACAZIXE is guaranteed.

Photoplay Magazine— Advertising Section

£?»*-

i •■!

is»

Direct From
The Factory

To Save You $51

Brand New Oliver Typewriters for Half What They Used to Cost.
Latest and Best Model. Sold Under a New Money-Saving Plan. Five
Days' Free Trial. No Money Down — No C. O. D. Over a Year to Pay.

Was
$100

OUVER

Over 600,000 Sold

This is the offer of The Oliver Typewriter Company
itself— a $2,000,000 concern.

The Oliver Typewriter Company gives this guarantee:
The Oliver Nine we now sell direct is the exact machine
— our Model No. 9 — which was formerly priced at $100.

We will send you an Oliver Nine
direct to your office or home for five
days' free trial ; it does not cost you
a cent. Nor are you under the
slightest obligation to buy.

We give you the opportunity to be
your own salesman and save $51. You
are the sole judge. There are no
salesmen to influence you.

If you decide to keep the Oliver,
pay us at the rate of $3 per month.
If you do not wish to keep it, we even
refund the transportation charges.
That is all there is to our plan. It
is simplicity itself.

We do not offer a second-hand nor
rebuilt machine. So do not confuse
this new $49 Oliver with other offers.

The $51 you now save is the result of
new and efficient sales methods.

Formerly there were over 15,000
Oliver salesmen and agents. We had
to maintain expensive offices in 50
cities. Other costly and roundabout
sales methods kept the price of type-
writers around $100.

By ending all these wastes and adopt-
ing a new plan we save the American
public millions of dollars.

How to Save

This is our plan : You may have an
Oliver for free trial by answering this
advertisement.

Or if you wish further information,
check the coupon.

Used By Big Business

It is the same commercial
machine used by U. S. Steel Cor-
poration; National City Bank of
New York ; Montgomery Ward &
Co.; Curtis Publishing Co.; Pennsyl-
vania Railroad; Hart, Schaffner &
Marx; Morris & Company; Baldwin
Locomotive Works; Ward Baking
Company; Jones & Laughlin Steel
Company; Western Clock Company
— "Big Ben"; Encyclopaedia Britan-
nica; and a host of others. Over
600,000 have been sold.

A Favorite

This standard keyboard, visible
Oliver has long been the world's
model. If you remember, Oliver
introduced visible writing.

Year after year, Oliver invent-
ors have set the pace. Today's
model — the Nine — is their greatest
achievement.

Any stenographer may turn to the
Oliver and operate it like any other
machine. In fact, its simplicity rec-
ommends it to people who have never
used a typewriter before.

This Oliver Nine is the finest, the
costliest, the most successful model
we have ever built. If any typewriter
is worth $100, it is this handsome ma-
chine— the greatest Oliver triumph.

Regardless of price, do not spend one
cent upon any typewriter, whether new,
second-hand, or rebuilt — do not even

rent a machine until you have investi-
gated thoroughly our proposition.

It is waste, and therefore unpatri-
otic, to pay more than $49 for a brand
new, standard typewriter.

The Oliver Typewriter Company, by
this great, money-saving, price-re-
ducing plan, is entitled to your first
consideration.

Note the two-way coupon. Send at
once for the free-trial Oliver, or for
our startling book entitled "The High
Cost of Typewriters— The Reason and
the Remedy."

This amazing book exposes the fol-
lies of the old selling plans and tells
the whole story of the Oliver Rebellion.
With it we send a new catalog, pictur-
ing and describing the Oliver Nine.

Don't turn over this page without
clipping the coupon.

Canadian Price, $62.65

The Oliver Typewriter Company

1479 Oliver Typewriter Bldg., Chicago, 111.
*******

Take Your Choice

Check the coupon for the
Free Trial Oliver
or for the Book.
Mail today.
You are not ob-
ligated to buy.

FREE
TRIAL

T h is Counon I s Wo r t h $ 5 1

The Oliver Typewriter Company

1479 Oliver Typewriter Bld«., Chicago, III.

□ Ship me a new Oliver Nine for five days'

free inspection. If I keep it, I will pay $49

at the rate of $3 per month. The title to remain
in you until fully paid for.

My shipping point is

This does not place me under any obligation
to buy. If I choose to return the Oliver, I will
ship it back at your expense at the end of five days.

□ Do not send a machine until I order it. Mail
me your book — "The High Cost of Type-
writers—The Reason and the Remedy," your de
luxe catalog and further information.

Name

Street Address

S City State.

write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

J *<& - .*^f

Sunlight can be fend

or crue

Strong sunlight is the real proof of your skin's beauty. At night,
under soft shaded lights, you may succeed in making your skin ap-
pear attractive, but how does it look by day?

AN you face the strong sun-
light with confidence?

Is your skin so fine in texture,
so soft and clear that you do not
hesitate to be seen with your face
bathed in sunshine? Scientists say,
strong sunlight is a thousand times
stronger thanordinary electric light.

You can look well in
daylight, too

There is no reason why your
skin should not be clear and love-
ly, always.

The Woodbury treatments are
based on this fundamental fact:
every day a change takes place in
your skin. The old skin dies, new
forms. This new skin, when treat-
ed by the lather of Woodbury's
Facial Soap, can be rendered de-
lightfully clear, smooth and free
from all blemishes.

If you want to know how beau-
tiful your skin can be — not only
at night — but in the daytime, too

— just try the following treatment
tonight.

Follow these directions
carefully

Just before retiring, wash your
face and neck with plenty of
Woodbury's Facial Soap and warm
water. Work up a good soapy
lather in your hands and rub thor-
oughly into the pores, using an
upward and outward motion. Do
this until the skin feels somewhat
sensitive. Rinse well in warm
water, then in cold. If possible, rub
your skin for five minutes with a
piece of ice and dry carefully.

This Woodbury treatment, used
nightly, should produce a marked
improvement in a week or ten
days. If kept up regularly, it will
soften and beautify the very tex-
ture of your skin — and give you a
complexion you will be proud of!

You can secure Woodbury's
Facial Soap at your druggist's, or

at any counter where toilet prep-
arations are sold.

Send for this booklet and
sample cake

The many Woodbury treatments for
the various troubles of the skin are all
given in the booklet "A skin you love
to touch." This booklet is wrapped
about every cake of Woodbury's Facial
Soap. For 4c we will send you this
booklet and a cake of Woodbury's Facial
Soap large enough for a week of any
Woodbury treatment. Write todny!
Address The Andrew Jergens Co., 512
Spring Grove Ave., Cincinnati, Ohio.

If you live in Canada, address The
Andrexv Jergens Co., Ltd., 512 Sher*
brooke Street, Perth, Out.

A-

sKlN

^-T^V^ 1

r°u

For sale wherever toilet goods are sold

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

TT 7 HEN May Allison was born on a Kentucky plantation not so many years

W ago she chose some of our v. b. (very best) Southern families as relatives.

Until recently, she co-starred with Harold Lockwood in Metro Productions.

■»

*>?

— au

^M^W^^^M^^

PHOTQ BY ALFRED CHENEY JOHNSTON

' / f ^-S* fomg a company of yoivr own isn't all ice cream and cake. And it seems

J. to affect the acting. Clara Kimball Young has been the stormy petrel of

the film industry of late, but she's making pictures again, we've been told.

FOU, red-headed, freckle-faced child of the mountains, far from a ranWoad
— cheer up. Pearl Wlvite was there once. Now she has fame and fortune,
and she's mighty easy to look at too. She dreamed big dA'eoAns—amd ivorked.

PHOTO BY ALFRFI) CHENEY JOHNSTON

T J NLIKE the girl on the preceding page, Evelyn Greeley succeeded in spite
kJ of wealth and social position. She started doing "bits" for Essanay, and
she did 'cm so well that now she's starring in World pictures, and shining brightly.

^WA^^A^WAWAW'AWA^^WAWAW^X

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

PHOTOPLAY

VOL. XIII

DECEMBER, 1917

NO. 1

The Happy Ending

C>iVEKY human action is based upon the desire for happiness.
/^ The baby cries for something it thin\s will ma\e it happy; the
^^ miser hoards his gold because he thinks it will ma\e him happy.

~Njjwhere in the world is this desire more intense than in America.
This continent, from its discovery, has been peopled by men and women
who came to its shores believing happiness nearer of attainment under its
free s\ies.

Americans believe happiness not merely desirable, but possible. Many
have achieved it. It has become the national ideal.

Consequently, American art, to reach the hearts of Americans, must be
happy art. Good must triumph over evil. Love must find a way.

Hence — the happy ending.

The moving picture, coming closer to the millions than any other form
of art, was quic\ to reflect the universal demand. Creators of the photo'
play soon learned that their wor\ succeeded best when it depicted happiness
resulting from some sort of struggle.

In the older, European civilizations, the millions are not so certain of
the fulfillment of the great desire. Battling for centuries, for the most part
unsuccessfully, against oppression, their art has ta\en upon itself a tragic
color. The European novel, painting, drama, and lately the cinema, is
tinged with pessimism.

The American artist and author holds the European art traditions
in highest reverence. And so it is, that upon the older forms he has
endeavored to engraft the newer faith. He has not learned the technique
of happy art.

This, and this alone, is why the happy endings of so many moving
pictures seem banal and sentimental.

There is nothing wrong with the happy ending. The fault lies with
the craftsman.

This, then, is the mandate of America to the photoplay — to exercise its
high privilege and opportunity of ma\ing an art of happiness, and a
happiness of art.

wwtftfN-ywyyvwwwwMfflNtfM

Petrova—

Prophetess

Randolph
Bartlett

"The world is spirit-
ually hungry-starving.
I believe the moving
picture can bring to
these millions some-
thing tangible upon
which to build a new
hope - a new faith. "

If we want to find real
religion, real devotion
to the established relig-
ious ideals, we must go
to India, China, Japan.

PETROVA," I said, "is a clever woman."
My friend the Low Brow looked up from his beer
with an expression of disgust.

"Where do you get that stuff?'' he demanded. Then,
pounding the mahogany, "Here's what I call a clever
actress. They bring her word that her sweetheart has been
nabbed by a gang of bad men. She tears her hair and
mygods a few minutes. Then out she goes, grabs a horse —
no saddle mind — and off to the cave. Then she shins down
a rope over a precipice, sneaks to her sweetheart, cuts the
ropes, hands him a gun, and they fight their way out.
Could Petrova do that?"

"No," I admitted. "Neither could Bernhardt."

"Who's Bernhardt?"

"The world today is engulfed in mockery," said Madame
Petrova to me, a few days later. "The people mock at the
institutions they have themselves created. They poke fun
at their political leaders in cartoons. They make jokes
about the war, even. And if we want to find real religion,
real devotion to the established religious ideals, we must
go to India, China, Japan. The world is spiritually hungry
— starving. I believe the moving picture can bring to these

millions something tangible upon which to build a new
hope, a new faith."

I thought of my friend the Low Brow. I thought of
most of the pictures I had seen recently. I thought of their
producers. I thought of the main topics of conversation
on the picture rialto — open booking, the program, the star
system, percentages, broken contracts, million-dollar
salaries. I tried to think of someone else who had said
something similar, and could remember not one. Did this
prophetess stand alone?

She did not look the martyr as she sat there, talking
earnestly, and always quietly. She did not appear the
fanatic. She was gowned with as keen an appreciation of
the art of dress as any woman then dining at the Plaza,
next door. She was not even what one would call an
emotional type. Her eyes sparkled with humor and dark-
ened at once to seriousness again. She was intensely in
earnest. Doubtless I was right — Petrova was a clever
woman, but she was more. A merely clever woman can
make a career which satisfies her completely, without half
the trouble Petrova is taking. Behind her cleverness was
sincerity — linked inseparably to her brain, a heart. Then

Photoplay Magazine

'"Last summer I-went
to Maine for a vaca-
tion with Mrs. Clif-
ton, my scenario
writer."

Mine. Petrova is not
what one would call
the emotional type.
Her eyes sparkle with
humor and darken
at once in seriousness
again.

what was it that she had found
in two great picture corpora-
tions which caused her to
abandon engagements which
many a star more popular
with the masses would have
jumped at, to undertake the
arduous task, as well as as-
sume the risk, of producing
her own photoplays? Perhaps
a glimpse at her personal
history may give a clue.

Olga Petrova was born in
Warsaw, of. Russian-Polish
parents. Her childhood was
passed principally in Brussels,
Paris and London. As she
reached womanhood, she
moved in fashionable circles
— how fashionable may be
guessed from the circum-
stances of her theatrical debut.
It was in the private theatre
of the late Marquis of Angle-
sey where she played opposite
the marquis, 'a thespian dilet-
tante, for mutual friends.
More than ever determined to
adopt a stage career, she made
certain sacrifices, and found
an engagement.

She succeeded and decided
to try for a broader field in
America. She made her debut
in 'Panthea," followed with
"The Revolt," and then, not
satisfied with any play avail-
able, decided that if she could
not get the roles she wanted,
she would rather take what
she could get in pictures than
behind the footlights. She
made a long series of pictures
with Metro, and upon the ex-
piration of her contract joined
Lasky. Complications arose,
and the contract was can-
celled. Xow she is producing
for herself, assuming full
charge of every detail of her
operations.

Petrova— Prophetess

Mme. Petrova, at her studio, dis-
cussing a point in the scenario
with her director, George Irving.

The secret then is this: The European
actress, and there are some in America too,
is not satisfied with mere financial success.
She will not play parts she does not like.
And Petrova is even more than an European
actress — she is a born aristocrat of extraor-
dinary talent. And the ambition of this unusual woman?

"I want to portray strong women," she says. "I do not
mean by a strong woman one who is merely persistent in
saying 'No' to temptation. That can be either strength,
stubbornness, or cowardice. The strong woman is she who,
having said 'Yes,' goes through with it unflinchingly. When
unexpected developments arise, when the day of payment
comes, when she suffers, she does not whine and cry, T
couldn't help it. It wasn't my fault.' She stands erect
and says, 'Yes, I did it. And in similar circumstances I
would do it again.' Isn't that what a strong man would
do? And shouldn't women be as strong as men?

"I am a feminist. By that I do not mean that women
should try to do the work of men. They should merely
learn to do their own work, live their own lives, be them-
selves, with all the strength that is in them. They should
not be clinging vines, blaming men for all the ills that befall
them, and forced to acknowledge men as the source of all
their good fortune and happiness."

"But coming back to pictures — "

"We haven't been away from them," replied Madame,
with a smile.

As a matter of fact we hadn't, for as the
greater number of stars are women, so even
as the character of the principal woman in
the story, so is the picture.

"Mind you," she added, "I have no quarrel
with the delightful, conventional leading
woman or pretty little ingenue. They are all
charming. The world always will seek en-
tertainment from such types because they
reflect the commonest of all desires. But I
do not believe that plays in which such characters pre-
dominate can ever serve to allay that spiritual hunger of
which we were speaking. They lead us nowhere. They
merely tell us what all thinking persons know is not true
— that in romance there is happiness, and that the supreme
events in life are usually accidents. Nor do they work any
harm since for the very reason that they are romantic and
not real they do not establish false values. They just
entertain and charm us."

"Then in your own pictures — "

'Don't speak of them, please. And pray do not imagine
that I am so blind as to think that I have overcome the
thing I am criticizing. In only one picture in which I have
ever played am I not ashamed to have my name appear,
'The Undying Flame.' In 'Exile' too there was an approxi-
mation of that at which I am aiming."

"What was the difficulty? Wouldn't the producers give
you the stories you wanted?"

"Give them to me? They couldn't get them. They
hunted, and I hunted, for stories, stories, stories. In sheer
despair I began to write my own. They were far from my
(Continued on page 112)

Announcement

Two of the four prize winners are
nouu being made into photoplays

Fil

of Winners
Corporation

H. O. Davis, vice-president and general manager of the Triangle Film Corporation.

WE offer our heartiest congratulations to the win-
ners of the prizes in the Photoplay Maga-
ziNE-Triangle Film Corporation scenario con-
test.

Over 7,000 scenarios were submitted in this contest,
and we hardly need to say how prodigious has been the
task of selecting from these 7,000 the four that were
best. But Mr. H. O. Davis, vice-president and general
manager of the Triangle Film Corporation, has made good
on his promise to give us the news for this issue, working
overtime to do it. Everything has come by means of
telegrams as there wasn't time to wait for the mails.
The magazine is going to press as this article is being
written and for that reason we can't tell you very much
this month about the prize winners. We'll give you what
we have learned at the last minute, and next month we'll
try to do better.

Mrs. Kate Corbaley, who wins the first prize of $1,000,
is the wife of a successful construction engineer, and the
mother of four beautiful children. Although she lives in

Los Angeles, the world's film capital. Mrs. Corbaley has
never been in a motion picture studio, nor has she ever
met a player. So you see, any sort of initiation is not
essential to success, for Mrs. Corbaley has sold several
comedies to the Sidney Drews although she has only been
trying to write scenarios for a year and a half. She says,
'The trouble with most photoplays we see is that they are
just motion pictures. I have tried to write about real peo-
ple, acting as real people would act in real life.''

That she succeeded is especially indicated by Mr. Davis'
comment regarding her play, "Real Folks.'' — "It is a story
of American life which for sheer characterization recalls
the wonderfully distinct types of William Dean Howells'
novels."

Mrs. Corbaley is a graduate of Stanford University, and
is a daughter of California pioneers.

The winner of the second prize of S500, Katherine
Kavanaugh, was formerly leading woman with Valerie
Bergere, in vaudeville, is thirty-five years old and admits
it. She has been writing photoplays for one year and in

in the Photoplay-Triangle
Scenario Contest

Selections prove that best
stories come from real life.

that time has sold six. Two of hers, "The Wheel of the
Law" and "Peggy, the Will o' the Wisp" have been pro-
duced. She has also written for the vaudeville stage. In
"Betty Lends a Hand," the part of Betty will be taken by
Olive Thomas, the famous beauty, and former Follies star.

Now we have a story
which will surely spell
wonderful encourage-
m e n t to the faint-
hearted. Mabel Rich-
ards, who is going to be
surprised by a check for
$300, never wrote a
photoplay before in her
life. She saw the an-
nouncement of the com-
petition in the Photo-
play Magazine, and
conceived "The Tree of
Life." She is a girl in
her twenties, and goes
to work every morning,
just like thousands of
other girls in moderate
circumstances. Miss
Richards is a stenog-
rapher and has for
years cherished an am-
bition to be a short
story writer. She has
worked diligently along
these lines, but without
success, hardly encour-
agement. The photo-
play opens for her a
new field of endeavor.

Mrs. Byrd Weyler
Kellogg, the winner of
the fourth prize of
$200, sends us a tele-
gram which is about as
illuminating a bit of
"color" as we've ever
seen. We quote it ver-
batim: "Age thirty-six.
Newspaper aspirations
killed by matrimony.
Occupation, mothering

family. Recreation, amateur theatricals. Husband banker.
'Skipper Fly' conceived with the desire to give mature
bachelors a chance on the screen."

Honorable mention has been awarded seven other stories,
some of which will be purchased by the Triangle Film Cor-
poration. They are "His Brother's Keeper," by Frances

The Winners

First Prize, $1,000

"Real Folks"

KATE CORBALEY, 2227 West Twenty-fourth St.,

Los Angeles, Calif.

Second Prize, $500

"Betty Takes a Hand"

KATHERINE KAVANAUGH, 3434 Belair Rd.,

Baltimore, Md.

Third Prize $300

"The Tree of Life"

RICHARDS, 3402 Flournoy Street,
Chicago, 111.

MABEL A.

Fourth Prize, $200

"The Moth and the Skipper Fly"
MRS. BYRD WEYLER KELLOGG, 1006 Hum-
boldt Street, Santa Rosa, Calif.

E. Russell, Marquette, Mich.; "The Panther,-' by Clara
McCorkle. Seattle, Wash.; "Cupid Picks a Lock," by W.
Russell Cole, San Francisco, Calif.; "The Doctor," by
Mrs. Sophie W. Newmeyer, Cleveland, Ohio; "A Man of
Resources," by Madeline Rice, Holliston, Mass.; "Tem-
pering Justice," b y
G i z e 1 1 e Wohlberg,
Waco, Texas, and "The
Alien Strain," by Kath-
erine Kavanaugh, win-
ner of the second prize.
The stories winning
first and second prizes
are already being
filmed, and the authors
will shortly have the
pleasure of seeing the
p'ots of their own creat-
ing enacted upon the
screen. The pictures
will be made under the
personal supervision of
Mr.'H. O. Davis, and
no expense or pains will
be spared to make them
the best that the re-
sources and experience
of the Triangle Cor-
poration can produce —
and that's saying a
great deal.

We want to empha-
size one fact which this
contest indicates s 0
clearly: that there are
golden opportunities in
this age of the photo-
play, opportunities just
waiting for men and
women to come along
and pick them up.
Photoplay writing is go-
ing to be recognized as
a legitimate branch of
literary endeavor — it is
already so recognized ;
— r~ see the comment of Mr.

Davis.
Photoplay Magazine congratulates the winners, but it
does not forget those who tried and lost. Perhaps there
were in those thousands of stories many others which fell
just a little short of success. The experiences of those who
have won offer hope and inspiration to the less fortunate
ones.

"MEXT
MONTH

We will publish articles about the winners and how they came to write the plays which won

prizes, in the hope that these accounts will prove of value to those who have not yet won

success. We have talked with Miss Richards, and feel safe in saying that her story will be

one of the most interesting and human documents you have ever read.

NCE
I
Was just Like

You. and
You, and
You.

Then I Went
To the Blacks tone
To see

Douglas Fairbanks.
When
I first

Saw Douglas Fairbanks,
I

Knew Right Away
He was
Real,
[f you

Shake Hands with
Him, you Know-
He Means it.
He's

The Kind of Man
Who'll plav for Hours
To Let the Other Fellow Win
He's

The Kind of Man
Who'll greet you Now
Just as he did

When you Used to Know him.
He's not as Big
As he Looks on the Screen; —
I Thought So
Until

I saw him Smile —
You can't Get Awav from it.
He's

Brown-faced, and
His Eyes
Are Brown.
You'd think he Was
A Ball-player,
He's so
Unconcerned.
He

Isn't an Actor.
He

Had a Cigarette; but
I think he Did That
So I would Know
Who he was.
Brother-John
Was there.
He loves
The Water;
He watched
Lake Michigan, while
Douglas Fairbanks
Resumed his Cigarette, and
Tilted himself
Way Back

In a Very Little chair.
He Sat There,
And

He didn't Move.
Except to Scatter
Ashes Around.
It Looked
So Funny.
I

Waited for him
To Begin to Talk
About himself;
And he Didn't,

AND he Didn't.
And Brother- John
Looked;
And I
Wondered
If I Had Better

"Gee Whiz"

By Delight Evans

An expression of
Douglas Fairbanks

Photo by Apecta

Go Home, because
I'd Made a Mistake,
And he wasn't Douglas Fair-
banks
After All.
And then
I

Looked at him, and
I Saw-
He was

A Human-Being,
And that Maybe
The Trouble wasn't with
Him, but
With me.
He Said
He was Sorry
That he Couldn't
Climb Something, or
Jump over the Table.

BUT
He was

Tired, and Besides
I don't Think
Brother- John
Would have Let him.
"I've

Been on a Vacation.
I'm

On my Way West —
— (DV' Mind if I Smoke?")
On mv Way to Oregon, for
The Round-Up.
And then
I'm Going

Back to Work."
I Watched him
As he spattered superfluous

Ashes
All Over the Floor.
(I Wonder
If he Does That
At Home?)

EE Whiz!

Why, we need

Quality; and
We'll never Get it
As Long as the Present Rate of

Speed
Is Continued.
You know," he Said.
"I

Like my Work — that is.
The Actual Filming is Fun. but
The Endless Preparation —
Gee Whiz!"
Brother- John
Was Still There.
"How

Did you Get
'Down to Earth'?"
Douglas Fairbanks Stared
At Me.
"You Mean —
Where was I born"-"
I Guess he Thought
Evervone Knew That.
But '
I Meant
The Picture.

"Oh!

I wrote the Story

Long Ago —

Before you

Were Born.

I Used

To be a Newspaper Man, you

Know."

He Told me

His Book

"Laugh and Live"

Is Just

What Everyone Believes;

And he Says

His Spirit, which

Critics call Magnetism, and

People call Smile.

Is just a reflection —

Just a Reflection

Of What Everyone Believes.

And he Believes That.

And he Almost

Made me Believe it.

And

I Think

He mentioned

Vibrations, or

Something Like That.

When I

Said Something

About

Matinee Idols, he

Didn't Know

What I Meant.

He was Awfully Surprised

When I Told him

They Still Have

Things like That.

"It's

Old Stuff."

He Puffed.

"They Don't

Make Love like That

Any More.

GEE Whiz — it's Speed
They Want—
' Willy 'marrymecome-
onhere'sthelittleoldboat-
allreadyandl'mwaitine'

Sort of Thing.

Eh?

But

It's Just as Sincere —

Just as Sincere."

Douglas Fairbanks

Isn't an Actor,

At All.

Talked About

His Wife,

And Everything.

He Sent her

A Telegram.

"Arrived safelv —

(That's all.)

Went shopping —

(That's Enough.)

Feel Bully—

(That's true.)

Gee, Dear, I Miss You!"

I'M not Going
To Write
Any More.
Before
I Left,
I

Knew Why
Thev Call' him
Old Doc Cheerful.

The Reformation
of "Wally"

He has forsworn the morbid
and the grewsome and gone
in for the more cheerful stuff

By Alfred A. Cohn

E N R Y B. WAL-
THALL, greatest of
all screen emotional
stars of the sterner sex — and
some think, of either sex —
has reformed.

This will be sad news to
some of our most faithful
morgue frequenters who love
to gorge on the gruesome and
wallow in the mires of morbid-
ity— all vicariously, of course ;
Ihey are satisfied merely to
see it on the screen.

For several years Walthall
has been our foremost expo-
nent of what might be called
"Poe stuff." It all started
with his picture, 'The Aveng-
ing Conscience," a Griffith
welding of Edgar Allen Poe's
''Annabel Lee" and "The
Telltale Heart," done in the
prefeature days of the movies.
Then came his second dip into
the psycopathic with his pic-
turization of Ibsen's sweet
little pastoral, "Ghosts,"
which he did for the old
Griffith organization in its
Mutual days.

Those who have flicked
through the pages of this de-
lightful literary morsel, or
have seen the dramatic ver-
sion, will recall that Oswald
inherited something or other
that was more or less unpleas-
ant and finally slid himself off
this mortal coil after consid-
erable mental travail.

Well, after "Ghosts," the
producers with whom "Wally"
was associated could see him only through
pale green spectacles. They shunned
anything that bore a suggestion of bright-
ness and cheeriness, despite the fact that
Walthall's greatest screen successes had
been done in clean sympathetic roles like his Little
Colonel in "The Birth of a Nation."

Then for two years, with an occasional break,
Walthall devoted his time and his exceptional
talents to portraying men either in the firm grip

Photoplay Magazine

"I have portrayed everything that has been figured out
in the way of dual personalities and have emoted the whole
gamut from common ordinary drunkards to dopefiends of
the rarest vintage.

"Perhaps it was the great war with its attendant sorrows
that brought about the change in the attitude of the screen
patrons or, maybe they just naturally sickened of grief and
morbidity as a steady diet. At any rate the ban is on that
form of drama and I hope, for good.

"I much prefer to portray the pleasant things of life.
And I believe the public would prefer to see happiness
depicted rather than the morbid and the gruesome. At any
rate we are going to give them something a little different
for a change."

Mr. Walthall came back to California recently after
more than two years in Chicago with Essanay, and is at
the head of his own company which is to place its pictures
on the market through the agency of the Paralta Company.

Mr. Walthall is one of the screen's pioneer stars and one
of the best liked of all those who have reached fame
through the medium of the projection rays, chiefly because
of a naturally unstrained personality and a knowledge of
acting which stood out in bold relief in the early days of
the cinema drama. He came to the camera stage from
the footlights where stardom had been denied him because
the powers that were considered him deficient in stature for
dominant roles.

A native of the South, Mr. Walthall is the embodiment
of all those virtues that go to complete the popular concep-
tion of a Southern Gentleman. He was born in Shelby
County, Alabama, and in his boyhood a judicial career was
mapped out for him. But the law palled on him and he

of that great aide to scenario writers, Demon
Rum; victims of various potent decoctions ex-
tracted from the poppy and other flora; or sons
compelled to fulfill some obligations contracted
by their respective fathers. As a recipient of
paternal sins, Mr. Walthall has had no peer.

Finally, things got so bad that the scenario
writers who were doping out the celluloid vehicles
for Mr. Walthall were compelled to sleep in
psycopathic institutions in order to get into the
proper mental sphere for their work. At least,
that information has been vouchsafed by an
apparently disinterested party and "Wally" concedes that
some of the stories submitted to him had all the indica-
tions of such brewing.

Then he began to get letters from screen friends and
admirers of "Little Colonel" days begging him to for-
sake the booze and dope and degeneracy drama and put
a little happiness into his plays. Like other habits it
was rather difficult to break off, but it was finally accom-
plished and if Walthall has his way, he is through forever
with pathological photoplays.

"Never again!" exclaimed Mr. W^althall with especial
reference to the plays he has vowed to shun, in his new
lesolution. "If I can make a living otherwise, I will
never play a dope fiend again, or a booze fighter, or a man
with a portable soul. I'm off that stuff for life, if I may
be allowed to revert to a very expressive slang phrase.

"I suppose it was all right in the beginning. It was
something new and different from the sort of screen pab-
ulum that was being provided in those early days. 'The
Avenging Conscience' opened a new road, although I did
that prior to 'The Birth of a Nation.' But after 'The
Avenging Conscience' the producers thought this was the
only sort of stuff I was fitted for and directors used to lie
awake nights trying to dope out harrowing situations for
me.

After "The Avenging Con-
science" the producers thought
this was the only sort of stuff
I was fitted for, and directors
used to lie awake nights trying
to dope out harrowing situa-
tions for me. I much prefer
to portray the pleasant things
of life.

Mr. Walthall and his leading lady, Mary Charleson discuss a situation while director Rex Ingram, with checkered cap and extended finger,

tells the technical staff what to do next.

finally followed his inclinations and took to the stage. Still
on the sunny side of forty, Mr. Walthall believes that he
has yet to reach the zenith of his screen career and those

who know him quite agree, although his characterization
of the Little Colonel in the Griffith masterpiece will always
stand out as a classic portrayal.

The Test

The second of a series of great
short stones by the author of
" The Big Scene. ' His next story
"Signing Up Cynthia " will ap-
pear in the January number.

By
Frederic Arnold Kummer

Illustrated by Charles D. Mitchell

OME chicken!" Gardiner, the sce-
nario writer said, as he put down
his glass. ''She can have my
money."

"She doesn't need it," I remarked, rather
sourly. Gardiner has a way with women
that I don't like. "We're paying her five
hundred a week now, and next year she'll
probably get a thousand."

We had been speaking of Betty Mason,
one of the new International "finds," and
had just come from the first showing of a
picture I had directed, in which she made
her initial bow to Broadway as a star.

Gardiner excused himself a bit later, on
the ground that he had to finish a scenario
for which he was to get $10,000. Every-
body smiled. It's the usual thing around
Longacre Square to double when talking
about money. Everyone expects it. But
Gardiner not only doubles, he re-doubles,
and then adds a thousand for luck. It's
quite a system.

Bancroft, of the Times, turned to me.

"Where did you dig her up?" he asked.

"It's quite a story," I said, lighting a fresh cigar.

"I thought so," said Bancroft, who has the nose of a
bloodhound for copy. "Let's have it."

"If you really want to hear it," I remarked, "I'll shoot.
I'm not breaking any confidences in doing so. Betty isn't
ashamed of what happened. Rather proud of it, I should
say and she has a right to be."

Two years ago Betty Mason knew as much about screen
work as I know about the teachings of Confucius, and that
draws a clean blank. But she knew about love, which is
older than the teachings of Confucius, and also more
important.

"When a woman has a claim against Love," she said to
me once, "she shouldn't figure it a total loss until she's
secured a judgment, and put it through supplementary
proceedings."

I didn't know just what she meant, at the time, but
later on she told me the whole story.

I forgot to say that I've known Betty for eight years.

Betty Joyce, she was then, just turning seventeen, and
playing bits in summer stock out in Cleveland. Oh, yes,
I was there too. Leading juvenile, at thirty-five a week.
Some difference between that and — well, you boys know
what everybody says I get frcm the International, so figure
it for yourselves. Only I might say that the President
himself hasn't anything on me, so far as salary is con-
cerned. Only eight years ago. and nobody had ever heard
of Griffith, or close-ups, or Mary Pickford, or five reel
features. When you come to think of that — of what's
happened in eight years, — it takes your breath away.

But to get back to my story. Betty Joyce and I were
good friends then— -real friends. I had sense enough to
see that she was playing in stock because she wanted to
learn something, and that something was how to act. And
she did learn it, that year, and later on, as her work today
shows. She wasn't the sort to sit around cafes half the
night, drinking highballs with the "rah rah" boys, and
ruining her complexion. Xot Betty. She beat it for her

room and went to bed. And take it from me, the beauty
parlors wouldn't declare any dividends if the rest of the
sex followed her example.

Betty went out with a road show, the next season, but
the year after we met again in stock at Springfield. I was
just getting my first chance at directing, and Betty sort of
fitted in, doing ingenue parts, French maids, younger sis-
ters, and the like. I saw that she had improved a lot.
Then Frank Mason turned up.

He was salesman for a paving brick concern, somewhere
up the Hudson, and he met Betty through another girl he
knew in the company. They fell for each other hard,
and I guess he rather neglected the brick business, in
Springfield, taking Betty out to lunch, and dinner.

I saw at once that Betty and Frank talked the same lan-
guage. There's no use trying to figure out why. They
just hit it off, and were as happy over a club sandwich as
you fellows would be over a dinner at the Waldorf. So I
said goodbye to Betty, in my mind, and thanked God that

another woman had found out what life
was all about.

Yes — they were married. By a jus-
tice of the peace. I was one of the wit-
nesses. The cabman was the other. I
remember the justice of the peace hur-
ried things terribly. I guess he must
have had a date.

After that Betty faded from view,
so far as I was concerned. I heard
nothing from her for years. Then all of
a sudden, she came back.

We were shooting a scene down at
Long Branch. Goldheimer, our presi-
dent, has a brother who owns a big place
down there, with an Italian garden,
exact reproduction of one in Florence,
they say. Well, one morning we were
waiting for our star to show up — he had
a bad habit of being late and Gold-
heimer canned him for it last month —
when I heard someone speaking to me,
and, turning, saw a mighty good looking
woman at my side. She called me by
name, and asked me if I remembered
her. I did my best, but five years in
pictures must have clouded my brain. I
couldn't place her. She was saying that
she had gone to the studio, and they had
told her where I was.

"Your face is familiar," I said,
'•but—"

She flushed, and looked uncomfort-
able.

Don't you remember Betty Joyce —
married Frank Mason in Springfield?
Why" — she laughed — "you were one of
the witnesses."

Then I knew, of course, and I took a

good look at her. She was as beautiful

as ever, but worried — terribly worried.

"What can I do for you, Betty?" I

asked.

"I want to go into pictures." she said.
Just like that. I smiled rather wearily,
I guess. When you hear the same thing
a thousand or two times a day, year in
and year out, it gets on your nerves.
You begin to believe that every woman
in the United States, between the ages
of sixteen and sixty, honestly thinks in
her heart that she could make Mary
Pickford look like September at the sea-
shore, if she only had the chance.
'"Why do you want to do anything like that, Betty?"
I said.

She hesitated for a moment, then spoke right out in
that honest way of hers.

"Frank isn't doing very well. There's a new man in
charge of the New York office, and he and Frank don't
gibe. I feel that I ought to 'help out."
"How does Frank feel about it?" I asked.
She looked sort of queer.

"He doesn't want me to go back on the stage," she
replied. "Says a man should be the breadwinner, that a
woman's place is at home."

"Then what's the use of asking me?" I said.
"I'm going to surprise him. Money is all we need.
Frank hasn't been well. We're in debt, for doctors' bills
and the like. I'm down here today without his knowing it.
I want a job. When I come to him with the salary check,
he'll forgive me, I guess."

I felt dubious, remembering Frank Mason as I did. He

Photoplay Magazine

was one of those men who think the stage is the anteroom
to hell.

"You'll have to make a test," I told her. 'Can't tell
how you'll screen, in spite of your good looks."

"That's just what I want," Betty replied.

I called to Percy Malone, my camera-man.

•Miss Mason is going to pose for a test Percy," I said.
"Get busy."

We ran off a hundred feet or so of film, putting the girl
through the usual stunts, and then Maurice Vinton came
across the lot. I turned to him.

"Just do a little love scene with Miss Mason, Maurice,"
I said. "Betty, this is Mr. Vinton."

She smiled up at him, and I could see that Maurice
thought he'd made another conquest. You know how
conceited he is about his looks.

•'Sure," he said. "Delighted."

I put them on an old marble bench with vines over it,
that we were using in the big picture, and let them do a
little scene together, Maurice protesting his love, and Betty
finally accepting him. I knew the girl could act, and I
wanted to see how she would do, with someone to play
up to. Posing by herself, she had been terribly self-con-
scious and nervous.

Maurice took full advantage of his opportunities. His
love-making was the real goods. He ended up by giving
her a regular two-minute Sappho kiss. Oh yes — it was
great, for Maurice. I liked the pose so much that I had
Percy make a couple of stills of it.

I told Betty to come over to the studio the following
Monday, and see herself as others saw her. We were to be
working on interiors, then, and I would be on hand to
see the results. I had an idea right then that the test
would be a good one,

It was. Betty Mason screened as well as she looked,
and she showed that she knew how to act. I was thor-
oughly satisfied. When we came out of the projection
room, I gave her the stills, and took her address.

"I hope to be able to useyou in my next picture, Betty,"
I said. "I'll let you know. Good luck. And give my
regards to Frank."

She went away, greatly pleased, but I found out after-
ward that she didn't say anything about the matter to her
husband. She wanted to be sure, before she sprung it on
him.

What happened after that Betty has since told me. It
was a-plenty. She was sitting in the living room of their
little apartment on One Hundred and Tenth Street one
morning a couple of weeks later, wondering whether what
I'd told her had been the usual stall, when a telegram came
for her. I know what was in it for I sent it myself.

"Dear Betty," I said. "Come over and see me today.
1 need you." I signed myself "Bert," for we'd always been
Betty and Bert in the old stock days.

She was terribly excited, of course, for she knew, from
my wire, that I was going to give her a trial. And that
was the truth. There was a part in the new picture I
was doing that just suited her, and as luck would have it,
I needed someone to fill it. So she fixed herself up, trying
to look her fetchingest, the way all women do, when they
have anything on hand, from buying a spool of silk to
meeting the man they love, and came over to the studio.
I put her to work at once.

That day Frank Mason lost his job. The new manager
wanted to make room for his nephew, I understand, so he
just naturally tied the can to Frank. And Betty's hus-
band, like many a better man before him, walked out of
the office in a daee and proceeded to seek consolation from
old John Barleycorn. Along about the middle of the
afternoon, feeling somewhat knocked out as a result, he
decided to go home and break the awful news to Betty.
And to his astonishment she wasn't there.

Of course it irritated him, feeling the way he did. He

wanted someone to talk to, for the thing had hit him hard.
Presently he went over to the desk in the living room,
thinking that Betty might possibly have left a note saying
where she had gone. There wasn't any note, but there
was something else, that caused him to go right up and hit
the ceiling. It was my telegram, of course. Poor Bettv,
in her excitement and hurry,, had tossed it into the desk
and forgotten all about it.

Frank read it, and reached the usual conclusion of a
jealous husband. The signature -Bert" told him nothing.
He hadn't thought of me, for five years. All the message
meant to him was that some man had wired to Betty to
come to him, and she had gone. He began to see red.'

The next thing he did was to search the desk. The tele-
gram disclosed nothing as to my identity, but there might
be letters, with my full name, or my address. So he began
to go through the drawers.

Needless to say, there were no letters, except a few from
Betty's sister, and one or two women friends. But down
underneath a lot of receipted bills, cooking receipts and the
like lay the two stills I'd given Betty, showing her in Mau-
rice Vinton's arms. I can imagine his feelings, having seen
the stills. Frank Mason simply took a balloon ascension.

I don't know that it has ever been decided just what is
the proper thing to do under such circumstances. Some men
consider it the correct move to shoot the home-wrecker.
Others lean to the notion of murdering the guilty wife. A
third class simply walks out and doesn't come back. Frank
Mason sat there, in that little room, for a long time, trying
to figure things out. He got a revolver from the dresser
drawer and loaded it. He was trying to make up his mind
whether he should follow Betty and shoot the man who had
stolen her from him or not. Just think of it — there were
Betty and I and Vinton up in the studio, working away
with never a thought of tragedy in our minds, and a few
miles off a man was considering whether to kill any or all
three of us. You see, on the strength of the telegram it
would have been me. Face to face, it would have been
Vinton. I doubt if Maurice ever came nearer to death
than he did that day, except once.

But Frank was too broken-hearted to fight. It was the
loss of his job., that did that to him. He had nothing to offer
Betty, except his love for her. He was a failure, and no
wonder she had grown tired of him. In the end he decided
to walk out, and not come back.

I suppose it never occurred to his jealousy-crazed brain
that a married woman who was carrying on an affair with
another man would hardly have herself photographed in
the act. And at that they sometimes do. Only the other
day I heard of a divorce case in which some highly com-
promising photographs were put in as evidence.

He left Betty a note, on the desk, saying that she would
never see him again. Then he packed his grip and went.

When we finished up at the studio that afternoon, Betty
told me she was going to break the news to Frank as soon
as she got home. She was very nervous about it, knowing
the way he felt about her going back into sHge work, and
asked me if I wouldn't go with her, and say "hello" to
Frank, and tell him that she was going to make a lot of
money. She thought he might take it better, coming from
me. So, to oblige her, I went.

We reached the house about six. Betty said she knew
Frank would be home, that he always came, about that
time. There wouldn't be any dinner, of course, but in
celebration of her good fortune she felt that we all might
go down town and dine at Shanley's, or some such place.
Poor kid, I guess she hadn't seen the bright lights for quite
a while.

When we got to the apartment, and Betty opened the
door, I saw the place was dark, and concluded that Frank
hadn't returned from his office yet. Then the lights
were switched on, and Betty saw a curious pile of objects
on the desk. First there was my telegram, then the two

"What can I do for you, Betty?" I asked. "I want to go into pictures," she said. Just like that.

Photoplay Magazine

stills, then Frank's tragic note, telling Betty that since she
loved another he had decided to go out of her life forever,
and then, Frank's loaded revolver, lying on top of the
papers and holding them down.

I didn't know whether to laugh, or not. From our stand-
point— Betty's and mine, — the whole thing was ridiculous,
a silly joke, but it would not have been any joke, believe
me, if Frank Mason had changed his mind about running
away, and had suddenly walked into the room determined
to kill me. I began to feel decidedly uncomfortable.

Betty was horror-stricken. It was no joke to her. I can
assure you. She knew everything could be ex-
plained to her husband in five minutes, if we
could only ?~A him. But how to find him.
that was the question. He had made dark
threats of doing away • with himself, in the
letter, and it was clear, from the way it was
written, that he had been drinking. What mad
act might he not commit, should he continue to
drink throughout the evening? Personally I
concluded that this
was exactly what he
would do, although
I didn't say so to
Betty, and when I
suggested that she go
out with me and have
a bite to eat, I did
so in fear and trem-
bling. I don't believe
I'm a coward, but to
know that there's a
madman camping on
your trail, who fully
believes that you
have come between
him and his wife, is
not the sort of thing
to give you an appe-
tite.

We left a note for
him on the desk, ex-
plaining everything,
and saying that we
would be back in an
hour. We thought he
might come back, and
find out, through the
note, how foolish his
suspicions were. Then
we went to a little
restaurant on the cor-
ner and had some
supper. My back was
to the door. I have
never enjoyed a meal
less.

On our return to the apartment we found everything just
as we had left it. including Betty's note to Frank. He
hadn't been" there. She, poor girl, was beginning to get
hysterical. I did my best to comfort her, but I couldn't
stay long, for I had work to do at the studio that night.
When I left, she was somewhat quieter, and told me I
could expect her the next morning, for wrork.

I didn't much believe she'd come, but she did, looking
pale and worn. I suspected that she hadn't slept, but
thought it best not to say anything on the subject. All
she told me was that Frank had not shown up. After that
I was too busy, and too much taken up with the picture
we were doing, to have time for anything else. Betty went
through her scenes in great shape, and I think that her
haggard expression helped her. You see she was playing
the part of a girl who had been abandoned by her lover,

and was supposed to look woe-begone and all that. We
worked all that week on the interiors, and when I saw the
scenes run off, I knew in my heart that 1 had found a star.
But Betty hadn't found Frank. In fact, he'd disappeared
as completely as though he'd been swallowed up by an
earthquake. Day after day Betty worked on. doing the
sort of acting that lifts a part from the commonplace to
the enthusiastic attention of the reviewers, with never a
complaint, never a word to show the agony she was going
through. Believe me, fellows, it was the gamest piece of
acting I ever saw, on the stage or off. Not a whimper, yet
when she wasn't working, I'd find
her reading the papers, column after
column, line after line, all the local
and police news, expecting every
moment to find Frank had been
fished out of the river, or found
dead in some obscure boarding
house. And at night, she would go
home to that little apartment, alone,
and sit there hour after hour, wait-
ing for him, starting at even- sound,
not knowing when he might appear,
or what drunken frenzy he might be
in if he did. I wonder it didn't
drive her mad.

Not a soul in the
company knew any-
thing about it but
myself. Betty wasn't
the sort to bore other
people with her trou-
bles. And to add to
the difficulty of her
situation, Maurice
Vinton made a dead
set for her, just as I
knew he would. He
started out merely to
amuse himself, as he
had done so many times before, and
being damnably good-looking, usu-
ally succeeded, as you boys all
know, but this time he found that
he'd run up against something dif-
ferent, and it puzzled him at first,
and then it made him sore. The
idea that he, Maurice Vinton, that
some reviewer once said was the
best-looking star on the screen,
could possibly fail to win a woman
had somehow never entered his
head. From making love to Betty
in a half-hearted, mechanical sort
of a way. he suddenly found him-
self more in earnest than he had
ever been in his life. He tried to
get her to ride back to town in his roadster. He almost
begged her to take dinner with him. He brought her flow-
ers, magazines, candy, and followed her around until the
whole company was laughing at him behind his back. And
still Betty held him at arms' length.

Vinton couldn't understand why. You see. he didn't
know that Betty was married. She'd taken off her wedding
ring, the first da}- she came down to see me, and had asked
me to call her "Mis.-" Mason, because she had some sort
of an idea that a single woman has a better chance in pic-
tures than one who is married. Afterward, when Frank
left, she allowed matters to rest as they were, so of course
everybody supposed she was fancy free, especially as no
rich angels in limousines appeared to take her home from
work. As for Vinton, he was absolutely flabbergasted.
(Continued on page 104)

Frank sac huddled in his
seat, wondering how long
it would be before he
would be able to get
away from me.

Claire isn't in pictures yet — at least only up to her dainty little ankles.

Claire Fixes It For Violet

A visit to an old timer introducing her little sister
By John Dolber

T 88FY FFM 10

BN CHICAGO ILL 1150AM AUG 16
TOHN DOLBER
NEW YORK
Article on new screen star from stage received. Cannot use
it. Our readers want to know about people they've seen on the
screen for years. Get some old timers. Get Violet Mersereau.

EDITOR PHOTOPLAY

MERELY interposing the remark that Violet Merse-
reau is only eighteen years old, and hence the ex-
pression "old timer" must not be taken too liter-
ally, the inmates of the Bluebird cage at Broadway and
Forty-eighth Street thought the editor was right. So the
head Bluebird undertook to arrange for me to take a trip

with Miss Mersereau to the studio at Coytesville, which
is just a trifle more suburban than Ft. Lee. After chirping
into the telephone to somebody at the Mersereau apart-
ment a minute or two, the Bluebird sat back on his perch
and began cackling. When he had calmed his little self
he turned to me and said:

"Miss Claire Mersereau said, 'Don't you think it would
be far nicer for the interview person, for me to drive him
over?' She is Violet's younger sister."

I, not knowing what I should say, murmured that I was
sure it would be nicer, and then the Bluebird explained that
the naive suggestion was offered merely to save me trouble,
and not because Miss Claire considered herself a pleasanter
traveling vis a vis than her sister. Miss Violet, it appeared,

Photoplay Magazine

departed quite early in the morning for Coytesville — oh,
yes, very earl)-, usually not later that a quarter of nine -
and it was to save me from arising at unearthly hours that
Miss Claire made her suggestion. So we fixed it that way.
(Note to future interviewers of Miss Mersereau: This is
an ideal arrangement. Otherwise you may not meet Miss
Claire, and as a consequence not have the privilege of
listening to the most exquisite speaking voice in the entire
world, decorated from time to time with a ripple of laughter
which needs no other reason for being than its own music,
and carries a delicious little chuckle that comes at the end
of the cadenza. One of these days I'm going to interview
Claire herself, but she isn't in pictures yet — at least only
up to her dainty little ankles.)

Hastily skipping the ride up the Palisades, which was
enjoyable out of all proportion to its news value, we finally
found ourselves in a little leafy lane, a still quieter nook of
the silent suburb.
Here there was none I

of the customary 4

hubbub and
bustle of the
nervous cine-

At the

of the

to one

.£■

ma.
end
lane,
side,

house

was a
which

contemplated approaching dissolution with all the calm in-
difference of houses which are consciously ugly, and hope
for better luck in. their next incarnations; to the other side,
a rambling, one-story building, which might have been a
carpenter shop, or a grain warehouse, or anything else in
the world but a picture studio. Out of the door skipped
a slenuer figure in riding breeches.

"Hello Claire," — it was Violet, and we were formerly
told by Claire who each other was.

Violet noticed that I was scanning the building.

"Yes. It's a regular studio," she assured me. "It does
look a little tacky, doesn't it?"

I assured her that the worst picture I ever saw came out
of the most perfectly equipped studio in the world.

"I'm glad you feel like that about it," Miss Mersereau
replied. "For really, I love this old place. I'm never so
happy as when I'm working here. Usually we work at the
big studio in Ft. Lee. But it was on this very spot, six
years ago, that I had my first experience before the
camera."

(Six years ago! "Get some old timers. Get Violet
Mersereau.")

"I love this old place," Violet :old
me. "It was on this very spot, six
years ago, that I had my first expe-
rience before the camera."

Aime
Dupont

Claire Fixes It for Violet

"It was the original David Horsley
studio,'- the old timer went on, just as if
she had been a G. A. R. man telling about
the battle of Gettysburg. "I had
been playing child parts on the stage,
and mother thought it might be a
good idea to try pictures as an
experiment. We came over, and
they were just casting a picture,
but there was no role young
enough for me. Mother and
I insisted that I could make
up old enough for an
ingenue, and as it was not
so easy to get players
then as it is now, they
told me to come back
next day and show how
grown up I could be."

"It's always like that
in our family," Claire
broke in, impetuously.

Violet, an old timer at
eighteen, having been in
pictures six years, is a
living symbol of the lusty
young infant among the
arts.

"It seems that whatever parts we have wanted
we were just too little for them. Now mamma says
she doesn't want me to do anything for a few years until
I grow up, and when sister wanted to play Rebecca — "

"I had to understudy the part a year, while they fat-
tened me up for it," said Violet, with a laugh at the mem-
ory of anxiously watching herself grow for more than a
year, so that she could have the leading role in "Rebecca
of Sunnybrook Farm." But. returning to the Horsley in-
cident:

"We came back the next day. Mother had lengthened
my skirts, and they bothered me. I never had had them
below my knees before, and I kept holding them up so
they wouldn't flop around my legs. The director sort of
grinned, but guessed I'd do. Then they let me look over
the scenario, and I discovered that the big part was a vam-
pire, and wanted to play that. 'You're lucky to get in at
all,' the director said. Well, we let it go at that. I went
back to the stage afterward, but here I am, for keeps, I
guess."

Aime D'-pont Ph "

In those early days of
the cinema, the most pop-
ular pictures were those showing wild western adventures,
and many of these western classics were produced in the
environs of New York. Hence one of the greatest necessi-
ties was that an actress should be able to ride like a centaur.
And Violet Mersereau could ride. She had her first riding
lesson while playing Flora in "The Clansman." The act
was not on the program, nor in the theatre. Violet speaks
again:

"One of the advertising stunts of the show was to have
a few men in Ku Klux robes ride through the streets of the
towns where we played. We had just arrived in a southern
town and they were getting ready for the parade. I asked
one of the men to put me up on one of the horses, just for
fun. Well, the horse seemed to think that so long as he
had a rider he might as well get to work, and as he didn't
know the town, the only thing he could think of to do was
go back to the baggage car whence he had just come. And
(Continued on page 114)

CAPTAIN HAYNES,
of the British army,
spending his leave in
Paris, greeted his
old friend, the Reverend
Walter Maxwell, as the two
came face to face in the
Place de I'Opera.

."Even you parsons flock
to Paris!" he exclaimed
banteringly, with a smile.

But there was no answer-
ing smile on the clergy-
man's face.

"It's my eyes," he ex-
plained, and there was a
somber note in his voice.
"They've been troubling
me for some time. I came
over to consult the greatest
specialist in the world. He
says there's no hope for me
—that I shall go blind."

"It can't be!" his friend
exclaimed. Then he strove
to force an expression of
cheerfulness. "But those
specialists are wrong most
of the time, anyhow," he
declared weakly. "Why,
the idea is absurd. .You
won't go blind, you —
can't!"

The Reverend Mr. Max-
well smiled ruefully, but
made no answer. The cap-
tain realizing how dejected
the clergyman felt hurriedly sought to change the subject.

"I just saw Count Gregorini driving by. He's a good
sort. His mother, from whom he got his money, was an
English woman. I know the hotel where he always stops.
Come along with me, and I'll introduce you."

The clergyman somewhat listlessly assented, and the
two men walked forward together. Neither of them had
any least suspicion that they were Fate's puppets for the
making of a tragedy.

At this moment, the count was tenderly greeting a girl
who had just entered his suite in the hotel. She was
Margaret, the motherless daughter of General Fielding.
Gregorini had met her at Cannes, and had fallen violently
in love with her at first sight. His ardent wooing quickly
won the girl's heart. But the father refused to accept the
Italian as his son-in-law. It. was not that the young man
was a fortune hunter, for he had wealth of his own. But
General Fielding regarded him as a profligate, unfit mate
for his daughter. So the lovers planned an elopement.
The matter was simplicity itself. Margaret set out alone
for England, ostensibly to see that the English home was
put in readiness for her father a week later. Actually,
she was to meet the count in Paris where he would be
waiting for her. Then they would go together to Eng-
land, to be married at once by special license.

Now% the moment of her arrival, Margaret's eyes fell
en a dressing case, with some of its contents scattered over
the table in the parlor of the suite. She evaded the
count's embrace, as she questioned him.

"Why. these are your things, surely?"

"Yes," was the answer. "I wanted my writing case,
so I had them sent here."

"But you have rooms of your own?" she demanded
anxiously.

"No," her lover admitted. "That's just it. The man-
ager has just informed me there's such a crowd in town

The two men stood, staring intently at the profile of Margaret

The Un

A fascinating story in which the
of fate — cruel and unjust. But

By Ma

rvin

to see the Czar that a room can't be had for love or
money."

There was a note of apprehension in the girl's voice
as she spoke again, falteringly.

"But surely you don't mean — that you are going to — "
She broke off in painful confusion.

"Stop here?" the count concluded for her. "No. of
course not, little woman. These are your rooms, and you
shall have them all to yourself, if I have to walk about
Paris all night. We'll dine together here, and then I'll
leave you."

The blare of a band and the sound of cheering from
the street interrupted the conversation.

"It's the Czar passing," the count said. "He's visiting
Paris. We can see from the balcony." He swung open
the windows, and the two stepped out.

"No need of our being announced." Captain Haynes
observed to the young minister, after he had verified the
fact that the count was stopping at the hotel. "I have
the number of his suite."

When, a few minutes later, he knocked on the door and
there was no response, he turned the knob and entered,
followed by the Reverend Mr. Maxwell.

"That's his bag," the captain remarked cheerfully. '"But
where the dickens is the count?" Then he whistled softly

Fielding, as she stood on the balcony beside her lover.

oreseen

principals appear to he the toys
truth and love triumphs in the end

Dana

in astonishment. '"There's a woman's coat," he continued.
"This must be an affair — begging your pardon, Dominie,"
he added, turning toward his friend with a whimsical smile.

"Then I prefer not to intrude," Maxwell replied hastily.
"It's hardly befitting my cloth, ycu know."

The strains of the band and the lively cheering of the
crowd caught the captain's ear.

"It must be the Czar passing," he said. He went toward
the window, drawing his friend forward with him. But
suddenly he halted, and drew back a little.

"They're out there," he exclaimed to the clergyman.
"See! Jove! She is a beauty," he added under his breath.

Maxwell leaned forward and looked in his turn, and for
a few seconds the two men stood staring intently at the
profile of Margaret Fielding as she stood on the balcony
beside her lover. Then, of a sudden, the girl stepped
away from Gregorini and stood, her face drooping a little,
and now so turned that it was fully revealed under the
light from the window. Haynes stared frankly. He noted
that she was a "fashionable." Her gown was not that of
an adventuress. Nor was her taste in jewelry, he re-
marked, observing a curious antique necklace she wore,
which bore the carven signs of the Zodiac.

Maxwell sighed softly, moved to a strange rapture by
the loveliness of this unknown woman thus revealed to him.

It was with a curious mixture
of emotions that he spoke
the few words arranging a
future appointment with his
friend, and then made his
way out of the apartment,
carrying with him a vision
that was to endure through-
out the years.

When, a minute later, the
count stepped into the room
from the balcony, he scowled
at the sight of his old friend
sprawling at ease in a chair,
a cigarette between his lips.
Nevertheless, he controlled
himself.

"Why, it's Dick Haynes!"
he exclaimed, as he came
forward with outstretched
hands.

And then Margaret fol-
lowed him into the room.

"Dear, if we must stop
here t: 11 tomorrow — " She
broke off abruptly as her
eyes fell on the stranger. "I
— I — beg your pardon."

"This is an old friend.

Captain Haynes," the count

said by way of introduction.

Somehow, the officer felt

himself decidedly de trop.

"I'm afraid I've come at
an awkward — " he hesitated
with an embarrassment un-
usual to him, hardly knowing
what to say. "Or rather, I didn't know that — "
The count cast a meaning glance toward Margaret.
"No, of course you couldn't guess what has really hap-
pened," he said suavely. "Now the cat's out of the
bag, so I might as well tell you." He laughed. "You
didn't imagine you were dashing into a honeymoon, did
you?"

"A honeymoon!"

"Yes." The count's voice was vibrant. "This is my
wife."

Margaret blushed deeply, but this was no more than
might have been expected of the bride she was supposed
to be. She realized the necessity for the deception, and
accepted the congratulations the captain offered, along with
his apologies for intruding at such a time. The three
chatted desultorily for a few minutes; then the count
asked :

"What's the news in London?"

"Why, nothing much," the captain answered. "The
Debrett divorce case is still going on. And of course, the
bank smash."

"What bank smash?" Gregorini inquired.
"The Pacific and Oriental. Haven't heard of it?"
"The Pacific and Oriental ! " The count's voice was
low, charged with a new emotion. "You're absolutely
sure?"

"Yes," was the reply. "Tt was looted by the manager.
The depositors will get absolutely nothing."

The count glanced for a moment toward Margaret, and
then spoke very quietly.

"Every dollar I had in the world was in that bank.
I'm a ruined man."

There followed a few moments of tense silence. Then
Captain Haynes murmured some perfunctory phrases of
sympathy and departed. He felt more than ever an
intruder.

Photoplay Magazine

No sooner was the door shut behind their visitor than
the count turned to Margaret, and in his voice was a note
of despair.

''I have lost everything. I have no right to ask you to
marry me now Margaret, dear. I am absolutely penniless.

The girl's eyes widened in dis-
mayed perplexity.

'"Dear, what are you saying?"

'Without money, we cannot
live," came the harsh response.

Margaret rose and went to him
where he sat bowed dejectedly. She
placed her hands on his shoulder,
and spoke with tender bravery.

''Anyhow, dear, we have our lives
before us and we're both young.
You'll find I can help you to bear
things when we start — together."

He shook her hands off roughly.

'"It would be madness to marry
now. Not that that matters much.
The one thing that interests me at
the present moment is that I

haven't a sou in the world. Without money, I am done.
I was never one of the sort that can work — there's nothing
I can do."

For a little, the girl was stunned by the sheer bru-
tality of this revelation of her lover's selfishness. She went
back to her chair, and sat staring at him while varied

"Anyhow, dear, we have

our lives before us and

we're both young."

"The Unforeseen"

NARRATED by permission, from the
photoplay production by the Empire
All Star Company, based upon the play
by Robert Marshall.

CAST OF CHARACTERS

Margaret Fielding Olive Tell

Waller Maxwell David Powell

Capt. Richard Haynes .Warburton Gamble

Henry Traquair Lionel Adams

Senator Fielding Fuller Mellish

Ethel Fielding, Margaret's sister

Eileen Dennes

Maxwell's Secretary Helen Courtney

Director — John O'Brien

emotions surged within her. Then she suddenly saw with
new clarity of vision the nature of the man to whom she
would have entrusted her life's happiness. She heard his
words, uttered with a sneer.

"Marriage would be the wildest folly!"

"Perhaps it would." Margaret as-
sented quietly. "I am beginning
to see things as you do. I didn't
understand before — didn't know
you at all, as I have learned to know
you in the last few minutes. I let
a great deal of romance creep into
my loving of you. When this news
came, I felt a sudden happiness, a
belief that the trouble would bring
us closer to each other, that I would
be more to you— not less. Now I
find I was not first in your life.
Your money came before me. So.
now that I understand. I'll go
home; I'll start tonight. I can
catch the mailboat." She rang the
bell.
Gregorini spoke a few words of perfunctory protest
against her traveling alone at night. Margaret turned
from him without reply as the servant entered, and gave
her orders concerning the luggage and the calling of a cab.
For a long time after she left him, Count Gregorini sat
huddled, a prey to despair, and at last he yielded to it

completely. He rose
heavily, and went to
the writing table,
where he scrawled a
brief letter. As he
closed the envelope his
eyes fell on a stick of
black sealing wax lying
in the tray. He took
it and sealed the letter.
"It is appropriate.'
he muttered, with a
grim smile. He rang
for a servant.

"Post this at once,*'
he directed. Tell

them at the office that
I must not be dis-
turbed."

The following day
at her home in Eng-
land, Margaret read
the flaring headlines
that told of Count
Gregorini 's suicide in a
Paris hotel. She read,
too, of the search that
was being made for the
woman who had been
his companion just be-
fore his death. And
as she read, terror
gripped the girl's soul.
She saw herself
dragged into a mal-
odorous scandal, her
whole future wrecked.
She held herself blame-
less for the man's
death. She knew that
his act had been caused
not by the loss of her.
but by the loss of his
fortune. But she was

The Unforeseen

Margaret wondered at her husband's new tenderness toward her, but the blind man guarded his secret well.

filled with horror at thought of being identified with the
tragedy. She hailed as providential an invitation to visit
an aunt who lived in seclusion in a villa outside Sorrento.
She went at once — went heavily veiled, fearful of arrest
at any moment. But in the quiet life with her aunt her
alarm gradually subsided. Nevertheless, she was at pains
to darken her hair for the purpose of disguise, and to wear
it in a different fashion. Finally, she ventured to believe
that she might meet Captain Haynes face to face without
being recognized by him. So, after two years of retire-
ment, she returned to her father's house. Shore Abbey.
. . . And there she met Walter Maxwell — met him and
loved him.

For Fate had brought the clergyman to serve as vicar
in the girl's parish, only a few months after her departure
for Sorrento. The man was almost completely blind now,
yet, despite his affliction, he was able to perform the
duties of his office. Perhaps Margaret was drawn to him
by the contrast he presented in every way to that other
who had first captured her fancy. Maxwell was handsome
and strong, but, too, he was gentle and sympathetic, his
first thought always for others. There was also the charm
of his eloquence, and this held in private conversation as
well as in public discourse. And perhaps his affliction
appealed to the maternal instinct in her.

As for Maxwell, from the first he was irresistibly drawn
toward this woman — on whom he had once looked although

he had no knowledge of the fact. Indeed, he had striven
to blot out the memory of that lovely face he had seen on
the balcony of the Paris hotel; for, since he had read of
Count Gregorini's suicide, he believed that woman an evil
creature. He was horrified when he found himself think-
ing that the beautiful face he had glimpsed there in Paris
might well be fit for Margaret, whose features he could
only guess.

There could be no doubt as to the issue of this love
affair. The deep feeling of both permitted neither evasion
nor delay. They speedily became engaged ; they were duly
wed, and lived in happiness well-nigh perfect.

Margaret's one concern was lest her husband should
ever learn of her connection with Count Gregorini, never
guessing that he had seen her that day in Paris. She knew
that in such case he must cast her off, that he could not
believe in her innocence, that she could not even offer
evidence in her own behalf. Her heart was tortured as
she saw" herself thus degraded in the eyes of the man
she loved.

Maxwell's trouble was less poignant, though trying
enough. It was a morbid shame over his blindness. He
was scourged by the thought that his affliction made him
unworthy of her. Finally, a year after the marriage, Max-
well paid a secret visit to an eminent London specialist,
though he went in despair rather than in hope. To his
amazement and joy, the great surgeon made a favorable

Photoplay Magazine

diagnosis. He declared his belief that after a few months
of treatment, an operation would restore the clergyman's
Mght.

Margaret wondered greatly as to why, of a sudden,
Walter, her husband, moved so buoyantly, spoke with a
note of such gladness in his voice, laughed so often, was
so newly tender toward her. For the blind man guarded
his secret well.

Fate shot its bolt at Margaret one pleasant summer
morning. At breakfast,
Maxwell was interrupted
by a telephone call. He
returned to the room with
a joyous expression in his
face.

''It's Dick — C a p t a i n
Haynes, an old friend.
He's detailed for duty
down here. We must put
him up."

"Yes," his wife assented.
Her voice was leaden. But
the clergyman in his en-
thusiasm noticed nothing.
She was stricken by the
mention of that name — the
name of the man before
whom she had passed in
Paris as the wife of Count
Gregorini. Hitherto, her
husband had never spoken
of his friendship for Cap-
tain Haynes. His last and,
because of his blindness,
his predominant recollec-
tion of Haynes, was the
encounter in Paris, and he
avoided mentioning the in-
cident to his wife. She
was too pure for such a
narrative.

Margaret recovered her
self-control. She com-
forted herself with her
long-nourished belief that
the man would fail to rec-
ognize her, by reason of
her darkened hair and a
different mode of wearing
it. At least she had been
warned, so that she could
meet him bravely, could
defy any accusation he
might make. She did her
utmost to hypnotize her-
self into courage. But al-
ways, at the back of her
consciousness, there was
the dread of disaster.

Yet, when they met, the
captain showed no sign of
recognition, save that he
looked at her closely and

intently. It was only when the two were alone together
that he spoke with a certain insinuation.

"You remind me so much, Mrs. Maxwell, of a woman

I once saw in Paris. She was standing on a balcony,

watching the crowds that celebrated the visit of the Czar."

But I was not in Paris during any visit of the Czar,"

Margaret lied valiantly.

■ Of course not," the captain agreed courteously. "Yet
the resemblance is most striking."

She shrugged her shoulders carelessly.

The wife's answer was to go into the shelter of his arms.

"We all have our doubles, I believe," she said, with a
smile.

For a moment, Captain Haynes hesitated. Then,
abruptly, he leaned forward.

"It is not only her face that I remember," he said very
deliberately. "I saw, too, the necklace she was wearing —
a curious old affair done in the signs of the Zodiac." He
stepped quickly forward, and, with an audacious gesture,
lifted from her throat the necklace she was wearing.

"It was like this," he
ended.

For a moment Margaret
was numb with horror. As
she stood silent, the cap-
tain spoke again.

"That woman there in
Paris was with Count
Gregorini before he killed
himself — the one for whom
the police searched in
vain."

Margaret swayed a little
as if about to fall. Then
she grew rigid. Her eyes
blazed as she confronted
this accuser. Her voice
was icy as she spoke.

"Captain Haynes. the
subject is offensive to me.
I forbid you ever to speak
of it to me again."

The man bowed for-
mally.

"It shall be as you wish.
Mrs. Maxwell." he said
simply.

Maxwell told Haynes of
the operation on his eyes,
which was now at hand.
He asked the captain to
accompany him to London
and to be his companion
during the ordeal, which
was still to be kept secret
from Margaret. Haynes
agreed, and the two trav-
eled to town. The mes-
sage explaining the reason
for the trip came in due
time to Margaret. It
amazed her, and filled her
with a glory of happiness
beyond anything she had
ever known. Without any
warning, she learned that
a miracle had been worked
for the man she loved —
that he was to see again.

The two men returned
to the vicarage within a
few hours after she had
received the telegram. The
wife welcomed her hus-

band in a darkened room, with shades drawn and portieres
pulled closely together. She still feared that a ray of
vivid light might prove fatal to this new wonder of sight,
vouchsafed to him by the great surgeon. Captain Haynes
stood outside on the terrace. But through the open win-
dow he could see — and guess; though he could not hear.
At last he dared to interrupt.

"Dearest!" Maxwell cried, as he swept her into his
arms. "Why, you're crying!"

(Continued on page 114)

nr, .j^^rrff^fTrm

<4UAfe

J*.;-1 t-i.p <pi pp. .- «u i,p! "*i ■yj--im -a-

The adored little sister, singing. Only fifteen! a gifted actress, a poet,— and has prodigal Mother Nature
endowed Mary Miles Minter with a Voice, as well? Evidently sister Margaret Shelby, at the piano, thinks so.

Emerson looks serious, and he is, but he sees the comedy of modern
life and what's more, he can visualize it.

IT is altogether improbable that when Robert Burns
wrote his wistful couplet. —
O wad some pow'r the giftie gie us
Tae see oursel's as ithers see us!
that he had in mind the invention of the motion picture
camera. Nevertheless his little couplet was a prophecy; and
when the cinema came into being the mechanical miracle
was achieved. Yet this was not enough; something still was
lacking. For years the camera struggled along and busied
itself with telling, in countless miles of celluloid, that men
and women are either angelically good or demoniacally bad.
Occasionally it has hinted that there is a modicum of aber-
ration in the most virtuous little maiden, but only in com-
paratively recent productions has it occurred to anyone con-
nected with the enterprise that people were neither good nor
bad, but just — people — even as you and I.

There came to the Fine Arts Studio, Los Angeles, one
morning, a manuscript, all innocent in its external appear-
ance. Through the hands of preliminary readers it passed,

John, Anita, and
the Giftie

The last named is not the Wolf-
hound, but refers to Robert Burns'
desire for a moving picture camera

By Paul Grant

gathering a momentum of enthusiasm. Here was some-
thing new. Here was something humorous. Finally it
reached the hands of David W. Griffith himself. The mas-
ter scoffed at the timorous praise offered by his subordi-
nates. He said, "Here is genius."

It was the first scenario submitted by Miss Anita Loos.

With much elation and high hope the scenario was turned
over to a director — name withheld for good reasons. The
director went into single-handed combat with the Loos
ideas, and emerged from the conflict with — just another
movie. Griffith frowned, scolded, fumed. Another sce-
nario arrived from the same young woman. Result the
same, with another director. And so on. Griffith kept on
buying the Loos scenarios, but could obtain no satisfactory
results in their production. They simply wouldn't screen,
and that was all there was to it.

There came to the Fine Arts Studio, one day, a new di-
rector— John Emerson. Snooping around among the manu-
scripts he encountered one of these delectable impossibili-
ties, and not knowing of the human wrecks that this literary
vampire had strewn in her wake, demanded the privilege
of transcribing it for the screen. Griffith replied firmly, —

"This girl's stuff doesn't make pictures. We've tried and
tried, and it can't be done," he said.

Emerson insisted, Griffith demurred. They argued.
They looked at the Loos failures in the projection room.
But Emerson refused to be denied. Douglas Fairbanks
was waiting for Emerson to direct his next picture. The
director insisted upon using a Loos 'script entitled, "His
Picture in the Papers." At length Griffith consented.

Result: The series of Emerson-Loos-Fairbanks comedies
which have been the sensation of picturedom for the last
two years.

Does this seem lese majeste? Does this mean that Em-
erson is a greater director than Griffith? Not exactly, any
more than James Whitcomb Riley is a greater poet than
Walt Whitman. Griffith's greatest admirer would not
claim for him a sense of comedy. His comedy is of a fero-
cious, elemental type, typified by the Mountain Girl thrash-
ing about in the market place of Babylon. Emerson, on
the other hand, sees the comedy of modern life — vis-
ualizes in action what Anita Loos conceives in her fer-
tile brain.

And Fairbanks! In him appeared the ideal figure about
which these stories could be constructed. For Doug is
human too. He can be angry, with a magnificent, berserk
rage, and his smile would wheedle a flask from a toper.

Thus the great triple alliance came into being — three
individuals, each of them already successful, focusing their
distinct talents upon one task, that of showing the world
how it looks, and with the kindliest humor, stripping the
tough hide of convention off the inconsistencies of life.

Like O. Henry, Miss Loos

found the most vital topics

in the obvious.

Fairbanks was already popular, though the stage never
gave him the elbow room he needed. His joyous person-
ality was ''cramped, cabined and confined" in the narrow
limits of the playhouse. He needed, not knowing it, the
wide sweep of mountain and plain.

Emerson was rated among the best of stage directors.
He had played with Mrs. Fiske in "Becky Sharp," "Leah
Kleschna," and a series of one-act plays. He had sup-
ported Nazimova. He had been in partnership with the late
Clyde Fitch in the productions of "The Truth," "Girls" and
"The Blue Mouse." When Fitch died, leaving his uncom-
pleted manuscript of "The City," it was Emerson who com-
pleted the drama and staged the piece which brought Fitch
greater fame after his death than he had known in life.
He turned to the screen, and produced such features as "Old
Heidelberg," "The Flying Torpedo," "Macbeth," and other
successes.

Miss Loos had long before decided to make a career as a
writer. Editors had begun to welcome her short stories,
before she discovered her talent for scenario creation. Like
O. Henry, she found in the circumstances of existence
which most people regard as too obvious to be worthy of
consideration, the most vital topics.

Thus the triumvirate was established, and the Fairbanks-

Emerson-Loos pictures launched, forming a comedie hu-
maine as truly as are those mammoth creations of Balzac,
and without the sordid elements of the French master-
pieces, for, while you laugh at "His Picture in the Papers,"
you laugh also at the American love of publicity: while
you laugh at "The Social Secretary," you laugh also at the
maudlin ideas current concerning the perils of our girl sten-
ographers; while you are thrilled by "The Americano."
you chuckle also at the absurdity of most of our romantic
fiction; while you laugh at "In Again, Out Again," you
laugh also at the Pacifists; while you laugh at "Wild
and Woolly." you laugh also at the eastern American's
idealization of western melodramatic existence; while you
laugh at "Down to Earth," you laugh also at all your
friends who constantly imagine themselves standing with
one foot in the grave, and when you laugh at "Reaching for
the Moon" (as you soon will), you will laugh also at the
vagaries of the New Thought faddists who take themselves
seriously.

The word "comedy" is one of the most abused of all
Mr. Webster's collection. They speak of Keystone Come-
dies, which are not comedies at all, but farces, burlesques
or extravaganzas. They speak of Charlie Chaplin as a
comedian, when as a matter of fact he is a buffoon, though

Photoplay Magazine

he has his serious moments. Comedy bears the same rela-
tion to farce, to buffoonery, to slap-stick, that drama does
to melodrama. Comedy and drama tell the truth about
human relations; farce and melodrama distort them for
your amusement. Comedy and drama are fine, clear,
I rench plate mirrors, in which you see yourself and your
life reflected with perfect fidelity; farce and melodrama
are those curved mirrors that you find in the penny arcades,
casting back pictures that retain certain human features
but without semblance of the original.

I hasten to dispel any suspicion that I regard John
Emerson and Anita Loos as owning a monopoly on real
comedy. 'Skinner's Dress Suit" was comedy, and then
there were, — I started to make a list, but, truth to tell, they

are indeed scarce. "Skinner's
Dress Suit" is a splendid exam-
ple of how the public reaches
out for this sort of art, and
how the producer often
misconstrues its popular-
ity. The leading man
in this picture, a very
ordinary player, was
hailed as a star, over-
night— by the produc-
ers. They did not
seem to know that it

Fairbanks' partners in art take
their comedy-making seriously.

was the story, not the actor, the public loved.
But they soon found out, when the quality of
succeeding Skinner stories fell off.

Comedy's the thing. The eyes of literature's
favorite children have ever twinkled as they
wrote. Thackeray, Mo -
Here, Dickens, Mark CIose attention to detail

Twain, De Maupas- has ever marked their ac-

sant, O. Henry, Shake- complishments.

speare, George Ade,
Shaw — high - and - low
brow alike acknowl-
edge them. Because
the picture art is new,
because it is cluttered
with so much that is
unworthy, we hesitate
to employ classic
phrases in speaking of
even its best. Yet
Griffith was not afraid
to say that Anita Loos
was the most brilliant
young woman in the
world. So I shall not
be afraid to add that
the Fairbanks - Emer-
son-Loos comedies are
among the most valu-
able contributions to
the art of the world
that the twentieth
century has produced.

Scenario

'Department

oAnnouncement

CnHOTOTLcAT

* has arranged for
a series of articles by
John Emerson and Anita
Loos on various subjects
concerning the "writing
of moving picture sce-
narios. £More about
this next month.

___ 1

Plioto copyrighted by Hartsook

Queen Jerry Abdicates

Dispatches from Hollywood, Cal., the empire of the screen, tell of
the abdication of Queen Jerry. She has thrown up her job,
assembled her household goods and traversed the continent to the
land of the rising sun. The court photographer was called in and
took these intimate scenes just prior to the departure from the
imperial castle, just off Hollywood boulevard, and "easy walking
distance," according to the real estate ads, to all studios. The
gentleman with the wavy hair is the prince consort, M. Lou-
Tellegen, and the third party in the lower picture, is "Captain"
Farrar-Tellegen, scion of a noted Malamute family.

Bobo's
Billie

By Delight Evans

The editor assigned Miss
Evans to write a "very digni-
fied article on Miss Mary Mc-
Alister, but she just couldn't
resist that pup, "Bobo" —
could you ?

BOBO.
A flash of white and a streak of vellow.
Bobo.

Moreover, there's Billie. Billie is Bobo's Girl.

Nobody seems to know just why there is a Bobo. Of
course, anyone at Essanay will tell you that they needed
a dog for a Mary McAlister picture, and that Bobo was
the result. But nobody knows just why he is Bobo.

Not even Billie, who belongs to him.

Like Bobo, Billie is a happen. Mercifully, we can
explain the Billie of it. There was to have been a boy,
and boys — especially firsts — are mostly named after their
fathers. But when the baby-ribbon was blue instead of
pink, it was Billie just the same.

Billie-and-Bobo. That's better; they really go together.

It's funny, how things and
people happen. When you
go to see a child actress, you
don't expect a real child.
You vision the wistful look,
the pensive eyes, and the
plaintive pout of the play
child. Always they have
curls and a ready retort.

This one didn't.

She is really Mary McAl-
ister, Essanay's star of six
summers. But when you
know her, she's Billie.

For one long afternoon T
watched her as she frisked
on the busy studio floors,
playing hide-and-seek among
the props, or superintending
Bobo so he wouldn't spoil a
scene by interjecting his im-
pertinent nose therein. And
she talked to me.

I like Billie.

She had only the day be-
fore finished the last scene
for her latest picture.

"Sweetie — Mother and I
had a vacation," said Billie;
"and we were in the country
for two whole weeks. And
all the time we were there, I
never once wore shoes and
stockings. When we came
back, we went right to work

on a poor-part, so today is the first time I've been really
dressed-up for a month."

Her little legs were scratched, and her arms were choco-
late-colored. In spite of her frilly frock and careful hair,
she was a happy Billie.

"Here's Alice." She fondled a large doll. "Alice was
made in Germany. But Mother and I think it would
be better if that were not generally known."
Bobo sulked. He doesn't like Alice.
"Oh, Bobo! He's a nice dog, you know; but it's hard
to make him behave sometimes.'' She laughed. "Why,
some people are afraid of him! Once when Dede and I —
Sweetie was gone, and Dede came over to play with me —
once when we were blowing cut-glass ice-palaces in the
bath-tub, Bobo sneaked in. and balanced himself on the

rim of the tub, and got dizzy,
and fell on Dede's back. It
scared Dede so, she cried.
But there's no reason why
she should be afraid of
Bobo; — he's not much of a
dog, is he?"

That same afternoon,
Bobo chewed a pair of Bil-

lie's sandals and afe the stopper of the bath-tub.
Billie keDt Bobo under cover when Sweetie
returned.

"He chews everything," sighed Billie; "a very
nice book of Mother's — and he loves eye-pencils."

Bobo barked.

''Once, Dede saw him swallow a safety-pin — an
open safety-pin. But it didn't hurt him, and I
didn't see him do it, so I'm not quite sure about
that."

But Bobo can act. The click of the camera
soothes him; the strident voice of the director
inspires him. He has a congenial role in "'Pants."
And he is a very good actor.

Bobo is important, you see. But there are other
things in Billie's life.

She works from nine in the morning to four
afternoon. And she loves it. In all her little
screen-life of two years, Mary McAlister has
never kept the floor waiting. Billie, Sweetie,
and Bobo are proud of that record.

Billie ranks with the great weepers of the
screen. Just before a sorrowful scene is to be
shot, Mrs. McAlister coaxes her into a corner and
croons a sad, sad story about a poor little girl who
has no mother, no father, and no dog. Billie's
sympathetic heart responds, the camera clicks,
and the scene is taken.

But one day the tears wouldn't come. And the
floor was waiting.

"Well, Billie," said her mother; "you'll have
to use glycerine tears, I'm afraid."

''Fake tears?" stormed the child. "Well, / guess
not!" And Billie cried.

Whenever she works hard at the studio all day
on a particularly heavy piece, Billie requires as
compensation popcorn and apple-taffy. Both, she
knows, may be consumed with relish and profit;
but popcorn is really more fun, because one may
pop it, you see.

Somehow or other,
Billie has a way of
drifting back to Bobo.

"We play a great
many games, Bobo and
I. Some of them aren't
much fun for Bobo. He
hates most of all to be
dressed-up, and some-
times he acts badly
about it. But when he's
very bad, I take a little
teeny string, and tie

Whenever Billie and Bobo work
hard Sweetie brings in ice cream.

A patient

Red Cross

model.

Mary McAlister and Bobo have never kept the
studio waiting and they're proud of that record.

him to a chair. That hurts his feelings,

and makes him cry. Once," she giggled,

"he broke loose, and didn't even know it,

and just sat there and cried.

Somewhere behind the mischief in her brown eyes there

lurks a philosophy all her own. She was grieving not so very long ago

because Sweetie, her Dear One, rebuked her.

''Please don't scold," she pleaded. "Oh, Mother dear, that's
behind us!"

Billie's greatest ambition is to be a great photoplay actress, "like
Mary Pickford."

Something that Mr. Eubanks the general manager of Essanay, said
to me about her, expresses the promise of her ambition's fulfillment.
"If all our stars, big or little, were like Billie McAlister, picture-
making would be a pastime."

DOUGLAS
FAIRBANKS'

Own

PAGE

'TWERE is one
■*- rule which every
athlete must follow
to be successful:
Be clean, in mind
and body. For a
starter, I know of
no better advice.

DERHAPS the
*■ greatest foe to
athletic success,
among young col-
lege men, is strong
drink.

Douglas Fairbanks

IF YOU are familiar with baseball— and the chances are
nine in ten that you are — you know the meaning of
the expression, "the breaks of the game." Given two
baseball teams of equal strength, victory will invariably
perch on the banner of the side which "gets the breaks.''

It's much the same on the stage or in business. Many
a good player has been sedulously avoided by whatever
fate it is that deals out fame, because the "breaks" have
been against him. Conversely, many a mediocre — or even
worse — player has tasted all the fruits of victory because
he "got the breaks," as they say on
the diamond. But don't think I'm
going to classify myself, because I'm
not. Give it any name you like —
even modesty.

Just where I would have wound up
had it not been for a strange quirk
of fate, of course no one can tell, but
it was the misfortune of a fellow
player that gave me the big chance I
was looking for. Perhaps it was an
indiscretion rather than a misfortune.
But whatever it was, the victim of the
circumstance found himself in jail
on the day we were scheduled to treat
the natives of Duluth, Minn., to a
rendition of "Hamlet."

Now I'm not going to tell you how
the star couldn't show up and I
stepped into the breach and solilo-
quoyed all over the stage to the
thunderous applause of the North-
men; that would be too conventional.
Strangely enough I hadn't set my
sights that high. But I did want to
play Laertes and my colleague having
run afoul of some offense which was
the subject of a chapter of the Min-
nesota Penal Code, I played it that
night.

Well to make a long story short, I
played the part so well that it only
took about ten years more to become
a star on Broadway, the ultimate goal
of all who choose the way of the foot-
lights. Seriously, however, that was
my chance and I took full advantage
of it. In succeeding articles I will tell
more about the climb to the top.

Perhaps the greatest pleasure I get
out of my work for the screen is con-
tained in the daily mail bag. And
from time to time, I intend on this
page to refer to some of the most in-
teresting letters that come to me from
all over the country — not only this
country, but from such far off places

"Doug" and His Highest Honor

You'd never know this was a scene from a christen-
ing, would you? "Doug" has just had a mountain
named after him and is registering appreciation in
his characteristic manner. D. G. Desmond was
the United States Government's official godfather,
and the christening took place while the Fairbanks
Artcraft picture, "Down to Earth" was being filmed.
Douglas Fairbanks' Peak is one of the most pic-
turesque of the steep granite crowns that dot the
Yosemite Valley. There is a comfortable hotel
on its summit where visitors take the stage for the
trip to the Big Trees.

as Australia. By the way, I believe they are more enthusi-
astic over the screen in the Antipodes than they are in
this country, proportionately speaking.

One of the most frequent questions I am asked to an-
swer is that relating to success in athletics.

It may sound strange to some of those who have been
following my work on the screen, but I was a failure as
an athlete. In college at the Colorado School of Mines I
did not excel in any particular branch of sports. I went
in for nearly everything, but the student body never wrote
or sang an}' songs about me. I never
came up in the ninth with the score
three to nothing against us, with three
men on base and put the ball over the
fence. I never even ran the length of
the whole field with the pigskin and
scored the winning touchdown with
only fifteen seconds of play left.

Then when I went to Harvard later
I still was active in athletics but while
just about able to get by in most of
the games, I never got the spotlight in
any specific instances. It might have
been different had I remained, but the
call of the footlights was too insistent.
There is one rule which every
athlete must follow to be successful.
Be clean in mind and body. For a
starter. I know of no better advice.

I am not much given to preaching,
but if I ever took it up as a vocation,
I would preach cleanliness first and
most.

The boy who wishes to get to the
front in athletics must adopt a pro-
gram of mental and bodily cleanliness.
Perhaps the greatest foe to athletic
success, among young college men is
strong drink. Personally I have never
tasted liquor of any sort.

It was my mother's influence that
was responsible for that as I promised
her when I was eight years old that I
would never drink. I might state,
parenthetically and without violating
a confidence, that my family tree had
several decorations consisting of ambi-
tious men who had sought valiantly,
if futilely. to decrease the visible
supply of liquor. I do not wish to
take a great amount of credit for my
abstention. Really, mores credit is
due the person who has fallen under
its influence and fought his way out;
but I know that the keeping of this
promise has had a powerful effect on
my life and my career.

oAll

Feminine

Except the

"Billie"

The writer started out to
analyze the charm of Billie
Burke and found it very elusive

Harriette Underhill

H! Do you know Billie
Burke?

And have you really
talked to her?"

That is what every woman we
know asks us just as soon as she
finds out that we chronicle the
doings of exponents of the
drama, silent and noisy. It is
always Billie Burke. Those of
the masculine persuasion may
and do inquire into the person-
ality and habits of Bill Hart,
Douglas Fairbanks or Charlie
Chaplin: but with an unwonted
unanimity of opinion all of the
women worship at the shrine of
the fascinating, beautiful, red-
haired, blue-eyed, pink and
white, altogether adorable Billie
Burke. There, the secret is out.
We quite agree with them and
we know whereof we speak.

Just as soon as we admit that
we do know Billie Burke, and that
we have talked to her these two ques-
tions follow in rapid succession: "Is
that hair all her own?" and ''Was she
terribly in love with Mr. Ziegfeld?"
to which we answer truthfully and
with conviction, "Yes" and "Yes."
It is, she was and she is.

The last time we saw Miss Burke
the visit took place not in a dressing-
room nor in a motion-picture studio
but in her beautiful home up at Has-
tings-on-Hudson. Miss Burke wanted
us to see the baby and we wanted
to see the baby so to Hastings we
went. A most delightful place.

It is a strange thing and we won't attempt to explain it,
but Billie Burke of the theatre and Billie Burke Ziegfeld
of the home are two entirely different persons.

And, Billie Burke's baby! It is the most adorable infant
in the world. We wanted to quote Laurence Hope and

Billie Burke, six months.

"With an unwonted unanimity
of opinion, all women worship
at the shrine of Billie Burke."

"This is a small and perfect

"It is mine," said Mrs. Ziegfeld
rapturously. "It is mine; and I can't
get used to the idea even now. Billie
Burke with a baby! I look at her
and I hold her and I say: 'She is
mine,' and yet it seems so strange,
and I think of all the years I wasted
doing foolish, unimportant things,
when I might have been a wife and
mother, and I might have had half
a dozen. Oh! I wish that I had if they would bring me six
times the joy that this wonderful child has brought me."

What a pity, we thought that those who worshipped at
the shrine of Billie Burke the actress could not see Billie
Burke, the mother. We could think only of the "Madonna

Photoplay Magazine

Her home
at Hastings-
on-Hudson.

A siesta on her own front
porch.

and the child" as she
might have been painted
by Titian.

"I haven't quite de-
cided what my baby
shall be when she grows
up. No I do not think,
somehow, that she will
be an actress, although
my life is a very happy
one." And Miss Burke
smiled that ineffably
sweet smile which has
endeared her to every
one.

"Nearly everyone believes that I am not
an American, but as a matter of fact I was
born in our National Capitol. I was very young when I
went abroad — yes they called me Billie then; it was my
father's name you know, and I thought I might as well
adopt it for good, for I never was called anything else. I'm
afraid I was a dreadful disappointment to my father. He
wanted a boy and not only was I not a boy but I had no
masculine proclivities from the start.

"I did the best I could to defeat nature, however, by call-
ing myself Billie. And my little girl is a girl just as I
always planned. Girls are much more interesting than boys
— don't you think? And much more tractable too. I thor-
oughly agree with whoever it was that said boys should be
buried between the ages of six and sixteen.

"Where was I?" said Miss Burke. "I was telling you
something."

"You were in Washington and you were telling me about
what happened after you left there."

"Yes of course. Well, I went abroad to study and they
did make me study too. Nothing would do but I must
speak several languages. I thought it all a terrible hard-
ship at the time but a few years later how grateful I was for
the knowledge which I possessed. I went on the stage and
had the wonderful experience of playing in France, Russia

Billie Burke's garden. The music of water falling :n a

All Feminine Except the "Billie"

The whole Burke
Ziegfeld family.

pool. A tree-top nook in which to read and dream

and a number of other Euro-
pean countries, so it was very
nice to be able to speak the
language and entertain.

"My heart was right in
the land of my birth, how-
ever, and I considered all
this simply gaining experi-
ence while en route for
America. My first appear-
ance in London was in 'Pa-
vilion.' Yes, I believe they
liked me. They seemed to
and they were very kind.
Next came 'Beauty and the
Beast' and 'The School Girl'
with Edna May: 'The Duchess of Dantzic' and 'Mr. George'
and then hurrah! America! You know one of my plays
was 'The Amazons' but I didn't sympathize at all with the
role for there is nothing masculine about me but my name.
"I must say something about pictures, mustn't I? Well
to be perfectly frank with you I thoroughly detested them
at first. It seemed so foolish, doing a bit here and a bit
there, no continuity of thought, everybody rushing madly
hither and thither and nobody accomplishing anything, it
seemed to me. Men hammering nails into boards, building
palaces on one hand, phonographs going, to make tearless
ingenues weep. I believe it is the customary thing to say
that you love your work and your director but I should not
say it if I didn't mean it. Every one at the Paramount has
been perfectly adorable to me. They have made work seem
like play, so that I should really love to go to the studio if it
were not for leaving baby behind me. And the public seem
to like my pictures too; they have been quite encouraging
and nearly all of the critics have been very kind."

Miss Burke looked at us ingenuously and we tried to
remember what we wrote about her most recent picture;

Photoplay Magazine

and then we remembered. It was all right; so we gazed
back with a clear conscience. It is dreadfully disconcert-
ing when an interviewee says "Oh what do you think some
horried person said about me?" and then quotes you. But
as a matter of fact we think that Billie Burke is almost as
beautiful on the screen as she is in the flesh and we have
gone on record as saying so.

"You asked me how it felt to be a star and how I felt
when I first realized that I was one. Well I shall tell you.
It was a distinct shock, for I never knew that I was a real
celebrity until I found out that they had coiffures named
ufter me. Do you remember the vogue of those bunches of
curls which everybody used to pin on their heads?"

We admitted that we did; also that we had owned one
and was still saving it hoping that some time they would
be fashionable again.

"Perhaps when little Billie grows up," we ventured.

"Yes perhaps, though I doubt if she will ever be foolish
enough to wear her hair so. At any rate I did, and I was
in a hair dresser's one day when an excited female rushed
in exclaiming 'Have you got my Billie Burkes ready?' And
they brought out a big bunch of puffs and curls and things
and pinned it on her head and — I knew that I was famous."

After tea, mother and daughter took us out to see "the

farm," as it is called. The farm has beautiful rustic bridges
and shrubberies and Italian gardens and shaded walks and
fountains and things which no one expects to find on a farm
and, best of all, some wonderful dogs. Miss Burke's taste
in things canine is catholic, for in her kennels we saw Irish
terriers, Cocker spanieb, Pomeranians and even one Sealy-
ham. "I used to be quite mad about them before I had
young daughter here. Now they are terribly neglected.

Two things more we must do before we left Miss Burke.
We must analyze her charm and we must find out how old
she was, for those are the things every one wants to know
about and it never would do to go back to town without
them. The first was easy. Besides being "A thing of
beauty and a joy forever," she has a sweet and unspoiled
disposition. She isn't thinking of herself at all; she is
thinking only of you when she is with you; that is why she
screens so well.

As for the other — we do not know because we forgot to
ask. But this we know, Miss Burke is not so young as
she looks because she looks about sixteen. She hasn't
changed a bit since the days when she played "My Wife"
with John Drew. It is doubtful if she ever will be any
older for we believe that "age cannot wither her" and we
know that "custom cannot stale her infinite varietv."

The Great Liberty Bond Holdup

It looks more like the fantastic dream of a movie nut but it's an actual "still" from a little comedy done at the Lasky studio to help along the Liberty
Loan subscriptions. Little Mary has just "stuck up" the bank cashier, Theodore Roberts, and then routed the customers. They are: Julian Eltinge with
wig in hand, Bill Hart with both hands aloft, an unusual pose for Bill, and Douglas Fairbanks in what his press agent would term "a characteristic pose.'

Just

Five Years

Ago—

Francis X. Bushman
was doing character parts
at Essanay. Horrors! He
was good, too, although
he didn't get many mash
notes in those days.

Maurice Costello was one
of screendom's greatest
idols. He was a pioneer
in the "slow motion" style
of acting.

Arthur Johnson, who died

a year ago, and Lottie

Briscoe, were Lubin's

greatest attractions.

^?§§lr;f-'"

H5r SnH

the name of Florence Lawrence was
a talisman; she was the first motion
picture star to have her name widely
exploited. In the beginning, she was
one of the old Biograph family, later with
Lubin in the Arthur Johnson days, then
joined the Universal.

the late John Bunny drew the largest salary then known in
filmland and was also the undisputed comedy favorite. Flora
Finch was also popular, and Mary Anderson just beginning.

A Broadway Queen Gone West

And Pittsburg is Prouder than Ever of Her Newest Favorite Daughter, Olive Thomas

By Jack Lloyd

MUSICAL comedy found and
crowned Olive Thomas, but
the films took her as a prin-
cess of a province and made her one
of the world's royal family of Fame.

To her miracles are as common
as marbles. She went up to New
York from Pittsburgh, but to reverse
the ordinary purpose of Pittsburgh-
ers who journeyed to Gotham, for
there was never anything ordinary
about Olive Thomas. Instead of
going to spend, she went to earn.

She knew she was the pet of her
family, but she didn't realize she
was also the pet of Fate. Six
months, and she was the toast of
Xew York, the find of the season,
the sensation of New York's smart-
est "girl show," Ziegfeld's "Follies."
And for two years she was the idol
of "the Roof."

Harrison Fisher visited the show
one night. Next day, he asked to
sketch the beauty of the ballads.
And then he proclaimed her the
world's most beautiful woman.

Doubly famous already, and still
in her teens!

And then some genius of selection
in the Triangle Film Corporation
looked upon her and announced the
world should prepare for another
film star. Olive Thomas went to
Culver City in the studios, and the
fame she had was as nothing to the
fame she garnered there. And child

Campbell Photo

of fortune that she is, she remains
as democratic as daylight.

No one is more popular in the
big "lot" at Culver City. In tailored
suit and jaunty cap, she strolls
about, with a pert offering or a
ready reply for everyone.

It is one of the legends of the
studios that no one can "get ahead-'
of Olive Thomas in repartee, and no
situation is too unusual for her to
puncture it with a pungent com-
ment.

Her dressing room is more popu-
lar than a Town Hall, and when
Ioha and Zigi are around, it is busier
than one. They are her dogs, and
gems of the kennel they are. Ioha
is a Pekingese, the word being Chi-
nese for "dear." Zigi got his name
because he walked zig-zag. He is a
Chow with the favorite pastime of
getting lost, and whenever Olive
Thomas gets too much ready money
from her monumental salary, she
spills it in the way of rewards. Any
idle man can get a reward nearly
any day by returning Zigi to his
owner.

Miss Thomas has starred in sev-
eral important Triangle film suc-
cesses. So well has she done her
work, and so unusual is her ability
and versatility that Pittsburgh, un-
able to give her work as a beginner,
is now ready to proclaim her its fa-
vorite daughter. But what is that to

one to whom miracles are as common as marbles?

According to Miss Thomas, she does not
miss the fame and adulation that was hers
as a member of metropolitan royalty. She
has received almost a continuous stream of
appeals to return "home to Broadway" ever
since she decided to make her future stage
appearances vicariously, so to say. All sorts
of arguments have been employed, and
every conceivable artifice to induce her to
"hit the gilded trail" but she has shed them
all.

"Perhaps it's the plebeian strain in me,"
explained the fair Olive, "only it's more
than a strain. So far as I have ever been
able to learn I'm the first on either side of
the family to delve into the mysteries of the
footlights. All my ancestors were ac-
customed to working by sunlight and doing
their sleeping at night, so perhaps that is
one reason why this life appeals to me so
strongly. And now that Mr. and Mrs.
Childs have extended the scope of their ac-
tivities to Los Angeles, I'm perfectly satis-
fied with life."

"You know," confided Olive naively, "I'd
rather eat Boston beans and butter cakes in
Childs than the most expensive mess the
French chef can dope out in Broadway's
most expensive lobster palace." Which is
quite some confession. Also, it is added
proof of Olive's entire lack of upstaginess.

"Life's too short and fate too funny to get Up-
stage," philosophized Olive. "Today they may be
showering us with roses on Broadway and tomorrow some
fool director who used to be a waiter may be rejecting us
as atmosphere in a five reel five cent feature. And you
might also say that my real baptismal name is Olive Duffy,
than which there is no better Irish name."

Neill of
the Guards

A Few Pertinent
Facts About the
Reel Papa of
Mary Pickford,
Geraldine Farrar
and Other Stars

At the left: James Neill as "Lexart,"

father of "Joan" in "Joan the

Woman."

Photo by Hartsook

WAR is a terrible thing — if you
don't believe it, ask Edythe
Chapman, the clever wife
of the equally clever James Neill, the
brilliant character actor of the Lasky
studio.

When the Lasky Home Guards
were organized, Mr. Neill passed among the highest in
the competitive examination for commissioned and non-
commissioned officers and was appointed 2nd lieutenant
under command of Cecil B. DeMille. Since that time,
according to Mrs. Neill, she eats and sleeps according to
tac'.lcs and walks around the house in platoon formation,
and can execute every command in the "School of Soldier.
Squad, Company, Regiment and Battalion." She rises
with the Plattsburg Manual and retires according to the
manual of Guard Duty, for her husband is thoroughly in-
oculated with the military spirit. This is only as it should
be, for Neill himself comes from Savannah. Georgia, and
his father was a famous commander during the Civil War.

There is probably not a better known couple in the
country than James Neill and Edythe Chapman. Not so
long ago they starred at the head of their own companies,
and also played long stock engagements in some of the

As "Rebecca's" father in "Rebecca of Sunnybrook
Farm."

principal cities of the United States,
and always made themselves extreme-
ly popular.

They have been with the Lasky
Company practically ever since there
has been a Lasky Company, playing every conceivable
role — and as Mrs. Neill describes it — dying and '"fix-it"
mothers, while James himself plays everything from kindly
old grandfathers to dignified senators and politicians —
specializing in loving parents.

Mr. Neill was Mary Pickford's guardian in "A Romance
of the Redwoods," her father in "The Little American''
and Geraldine Farrar's father in "Joan the Woman" — in
fact he has been father to nearly every star who has played
on the Lasky lot.

The Neills have a charming bungalow in Glendale. which
is the mecca of all the visiting theatrical personages to
Los Angeles.

At present the war cloud hangs over them and it is only
the fact that younger men are in so great a demand that
Lieut. Neill of the Lasky Home Guards does not follow in
the footsteps of his fathers and enlist to serve his country.

By Mr. Bartlett

NEXT to the Bible, the most widely read literature in
the world is the fairy lore. Hans Andersen and the
Brothers Grimm are unique. The ''Arabian Nights
Entertainments" never have been successfully imitated.
The publishers of children's literature complain loudly and
persistently that the one form of literature which is no
longer created with anything like satisfactory results, is
that of the fairy world.

Yet, while moving picture producers declare that it is
impossible to get stories for their productions, no serious
effort has been made to
place upon the screen these
most popular of all classics.
While the producers admit
that a great proportion of
their appeal must be to the
childish mind, they have
been neglecting these sto-
ries which are essentially
as much a part of childhood
as the manufacture of mud
pies.

Now the spell of blind-
ness has been broken.
William Fox has set out to
record in visual form the
fables that have, for cen-
turies, been familiar only
through the appeal to ab-
stract imagination. Hence-
forth, children will not
merely be asked to imagine
a huge bean-stalk growing
up and up and up for the
little hero Jack, but they
will see the bean-stalk
grow, and understand as
they could not possibly
have understood otherwise
what it was all about. And
so when Aladdin rubs his
lamp they are not merely

To "The Lifted Veil," (Metro) starring Ethel Barrymore, we lift our
editorial hat.

asked to imagine what the all powerful slave looked like,
as he was materialized out of thin air, but they see him take
shape, vaguely at first, and with increasing definiteness,
until he stands there, grinning and waiting for Aladdin to
issue his orders. The mere fact of Aladdin's slave turning
the wicked magician into a fish-peddler is fascinating
enough to read, but how much more fascinating to see his
splendid robes and turban lose shape, fade, and become
transformed into the plain cotton of a peasant!

In fact, cannot it be truly said that the Aladdin's lamp

of today is the motion pic-
ture camera itself? What
magic greater than this, to
show us our dreams of yes-
terday in all their splendid
trappings?

Nor is this the limit of
the magic which Mr. Fox
has brought into being.
To have produced these
tales with grown-up actors
would have been to lend
them a sort of solidity
which would have made
them heavy, like a short-
cake without shortening.
He has found two directors,
C. M. and A. S. Franklin,
who have displayed real
genius in handling children.
And the children — they
are magical too. There is
Francis Carpenter — a vest
pocket hero with a shock of
wonderful hair; and Vir-
ginia Corbin — a dainty
heroine from the nursery;
and Violet Radcliffe — a
regular devil of a fellow
with a Stuart Holmes
moustache; and most of
all, Gertrude Messinger —

f>3

a mite of a lady in waiting, whose sympa-
thetic sighs would do credit to the art of
such a mimic as Elsie Janis. The series
of spectacles must be rated among the
important events of the picture year.

THE FALL OF THE ROMANOFFS—
Brenon

When Mr. Brenon undertook to place
upon the screen a visual record of the
backstairs history of Russia leading up
to the recent Revolution, his problem was
to incorporate into that history a personal
story which would give the necessary
human interest. One figure dominated
the Russian court — the sinister figure of
Rasputin. The story must be his story.
Yet there were many other phases which
must be incorporated in the recital. To
this extent, therefore, it was absolutely
impossible to make "The Fall of the
Romanoffs" a story, until it reached its
later phases when the various currents
met in the maelstrom which submerged a
dynasty. This is the one, inevitable

Photoplay Magazine

In "Barbary Sheep" (Artcraft) Elsie Ferguson makes her initial bow to a
picture audience. One of the best pictures of the year.

Walt Mason's first attempt at scenario writing, "I Remember, I Remember,"
(A-Kay) is whimsical humor.

In "North of Fifty-Three," (Fox) Dustin Farnum's acting reminds you of
Brother Bill's — high praise.

adverse criticism of the production — inevitable before the
first turn of the crank of the camera.

Passing beyond this inherent characteristic of the produc-
tion, it is a unique achievement. Here, for the first time,
the public has an opportunity to study history in the
simplest possible manner. In the life of Rasputin is typified
all the wrongs of the ruling dynasty, its despotism, the cor-
ruption of men in high places, the weakness and supersti-
tion of its Czar, the licentiousness of the court. In the
fleeting figure of Iliodor is focussed the sleeping spirit of
Russia, its patriotic faith in its rulers, its restlessness when
that faith is shaken, its groping for a way out, its childish
efforts at emancipation. The one movement reaches its
climax in a succession of orgies and plots, the other in a
revelation of what the centuries of oppression have really
meant. The movements clash, and overnight the one goes
down to ruin and from the heart of the other rises a free
nation.

Perhaps he who runs may not read clearly in "The Fall
of the Romanoffs" this message, yet the message is there.
And in the telling, Brenon has created, or rather reproduced
from newspaper reports and magazine files, two scenes as
thrilling as any the silversheet has ever reflected. The one
shows a masked Cossack riding full tilt the length of a great
banquet table, scattering food and dishes in a shower, while
the feasters fly in terror, as masked men come from hiding
places to end the life of Rasputin, the scourge of Russia.
The other is the moment when the soldiers, ordered to fire
upon the freedom-thirsty throngs outside the Winter Palace,
throw down their rifles and mingle with their fellow coun-
trymen. There is little thriil in the bare recital. It is in
the actual presentation of such moments that the moving
picture is supreme.

Or, if one responds more readily to more exquisitely
esthetic moods, there is Iliodor's vision of the twelve who
followed Christ, a group of humble men by the side of a
lake, at whose feet is cast a shadow of a human cross. Tt
might have been done by one of the greater painters of the
reverent French school.

"The Fall of the Romanoffs" is unquestionably Brenon's
greatest work. It lacks the personal intensity of "War
Brides" and the melodramatic speed of "The Lone Wolf,"
but in the development of the motion picture into an art of
the first importance, is vastly more significant than either.

The Shadow Stage

what the screen will one day offer as a
greater psychological literature than is to
be found in the pages of Ibsen or Haupt-
mann. Neither the director nor the actors
measure up to the scenario. Miss Barry-
more is dignified and serious — perhaps too
much so. Miles in advance of the cur-
rent screen thought is this picture. Let
Mr. Le Vino prove he can do it again.
He will then do it much better.

OUTCAST— Empire All Star

"Outcast," the first production from
the studios of the Empire All Star Cor-
poration, is a well nigh perfect example
of how a story should be told on the
screen. It has been adapted from the
play in which Elsie Ferguson starred, and
gained much in the adaptation. A
wealthy young man. rejected by the
woman he loves for a still wealthier man,
is in despair. An unfortunate girl from
the streets renews his interest in life.
They are happy together until the other

In "Double-Crossed," (Paramount) Pauline Frederick got a good story.
And you're kept guessing from beginning to end.

BARBARY SHEEP— Artcraft

Few more beautiful pictures have been made since man
first discovered the art of photographing through a wheel
with holes in it. than '-Barbary Sheep." in which Miss Elsie
Ferguson, long time a great favorite in the talkies, casts
her shadow for the first time upon the perpendicular sheet.
The star of the picture is the man who devised the scenic
effects. Never having visited the Sahara, we hesitate to say
that the scenes are true to geographical fact. They are
better than that. They transport one to Sahara, whether
or not he knows the fauna and flora by their front names
and telephone numbers. Any carpenter can build you a
rock that looks like any rock in Sahara. It takes an artist
to build a rock that you feel belongs in Sahara. Pedro de
Cordoba, swathed in the graceful draperies of a desert
chieftain, is of the desert too. Here is poetry, here mystery,
here almost hypnotic handling of light and shade. Miss
Ferguson is a gloriously beautiful Lady Kathryn, but she
failed to compel one to tremble for her safety. One rather
felt that if the hot-blooded Arab did clasp her, he would
freeze. She may find the power to project thought, in later
work. Lumsden Hare does a real English sporting aristo-
crat, one of the few instances where a player knows how to
make such a character humorous, without robbing it of
dignity. Maurice Tourneur directed. It is one of his high-
est achievements, which is enough praise for any picture.

THE LIFTED VEIL— Metro

Watch for future pictures from the scenarios of Albert
Shelby Le Vino, of the Metro staff. Unless "The Lifted
Veil," quite incidentally starring Ethel Barrymore, was a
magnificent accident, v/e lift our editorial hat and observe,
in Le Vino Veritas. Here is a picture in which no person
does violence to any other person, no man or woman is
surprised into misdeeds, no spotless hero or heroine refuses
to believe ill of the object of a blind devotion, no accident
turns the plot into a predestined channel. Here are men
and women in situations which are mental, rather than
physical or emotional, struggling with their own desires, at
times mistaking their own desires, after the manner of
humankind. This is one of the finest preliminary types of

In "Stranded in Arcady," (Pathe) Irene Castle is much more of an actress
than in "Patria." It's a story of the woods.

Julian Eltinge's first picture, "The Countess Charming," (Paramount) is
great fun.

Photoplay Magazine

"Polly Ann" (Triangle) is a piece of popular
orphan-slavey material, lit up by Bessie Love.

girl, tiring of her husband, invites a flirtation with the man.
The outcast meets the challenge, and — the story concludes
satisfactorily, but without the customary banalities. Ann
Murdoch is starred, but it rested with David Powell, that
man among leading men, to make or mar the drama. As
usual, he did the former.

THE ANGEL FACTORY— Pathe

Antonio Moreno says his first "Hello" as a Pathe star in
a story of adventure in the slums, "The Angel Factory."
The name is derived from an institution established by a
young man of wealth, where hopeless girls are taught to
make homes. To this place comes a pretty girl, whose
"steady" is a gunman. The killing of the gunman, the
arrest of the philanthropist, his vindication, and the roman-
tic denouement are the features of the plot. The story is
one of action rather than character.

STRANDED IN ARCADY— Pathe

The first of the five reel features starring Irene Castle
is from Frank Lynde's novel, "Stranded in Arcady." The
slim princess, Irene, is much more of an actress than she
was in the impossible "Patria." Mrs. Castle is one of the
few women who are able to do hair-raising things without
losing their feminine charm. Elliott Dexter plays second
fiddle, and seems none too happy in the woods. If the titles
in this picture had been written by anyone with half a
sense of humor, it might have been a classic of the "Down
to Earth" order.

DOUBLE-CROSSED— Paramount

Somebody in the scenario department took a holiday,
and Pauline Frederick slipped into the unguarded office and
abstracted for herself a good story. This beautiful and
brilliant woman has been suffering from sick scenarios for a
long time. "Double-Crossed" is not an ideal, by any
means, but it is the first story we have met in a long list
of encounters with screen plots in which four successive
guesses, in the course of the picture, as to how it was going
to turn out, were all wrong. Hector Turnbull is the author.
Director Vignola has done excellent work in the decorative

scenes. The dramatic genius of Miss
Frederick is not employed to full capac-
ity here, but it is so great an improvement
on most of her pictures that it arouses
hope that her best will yet be seen.

THE COUNTESS CHARMING—
Paramount

Enter Julian Eltinge, female imper-
sonator, as they miscall him in vodeveel,
taking a short cut from the fact — im-
personator of women. There is nothing
female about Eltinge, and in these later
days he is now barely able to appear the
grand dame, whereas not many years
ago he could do you an ingenue that you
would find yourself making eyes at. But
his picture, "The Countess Charming," is
great fun. The story is not especially im-
portant, the entertainment consisting in
the swift transitions from masculine to
feminine and back again. Here Eltinge
has an opportunity that the stage denied
him, and it is too bad that he failed to
realize it until he had lost his girlish
beauty. The film gives an instantaneous
change of costume in a flash-back; a simi-
lar change in a stage performance would occupy so much
time that the value of the juxtaposition would be lost.
Florence Vidor, Edythe Chapman, Tully Marshall and Mr.
and Mrs. George Kuwa provide more than common support.

ON THE LEVEL— Paramount

Again the story of the little western girl who befriends
the straying tenderfoot; again the love episode between
inhabitants of contrasted social planes; again the schem-
ing mother trying to win her son back to his first love;
again the western girl giving up the man she loves for his
own good ; again the happy ending through the lover over-

"Triumph" (Bluebird) is a dramatic, hu-
man little tale with the vividness of life,
and Dorothy Phillips radiates in the play-
ing of it.

hearing a conversation that reveals the plot. Such is Fanny
Ward's latest silhouette, "On the Level." A good western
picture for those who like them, and do not notice such
inconsistencies as costumes of a day long past in juxtaposi-
( Continued on page 116)

The Shadow Stage

By Kitty Kelly

EVERY so often, in the trip onward, it
is good to stop a bit and look about,
to see if we really are rising toward our
goal of improvement, or are insensibly
slipping off on a by-trail. It's so easy to
go along on a dead level, and illuminated
by brighter colors of advertising inks, to
feel one is going up.

Are pictures getting better, or are they
jogging along with the same jogs? The
answer may depend a deal on what the
observer happened to see the night before,
but if he takes a half dozen, just any half
dozen, recent picture memories out of
his mental card file system, there's a basis
for estimation.

Pictures are much better than they
were two years ago, they are getting bet-
ter all the time, not every picture but the
trend of the picture production.

This is most noticeable in their environ-
ings. Beauty has come into the consid-
eration not only of the property man but
of the whole production plant. Simplic-
ity, dignity, richness are coming to rule,
gone out pretty generally, the ornate one, and with it the
regiment of statues and busts that used to adorn all the
loose tables and mantels in a room. Pictures are picking
up in quality, walls are swerving toward the plain, and
much less often does the hero have to sit down in the
heavily carved chair. We have these things, of course, but
in diminishing measure.

And as the outward is the sign of the inward man, so
our better environed pictures clothe better mannered and
moraled stories. With an effort to present the kinds of
rooms people live in, comes irresistibly an effort to put liv-
ing people in these rooms, so all the picture force of writers,
directors, players, atmosphere creators, are leagueing to-
gether to breathe the life of the world into the celluloid.

For instance, this is the day of the passing of the vam-
pire. We have her, but less dominatingly, less profitably.
One vampire has been drafted into the playing of big roles,
of the kind of course^ but chaperoned by classicism instead
of the common little day by day vampings; another has

The lamp has

In "Fools for Luck," (Essanay) Taylor Holmes strikes a common chord of
humanity.

"The Corner Grocery," (World) is fraught with opportunities for fun and

pathos.

set her desires into legitimate dramatic work. The plain
secret, as they tell it in centers where box office returns
come in, — the ladies don't draw.

The handsome hero is slowly disappearing in favor of real
manliness; little ingenues occasionally tie back their curls,
though this is admittedly a slow bit of progress, and splen-
did character people, the George Fawcetts, Theodore Rob-
erts, and such sort are being appreciated more and more.

Too, the cozy home story is coming into its own. Tri-
angles and cabaretings and murders still flourish, but every
week there is a chance to see one picture at least that has
no so-called punch, that pleases and appeals just because
it is so human.

Taking a hasty stock thus, it's easy to see that photo-
plays are growing better. There are many more points
besides those to be observed, little camera touches, bits of
suggestion that tell the tale — how much easier folk die now,
and how much more seldom they do it! Even the finale
clutch is weakening. There are many things to be thankful
for, many to give praise to, more than enough to grant a
feeling of assurance that the picture way is really on the
upward incline.

THE ALABASTER BOX— Vitagraph
This picture, with Alice Joyce, is illustrative of improve-
ment. Those sterling ladies, Mary Wilkins Freeman and
Florence Morse Kingsley concocted the story which Ches-
ter Withey celluloided, aiming to instill the idea that not a
wrong done but a harbored hate for the wrong is the evil
of the situation. So they have a banker lose the villagers'
money, and the villagers suffer the canker of their hate to
turn them into a very catty, hammer-throwing lot, with
now and then a true spirit shining out from their midst.

Alice Joyce, very beautiful, very animated, comes into
the narrow world and seeks to anoint it with her sweet
freshness. She plays with much charm, and is well assisted
by her associates. It is a simple kind of story, but there is
heart in it, and real folks.

MARY JANE'S PA— Vitagraph

This is another Vitagraphian ringer, derived from the

play by Edith Ellis and translated into the celluloid by

Eulalie Jensen, Mildred Manning, Marc MacDermott

(Continued on page 120)

The collection of precious stones owned by Miss

Goodrich might well be envied by an-honest-to-

goodness princess.

Shades of Captain Kidd!

T7DNA must have found the chart — she's
been gone from the screen for two years.
Noim she's back, and see what's she's got!
Diamonds and pearls and sapphires, crowns
and necklaces and bracelets and rings, the
treasures of kings, imprisoned light and fire
to make whiter her -white neck and more
gleaming the satin of her hair.

The band of the crown shown in the up-
per picture is made of two hundred and fifty
diamonds, ranging in size from one to two
and a quarter carats. Across its front are
fifty oval sapphires of a peculiar, deep blue,
and almost priceless. The dog collar is of
diamonds, platinum set, the breast-plate of
diamonds and sapphires, and the pearl neck-
lace is one of the most valuable in the world
and boasts a famous pedigree.

The head-dress in the lower picture is a
band of large diamonds, with a fan-shaped
arrangement of osprey which show just back
of her head These feathers are worth a
fortune in themselves.

She "wears them all in her first Mutual
picture. "Reputation" in which she came
back to the screen.

Why-Do- 77>ey-
Do-It

They Can't Fool You, Eh Charles?

WHEN Helene Chadwick explains to Mollie King, in
"Blind Man's Luck" that "we drank champagne
together," and the flashback shows the young lady gra-
ciously lifting dark liquor to her lips, my first thoughts
were that the property man must have been color blind or
that Director Fitzmaurice never indulges. One might fool
a camera with a yellow dress for a white one, but sarsa-
parilla will never register as champagne.

Charles K. Fuir, Hollywood.

Same Old Story

SPEAKING of anachronisms, how about the Governor
of Arizona, and his Packard, in "The Honor System."
The picture was supposed to be about conditions in prisons
in the South many years ago. Yet our dear fat Governor
wore a 191 7 Palm Beach suit and rode in a 19 15 Packard
and some directors seem 'to think that you can disguise a
Ford by reversing the stearing wheel.

G. M., Chicago, 111.

"Wife Number Two" Makes a Hit

AFTER sitting through four reels (I didn't have courage
to see the finish) of "Wife Number Two" with
Valeska Suratt, I believe I actually have a right to com-
plain. How can a director with ordinary brains stand
patiently by and see a leading woman whose forte is vam-
pire roles prance around and act like a girl of sixteen, with
a mop of hair on her head that would do credit to a Fiji
Islander, and lips so black that I think she must have
gotten her lip stick confused with a cake of Rising Sun
Stove Polish. The story itself had a fair plot but some
scenes were sadly overdrawn, for instance the one in which
the heroine dons the evening gown and wears it like a
duchess after having spent her life on a farm with nothing
but a calico dress to serve all purposes.

Grace Wood worth, Seattle, Wash.

Perhaps You Have One to Spare

r AM a tennis devotee and hate to see my pet game
J- slaughtered. In "The Kiss" a recent Paramount picture,
a girl is shown playing tennis and she is not even standing
on the court. She is supposed to be serving and is standing
up against the net. Somebody please mail that director a
rule book. C. M. J., San Antonio, Texas.

A Comedy of Errors

IN a recent Keystone comedy "The Toy of Fate" the
chief comedian lightly taps a man on his bandaged right
foot. The man reports the officer to headquarters but —
when he appears there, it is the left not the right foot that
is bandaged. Then when the officer appears the right is
again the ailing foot. Even in a comedy this is going a
bit too far.

Doris Seaman, Tulsa, Okla.

xzm^n

A Bull-Fighter Makes a "Bull"

IN Marguerite Clark's play "Pretty Sister of Jose,"
her lover, Sebastiano, the great bull fighter (who I
know never fought a bull in his life) is so surprised at see-
ing her in his last fight that he stands and stares at her
while the bull calmly runs up and punctures him in the
back. What great bull fighter would ever lose his head as
much as that?

Katherine Rohan, Racine, Wis.

They Must Have Believed in Preparedness

IN "The Slacker" Marguerite Christy (Emily Stevens) in
trying to aid the recruiting was telling of Paul Revere's
ride. In the scene showing his ride he was galloping down
a small village street and calling at every door. The people
immediately began rushing out and in every case they were
completely dressed. Paul Revere's ride was at midnight.
How does it happen that the people were completely
dressed at this time of the night?

Justin Foster, El Paso, Texas.

Edison Makes a Break

THE other day I witnessed an Edison picture in which
Billie. the hero, converses with a negro over the tele-
phone. The mouthpiece had apparently been damaged
in some way for a large piece was missing, and the results
showed plainly in the picture. In the first scene we saw a
closeup of the hero talking through' the broken mouthpiece
rjnd the next scene showed the negro using the same
telephone.

Since your new department has been organized I believe
everyone has been deliberately hunting for faults in the
movies, so directors should be a little more particular with,
the minor details of their pictures.

Llewllyn Totman, Duluth, Minn.

Photoplay Magazine

It Must Be the Prohibitive
Price of Shoe Leather

WHAT on earth makes so
many heroines go bare-
foot? The dear creatures just
run around over stones and
things as if they were oriental
rugs. Pauline Frederick in
"Audrey," Ella Hall in "Her
Soul's Inspiration" and Hazel
Dawn in "The Feud Girl" all
did this rather ridiculous
thing.
E. P. G., Brooklyn, N. Y.

That for You, Helen

IN "The Railroad Raiders," Helen Holmes is locked in a
room wearing a light silk suit trimmed with a wide band
of fur. She burns the door down to make her escape, and
dashes through fire and smoke, has a rough and tumble
fight with a dirty fireman, jumps on a fast moving freight
car and then plunges into a lake, bringing the drowning
hero safely to shore. But Helen's suit is perfectly dry and
spotless, not a hair on her head is wet.

I pay my money to see the Star and not their double,
and when a trick like that is handed out to me I put both
the Star and Director on my blacklist.

James Coners, Colton, Calif.

Sweet Stuff

IN "The Tides of Barnegat," after five years have elapsed,
Norma Nichols appears in the same suit, hat, and veil,
in which we saw her five years previously. No doubt
during the lapse of time she forgot to change her apparel !

Also, in my opinion Blanche Sweet has not had a picture
to show her real acting ability since "Judith of Bethulia,"
and that is now very old. She is a fine actress wasting her
"sweetness on the desert air."

Marie E. Jordan, Camden, N. J.

And Neither Are We

IN the photoplay called,
"The Stolen Paradise,"
featuring Ethel Clayton, we
have the leading character in
love with a young author who
lives in a rooming house over
her father's store. During the
course of the story, the girl
makes several trips up a flight
of stairs to leave gifts at the
author's door, clearly estab-
lishing the impression that the
girl lives on the lower floor
and her lover in one of the
upper stories. Later on the
girl finds a new way of leaving
her mysterious presents — this
time by attaching them to a
cord and lowering them to his
window from above. As
"Arizona Joe" once replied to
understandin'."

"I am not

Draw Egan,
D. C. E., San Francisco, Cal.

Laugh? Not in Baltimore

WERE the shiny patent leather boots the only dis-
crepancies "Walter E. Esser" observed in "The
Silent Master?" O ye gods! — there wasn't much else!
The audience had to submit to one shock after another
until it came to a scene where it almost gasped — that most
awful bathroom scene. The incorporation of Keystone
Comedy into a story which however impossible, was at
least, intended to be legitimate drama. Did you notice
how this erstwhile dignified "Silent Master" was handed
his phone while taking a shower bath? Did you see him
squirm, and giggle, and double himself with unseemly mirth
while talking to a woman he had rescued — an unknown per-
son, and one who had never seen him at all, because she
was unconscious? And — did you read that subtitle?
This from the perfectly unknown woman — "Come just as
you are! ! ! In the name of art and in the name of every-
thing sensible, who was responsible for the awfulness of
that.

I will say for our Baltimore audience — not one person
laughed. They stood a lot, but that was the limit.

Mary Cromwell Dixon. Baltimore. Md.

Wielding the Hammer in a Good Cause

AS a rule I am a pretty good na-
tured soul. I can stand for most
anything. My instincts are so gentle,
so retiring that once I thanked a fat
man for stepping on my corn. I love
dumb animals. I would not hurt a fly,
but here I am with a hammer. I
have reached my limit. I want to
fight. Not being a man, I cannot go
to war.

How can anyone stand Billy
West's imitations of Charlie Chaplin?
There have been some terrible imita-
tions but when it is so bad that the
mother of three living children pines
for a meat axe — I wonder what Gen-
eral Sherman would have said about
him.

It is bad enough for him to copy
as closely as possible the characters
in Chaplin's company but he should
not try to originate risque situations.
The result is like the daub of an ama-
teur artist — just smut.

Ida Blair, Chicago, 111.

Some Kiddo

IT was during the showing of "Captain Kiddo" with little
Baby Marie Osborne in the title role. She receives a
letter which, being unable to read, she has another read it
to her. Then she immediately sits doivn and writes a reply
thereto. I think this ought to take the prize if you are
giving any for foolish film flaws.

Helen J. Enright, Portland. Ore.

Ancient Egypt in Modern Garb

I SAW in "The Undying Flame," during one of the
Egyptian scenes, a man in modern trousers and sus-
penders just manage to escape from the corner of the
palace. Also why must an Egyptian princess wear modern
corsets? M. K., Jersey City.

Fannie's Fire-proof Tresses

IN the "Crystal Gazer" Fannie Ward is supposed to die
from burns received about the face and arms when she
saves her sister from the flames, but through some miracle
her curls aren't even singed, and we see them as long and
fluffy as before the fire.

Marion E. Gamble, San Jose, Calif.

" T/- OU asked for really beautiful pictures — what do you think of this?" wrote

X the photographer when he sent this one of Rhea Mitchell, now of

Paralta It makes a hit with us; and wc have a hunch that you'll like it too.

Let's Go Back
To Babyland

By the old hometown photographer, as-
sisted by a few up-to-date camera chaps

The fair colleen at the right is Eileen
Percy, Douglas Fairbanks' leading
lady. Scene: Dublin, 18 years ago.
Here is absolute proof that Ireland
is a wonderful country.

t*\

-4

Vitzel Photo

If § I

■■

Photo copyright by Hartsook

Yes, even Louise Glaum
was a baby once, a sweet
cherubic little mite of in*
nocence. And to think
of all those horrid vam-
pire roles and gun-wom-
an parts she plays.

Hazel Daly, the
"Honey" of "Skin-
ner's Dress Suit,"
seventeen years ago
in Chicago, and still
there, with Mr. Wil-
liam Selig's organiza-
tion. But my, how
Hazel's changed.

Lewis-Smith Photo

The doting father of the hero of
William Wallace Reid, Jr., and the
is known in movieland as Dorothy Davenport, declare
that Wallie, Jr. is a natural actor. When these pictures
were taken, Wallie, Jr., was just a month old. To show-
that he is a chip off the old block there is an accom-
panying photograph of Wallie, Sr., taken at the ebul-
lient age of five months.

/T looks as though Mary is up a tree. Is she wondering whether she ought
to accept that $20,000 a week recently offered her, or is she merely figuring
out how to get down gracefully? We wish we had problems like $20,000 a week.

In Time of War While the service of the
Prepare for Peace, motion picture in war is
manifold — as a distribu-
tor oi news, as an inciter of patriotism, as a
shamer of slackers, as a salesman of war issues,
as a medium for any sort of quick and ardent
communication between government and gov-
erned— we have overlooked its equally great
value as a trade evangel in the peace which
must follow.

Trade is the only salve for battle hurts.
Conquest no longer rewards the victor nor
enanguishes the vanquished. Trade pays in-
demnities, restores business stability, repairs
private fortunes, brings happiness and comfort
to homes.

It behooves the American to ensnare a little
of that diabolic commercial foresight which has
been the German's best asset heretofore, and
prepare a photoplay selling campaign which
will be at once of profit, of mutual service, and
of a nature to restore good feeling and make
animosities forgotten.

Because it tells a complete story, presents
uncontrovertible facts and speaks a universal
language, the motion picture is potentially the
greatest salesman in the world.

In time of war prepare for peace.

Let those who engage in the task of
writing titles for screen dramas con-
sider the ingenuity of a word-eco-
nomical child, in writing an essay on a certain
Biblical incident. "The boys called Elisha bald-
head, and he said if they did it again he would
call a bear out of the wood, and it would eat
them up. They did; he did; it did."

Wanted — There is a higher percentage of illit-
More eracy in New York than anywhere

F 'th in e^se m tne United States. Most of
, p !/• tne big film concerns have their
the rublic. headquarters in New York. It is
not surprising, therefore, that the Czars of Cel-
luloid have little faith in the intelligence of the
public. It is time for them to become more
familiar with social conditions in the vast coun-
try which provides New York with its excuse
for and means of existence. Recently a big dis-
tributing company wanted a general name for
its output, "Vanguard Pictures" was suggested,
and the president promptly vetoed the proposal.
"The public wouldn't know what 'vanguard'
meant," he declared. It is against such failure
to appreciate the fact that the American people,
by a vast majority, can readily assimilate two-
syllable words, that the genius of the youngest
of the arts is constantly striving.

Tip For
Titlers.

Would You Starve "I am literally going

Your Youngest Child? bIind> reading, and

reading, and reading,
trying to find stories for scenarios," said a star
who heads her own company. "I am having
a vacation because our scenario department
cannot find a story for me," said a young wom-
an from the west, visiting New York.

And on the other hand —

"I have stopped trying to write scenario
stories, because I never have sold one, and I
believe the companies simply steal the ideas,"
said a young woman who has the writing gift,
and who has turned back to magazine work.

And back to the first hand —

"The trouble with many writers is that they
do not understand how closely their plots
resemble things that have been done over and
over again. They recognize their fundamental
idea in some film, made by a company to which
they have submitted their scenarios, and decide
that the idea was stolen from them," says a
producer.

In the early, ruthless days of film produc-
tion, doubtless many stories were stolen. To-
day there is no important company which does
not consider carefully and honestly, everything
submitted. Producers are shrieking for help,
and are ready to pay big prices for original
ideas, or old ideas with an original twist.

The moving picture is the youngest child of
literature. It is simply another way of telling a
story. The story-tellers of the world have
made the pictures possible; now they are starv-
ing them. The reason for this is that they
have not yet realized fully — in the mass — that
the new mode of telling stories demands new
kinds of stories to tell. The authors have not
yet evolved the new technique. Nor, in the
main, do they understand that there must be a
new technique. They are merely writing stories
as they have been written "since Homer smote
'is bloomin' lyre."

The situation is really grave. Never has
there been such an opportunity for men and
women with the capacity for plot construction.
But they must study the needs of the camera,
not try to force the camera to adapt itself to
their ideas.

In All A great deal of nonsense, which in
Fairness. itse'f would not merit comment if
it did not involve grave injustice,
has been going the rounds concerning film
players and enlistment. If you don't like a man
or his acting these days, you have a coward's
opportunity to strike at him by asking why he
has not joined the army. You don't talk that
way about the young man who sells you a pair
of shoes, or who drives your automobile.

Nor have the players themselves been en-
tirely judicious in their replies. More than one
has been quoted to the effect that he believed
the public weal was best served by the artist
who remained at home to entertain a sorry
world, and now, more than ever, needed his
art. Mr. Warren Kerrigan was recently quoted
to this effect. He denies that he said it;
Photoplay at the time expressed the hope that
he had not said it. But after all, if a man is
badgered he is apt to say things that his calm
judgment would disown.

Discarding emotion, the situation stands
thus. The United States government has
evolved a plan for raising an army to fight
Germany. It has said, in effect, "We will call
you when we want you." If, in spite of this,
you have a taste for fighting, you may volunteer.
If you have not that inclination, the public has
no more right to criticize you for not volunteer-
ing than it has to criticize you because you do
not invent a device to destroy submarines.

We do not believe that the patriotism of
the men who are engaged in making moving
pictures is, in any s;nse, generally questioned.
Many have been called, and have gone — will-
ingly, we believe. Moreover, many a leading
man who appears twenty-five on the screen, is
nearer thirty-five. Most of the stars are well
beyond thirty. The government has said that,
for the present at least, it does not need these
men. Then who are you sneerers to arrange a
little selective draft of your own?

One of the rewards of entertaining the pub-
lic is the acquisition of a host of friends. One
of the penalties is the acquisition of a few petty
enemies. One of the duties is the maintain-
ence of a serene outlook upon life, neither
puffed up by the one nor perturbed by the
other. The player's conscience is his own.
Let this nonsense end.

There is No Law One trouble with motion
of Compensation. Picture drama today is the
inevitable feeling for the
imaginary law of compensation in every photo-
play produced. One of the oldest and wicked-
est beliefs humanity possesses is that life event-
ually rewards virtue and punishes wickedness.
Somehow the persecuted young woman of the
first two reels must be annointed with blessings
at the fadeout, and the iniquitous gentleman
will show plentiful evidence of defeat and
decay.

If this were true, life would be reduced to a
puppet show in which the figurantes dangled
to a definite destiny as unerring as planetary
motion.

Really great art ignores this false premise,
for material punishment is a matter of accident
or the pursuit of that lame horse, the law; and
virtue rejoices in a permanent income — if it's
wise or lucky.

Did we say there is no law of compensation?
Let us change that to read: the only law of

compensation is the spiritual law. A man's
actions have their only real effect on his own
soul, enlarging it till it may encompass the uni-
verse, or shriveling it to a peanut. The black
heart may or may not wither in a jail; the
saintly woman may or may not be glorified.
The art of Shakespeare and Balzac and Moliere
recognizes this, and concerns itself with what
men think and do, and — inevitably — become;
not with the palm or the chain that wry fate
may thrust upon them.

Even Qenius Margaret Mayo is one of the
Must Study most successful of American

Conditions. writers f°r the ?taf :, W,e do
not recall a single failure from

her typewriter. "Polly of the Circus" was one
of her most successful plays — one of the most
popular plays, in fact, that the American stage
has ever seen. Mae Marsh is a screen star of
truly great talent, schooled under the mas-
ter, Griffith, an exquisite mirror of emotion.
Yet Margaret Mayo's "Polly of the Circus," as
a film production, starring Mae Marsh, is "just
another movie." The Goldwyn company claims
in its advertisements that the production cost
$250,000. It may have cost actually one-fourth
that amount. Certainly there was no skimping
of money. The obvious fact about the finished
product is that genius came to the screen as a
kaiser to a humble peasant, to dominate, not to
love. Genius said, "Here is a great play and a
great actress. Do as I command you with them."
And the resources of the celluloid world me-
chanically obeyed. Yet if Miss Mayo had passed
her life riding behind horses, would she attempt
to drive a racing automobile without appren-
ticeship? We wonder. The cinema is crying
aloud in a wilderness of bad scenarios, for the
great writers to bring their wares to its generous
purchase counter. But if the author insist upon
forcing the acceptance, with his wares, of his
preconceived idea of what should be done with
them, he had better not come to market.

More Shading The Shadow Stage is still just

DoiDn or Up, a bit more permanent and

stable than its own shadowy
product. Less than two years ago three of the
greatest producers developed by this new and
golden industry got together in a big producing
corporation. During the last few months all
three withdrew and became affiliated with what
was their most powerful rival. Simultaneously,
the world's greatest screen comedian allied him-
self with a co-operative organization of exhibit-
ors which sprang into existence over night. The
motion picture map is comprised chiefly of con-
tinually changing boundry lines and for stability
can be likened to a revolving kaleidoscope. Of
course it is inevitable that the business will
finally adjust itself just as did the steel and
automobile industries after their mushroom
periods of existence.

7i.

The Fall o f the
Romanoffs ("J

Anna, a Delilah in an
honorable cause, pre-
tended a return of her
old infatuation for
Rasputin.

Concluding the roman-
tic account of intrigue
and despotism which led
to the downfall of the
Czar and the founding
of the Russian Republic

By J

erome

Shorey

RASPUTIN, an illiterate drunk-
ard, shrewdly imposes upon a
priest in a small Russian village, and
the priest believes him gifted with
divine prophecy. The priest becomes
a bishop, and tells the Czar of Ras-
putin's gift. The Czar, extremely
superstitious, sends for the rascal,
and Rasputin, first by flattery, then
by successfully predicting that the
Czar will have a son, gains the absolute con-
fidence of the despot, and becomes the real
ruler of Russia. In putting down the attempted
revolution of 1905, Rasputin enlists the aid of
Iliodor, a young monk, who believes in the
integrity of the Czar. Rasputin desiring to
employ Iliodor's talents permanently for his
selfish ends, betrays to the monk how he rules
Russia by his charlatanism, and Iliodor is
shocked by the revelation. He denounces Ras-
putin, but the latter still believes he can win
over the monk by introducing him to the
voluptuous life of the court. He gains Iliodor's
consent to attend a great banquet, at which he
proposes to win the man where he had failed with the church-
man.

WHILE Rasputin was not a priest, in any official an unbridled revel that Rasputin introduced the young
sense — had never taken vows nor been recog- monk Iliodor, in the hope of thus winning to his cause,
nized by the Holy Synod — it was necessary in the man, where he had failed with the priest. Nothing is
maintaining his indefinable position of "holy to be gained by revealing the bestiality of such bacchanals,
man," that he should be known as some sort of spiritual Suffice it that when, throughout history, such practices have
philosopher. Having no political or ecclesiastical authority become part of the life of the ruling classes, kingdoms and
at his back, it was imperative that he should make a pre- empires have decayed. Nineveh, Babylon, Greece, Rome,
tense of enjoying a still higher sanction. So he cunningly France — each became engulfed in sensuality, and each de-
evolved a certain very fleshly theory that was entirely to stroyed itself. It takes a strong man to be a successful
the liking of the dissolute court. He preached obedience tyrant. Let degeneracy sap the vitality of a dynasty and
to all nature's mandates. He argued it is doomed.

that man must be forgiven to be _, .. - , ff At last Iliodor realized that not

saved, and he could not be forgiven *■ "e ™i 0* t'ie Romanoffs merely was his haloed Czar a

unless he had sinned. Therefore, he xjarrated from the story told by Hi- Puppet, not merely was Rasputin
urged, man should follow the dictates IN odor, himself, upon which is based an unscrupulous charlatan, but that
of his appetites and passions, some the Herbert Brenon photodrama. Russia — his beloved Russia — was

of which undoubtedly would be dis- at the mercy of harlots and demons,

pleasing to God,-and thus God would CAST 0F characters He rushed from the palace, fran-

have something to forgive. With all Rasputin Edward Connelly tic with shame and anger, to pour

the naivete of children, the court cir- The Czar Alfred Hickman his tale into the ears of the rulers

cles, for the most part, avidly ac- The Czarina Nance O'Neil of the church. Not that this was

cepted the idea as inspired, especially Iliodor Iliodor news to them. In a general way

as it suited their inclinations per- Prince Felix Conway Tearle the condition had been known, and

fectly. Princess Irena Pauline Curley ignored. But with a specific com-

So it transpired that orgies which The Kaiser George Dunueburg plaint to consider, it was decided that

previously had been conducted with Grand Duke Nicholas Charles Craig the time had come for action. Ras-

some degree of secrecy, now became The Czaravitch Cyril Brenon putin was summoned before the con-

aimost religious rites. It was to such Anna Galanta clave.

7»

Photoplay Magazine

He could have refused to come, but at least
Rasputin was no coward. And he had a trick of
turning attacks into victories, that emboldened him
into accepting all challenges. But with all his
boldness, deep in his heart there was the germ of the
same superstition which is found in all imperfectly edu-
cated peoples, an invariable trait of the Russian peas-
ant.

So when, with all the mystery and dignity possible, the
conclave of bishops denounced him, and placed him under
the most terrible ban conceivable to the priestly mind,
Rasputin's effrontery was shattered, and he became a
cowering wretch. He pleaded for their
absolution, and swore solemnly to mend
his ways. The simple bishops believed
they had succeeded in implanting the
fear of God's wrath in the black heart of
Rasputin.

But no sooner did he escape the pres-
ence of the bishops, than his oaths were
forgotten. He went direct to the Czar
and, with accusations manufactured on
the spur of the moment, without a
vestige of proof, obtained an order that
Iliodor should be unfrocked, and several
other of the churchmen punished. There
was no trial, no inquiry. The Czar was
head of the church, and Rasputin ruled
the Czar.

So there was no power that could suc-
cessfully assail this man, who had be-
come the scourge of Russia? Yes, there
was a power. It was not the power of
any one man, or organization. But
down, deep in the consciousness of the
real Russia, that power had been born,
and already was stretching its great
sinews. The memory of the futile revo-
lution was not dead. The power of
truth, which is the essence of democracy,
was alive in Russia. This, and this
alone, was to bring about the downfall
of Rasputin.

But not yet. More arro-
gant than ever, he went on his
way. No man and no woman
was safe from him. One of the
women confessed to a bishop.
She was Sonia, a lady of the
court. The bishop believed
that now the Czar must listen.
He took the story to Nicholas
who promptly asked Rasputin
to explain. With the appear-
ance of the most tremendous
righteous indignation he de-
clared the entire story false, and insisted that
it was part of a plot to get rid of him, the
Czar's greatest friend and protector.

"And I prophesy," he went on, in low, im-
pressive tones, "that only so long as I live is
your life safe. When Rasputin dies your throne shall fall."

The Czar trembled, and banished the bishop to the
desert of the White Sea. •

But even while he gloated over his victory, Rasputin saw
that the royal faith was shaken. For too long he had been
issuing his denunciations without proof. Another incident
such as that of Sonia might spell his downfall, and Ras-
putin knew how possible it was for such incidents to arise
at any moment. So with devilish cunning he arranged a
new coup.

Aided by the faithful Anna he administered a subtle
poison to the young Czarevitch. Slowly the boy sickened.

and the court physicians could not understand the malady.
Days passed, and the heir to the throne, the only son of
Nicholas II, fell into a stupor from which nothing could
arouse him. In their desperation, the royal parents came
to Rasputin for aid.

"I cannot help you," he said. "I have lost my power,

because you have lost faith in me."

They assured him it was not so. They asked
him to name any test of their trust in him, offered any
reward he would demand, to save the life of their son. At
length he consented. He ordered them to go to the chapel,
and remain in constant prayer until he came to them. The
entire family immediately obeyed, while Rasputin closeted
himself with the poor child, the victim of all the intrigue.
Administering the antidote himself, Rasputin watched the
boy return to consciousness. After many hours he had
revived so that he was able to ask for his parents. Taking
him in his arms, Rasputin went to the chapel.

The Fall of the Romanoffs

Kneeling around the altar were the Czar, Czarina, their
daughters, and all the members of the household. Some,
weary from the long vigil, had fallen forward, and slept
uneasily. But the ruler of all Russia and his proud wife,
still prayed and wept.

"I bring you your son."

With startled cries the supplicants arose. In the door
stood the weird, uncanny Rasputin; in his arms, weakly
holding out his hands toward his father, was the Czar-
avitch. He lived. Rasputin had saved his life. None
now could say that Rasputin was not a man of divine
power.

His divinity was soon put to almost the ultimate test.
Sonia, hiding her disgrace, told the story of her downfall

to Iliodor. The young monk, now unfrocked and power-
less, pondered for a time.

"Rasputin must die," he said at last. "To kill him
would be a noble, righteous act."

"You think that I could do it?" she asked.

"You could go to him, and pretend remorse at hav-
ing exposed him. Then when he is off his guard — "

"I'll do it," the young woman cried, "not for myself —
for Russia!"

She did not succeed. The time had not yet come for
Rasputin to die. The knife missed his heart by an inch,
and Sonia was sent to Siberia.

Intuitively, Rasputin knew that Iliodor had had a hand
in the plot, and decided to rid himself of this peril. With
the aid of one of his spies he attempted to involve Iliodor
with an anarchistic society. Iliodor, however, was on his
guard. But while he escaped, he realized that his life
was in danger every day he remained in Russia. So in
disguise he escaped to Christiania, and thence to America.
Rasputin was satisfied. He had placed his enemy at safe
distance. And in Iliodor he saw one of his most dangerous
foes, for he knew that this young man acted, not from
motives of ambition, but out of fanatical love for Russia.
Decidedly a dangerous man.

It now appeared that Rasputin had reached a point from
which no mortal power could dislodge him. His victories
ever one after another of his enemies gave him such a repu-
tation that not the boldest souls in Russia dared pit them-
selves against him. For though the duma was now an
active element in affairs of state, it was still without the
power to make its will effective. The Czar was supreme,
and Rasputin ruled the Czar. The country, moreover, was
comparatively quiet, except for the constant seething be-
neath the surface, and it was one of the characteristics of
the Romanoff dynasty that it never bothered about any-
thing that it could not see. Ostrich-like, the rulers ignored
trouble until fronted by violence.

So the court- was left to its self-disintegration. Wine
and women were destroying the autocracy, so that when
the moment came, the upheaval would be comparatively
easy. And at the inner core of this pollution was Rasputin,
and his still faithful Anna — faithful from policy, faithless
from force of example. She still retained something of her
old influence over the tyrant, being perhaps the one person
at court in whom he trusted implicitly.

While Rasputin had gained absolute control over all in-
ternal affairs of Russia, he had paid little attention to
international politics. Thus it transpired that the outbreak
of the great war found him virtually neutral. The Czarina,
with her strong German sympathies and family connec-
tions, endeavored desperately to prevent Russia from tak-
ing sides. But Nicholas still had some regard for his treaty
obligations and, backed by the duma and the stronger men
of the autocracy, he kept faith with France and England.
Rasputin stood aside, watching only for opportunities to
make personal capital of any contingency that might
arise. Had he been a real statesman, he might have
become one of the greatest powers in the world. Being
a selfish charlatan, he slipped easily into the path that
eventually led to his doom.

Among the younger officers of the Russian army, lit-
tle known at court, and despising its pollution, was
Prince Felix. Official business brought him to the Win-
ter Palace frequently, and here he and the Princess
Irena met. and loved at first sight. Anna he met also,
and she was fascinated by his simple manliness. Nor
did she hesitate to make clear to him her feelings.
When he ignored her advances it only increased her
determination to supplant the Princess in his affec-
tions. So with the aid of Rasputin she arranged a typical
plot.

First, she subtly conveyed to Felix the idea that Rasputin
had an irresistible power over all the women of the court,
from which the ladies of the royal family themselves were
not immune. Then she arranged with Rasputin for him to
break into the apartments of the Princess Irena one night,
and permit her to bring Felix there and discover the situa-
tion. Rasputin had no fear of consequences, and Anna re-
lied upon the mere fact of his presence in the apartment to
arouse the suspicions of the Prince. What neither of them
counted upon was the fearlessness of the Princess.

The night arrived. Anna visited Prince Felix and re-

Photoplay Magazine

newed her shameless suit. When he repulsed her, she
scornfully informed him that his beloved Irena was even at
that moment entertaining Rasputin. Felix rushed to learn
the truth. Meanwhile, the Princess, to escape Rasputin,
ran to an open window to fling herself to the ground. Ras-
putin hurried to the courtyard, but the Princess, still believ-
ing him to be pursuing her, jumped. Rasputin was wait-
ing below, and caught her in his arms. Felix came upon
the scene just in time to fell the scoundrel with a blow,
and carry the Princess back to her room.

Even with full knowledge of the power which Rasputin
held over the Czar, Felix believed that this would be suf-
ficient to dislodge his clutch. In the morning he visited
the Czar, but Rasputin had anticipated him. What story
Rasputin had concocted. Felix never knew, but the Czar
refused to listen to the truth. With Rasputin leering be-
hind his chair, he promptly commanded Felix to leave at
once for the front.

Meanwhile the Czarina had not abandoned her hope of
withdrawing the Russian forces from the field, and arrang-
ing a separate peace with Germany. In her private quar-
ters she had a wireless apparatus installed, and kept in
constant communication with the Kaiser, then visiting the
eastern front. As a result of these negotiations she decided
to take Rasputin into her confidence, knowing his influence

over Nicholas. She showed him what success would mean
to him — still greater power, and a reward of unlimited
wealth. He agreed to the plan, and made his historic visit
to the Kaiser.

There, in the camp of the German army, the erstwhile
drunken sled driver and the German despot mapped out
the future of Russia. The history of the world was to be
altered at the pleasure of a tyrant and a charlatan.

Rasputin hastened back to the Czarina and reported.
All they needed was the assurance that the army would
obey when the time arrived. There was no question of
the Czar's obedience. So Rasputin was sent on another
mission, this time more delicate than before. It was noth-
ing less than the winning over to their cause of the Grand
Duke Nicholas, whose victories had made him the idol of
his forces and the hope of the Russian people. He was one
of the members of the royal house who had not been en-
gulfed in the dissipations of the court. And what he did
not guess about Rasputin, was made clear to him by Prince
Felix.

The Grand Duke listened attentively to Rasputin's
scheme. Then he went to an inner room of the house
where he had established his headquarters, and called
Felix.

''Perhaps you would like to witness something that will
be a partial revenge for the wrongs you have suffered," the
general observed.

Taking a heavy whip
from the wall, the Grand
Duke approached Rasputin,
who cowered in abject fear,
and pleaded for mercy. But
the Grand Duke had decided
in what form he would reply
to the Czarina and the Kai-
ser, and flayed the rascal
until he howled.

"That's my answer. Now

In their despera-
tion, the royal
parents came to
Rasputin for aid.

The Fall of the Romanoffs

go," he said, at length, and flung Ras-
putin out of the house.

But the conspirators refused to be
balked by the opposition of any one
man, or group of men. The Grand Duke
was no parlor diplomat. He did not
believe that Rasputin could control the
Czar in a matter of such tremendous
moment. So he went on with his cam-
paign, instead of following Rasputin
back to court, and organizing a counter
movement to defeat the plot. This left
Rasputin a free hand with the weakling
on the throne, whose confidence in his
'holy man" was almost unbelievable.
He heard Rasputin's tale of the indigni-
ties he had suffered at the hands of the
Grand Duke and Felix, and promptly
ordered the general to the Caucasus, and
Felix to an equally remote section of the
long battle front.

The time had now arrived to conclude
the separate peace that would release
the entire German fighting force for the
destruction of the French and English
armies. The Czar was still a patriotic
Russian, but in all his court he was
alone. Rasputin and the Czarina saw
to it that he was kept secluded from all
men who would influence him against
their plot. Nicholas Romanoff was
weak. He had neither the ability nor
the inclination for making momentous decisions. He wanted
peace, not only for Russia but for himself. He was sub-
jected to a third degree process, no less compelling than
that employed by his own secret police in forcing confes-
sions from anarchists. That he would break beneath the
strain was inevitable, and finally the day came when he
could hold out no longer. He agreed to sign the treaty
which would, almost certainly, result in making the Kaiser
a world monarch.

But Prince Felix, torn by fears as to the fate of the
Princess Irena, and spurred on by his love for his country,
decided upon a final, desperate attempt to remove the ten-
tacles from the heart of Russia. Secretly he made his way
to the capital, and there allied himself with the party,
incessantly growing in power, which was determined to
redeem the nation, even if that redemption should entail
the destruction of the Romanoff dynasty. They realized
that Rasputin was the cornerstone of the unscrupulous edi-
fice, but they also realized that it was no longer possible to
defeat him by revealing his true colors. Those colors were
so well known that even the Czar himself could not but
know them, even while he submitted to the rascal's rule.
The only way in which Rasputin could be reached, there-
fore, was by trapping him in his own game.

Yet this was only to state the problem, not to solve it.
How to reach this wily and wary scoundrel was a question
to which there seemed no answer. Felix decided to take
the one chance which would mean either success or death.
He sent for Anna.

Now Anna, after all, was of the people. She was born
of those peasants who have suffered for centuries under the
cruellest yoke known to modern times. In the bosom of
the scheming courtesan there still beat the heart of the Rus-
sian woman. To her Felix told his story of the doom which
was threatening her country. Nor was it an entirely unto-
ward circumstance that Anna really loved Felix, none the
less because he had spurned her, and perhaps because of his
very fidelity to his love she found it easier to believe in his
sincerity.

"Rasputin must die," FeVx said at last.

Anna sat silent, wavering in indecision. Yet after all,

Rasputin cowered and pleaded for mercy, but the Grand Duke flayed the
rascal until he howled.

what had Rasputin meant to her? He had used her infat-
uation for him to serve his own ends. He had been unfaith-
ful to her as he had been to all. She looked into her own
consciousness, and knew that she had been made into an
evil creature by this arch villain. Here was an opportunity
for her to redeem her evil life by one great deed. She lis-
tened while Felix told her the stories of Charlotte Corday
and Jeanne d'Arc — women who had won high places in
history through their services to their country. And at
length she consented to help in bringing about the down-
fall of the man who was about to ruin Russia, as he had
ruined her.

Rasputin, serene in the belief that he had won his vic-
tory, that the separate peace would soon be an accomplished
fact, and that he would receive a fitting reward from the
Kaiser, was resting on his laurels, and waiting for events
to take their logical course. To him came Anna, a Delilah
in an honorable cause. She pretended a return of her old
infatuation and with many tender attentions lulled him into
a sense of perfect security. Not that he had ever been
given cause to doubt her fidelity to him, but in the tense
days that were passing he dared trust no person implicitly.
He had placed a guard upon his impulses and appetites,
determined to wait until his victory was an assured fact
before enjoying its fruits. All the more, then, was he in a
frame of mind to succumb to Anna's wiles.

So when she pleaded with him to break the monotony of
the dull days and nights by attending a great revelry she
had arranged, his objections were only half-hearted. It
was to be only a carefree feast, where the cares of state
would be forgotten in sensual pleasure. His desire for a
renewal of his accustomed dissipations once awakened, the
test was simple. He demurred to the plan of going to a
strange house, but Anna argued that, while the Czar was
still worried over the separate peace, it was best not to risk
antagonizing him, for, to do him justice, he had ignored,
rather than approved, the orgies in the palace. And though

Photoplay Magazine

he had agreed to sign the treaty, his signature was still
lacking. There were details to be arranged, matters that
occupied tedious days. It was best that he should be
undisturbed.

So the eventful night arrived, the night that was to decide
whether or not Rasputin should continue to live. The
feast was arranged, the most gorgeous that all the resources
of the capital could afford. It was a banquet that would
have aroused the envy of a Roman emperor. The hours
passed. The wine flowed freely. Rasputin, seated beside
Anna, indulged himself as he had not done in many months.
The orgy reached its height. Scarcely a man or woman in
the assemblage, save Anna herself, but was half crazed
with the excitement and the wine.

Suddenly, the doors at one end of the banquet hall were
flung open, and a masked Cossack rode into the room,
leaped his horse upon the long table and rode toward the
end where Rasputin was seated. Costly dishes and glasses,
and more costly wine and viands, crashed and flew in all
directions. With screams of terror the guests rushed from
the hall and out of the house. Rasputin, barely able to
stand, tried to escape with them, but from places of conceal-
ment half a dozen men appeared and surrounded him. Nor
did they hesitate long.

"For God and Russia," one of them shouted, and pressed
a revolver into Rasputin's hand.

There were half a dozen shots that sounded almost as
one, and Rasputin, the scourge of Russia, the man who
had menaced the entire world, sank dead upon the floor.

Quickly the lights were extin-
guished. As quickly the inert
body was carried from the house
by a secret passage, hurried
through the streets to the Neva,
and flung from a bridge.

A peasant woman, passing by
chance, saw the body fall, and
recognized the face, until that
moment the most feared in Rus-
sia. Screaming the news she ran
through the streets crying:

"Rasputin is dead! Rasputin is dead! "
The news spread and hundreds took up the cry. In an
hour the city was in an uproar. Men and women em-
braced one another in the streets. Bells were rung. The
soldiers were called from their barracks to disperse the
mobs, but they refused to obey their officers. The real
Russian revolution had begun.

And in the Winter Palace, Nicholas Romanoff heard,
and knew that the end had come. He recalled Rasputin's
prophecy, that with his death the dynasty would fall.
And now, even without Rasputin at his elbow, he still
believed the charlatan had been half divine.

Here, then, has history repeated one of its curious con-
tradictions— that the greatest events in the progress of
nations upward toward freedom have been brought about
finally by the very excesses of the men who tried to en-
slave those nations. The tyranny of kings gave England
the parliament, the oppression of blind autocrats gave
birth to democracy in America, the extravagances and
cruelties of the French monarchs brought about the French
revolution. So Rasputin, carrying despotism and infamy
to their very depths, spurred stolid Russia to its rebirth.

Rasputin is dead, Russia is free. The forces of evil can-
not long hold any people in their thrall, for the one supreme
power in the universe is Truth. What then of the world as
a whole, today engulfed in horror? If Russia was able, in
the midst of a war that threatened her very existence — if
sleeping, stolid Russia was able to throw off the yoke, shall
the community of nations fail? Somewhere in the world

there lives a man who is to all
Europe what Rasputin,
through the Czar, was to Rus-
sia. Let him consider well
the fate of his fellow demon.
For the message of Russia to
the world is that out of the
awful travail comes life, thrill-
ing through the universe until
the stars in their courses shout
for joy.

A masked
upon the

Cossack leaped his horse
table .... the guests fled
a dozen men surrounded
Rasputin.

She Was
Padded, to Fame

3Aargery Wilson started on the
" Cjlory Road" by deceiving pro-
spective employers as to her size

<$y J. B. Woodside

MARGERY WILSON ascended to stardom by using pads as ballast. Every
time this new star of the Triangle forces shed a pad, she got a better job.
And now that she has risen to the top, she doesn't need pads, so at last
she is her simple self again.

Although it may sound rather intimate and prying to discuss Miss Wilson's
padding so frankly, it may be excused because her pads were so vitally connected

with her theatrical work. Also no other actress
ever assumed such a unique method of advance-
ment.

Long before the era of pads began, Margery
Wilson first slid into the foot-light trough
during amateur theatricals in a Kentucky
seminary where her mother was teacher.
For diplomatic reasons, her mother had to
cast the children of wealthy patrons in the
best parts, leaving her daughter to appear
as a maid. But the rich little children got
frightened, as rich little children should
when they try to keep a future star like
Margery Wilson down, and Margery had
some success.

Margery Wilson, the "Brown Eyes" of
"Intolerance," is a full-fledged star now.

When her mother became ill, they
went to Cincinnati, and then came the
period of pads. Miss Wilson's mother
was denied salary while on sick leave
and mother and daughter were im-
poverished.

Margery Wilson, fourteen years old,
went forth job-hunting, and she almost
begged employment as cash girl, salary
two dollars for seven days of labor.

Then moving pictures indirectly
changed her life and summoned the
pads. She decided she would play the
piano in a moving picture show. But
her size and youth forbid such employ-
ment, although her ability was ample.

So she went home, declared three of
her mother's old dresses as material for
properties, and padded herself until she
presented a rotund and mature appear-
ance. Then she got the job.

As she grew she needed less pads.
So she was a few yards shy of the
original assembly when she joined a
stock company. But her unusual slen-
derness and youthfulness made first aid
to the curves of her body necessary
(Continued on page 127)

How shocking! Oh, these picture act-
resses! Only the lady lighting the
cigarette at Cecil B. DeMille's cigar is,
as you have said yourself, no lady. She
is Julian Eltinge, impersonator of women,
who carries a punch in either fist for the
education of any person who intimates
that his effeminacy exists outside his art.
The bystander is Director Donald Crisp,
who is now working on the third picture
in which Eltinge alternates between pants
and petticoats.

No man is a hero to his valet.
Perhaps, few men are musicians
to their dogs. Apparently
Harold Lockwood isn't, any-
how. Evidently his efforts on
a guitar would make a dog
laugh -and did. When Har-
old saw this photograph he
sold the guitar and bought
a muzzle.

And Their
Just

Film companies don't care
to risk the lives of expen-
sive stars in stunts like the
one above. The man who
doubled for the comedian
in this incident was paid
#10. He was a parachute
jumper "before he lost his
nerve," as he tells it.

■%

The press agent says that Helen Holmes,
having experienced all possible thrills on
earth, donned a diving suit to learn what
was possible under the surface of the sea.
But what we want to know is why she
does her deep-sea diving out among the
oil derricks. Husband-Director Mac-
Gowan is playing maid.

Pay Goes On
the Same

wBfcJ

-•<

<t<*

-_r- V»

Despite linguistic difficulties, Charlie
Chaplin and Max Linder became firm
friends when the French comedian was
recovering from his illness in California.
Their parting was more regretful than
the picture, taken as Linder left for
France, would indicate, but then, you
know — these comedians ....

Ten seconds after the camera caught
this scene, the shock of the explosion
crumpled the buildings in the fore-
ground into a heap of debris, as was
intended by the Bluebird wrecking crew
in the production of "It's Up to
You, "featuring Herbert Rawlinson and
Brownie Vernon.

Not
a Home

Was
Wrecked!

Louise Glaum, Triangle's
Ingenue - Vampire made
a flying trip from Los
Angeles to New York
— and back again

Claude, doorman at Mme.
Highcost's Fifth Avenue hat
emporium, was duly im-
pressed. "Urn -urn, she
don' look like no vampire
to me."

Maybe Louise is
figuring out how
she can use this
piece of machin-
ery in one of her
gun-woman roles.

"Right over here is the Metropolitan Mu-
seum— " started Alan Dwan, showing the
Triangle star the village. "Oh fudge!"
said Louise. "Where's the Bowery?"

A day to be remem-
bered in the trenches.

Eddie Lyons, Lee Moran and Victoria Forde in a scene from "When Lizzie Went to Sea."

Eddie and Lee — "The Boys"

Pals, on and off, Messrs. Lyons and Moran hold the records for rapid comedy making

By E. V. Durling

WHETHER it is in the mahogany adorned home
office of the company on Broadway, New York,
or on the big stage at Universal City they are
known as "the boys." It was probably Carl
Laemmle, the president of the Universal Film Company,

who is the cause of
their being so desig-
nated. The first
question the genial
executive asks when
he gets off the train
at Los Angeles is
"Where are the
boys?" and the first
answer he makes
upon his return to
New York when
asked regarding the
affairs on the coast is
"Well, I saw the
boys; they are doing
nicely."

"The Boys" are
known to the public
in general as Eddie
Lyons and Lee
Moran. Long before
the bespectacled ef-
ficient efficiency man
made his appearance
,. Photo in the motion picture
"Eddie.".

industry Eddie and Lee were turning out Nestor comedies
with the regularity, general speed, and precision of a ma-
chine gun. Rain or shine, sandstorm, snowstorm, tornado,
or earthquake every week a Nestor Comedy, has been
their motto and they surely have lived up to it; more than
lived up to it the last
year, as they made
sixty-four comedies
in fifty-two weeks.

Al Christie was
their Nestor director
for nearly a half
dozen years.

Their idea of a
vacation is a trip to
Chicago with a full
company of players,
two cameras and a
portable projection
room. This is the
way they traveled to
the recent Motion
Picture Convention.
They were away two
weeks and while on
their pleasure trip
made two Nestor
comedies.

Eddie and Lee
were Irish, smiling;
and full of pep way

"Lee".

Photoplay Magazine

back in the days when chair jumping and roof-climbing was
confined to those acrobatic acts which open and close the
vaudeville shows. They typify the finest thing about the
motion picture industry. It is a young man's game. An
industry which places a premium on youth, energy, intelli-
gence, and a sense of humor. Eddie and Lee have all of
these and particularly the latter. They are as funny off
the screen as on and full of the real American humor.

Eddie Lyons is of Irish descent and was born in Beards-
town, Illinois. He has been in pictures for eight years, his

first work being with the old Biograph and Imp companies.
Previous to that time he was on the legitimate stage, appear-
ing in both vaudeville and dramatic productions.

Lee Moran is also of Irish descent and was born in Chi-
cago. He has been in pictures for seven years, all of that
time being connected with the Nestor Comedy Company.
He is also a recruit from the legitimate having appeared in
many of Ziegfeld's productions.

One of the best pictures made by "the boys" was their
burlesque of "Hell Morgan's Girl."

Photo by White

Stars of the Screen and Their Stars in the Sky

By Ellen Woods

Nativity of Miss Norma Talmadge, Born May 2nd. Nativity of Lou Tellegen, Born Nov. 26th.

MISS TALMADGE was born May 2nd, at 1.56 P. M. This
charming lady was very fortunate in her hour of birth as
we find Venus setting in her house of marriage, Venus is not
afflicted, and represents Miss Talmadge as she (Venus) is
Lady of her birth month, therefore I would say, that Miss
Talmadge would get along in married life nicely with any
cultured man. Norma was not born an actress, but by the
progression of Venus to the sextile of Mars, her mind was
later inclined to the theatre or the moving pictures. Theosophy
teaches, that this is her first reincarnation as an actress, and
that her ability in this art will increase, as Venus approaches
the sextile of Mars in the progression of her nativity. The
thirteenth degree of Virgo ascends with Mercury Lord thereof
in the Zodiacle sign Aries, in good aspect to Mars, which indi-
cates that Miss Talmadge has a very strong mind, is quick
witted, good at mathematics, and has a most excellent memory.
But Mercury is also opposed to the chilling, and melancholy
Saturn. I would suggest that Miss Talmadge go into the sun-
shine, and keep with young and happy people, when she feels
dull and blue, for in solitude she will have a tendency to cry
over imaginary troubles. The hour of her birth found Jupiter
in close conjunction with the house of honor and fame, and by
the slow movement of Jupiter by progression, he will be there
all during her life. The lord of her ascendant, Mercury has
progressed there also, by which we may conclude that fame will
lemain with her. I would suggest that she never wear black,
and avoid narcotics. She should cultivate people who are born
on March 16th, and May 28th, and avoid those who are born
Oct. the 15th and Feb. 13th.

MR. TELLEGEN was born at Athens Greece, two minutes
after noon. The Sun was in the fourth degree of the
Zodiacle sign Sagittarius, and the 21st degree of the sign
Aquarius was on the Eastern horizon, with Uranus, Lord
thereof posited in the seventh house. Mr. Tellegen has
many conflicting aspects, many good ones, offset by as many
bad ones, but we find the same configuration of Mars and
Venus in his nativity that we find in all born actors. Then we
find Mars Lord of the 2nd and 9th, placed in the house of
theatres in good aspect to six planets, free from affliction.
Mars favors Venus from the ninth, Venus Lady of the 3rd
and 8th houses, therefore I would say that Mr. Tellegen is
exceptionally good in that line. Venus is conjoined with the
Messenger of the Gods (Mercury) in the ninth house, the
house of religion, science and long journeys, both planets are
opposed by the cold Saturn and the fickle Neptune, from the
third, which means he will have exceptionally good fortune
in foreign countries, but a poor memory for dates or names,
and gives him a clean, wholesome mind with excellent judgment
of human nature. He must avoid all things that cause cver-
excitement. Uranus in the seventh at his birth, is not favor-
able for partnerships. I would advise Mr. Tellegen not to
invest in a residence for the purpose of living in it, as he will
never be home long enough to get acquainted with it. Aquarius
ascending at birth indicates the native to be very humane,
tender hearted, and peculiar, or not readily understood. His
future years show more prosperity, fame, and general success
than in the past, beginning 1920, but he should continue in the
photo drama or the stage.

"Off Duty"

At the Movies

"Say, whoever saw a regular army

man with "puts" like those? And

he kisses wrong, too "

How those Student Soldiers Hate War Pictures, 'But Bill a Home-Sweet-
heart-Mother story — and The "Standing-Room-Only" Sign is Hung Out

By Gordon Seagrove

Drawings by Herbert <SM. Stoops

THE prim streets of Highland Park, Illinois, were
calm with the quiet of sunset. From a distance
came a belated staccato report of a rifle firing from
the range to the North, and a fragment of a bugle
call. Then suddenly the streets began to fill; from cars
and automobiles dropped young men by twos and threes,
tanned young men with dusty boots, erect shoulders and
the clear light of good living in their eyes.

All day since early morning they had paraded or drilled,
studied or practiced the daily task that was theirs in the
barracks at Fort Sheridan, some to become officers to
lead men 'over the top" and some "just men," and now
their hour for recreation had come.

In the darkening streets the lights of two movie houses
winked on. In one of them Mary Pickford was showing
in a simple drama, which, before the last reel, despatched
a mild villain to the infinite satisfaction of a charming
heroine and a hero who can do no wrong; a typical
romantic heart interest story it was, built to set the heart
strings thrumming and send the tear of sentiment to the
eye of even the hardened.

In the other a different kind of drama unwound itself
hourly. Outside, in blazing posters, were heralded the
attractions of a war play. One showed a dashing cavalry
man in the heyday of his usefulness whooping his way
into posterity and the affections of his sweetheart, another
the charge of light infantry up a steep hillside strewn
with all the obstacles which a regular artist can invent
when pressed for "action."

And then an unusual sight took place. Here were men

whose bread and butter, whose everyday life, whose very
soul was WAR. Here were men who had come to the
camp to learn WAR, whose dominant interest was war in
all its phases. Yet one by one, or two by two, they
passed the war drama by. Not for them was the cavalry
man to dash. Not for them was the charge of the light
infantry up the artist's best hillside, not for them any of
the other military charms inside.

Instead, they went on, shoulders back, eyes habitually
ahead until three paces in advance a picture hove in
view — the picture of Mary Pickford. And there they
stopped.

"Considerable kid," remarked a doughboy, who had
just learned that it takes several hours to even learn to
salute properly.

"You betcha. Got hair like my sister's," corroborated
an artillery man.

And then from pockets that do not bulge with govern-
ment money in war time they took the necessary change
and went in. A youngster trying for a commission came
by with his girl, paused long enough to let her get a look
at the "stills" which showed one of Mary's latest gowns,
and they too entered. Others followed later, stubby
Michigan lads with sore arms from a day on the range,
cursing the kick of a Springfield as they felt for change;
ex-cavalrymen with legs slightly bowed: a regular army
man or two with his eternal individual bearing and un-
deniable "air;" slender college youths from down state;
young officers feeling the thrill for the first time of being
saluted at every turn, until at length the house was filled.

Photoplay Magazine

But down the street, what of the brave cavalryman with
his hat worn wrong as he steamed along on a charger that
wouldn't pass government regulations? For him the eye
of soldierly approbation was not, and he went through his
exploits to a slender audience of mild old ladies whose
greatest tragedy in life might have been the loss of their
knitting ball.

For the fact is indisputable that the soldier of today does
not want to see war
pictures. Fort Riley,
Fort Sheridan, Fort
Bliss and other camps
corroborate this.

The average war
drama, the soldiers
say, is impossible on
its face. It is nothing
for an ordinary pri-
vate (in the movies'*
to work his way into
a major generalship,
over night, and the
liberties that an en-
listed man gets in the
movies would make
(in life) his way in
the army one strewn
with frankincense
and myrrh, fifteen
cent cigarettes, beau-
tiful women, and dec-
orations for bravery
kicking around in the
dust every ten feet
or so.

In short, war plays
are a good investment
neither for the ex-
hibitor nor the mili-
tary audience. They
do not win the favor
of the exhibitor be-
cause they do not
please the soldier.
And they do not
please the soldier be-
cause he is given too
many chances to
criticize. In bygone
days he might have

A youngster trying for a commission came by with his girl

liked some military

drama or other because he thought he was getting an insight
into life that was new to him, but when that life becomes a
hard every day reality, a reality that unfolds itself daily
with clock like precision, it rather irritates him to see how
far short the producer falls in depicting it. It is the same
feeling that the newspaper man has when he sees a story in
which the demon cub reporter, etat 17, by superhuman acu-
men digs up the dope on the president of the huckleberry
trust, scoops the world on the story, is promoted to manag-
ing editor next day and fires the grumpy city editor who
told him that he would not amount to the customary
tinker's damn, the same attitude the seafaring man takes

when he reads a tale Of life on the rolling deep in which
author refers to "port and starboard" as "left and right.

Experience of the cinema theater men on the border
recently proved that the war play was not the thing for
the war men. True at the outset they flocked to the
performances in great numbers, but as the film was run off
there were a thousand short, pointed criticisms.

"Look at the way that boob holds a gun." whispered one

who had nearly a
perfect score on the
range the day before.
He'd score zero
minus in that posi-
tion."

'"Say, whoever saw
a regular army man
with puts' like
that?" commented
another. "His grand-
ma must have knit
em. And he kisses
wrong too."

"Six days in the
guardhouse for a
doughboy that would
stand at attention the
way that cuckoo
does." chirruped a
third as the young
hero of the screen did
his bit.

Xo. the war play
is not the thing. What
the soldier wants is
the love story, the
good old home and
mother plays, and
comedy.

But turning aside
from the question of
the soldiers' likes and
dislikes in the matter
of film fodder, a word
must be said for the
very great and im-
portant part that the
cinema is to play, in
fact already has be-
gun to play, in the
war. At this early
stage the United
States government has decided to make use of them.

The Commission on Training Camp activities, named by
Secretary Newton D. Baker to advise with him on ques-
tions relating to the moral hazards in the training camps
as well as the promotion of national recreational facilities
within and without the camps has recognized the impor-
tance of the motion picture as a wholesome commercial
recreation and one calculated to minimize these dangers.
The commission has requested The National Board of
Review of motion pictures of New York City to lend its
assistance in helping to preserve a wholesome and normal
atmosphere for the men during their off-duty periods.

Here are the overnight "Chaplins" which bloom profusely about the barracks and run wild on the range. As mustaches, the best thing that

can be said of them is that they have made a promising beginning.

The latest newly-weds in Filmdom
Ella Hall and Emory Johnson. This
photograph was taken on their honey-
moon— doesn't it look it? Miss Hall is
one of the old-young Universal favorites
and Friend Husband has long been a
leading man under the same banner.

Who's
Married
to Who

On the left we have more
Universal married folks.
Mignon Anderson and J.
Morris Foster were mar-
ried when they were with
Thanhouser twoyearsago.

Gipsy Abbott, who is not
playing now, but was last
with Balboa, and Henry
King, now directing Mary
Miles Minter. They have
a little fairy in their home
— four years old.

Jrlarys andJp/ayers

Facts and Near-Facts About the Great and Near-Great of Filmland

Wy CAL YORK

THE suspense is over at last. They're
married! Who? Why Pauline Fred
erick and Willard Mack, the actor-play-
wright. It has been rumored for some
time that they were to be married. The
wedding took place in Washington where
they had gone to attend the opening of
Mack's latest play, "The Tiger Rose."
Mack was recently divorced from Mar-
jorie Rambeau, a stage celebrity, and this
is Miss Frederick's second venture into
matrimonial seas. Her first husband was
Frank M. Andrews, well known architect,
whom she divorced in 19 13.

WHEN a salary of $1,000 a week was
paid a motion picture star about
three years ago, the announcement caused
some astonishment among those who had
belittled the movies. When Mary Pick-
ford signed a contract that called for
$5,000 a week shortly afterward, she was
credited with having a good, but some-
what imaginative, press agent. Then
about eighteen months ago when Mutual
gave Charley Chaplin a bonus of $150,000
in real honest-to-gracious coin of the
realm to attach his John Hancock to a
paper binding him to accept $10,000 a
week to make 24 reels of comedy — well,
all hands reached the conclusion that the
high water mark in salaries had been
reached. As a matter of fact, lots of
people haven't yet accepted it as the
truth. But it seems that they were all
wrong. Along came Douglas Fairbanks
and made a deal that brings him in more
than the Chaplin salary and even the wise
ones thought the limit had been reached.
But nothing like that.

An emissary of Pathe, that pioneer of
the pictures, has recently been spending a
great deal of time in Los Angeles trying

to induce Mary Pickford and Douglas
Fairbanks to sign contracts which call for
salaries of $20,000 a week each — a mil-

Pauline Frederick and her husband Willard Mack

in a new Paramount picture " Nannette of the

Wilds" which Mr. Mack wrote.

lion dollars a year net! In the case of
Miss Pickford, Pathe offered to put up a
cash guarantee of $350,000 to show good
faith! At the time this story was
being Underwooded, Miss Pickford and
Mr. Fairbanks had each tentatively
declined the proffered fortune — a presi-
dent's annual salary every three weeks
or so!

THERE is much rattling of money bags
otherwise in movieland. The house

of J. Pierpont Morgan is said to be engi-
neering a $100,000,000 merger of motion
picture producing companies and there is
much talk of several of the big concerns
acquiring possession of nation-wide chains
of theaters.

pHARLEY CHAPLIN has been taking
^ a vacation which he promised himself
several years ago, prior to beginning his
first release for the First National Exhibi-
tors' Circuit. It lasted a whole month
but it wasn't a regular vacation as the
little comedian was busy most of the time
getting a new studio built and construct-
ing the plot for his next comedy. His
brother Sydney will take a prominent. part
in the conduct of his new company and
he will have with him, as before, Miss
I'urviance and Eric Campbell, his trusty
aides.

DILLV SUNDAY, the noted revivalist,
*-* and the film players of Southern Cali-
fornia became great pals during Billy's
shaking-up of Los Angeles early this fall.
Mary Pickford went to hear Billy and
wrote her impressions of him for a Los
Angeles newspaper. The next day Billy
leturned her call at the Lasky studio.
Later on he and his party were piloted
through Universal City by President Carl
Laemmle and photographed all over the
place. Then Douglas Fairbanks chal-
lenged the evangelist, once a famous ball
player, to a ball game for the benefit of
the amusement fund of the soldier boys
and the game proved a great affair. The
upshot of it all was that Billy became a
good friend of the movies, even if the
thousands of trail-hitters did not include
many of the motion picture stars.

"DULL" MONTANA, the noted Thes-
*-* pian who made his spectacular
debut in films with Douglas Fairbanks
in "In Again Out Again" in the role of
"Auburn Quentin," will be seen next in
Mutual features with Bill Russell. "Bull"
has become the pride of Santa Barbara
since joining the film colony of that city.

jV/IARY PICKFORD has adopted a
1V1 regiment — or at least, part of a regi-
ment—a battalion of the California artil-
lery, which in turn has adopted the name
of Mary Pickford, thus setting a fashion
which may be widely followed. With
impressive ceremonies, the soldier boys
presented Miss Pickford with a gold
decorated swagger stick. Before they
leave for the front Miss Pickford will
present each member of the battalion

with a golden
photograph.

locket containing her

The children's rest room of the Fox studios at Hollywood, California, where the clever little stars
play when the camera is not busy.

TOE MOORE, brother of Owen. Tom
J and Matt, husband of Grace Cunard
and player in Christie Comedies, didn't
go to war after all. It was discovered
that, having been born in Ireland and not
having become naturalized. Joe was an

••_>

Plays and Players

alien and therefore exempt. He stated,
however, that he expected to enlist
later.

TALKING about war, Marshall Xeilan
received a little note in the mails,
the day he completed "The Little Prin-
cess" with Mary Pickford, requesting him
to appear for examination at the Holly-
wood exemption board headquarters. If
he has his way however, "Mickey" will
enter the aviation corps.

HERBERT C. HOOVER, the federal
food administrator, has issued a re-
quest to all producing moving picture
corporations, that in scenes where meals
are served as part of the drama, actual
foodstuffs be not used. Whereupon the
Metro publicity department captures the
leather medal for the month by announc-
ing that henceforth all eating scenes in
Metro pictures will be shot at noon, thus
retaining realism without disregarding the
Hoover request.

ALAN DWAN will alternate with
John Emerson, in future, in direct-
ing Douglas Fairbanks productions. Mr.
Dwan has been director general of the
eastern Triangle productions for nearly
a year. It is understood, however, that
the Triangle will discontinue producing at
its Yonkers plant, and turn out all its pic-
tures at Culver City under the direct
supervision of H. 0. Davis.

MARION DAVIES has mapped out a
busy fall and winter for herself. At
the head of her own film company she
will appear in a series of productions,
and matinees and evenings she will be
one of the bright spots in the Dillingham-
Ziegfeld show at the Century theatre.

Miss Davies' first picture was "Runaway nearly October i. So he left for Cali-
Romany." lorma for his next production. There is

so much of Roscoe to get cold that he
feels it more than most people.

ESSANAY announces Mary MacLane
as a new star. Nearly twenty years
ago Miss MacLane became internation-
ally famous — or notorious — through her
book, "The Story of Mary MacLane.
which was not a story at all, but a series
of frank statements of what she thought
about the world in general and herself in
particular. Her first picture will be
"Men Who Have Made Love to Me."
written by herself.

THE Associated Motion Picture Adver-
tisers held their first annual dinner
at Delmonico's Wednesday, September
12, and some mad wag of a printer set up
the menu card with a lovely, large, gold
"Vednesday." And yet it was not a
kosher dinner.

JUST what company will control the
future pictures in which Miss Anita
Stewart appears, is a question the courts
have not decided. For reasons not stated.
Miss Stewart emulated the example of
numerous other stars, and decided not to
complete her contract with Vitagraph.
Albert E. Smith obtained an injunction
prohibiting her from working with any
other company, and the courts will de-
cide the issue. Miss Stewart has done
no work for Vitagraph for several months,
and sent back her salary checks uncashed.
But her contract provides that she must
make up for any time she does not work,
adding such periods to the term of the
contract. Thus far all stars who have
jumped their contracts have got away
with it, but the Vitagraph announces

Alice Joyce and Corinne Griffith (wearing a mous-
tache to deceive) — both very dignified young picture
ladies — demanding of Larry Semon, Vitagraph 's
comedy director, that he permit them to play in
slapstick comedies. Observe the meat-axe in
Corinne's uplifted hand.

A REPORT from Europe is that Bat.
Pagano, better known as Maciste,
has been killed in battle on the Italian,
front. Maciste first appeared as the
ebony giant in "Cabiria." His only other
important picture seen this side of the
Atlantic in the re.cently imported war
film, "The Warrior."

UPON completing his latest comedy in
New York, Roscoe Arbuckle looked
at the calendar and noted that it was

Priming the tearducts of a vamp with music. The victim of the compulsory irrigation plot is Kathleen Kirkham, now vamping for Paralta, and the boss
or the job is Director Worsley who occupies the vantage point under the camera. The violinist is playing "Dear Old Girl," "Home Sweet Home,"

"Turkey in the Straw" or something equally touching and tearbringing.

that it is determined to hold Miss Stew-
art to her agreement, Can it be done?

HERE'S a howd'ye_ do!
Alice Brady productions
will be distributed by Select
Pictures. Select Pictures is
the Selznick-Zukor corpora-
tion. Lewis J. Selznick is
the man who took Clara
Kimball v0Ung away from
World Film. The president
of World Film is William
A. Brady. William A. Brady
is Alice Brady's father. Alice
Brady left World Film be-
cause, it is reported, she
could not have the director
she wanted. Well, well!

LINA CAVALIERI, well
known to operagoers
and phonograph hearers, but
just barely known to picture
seers, has begun work on her
first Paramount production,
"The Eternal Temptress," in
the Paragon Studio, Ft. Lee,
which has been bought by
Lasky to house the growing
needs of his organization.
Emile Chautard is directing.
In addition to the purchase
of this plant, Lasky is also
contemplating the construc-
tion of a $50,000 studio on the lot at
Hollywood. It is possible that Marguerite
Clark may be assigned to this addition
to the group.

WALLACE REID and Anna Little
returned east with the completion
of "Nan of Music Mountain" at the
Hollywood Lasky plant. J. Stuart Black-
ton drafted Miss Little for his Gilbert
Parker stories, though he had not decided,
when this information was received, what
would be his first part for her. All this
travelling back and forth across the con-
tinent has resulted in the petite Anna
dropping an "a" somewhere along the
Santa Fe. It is Ann Little now, accord-
ing to the Paramount publicity boys —
Miss Little making her name littler, as
it were.

THE Battle of the Ritz was a draw.
Historians differ as to the events.
One side says that Herbert Brenon
ferociously attacked W. A. Brady, who
weighs nearly twice as much as Brenon.
The other account is that Brenon was
actually trying to get away from Brady,
when the other overtook him and com-
pelled him to engage in fistic combat.
The only facts which do not admit of
controversy are that Brenon was show-
ing his new picture, "The Fall of the
Romanoffs" at the Ritz-Carleton, and
after the show, Brady, who had just com-
pleted a picture based upon a similar
theme, arrived. Words passed. Fists
followed. Friends intervened. Anyhow,
the gaiety of nations was increased and
the New York dailies had something else
on the first page besides war for once.

HAZEL DALY has joined the Selig
Polyscope Company and her first
pictureplay will be "Brown of Harvard,"
under the direction of Harry Beau-

Photoplay Magazine

mont. She will be remembered for her from her serials to be starred in five
performance of "Honey" in the famous reel features. Already there are four
"Skinner" pictures produced by Essanay. or five similar length films ready, star-
ring Irene Castle. Antonio
Moreno also is in the list.
These productions will be
known as Pathe Plays, and
the company will not be de-
pendent upon other producing
companies for its weekly five-
recler, but will produce them
itself. It is the general be-
lief that the Pathe move was
made as a measure of retalia-
tion upon Paramount for
having entered the serial
field, which Pathe had looked
upon as peculiarly its own.

MOLLIE KING is going
to do a serious drama
as a change from her thrill-
ers. This winter she will hie
her to the Julius Steger camp
and make a picture under his
direction, "Cecilia of the
Pink Roses," the rights to
which Steger owns. Another
Steger star is Charlotte Wal-
ker, who soon will be seen in
a film version of her hus-
band's play, "Just a Woman."
Her husband is Eugene
Walter.

OTIS SKINNER, to whom the serious
critics have awarded the position of
the greatest actor on the American stage,
has finally signed a moving picture con-
tract. He will appear in his great Oriental
success, "Kismet," under Herbert Bren-
on's direction. Another Brenon produc-
tion in the near future will be "The
Woman Thou Gavest Me," by Hall Caine.

GAIL KANE says that gold is not
everything. This in explanation of
quitting Mutual. After she signed up
with Mutual last winter, Miss Kane was
"farmed out" to American, operating at
Santa Barbara, Cal. She was told that
after six pictures had been made there
she would be transported back to lil ole
N'Yawk for the remainder of her con-
tract. Even \vhen it was insisted that
she remain among the millionaires of the
exclusive California colony Miss Kane
never whimpered. She had begun to like
the peacefulness of Santa Barbara, sea-
soned with an occasional jaunt to Los
Angeles. She even consented, though
tearfully and under protest, to do a pic-
ture which was frankly pro-German,
rather than cause a rumpus. It will be
admitted that that was quite some con-
cession. But the break finally came when
the studio manager requested Miss Kane
to play an eccentric comedy role — one
of those feather-duster-in-the-hat things.
Those who are familiar with Miss Kane's
work will not wonder at her revolt. The
manager insisted, it is said, and then the
Junoesque Gale demanded her passports.

MARGARITA FISCHER has returned
to Santa Barbara, Cal., as an
American star after several years of
starring in her own company in pictures
directed by her husband Harry Pollard.

(Continued on page no)

Francis X. Bushman and Beverly Bayne "house-
dirtying" for their next Metro release. This mod-
est little home in New Jersey was rented just to be
messed up. The property men were drafted so
Francis and Beverly dug right in to help muss the
place up.

PATHE officially announces its inten-
tion of embarking upon feature pro-
ductions, and already has made contracts
with Bryant Washburn, Frank Keenan,
Bessie Love and Fannie Ward. Pearl
White will be given occasional vacations

If all the waiting time of moving picture players
could be utilized in knitting, our army would be
well provided for. June Caprice was caught
between scenes by our photographer. The camera
fails to reveal one dropped stitch.

Pearls of
Desire

Concluding the most bril-
liant serial of the year

By Henry C. Rowland

Illustrated by Henry Raleigh

CHAPTER XVII

THE next morning as soon as the
light was strong we went back to
the precipice to examine the wa-
ters at its foot. Charley Dollar
accompanied us. He and his men had
been unsuccessful in their search the night
before, but there were places impossible to
reach from the shore where a boat might
lie snug and sheltered and at night, in-
visible.

We stared down for awhile at the churn-
ing waters, then Charlie Dollar straightened
up with a shake of his head. The man
was a Maori and had difficulty with his
"R" sounds, making them liquid, as does a
Chinaman, but he had a good mission edu-
cation, a high native intelligence and was
absolutely devoted and obedient. Indeed
before Enid came into my life I am con-
vinced that of all the people whom I knew
in the world Charley Dollar cared most for
me.

"Dlake's done for," said Charley. "Even
if he fell between the locks the swell would
smash 'im. No man living could swim out of that place.
Well, so much the bette' for all hands."

I endorsed this epitaph and looked curiously at Enid.
"Any qualms?" I asked.

"Of course not," she answered. "Why should I have?
A minute more and he might have managed to grab you
and throw you over. And then I should have had to
throw myself over after you. . . ." She stared down
musingly into the maelstrom for a few moments, then
said: "Besides, I have always had a peculiar feeling
about Drake; a sort of loathing antipathy, such as one
might have for some unclean beast or entity. He did not
seem quite human to me, and he aroused an intense de-
sire to destroy him. He impressed me as somewhere
between the brute and the devil. The odd part of it is
that I could never have felt the least fear of him; just an
overpowering disgust and the desire for his suppres-
sion."

"Well," I answered, "he appears to be suppressed.
Pity it didn't happen years ago. A great many people
both white and black would have been spared a lot of
wretchedness. However, I suppose the Drakes of the -world
are a sort of necessary scourge. Now let's walk on around
and see where the Madcap's got to."

So we continued our way to the other side and there
was the Madcap almost in the same place, swaying gently
as the night before. The calm remained utterly flat and I

She appeared to be kissing me, so far as I coaid ascertain in my numb condition.

was of the impression that it might continue so to remain
until torn into by a typhoon, for there was a viscid quality
to the atmosphere and a sense of oppression. Charley
Dollar was of my own opinion.

"Storm blewing, Jack," said he. (It is a Maori habit
to call one by their first name.) "If those Johnnies on the
schoone' are wise they'll come, into the lagoon."

"They probably won't dare," I answered.

"Oh, now that Dlake has kicked the beam they will
want to cly quits and swea' they couldn't help them-
selves," said Charley. "Maybe they couldn't. A hard
dliver, Dlake."

"Well, he found out what it was like to be hard driven
during his last few remaining seconds on this terrestrial
ball," I observed, flippantly. "I wonder the devil doesn't
take better care of his agents."

"Maybe old big boss Tiapalo needed him down
there," ventured Charley Dollar. "My lady has cer-
tainly a stlong heart. And stlong a'ms, too. Who'd eve'
think she could lush a big blute like Dlake out ove' the
blink?"

THE atmospheric oppression increased as the day wore
on and at about two o'clock one of the men came to re-
port that the Madcap was towing up to the entrance behind
her two whaleboats and a cutter. She came in sight around
the crater presently, and once opposite the entrance the

Photoplay Magazine

tide drifted her in when she picked up the buoyed cable
which she had slipped on changing her berth. We did not
care for her as a neighbor and we might have made it
uncomfortable for her crew with our rifles if we had so
desired, but it seemed scarcely worth while. It was evi-
dent that she preferred to take a chance with us than with
the promised weather conditions outside, so feeling that
we had nothing to fear we left them in peace.

But scarcely had the schooner come up to her moorings
than a short, squat man who appeared to be in command
got into one of the boats and started in for the beach, a
white flag flying from a boathook. I was rather tempted
to turn them back but there was a plan milling in my head
and I decided to parley. This plan was to make them a
bid for their diving gear, with which we might profitably
employ our time until the arrival of our own outfit: So I
told Charley Dollar and one other man to stand by with
their rifles and the other five to keep themselves out of
sight. Then I walked down the beach to see what the
visit could be about.

The boat grounded and out stepped the squat, hairy
individual who gave me a rather dubious look, then spat
and observed in a casual sort of way:

''Well, you've gone and done for 'im, 'aven't you?"

"Looks that way," I answered. "He brought it on
himself. What do you want?"

"I'd like to 'ear wot 'appened, if you'd be so kind," he
answered. "Thereafter we might talk business."

"Wrell,. then," I said, "your precious skipper and I met
up there on the mole and he got
shoved over the edge of the cliffs,
and a good job, too. Now what's
your business?"

The man nodded. " 'E was fulish
lo put back," said he, ignoring the
last question. "That first night after
we'd run out 'e got turnin' that there
smoke in 'is mind and presently 'e
says to me: 'Bill,' says 'e, T got an
idee we been 'ad.' ' 'Ow 'ad? I
arsks. 'That b — y smudge,' says 'e.
'If that 'ad been a pa-
trol boat she'd held on
arfter us and nary sign
o' smoke 'ave we seen
since we up stick and
away.' 'The bloomin'
h 'island was between,' T
says. 'Island 'ell,' says
'e, 'if there 'ad been
more smoke we would
'a seen it h'over the
island once well
away.'

"There was trewth in
that and we finally de-
cided we'd been 'ad good
and proper. But by
that time we was a 'un-
dred miles to loo'ard
and the breezes light and
bafflin'. We was an-
other thirty hours raisin'
Trocadero and another
twenty-four haulin' in
on the place. Skipper

says 'they carn't prove we tuk no pearls. We was just pros-
pectin',' an 'e plans to sail right in as bold as brass. Then
the wind fell flat and we slatted around until 'e couldn't
starnd it no longer, so 'e 'as 'isself set ashore, the boat
a-wytin' for 'im all night in a sorter grotto, like. 'E only
meant to 'ave a look into the lagoon so w'en 'e didn't show
up us men knew 'e come to 'arm. So 'e's done in. wot?"

"Well, you've gone and done for 'im, 'aven't you?

"Scragged, croaked, extinguished," I answered, "and a
good job, too."

"Well," said the Cockney, or whatever he was, "I carn't
s'y as 'ow I blime you. Skipper made it 'ot for you. 'E
wasn't such a bad sort. Rest 'is bones, s'y I."
"WThat's your game now?" I asked.
He scatched his scrubby head. "That's just wot's 'ard
to tell," he answered. "Us lads ain't to blime. All we done
was to obey orders. Best we can do now is to syle back
to Samoa and report wot's 'appened. But we ain't seen
no pay for months and ain't like to, now, so if you want
this 'ere divin' gear you can 'ave it, reasonable."
"How about the pearls you've stolen?" I asked.
"Skipper must 'ave 'ad them in :is pocket," he answered.
"Leastwise, I carn't find 'em nowheres. It's bloomin' sure
'e 'ad 'em on 'im."

"Were there many?" I asked.

"I couldn't s'y, not 'avin' seen the oysters opened. To
judge from the shell, though, I'd s'y there was no b — y
fear but the bed was rich. You got a fortun' 'ere to your
'and, Cap'n."

I reflected for a moment, then said: "See here, mate.
Suppose I take over your diving gear, your two whale-
boats and your black gang? What have you got for
stores?"

He scratched his ear. "We got a month's paddy for the

niggers," said he, "but I misdoubt they'd st'y. You

know what blacks is like. They made their contract with

the skipper and now that 'e's done in they'll want to be

took back w'ere they kern from. But so far as the

boats and the gear goes you can 'ave that at wot you

think is fair and reasonable."

"I don't want all of the blacks," I said. "Just
have a dozen of the strongest divers."

He looked rather dubious. "Well," said he, "I'll
go out aboard and see wot I can do, but I ain't very
'opeful. Silly, stubborn beggars. Of course we
could drive 'em ashore willy-nilly, but that might
lead to trouble, lyter."

"It would," I agreed. "And anyhow, that's not
my way. Go see what you can do. Offer them a
little more, if you like
. . . and by the way, I
suppose you know I haven't
any cash?"

He waved his thick
hand. "Oh, that's all
right, sir," he answered.
"You can give me a draft
on your bank or any thin'
you like. I 'ope I know a
gentleman w'en I see one."
He appeared to hang in
the wind a moment as
though undecided and a
bit embarrassed.

"Well, what is it?" I
asked.

He shifted his feet and
tightened the piece of lac-
ing which held up his main
claim to consideration and
respect. The four sweeps
in the boat were more or
less festooned with sarongs,
but Mister Mate had still
his jaded Pinafore costume which appeared to have worked
faithfully and well.

"I 'ardly feel I 'ave the right to arsk it, sir," said he,
"but now that skipper's garn us lads aboard is orl adrift,
like. Might be they'd arsk us to account for skipper and
wot 'appened 'im. Skipper was in wrong and us worse and
w7ot then? We done alius like 'e wished us to, and arsked

Pearls of Desire

"You heave those rifles overboard before I count ten," he roared, "or I'll blow this fool's head off."

no questions. 'E was a gentleman, too, though 'e my
'ave 'ad 'is faults. 'Twas drink as dpne it. 'E liked 'is
glaws, did skipper . . . rest 'is bones . . . though
no blime to you, sir. . . ."

"Oh, get along with it," I interrupted. "What do you
want? A few lines from me to say that you didn't murder
Drake and that he owes you your wages and that you are
trying to collect from his estate?"

"That's it in a nutshell, sir," said this scrub. "Just a
line from you so that we lads won't be mistook. You
might s'y as 'ow to your own knowledge 'e met with 'is
un'appy end at your 'ands, you actin' allways in self de-
fense, or such."

"All right," I said. "We can talk about that, later.
Get out aboard now and see what you can do with those
divers. And let me tell you something ..." I took
him by the elbow and gave him a little shake . . . and.
felt him tauten under my grip (being more or less of a
fool I missed that symptom), "and if you can manage to
push the thing my way you are not going to lose anything
by it. I'll go out and talk to them myself. A lot of them
must know me because I've lugged them back and forth
at times to dig."

I beckoned to Charley Dollar.

"I'm going out aboard the boat to see what I can do
with these divers. We can make use of them, just now.
In fact, we can make use of the whole outfit," I said, and
gave the mate a shove toward the boat. "Get aboard and
we'll go- out and talk to your divers. There's sure to be
some in the boiling that will stand for my stock. Hop
along now. . . ."

He got into the boat sideways, like a crab, and I noticed
that his legs were very bowed and that one was shorter

than the other. Then, as he squinted at me sideways, just
as he walked, I noticed how very much he looked like
Drake. It was not very surprising as Drake was forty-five
at least, and he had spent a good twenty years in the
Pacific. This scrubby little mate was a wizened thing that
might have been eighteen years of age or eighty. He was
seared though with Drake's seal, however old he may
have been. Perhaps Drake had fetched him out from
home. Anyway, whether early progeny or not, the cramped
little beast had Drake's stamp on his evil face and I should
have known better than to believe a word he said. But
he seemed too contemptible to bother much about, so I
piled him into his boat and got in after him and half way
out to the Madcap waved to Enid who was making frantic
signs from the beach. It struck me as amusing that she
should think that I was running into any sort of danger,
merely because I was going aboard the Madcap, especially
as she had drawn the fangs of this serpent with her own
dainty hands. I was still chuckling to myself as I stepped
on deck and looked forward at the sulky blacks who were
pretending to be asleep. One or two I thought I recog-
nized, and was going forward to speak to them when
something like the coils of a boa-constrictor spun around
me, and the next instant I found myself flat on my back
on the deck and Channing Drake grinning down at me.

"Hello, Drake," I said, "vou've got me again, haven't
you?"

"Quite so," he answered, and his voice sounded very
proud and superior. It made me angry.

"You must be a pretty good swimmer," I said, to get
out of that mess that this little schoolgirl shoved you
into."

(Continued on Page 100)

THE educational value of the moving picture
has long been conceded. Now comes the in-
troduction of the spool drama as an aid to the
safety-first campaign of the great railroad systems.

Marcus A. Dow, general safety agent of an east-
ern railroad, conceived the idea. He wrote a scenario
entitled "The House That Jack Built," and followed
it with another, "The Rule of Reason." The last
named being the story of a young yard brakeman
addicted to liquor.

Nor is alcohol the only enemy against which the
pictures warn the railway men.
Carelessness, wearing loose
clothing near machinery, dis-
courtesy, and all the little
things that go to make life
perilous and unpleasant in great
industries, are shown, with
their inevitable results.

These pictures are shown to
the railway employes by means
of two motion picture cars, big
coaches which have been fitted
up as comfortable "movie" the-
atres. They are sent up and
down the system giving all men
working for the road an oppor-
tunity to enjoy the entertain-
ment with their friends, and

Above: Rear end
collision scene at
moment of impact.

The picture at the
right shows an em-
ploye caught in a
drill press. This ac-
cident is due to the
wearing of loose-
sleeved jumpers.

Above: Brakeman Bob
Tracy awakening from
his dream in which he
saw the vision of a
wreck caused by his own
carelessness.

At the left: Mrs. Fos-
ter quarrels with her
brother Bob, because of
his inclination to dissi-
pate.

Pict

ures

as
Life-Savers

incidentally imparting to them
the lessons the safety depart-
ment is trying to teach.

The films have been so suc-
cessful and have caused such
laudatory comment, that the
word has reached other rail-
way companies, and the pic-
tures have been borrowed ex-
tensively. They may be re-
leased for public showing
through one of the big distrib-
uting companies later.

Brakeman Tracy narrowly escapes injury
due to a dangerous practice.

Photoplay Magazine — Advertising Section

Pictures from Home

Over there, with thousands of miles of sea and land between
them and home, are Our Boys, smiling and fighting — fighting with
bullets, against a dogged foe; with smiles, fighting homesickness and
dread monotony.

It's a part of the nation's job to-day to keep those boys cheerful,
to hold fast the bonds between camp and home, to make light
hearts and smiling faces — and these things pictures can help to do —
pictures of the home folks and the home doings, pictures of the
neighbors, pictures that will enliven their memories of the days
before the war — simple Kodak pictures, such as you can make.
These can help.

EASTMAN KODAK CO., Rochester, N. Y.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

i no

"She is due to pay my ticket for that
trip," he answered. "I say. Kavanagh,
did it ever occur to you what a consum-
mate ass you are?"

"We all make mistakes at times," I
answered, "and I must say there was
every reason to believe that you were
coppered this trip. How did you man-
age to get out of that churn?"

"Easily enough," said he. "The back-
wash carried me over the worst ledge
and I worked my way between the rocks
until I got clear and swam down to
where I had left the boat. I don*t say
that any ordinary swimmer could have
done it, but I'm rather better than
that."

"Well, you evidently were born to be
hanged," said I. Drake scowled.

"Stow that," he said, roughly. "If I
were to pay you off as you deserve I'd
run you up here and now."

"That wouldn't do you any good," I
answered, "and some day it might do
you a lot of harm. This is not going
to do you any good, either. What do
you want of me, anyhow? And what
do you intend to do? You can't work
the beds. You'll have Charley Dollar
and his policemen potting at you from
all along the cliffs."

"Not with you in the boat," Drake an-
swered.

"Oh," I said, "so that's it."

"If you weren't a blithering fool you'd
have guessed it straight off," he snapped.
Your little fafine over there wouldn't let
'em. Had a pleasant honeymoon?"

"Shut your foul mouth, you hairy ape,"
I snarled. "I'll get you for that, some
day."

"No you won't," he growled. "You
might as well know what's in store for
you, Kavanagh. When I finish my job
here which will be in a very few days,
I hope, we put to sea. And then some
accident is going to happen you. I al-
ways meant to fix you some day if I got
the chance to pay you off for sticking
that beak of yours into my own personal
and private affairs. It's not your fault
that I'm not in chokey at this minute.

"Don't be too sure," I answered. "I
wasn't born to be blotted out by any
big black beast like you. Here I am
in irons and on your brute of a boat
and I'll make you a bet of a thousand
pounds right now that I'll see you triced
up inside of six months. Take me on?"

His unsteady eyes shifted nervously
from me to the shore and back again.
I thought that he looked actually fright-
ened for an instant. The conviction of
my voice, perhaps. Besides, he was really
a coward at heart. If he had not been,
he would have made a quick end of me
up there on the cliffs

And my bet offered him was not alto-
gether bluff. Drake's threat did not
frighten me in the least, both because
I thought that he lacked the nerve to
carry it out and because he was such a
coarse, sodden lump that for me at least
there was nothing terrifying about him.
I think that my feeling for Drake must
have been precisely that of Dicky for the
Shanghai rooster. There was no denying
hut that Drake had fooled me at everv

Photoplay Magazine
Pearls of Desire

(Continued from page qj)

move; made me silly and ridiculous and
got into me for a good bit of my pros-
pective wealth. He had outpointed me
tack for tack, this gorilla person, and now
he had me absolutely in his power and
there was nothing whatever to prevent his
making fast one of the diving weights to
my ankles and slipping me over to go
down and stand sentinel on my blessed
beds . . . until corporal Shark came
along to change the guard.

And yet I knew that he would not dare
do this, and that however much of a
fool I might be I stood in no great dan-
ger. And why? Simply because over
there on the beach was a girl who when
she desired things to happen made them
come so. It sounds like a confession of
weakness for me, a more or less hardened
adventurer to state calmly that I was
banking entirely on Enid to get me out
of this coil, but such is the case. And it
is not a confession of weakness: merely
a confession of faith. I absolutely knew
that Enid would manage it. somehow,
and that with Charley Dollar and his
keen joyous fighting men at her disposal
Drake was at that moment in far greater
danger of not eating his Christmas din-
ner than was I.

Nothing which had happened after
my stepping on the Madcap's deck could
have been seen from the shore, but the
situation was due to disclose itself im-
mediately. The diving gear was being
overhauled and the black divers squatting
on deck were bolting little gobbets of
rice and finely chopped fish. Every-
body was very busy and active and
whenever any of them looked at me. sit-
ting there handcuffed on the rail he
grinned. The black boys particularly
seemed to find it a tremendous joke. It
had all been sort of a game played be-
tween these masterful white men and I
was the loser. Still they seemed to feel
that the hand was not yet played out. nor
all the cards on the table; and despite the
fact that I was in bonds and harmless
they passed me wide.

And so did Drake's crew. The crab-
like mate who had trapped me showed a
marked shyness for my part of the deck.
But presently, when his duties compelled
it, he approached with diffidence. I was
sitting on a coil of line required for the
stealing of my pearls.

"Well," I said, "you are a pretty good
little liar, aren't you. It's a shame to
waste talents like yours at sea. You
could make a tremendous hit on the
stage."

I said it . . . how would you say?
Not jokingly, of course, nor sneeringly.
With a certain amount of sardonic ap-
preciation for his talent, perhaps, because
he really had acted his part tremendously
well. A trained actor could have done no
better. I told him so . . . and promptly
added another interesting little human
document to my collection. For it im-
mediately appeared that this crusted lit-
tle sea-spider had under his thorny cara-
pace tremendous histrionic ambitions. He
forgot his coil of line, squinted up and
down the deck to locate Drake (who was
below swigging at his water-monkey
which contained grog or gin and limes

or something) and then confided in me
that his mother had been an actress and
that he had always desired to go upon the
stage. He produced from some part of
his person a thumbed pocket copy of "As
You Like It" and flashed it before my
eyes as if doing some conjuring trick.
"Some d'y I'll recite for you. Captain
. . . " he began, but at that moment
Drake came puffing up the companionway
and was squeezed through the hatch as
though the Madcap were trying to rid her
system of him. and a few minutes later
we were in the boats and pulling across
to the pearling grounds.

It is very odd how some of us never
appear to feel the emotions befitting a
situation. There are persons (of whom
I confess to be one) who have the de-
sire to laugh when they ought to cry.
and the reverse, and to get angry unrea-
sonably and not get angry when there
is just cause. At that moment the
thought of the faces of Enid and Charley
Dollar when they discovered me ironed
to the thwart of the boat with Drake
there in the stern struck me as intensely
amusing. It really seems sort of a
monkey trick to contort the features and
cackle, but that is what I did when pres-
ently I discovered Enid and Charley
Dollar examining us through the glasses
from the door of the bungalow.

Drake appeared sourly surprised at my
mirth. "If you had the sense of a cock-
roach you'd be praying instead of laugh-
ing, Kavanagh." said he. "You may not
believe it, but you can take it from me
that you are swinging by a mighty short
scope."

"No I'm not," I answered. "You've
got too much low animal cunning to take
a chance on some of these beauties of
yours getting a grievance and setting you
aback some day. It wouldn't take a bar-
rel of testimony to set you kicking the
atmosphere."

He cursed me savagely and struck me
across the mouth with the back of his
hand. The blow cut my lip and loos-
ened my teeth, but what was worse it
knocked off my hat which was picked
up and appropriated by a black in the
following boat. This was a serious mat-
ter as it was dangerous to sit all day bare-
headed in that equatorial sun, but fortu-
nately my hair was thick and black and
had not known the shears for many weeks.

But if Drake could have caught a few
of the sensations seething inside me at
that cowardly blow he might have re-
gretted it. Never in my life had I been
scorched bv such a murderous flame.

CHAPTER XVIII

JUST as I supposed, the two boats were
moored side by side, the natives goins;
down to work on one side and the arm-
ored men the other. And they began
immediately to fetch up quantities of
splendid shell. Over on the shore Enid
and Charley Dollar had come down to
the water's edge and were watching op-
erations, but of the other men there was
no sign, and I wondered why. Enid
called out to me to ask if I was hurt.

Photoplay Magazine — Advertising Section

IOI

_ oap

will clear your skin, Iin sure!

Resinol Soap not only is exceptionally cleansing and refreshing,
but its regular use reduces the tendency to blotches, relieves
clogged, irritated pores, and gives Nature the chance she needs to
make red, rough skins white and soft.

Bathe your face for several minutes with Resinol Soap and warm
water, working the creamy lather into the skin gently with the
finger tips. Then wash off with more Resinol Soap and warm
water. Finish with a dash of clear, cold water to close the pores.

Do this once or twice a day, and you will be delighted to
see how quickly the healing Resinol medication soothes and
cleanses the pores and makes the complexion clearer, fresher
and more velvety.

The soothing, restoring influence that makes this possible is the Resinol which
this soap contains and which physicians prescribe, in Resinol Ointment, for the
care of skin affections.

When you write to advertisers please mention PHOTOPLAY MAGAZIXE.

Resinol Soap is sold by all druggists and
dealers in toilet goods throughout the
United States and Canada. It is ideal for
the hair, for the bath, or for the care of a
baby's easily-irritated skin.

For a trial size cake, free, write to Dept. 5-B.
Resinol Chemical Co.. Baltimore, Md.

102

but I merely shook my head. Drake
ignored her and preserved a sullen si-
lence. He did not even inquire as to her
presence there on Trocadero. Perhaps he
thought that we had arranged it between
us. But he was too interested in watch-
ing the potential fortune pour into his
coffers to bother much about anything
else. Also he kept a wary eye seaward
and looking at the Madcap I saw that
there was a hand up aloft. He and the
cook appeared to have been the only
persons left aboard. The others were all
engaged in pearling.

And so the day passed, tediously and
infuriating. Perhaps Drake may have
been willing for me to get a sunstroke
if so ordained as he would not let me
wet my hair. I was forced to sit in the
same strained position for hours. Enid
and Charley Dollar returned to the bun-
galow and I caught glimpses of them
moving about under the palms. Drake
looked over there occasionally but made
no remark. Work was knocked off at
noon for an hour's rest and to eat, and
then all hands turned too for the rest
of the afternoon. I was rather giddy
and nauseated when finally the darkness
put an end to operations.

Drake billeted me that night on the
bare quarter-deck with the chain of my
handcuffs passed through another short
piece rove into a ringbolt. Try to repose
yourself with your hands clasped behind
you even in bed and you can form an
idea of what it was like on the hard
deck with a ringbolt to rest upon.

"See here, Drake," I said, "you may
be out for my head and hide and I
should certainly like to tack yours up
in the trophy room. But all the same,
don't you think that we've been playing
too big a game to warrant this sort of
petty torture?

"Oh go to hell, Kavanagh,"' he retorted.
"You've been sleeping soft enough these
last few weeks to stand a little discom-
fort. However, if you care to send a
note to your fafine . . ."

"That'll do. swine . . . " I snarled.
"Just wait . . ."

What puzzled me through these mis-
erable hours as I sat there strained and
sweltering — with little sun devils danc-
ing before my eyes and my arms one
long and torturing ache from wrist to
shoulder was the peculiar apathy shown
in my fate by Enid and Charley Dollar.
They made no effort to communicate
with Drake, which would of course have
done no good, nor did they attempt to
hail me from the beach. I wondered that
Charley Dollar whom I knew to be a
fine shot did not take a chance and have
a try for Drake. The range was only
four hundred yards. For my part I
would have cheerfully welcomed the risk
of a miss or even Drake's being slightly
wounded and disposed for revenge. I tried
to study out some plan for communicating
with Enid, but could not devise any
practical means. Of course I had made
efforts to bribe the mate and such of the
hands as passed my way, but it was no
good. Drake had issued strict orders
that I was not to be spoken or listened
to, and his authority prevailed to make

Photoplay Magazine
Pearls of Desire

( Continued)

my tentative signs and gestures ignored.
Drake at this moment did not seem to
be drinking to any extent, for while he
distilled alcoholic humors in the blaze
of the sun he seemed always to know
quite well what he was about and to
be taking no chances of failure. He was
as alert as a wolf pilfering a fold.

Another thing which puzzled me was
the disappearance of four of Charley Dol-
lars squad. That is to say it puzzled me
at first, but on thinking a bit I under-
stood the reason. When I had gone down
to confer with the mate I had with me
only Charley Dollar and another man,
the rest had been told to keep out of
sight. After my capture Enid and
Charley had acted on this same strategic
idea of concealing two-thirds of their
strength. Reflecting on this I was sure
that they must have some scheme afoot,
though what it could possibly be was
more than I could imagine in my grow-
ing exhaustion. So I sat tight . . . very
tight, chained down as I was against the
thwart, and after the third day of that
interminable heat and glare and calm I
began to slump and scarcely took the
trouble to shake the hair out of my eyes.
The lagoon used to get almost black at
times, or rather a peculiar grey-black
which was very reposeful to the vision,
though not increasing its efficacy. And
there was a point on the top of my head
which hurt, as if somebody was pressing
a sharp stick against it.

Then, one morning as I was sitting
there, tightening and relaxing different
muscles to take the cramp out of them
and trying as best I could to keep the
handcuffs from bearing on the raw. galled
places and trying to catch the flash of
Enid's gown under the dried and scrubby
fringe of palms. Drake asked sud-
denly:—

"How many of there are you here,
Kavanagh?"

"Enough to cook your goose, monkey
man." I answered. "You will never get
out of this lagoon alive, start when vou
like."

"I will, though." he answered. "We
are going out to-night. We've licked the
cream off this jug."

"You haven't digested it, though." said
I.

"Oh, well." said he. "it always takes
a little time for digestion. I must say.
I'm rather sorry that I've had to be so
strict with you. Kavanagh. Had to be
done, though.' I know what you wild
Fenians are like."

"Though . . ."I said.

"What?"

"Oh, nothing. You will be dead to-
morrow morning. Drake. I see it in
your eyes."

He looked horribly frightened for just
about a second, then asked me roughly
what I was talking about.

"You." I answered. "Some of us 'wild
Fenians' that you have been spitting on
can tell at times when Death is writing
hell's passport in a man's eyes."

He goggled at me for a moment, then
shrugged. "You're off your chump." he
answered.

"I'll tell you something that may cheer

you up. though. We're going after your
girl, to-night."

"Are you?" I answered. "I'll bet you
my new schooner against the Madcap that
you don't get her."

"We'll see," he answered, and relapsed
into silence.

This threat of Drake's served as a
stimulant, arousing me to fresh hope. It
seemed also to justify Enid's passive
waiting. Drake had seen only Charley
Dollar and one of his men and he had
no knowledge of the other five who were
being kept carefully out of sight. I knew
that if Drake and his scurvey crew were
to land on the island at night the chances
of any of them getting off alive were very
small indeed.

Low as I was this ray of hope acted
as a tonic, but I was careful not to let
Drake guess at my encouragement. The
only fear I had about the business was
that Enid might be hurt in the fracas.
I was also worried for fear it might be
merely a bluff on Drake's part, and in-
tended to harass me. But on turning his
position in my mind I came to the con-
clusion that he really meant to carry out
the threat, but not for the sake of any
evil intention toward Enid herself. She
was no pretty half-caste wife of a gin-
soaked trader nor some silly and de-
fenceless adventuress impressed by his
debonair swagger. He would never dare
to offer her any greater violence than
that required for her forcible abduction
from Trocadero. for which he would
claim in extenuation that after the acci-
dent which had happened to Captain
Kavanagh he did not feel that he ought
to leave her there, even though it be-
came necessary to resort to force majeur
in order to restore her to her relatives.

And then of a sudden his plan was
presented to my vision all nicely framed
and ticketed. Here (if he were actually
laid by the heels, which was by no means
sure) would be his line of defence: —
After taking the bishop and Mrs. Storms-
by to Kialu he had returned to Tro-
cadero with the idea of prospecting for
pearls in the lagoon in order to decide
whether it would be worth his while to
get a concession (a highly irregular pro-
ceeding and one which would have got
his vessel confiscated if caught at it. but
all the same no very great crime). He
did not believe that I had any conces-
sion and thought that I was merely try-
ing to bluff him out. On his making a
few tentative examinations of the bottom
he had been fired on from the cliffs by
me and other persons unknown, and had
taken measures for his self protection
while pursuing his investigations. While
so employed he had sighted a smoke
on the horizon and realizing that his oper-
ations were strictly speaking illegal and
might land him in a German penal colony
he had done what any other person would
have done and got away to sea.

But twenty-four hours later on turn-
ing the situation in his mind he had come
to the conclusion that there was really
no reason for his having run away. He
had scraped up some promising shell but
taken no pearls. Still the bottom offered
(Continued to page 124

Photoplay Magazine — Advertising Section

103

RIGHT in the face of extreme rising costs in diamonds we make this announcement. Send for our
free diamond book. Find out about this rare opportunity among hundreds of others. You may still have full carat stones
at $97.50, three-quarter carats at $72.00 and one-quarter carats at $20.00. Every stone guaranteed in writing.
Every price 35% under ordinary retail prices because we import direct from diamond cutters and are satisfied with
small profits on a great volume of sales. Don't fail to send the coupon today for our Diamond Book. It's FREE.

Basch Money Back
Guarantee rnoene1ySbfck,

guarantee with every diamond. Thisv
iron clad protecting money back contract makes I
loss or disappointment impossible. It is a legal I
contract in writing to refund in cash full price]
less 10 per cent should you, for any reason, wish |
to return the diamond any time within a year.
Also allows you full price in exchange at any time.
Furthermore, it guarantees exact carat weight,
qualitv and value of the diamond. "See that
your diamond is Basch guaranteed."

FREE Examination

Just select any diamond from

this ad or from our catalog, and we will
forward for your free examination, entirely on
at our expense and

without obligating
you to buy unless you
are fully convinced
that it is the very
best value you can
secure for the money.

We refer you to
the Union Bank of
Chicago, the pub-
lishers of this mag-
azine, Dun and
Bradstreet's Mercan-
tile Agencies, any ex-
press company and to
many satisfied pat-
rons in your town
whose names we
shall be glad to give
you on request.

for this

Fountain Pen

This pen is a lever self-
filler, guaranteed non-
leakable. Barrel and cap
are pure Para Rubber.
Your name inlaid in gold
FREE! Hen is 14k solid
gold Iridium tipped. Full
Bize 6% in. long. We guar-
antee free repairs for 2
years. Special fac- $1 QQ
tory price to you v*_—

Write for 1918 De Luxe Diamond Book

We will forward you, postpaid, a copy of this valuable book upon receipt

of your name and address. The book contains expert and authoritative facts on diamonds
needed to buy safe. Wonderful guide to the selection of gifts for all occasions. It shows
thousands of illustrations of fine diamonds, watches, jewelry, silverware, cut glass,
leather goods, etc., all quoted at money-saving prices. Mail coupon or write us a
letter or a post card for your free copy NOW.

L. BASCH & CO.

Dept. P 3520— State and Quincy
Streets — Chicago, U. S. A.

Dept. P3520

L. BASCH &

State and Quincy Streets

CO.

CHICAGO, U. S.

/_„-

_♦ A (i me.

obligating me, Basch 1918 DE LUXE
DIAMOND BOOK.

Address.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

i<>4

Betty, pretty as a picture, might have
attracted anybody's attention. She com-
manded Vinton's, because she was the first
woman with whom he had been unable
to make any headway. Made him doubt
his charms, I guess, and the only way
he could justify himself in his own esteem
was to win out, even if he had to ask
Betty to marry him in order to do so.
It actually came to that, in the end.

I've often thought that it must have
required a tremendous amount of nerve
for Betty Mason to turn down a man like
Vinton, even if only for the amusement
she might have gotten out of it, the re-
lief from the terrible strain she was under.
Mighty few women would have carried
their devotion to a husband, especially a
husband who had practically abandoned
them, that far. I don't mean turning
down his offer of marriage, of course. I
mean his dinners, his auto rides, his invi-
tations of every sort. One thing no doubt
helped her, and in mentioning it I don't
mean to detract in any way from Betty's
faithfulness to her husband. She may
have realized the terrible danger of it.
For all she knew, Frank might be watch-
ing her, might appear at any moment, to
find her. perhaps, dining with the man in
whose arms she had been, in that still —
the man who. from all appearances, had
wrecked his home. Then it might have
been a bullet for Vinton, and the electric
chair for Frank.

Perhaps she found it easier to sit at
home, waiting for his return, or what she
feared even more, news of his death.
That was what she really expected, day
after day, night after night, and of course,
loving him as she did, she blamed herself
for all the trouble, because she hadn't
told him about the test. Curious thought.
isn't it; that test Betty made for the
screen turned out to be another sort of
test altogether — a test of her love for her
husband, and in a way, of his love for her.
So she waited alone, night after night, but
Frank never came.

Vinton wasn't the only one who made
a play for her. Brockton, the head of
our scenario department, tried, too. Got
her address from the office files, and went
and called on her. I never learned the
details of that interview, but Brockton
showed up the next day with some queer
looking scratches on his face, and Betty
was more than usually pale and haggard.
I imagine it was a good thing for her sake
that Brockton had nothing to do with
hiring our people. The Chief knew we
had a prize in Betty, because I had told
him so, and the Chief is a big man, and
the right sort, like most big men.

Well, we got the picture done at last,
and it had its first showing at the Regent.
Betty was anxious to go. of course, and
the occasion being a special one as it were,
her first picture and all that, I asked her
to take dinner with me.

Vinton trailed me all the afternoon, and
when I left the studio he came along and
suggested that we dine together. I told
him about the engagement I had with
Betty, and he asked me if he might come
too.

I was about to make an excuse, when I
remembered some gossip I had heard a

Photoplay Magazine
The Test

(Continued from page j8)
few days before, to the effect that Vinton
had been unable to make any headway
with Betty, because / was the favored
one. It wasn't couched in such nice lan-
guage, either, and if I had been able to
trace it, I would have made somebody
suffer.

So, when this flashed across my mind, I
decided to let Vinton come along. It
might serve to stop these rumors, I
thought, which were, as you can see,
shamefully unjust to Betty.

She seemed surprised when she saw Vin-
ton with me, but of course she didn't say
anything, and we proceeded down town.

I had planned to have dinner at one of
the Times Square restaurants, and from
there walk to the theatre. Everything
went along quite smoothly. Vinton was
very quiet, almost sulky I thought, but
Betty, with the excitement of seeing her
first picture ahead of her, was brighter
and livelier than she had been for weeks.
We left the restaurant a little before eight,
and walked up Broadway.

We had just reached the corner below
the theatre when Sam Milton, of the
Famous Stars Company, stopped me to
say "hello". He had just blown in from
the Coast, and I hadn't seen him for two
years.

Sam and I gossiped for a moment, while
Betty and Vinton walked on in the direc-
tion of the theatre. I got the name of
his hotel, promised to look him up, and
was just about to leave him when I saw
an astonishing thing.

The bent and shabby figure of a man
passed me. so close that he almost brushed
my elbow. He wore an old overcoat, in
spite of the mildness of the weather, and
his right hand was plunged into one of
its pockets. His hair was matted and
unkempt, his face unshaven, showing deep
marks of dissipation. But the thing that
was most terrible about him was the
expression of his eyes. Bloodshot, staring,
they had in them a look of ferocity, of
madness that made me shiver. And this
more particularly, because the man was
Betty's husband. Frank Mason, and his
gaze was fastened with grim determina-
tion upon the figures of his wife and
Maurice Vinton, not twenty yards ahead
of him.

I left Sam talking to the empty air, for
I saw there was not a moment to lose.
Even as it was, I expected every instant
to see Frank's right hand leap from the
pocket of his coat, and to hear the shots
that would mean the end of Vinton, or
Betty, or both of them. So I ran, fairly
ran, as far as a man can run in a Broad-
way theatre crowd, and just as my quarry
came abreast of the theatre, I caught up
with him. Betty and Vinton were stand-
ing chatting alongside the curb, waiting
for me to join them.

I did some quick thinking. Then I
went up to Frank and put my hand on his
shoulder. He started as though he had
been shot, and I thought he was going to
run for it, but the sound of my voice
stopped him.

"Why, Frank Mason!" I cried, as
though I had had the surprise of my life.
"I'm delighted to see you — simply de-
lighted. Where have you been keeping

yourself all these years? I've got some-
thing I must show you — something I
wouldn't have you miss seeing for any-
thing in the world." All the time I was
speaking, I kept urging him toward the
entrance of the theatre, and my hand on
his shoulder was no light one. I'm pretty
husky, as you know— 190 stripped,— and
in Frank's emaciated and run-down con-
dition I could have handled him with
one hand.

He went along as meek as a lamb, evi-
dently figuring that he would abandon
his attack for the moment, until he had
gotten rid of me. He knew me, of course.

"Show me?" he muttered. "What do
you want to show me?"

"Something that is going to make you
the happiest man in the world," I said,
fairly shoving him through the door.
Luckily the ticket-taker knew me, but I
saw him give a look of amazement at
Frank. And no wonder. I'm surprised,
even now, that they let him in at all.

By this time Frank Mason was becom-
ing bewildered. Don't forget that he
hadn't the least idea that Betty had gone
into pictures, or that Vinton was an actor.
All the latter meant to him was the man
who had stolen his wife. He was reach-
to kill.

"Frank Mason," I said, "you're going
to sit here with me and look at this pic-
ture. After that, you can do what you
please." Then I shoved him into a seat
in the last row, and sat down beside him.
1 saw Betty and Vinton enter the box I
had reserved, looking all about for me.

I had looked forward to the evening,
expecting to share Betty's joy in her
success. That joy I missed, but I knew
I should have a greater one.

At first Frank sat huddled in his seat,
with his head bowed down, wondering
how long it would be before he would be
able to get away from me and my chat-
ter, and attend to the real business of the
evening. I talked to him continually
about my success in screen work, trying
to keep his mind diverted until the show
began. Then I sat tight, and waited.

When he first saw Betty, he gave a
curious hoarse sigh, like a man who has
suddenly awakened from a terrible dream.
Then he sat back, his hands gripping the
arms of the seat, for fully half an hour,
immovable. All of a sudden he collapsed
again, and I saw that he was crying.

"Betty has been waiting for you very
patiently, Frank," I said. "Those photo-
graphs you saw were nothing but motion
picture stills. That telegram you found
I sent. She is the best wife in the
world."

He didn't answer me. but one of his
poor thin hands clutched mine, and we
sat there without another word, till the
picture was done. Then I went to find
Betty.

There's no need to say any more. All
this happened a year ago. Frank is one
of our publicity men now. and making
good to the tune of a hundred a week.
And Betty is going to star.

Her claim against Love wasn't a bad
one, you see, even if it did require sup-
plementary proceedings to collect it.
She's the happiest woman I know.

Photoplay Magazine — Advertising Section

105

iffimbW««&£i

Just Like New !

YOU, yourself, can easily keep your furniture, woodwork, linoleum
and floors, in perfect condition with Johnson's Prepared Wax. It

cleans and polishes in one operation — protects and preserves varnish, adding years
to its life — covers up mars and small surface scratches- — and prevents checking.

A Dust-Proof Furniture Polish

Polish all your furniture — including the piano — with Johnson's Prepared Wax. You
will be surprised at the wonderful improvement. It imparts a hard, dry, glass-
like polish of great beauty and durability. Johnson's Prepared Wax will quickly and permanent-
ly remove that bluish, cloudy appearance from your piano, victrola and mahogany furniture.

JOHNSON'S

"Z/q u/c/ and ' fias/o

PREPARED WAX

Johnson's Prepared Wax is now made in Liquid
Form as well as Paste. Many people prefer the
Liquid Wax as it polishes instantly with but
very little rubbing-^-you can go over a roomful of furni-
ture, a good sized floor, or an automobile in half-an-hour.

Johnson's Liquid Prepared Wax is exactly the
same as the Paste Wax except that it is a liquid.
It contains absolutely no oil, consequently does
not collect or hold the dust. It never becomes soft or
sticky in the hottest weather or from the heat of the body.

For Floors and Linoleums

Johnson's Liquid Prepared Wax gives just the polish
and protection you need on your linoleums. It imparts
a beautiful, dry polish which any housewife can easily
keep in perfect condition, by simply wiping up the dust
occasionally with a dry cloth. It brings out the pattern
of the linoleum and preserves it.

Johnson's Prepared Wax is just as necessary around the
house as soap. Keep it always on hand for polishing your
Floors, Linoleum, Woodwork, Piano, Automobile and
Leather Goods.

Tell your dealer that Johnson's Prepared Wax is now made
in Liquid Form and insist upon his supplying you with it.

S. C. JOHNSON & SON, Dept. PP12, RACINE, WIS., U. S. A.

When you write to advertisers please mention PHOTOPLAY MAGAZINE

io6

Photoplay Magazine — Advertising Section

Flickerless Light with this Lamp

NATIONAL

MAZDA

It has been certain from the beginning that
there would one day be a NATIONAL MAZDA
lamp with which motion pictures could be pro-
jected at a practical cost.

Here it is.

This lamp gives an absolutely flickerless light!

It sharpens and steadies the pictures. Once
focused, it requires no adjustment. It leaves the
operator "nothing to watch but the film", and he
is therefore able to devote all his attention to giving
you better pictures.

It reduces the fire hazard. It does not, like
other illuminants used in projecting pictures, con-
taminate and overheat the air in the operator's
booth and threaten his health.

Because of these many advantages, NATIONAL
MAZDA will rapidly supplant the older light-
sources in motion picture projection — just as it has
supplanted them practically everywhere else.

For full information about this new lamp or for help on any
theater lighting problem, write your supply house or Nela Spe-
cialties Division, National Lamp Works of General Electric Co.,
136 Nela Park, Cleveland, Ohio.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

w questionsI

AND

% ANSWERS JBO

^ ^ *^§ air

VOI' .1 t hi

Hi.. I, n,!.,, Ma

-*■ to get questions answered in this Department. It is onlv
required thai vou avoid questions which would rail lor unduly
long answers, such as Bynopses of plays, or easts oi' more than
one [day. Do not ask questions touching religion,

scenario writing or studio employment. Studio addresses
will not he given in this Department, because a complete list
oi them is printed elsewhere iu the magazine each month.
Write on only one side of the paper. Sign vour lull name
and address: onl\ initials will he published it requested. II
you desire a personal reply, enclose self-addressed, stamped
envelope. \\ rite to Questions ami Answers, Photoplay
Magazine, Chicago.

L. L., Atlanta, Ga. — You'll forgive us
won't vou, if we sorta forget to so into de-
tails about those divorce suits. Divorce is
such a depressing subject when it concerns
people we know and like, isn't it? Anyhow,
we hope that you will be satisfied with the
information that in both the Forman and
Blackwell cases, the wives were the plaintiffs.
Now let's talk about something pleasant, like
blondes and pie a la mode.

Margery, Huntington, W. Va. — William
Desmond is married and has been in thaL
identical condition for a number of years.
His wife was known on the legitimate stage
as Lilian (correct) Lamson and she is a sis-
ter of Nance O'Neil. He is still with
Triangle.

I. S., Chicago, III. — Any time that you
feel it is of vital importance to have an im-
mediate answer to a query, slip a two cent
engraving of G. Washington into your letter
and you'll get a reply at once. You can
never win anything by cussin the editor; so
there !

Mattie, Winston, N. C. — Welcome Mat-
tie to the Mystic Circle. Your favorites
may be described as follows : Clara Kim-
ball Young has brown hair and eyes, is an
inch over five feet and a half and her fa-
vorite weight is 1.55 pounds. She is 26.
Wallace Reid is a six footer, makes 185 with-
out trouble; has fairly dirk brown hair,
grayish eyes and is 27 years old.

Pecgy, Millburn, N. J. — Thanks, awfully.
Most all of 'em like it better this way and
nobody seems to miss the extra jitney.
What's a nickel anyhow when you want to
know the latest about your favorites?
Reverly Bayne is not married. Taylor
Holmes is in his thirties somewhere and his
only film play thus far is "Efficiency
Edgar's Courtship" provided by Essanay.
Billie Burke's baby girl was born a year ago,
October 23, if we remember rightly, and it's
her very own. Seena Owen and her hus-
band George Walsh have a baby about two
years old. Theodore Roberts did play with
Mae Murrav in "The Dream Girl."

H. D., Brooklyn. — There is very little op-
portunity for a boy of fifteen in the moving
pictures. In fact, it may be stated that there
is none at all. We cannot give home ad-
dresses. Write to your friends at their stu-
dio addresses.

C. A., Tulsa, Okla. — Sessue Hayakavva
and Wallie Reid are at Lasky's and Margue-
rite Clark at Famous Players. You're nol
a reg'lar spinster until you start complaining
about the way the girls dress nowadays and
talk about the "chances" you used to have.

H., Haverhill, Mass. — Charles Ray is
not related to Eleanor Ray. Mary Miles
Minter's sister Margaret Shelby often plays
with her on the screen. Mr. Hayakawa an-
swers his mail faithfully.

All letters sent to this de-
partment which do not con-
tain the full name and address
of the sender, will be disre-
garded. Please do not violate
this rule.

M. C. W., Boston, Mass. — The young
man who played Evelyn Nesbit's son grown
up and whom you think looks like Harry
Thaw, in "Redemption." was George Clarke.
Yes, Harry Thaw has been in pictures. He
has starred in Pathe Weekly, Selig Tribune,
International Film Service Weekly, Gau-
mont Weekly, Universal Weekly and other
film newspapers.

Grace, Fall River, Mass. — Robert Hal-
liard has a son but it isn't Harry. Jean
Sothern is with Art Dramas. The Lee
kiddies, Katherine and Jane, are being
-tarred in their own pictures now by Fox.

B. R., Birmingham, Ala. — Can't quite
get you. First we thought you were trying
to kid us but finally concluded you were
just a new sort of nut. If we're wrong,
we'd be glad to be put right.

Pattie, Victoria, Australia. — Pauline
Frederick was educated in Boston. Frank
Andrews, who played in "Poor Little Rich
Girl" was not her former husband. Billie
Burke was educated in Washington. D. C
and France. "The Little Girl Xext Door''
was produced by Essanay. Evidently they
were ashamed of it as the members of the
cast have always gone nameless. You seem
to have a fairly good size-up of the screen.

M. M., Indianapolis, Ind. — Arthur Ashley
doesn't say whether he is married. Norma
Talmadge's husband is Joseph Schenck.
Naomi Childers is not married. She played
last with Ivan Films. You're terribly
welcome.

Kiddem, Callao, Peru. — Buenos morning
hombre. Como 'sta all the genuine Peru-
vian doughtnuts? Juanita Hansen was born
in Des Moines, la. It's her honest-to-good-
ness como-se-llama and she played last with
Crane Wilbur in "Devil McCare." She's
row comedying at Universal. Hove you'll
write much often.

Rose, Hamilton, Canada. — Mrs. Walter
Crawford, of Roanoke, Ya., desires to assure
you that "there is a real live Bushman Club
of which we are not the least ashamed. But
to the contrary we are very proud of it."
It's a regular club, gotta lotta officers and
everything according to Roanoke advices,
Mr. Bushman being honorary president and
Miss Bayne, honorary vice president.

Silver Spurs, St. Pal-l, Minn. — Sorry
Mr. Johnson omitted to mention Mr. Foxe
in his annual resume of the year's doins
but we haven't got a thing to do with any
except this particular department. Earle is
mighty lucky to have a screen friend like
you.

Mildred, New York City. — Theda Bara
played in "Under Two Flags" and is now
doing "Du Barry." It's Pearl White's real
name, we're told. Creighton Hale is now
appearing in "Seven Pearls." Write to Pathe
about your desire to see Pearl in other than
serials and mavbe thev'll come through.

D. D., Northampton, Mass. — Don't think
he is the same Tony Moreno who worked in
that silk hosiery plant.

Alice, Detroit, Mich. — Jack Holt is still
with Lasky and Earle Foxe with Goldwyn.

107

io8

Gvp. Fori Smith. Ark. — Francis Ford
and Grace Cunard arc both back at Uni-
versal City but. in different companies. Miss
Canard's birth year is 1893. ^lrs- Castle's
first" name is Irene. You have the dope on
the Burke plays — three of them l& date
Dorothy Gish is 10.

Maoamoselle, Reading, Pa. — Trying to
kid us with that phoney French dialect?
Try again.

Photoplay Magazine

lid .\t mi., Kankakee, III. — Florence Hol-
brook is still on the musical comedy stage.
Thelma Sailer is now about eight years
old. .

TOMMY, Chicago. — We'd like awfully well
to help out your friend Tom Forman but
Tommy has decided to be a Sammy. Any-
how he has enlisted so nothing we could
say or do would help him where he is now.

Dahc, Ltttisiou.s, Mom — Miss Anita
Loos may be reached by mail at Douglas
Fairbanks Corporation, Hollywood, Cal.

Raymond, Newark, X. J. — Norma Tal
madge was born at Jersey City, N. J.,
and was married last November. She is 22
Her husband, Joseph Schenck, is about 4;

James, Brockton, N. Y. — A reel is sup-
posed to contain not more than 1,000 feet
of film. You cannot make a scenario of a
story written by another person without
getting the consent of the writer.

Rente, Savannah, Ga. — Edward T. Lang-
ford has gone away to war so he isn't avail-
able to quiz as to his private life. You are
fortunate to have met so many screen nota-
bles. Write again.

J. B. H., Fall River, Mass.— Myrtle Sted-
man seems to be vacationing at this time
Yes, Cecil DeMille apparently is coming
along nicely. "The Little American" and
• A Romance of the Redwoods" were the
two Pickford pictures directed by Mr. De-
Mille.

H. R., Des Moines, Ia. — Certainly en-
joyed that novelette you sent us. Do it
again. It's just about the newsiest epistle
that's come to our rolltop this month. J. W.
Johnston is now somewhere in N'Yawk.
Mabel Norma nd is no longer a Sunkist star
as she recently signed with a New
York company.

E. M., Los Angeles, Cal. — The actress-
you are curious about do not smoke. Mi-
riam Cooper has appeared in "The Honor
System," ''The Innocent Sinner" and other
pictures for Fox. Mae Murray and Mollie
King have always been blondes, so far as
we know. Mrs. Castle is doing five reel
features for Pathe.

Tibby, New York City. — Write to Alice
Joyce, care Vitagraph and we are sure you
will receive an acceptance. Hope the appen
dix came out without much trouble.

Alice G., Quebec, Canada. — Write Harry
Myers care Pathe, New York City.

V., Dupond, Ind. — Billie Burke
was christened Ethel Burke. She
is 31 and Anita Stewart is 20.
Thomas Meighan is the husband
of Frances Ring, the sister of
Blanche Ring.

E. C, Louisville, Ky. — So
Francis X. "kissed her arm and
said she was the sweetest woman
in the world" when he introduced
Beverly Bayne? Why, girlie, you
wouldn't have had him be impo-
lite, wouldja? Wallie Reid has a
son nearly six months old.

L. D., San Francisco.— Mildred
Harris may be said to have risen
to stardoi.i as she is the featured
player in the first two independent
productions from the Lois Weber
studio. Her latest is "K," the
Mary Roberts Rinehart novel.
We're after the Williams pictures.

"Is Broncho Billy married? I'm aw-
fully interested because I just love to
see him get the girl in the end."

This was the first question ever asked any pub-
lication about any film player. The publication
was The Dramatic Mirror and the query made
Frank E. Woods, now production manager oj the
Lasky-Famous Players western studios, the first
Answer Man.

"As nearly as I can remember," said Mr. Woods,
"the writer of the letter was a girl about sixteen.
I published the answer in my column and that
started them going. The one most important
question in those days concerned the identity oj
'Little Mary.' The Biograph company would not
give out the names oj its players, so it was a long
time before the jam knew the identity oj their
favorite."

J. A., Youngston, O. — Douglas
MacLean was the young man who
played opposite Gail Kane in "The
Upper Crust." He is now back on
the noisy stage. He appeared in a number
of World photoplays. William Parke, Jr., is
with Thanhouser, New Rochelle, N. Y. He'll
probably answer your letter if you do not
disclose the fact that you think he is "cute."

M. W., Canton, O. — Edward
Earle is now with Vitagraph
Louise Huff and House Peters
played together, we think, only in
"The Lonesome Chap."

G. G., Augusta, Ga. — The bap-
tismal name of Mary Miles Min-
ter is Juliet Shelby. Baby Marie
Osborne works on a salary and
percentage basis, so we can't tell
you just what she puts in the lit-
tle bank every week. Irene How-
ley has been on the screen for
several years.

M. T., Pt. Arthur, Canada. —
Katherine Sanders, a Danish ac-
tress, played the role of Ann in
"Blind Justice," w7hich was pror
duced in Denmark. Irving Cum-
ming's wife is an actress; name.
Ruth Sinclair.

Lotus, St. John's. Newfound-
land.— Evelyn Dumo was the
Baroness in ".My Madonna.''
James Morrison was last with
Ivan Films and Dorothy Kelly is
still with Vitagraph.

G. H., LaGrand, Ore. — Why pick on us
with your chain letter prayer? And we
didn't send it to nine others either because
we've had all the bad luck there is.

R. M., Baltimore, Md — Norma Phillip-
was June in "Runaway June." She is on
the legitimate stage now.

C. B., Sydney, Australia. — You have the
correct address for Miss Minter. No players
are offended if written to for photos. Go
right ahead.

F., Dorchester, Mass. — We have no
branch in Boston and there is no way that
we can aid you in getting into the movies.

Ivy, Cleveland, O— D. W. Griffith is
married. He is now in Europe working on
his third photoplay in which the big war
is the chief theme. The Gish sisters and
Bobby Harron appear in them. Mr. Griffith
is about 44 years old. Yes, we like bru-
nettes— also blondes and redheads.

H. K., Missouri Yalley, Ia. — The only
way to get a picture of Harry Hilliard is
to write him, care William Fox, New York,
and ask him for one.

Squirrel Bill, Portland, Ore. — You are
quite some artist. Bill. Mary Pickford is
now in Hollywood. Cal. Maybe some other
photoplayers will visit Portland soon. If
we can do anything for you along those
lines, let us know.

A. F., New- York City'. — Charles Ray is
26 years old, married, lives in Los Angeles
and his auto is a Worser, or something like
that. Answer men are not familiar with
autos.

E. W., Nampa, Ida. — Mary Pickford is an
inch taller than Marguerite Clark, who is
an inch under five feet. Myrtle Gonzalez,
William Duncan and George Holt had the
chief roles in "The Chalice of Courage."
Clara Kimball Young, Earl Williams, Harry
Morey and L. Rogers Lytton were the chief
players in "My Official Wife."

Leona, Indianapolis, Ind. — The newsboy
in "A Tewel in Pawn" was Antrim Short
Earle Williams is not married and he gets his
mail at the Vitagraph studio, Brooklyn.

E. W., Portsmouth, Va. — Charley Ray's
right name is Charles Ray. Wally Reid's is
the same — that is, it's Wallace Reid, with a
William befront of it. Sure he'd write — at
least, he'd send you a picture of hisself.

R. S., Silvf.rton, Colo. — Joan Sawyer
was born in El Paso, Texas, in 1884, so she
could scarcely be referred to as a native of
New England.

Billy Penn, Philadelphia. — Yes, that's
quite a nice pen name. Bill Hart gets his
mail in care of the William S. Hart Produc-
tions Company, corner Fountain and Bates,
Hollywood, Cal. He answers his letters and
sends photographs to his admirers.

J. M.
specific.

Dublin, Ga. — You must be more

V. K., Los Angeles. — Harry Ham is not
the husband of Billie Rhodes. Billie's mar-
ried name is Fulgham, but she's trying to
get rid of it. Robert Walker was the minis-
ter in "The Light of Happiness " We are
never bored.

E. O., Kokomo, Ind. — Norma Talmadge
is the wife of Joseph Schenck, a well known
man in theatrical circles. Olive Thomas is
at Culver City, Cal.; Anita Stewart at Vita-
graph, Brooklyn; Montagu Love at World.
New York and Tom Forman is in the armv.

Polly Peppers, Boonville, Mo. — Wel-
come home, Polly. If you mean Harry Fox
of "Beatrice Fairfax" fame, we can tell you
that he is a native of California, a vaude-
ville player of considerable repute and the
husband of Yansci Dolly, one of the famous
Dolly sisters. Sure is "cute." We've never
seen the sequel to "The Diamond from the
Sky." Bessie Barriscale's son is about 8
2nd Valeska Suratt is not married. Fanny
Ward's daughter is not a screen actress.

(Continued on page 12$)

Photoplay Magazine — Advertising Section

109

Brings Beauty While You Sleep

Just leave pure, snow-white Pompeian NIGHT Cream with its delicate
perfume on your face as you fall asleep. Then in the morning see how
soft and smooth is your skin ! But you must he faithful — every night —
for time and weather are daily stealing beauty and youth from your
face. Jars, 35c and 75c, at the stores.

Pompeian NIGHT Cream

Is anybody in your family troubled with Dandruff? If so, don't let
the matter be neglected, as Dandruff often causes the hair to fall out.
Our new product, Pompeian HAIR Massage, has already won thou-
sands of friends all over the country because it has stopped their Dand-
ruff. It is a liquid (not a cream) and is not oily or sticky. Delightful
to use. 50c and $1 bottles at the stores. Both of the above products are
guaranteed by the makers of the famous Pompeian MASSAGE Cream.

Mary Pickford Art Panel

No advertising on front

Miss Pickford, the world's most popular woman, has again
honored Pompeian by posing exclusively for the 1918 panel.
Size 7,':;x28 inches. Daintily colored. Please clip the coupon
for panel and sample of Pompeian NIGHT Cream.

When you write to advertisers please mention PHOTOPLAY MAGAZTXE.

I IO

Photoplay Magazine Advertising Section

LiftC

out

Plays and Players

(Continued jrom page 94)

A few drops of Freezone

loosen corns or calluses

so they peel off

Apply a few drops of Freezone
upon a tender, aching corn or a
callus. The soreness stops and
shortly the entire corn or callus
loosens and can be lifted off with-
out a twinge of pain.

Freezone removes hard corns,
soft corns, also corns between
the toes and hardened calluses.
Freezone does not irritate the sur-
rounding skin. You feel no pain
when applying it or afterward.

Women ! Keep a tiny bottle of
Freezone on your dresser and
never let a corn ache twice.

Please Try Freezone

Small bottles can be had at any drug
store in the United States or Canada.

The Edward Wesley Co., Cincinnati, O.

For

Superfluous

Hair

FOR ALINE

in today regarded as Hip one SAFE depilntory
for removing hair from face, neck, arms or
armpita without tin- slightest harm to the
most tender skin. f\mif-s in powder form,
daintily bottled. Easy to use. instantly effective

GUARANTEED

absolutely non-injurious; your money back if
not thoroughly rs represents I. On the market
since is;)!) -be su e to get the genuine.
From your druggist or dept. store, 2 oz. f> |
bottle or sent postpd. on recei pt of price «J) 1

The Foral Products Company, Inc.
Dept H.. 317 Fillh Ave. PITTSBURGH, PA.

APROPOS of the war, movie followers
have perhaps noted the appearance
on the screen of a number of new names.
Some of the more timid producers have
gone about changing the names of their
players without even consulting the wear-
ers thereof, through fear that some
suggestion of Teutonism in those cogno-
mens would be injurious to the success
of the photoplays with which the names
were associated. One of the most amus-
ing instances of this kind was the
summary rechristening of Alfred Vos-
burgh, of Vitagraph. Some one in the
New York office of that company arrived
at the astute conclusion that Vosburgh
was a German name so when a photoplay
arrived with that good old Scottish name
in the cast, it was immediately yanked
out and the name Alfred "Whitman"
substituted therefor. So Al Vosburgh is
now Al Whitman, though involuntarily
and only officially. It might be added,
postscriptically, that the name of Otto
Lederer remained in the cast.

There was considerably more reason
however for another recent change of
patronymic. The player's name being
Norman Kaiser, comment is superfluous.
Norman played opposite Bessie Barri-
scale in "Rose of Paradise" and then went
to Artcraft for an important part in "The
Little Princess." He didn't wait for
anyone else to switch his name but
christened himself "Kerry" and as Nor-
man Kerry he appears in the Pickford
cast. Following the completion of the
picture he left for the East with the
view of joining the Canadian aviation
corps.

METRO is now operating a multi-
company studio in Los Angeles for
the first time in its history. The studio
used by Charley Chaplin for the last
eighteen months has been taken over and
at present three companies are making
pictures under the general direction of
Manager B. A. Rolfe. The companies
are headed by Edith Storey, Viola Dana
and Emmy Wehlen and Mr. Rolfe expects
to add more from time to time.

IT is no longer a great mystery-secret,
* that Jack Pickford-Olive Thomas ro-
mance. On October 25, the former Fol-
lies star announced that just a year before
on the same date, she and Jack were
married, prior to Jack's departure for
the Coast. Then in the spring Olive quit
the bright lights for the sunlight and
became a Triangle luminary. She made
no secret to friends that it was on Jack's
account. But news of the marriage was
kept from the public because, as the
beauteous Olive says, "I didn't want
people to say that I'm succeeding because
of the Pickford name." Now that she
has "shown 'em," Miss Thomas is not
averse to letting the world know that
she and Jack have been one for one year.
Among film folk they are regarded as the
most devoted couple in movieland.

EVELYN NESBIT is
films. She is doing

MARY H. O'CONNOR, a pioneer
among scenario editors, is chief aide
to Frank E. Woods, Lasky's head of
production. Miss O'Connor was con-
nected with the Munsey Magazine before
entering the screen studios, first with
Vitagraph. Then she joined forces with
D. W. Griffith and was scenario editor
at Majestic-Reliance and Fine Arts until
both of those companies passed into
history.

THAT well known transcontinentalist,
Anita King, has quit Hollywood for
Long Beach, Cal. She has signed a con-
tract with Balboa and will be starred by
that company.

IN the East, Cupid also ensnared a well
known filmer in Edna Payne, once the
star attraction of the old Eclaire. Miss
Payne became the bride of Jack Rollens,
a vaudeville player, in New York.

MINA CUNARD, sister of Grace, is a
war bride. Mina, who has also
played under the family name of Mina
Jeffries, was wedded to Stockton Quincy,
a member of the Coast Artillery, just
before leaving for the mobilization camp.
There's another war bride at Universal
City. Betty Schade, whose husband Ernie
Shields, has also been called to the colors.

RUTH STONEHOUSE is also num-
bered among the war brides. Her
husband Joe Roach, a well known sce-
nario writer for Triangle, was among the
drafted and as Ruth is fully able to make
her own living. Husband Joe did not
claim an exemption.

LEE MORAN and Eddie Lyons, chief
comedy stars at Universal City have
apparently been experimenting with lead-
ing ladies. When Edith Roberts quit
them to take up more serious work, they
had Rosemary Theby assigned to their
company. Miss Theby also sought
dramatic roles and Juanita Hansen suc-
ceeded her. Now their leading lady is
Teddy Sampson, wife of Ford Sterling.

PARALTA is having more trouble
launching itself than a dreadnaught.
The Paralta plan, a highly technical inno-
vation in distribution, has been a picture
puzzle in the trade for nearly a year, and
still, with two or three productions com-
plete and others in the fnaking, the public
has yet to see any of them on the screen.
First they were going to distribute through
Triangle. Then they informed the public
that they did not mean Triangle, but
Stephen A. Lynch, and as Lynch was leav-
ing Triangle they were also. Now it ap-
pears that Mr. Lynch will not leave Tri-
angle, after all. but remains as head of the
distributing system, which was all Paralta
had anything to do with it anyhow. Just
where this bird of passage will eventually
roost is one of the things they have
stopped guessing about on Longacre
Square.

in again — the
"The Greater
Love" which sounds like ready money.

ROMAINE FIELDING is now a
man His wife, Mabel Vann,

free
an. nis wne, inaDei vann, re-
cently obtained a divorce in Minneapolis.

Every advertisement in PHOTOPLAY MAGAZINE i> guaranteed.

Photoplay Magazine — Advertising Section

I I r

Cutting the cuticle
ruins the nails

What specialists say about cuticle - cutting

Try the new way of mart icuring.
No dangerous cuticle cutting; no
tiresome soaking of the nails--
takes half the time heretofore
required-

Dr. Murray, the famous specialist, says : "On no
account trim the cuticle with scissors. This leaves a
raw, bleeding edge which will give rise to hangnails,
and often makes the rim of flesh about the nail become
sore and swollen."

Over and over, other specialists repeat the advice —
"Do net trim the cuticle." "Under no circumstances
should scissors or- knife touch the cuticle.'' "Cuticle
cutting is ruinous."

It was to meet this need for a harmless cuticle re-
mover that the Cutex formula was prepared.

Removes surplus cuticle without cutting

Cutex comply ely does away with cuticle-cutting;
leaves the skin :it the base of the nail smooth and
firm, unbroken.

How to manicure the Cutex way

In the Cutex package you will find orange ;tick
and absorbent cotton. Wrap a little cotton around the
rid of the stick and dip it into the Cutex bottle. Then

A special Christmas manicure set

You can now get in al! of t'.ie stores, the Cutex Travelling
Manicure Set. packed in an exquisite I oily box for Christmas
giving. The set itself includes Cutex. the cuticle remover,
Cutex Nail White, Cutex Cake Polish and Cutex Paste Polish,
complete with orange stick, emery boards and flexible steel
file. A perfect Christmas gift. Price $1. CO.

work the stick around the base of the nail, gentlv
pushing back the cuticle. Almost at once, you can
wipe off the dead surplus skin. Carefully rinse the
fingers in clear water.

Then a touch of Cutex Nail White underneath
the nails removes all stains — leaves the fingers with
snowy-white tips.

Finish with Cutex Nail Polish. Cutex Cake Polish
rubbed on the palm of the hand and passed quickly
over the nails gives them a delightful, lasting polish.
If you wish an especially brilliant polish, use Cutex
Paste Polish first, then the Cake Polish.

Until you have used Cutex, you cannot realize what a great iiu-
provement even the first Cutex manicure will make in your nails.

Where to get Cutex

Ask for Cutex wherever high-class toilet preparations are ?oid.
Cutex comes in 50c and $1.00 bottles with an introductory si/e at 25c.
Cutex Nail White is 25c. Cutex Nail Polish in Cake, Paste. Powder,
Liquid or Stick form is 25c. Cutex Cuticle Comfort, for sore or tender
cuticle, is also 25c. If your favorite store has not secured its stock,
order direct.

Send 14c today for a complete Midget Manicure Set

Tear ofl the coupon now and send it with 14c (10c for the set and
4c for packing and postage) and we will send you a complete Midtret
Manicure Set. enough for at least six "manicures." Write for it today.

NORTHAM WARREN
Dept. 308 9 West Broadway New York City

If you live in Canada send 14 c to MacLean, 73enn Z? Xrlson, Ltd..
Dept SOS, 489 St. Paul Street West, Montreal, for -our sample set and
get Canadian prices.

Ethel Clayton, th
hardt of the Mot
fur 'e stage says: "On
not knowof Cutex a
love to use it. Cutex

on/ nails looking so

Hfully. my friends
remark it "

Bern-

i< l'ir-

an-

Hil not

keeps

beau-

oflen

set for lie.

Mail this coupon with 14c today

NORTHAM WARREN
Dept. 318

9 West Broadway, Si w York

Wlien you write to advertisers please mention I'HOTOPLAr MAGAZrXE.

I 12

Photoplay Magazine — Advertising Section

Meefjyoiir favorife
Movie S/ar

Take Your Choice

Make your selection for
an many its you want and
Bend with your remit-
tance, Our money back
guarantee protects you.
May Allison

The.].. Ban

Mrs. Vernon Castle
Alice Brady
Billie Burke

Francis X. Ilushman
June Caprice
L'ln Chaney

U .ik'uerite Clark
Viola Dana
Grace Darling

Grace Darmonil
Dimghis Fairbanks
Franklin Farnum
NovaGerber
Myrtle Gonzales
Crefehion UsJe
W. S. Hart

Louise Hull

Rupert Julian
Motile King
Harold Lockwood
Louise Lovely
Mary McLaren
Marie Osborne
Virginia Pearson
Dorothy Phillips
Jack Pickford
M:iry Pickford
Kddle Polo
Myrtle Stcdman
Norma Talmadge
Pearl White
Clara Kimball Young
500 others that you know.

for
25c

For 2r> cents you may
have eighteen of your own
choice or 50 cents for
fortv or a dollar for a
hundred.

These photo post
cards of your movie
favorite present
such exact like-
nesses, that to
possess them is
a good deal like
meeting them
personally. We
were the first to
sell by mail post-
card photos and
photographs of
the movie stars and to-
day are the largest di-
rect-to-you distributors.
Personal acquaintance
with many screen favor-
ites enables us to include
exclusive and recent
poses at these low prices

18 for 25c

100

for

$1.00

100 for $1

MONEY BACK
IF DISSATISFIED

SPECIAL

Actual photographs in
attractive poses. Size
8x10 of all feature
Stars, at 50c each.
We have many Stars
in different views
and poses. Get 3
beautiful photos of
your favorite. Spec-
ial at $1.00 for3. Send
stamp for sample
card and our list.
Sen! free with all orders.

The Film
Portrait Co.

127 A First Place
BROOKLYN, N.Y.

IPrice-To Introduce

To prove to you that our blue-
white MEXICAN DIAMOND 6X801 1^
resembles the finest genuine
South African Gem, with same
<lazzliny,raini»ow-hu.-dorilIian-
oy (Gnaranteed), we will send you
this beautiful, hit:li -grade, 1:2- kt.
gold-filled Tiff. King set with
1-kt, gem, regular catalog price
$4 98, for One-Unit1 Price, S2.50.
Same gem in Gent* a Heavy Tooth
Belcher Ring, catalog price, S6.26,
for $8.10. Wonderful, dazzling,
rainbow brilliancy. Guaranteed ISO
Yfars. Send SI. 00 and we will ship C.O.D. foxFrre Examina-
tion. Money back if not pleased. Act quick. State size.
Offer limited. Only one to a customer. Catatoglree. Agents Wanted.
MEXICAN DIAMONO IMPORTING CO., Pep.vtment C. B. . Las Cruces, NEW MEXICO

( Exclusive Controllers of the Genuine Mexican Dumoml )

E A BANKER

Prepare by mail for this hitch profession, in whieh there
are pleat opportunities. Six months' term. Oiproma

awarded. Send for free hn,,k, "How to Become >
Banker." EDGAR O. At.OOKN. President

AMKRICVN SCHOOL OF HANKING

457 East State Street COLUMBUS. OHIO

Only $2.50

Petrova — Prophetess

(Continued from page 2jj

ideals. I didn't write because I thought
I was turning out masterpieces, but be-
cause nobody else was doing so, and I was
actually forced to provide something ap-
proaching what I wanted.

"And now that I have my own company,
it is still harder. Formerly there were
scenario departments with several readers,
constantly on the lookout for material.
Now I have to do it all myself. I read,
read, read — until I feel that I must go
blind.

"Last summer I went to Maine for a
vacation. Mrs. Clifton, my scenario
writer, was with me. We thought we were
going to have a fine rest, but neither of
us could escape the haunting thought that
soon I was to begin on my first independ-
ent production, and we had no story.
That ghost followed us through the woods,
across the lakes and grinned horribly at
us out of the stars. Shall I tell you a
fish story?"

It was a little abrupt but I recovered
in time to say "Please."

"Mrs. Clifton and I were out fishing
one day, with fair success, but Mrs. Clif-
ton was determined not to go back until
she had caught at least one big one. I
had decided to rest on my laurels, and
was leaning back in the boat, thinking
again of the necessity of getting a story.
An idea began to evolve in my mind, and
I concentrated upon it. At last it seemed
tangible enough to talk about.

" I believe I have a plot for the story
at last!' I exclaimed.

"Mrs. Clifton gave a little cry of de-
light, and then of dismay. In her excite-
ment and eagerness to hear the story she
had dropped her rod into the lake, and she
assured me that she had just had a bite
so vigorous that it could have meant noth-
ing less than the biggest fish in the lake.

"But it did turn out to be a story after
all, and perhaps the fish wouldn't have
been so big when she landed it.

Perhaps the impression might be left
upon some minds, from all this, thai
Madame Petrova is not a practical woman,
she dreams her pictures and productions.

It was no dreamer that I found another
day, out at her studio in the Bronx. She-
was garbed in a flowing white gown as
an ambassador's wife at a court function,
and stood at one side of an arch waiting
for her entrance cue. At least I supposed
she was waiting. As a matter of fact there
is no blank moment in the Petrova day.
The spot where she was standing was, for
that moment, the executive offices of the
Petrova Film Corporation. As we gos-
siped about this and that, a man intruded.

"Pardon me," said Madame, "this is
Mr. North, my business manager," and
she turned away to attend to some detail.

Again we gossiped, and again an in-
truder.

"Pardon me — this is Mr. Irving, my
director," and they decided how a cer-
tain piece of action should be handled.

A third time.

"Pardon me — this is Baron de Witz, my
technical director," and they consulted
over the details of a prince's costume.

So it went. A secretary came in with
checks to be signed. An electrician asked
her opinion concerning the lights. And
so on. Madame Petrova's thought is not
confined to the dissection of theories, but
with the same acute analytical faculty that
has enabled her to evolve her theories of
life and art. she has mastered the me-
chanics of the studio. She is a prophetess
— but her feet are firmly planted upon
the earth.

I read this over to my friend the Low
Brow.

"Sure." he said, "but coming back to
pictures — "

"We haven't been away from them."
I quoted, chortling.

But he only scowled at me across hi-
beer.

Statement of the Ownership, Management, Circulation, etc., Required by
the Act of Congress of August 24, 191 2,

of Photoplay Magazine published monthly at Chicago, Illinois, for October 1, 1917.

State of Illinois, {
County of Cook. J Sb-

Before me, a Notary Public in and for the State and county aforesaid, personally appeared James R.
Quirk, who, having been duly sworn according to law, deposes and says that he is the Vice President and
Business Manager of the Photoplay Magazine, and that the following is. to the best of his knowledge and
belief, a true statement of the ownership, management (and if a daily paper, the circulation), etc., of the
aforesaid publication for the date shown in the above caption, required by the Act of August 24, 1912, em-
bodied in section 443, Postal Laws and Regulations, printed on the reverse of this form, to wit: 1. That the
namesand addressesof thepublisher.editor.managing editor and business managers are: Publisher,James
R. Quirk, Chicago.Ill. Editorjames R. Quirk, Chicago, 111. Managing Editors. Alfred A.Cohn, Los Angeles.
Cal.,and Randolph Bartlett, New York City, N. Y. Business Manager. James R. Quirk, Chicago. 111. 2. That
the owners are: (Give names and addresses of individual owners, or, if a corporation, give its name and
the namesand addressesof stockholdersowningor holding 1 per cent ormoreofthetotalamountof stock.) E.
M. Colvin. Chicago, 111.: R. M. Eastman, Chicago, 111.; J. R. Quirk, Chicago, 111.; J.Hodgkins.Chicago.Ill.
Wilbert Shallenberger, Waterloo, Iowa. 3. That the known bondholders, mortgagees, and other security
holders owning or holding 1 per cent or more of total amount of bonds, mortgages, or other securities are:
(If there are none, so state.) None. 4. That the two paragraphs next above, giving the names of the
owners, stockholders, and security holders, if any, contain not only the list of stockholders and security
holders as they appear upon the books of the company but also, in cases where the stockholder or security
holder appears upon the books of the company as trustee or in any other fiduciary relation, the name of
the person or corporation for whom such trustee is acting, is given; also that the said two paragraphs con-
tain statements embracing affiant's full knowledge and belief as to the circumstances andconditionsunder
which stockholders and security holders who do not appear upon the books of the company as trustees,
hold stock and securities in a capacity other than that of a bona fide owner: and this affiant has no reason
to believe that any other person, association, or corporation has any interest direct or indirect in the said
stock, bonds, or other securities than as so stated by him. 5. That the 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 is (This information is required from daily

publications only.)

JAMES R. QUIRK.

Publisher.

Sworn to and subscribed before me this 21st day of September, 1917.
[SEAL, KATHRYN DOUGHERTY.

(My commission expires June 17, 1920.)

Every idrertlsement in PHOTOPLAY MAGAZINE is guarantee.!

Photoplay Magazine — Advertising Section

J'3

-i\

S
-i

""<

<<
<

-■

--
-:

■<
-'

-4

-■

Protect Your Skin from
Wind and Cold with

Itigrt&m's

MilkSv&ed

Ctdant

If a woman's face is her fortune, her complexion is her
greatest asset. Wintry winds produce redness, roughness and
chapping unless counteracted by proper skin treatment. You, as
well as the movie stars, can have the protection of Ingram's
Milkweed Cream.

This is not a cold cream — not a mere skin lubricant or soft-
ener. It has positive curative properties that heal and clear the
skin and keep it smooth, soft, fair and free from blemishes. It is
the skin-health cream. There is no substitute. Ask for it by its
full name — Ingram's Milkweed Cream.

Buy It in Either 50c or $1.00 Size

Ingt&m's

Chicago, Sept. 8. 191',
F. F. INGRAM CO.:

Ingram's Milkweed Cream is
indeed a protection to the skin
through all the changing condi-
tions, indoors and out, summer
and winter, under which the
photoplay actress must work. I
would not be without it.
Yours,

Hazel Daley.

vx.ofo

ouvcrainc

FACE POWDER

Ingram's

Atoupe

"Just to show a proper glow" use
a touch of Ingram's Rouge on the
cheeks. A safe preparation for
delicately heightening the natural
color. Thecoloring matter isnot ab-
sorbed by the skin. Delicately per-
fumed. Solid cake. Three shades
— Light, Medium and Dark, - 50c.

Send us 6c in stamps for
our Guest Room Package
containing Ingram's Face
Powder and Rouge in novel
purse packets, and Milkweed
Cream, Zodenta Tooth Pow-
der and Perfume in Guest
Room sizes.

(65)

FREDERICK F. INGRAM CO.

Established 1885

Windsor, Canada 102 Tenth St., Detroit, Mich., U. S. A.

IxVTYYYYYYYYyYYTYTTYYYYVTYYyYYYT^

Winn you write to advertisers |/le:ise mention PHOTOPLAY MAGAZINE.

ii4

Photoplay Magazini Advertising Section

,ectrician

THIS

BOOK
FREE

YOUNG man, the fastest grow-
ing profession of all — needs you.
The most profitable and facina-
ting business on earth WANTS YOU.

If you are looking for great opportunities and
are ambitious to make a success write for this
book on Electricity. It will be sent to you
prepaid — without any obligation.

Big Positions Open

$2,500 to $10,000 a Year

Do you realize that this is the world's Electrical
ago that the demand for electrical men h«H never
been so great lis at the present time and their
salaries always going up. I am Chief Engineer
Oooke of the Chicago Engineering Works and
have t rained hundreds of meo for Electrical w ork.
Ms method of instruction is practical and can be
taken at home. Only few months required and
satisfaction guaranteed. Write for.my Illustrated
Electrical Book. Send today.

Chief Engineer Cooke

Chicago Engineering Works

Room 123—39 t. Illinois St. Chicago, III.

Send for

liNiATURE Bottle

EXACT SI2E OF BOTTLE

The above also comes in less concentrated
(usual perfume) form at $1.00 an ounce at
druggists or by mail, with two new extra
odors, "Mon Amour" and "Garden Queen,"
which arc very line. Send $1.00 for souvenir
box, five 25c bottles same size as picture,
different odors. Send stamps or currency,
PAUL R1ECER, 238 First St., San Francisco

SEXUAL
KNOWLEDGE

ILLUSTRATED

ByWINFIELD SCOTT HALL, M.D., Ph.D.
SEX FACTS MADE PLAIN

What every young man and
Every young woman should know

What every young husband and
Every young wife should know

What every parent should know

Cloth binding — 320 pages — many illustrations
Table of contents, & commendations, on rrqiust.

Postpaid

Mailed in plain
wrapper

AMERICAN PUB. CO., 1230 Winston Bldg., Philadelphia

Learn Piano!

This Interesting Free Book

shows how you can become a skilled
player of piano or organ in your own
home, at one quarter usual cost.
Dr. Quinn's famous Written Method
nd heads of State Conservatories.

is endorsed by leading m
Successful 26 yea-s. Pla. ..

key. within 4 lessons. Scientific vet easy to und>

trated. For beginners or teachers, old orvoune. All music tree. LJiplu-

magranted. Write toilav for f;.i-paKe fn-c b<mk/" ilow t< . St udv Music."
M.L QUINN CONSERVATORY, Studio P. L. Social Union Bldg., BOSTON, MASS.

: FOR FREE CATALOG. Over 4,000 illustrations of Dia-
, Watches, Jewdrv. etc Select any article desired,

t sent to you prepaid. If satisfactory, setul us one-fifth
j purchase price and keen it. balance in eipht equal
onthly amounts. Mo Interest Charged. No Security Re-
I quired. Write Today to

lAMPC RFRf.Yl A \ Established 1896 Dept. Z. 64

I Jr\[*IL3 DtnUlflriiX 37.39 Maiden Lane, New York City

The Unforeseen

i Continued from payc f6)

"Yes," she admitted.

"But let me look at you. I can now,
you know. Margaret, you're beautiful.
And it's really you! If you only knew
how good it is to see again — to see you! —
to see the light of day — and you — to see
your hands in mine — to look and look in
your eyes, and look again, Margaret!"

There were a few moments of tender
caresses. Then Maxwell spoke indig-
nantly.

"But why are the curtains drawn? I
can't half see you, Meg."

"I was afraid that the light might be
too strong for your eyes, Walter."

"Not too strong in which to see your
loveliness. I never dreamed you were
half so splendid. But, ah, splendid isn't
what I mean. I want a word that has
splendor and softness and womanliness in
it — all for you."

Margaret raised the shades. She stood
for a moment before the window, her face
drooping a little, as she looked at her
husband under slightly lowered lids.
Abruptly, Maxwell spoke, with a harsh
note of command in his voice.

"Stand as you are!"

"Walter, what is it? You frighten me."

The voice that answered her was stern,
unpitying.

"What have you to be afraid of?"

"But you frighten me!"

"I see you," the man answered in a level
voice. "I see something else — a man and
a woman watching a crowd in Paris. She
is standing as you stood a moment ago.
The man is dead.''

"Oh, God!" Margaret's 'voice was a
wail.

The husband's voice sounded in stern
demand:

"Were you Count Gregorini's wife?"

Margaret answered:

"No."

The afflicted woman could find no word
to utter in self-defense. She felt the
hopelessness of any attempt toward self-
justification. She caught the significance
of his muttered explanation that he had
accompanied Captain Haynes to the Paris
hotel.

The desolation of death fell on Mar-
garet as she looked into the accusing
eyes of the husband she loved, and saw
him shrink away from her — a woman he
deemed outcast.

The level voice of Captain Haynes
sounded in the ears of the distracted pair.

"I have seen, and I have guessed,
though I could not hear." He pulled from
his breast-pocket a letter, which he held
out to Maxwell.

"Read that," he directed. "Count
Gregorini wrote it to me, sealed with black
wax, just before he killed himself. It
explains everything."

Maxwell, wondering mightily, read the
Italian's explanation of how he had com-
promised an innocent woman by declaring
her to be his wife.

"I would have explained to you before."
the captain said, turning toward the
woman. "But you forbade me any men-
tion of the matter."

Maxwell looked up from the letter, and
his eyes were alight again.

"I should have known," he said simply.

The wife's answer was to go into the
shelter of his arms.

Claire Fixes It for Violet

(Continued from page 41 )

he had made the trip in~a hurry, while years, is a perfect living symbol of the

I hung on somehow. I hadn't figured on lusty young infant among the arts. In

his stopping with the emergency brake, these days when most of the beginnings

and he pulled up so short, that he dumped were yesterday, when alignments involv-

me beside the railway track, not hurt ing millions of dollars of capital change

much, but scared to death. So I decided overnight, it is not strange after all, that

to learn to ride, and be prepared for among the people who were in at the

emergencies.

But riding horses is not Miss Merse-
reau's only outdoor accomplishment. She
says she can drive any automobile made.
Yes — into a ditch." interposed Allen

springing of the barrier, are such octo-
genarians as Mary Pickford, Lillian Gish,
Mae Marsh, Viola Dana, Vioiet Merse-
reau.

The dramatic fire, in reaching Miss

Edwards, her leading man, who betrayed Mersereau. jumped a generation. Violet
a secret which he should have kept, as it was born in New York, and her mother,
were, inviolate. He says that when Miss while interested in the stage, and finding

Mersereau attempted to do a stunt with
his Stutz one day she put it out of com-
mission. Miss Violet indignantly denied
this, but Edwards insisted upon his story.

"I've a good notion to have the sce-
nario changed so that I won't have to
marry you in the last reel," declared
Violet.

So Violet Mersereau. an old timer at
eighteen, having been "in pictures" six

in it a career for her daughters, herself
made no efforts toward achievement in
this direction. But her mother, in turn,
was Mme. Luzanzie. a noted French
actress. And so the light which illumined
the Comedie Francaise and l'Odeon. two
generations ago, has been rekindled in the
petite person of Violet Mersereau for the
pleasure of them who delight in the play
ol youthful spirits upon the magic curtain.

Every advertisement in PnoTOPLAV MAOAZINTI is guaranteed.

Photoplay Magazine — Advertising Section

i '5

Ive Discovered
The Remedy For
This Big" Coal Bill !

Thousands of home owners are daily realizing that every time the dampers are
forgotten and left open too long, several shovelfuls of coal are wasted. No matter
how careful you are to watch the dampers, you will frequently forget them until
the 80-degree temperature reminds you.

Whether your home is old, new or just in process of erection, you should have a
Minneapolis Heat Regulator installed. Then the dampers will be automatic-
ally closed the moment the temperature reaches the degree you want. And
when the temperature falls below the desired degree, the dampers will be imme-
diately opened so that the heating plant won't have to work overtime to make
the rooms warm again. Eliminates the bother and worry of damper tending.
Insures comfort, economy, health and safety.

The clock attachment enables one to secure automatically exact changes of temperature
at any predetermined hour — sets for a lower temperature for the night and comes back
to the daytime warmth at any hour you desire in the morning.

Works perfectly with any kind of heating plant burning coal or gas. Your heating con-
tractor or hardware dealer handles the " Minneapolis."

Write us to-day for booklet, addressing our
Minneapolis office at 2760 Fourth Avenue So.

Boston
77 Summer St.

Syracuse
218 E. Washington St.

Cleveland
1335 East 105th St.

St. Louis
1412 Syndicate Trust Bldg.

Chicago
231 Insurance Exchange Bldg.

the MINNEAPOLIS heat

PEGULATOP

J.X. The Heart Of The Heating" Plant 1\

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I 10

Photoplay Magazine — Advertising Section

1. <V? V

.%■ ^v-\ -°*

2-14 ^
Twin Ring, J tine Dia-

monds, JiSOO^^Jgh^

1 <oth Rlnij, 1 fine Urn- ^--^ Tiffany Belcher. 1 fine
d, Jf,,) oo .- IJi.imond. t iS.OO

&MpV

1 fine Di.imond, -1 D>>.. i;. .'-f >0

All A:-^ N

Hngraved Hekher, 1 tin?
Diamond, $40.00 .

^57 Platinum

top Clustet, 12 fine

Diamonds, Sapphire

center, $75 no

Buy Today —
Eight Months To Pay

No Sale Unless You Are Satisfied

Buy -i genuine diamond ring or other article of
jewelrj from us. Will ship express prepaid subject

ti> your approval. You see and examine before yon
buy. No red tape — no security — we trust you.

20% D0WN-10% MONTHLY

Yon can buy anything from our catalog No 42- A. on
our easy payment plan. Pay 20% down on accept-
ance and the balance in eight month]; pavmenta
Our guarantee assures selected blue-white, perfect

cut diamonds. It means your satiefact ion or no sale.

UNEQUALLED 7%% PROFIT SHARING PLAN

Every diamond we eell is accompanied by our

liberal and unusual 71-.'', annual profit sharing
guarantee. Information in detail on our catalog.

OUR DE LUXE CATALOG No. 42-A. FREE ON REQUEST

Secure D Copy NOW and learn how easy it is to
i welry for gifts or personal adornment on

our liberal plan. It shows b galaxy of rings,

pins, brooches, lavalliers, watches, etc.. also

cameras and phonographs.

2and4 MAIDEN LANE
42-A.NEWYORKHTY

L. W. SWEET & CO., Inc.

The Shadow Stage

By Randolph Bartlett

{Continued from }>agc 66)

tion with the latest Kuppenheimer crea-
tion, while a iqi; gasoline wagon slides
in every now and then.

THE SUNSET TRAIL— Paramount

Yet again the western story. Vivian
Martin's picture mother, tired of ranch
life, elopes with an eastern millionaire
and marries him after her husband
divorces her. The mother comes back and
tries to win her child. Vivian sees her
mother in a compromising situation with
a third man — the lady simply cannot keep
her affections corralled. The girl lies to
save her mother, but the truth is eventu-
ally revealed and the desired marriage to
the man who has been destined to the
purpose from the first reel, is promised.
Excellent light entertainment, with un-
usually beautiful photography.

RASPUTIN— World

One of the risks a producer must ac-
cept when making a picture based upon
historical events, or other material not
protected by copyright, is that other
producers have a perfect legal and moral
right to parallel his work, so long as they
do not utilize any fiction incidents he
may create. It was inevitable that the
romance of the incidents leading to the
Russian revolution would attract more
than one picture maker. It was likewise
inevitable that some one would beat some
one else in completing the film. The
World Film Corporation won the race, so
far as time of release was concerned.
"Rasputin" was the title selected, Mon-
tague Love the player chosen for the
impersonation. Unlike Brenon, Mr. Brady
did not pretend to write history upon the
screen. His version of the life of the
greatest scoundrel of modern times is as
different from the Brenon account as Mr.
Love's visualization of Rasputin is dif-
ferent from Mr. Connelly's. That Raspu-
tin was a real Svengali is known. Mr.
Love, obsessed by this idea, consciously
or unconsciously revived the figure ot
Trilby's bete noir as created by Wilton
Lackaye. Were Svengali less familiar,
Mr. Love's impersonation would be more
effective. The picture as a whole appeals
more through its timeliness than through
its dramatic force.

I REMEMBER, I REMEMBER— A-Kay

Walt Mason, the sweet singer of Kan-
sas, is writing scenarios with rhymed
subtitles. One of the first of these. "I
Remember, I Remember," is a simple
tale of a country girl who goes to the
city. but. pining for the old farm, re-
turns there, dreading drudgery, but find-
ing mother sitting beside an electric
washing machine reading the latest issue
of Photoplay Magazine, while an in-
tercommunicating telephone brings the
hired man from the barn. The whimsical
humor of these one-reel comedies is in
delightful contrast to much of the bois-
terous humor of the screen's minor fun-
wagons.

THEIR COMPACT— Metro

It is so long since Francis X. Bushman
and Beverly Bayne have had a good sce-
nario that one hesitates on the threshold
of theatres where their pictures are
shown. A few more threadbare tales like
'Their Compact'' will find these popular
players losing their friends. Miss Bayne
devotes most of her scenes to looking
scared, and Mr. Bushman to giving her
something to be scared about. That the
next to last scene shows an offending
woman driven out into the desert to die
a horrible death, is no palliative.

EXILE — Paramount

Maurice Tourneur is displaying such
a genius for portrayal of Oriental scenes
that it would be well for the Zukor execu-
tives to keep him on this work. Follow-
ing "Barbary Sheep." comes "Exile." In
many respects this is one of the best ot
all Petrova's pictures. It has action, it
has color, it has picturesque groupings
and mass movement. But with the ex-
ception of one scene, breath-taking in its
daring, mentioned, Tourneur is the
star.

SCANDAL— Selznick

Would you care for a little tabasco?
Then see "Scandal." the first of the Selz-
nick productions starring Constance Tal-
madge. It is nearly a year since Miss
Talmadge made her big hit as the moun-
tain girl in "Intolerance." You won't
know her in "Scandal." Comedy situa-
tions are numerous, with a flavoring of
jealousy and intrigue, and love, of course,
finds a way. This Constance Talmadge
is a charming girl. She has youth, high
spirits, and a vigorous type of beauty
with no suggestion of dolliness. Occa-
sionally, as might be expected, her
gestures and poses remind one so strongly
of her brilliant sister. Norma, that she
almost suggests a cartoon. But immedi-
ately again she is herself.

WEDDING BELLS AND ROARING
LIONS— Fox

Mack Sennett must look to his lau-
rels. The Fox comedies are on his trail,
if not abreast of it. "Wedding Bells and
Roaring Lions" is a roar from start to
finish. Two lions of so active a sort
that it must have required considerable
courage on the part of the players, are
active participants. The one point that
is missing, and which Mr. Sennett has
discovered of vast importance in hurly
burly comedy, is the decoration of the
production with a plentiful supply of
pretty girls.

THE PATRIOTS— Metro

The comedies of Mr. and Mrs. Sidney
Drew always remind one of home cook-
ing— wholesome, easily digested, and
making one anticipate the next meal.
"The Patriots" is one of the best of
recent issues. Henrv and his wife de-

f>rry ndvertlsCTnenl In PHOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

117

Why every normal skin needs two creams

TO give your complexion the care it
needs, ttvo creams are necessary. For
cleansing and massage, a cold cream (oil
cream) should be used. To protect the
skin and keep it soft and pliant, a grease-
less cream should be used.

For cleansing and massage

No matter how sensitive the grit and
grime of dust have made your skin, with
Pond's Cold Cream you can thoroughly
cleanse it of all impurities without creating
the least irritation. For massage, where
smooth consistency is so important, Pond's
Cold Cream was especially formulated.

When your skin needs Vanishing Cream

To keep the skin soft and pliable even
through the harshest, wintriest weather,
use Pond's Vanishing Cream. It is a
greaseless cream; contains no oil, and the
moment you apply it, the skin absorbs
it entirely, leaving not the slightest trace
of shine.

Pond's Vanishing Cream contains an
ingredient which has a peculiar affinity for

the skin — an ingredient which physicians
have long recognized as one of the utmost
value in the care of the skin.

People with oily skins should use
only Vanishing Cream

The famous skin specialist, William
Allen Pusey, A.M., M.D., says that

Marion Davies, the beau-
tiful favorite starred in
the motion picture " Run-
A-wai Romany" says —
"Nov that I me fond's
Vanishing Cream, Idon' t
ste how 1 ever got along
without it."

When to use Cold Cream

For cleansing. To cleanse your skin of all the
dirt which lodges in the pores through the day. and
which, more than anything else, injures the skin,
Pond's Cold Cream is just what you should use.

For massage. Vou will find Pond's Cold Cream
wonderful for massage. It is exceptionally smooth
rnd works into the pores so easily.

For dry skin. Pond's Cold Cream will add just
the oil your skin needs to restore its pliancy and
keep it in good condition.

Billis Burke of ' ' Glori
Romance" fame, wilmb
skin is envied by every-
one, sans: "No one av-
praeiaUia Pond's Vanish-
ing Cream more than I."

persons with coarse pores and large fat
glands should avoid fatty toilet prepara-
tions. Pond's Vanishing Cream is just
what the oily skin needs. Having no oil
in it, it can add none to your skin. It
vanishes at once — does not fill up the
already distended pores.

Neither Pond's Cold Cream nor Pond's
Vanishing Cream will cause the growth
of hair.

On sale in all drug stores and depart-
ment stores. Get a tube or jar of each
cream today and see how quickly their
use will improve your skin.

Send for free samples

If you would like to try Pond's Cold
Cream and Pond's Vanishing Cream, fill
out the coupon now and we will send
you enough of each cream to last two
weeks — 8c if you wish both. Write today.
Address Pond's Extract Co., 139 Hudson
Street, New York.

Mail this coupon today

When Vanishing Cream is necessary

Chapped skin. If your skin is rough, red and
chapped, one application of Pond's Vanishing
Cream will relieve it.

As a protection. Apply Pond'sVanishing Cream
just before you go out. Notice the soft, fresh condi-
tion in which it keeps your skin.

As a base for powder. The next time you wan:
your skin to look its loveliest, make Pond's Vanish-
ing Cream your finishing touch and one powdering
will be sufficient for a whole evening.

POND'S EXTRACT CO.

139 Hudson Street, New York City.

Please send me free the items checked:
A free sample of Pond's Vanishing Cream.
A free sample of Pond's Cold Cream.

Instead cf the free samples, -I desire the item* checked below*
for which I enclose the required amount.
A 4c sample of Pond's Vanishing Cream.
A 4c sample of Pond's Cold Cream.

Name.
Street.
City .

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

i iS

Photoplay Magazine — Adveri esing Section

52 DIAMONDS E!H

From JASON WEILER & SONS

of Boston, Mass., one of America's
leading diamond importers
For over 41 years the house of Jason Weiler &
Sons of Boston has been one of the leading dia-
mond importing concerns in America sellini; to
jewelers. However, a large business is done di-
rect by mail with customers at importing prices !
Here are several diamond offers— Direct to you
by mail — which clearly demonstrate our position
to name priceson diamonds that shouldsurely in-
terest any present or prospective diamond purchaser.

12 carat, $43.00

'1 ins i: inline Jj cir.it Uia-

iii Hid is "f fine brilliam | and
pi rfei tly < ut. Mounted in
i ti m\ st] le, Mk. solid gold
Money refunded if
■ -ler can duplti ate il
foi less than $60.00. tA")
r price direct to you $™»

Ladies' Princess

Ring, $100.00

Sixteen perfectly cut dia-
monds and five square cut
velvety blue sapphires. Plat-
inum settings. A very beau-
tiful line- Money refunded
if your jeweler can duplicate
tins ring for lets than $130.00.

Our catalog on "How
to Buy Diamonds"
shows hundreds of
other styles.

A few weights and prices
of other diamond rings ;

$ 19.00

32.00

95.00

139.00

lA carat .

% carat .

1 carat .

Wz carats

2 carats .

3 carats .

189.00
512.00

Money refunded if these
diamonds can be purchased
elsewhere for less than one-
third iimre.

94 carat. $65.00
This \ genuine diamond of
Kre.it brilliancy and perfectly
cut. 14k. solid gold setting.
Money refunded if your jew-
elt r Can duplicate it for less
than $85. CCC

Our price .... *P"^«

We refer you as to our reliability to
any bank or newspaper in Boston

If desired, rings will be sent
to your bank or any Express
Co. with privilege of examin-
ation. Our diamond guarantee
for lull value for all time goes
with every purchase.

WRITE TODAY
FOR THIS feg^
VALUABLE
CATALOG ON
"HOW TO BUY
DIAMONDS"

This book is beautifull
illustrated. Tells how t*
Judge, select and buy dia-
monds. Tells how they
mine, cut and market dia-
monds. This book, show-
ing weights, sizes and
pri« es ($10 to $10,000) is
considered an authority.

Also write for Free
Catalog of Jewelry,
Watches, and Silver.

Jason Weiler & Sons

340 Washington Street, Boston, Mass.

Diamond Importers since 1876

Foreign agencies: Amsterdam and Paris

THE SANITARY "O.K. " ERASER includ-
es an Adjustable Metal Holder which keeps
Rubber Clean, Firm and Keen-edged; work,
better and lasts longer.

Two Rubbers, the length of the Holder, are
made, one for Ink, one for Pencil. By slight
pressure, clean Rubber is fed down until us-
ed. Price 15c. New Rubbe.s 5c each.

ALL STATIONERS

By mail 2c extra. Booklets free.

The most Practical Eraser for Everybody
THE O.K. MFG. CO., Syracuse. N. Y.

Makers of the famous Washburne "O.K."

$1,500 Made One Month

Perrin, Cal., took in $380 in one
day. Almost the enormous
profit of 400 per cent. $1 cash
returned you for every 25c
spent. Not theory! Not guess

But actual bonafide proven records of

Send for book.

' work !
profits.
1 370 High St. W'ZLONG CO. Springfield, o.

A Merry Christmas
Twelve Times

See Page 132

The Shadow Stage

l Continued)
title to out-Hoover Hoover, and take up parading a woman through the scenes in

a constant series of double exposures

the matter of food conservation with
their colored cook. "Mandy got food
conservation like she got religion," a title
reads, and the little patriotic, humorous
sermon ends with the prospect of Mandy
entertaining all the other cooks of the

Florence LaBadie has no more business
in this celluloid than Mary Pickford
would have in Sophocles' "Antigone."
Edward Everett Hale's masterpiece is
employed merely as a dream interlude,

neighborhood in Henry's home, to teach for the purpose of converting a peace-at-

them their duty. A curious thing about any-pricist into a naval recruit. We take

this comedy is that it handles a serious second place to none in patriotic fervor,

subject, and probably will do more to but still insist that one screen addition

impress people who see it with the force to the navy is too small a price to pay

of the Hoover arguments than many col- for the rape of this splendid fable.
umns of print.

THE GULF BETWEEN— Technicolor

A new color process has been devised.
"The Gulf Between" is the first offering

NORTH OF FIFTY-THREE— Fox

Time was when, if you had told Dustin
Farnum that his acting reminded you of by the Technicolor Film Corporation. It
his brother Bill, he might have thought
you were very complimentary to Bill.
Those days have passed. The highest
compliment that can be paid to "North
of Fifty-three." is that Dustin Farnum
therein reminds one of his more famous
— pictorially speaking — brother. Thus
does the screen transpose values that the

is done throughout in tints that approxi-
mate at least the natural colors. But,
without actual knowledge of the process,
it appears that thus far the manufacturers
have been compelled to translate all col-
ors into terms of reds and greens. This,
of course, includes yellows, pinks, some-
thing like blue, and other derivatives.

stage establishes. The title comes from But while it is a tremendous step forward.

it is not always satisfactory. The un-
fortunate thing about this picture is that
the story is dull, trite, and drawn out in-
terminably. A good, tense tale would
have forced one to forget occasionally the
close scrutiny of the colors. Grace Dar-
mond is the star— a beautiful subject for
photography, color or plain black and
white.

the line — quoting from memory-
"There's never a law of God or man
runs north of fifty-three." However it
may be with laws, they appear to have
a plentiful supply of lip-sticks up there,
as Miss Kingston's mouth was a perfect
cupid's bow. That was also her greatest
fault in her performance in "The Spy."
Dustin kept himself nicely prettied up
all the time as well. But then he was
a-courting. There are many knotholes
and extraneous incidents in this plot, but
if you like romances of the snowfields,
you won't mind.

THE YANKEE WAY— Fox

If you keep a firm grasp upon the fact
that "The Yankee Way" is designed as
sheer farce, you'll have a good time. The
only difficulty in so doing is that Enid
Markey. of the doll face and baby eyes,
so effective in sentimental sonatas, in-
trudes so frequently that you are likely
to lose your viewpoint. Beauty, as Mack
Sennett has so profitably discovered, has
a real function in farce, but sentimental-
ity never. Miss Markey is a perfect sen-
timental type. George Walsh is a lively
mummer. He can do most of the things
that Douglas Fairbanks can. physically.
Our own belief is that Mr. Walsh would
be more effective in two- or three-reel
farces. But there is such a fight as "never
was. in the last reel — nearly a thousand
feet of scrapping altogether in the picture
— "and that'll get 'em," as the director
boys say.

A MAN WITHOUT A COUNTRY
— Thanhouser

It is almost sufficient to say that the
Thanhouser picture version of "A Man
Without a Country" stars a woman.
Here was an opportunity to give to the
silversheet the first visual record of one of
America's greatest prose classics, and the
producers apparently did not believe they
could hold the public attention without

FIGHTING ODDS— Goldwyn

The latest event in the Goldwyn cam-
paign to elevate the films from their de-
graded condition is "Fighting Odds."
starring Maxine Elliott, an actress popu-
lar some years ago in the talkies. Con-
cerning the story, there is nothing impor-
tant to add to the comment of the New
York Sun critic, who. referring to the fact
that Roi Cooper Megrue and Irvin S.
Cobb were jointly culpable, observed that
it "seems to have been written by these
usually capable authors during a period
when they were feeling low in their
minds."

UNDER HANDICAP— Metro

Sometimes we fear that we lack in ap-
preciation of western screen melodramas.
Having enjoyed the doubtful privilege of
>eeing a good deal of Arizona and Texas
close up. we are not always able to restrain
our emotions when we encounter the ro-
mances of the lens. But passing this
intrusion of personal feelings, it doe^ seem
that when the leading man is required to
play a western role, he ought not to be
quite so afraid to get himself a bit dusty.
Xow Harold Lockwood is as pleasing a
leading man as there is in the business, for
the most part; but in "Under Handicap"
he roughs it with the best of them, and
always retains his Fifth Avenue manner
and make-up. Having removed that from
our chest, we are able to admit that other-
wise ^here are not many chances we would
;:sk Metro to rrjake in the film, except to
give Anna Little more scenes. This girl is

Every advertisement in PHOTOPLAY MAGAZINE is gvt: ranteed.

Photoplay Magazine — Advertising Section

II9

Get the Drop
on that Cough

Stop your cough before it stops you! Save need-
less doctor bills.

You can stop the incipient cold and the heavy,
rasping cough with

\)EA#$

They taste good — they are good for the whole
family, from the baby up. For 1 7 years, millions
of users have been proving it. Carefully com-
pounded as a doctor's prescription. Get them
anywhere from coast to coast.

Good for the Throat — Bad for the Cough

DEAN MEDICINE COMPANY

Milwaukee, Wis.

When you write to advertisers il ia le mention riiOTOrLAY MAGAZINE.

120

Photoplay Magazine— Advertising Section

INFANTILE
PARALYSIS

made it impossible for this boy to
stand, so he crawled on hands and
knees. Four and a half months' treat-
ment at the McLain Sanitarium "put
him on his feet." His parents' letter
corroborates this. Read :

We are pleased and very thankful for
the improvement our boy has made.
When we came to the McLain Sani-
tarium, March 22, 1917, he crawled on
his hands and knees. After four and
one-half months' treatment he can
stand erect and walk without crutches
or braces.

Will be pleased to answer letters con-
cerning what you havedone for our boy.
Mr. and Mrs. Chas. D. Speidel,

Hanoverton, Ohio

FOR CRIPPLED CHILDREN

The McLain Sanitarium is a thoroughly

equipped private institution

/iflflk devoted exclusively to the treat-

| 'j ment of Club Feet, Infantile

Paralysis, Spinal Diseases and

Deformities, Hip Disease,

Wry Neck, etc., especially

as found in children and

young adults.

Our book "Deformities
and Paralysis"; also
"Book of References,"
free on request.

The McLain

Orthopedic

Sanitarium

804 Aubert Ave.

St. Louis, Mo.

AAA I 5 1/ 1 1| PI P MANDOLIN, VIOLIN,
OiU UIVULhLt GUITAR OK CORNET

We have a wonderful new system of teaching note music by mail.
i o first pupils in each locality, we'll give a $20 superb Violin, Man-
1 flculele, Guitar or Cornel absolutely tree. Very small charge
fur lessons only expense, We guarantee to make you a pla
uo charge. Complete outfit fret. Write at once— no obligation.
Slingerland School of Music, Dept. 158, Chicago, III-

URINE Granulated Eyelids,

■ Sore Eyes, Eyes Inflamed by

JSuii, Dust and Wind quickly

,. «r& relieved by Murine. Try it in

^£. ^*ir%/c C your Eyes ancl in Babys Eyes*

I OUR Lit JNoSmarting, Just EyeComfort
Murine Eye Remedy ^Jbo&M^&E

Eye Salve, in Tubes 25c. For Book of the Eue — Free.

Ask Murine Eye Remedy Co., Chicago d

The Shadow Stage

( Continued)
"in- ol the few actresses who are home on hts him well;
ihe plains. Her horseback feats do not
prevent her from being a real dramatic
actress. The story of the picture— a
young easterner gets a job on a ranch
and helps the owner carry out a big con-
tract in the face of unscrupulous plots,
and then marries the rancher's daughter.
A pair of scissors, judiciously handled,
would help considerably.

A CROOKED ROMANCE— Pathe

Gladys Hulette is clever and charming.
Therefore "A Crooked Romance" is half
good — Miss Hulette's half. The story of
the daughter of a criminal, brought up to
think wrong is right, who marries a
wealthy hero in the end, is not especially
diverting at this stage in the world's his-
tory. But Miss Hulette is.

AS THE SPACE RAN SHORT

•Conscience;'' Fox; Gladys Brockwell
as a vampire de luxe; a moral platitude
as an excuse for portraying immoralities.

"The Heart of Ezra Greer:" Pathe;
Frederick Warde in a character role that

a sentimental story of a
wronged girl and reconciliation.

"Betrayed;" Fox; Miriam Cooper as a
flirtatious senorita in a raid-infested part
cf northern Mexico; a tangled yarn with
wonderful .fights in R. A. Walsh's best
manner.

"Lost in Transit;" Paramount; a com-
edy solo by George Beban, with a charm-
ing obligato by an unprogrammed young-
ster; a story of a missing heir and an
exchange of children.

"Behind the Mask;" Art Dramas; the
familiar fable of the daughter taking up
the task of avenging her father's ruin by
a business rival ; in this case she gets even
by marrying a lord that the villain wanted
for his daughter.

"The Hostage;" Paramount; a war
drama with mythical — very mythical —
opposing forces; Wally Reid in seriou>
danger most of the time; oh. very dra-
matic.

"Under False Colors;" Pathe; the fa-
miliar yarn of the Russian woman spy:
oh hum.

"Bab's Diary;" Paramount; Marguerite
Clark — whv sav more3

By Kitty Kelly

/ Continued from page 67)

and others, under the headship of William
S. P. Earle, who appears from his pro-
ductions, to be a director of parts.

A small town story, with a country
newspaper, and a man who came back
as the main spring of it. it radiates
humanness and community atmosphere.
The people are so real and the houses
and the streets through which they move
are so real that the observer is translated
straight back to wherever his own small
town was. Miss Jensen, as Portia Per-
kins, who brings up her girls and runs
the village paper, displays great womanly
charm, and Marc MacDermott makes
himself welcome with his whimsical ex-
pression of the "Pa" role. There are
some logic lapses, but they figure as mere
specks scarcely discernable on the enjoy-
able whole.

THE IDOLATORS— Triangle

Strong fare, this is. served by Tri-
angle, but it has an arrestive force about
it. Monte Katterjohn was part evolver
of it, and Louise Glaum does the bizarre-
ness. Were she not so bizarre, the piece
would be a fine, forceful delineation of
idolators — just that. As it is, it is force-
ful, merely discounted in degree by the
weirdity of the vamping. The woman
who loves the man is the real figure in
the thing. In her sweetness, she is a
little too sweet, but when the emotional
moments call she is finely there. She is
one of the slender, mobile type, but like
a taut violin string, when fate strikes
hard.

One's nice, respectable, grown-up fel-
low citizens laugh at the trimmings
around Miss Glaum, picturesque though
they are, as she treads her poison ivy path
of self-idolation, and her end is quite
too grayly obvious, but the story through
which she moves is striking, and there

are fine human touches in it. as for in-
stance when the woman loses her whole
self in her joy over her playwright hus-
band's success.

THE RAINBOW GIRL— American

It is perfectly named, for it radiates
rainbowism against glooming clouds of
pessimism as nature does against storm
clouds. Juliette Day, alert and full of
tricky ways, is an admirable addition to
the screen world, and this particular ve-
hicle of hers, telling the usual story of
true love through obstacles, is brightly
mannered in its handling and its captions.
"The Rainbow Girl" is a distinct ray of
sunshine from the Mutual camp.

THE BRIDE'S SILENCE— American

Xot so much sunshine as tempest,
being possessed of a bride, Gail Kane,
gone quite mad and doing the weirdest
things. She plays about with unaffected
childishness in her pajamas and negligees
shocking her beloveds, until she gets a
shock, the well-known lost memory re-
turns, and the mystery and villainy are
all straightened out. The photoplay has
nice exteriors to recommend it.

TRIUMPH — Bluebird

Almost all the things that everybody
likes — except vampires and prize fights,
and there's no unanimity of likes on
them — are in this picture. It has the
conventional story of the stage, the girl
who seeks glory and who gets it by
promise of a price, and it has the way
out, involving murder and suicide and all
kinds of six-cylinder emotionings. and
then it has the small town wholesome
sweetness, and good human common
sense all jumbled into a concoction de-

Erery advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

121

Now Every Woman Can Make Her Own Clothes

By Elizabeth June Christie

THE other day I was coming out from
town with a very dear friend of mine.
She was wearing such a perfectly charm-
ing dress that I simply had to express my
admiration.

"Maybe if I could afford to patronize
the exclusive shops just once," I ven-
tured, and I fear just a bit enviously. "I
could have a gown as wonderfully stylish
and becoming as that."

And then Grace looked at me and
smiled and kept on smiling, and, finally
she said: "Would you really like to meet
the modiste who designed and made this
dress — every stitch and seam of it? Then
gaze upon her. / made it all myself"

"Why, my dear," I exclaimed. "I never
knew that you did any sewing at all."

"I never did until a few months ago.
But in those few months I've learned to
make all my own clothes, and to make
them as clothes are made in the best
shops. I've learned to draft from my
measurements patterns that fit perfectly
or to adapt any tissue pattern. I've
learned re'ally to develop style in a gar-
ment. I've learned how to copy a gar-
ment I see on the street, in a shop
window, or in a fashion magazine, and yet
put in those little individual touches that
are meant just for me.

"Then I've learned every step of fitting,
making, trimming, finishing — everything.
Not a hand but mine touched this dress
from the day I selected the materials
until I put it on just as you see it now.
And here's something more. I know you
well enough to tell you that this dress,
which would be priced at least $40 in a
shop cost me just exactly $13.50!"

"But tell me," I said, still puzzled
almost beyond belief. "Where did you go
to learn it all? How did you find the
time?"

"I went to school," she answered, "on
my own front porch and in that sunny
back sitting-room. I went whenever I
had an hour or even a few minutes to
spare. My teacher I have never seen,
although I feel that she is one of my
warmest friends. I learned it all, my
dear Elizabeth, by mail! And let me say
that if you want to give your readers some
news that will win their everlasting grati-
tude in these days of soaring prices, tell
them the story of what the Woman's
Institute is doing for more than 7,000
women."

SO that is how, three days later, I hap-
pened to be sitting across the table
from Mrs. Mary Brooks Picken, Director
of Instruction of the Woman's Institute
of Domestic Arts and Sciences, listening
to the perfectly wonderful story of this
great school which is bringing happiness,

When

and the joy of having pretty clothes, and
savings almost too good to be true, into
thousands of homes.

"Every woman knows,"' she was say-
ing, "that she could have many more
clothes for much less money if she could
make them herself. But how is a busy
housewife to learn if she must leave her
home to become a dressmaker's appren-
tice or to attend a resident school? It
was that problem that led us to develop
our method of teaching entirely by mail.
Now any woman, no matter where she
may live, may learn everything about
dressmaking right in her own home in
spare time. Not merely the essentials,
but the whole art of dressmaking, design-
ing, cutting, fitting and the construction
of garments of every kind from clothes
for baby to dresses, waists, skirts, suits
and lingerie for herself or others.

"The remarkable success of our stu-
dents," she continued, "is due to the sim-
plicity of our lessons. These are written
in everyday words that even children un-
derstand. Then, too, every step in the

instruction is not only fully explained,
but is actually shown by means of pic-
tures— hundreds and hundreds of actual
photographs — so that it is practically im-
possible for the student to make mis-
takes."

Then Mrs. Picken took me through the
big Instruction Department and I watched
the teachers examining lessons, inspecting
students' work and dictating personal
letters, and I understood why the method
of teaching is so successful, for every
student receives the personal and indi-
vidual help of an expert on her own
clothes problems.

As we came back to Mrs. Picken's office
she turned to a great pile of students'
letters on her desk. "They come to us
like this every day," she said, and taking
up a handful she read some of them.

One was from a girl only 16 who now
not only makes all her own clothes, but
has already earned enough sewing for
others to pay for her own entire course

Another was from a woman of 63 who
has opened a shop in her home. She
wrote that she had already established a
trade that keeps her busy and enables
her to support an invalid husband and
still be at home with him all day.

ynu write tn advertisers pleas" mention PHOTOPLAY MAGAZINE.

ii*\J(J\S .see, Mrs. Picken went on, "we
■*- not only teach a woman to make her
own and her children's clothes, but we
give her so thorough a knowledge of
dressmaking that she is able to take it up
as a profession if she desires. Hundreds
of our students learn dressmaking in spare
time while doing other work, and then,
when they are fully equipped, step right
into good positions as dressmakers or open
their own shops, where they sometimes
make two or three times as much money
as formerly."

Then she read me other letters, a great
many of them.

"One wonderful thing about our work,"
she said, "is that we can reach every one.
Among our students are housewives,
business women, teachers, school girls,
girls employed in offices, stores and fac-
tories. And there are, oh, so many
mothers who simply pour out their thanks
to us for teaching them how to have dainty
clothes for their little ones at a mere frac-
tion of what their clothes cost before.

"Then, too," she said, "we have a
course in millinery just as complete and
fascinating and practical, by which a
woman can quickly learn to make her own
hats or can qualify to take up millinery as
a business."

"But tell me." I asked, "how do you
get your students?"

"Largely through the recommendations
of our present students who send us the
names of their friends," she replied.
"Their enthusiasm is contagious, it seems,
and as soon as their friends see what they
are accomplishing they want to learn, too.
and so they write us. Then we publish,
for distribution to all who may be inter-
ested, two books entitled, 'Dressmaking
Made Easy,' and 'Millinery Made Easy,'
either of which is mailed free on request
to all who ask for them."

And so, at her suggestion, I am append-
ing below, for the convenience of my
readers, a coupon, which if filled out and
mailed promptly will bring in response,
without any obligation, a free copy of
either booklet, with much more infor-
mation about the Woman's Institute and
its courses than I have been able to give
here.

WOMAN'S INSTITUTE OF

DOMESTIC ARTS AND

SCIENCES, Inc.

Dept. 17-Z, 425 Fifth Ave.,

New York, N. Y.

Please send me one of your booklets
and tell me about the course I have
marked below:

Home Dressmaking Millinery
Professional Dressmaking

Name

(Plense specify whether Mrs. or Miss)

Address

] 22

Photoplay Magazine — Advertising Section

o^f~

roe man's

FACE POWDER,

Imparls to the complexion that velvety
smoothness and delicate blush-tint of a
healthy baby's skin. Freeman's has been
the delight of Fashion's devotees for more
than a generation.

Always guaranteed satisfactory. Free-
man's does not rub off.

All tints at all toilet counters Miniature
box for 4 cts. in stamps.

This New Thin
Model 17 Jewel
Elgin is absolutely
supreme where Re-
liability is a factor.
Double sunk dial —
Double Roller Escape-
ment—Double strata 25
yearGoldCase. It's just
the watch you want.

Send No Money $4 50

-n-

MONTH

EASY CREDIT TERMS AS LOW AS

Just send your name and address

forthis New Elgin with our Special

$5 Gold Chain Free, and our bedrock confidential

price will surprise and delight you immensely.

Sent on Approval J°ZtJ°t.

We send this Watch and $5 Chain complete on your
own approval— also our 160 page Free Catalog,
Bhowing all kinds of Watches, Diamonds, etc., all
on smilingly easy terms. Send your name
and address today.

The House That Sells More Elgin Watches Than
Any Other Firm in the World.

HARR!S-G0AR CO. kaSc^.mo.

WE DO AS WE ADVERTISE

MUSIC

TAUGHT

In Your Home

FREE

By the Oldest and Most Reliable School of Music
in America — Established 1895

Piano, Organ, Violin, Mandolin, Guitar, Banjo, Etc

you c<vn m.oloI TTUu-U. liAt Ituj q-uidt^

Beginners or ndvimned players. Onelessnn wi-ekly. Tllus-
i rations make everything plain. Only expense it bout 2c
i>er day to cover cost of postage and music used. Write
tot Free hooklrt which explains everything in full.
American School of Music, 68 Lakeside Bldg.. Chicago

A Christmas Suggestion
that will appeal to you

See Page 132

The Shadow Stage

I Continued j
cidedly different from most of the drafts Throughout breathes a spirit of patriot

brewed in the camera laboratories

Samuel Hopkins Adams supplied the
story, the photoplay hails from, and
Dorothy Phillips radiates in the playing
of it from the eager, unsophisticated lit-
tle country girl, to the queen of tragedy,
a sparkling jewel of histrionism, lighting
up the dramatic, human little tale with
the vividness of life.

THE DEVIL DODGER— Triangle

Transcribed by J. G. Hawks and Jack
Cunningham, and put into the celluloid
by Clifford Smith, this picture is handled
stylistically, for all its ancient baldness
of story, about the minister in the mining
camp, though in this instance the color
is cowboy, not mineral, the dance hall
girl, and the ultimate reform. In this
instance, too, the dance hall girl marries
the ex-gambler, while the minister dies
from the bullet intended for Silent, which
is an alteration from type.

Roy Stewart, who does the ex-gambler
well in his way, is hard and not exactly
plump, but well padded. Ha plays with
directness and sincerity, however, that
commend him to the attention. The
narration follows the straight going, un-
varnished elements of its Arizona tale,
but the illustrated captions which realize
the poetry of picture, with lovely han-
dlings of interpretative materials from
nature herself to millinery, make the
story intervals in themselves worth
seeing.

SIRENS OF THE SEA— Jewel

This Universal special, promulgated as
a "Jewel," has it all over the unrestrained
Mr. Florenz Ziegfeld. In it are more
legs and more of them, not to mention
whole feminine anatomies, than the Fol-
lies have ever dared to risk.

Yet the effect is not Follieesque, but
fairyfied, and there isn't more than a pair
of opportunities for a pale blush from
even the most squeamish. Never was
flesh so obvious and yet so spirituelle.

It recalls last year's highly successful
"Undine"- — the reason for this effort.
There is a fantastic story, difficult to tie
up logically, but there is no difficulty
about the bands of chiffoned, seaweeded
nymphs, running, playing, leaping, swim-
ming. It's too long, but has compensa-
tions therefore. There's some summer-
saulting swimming by one miss not to be
missed.

BETSY ROSS— World

"Betsy Ross" was finely wrought by
World under the direction of George
Cowl into a rich fabric of indirect pa-
triotism and Revolutionary romance.
Alice Brady, brilliant, dynamic, gives the
lady of the first flag a magnetic imper-
sonation, making her clever, bewitching,
wise, brave, beautiful. The matter of
the new flag is handled distinctively,
though General Washington is a heavy
tug on the imagination. The poetry of
the explanation of its inspiration reaches
across from celluloid to seer ' effectivelv.

sm, as intangible as air itself, as enfold-
ing.

Added to the fine matter of content is
the exceptional quality of photography
enclosing it. Depth, richness, softness
give the scenes the nature of successive
animated paintings. Really, this photo-
play is something to be enthusiastic
about.

THE CORNER GROCERY— World

Containing Lew Fields and Madge
Evans "The Corner Grocery" is fraught
with opportunities for fun as well as
pathos, misses its way and drags rather
wearily through the scheduled situation-
of the lad buncoed from his money and
wrongly accused of murder by the ad-
venturess who was guilty. This is done.
instead of stress on Lew Field's nice old
father and his capacities for mirth-mak-
ing, so that the seer's time passes hum-
drumly. At that, it is a fair picture, but
it fairly cries aloud with opportunities
missed.

THE WOMAN BENEATH— World

"The Woman Beneath" is illuminated
with the lovely person of Ethel Clayton
who takes the stings from any sordid
tale. Further, her stories are not too
sordid, or else she successfully amputates
them, for she declines to work in things
that are too, too bad. She seeks always
to have some real inspirational thought
tucked away somewhere in her celluloid
appearings.

In this instance, true love is the bal-
ancing weight of the tale, which Miss
Clayton, under the direction of Travers
Vale, succeeds in establishing, though she
must go through murder, betrayal and
intrigue to do it.

SANDS OF SACRIFICE— American

William Russell is here presented in
something of a happier vein than is his
customary wont. He rescues a lady and
travels the desert with a dying man. but
for all that, things go fairly smoothly for
him, and in the end, the villain is con-
founded, he gets back his fortune and
finds his faith in the girl. Beside the
people who are agreeable and the story,
which is ordinary, some of California's
best scenery occupied the lens front, giv-
ing to the gaze all kinds of beauty, rang-
ing from the austerity of the desert dunes
to the high corridored intervals of the tall
tree country.

FOOLS FOR LUCK— Essanay

Taylor Holmes and his variety of lucky
talismans, serves to extract a deal of
laughter from observers, for the story
strikes a common chord of humanity.
Supersiition has its clutch on all of us,
even though it be suppressed and sub-
merged beneath layers of sophistication,
and in the quiet darkness of the theater
which doesn't reveal one's primitiveness,
it is comforting to be able to tingle in
sympathy with some one who has found

Every adrertlsement in I'UOToi'T.AY MACAZINE is guaranteed.

Photoplay Magazine — Advertising Section

123

The Shadow Stage

( Continued)

a horseshoe and has the courage to put it
up over his door.

As indicated by Kenneth Harris' story,
Hero Holmes is perfectly catholic in his
collection of lucky omens, regardless of
the distresses descending upon him in
their wake. He is real funny about it,
too, and the audience of which I was a
part, sympathised audibly both with his
behavior and the illuminative subtitles.
Mr. Holmes is yet inclined to overdo a
trifle in his funning, but he is a good
screen subject and seems destined for one
of the corning comedians.

THE MAN FROM PAINTED
POST— Artcraft

Having satirized the western melodrama
of commerce in "Wild and Woolly,"
Douglas Fairbanks now commits one of
his own, "The Man From Painted Post."
This is just a horsey, gunny western story,
in which Fairbanks plays the part of a
trailer of cattle rustlers, but it is different
from all others of the type because Fair-
banks is in it, with his distinct personality
and suave manner of doing remarkable
things. Frank Campeau is in it, too, that
master of villainy. And there are bucking
bronchos that would take a prize at the
Cheyenne round-up.

THE GHOST HOUSE— Paramount

If any of the several hundred persons
to whom we have remarked at various
times that we believed the screen would
eventually produce a new school of story
writers, who created with the screen in-
stead of the printed page in mind — if any
of these persons desires to know more
definitely what we meant, they can find
out by seeing "The Ghost House," in
which Jack Pickford and Louis Huff en-
tertain just now. Here is a story that
could be told as well in no other way. In
a house, reputed to be haunted, an intoxi-
cated burglar is hiding in the attic and
two sisters and a baby are sleeping in a
bedroom, each group unknown to the
other, if the one man can be called a
group. Another man enters, making con-
siderable noise. You see a small table
topple over. In a flash you see the awak-
ened, startled, superstitious burglar. In
another you see the terrified, though less
superstitious women. In five seconds you
understand what the writer would need
many hundred words to tell. So through-
out the picture. Beulah Marie Dix has
done one of her best bits of work in this
scenario.

POLLY ANN — Triangle

A piece of the popular orphan-slavey
stuff lit up by Bessie Love's charming
sincerity and simplicity. It has a nice
little Cinderella story to it. with pleasant
folk playing in nice fashion, most pleas-
ant of all being Miss Love who can skin
her hair back tight with perfect good
grace. Just to show that she can wear
frills, and curls, too, as gracefully, she
comes into a little fortune at the end of
her scrubbing brush row, and does, and
the effect is — love-ly.

ybn can buy 'em Everywhere

TN every nook and corner of
the country, in big cities and
small villages. Not only at
drug stores but general stores,
grocery stores, candy shops,
cigar stores, hotel and railroad
news-stands. 700,000,000
sold last year.

Winter is Here-
in READY!

Damp, cold, raw December
weather. Snow in the air. Sudden
winter rains. Keep your throat clear
and defend yourself against colds
with Smith Brothers* S. B. Cough
Drops.

S. B. Cough Drops are pure. No
drugs. No narcotics. Pure ingredi-
ents with just enough charcoal to
sweeten the stomach. Put one in
your mouth at bedtime; it keeps the
breathing passages clear.

Traveling Salesmen
are great users of S. B.
Cough Drops. Ex-
posed to all weather
in many climates, they
have learned that
Smith Brothers' will
keep their voices clear
and ward off coughs
and colds.

S.B. COUGH DROPS

SMITH BROTHERS of Poughkeepsie

Also makers of S. B. Chewing Gum

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

124

Photoplay Magazine — Advertising Section

ItHliHiMH

Billiard and Pool Table

Can be mounted on dining or library table or on its own
legs or folding stand. No special room i needed Put up or
down in a minute. Sizes ranee up to 4'.<x9 ft. (standard'.
of Tables $15 up. Balls, cues, etc.. free.

Burrowes Tables are splendidly made In every particular
and Ldapted i1^ the most skillful pl-iv- Tin- Burrowes Rests
High-Speed Rubber Cushions are the best made.

Burrowes Tables now on sale in many cities and towns.
FREE TRIAL— Write us for catalog (illustrated), con-
taining free trial offer, prices, terms, order blanks, etc.

THE E. T. BURROWES CO., 185 Spring Street, Portland, Me

Also San Francisco and Los Angeles Offices.

to Re

Your Weight

< iT

You CAN do it in a dignified,
pimple way in the privacy of
your room and surprise your
family and friends.

I KNOW vou can. because I've
reduced 35.000 women from 20 to 85
Iba., and what I have done for so
many I can do for you.

Don't reduce by dru^s or diet
alone. You'll look olri if you do.
You should have wjrk adapted to
your condition.

No woman need carry one pound
of excess fat. It is so simple to
weigh whatlyou shoull, and you
enjoy the process. My cneerful
letters and your scales keep you
enthused.

I build your vitality, strengthen
your heart and tench you how to
stand, walk and breathe correctly,
as 1 reduce you.

Don't endure fat when it is so
easy to reduce.

If you send me your height and
weight I'll tell you just what yi»u
should weigh. HO charge— anrl I'll
send you an illustrated booklet FREE,
correctly. Write

Susanna Cocroft

Dept 35, 624 S. Michigan Blvd., Chicago

KEEPS SHOES SHAPELY
HIDES LARGE JOINTS

Protector1

Affords instant relief for bunions and large joints, hides irregu-
larities of foot form. Worn in any shoe; no larger size re-
quired. Over one-half million in use. Ash your shoe dealer
or druggist. Write today for special free trial offer. No pay
|f no relief. State size of shoes and if for right or left foot.

The Fischer Manufacturing Co.
First National Bank Bldg., Depl. 35. Milwaukee, Wis.

BERTHE MAY'S CORSET FOR

MATERNITY

and for EVERY -DAY WEAR

in fort, abdominal support. Protection mo'her nnd
liild. Dress as usual. Normal appearance. Writ© for

Booklet No. 4, fret* in plain, sealed envelope. Mail
orders full s ttisfai Hon. Fine lor stout women and
invalids. Berthe May, lO E. 46th St., NewYork

Wrestling Book FREE

at home from th<

id liis fanioustra.ru

..orlirs undefeated chiin.„.„

Frank Gotch and Farmer Burns

Quickly learned by mall

of aelf-defenue and jiu •:

f WRESTLING I with
• HEALTH I Farm

v.- perfect health
Handle big

Send for tree book. State your aire.
rns. 1539 Ramco Bldg.. Omaha. N.b

Pearls of Desire

(Continued from page 102)

possibilities, and he decided to take a
chance. So he had beaten back to Tro-
cadero and hauling in on the island at
night got flat becalmed and landed as
best he could and started around to the
lagoon with the idea of looking up Kav-
anagh and trying to make some sort of
a dicker with him if Kavanagh really had
got his pearling rights of the place; or
if he had not to arrange for getting them
as soon as might be and working to their
mutual profit.

And then, on picking his way along the
edge of the mole he had been suddenly
set upon by a madman, as he thought,
and shoved over the brink . . . and
in the light of subsequent events and
through consideration for the persons in-
volved in the affair he would suggest
that this part of the sitting might better
be held in camera. There being evidently
no legal means of obtaining a habeas
corpus of captain Kavanagh, who was no
longer in possession of his normal facul-
ties he had acted according to the exi-
gencies of the situation and put him
under restraint. The young lady, who
for reasons best known to herself had
seen fit to deceive her uncle, Bishop
Stormsby, and her aunt into thinking
that she had been taken by sharks while
bathing injudiciously at night in order to
remain upon the island with Kavanagh
(all of this in camera and terribly damn-
ing from the British point of view) might
be able to give His Excellence more
light on the subject. . . and so on,

ad infinitum.

Having had experience already of
Drake's cleverness in a plea of injured
innocence and realizing how very con-
demning Enid's course of conduct could
be made to appear before a tribunal pre-
sided over by our straight-laced Governor
to whose eyes an act of piracy in a man
was far less blameworthy than open defi-
ance of social conventions on the part of a
woman, I was quite able to understand
how Drake might actually win clear, once
having got me safely out of the way.

Wherefore, as the case stood, it had
to be fought out there on Trocadero
between Enid and Drake. My part of it
was purely negative. This sounds rather
a shameful admission to make, but I
think that if one were to search actual
history, quite removed from fictional
assertions one would find that the women
have fished their heroes out of the soup
more often than these stalwarts could
be compelled to give them credit for.

Such thoughts were milling in my
brain as we pulled back to the Madcap
. . . and I was wondering how I
could possibly stand another night hand-
cuffed to the ringbolt without making an
undignified spectacle of myself. I might
be able to stand actual torture within a
certain time limit, extreme, but short
lived, like the rack where the pain sense
gets deadened by their turning on too
much of it. But the gnawing pain from
the irons on my wrists was more like
a neuralgia; a pain that gets one's cour-
age by its persistence. A pain that
seemed to say: "how long can you
stand it3"

As we pulled along I wondered rather

idly why Drake was quitting Trocadero
so soon. Was it because the shell was
giving out, or because his haul had been
so rich that he felt able to afford retir-
ing on what he had already gained and
possibly quitting the Pacific before there
was any hue or cry? It would not take
many such pearls as I had given Alice
to make a man a millionaire. In those
days a man's misdeeds in the Pacific were
less apt to catch him up in another part
of the world than they would be now and
by clearing out in time it w'as probable
that Drake would be able to make some
port like Fiji or Apia, sell the Madcap
for what she would bring and lose him-
self in the wide world before ever any
effort was made to lay him by the heels.
It was nearly dark and the sides of
the mole were plunged in deep purple
shadows while the still water of the la-
goon shone as though there were a light
coming up from beneath. Looking toward
the bungalow I could see a white figure
in one of our home-made chairs on the
veranda. Drake, following my gaze, gave
a short laugh.

"She won't, be so lonely to-morrow
night," said he.

We were then almost alongside and he
was about to give the order "in oars"
when from behind the bulwarks of the
Madcap rose what looked to my bewil-
dered senses like a row of big. black balls
with a single white one at the end. It
was most extraordinary. They popped
up like puppets in a life-sized Punch and
Judy show, as though impelled by some
guiding force from beneath. With their
amazing appearance came a scraping,
slithering sound . . . and here were
eight rifles shoved out at us in the same
automatic precision, and stocks of them
were planted against the big bare shoul-
ders of Charley Dollar and his warriors
while Enid's cheek cuddled the eighth.

So singular was this spectacle, so bi-
zarre and utterly unexpected that it smote
my tottering senses as overpoweringly
humorous. Those heads poking up in
that absurd, outrageous way; the rifles
leveled with the precision of some silly
mechanical toy; Drake's startled oath
as he thrust his big bulk backward, and
the smothered, astonished blasphemies
from the boat's crew. It was irresistibly
funny from my point of view and I burst
into a wild shriek of laughter.

This hysterical spasm was checked by
a sharp pain in the side of my head and
looking back aslant I discovered that it
was caused by . the muzzle of Drake's
revolver.

"You heave those rifles overboard be-
fore I count ten," he roared, "or I'll blow
this fool's head off."

In startling curious contrast came
Enid's limpid voice. It seemed almost
to contain a lisp.

"If you do," said she, "I swear by all
that's holy. Channing Drake, to hang you
by the neck until you are dead . . .
and may God show no mercy on your
sinful soul."

I turned my head a little. "There,
you swine," I muttered, "I told you that
vou would never live to see another sun-

Every advertisement In PnOTOPT.AY MAGAZIXE is guaranteed.

Photoplay Magazine — Advertising Section

125

Pearls of Desire

( Continued)

He punched the muzzle against my
head, just behind the ear, viciously, so
that it cut through the skin, then began
to count. I was sure that he was bluthng,
because I knew him for a coward and I
could feel the trembling of his arm trans-
mitted through the weapon. He had no
intention whatever of throwing his life
away at a moment when he had so much
to make it worth living

Drake began to count, slowly. "One
. . . two . . . three . . ."
about two second intervals, and as she
proceeded I was seized by the wild fear
that Enid might . weaken. Wherefore at
"five"' I called out. frantically:

"Don't let him bluff you, Enid. He
doesn't dare shoot . . ."

And then came a sudden sharp and
violent pain; a roar as though of the
dissolution of the universe; wonderful
flashing lights . . . and oblivion.

CHAPTER XIX

COMING back to life is far more har-
rowing than leaving it.

In my case the return to consciousness
was reluctant to the point of violent pro-
test until as my faculties cleared a lit-
tle more I discovered Enid bending over
me. She appeared to be kissing me, so
far as I could ascertain in my numb
condition. She had not seen me open my
eyes, nor did she appear to be aware
that I was quick again. I wanted to
speak to her, but could not. Also I was
very cold and as the chill struck deeper
into me and I still found myself unable
to speak or move I began to wonder
if perhaps I might not be really dead.

This conviction was augmented as I
looked up (for I could not move my
head) and discovered from the correlation
of spars and rigging that I was lying
apparently on a transom alongside the
main companionway, exposed to the dew
and apparently uncovered. It was evi-
dent that Enid would never have left
me thus exposed unless I was dead and
even in that case not for very long. I
remembered accurately though faintly
what had occurred. It was probable, I
thought, that Drake in an uncontrollable
gust of bestial rage had blown my brains
out. It did not occur to me that if I had
been as dead as I thought I could not
have opened my eyes, or having done so,
shut them again.

But they were open now and strangely
acute. I could see the stars more clearly
and distinctly than ever before, and I
was admiring the flaming and colored
scintillations of a large one which was
quite low and trying to identify it when
it became threatened by the eclipse of
some bulky, grotesque body which ap-
peared to be mounting with considerable
rapidity. Presently this sombre shape
stopped mounting, and as I continued to
regard it with intense curiosity it stopped
heaving also, and seemed to hang very
limp, just below the main cross-trees.

THE next awakening was distinctly
pleasant for it came with a profound
sense of peace and freedom from pain.
Continued on page 127

BUS

CREDIT

DIAMONDS
\WATCHES

WONDERFUL BARGAINS FOR ONLY

Diamonds
Win
Hearts

His Gift to Her—

A Handsome Diamond Ring

Send for your copy of our
Christmas Catalog

Open a charge account with

Loftis Bros. & Co.

The House of

'Worth-While" Gifts
On Credit

You can make hand-
some presents with very
little ready money.

Make this a Diamond,
Watch and Jewelry Christmas

Our large 116-page Catalog has over 2000
photographic illustrations of Diamonds,
Watches, Jewelry, Silverware, Cut Glass,
Novelties, etc. It will be mailed to you,
postage paid, on request. Send for it today,
select anything desired, and have it sent to
you for your examination, all charges pre-
paid by us.

You see and examine the article
right in your own hands.
If, upon inspection, you are perfectly satis-
fied, keep the article, pay only one-fifth of
the purchase price as first payment, balance
in eight equal amounts, payable monthly.
Our Diamonds are distinctive in beauty and bril-
liancy. A Genuine Diamond is the best invest-
ment into which you can put your money. It
constantly increases in value and lasts forever.

GOLD

MEDAL

HIGHEST
HONORS

Watch Prices "Down to Bed Rock

JEWEL ^c^,! $2.50

WORLD'S

FAIR

UNIVERSAL
EXPOSITION

Pass Railroad Inspection A Month

Send for Catalog and set posted about "Watches before
you purchase. Our Catalog illustrates and describes all
the new models— IS, 17, 19, 21, 23 Jewels, adjusted to tem-
perature, isochronism and positions. Our watches are
guaranteed by the factory and further guaranteed by us.
We make all necessary repairs, barring accident, free of
charge, for a period of three years from date of purchase.

Send for free Catalog today, before you forget it.

The National Credit Jewelers

Dept. G502, 108 N. State Street, Chicago, III.
STORES IN LEADING CITIES

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

126

Photoplay Magazine — Advertising Section

ta^/wwy/w^^^^^

BEAUTIFUL

EYEBROWS and LASHES

will transform a plain, unattractive face to one full of charm,
beauty and expression. Read what a famous Fashion and Beauty
Expert says in the Chicago Examiner:

" There are many actresses and society women famed for their long, silky
lashes and beautifully arched eyebrows that owe their attractiveness to the
use of a little preparation called LASH-BROW-INE."— Madame Chic.

If your eyebrows and lashes are short, thin and uneven, it is quite possible and
easy for you to remedy Nature's neglect and acquire luxuriant eyebrows and
long, silky lashes by simply applying a little

nightly. This well -know preparation nourishes in a natural manner the

eyebrows and lashes, making them thick, long and silky, thus adding depth and

soulful expression to the eyes and beauty to the face. LASH-BROW-INE,

which has been successfully used by thousands, is guaranteed absolutely

harmless. It has passed the famous Westfield-McClure test for purity.

Sold in two sizes, 50c and $1.00. Send price for size you wish and we will mail LASH-
BROW-INE together with our Maybell Beauty Booklet, prepaid in plain, sealed cover.

SATISFACTION ASSURED OR PRICE REFUNDED

Genuine Lash-Brow-ine
Manufactured only by

MAYBELL
LABORATORIES

Avoid disappointment
with worthless imitations

4008-20
Indiana Avenue

CHICAGO

^ Splendid Opportunity [

to secure fine autographed photos of
your Movie Favorites, mounted in 0
heavy folder, at
10c each or a set of 12 for SI |

They are 7x11 and make a very suitable
decoration for your room or den. Make
your selection ot the following:
Alice Joyce. Douglas Fairbanks, Pearl
White. Olga Petrova, Marguerite Clark,
Clara Kimball Young. Mary Pick ford,
Theda Bara (2 poses), Anita Stewart,
William Farnum. Norma Talmadge,
Francis X. Uushman and others.

Send stamp for list and your order L
at once with currency, money order or
S. BRAM, Dept.A25, 126 W. 46th

U. S. stamps to
St., New York

S0«1»«»«

Knickerbocker Studios ,6S °$8i mS&mT"

FOR XMAS -A TYPEWRITER!

Show the Xraas Spirit in a big way for
little money. Our Factory Rebni It
Typewriters are Ideal Xmas Gifts
for children, students, business people
They save you, S25 to S75 on your
pun-hase. Standard Makes, thoroughly rehuilt
trade-marked and guaranteed the same as new
Branch stores in leading chies ^-ive prompt service,

AMERICAN WRITING MACHINE CO.. Inc..

Send for catalogue

339 Broadway. N.Y

LESS THAN V> PRICE

ON $100 UNDERWOOD

I am a re-builder of UNDERWOOD
Typewriters only — not a second-
hand dealer. 1 save you over ONE-
HALF on genuine $100 Underwood,
guarantee your machine for FIVE
YEARS, let you try it Ten Days
Free. Rent or bu". Write me for
Special Offer No. 53
E. w. S. SHIPM»N,Pres..TypewriterEmporium.34-36W.LakeSI..ChieiB»

A Good Gift Suggestion

-See Page 1 32-

STUDIO DIRECTORY

For the convenience of our readers who
may desire the addresses of film com-
panies we (live the principal ones below.
The liist is the business office; is> indi-
cates a studio ; in some cases both are
at one address.

America* Film Mfg. Co., 6227 Broad-
way, Chicago; Santa Barbara, CaL (s).

Abtckaft Pictures Corp. (Mary Pick-
ford), 729 Seventh Ave., Now York City;
Hollywood. CaL (S).

Balboa Amusement Producing Co.,
Long Beach. CaL (s).

Bbbnon, HERBERT, Prod., 729 Seventh
Ave., N. V. C. ; Hudson Heights, N J.
(s).

Christie Film Coup., Main and Wash-
ington, Los Angeles. Cal.

Bdison, Thomas. Inc., 2826 Decatur
Ave., New York City. (s).

Empire All-Star Corporation, 220 s

State St., Chicago; Myrtle Ave., Glendale.
L. I. (s).

Essanay Film Mfg. Co., 1333 Argyle

St., Chicago, (s).

Famous Players Film Co., 485 Fifth
Ave., New York City ; 128 W. 50th St.,
New York City. (sj.

Fox Film Coin-.. 130 W. 46th St.. New
York City; Hoi Western Ave.. Los Angeles
(s) ; Fort Lee. N. J. (s).

GADMONT Co.. 110 W. Fortieth St.. New
Y'ork City ; Flushing, N. Y. (s) ; Jackson-
ville, Fla. (s).

Goldwy.v Film Corp., 16 E. 42nd St.
New York City: Ft. Lee, N". J. (s).

IIorsi.ey Studio, Main and Washing-
ton, Los Angeles.

Kalkm Co., 235 W. 23d St., New York
City; 251 W. 19th St.. New York Citv (Si :
1425 Fleming St.. Hollywood, Cal. i-.
Tallyrand Ave., Jacksonville, Fla.
Glendale, Cal. (s).

Keystone Film Co., 1712 Allesandro
St., Los Angeles.

Kleine, George, 1G6 N. State St.. Chi-
cago.

Lasky Feature Play Co., 485 Fifth
Ave.. New York City ; G284 Selnia Ave.,
Hollywood, Cal. (s).

Metro PICTURES Corp., 1470 Broadwav.
New York City: Rolfe Photoplay Co. and
Columbia Pictures Corp., 3 W. 01st St..
New York City (s) ; Popular Plavs and
Players, Fort Lee. N. J. (s) : Quality
Pictures Corp.. Metro office ; Yorke Film
Co., Hollywood, Cal. (s).

Mobosco Photoplay Co., 222 w. 42d
St., New York city: 201 Occidental Blvd..
Los Angeles, Cal. (s).

Moss. B. S„ 729 Seventh Ave., New
York City.

Mutual Film Corp., Consumers Bldg..
Chicago.

Paralta Plays Inc., 729 Seventh Ave.,
New York City; Los Angeles, (s).

Pathe Exchange, 25 W. 45th St., New
York City; Jersey City. N. J. (s).

Powell. Frank, Production* Co., Times
Bldg., New Y'ork City.

Rothacker Film Mfg. Co., 1339 Diver-
sey Parkway. Chicago, 111. (s).

Selig Polyscope Co.. Garland Bldg.,
Chicago ; Western and Irving Park Blvd.,
Chicago (s) : 3800 Mission Road. Los An-
geles, Cal. (s).

Selznick, Lewis J., Enterprises Inc.
729 Seventh Ave.. New York City.

Signal Film Corp., 4560 Pasadena
Ave., Los Angeles, Cal. (s).

Talmadge, Constance. 729 Seventh
Ave.. N. Y. C. ; 807 East 175th St., N.
Y. C. (s).

Talmadge. Norma, 729 Seventh Ave.,
N. Y. C. : 318 East 48th St., N. Y. C.
(s).

Thanhouser Film Corp.. New Ro-
chelle, N. Y. (s) ; Jacksonville. Fla. (s).

Triangle Company. 1457 P.rondwav. New
York City; Culver City, Cal. (s).

Universal Film Mfg. Co.. 1600 Broad-
wav, New York City : Universal City,
Cal.; Coyetsville, N. J. (s).

Vitagraph Company of America, E.
15th St. and Locust Ave., Brooklyn, N.
Y. ; Hollywood, Cal.

Vogue Comedy Co.. Gower St. and
Santa Monica Blvd., Hollywood, Cal.

Wharton, Inc., Ithaca, N. YT.

World Film Corp.. 130 W. 46th St.,
New York City; Fort Lee, N. J. (s).

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

127

Pearls of Desire

(Continued fr
Also the realization that I was very much
alive.

This time I discovered that I was
lying on my bed in the bungalow at Kialu.
And here was Enid again, bending over
me and beside her my good friend Doug-
las Ames, a medical missionary of our
part of Polynesia.

Later, Enid told me all that had hap-
pened. Indeed, one can almost guess at
it. The fighting men of Kialu had made
their way around to the other side of the
lagoon, taking Enid with them, and
Charley Dollar had waited until quite
late, when he had placed a rough effigy
of Enid in the chair on the veranda, then
gone hot-foot to join the others. Charley,
having previously reconnoitered the Mad-
cap from all sides, had discovered that a
certain line from her to the shore kept
the lookout aloft well behind the truck
when the tide was flowing into the lagoon.
He decided therefore to wait as late as he
dared, then swim off with his men and
seize the schooner.

Then Enid had insisted on going with
them, and would brook no refusal, so out
she went with a body guard which held
the sharks to scorn. The men had their
rifles with their cartridges in cloths tied
about their heads and the first intimation
of the drowsy lookout that the schooner
had been cut off was Charley Dollar's
low toned advice to him to keep very still
of voice and gesture.

When the trap was sprung and Drake
had clapped his revolver to my head Enid
herself did not believe that he would
dare pull trigger. But Charley Dollar
was not so sure, and getting an excellent
bead on Drake's thick wrist against the
sheen of the water at the range of about
twenty yards and the heavy boat nearly
motionless, he had taken a chance which
came near to being my bane. Charley's
aim had been true, but the contraction of
the muscles at the impact of the bullet
had fired the pistol. I had slumped into
the bottom of the boat, dead as all be-
lieved, when Drake, completely cowed
and he and his crew at the mercy of the
fighting men of Kialu, had grovellingly
surrendered.

"Then you've got him," I interrupted
at this point. "Where is he?"

"I don't know," she answered. "Where
such persons belong, I suppose. You see,
Jack, as soon as I was sure that you were
dead . . . and nobody for a moment
thought of there being a spark of life left
in you, I had him promptly hanged."

0111 page /J.s)

"You — what?" I gasped.

"Had him hanged." she answered.
"You heard what I said to him. I said
to Charley Dollar: 'hang him up there,
from the cross-trees.' He begged and
wallowed but the men did not waste much
time about it. Could you take a little
broth, dear?"

I stared at her calm, unruffled face,
feeling rather dazed. Then I asked: —

"What did you do then . . . never
mind the broth for a moment or two;
then I'll promise to lap up a gallon."

"Drake's crew was locked up in the
forecastle. We did not bother with the
natives, but put them ashore where Drake
had got them. 1 had Charley Dollar pay
them off and they seemed quite contented.
He forced Drake's safe and found there
some splendid pearls. It was not until
the next morning that I discovered you
were still alive. I had bound up the
terrible wound in your head. But in a
day or two we began to have hopes
because you moved and moaned a little
and when we reached Kialu as luck would
have it we found that Dr. Ames had
stopped in to see you. He was on his
way back to the mission on his little
brig, The Consecrated Way."

"And Alice and the bishop?" I asked.

"They are still here. To-morrow you
may see them if you are strong enough.
Mr. Harris has taken the Madcap to Apia
to report the case, but he does not think
that the authorities will make me any
trouble for having Drake hanged."

"And you," I asked, "how do you feel
about it all?"

She laid her golden head on my chest.
"Need you ask?" she murmured.

DEYOND the tedium of certain per-
A-' functory forms of criminal procedure
no trouble was made by the island au-
thorities over the summary suppression
of Drake. There is never much bother
raised over a criminal who gets his
deserts.

Enid and I were married at Tiapalu
by the bishop, who then departed with
Alice on Ames' little missionary brig.
We followed them some months later,
but although I have always retained a
small interest in Kialu it is very doubtful
if we shall ever return there for more
than a short sojourn ... to show
the place to the boys, perhaps, when they
finish college.

(the end)

(^ake^JourJw,nds<Dainty

She Was Padded to Fame

[Continued from page 83)

until she came to California after several
years of stock work, and joined the Fine
Arts company.

More than a year ago, she transferred
to the Triangle studios at Culver City
where she attained stardom, after wide
experience in supporting, in which she
deserved and won honorable mention. She
has appeared opposite William S. Hart in
a half dozen "Westerns."

Miss Wilson has bagged her moose in
the Canadian woods, although she got
buck-fever the first time she saw the

moose, and her hands shook so she let her
gun fall. She has caught tuna and sea
bass at Catalina, trout in Tahoe, and gone
gunning for bears in the High Sierras.

She is one of the most active of motion
picture actresses, and her perfect health
adds to her personal attractiveness.

Another distinction she has is that she
is a cousin to Dorothy Dix, the adviser
of women, but it is doubtful if Dorothy
Dix ever gave advice more efficacious than
Miss Margery Wilson gave to herself: to
wear pads and become famous.

Care for your hands. Their part in
your life is prominent, as well as
important.

Smooth, white, dainty hands be-
token refinement, grace, culture,
charm. Your environment, your
round of daily duties and home
responsibilities, clerical or office
employment may demand much
from your hands — but they need not
lack the qualities that make the fem-
inine hand beautiful and distinctive.

DAGGETT&RAMSDELLS

PERFECT COLD CREAM

Hands that have intelligent care,
that receive regularly each day a
few minutes' attention — a gentle,
cleansing rub with D & R Perfect
Cold Cream — reflect health, beauty,
refinement.

Be sure you get D & R Perfect
Cold Cream, made first by Daggett
& Ramsdell more than twenty-five
years ago, and still manufactured
only by them. It is "The Kind that
Keeps" — the kind that comforts,
the kind that cleanses, clears and
revitalizes a neglected or impov-
erished skin. "Perfect" in name,
perfect in action, perfect in result;
a perfect toilet cream for every day
in the year — use it to free the pores
of dust, to retard wrinkles, to make
the skin soft, clear and naturally
beautiful. The cream for every
person — a size for every purse.

POUDRE AMOURETTE- another D & R
toilet triumph — a face powder without a
fault. You will like it. Very fine, pleas-
antly perfumed. Looks natural, stays on.
Flesh, white, brunette, 50c. Of your dealer
or by mail of us.

TRY BOTH FREE

Trial samples of Perfect Cold Cream and
Poudre Amourette sent free on request.

Get a Free Sample
For Your Husband

Write for~a sample of the latest "Per-
fect" product made only by Daggett &
Ramsdell —a shaving cream in which we
have scientifically incorporated D. & R.
Perfect Cold Cream. The first time your
husband tries this "Perfect" Shaving
Cream he will say, "Well, that's the best
shave I ever had." He will be as enthu-
siastic over "Perfect" Shaving Cream as
you are over Perfect Cold Cream. Sur-
prise him with a sample.

DAGGETT & RAMSDELL

Department 233
D. & R. Building, NEW YORK

When you write to advertisers please mention PHOTOPLAY MAGAZINTE.

128

Photoplay Magazine — Advertising Section

POSITION

Become a Marinello expert and you

won't have to be a job hunter. Marinello graduates
never feel the disheartening pinch of lack of employment. They
are never out of work — unless they choose to be. There are thou-
sands of Marinello shops constantly on the watch for Marinello graduates.
For every student graduated there are a dozen positions waiting. The

Marinello School of Beauty Culture

teaches most efficiently the most effective of Beauty Culture methods. We
guarantee you a good position the minute you qualify. Salaries range from

$12.00 to $25.00 a Week

Or if you prefer we locate you in a shop of your own— where you can realize

an income of from $1500 to $5000 the very first year. Prepare yourself for permanent suc-
cess. The chances are all against you in all other lines of work. Your earning capacity
is limited. At best your position is insecure. As a .Marinello graduate every op-
portunity for immediate success and a big bright future favors you. You )>piiiniit a salary
wincli you probably never would reach in any other employment. This indepen-
dence is yours. You can virtually write your own pay check. Send now for
complete particulars and factswhich will convince you that you need
do longer be a slave to small pay and employment uncertainty.

THE MARINELLO COMPANY

1254 Mailers Bldg., CHICAGO

EMPRESS

Instantaneous

Hair Color
Restorer

b«sa

Worth its wei glit

in gold to anyi ne

whose social, pioiess-

ional or BiiHimss

Success depends on

looking yonng. One

apj>] ication restores

Gray or Faded Hair

to its natural color

immediately. Makes the hair soft and

fluffy. Covers up the tracks of age.

Defies detection. Easily applied. No

af er washing required.

In constant use for 20 years, by Hair

Dressers. Scalp Specialists and refined

people all over America. Buy of your

deal'T. If he hasn't it, order by mail

from us. Price SI. 00. Sent in plain wrapper.

If you have never used it we will r*T^ T** F^

send, to convince you. enough w4 iv ■*.■*_

for one trial application. * Am-X^J.^

Empress Instantaneous Hair Remover

is an unqualified success, endorsed by many

experts; removes unsightly hair. Sold with

iey back guarantee. Docs notoncourace new pre "

shaving. It retards growth and evei

roots. Large bottle 60c of your deal

entually dries.
Uer.orby mail of

EMPRESS MANUFACTURING CO.
Dept. 43. 36 West 20th St., New York

W. S. HART, the Famous Movie Actor, wrote:

It affords me great pleasure to be able to endorse Magda
Cream — "IT IS EXCELLENT" "I shall ever consider it
my duty to recommend it." Praise from high sources where
it is essential" that only pure beneficial creams be used, is
gratifying to us, as we feel our efforts in maintaining our high
standard have not been in vain. Magda Cream contains no
Animal Fats and no Injurious Chemicals. Fritze Scheff who
has delighted thousands of audiences, wrote us: " It is the
most delicious thing I have ever used." The habit of using
Magda nightly, is a pleasant one to acquire, it's healthful,
refreshing and helps in retaining what all men admire — the
fascinating glow of youth. His Majesty will find it excellent
to use after shaving. We want you to try Magda, at our ex-
pense if it is not up to your expectations. Use it a week, return
what is left and get your money back.

Magda Cream comes in 25c tubes, 50c opal jars,
75c Japanese jars and $1.00 tins, at most drug
departments, or direct on receipt of price.

Crooked Spines Made Straight

If you are suffering from any form of spinal trouble you

can be relieved— and probably wholly overcome your affliction-
right in your own home without pain or discomfort. A wonderful
anatomical appliance has been invented by a man who cured him-
self of Spinal Curvature. Its results are marvelous. It is nature's
own method. Eminent physicians are endorsing it. The Philo
Burt Method relieves the pressure at the affected parts of the
spine, the whole spine is invigorated and strengthened, all sore-
ness is taken out of the back, the cartilage between the vertibrae
is made to expand, the contracted muscles are relaxed, and the
spine is straightened. There is bright hope for you, no matter
how long you have suffered. We have strong testimonials from
every State in the Union. Each appliance is made to order from
Individual measurements and fits perfectly. There is positively no inconveni-
ence in wearing. We guarantee satisfaction and let you use it 30 days.
Write today for our new book. It gives full information and testimonials.

PHILO BURT MFG. CO., 329-WOod Fellow*' Bldg.. JAMESTOWN, N. T.

Questions and Answers

(Continued from page 108)

J. K., Uniontown, Pa— Crauford Kent
played the advertising agent in "Broadway
Jones," with George Cohan. He has been
in musical comedy and also played in "The
Deep Purple" when it was given on the stage.

Peter Pan, Ottawa, Canada— Thanks for
your approbation. We will endeavor to con-
tinue to merit it. Irving Cummings had
the lead in "The Whip." Elliott Dexter
is now East and may appear in the near
future with his wife, Marie Doro. Lou-Telle-
gen and Dexter are six-footers. Edwin
Carewe played Jean Corleau in "The Snow
Bird." Henry Walthall is no longer with
Essanay, he's with Paralta.

J. V., Steubenville, O— We do not take
applications for positions in the movies.
Write to some film company. Lots of them
in the studio directory, somewhere in this
magazine, and you stand as good a chance
writing to one as another.

Virginia, Walla Walla, Wash.— Paul
Willis was the name of the boy who played
the brother in "The Promise," with Harold
Lockwood.

J. M., Louisville, Ky.. — Sessue Hayakawa
will send you his picture if you write him
at Lasky's and so will Pearl White, Pathe's
Peerless Peach. Sure, write whenever you
feel a question coming on.

L. R., Houston, Tex. — Will be glad to
send you all the magazines containing pic-
tures and stories about Mr. Kerrigan. He-
has not been overlooked by us in any sense
of the word. However, had we known he
was your favorite, he would not have been
omitted from a single issue.

D. S., Los Angeles, Cal. — Yes, if you see
it in Photoplay it's true, most always. We
don't claim to be infallible, but we are,
almost. In the instance you cite, we are

right.

A. B., Medicine Hat, Canada. — None of
the players in "The Million Dollar Mystery"
appeared in "The Black Box."

M. L., Detroit, Mich. — Mary Miles Min-
ter was a long time reaching her present
position, as she was on the stage a half
dozen years before entering the films. Sorry,
if we must cause you sorrow, but Robert
Leonard is not the husband of Ella Hall.
He isn't even engaged to her, as he is already
provided with a helpmeet, as they say, and
Miss Hall is married also.

Florence, etc., Olean, N. Y. — Did you
suppose that we were saying that Charley
Ray was married just to get his goat? An-
tonio Moreno is still with Pathe. Margery
Wilson isn't married.

L. P., Wichita, Kan. — Probably it's be-
cause the Kansas movie enthusiasts know
all they want to know about the movies
that you don't see the name of your state
as much as you'd like in this department.
Photoplay Magazine publishes no other
magazine. It has no connection with any
film concern. Earl Williams played in
"Arsene Lupin" after "The Scarlet Run-
ner." Harry Morey is married and has been
in the films since iqoo. Glad you saw Crane.
We were afraid you'd miss him.

Blue Eyes, Ridgewood, N. J. — Do you
really want to know how many children
Mr. Bushman has or are you merely try-
ing to make conversation? Another would
make a half dozen.

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

129

>tions and Answers

(Continued)

Samuel, Spokane, Wash. — George Ovey
was the hero of the comedy you describe.

Peg and Mary, Youngstown, O. — We are
sure that Dave Powell would be delighted
to answer your letters. He told us once
that he thought Youngstown was just the
sweetest little town he ever trouped into.

J. K., Grand Forks, N. D.— Paul Willis'
last is "The Trouble Buster" with Vivian
Martin. He is 17. Have heard nothing
of Miss Pickford retiring from the screen.
With the cost of living at its present apex
no one can afford to be idle. Did'st think
child that we'd say Niles Welch was mar-
ried to Dell Boone if 'twere not true?

A. G., Commerce, Tex. — Neither Blanche
Sweet nor Edna Mayo is employed at pres-
ent. Fannie Ward's daughter lives in Lon-
don and is not a film actress.

J. B., New Britain, Conn. — William
Farnum's recent pictures were made at Fort
Lee, N. J. He has just signed a new con-
tract with Fox.

Mere Child, Slingerlands, N. Y. —
Olive Thomas' name is her own, and we are
credibly informed that in private life she is
Mrs. Jack Pickford. Suppose you saw that
Pearl White story in the September issue.
Bessie Barriscale is about 28 years old.

J. N, Deadwood, S. D. — Lottie Briscoe
has retired and Romaine Fielding has gone
into the patriotic film industry which is
just in its infancy.

E. R., Philadelphia, — Yes, it's the same
Owen Moore with Famous Players who is
Mary Pickford's husband, but at present he
is with his wife in California and not with
Famous. Miss Pickford and William Far-
num send photographs to their friends.

J. B., Seattle, Wash. — Tom Chatterton
played last in "Whither Thou Goest."

Ray, New York City. — Jackie Saunders
is married to E. D. Horkheimer, one of the
owners of the Balboa Company, and she
was born in 1892. Some folks are never
satisfied unless they are making our ingenues
old enough to be grandmothers, just because
Fanny Ward gets away with it.

R. W. Guthrie, Okla. — The kid brother
in "The Flirt" was Antrim Short and he is
with Universal. Wilton Lackaye is with no
picture company. Paul Willis is a pro-
nounced blonde, about five feet six inches
high and still growing.

Polly, East Prairie, Mo. — Marin Sais
deserves all the nice things you say about
her. She has been married. True Board-
man is married. You will see him next in
"K?" the Rinehart story in which he is to
portray the title role. Yes, we are very fond
of Missouri. Being so close to Illinois it
can't help being a nice state.

A. N, Pawtucket, R. I. — Thomas Chat-
terton and Harold Lockwood have been
married. Write the former care Photoplay
and it will be forwarded. Mr. Lockwood's
address is care of Metro, New York.

Russell Fan, Brooklyn, N. Y. — Bill
Russell is 32 and his last is "Sands of Sacri-
fice." Don't know what the "F" stands for.
Charlotte Burton is his wife. Charles Ray
is married. The Ivan studio is in New York.
Charles Wellesley was the father of "The
Poor Little Rich Girl."

Tabulator Stops
Marginal Stops

Carriage
Release

Adjustable Paper Guide

Platen Release
ine Space
iustment

Ribbon Reverse
Ribbon Shift &
Stencil Cutter

Tabulator Bar

Forced Alignment Fork v/m/mm;mwww/>.

I want, through this advertisement,
to establish as friendly business rela-
tions with you as 1 possibly can. I
want you to realize also, that it is my
earnest effort and intention to give
you full honest value for every dollar
tli.it you spend with me, litis is the
only way 1 can succeed. M\

Hsement has appeared Id the leading
magazines continuously for more
than tour years.

I am building up my business on the
foundation of good value and square
dealings. I am saving thousands of
Is of dol-
lars, by supplying perfect— late style

— visible writing — typewriters, at
remarkably low prices.

All my transactions are handled
throughout by personal correspon-
dence. 1 assure you every courtesy
and consideration, in your dealings
with me. Your order will have my
prompt, careful, personal attention.
I will be glad to do business with you.

Carriage Return
and Automatic

ck Spacer

ALL LATEST IMPROVEMENTS w^m^mmmmm^mmww.

(PTYPEWRITER SENSATION

Free TRIAL— Use As You Pay

Send me only $2.50 a month until the low total price of $48.80
is paid, and the machine is yours

STv1si^D L. C. SMITH

Perfect machines, standard size, keyboard of standard universal arrangement — universally used
in teaching- the touch system. The entire line of writing completely visible at all times, has the
inbuilt tabulator, with billing devices, the two color ribbon — with automatic reverse and key con-
trolled shift, automatic flexible paper feed — automatic paper fingers, the back space? — ball bear-
ing carriage action — ball bearing shift action — ball bearing type bars — in fact, every late style
feature and modern operating convenience. Comes to you with everything complete, tools, cover,
operating book and instructions, ribbon, practice paper — nothing extra to buy. You cannot iml
agine the perfection of this beautiful reconstructed typewriter until you have seen it. I have
sold several thousand of these perfect, latest style L. C. Smith machines at this
bargain price, and every one of these thousands of satisfied customers had this J"""*""""'"

beautiful, strictly up-to-date machine on five days' free trial before deciding »" IJ A ClV/IlTi-I
to buy it. I will send it to you F. O. B. Chicago for five days' free trial. »* ri./\.ijlVH 1 rl
It will sell itself, but if you are not satisfied 'that this is the greatest type-' / Room 851

writer you ever saw, you can return it at my expense. You won't want to »* o*?1 N Fifth Avt>
return it after you try it — you cannot equal this wonderful value anywhere. / ruin ftve.

You Take No Risk — Put in Your Order NOW / sh,-P m the l. c. smla, p. o.

When the typewriter arrives deposit with the express agent S8 80 and take / ?" C1!'ca£°' " described in this
the machine for five days' trial. If you are convinced that it is the best » advertisement. I will pay you the
tvpewriter you ever saw keep it and send me S2.50 a month until mv bar- / iw.oa balance of the SPECIAL
gain price of S48.80 is paid. If you don't want it. return it to the express »* „»48-80 Purchase price, at the rate ol
agent, receive your $8.80 imd return the machine to me. I will pay the • J2.30 per month. The title to remain
return express charges. This machine is guaranteed just as if you paid / m you until iully paid for. Itisunder-
$100.00 for it. It is standard. Over one hundred thousand people own • sto°d that I have five days m which to
and use these typewriters and think them the best ever manufactured ♦ examine and try the typewriter. If I
The supply at this price is very limited, the price will probably be' •* chocse n°' ,0 keeP rt : "'" carefully re-
raised when my next advertisement appears, so don't delay. • Pack it and return it to the express agent.
nil in the coupon today— mail to me — the typewriter will be * It is understood that you give the standard
shipped promptly. There is no red tape. I employ no Bolicitors / guarantee tor one year.
— no collectors— no chattle mortgage. It is simply understood *
that I retain title to the machine until the full S48.80 is paid f

You cannot lose. It is the greatest typewriter opportunity £ JSame

you will ever have. Do not send me one cent. Get the cou- •
pon in the mails today — sure. /

HARRY A. SMITH 8S1 2l„,^rJhAve / *

SPECIALLY PRICED

TO INTRODUCE OUR XMAS GIFT CATALOG

FORTUNATE purchase before leather advanced inprice
enables us to offer 28,000 of our PRACTICAL, BILLFOLD
at what the leather alone is worth today.

THIS INVALUABLE combination currency-card case, a
distinctive Xmas Gift, in genuine Sealgrain Leather yours at
this low price of 60c ($5.40 Doz. ) prepaid while they last.
Thin model design with photo frame, transparent identifica-
tion card, 1918 calendar and loose leaf MEMO PAD.

SIZE closed 3x31-2: open 8 x 3 1-2 inches. Packed In
handsome gift box, with engraved card. SAMEin fine Mo-
rocco Leather, only $1.00 ($10 Doz. ) prepaid. Order some
of each at once. Order shipped day received. Illustrated
catalog FREE.* Send draft. M. O. or stamps TODAY.
A. Landa & Sons Co., Mfrs., Dept. 0-74 Chicago »

Refunded

RemohGcms

Look and wear like diamonds. Bril-
liancy guaranteed forever. Stand file,
acid and fire like diamonds. Have no
paste, foil or backing. Set only in 14 karat
■ solid gold mountings. About l-30th the
"ce of diamonds. A marvelous synthetic
rgrem— willcutglass. Guaranteed not an imi-
tation, and to contain no glass. Sent C.O.D.

subject to examination. Write today for

our illustrated catalog. It's free.

Remoh Jewelry Co., 628 Washington Ave., S*. Louis, Mo.

The World's Greatest Song

The Movie Kid

Endorsed by profession and
press as a spot-light winner.

Send to author for copy, autographed.
(Eighteen cents in stamps)

ALBERT H. LOWRY, Redmond. Oregon

When you write to advertisers please mention PIIOTOPLAY MAGAZINE.

130

Photoplay Magazine — Advertising Section

CLASSIFIED ADVERTISING

i, n.n

Rate
15 cents

per
word

JTTTT

£L£LA

L)"U u u

nnnnnnnn

nnrvn.n-n n n n n n n n:n n n.n:n_r

All Advertisements

have equal display and
same good opportuni-
ties for big results.

rHQTOBiar

U'UU'U UU'UUU U U UU uuuuuuu

This Section Pays.

8V'< of the advertisers
using this section during
the past year have re-
peated their copy.

Rate

15 cents

per

word

TTDT

FORMS FOR FEBRUARY ISSUE CLOSE DECEMBER FIRST

AGENTS AND SALESMEN

AGENTS— $30.00 A WEEK SELLING GTJAHAN-
teed lli'siriv for men, women and cbl.dren. Guaranteed
to la8l l months without holes. Latest and beat agents'
proposition. Thomas Mtg. Co., 2C4 North .si., Dayton,

INSYDE TYRES. INNER ABMOUB FOB ATJTO-

,i bill i nr.. Prevent punctures and blowouts ami

double mileage. Tremendous demand. Thousands sold.

"Big profits. Details flee. American Accessories Co.,

l.)e|il. 21)5, Cincinnati.

GET OUR TLAN FOR MONOGRAMING AUTOS.
Trunks, Traveling Hues, etc.. I»y transfer method. Very
la rue Midi's. .Mitunsla Accessories Co.. Ma' islicKI. Ohio.

AGENTS— 5009! PROFIT; FREE SAMPLES; COLD
gicn letters fur store and office windows; anyone can
pat on. Metallic Letter Co.. 414 N. Clark St.,
Chicago.

HOSIERY AND UNDERWEAR MANUFACTURER
offers permanent position supplying regular customers
at mill prices. $50.00 to $100.00 monthly. All or
spare time. Credit. I. Parker Co., 2733 No. 12th St.,
Tttiladi'h'liia. 1'a. ^ —

BUSINESS OPPORTUNITIES

ADVERTISE EVERYWHERE. 25 WORDS IN 100

monthlies, $1; 100 weeklies, $2.50; 40 Sunday papers
$10. l'h. Cope Agency, St. Louis.

CURIOS

INDIAN CURIOS, BASKETS, PAINTED SKINS,
Bundles. Bought and Sold, lleitmuller Art Co., 1307
11th St., Washington. U. C.

GAMES AND ENTERTAINMENTS

PLAYS, VAUDEVILLE SKETCHES. MONOLOGUES,
Dialogues, Speakers, Minstrel Material. Jokes. Recita-
tions, Tableaux, Drills. Entertainments. Make Up
Goods. Laige Catalog Free.
T. S. Uenison \- Co.. Dept. 70. Chicago.

HELP WANTED

$100 MONTH PAID MEN— WOMEN. THOUSANDS
Government War Positions open. Short hours. Pleas-
ant work. Examinations everywhere. List positions
free. Write immediately. Franklin Institute, Dept.
II- 2 12. Rochester. N. Y.

FOREMEN, SHOPMEN, AND OKFICEMEN
Wanted to work spare time as special representative of
large well-known mail-order house, selling Watches.
Diamonds, and Jewelry on Credit. Liberal commissions
and exclusive sales rights granted. No investment or
deposit, requited for outfit or samples. Write at once
for details. Address S. D. Miller. Dept. 32, Agency
Division, Mil er Itldg.. Detroit, Mich.

THE WAY TO GET A GOVERNMENT JOB IS
through the Washington Civil Service School. We pre-
pare you and you get a position or we guarantee to
refund your money. Write to Earl Hopkins, President,
Washington, D. C.. for book FK-1449, telling about
292,290 government positions with lifetime employ -
ment, short hours, sure pay, regular vacations.

RAILROAD TRAFFIC INSPECTORS WANTED .
$125 a month and expenses to start: short hours; travel:
three months' home study under guarantee; we arrange
for position. No age limit. Ask for Booklet L-C.
Frontier Prep. School. Huffalo, N. Y.

FIVE BRIGHT. CAPABLE LADIES TO TRAVEL,
demonstrate and sell dealers. $25 to $50 per week.
Railroad fare paid. Goodrich Drug Company, Dept.
59. Omaha, Neb.

WOMEN WANTED RY RAILROADS FOR IN-
spectors; Bupplant men called to colors. $125 monthly
and expenses. Delightful work, travel: promotion.
Booklet A-8 Free. Frontier Prep. School, Buffalo.
N. Y.

ROVERNMENTPAYS $!>00TO$l,R00 YEARLY'. PRE-
pare for coming "exams" under former Civil Service
Examiner. New Book Free. Write Patterson Civil Service
School, Box 3017, Rochester. N. Y.

OF INTEREST TO WOMEN

LADIES— FASCINATING HOME BUSINESS TINT-
ing Postcards, Pictures, etc.. spare time for profit, $5
on 100; no canvassing; samples 10c. Particulars free.
Artint. 1-B. 91 Mescrole St.. Brooklyn, N. Y.

INSTRUCTION

mTNDREDR OF PEOPLE MAKE BTG MONEY
writing Photoplays. Stories, etc. Why don't you? Write
as far free details. Bookmart Co.. Dept. 8, Auburn,

N. Y. "

MOTION PICTURE BUSINESS

RIG PROFITS NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by Government institutions. Cata-
log Free. Capital Merchandise Co., 510 Franklin
B'.dg.. Chicago

LETTER SHOPS

MULTIGRAPHING— 1.000, $2; HEADING IN-

r-liidcd. Southwestern, 1113-C Reretofi. I. Angeles.

OLD COINS AND STAMPS

OLD (DINS. LARGE FALL COIN CATALOGUE
of coins for sale tree. Catalogue quoting prices paid
t >r coins, ten cents. William Hesslein, 101 Tremont

St., Boston. Mass.

$2" TO $500 EACH PAID FOR HUNDRED
coins dated before 1910. Send 10 cents for New Illus-
trated Coin Value Book, 4x7. Showing guaranteed
prices. It may mean your fortune. Get jiusted. Clarke
' oin Company, Box 127, Le Roy. N. Y.

WILL PAY $2.00 FOR 1904 DOLLARS. PROOF;

10c for 1912 niches S. Mint; $100.00 for Dune 1894,
S. Mint. We want, thousands coins and stamps. We
otter uu to $1,000.00 for certain dates. .Send 4c no-v
for our Large Illustrated Coin ti'rcular. Numismatic
Bank, Dept. 75, Fort Worth, Texas.

PATENTS

WANTED IDEAS, WRITE FOR LIST OF PATENT
Buyers and Inventions Wanted. $1,000,000 in prizes
offered for inventions. Send sketch for free opinion as
to patentability. Our lour books sent free. Victor .1 .
Evans <& Co., Patent Aitys., 763 Ninth, Washington,
I). C.

INVENT SOMETHING. YOUR IDEAS MAY BRING
wealth. Free book tells what to invent and how to ob-
tain a patent through our credit system. Talbert &
Parker, 47 2 4 Talbert Bldg.. Washington, D. C.

PHOTOPLAY TEXT BOOKS

"HOW TO WRITE A PHOTOPLAY" BY C. G.
Winkopp, 1342 Prospect Ave., Bronx, New Y'ork Cily.
2 5 cents. Contains model scenario.

PHOTOGRAPHY

FILMS DEV. 10c. ALL SIZES. PRINTS 2,4x3H.
3c; :;Vx41i. 4c. We give Profit Sharing Coupons and
2 4 hours service. Work guaranteed. Send negatives
for samples. Girard's Com. Photo Shop, Holyoke. Mass.

SONGWRITERS

MAKE YOUR SONG A "HIT." OUR FAMOUS
"hit" writers and cover designers will help you. Send
manuscript for free criticism and cost to publish.
National Music Co., 407 Wexford Bldg., Chicago. III.

SONGWRITERS' '.MANUAL & GUIDE" SENT
Free. This valuable booklet contains the real facts.
We revise poems, compose and arrange music, secure
copyright and facilitate free publication or outright sale.
start right. Send us some of your work today for free
examination. Knickerbocker Studios, 106 Gaiety Build-
ing, N. Y. City.

WRITE THE WORDS FOR A SONG. WE WRITE
music and guarantee publisher's acceptance. Submit
poems on war, love, or any subiect. Chester Music Co.,
1039 Wilson Ave., Suite 112. Chicago.

MANUSCRIPTS TYPEWRITTEN

PHOTOPLAYS. SHORT STORIES, ETC., COR-
rectly Typewritten. Neatness Guaranteed or money
refunded. Send script to-day! Hursh, 123 So. Third,
Harrisburg. Pa.

MANUSCRIPTS, SCENARIOS. ACCURATELY AND
promptly typewritten 8c page including carbon. Spell-
ing. Punctuation corrected. J. N. Manning, Madison.
Wisconsin.

MANUSCRIPTS CORRECTLY- TYPED. TEN CENTS
a page including carbon. Anna Payne, 318 Sixth Street,
Brooklyn. N. Y.

SCENARIOS. MANUSCRIPTS TYPED TEN CENTS
page including carbon. Spelling, punctuation corrected.
Marjor'e Jones. 322 Monadnnck Block. Chicago.

MANUSCRIPTS TYPED, SEVEN CENTS PAGE. IN-
cluding carbon. Get Booklet M. Literary Service Com-
pany, South Bend, Ind

TELEGRAPHY

TELEGRAPHY'— BOTH MORSE AND WIRELESS,
also station Agency, taught quickly. Tremendous de-
mand— much greater than supply — Permanent Positions
Secured. Big Salaries — recently raised. Ideal Working
Conditions — short hours, vacations with pay. sick and
death benefits, etc. — prevailing. Great Opportunities
for Advancement. Women Operators also greatly desired
by Railways and Western Union. Tuition reasonable.
Cheap living expense — can be earned. Oldest and larg-
est school — established 4 3 years. Endorsed by railway.
Western Union and Marconi Telegraph Officials. Largo
illustrated catalogues free. Correspondence courses also.
Write today. Enroll immediately. Dodge's Institute,
Peoria St.." Valparaiso. Indiana.
TYPEWRITERS AND SUPPLIES

GUARANTEED TYPEWRITER RIBRONS 3 FOR
$1.00 postpaid. Adams Company, Kansas City, Kan.

Guaranteed Genuine Leather Pocketbook

The "American Bankroll" — 1018 Model. Combination Bill-
fold. Coin-purse, Card and Photo-case of Finest, Genuine
Black Seal Grain Leather with the show and elegance of a
Dollar Article for only SOc, poatnaM, f$5.40 per dnz.> Any
name beautifully entrraved in 23-Karat Genuine Gold free
oti t number and city 20c eactl extra.) Iron-strong, vet won-
derfully limp and flexible. Measures SxJ 8-4 in. folded, lias
coin-purse, loll poeket. photo or pa^s-window. Ssecrel
eherk hook holder and 48 page Memo- Diary, brimful of intercst-
tnK and necessary information. If unable to Bet money order or
hank draft, send postage stnmns. 12th annual catalog of hiirh-
RTAde GUARANTEED LEATHER GOODS and NOVELTiES
free with orders for "Bankroll" or sent alone for 10c postage.
U. S. LEATHER GOODS COMPANY Kstablished 1906

Dept. H-C 106-8-10 W. Lake St.. Chicago Incorporated 1910 (iKHTincnTiONJ-^

itc«u roans)

50c

Postpaid

Satisfaction

Guaran teed
Fits any Pocket

For Ladies and
Gentlemen

Questions and Answers

(Continued)

N. K., Detroit, Mich. — Mrs. Douglas
Fairbanks' maiden name was Beth Sully,
and she is the daughter of a former well
known figure on Wall Street. She was never
an actress. Creighton Hale's birthday is
May 24.

Gould, Rochester, X. V. — Can't tell
whether you are talking about Eileen Percy,
Arline Pretty or Elaine Hammerstein. Al-
ways write the players in care of the com-
pany.

B. S., Bakersfield, Cal. — Jean Taylor
had the lead in "Just Jim" and Ruth Ro-
land is back in Los Angeles now. You know
she is Mrs. Lionel Kent in private life.

Miss Erie, Erie, Pa. — John Bowers
played the part of Lottie Pickford's husband
in "The Reward of Patience." He is mar-
ried in real life also.

Genevieve, Phoenix, Akiz. — Your wish
is about to be granted. Jack Pickford is to
play 'Bunker Bean" for the screen.

Hope, Yankton, S. D. — Mae Marsh is
twenty years old and at present a resident
of New York City. Her latest production
is "Polly of the Circus."

Clayton Fan, Salt Lake City, Utah. —
Write to her care Essanay and she'll send
you a photo seeing that you hail from her
own home town.

Henry, Richmond, Cal. — It all depends
upon the kind of iniormation you desire.
Never i;sk a film player a question which
you would hesitate to ask any other
stranger. Pauiine Fredericks is of the class
of 1884. Peggy Hyland apparently left her
vital statistics in England but she isn't so
vurry old.

Bobbie, Los Angeles, Cal. — Robert
Vaughan is with Thanhouser. Douglas
MacLean is the name of the young gentle-
man you are so curious about. He recently
appeared in your city in the stage play
"Just a Suggestion" with Charles Ruggles.
He has been with Mutual at Santa Barbara
and appeared there in "The Man Who
Found Himself," "The Boss," "The Code of
the Mountains," "Love's Crucible" and
other five reelers.

R. H, Parkersburg, W. Va. — "Snow
White," played by Marguerite Clark, ap-
peared in story form in Photoplay of Feb-
ruary of this year. Fifteen cents will get it
to you.

Harriet, Orange, N. J.— The gentleman
with the rolling eyes in Keystone comedies
is, perhaps, Harry Gribbon. Anyhow, he
seems to fit your description.

Brown Eyes, Los Angeles, Cal. — Vis-
itors are . ot permitted at the Lasky studio
If you would communicate with Miss Pick-
ford write her care of that studio.

H. S., Chicaco, III.— Any cyclopedia will
give you the definitions you desire, or any
good dictionary. As a rule Mr. Webster and
Mr. E. Brittanica have the goods.

H. A., Rockford, III. — No Chicago stu-
dios make a practice of admitting visitors.
William Garwood is back on the stage.
Robert Leonard is directing Bluebirds and
the others you mention are not tiffiliated
with any company at present. Dorothy
Dalton was born in 1803 and she has been
on the screen for about three years.

Every advertisement in PIIOTOrLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

I31

Questions and Answers

{Continual)

Alice and Anna, Chicago. — We are offi-
cially informed that Miss Minter was 15 on
April 1 last. Essanay hasn't decided about
any more of the "Skinner" series, we are told.

Marie, Bronx, N. Y. — Will Grace Cunard
and Francis Ford ever play together again?
Well, Marie, that's a hard one, but according
to present indications you are doomed to
disappointment. It looks like a permanent
dissolution of partnership.

Dorothy, New Zealand. — Once more we
are indebted to you for a delightful letter.
And thank you once again for your kind
wishes.

I. M. A., Wellesley, Mass. — There is a
Paul Gordon and he is with Metro. Emmy
Wehlen's first photoplay we think was
"When a Woman Loves." Arthur Ashley
played opposite.

A. B., Marked Tree, Ark. — Gee, that's a
new town on the Answer Map. It was
Lillian Lorraine and not Annette Kellermann
in "Neal of the Navy." Miss Kellermann has
appeared only in two photoplays "Neptune's
Daughter" and "A Daughter of the Gods."

N. D., Thomasville, Ga. — Nat Goodwin
played Fagin in the film version of "Oliver
Twist" produced about four years ago.
Spottiswoode Aitkin hasn't any wooden legs
at all. That's his natural gait. Marie Mills
was the old nurse in "Castles for Two."

G. D., Altoona, Pa. — Carter DeHaven is
back on the stage and may be reached at
the Lambs Club, New York City. Sherman
Bainbridge was drafted and may be on his
way to the front by this time.

Sweet 16, Pomona, N. Y. — Earle Foxe
was Silver Spurs in "The Love Mask" and
the other leading roles were taken by Wal-
lace Reid and Cleo Ridgely.

Peter, Detroit, Mich. — Ethel Barrymore
and Mahlon Hamilton had the principal
parts in "The Final Judgment" but the other
names you mention are entirely strange to us.

B. B. B., Duluth, Minn.— "The Bad
Boy" cast was: Jimmy Bates, Robert Har-
ron; His father, Richard Cummings; His
mother, Josephine Crowell; Mary, Mildred
Harris; Clarence, James Harrison; Ruth,
Pauline Starke; Town marshal, William H.
Brown; yeggmen, Elmo Lincoln and Harry
Fischer. Max Linder and Martha Ehrlich
had the leads in "Max Comes Across."

Amy, North East, Pa. — Wallace Reid
and Cleo Ridgely receive their mail at
Lasky's.

Inquirer, Springfield, Mass. — Our rec-
ords do not contain the name of Josephine

Phillips.

Jumbo, Sydney, Australia. — All of the
accomplishments in the young lady's cate-
gory are unable to "put across" as a film
star, a girl who is not a good photographic
subject. If the camera doesn't "get her,"
she might as well go back to the kitchen. So,
in a sense, film stars are born and not made.

Mildred, Grand Rapids, Mich. — A letter
to Cleo Madison addressed to the Wigwam
Theater, San Francisco, will reach her. She
is now playing in stock.

Peggy, Superior, Neb. — Sorry, but we
never answer questions for children who are
naughtv in school.

No. 3653, 5th Pioneer Battalion, Salis-
bury, England. — Martha in "Martha's Vin-
dication" was Norma Talmadge. "Panthea,"
"The Moth" and "Poppy" are three of her
latest pictures. She now has a company
of her own after serving a long apprentice-
ship at Vitagraph and Fine Arts. Hope
you're still with us, old top.

M., Bala, Va. — Douglas Fairbanks is a
native of Colorado and was 34 in May. In
addition to the plays you recall, he also
played beyond the footlights in "A Gentle-
man from Mississippi," "He Comes Up Smil-
ing," "The Show Shop" and "Officer 666."
He was married in 1907 to Miss Beth Sully,
a non-professional and has a son who will
be eight years old in December. Your im-
pression of him and his cheerful photoplays
seems to be a unanimous one.

D. E., Griffin, Ga. — We have a sus-
picion that Anita Stewart is a brunette.
Don't be afraid of worrying us too much.
We've been vaccinated against worry. Go as
far as you like.

Trlangle Booster, Lawrence, Mass. —
Something happened to Selig's "Light of
Western Stars" and it was changed about
some and released about six months ago as
"The Heart of Texas Ryan."

Helen, Galt, Canada. — There is no Be-
atrice Fairfax in real life. If you refer to
Grace Darling who portrayed that role
drop her a line care the Evening Journal,
New York City.

Fritz, Wellington, New Zealand. — It
may be difficult for you to grasp it, but
really, condolences are out of order with
respect to this department. Write Bill Hart,
Los Angeles, Cal., and he'll send you a pic-
ture of Fritz, his pinto pony. Tell him we
said so and he'll surely do it.

Miss F. Y., Osaka, Japan. — We don't
quite get you but if you mean that you want
some photographs of some actors on this
side of the HI o!e world, just give us a hint
as to whom you favor and we'll be glad to
shoot em to you.

Frank, St. Louis, Mo. — Your question
about Bill Hart is of such a personal nature
that we must refer you to him. No doubt
he'll be glad to tell you of any love affairs
he's had.

K. N. R., Indianapolis. — Never heard of
any Chaplin film titled "A Son of the Gods"
even in the prehistoric Keystone days, but,
of course, if you saw it, there must be one.

Grace, Brooklyn. — Yes, "Jennie, the Un-
expected" was rechristened "A Romance of
the Redwoods." Elliott Dexter is the hus-
band of Marie Doro and he has appeared in
numerous Lasky pictures. The one with
Miss Pickford was his last.

J. M., Portland, Me. — Pardon the tardy
acknowledgment. Of course you're right,
but what's the use? And many thanks for
the kind appreciation. Do write again.

F. B., Kingston, Canada. — Guess Thomas
Hardy took the part in "The Wax Model"
you are so curious about. No trouble a
tall. Call whenever the spirit moves you.

Red Top, Reliance, Wyo. — Fifteen epi-
sodes to "The Iron Claw." Creighton Hale
and Pearl White are accustomed to sending
out photographs. Write them care Pathe.
Warren Kerrigan is. 27 years old.

K113 14K
ladies' solitaire -1^
carat diamond.

Complete-
$54.37

K112 Solid

gold ring. Hand
carved coral
cameo. Special
price $10.00

K104 Solid gold
lavalliere and
chain. 3 fine
diamonds. Bar-
gain price
$8.9S

K114

I4K

prong tooth. 1
carat diamond.
Complete $75.00

FREE EXAMINATION

To convince you that you can save liberally by buying
direct from the Diamond Cutters, we will gladly forward
you, prepaid, any article from this ad or from our catalog,
care of your bank or express, for your examination and
approval, without obligation.

MO N E Y B AC K I N FU*,fc

ANY TIME Wl

This ironclad guarantee gives you the right to return
the diamond to us any time within one year, and we give
you back the full price you paid without even one cent
being deducted. This guarantee is final evidence of the
superior values we offer.

1918 CATALOG FREE

This new 244-page book is a wonderful guide to
the selection of Christmas Gifts and gifts for all other
occasions. The money-saving prices it quotes on Dia-
monds, Watches, Jewelry, etc., will be a revelation to
you. Mailed free to any address.
M ■■ y V^T^ Red, While and Blue Enam-
11)11 eled American Flag Button.
M4 %£ M M Mention this magazine and we will
m\ I . I -mail you free, wilh our Catalog, a
K Ami ill handsome Red, White and Blue
Enameled American Flag Button.

!•" vvMO'-^os-a chestnut ST. "*■•* »
PHILADELPHIA. PENNA.

When you write to adverthers please mention PHOTOPLAY MAnAZTNT?

132

Photoplay Magazine — Advertising Section

Christmas
Twelve Times

A Gift Suggestion that will appeal to you

YOU have a friend who is very much interested in
moving pictures. Tou are going to give a Christ-
mas present of some kind to this friend. There
will be more pleasure for both of you if the gift is a
particularly appropriate one. Or, how about that boy
in France? A subscription to

Photoplay Magazine

wl afford a delightful surprise on Christmas morning and give
new satisfaction on the first day of each month during the
ensuing year. Every issue •will be a reminder that you are
the thoughtful provider of several hours of interesting news,
entertainment and instruction — the source of a twelve-time
Merry Christmas.

To enable you to send this gift subscription in a correct and
most attractive way, an artistic Christmas Card has been
provided, stating that PHOTOPLAY MAGAZINE
will be sent for whatever period you desire. Your name
and Christmas greetings vJill appear on this card, which
will be sent either to you or to the recipient of the gift.

When you return coupon attach a Postal or Express money
order or a Check. Better hurry.

PHOTOPLAY MAGAZINE

350 North Clark Street, CHICAGO, ILLINOIS

-™~ — t — 7-" — -"7 r~ — -r —

T7" ~~ " ' ' ^

■■■■'■■ ■:.■/■ '^L^r-n — -~

CHRISTMAS SUBSCRIPTION COUPON

Year, $2.00. Six months, $1.00. Three months, $.50. Canada, $2.50 per year. Foreign
Countries, $3.00 per year. All subscriptions to our soldiers in France at U. S. rates.

Photoplay Magazine, 350 N. Clark St., Chicago, 111.

Gentlemen:— Enclose find $ for

Send to-Name

'Length of subscription)

Address

From— Name.
Address

Questions and Answers

titimicd)

Seventeen, Baltimore, Md. — No, it isn't
permanent. Wallie shaved il off as soon as
he could. Milton Sills is with World. Earle
Foxe isn't playing opposite Mrs. Castle now.

V., Lincoln, III— Helen Holmes was
born in Chicago. Leon Bary is with Pathe
and Marin Sais is no longer with Kalem.
Pearl While admits to having witnessed 28
summers.

M. T., Wortiiington, Minn. — Billie
Burke's hair is a golden rather than red.
Having signed the pledge for life, it is not
likely that the Answer Man will ever tell
his right name.

Inquisitive, Detroit, Mich. — Henry Kol-
ker was born in Germany. He has been on
the stage about 20 years and is classified as
a leading man, rather than a star.

Polo Fan, Indianapolis, Ind. — Eddie Polo
is still with Universal and has been appear-
ing in the serial "The Gray Ghost." George
Fisher is not married. Eddie is.

J. M., Philadelphia. — Marie Cahill is
making comedies for Mutual. Florence Reed
is to continue in pictures, we believe. Have
no dope on Mr. Kellard's auto or future film
plans.

H. W., Auckland, New Zealand. — Edith
Storey is now with Metro. Mail is always
forwarded when a player changes affiliations.
Robert Walker was the young man with
Viola Dana in 'The Gates of Eden."

J. Canuck, Kitchener, Ont., Canada. —
Jack Pickford is the tallest of the family,
standing five feet, seven inches. Paul Willis
is about an inch shorter and so is Doris
Kenyon. No trouble a tall Johnny.

Little Ann, Detroit, Mich. — You win
all the way in the Pickford controversy.
Mary never went to school in Detroit and
Lottie is the one with the baby. Awfully
nice of you to say such nice things of the
Answer Man.

W. P., Nashville, Tenn. — Write the play-
ers at their studio addresses. Theda Bara
with Fox; Vivian Martin with Lasky; Gail
Kane, American; Gladys Brockwell, Fox;
Beverly Bayne, Metro, and June Caprice,
Fox.

A. M., St. Louis, Mo.— Dorothy Gish is in
Europe with D. W. Griffith. The Cricket in
"The Millionaire Vagrant" was Jack Gilbert.
Write Jack Pickford, care Lasky, Los
Angeles; Crane Wilbur, care Horsley, Los
Angeles.

E. F., Salt Lake City, Utah.— Jack Pick-
ford was 21 in August, so missed the draft.
He attended St. Francis Military Academy in
New York City.

D. K., Toronto, Canada.— We are grieved
that a person of your obvious intelligence
would believe such absurd stories, particu-
larly the one about Charley Chaplin. The
girl to whom you refer in the old Biographs
was Mae Marsh.

K. M., Tomah, Wis.— We are of the
opinion that most of the big music stores
carry the music for "The Birth of a Nation."
Madame Petrova is married and now has
her own film company. Most actresses like
to get letters from their admirers. Willace
Reid is the father of a boy and so is Bry-
ant Washburn. '

Every advertisement in PHOTorLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

T33

Questions and Answers

[Continued)

S. O. S., Seattle, Wash. — The last Lock-
wood-Allison play was "The Promise." Lina
Cavalieri is now with Lasky. Mollie King
i;-n't and Gladys Brockwell is, married.

Poppy, Washington, D. C. — Dorothy
Davenport and Juanita Hansen are the same
age, 22. Juanita is now playing opposite
Crane Wilbur and Dorothy is playing oppo-
site Wally Reid, Jr. Mary Miles Minter is
with Mutual at Santa Barbara, Cal.

Romeo, Montreal, Canada. — Jack Pick-
ford is just 21 and is a native of Toronto.
Violet Mersereau is with Universal at Fort
Lee, N. J.

T. M., Lansing, Mich. — Pauline Bush,
you may recall, became the wife of Allan
Dwan and retired from the screen. Jack
Richardson is with Triangle and was seen
recently with Bessie Love in "The Sawdust
Ring." We have no record of the others
you mention.

A. Cornstalk, Wellington, New Zea-
land.— Jack Dean was married to Fanny
Ward nearly two years ago. Fritz de Lint
played the role of Dick Gordon in "The
Soul Market" and he is married. Harry Ham
of Christie Comedies, now in France, is also
married. Dorothy Kelly was not married
when "The Law Decides" was filmed. Ed
Coxen and Louise Lovely are married but
not to each other.

Jean, West Philadelphia, Pa. — Mary
Pickford's eyes are hazel and her hair is
"naturraly curley," girlie, and she is an inch
over five feet tall. George Walsh is 25,
height S-10H; eyes, brown; hair, dark
brown. He lives in Hollywood, Cal., and is
married to Seena Owen.

Wally's, Medford, Mass. — No, you are
not too tall to play ingenue parts. There
are many stars taller than five feet four
inches.

Marian, Washington, D. C. — Door's al-
ius open; walk right in. Charley Ray was
born in Jacksonville, 111., in 1801 and Jack
Pickford's baptismal name was Smith. Eu-
gene O'Brien will send you his photo, but
you've gotta ask for it. No, he isn't.

J. M., Fort Worth, Tex. — We know Her-
bert Standing and Forrest Stanley, but we
have no record of Herbert Stanley. Blanche
Sweet hales from Chicago.

Peggy, Lancaster, Pa. — Maurice Costello,
we think, is his right name. It is very likely
that he visited Hagerstown during his stage
career.

J. A., Kansas City, Mo. — No Francis Day
appeared in the cast of "Hypocrites" and the
dancing girl in the Lucille Love series is like-
wise ignored. Awfully sorry.

Ruth, Minnneapolis, Minn. — Henry-
King is 29 years old, a native of LaFayette,
Va., and the husband of Gypsy Abbott. He
played in "Little Mary Sunshine," "Pav
Dirt," "The Stained Pearl," "Twin Kiddies'"
and other pictures. Earle Williams is Ameri-
can. J. Warren Kerrigan is in Los Angeles,
laid up with a broken leg. Horse stepped
into a gopher hole and then laid down on
J. Warren's leg.

H. E. R., Cleveland, O. — Yes, kings and
editors have the privilege of using the plural
we. Marguerite Clark was 30 on Washing-
ton's birthday and it's her honest-to-goodness
name. Viola Dana is about 18.

oral Q)Ji

mother
beautiful

Complete
In Solid Gold

$75 * *

In 14 Karat

Gold Filled

$55 * *

has brought the Elgin Company into the lime-
light as designers of complete watches.
Lord Elgin, the third of the series, is one
of the finest and most distinguished of the Stream-
line models. It is extra thin.

The "close up" view at the left shows some-
what of its distinctive personality — every inch a
gentleman's timepiece.

Your Jeweler will enjoy showing you this new
$75 Streamline, as well as the $25 and $50 Streamlines previously an-
nounced— also Elgin Bracelet Watches. Illustrated folders on request.

ELGIN

NATIONAL

1 '> BSian C2's

and f->roducers

IIGIN, UaS.A,

Dainty!
Charming!

The user of Carmen Com-
plexion Powder is Queen of
the Occasion.

CARMEN

Complexion

POWDER

A touch of Carmen gives her
a beautiful, refined, striking
complexion which makes her
distinctive amongotherwomen.

White, Pink, Flesh, Cream
50c Everywhere

STAFFORD-MILLER CO.
ST. LOUIS, MO.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

134

Photoplay Magazine — Advertising Section

~ M

One Hundred Art Portraits

With

Biographical

Sketches

Only Fifty Cents

Your Money
Back if Not
Delighted

Printed on special quality enamel paper. Beautiful
de luxe edition of "Stars of the Photoplay," with
biographical sketches. Read what enthusiastic pur-
chasers have said about this remarkable volume.
Get your favorite players in permanent form. A
wonderful collection, superbly printed on fine paper.

AN IDEAL CHRISTMAS GIFT
for the friend who is interested in moving pictures.

Send fifty cents — money order, check or stamps — for
vour copy and it will be sent parcel post, charges pre-
paid, to any point in the U. S. or Canada. If it does not
come up to your expectations send it back and your
money will be cheerfully refunded, also mailing charge.

Photoplay Magazine 350 NoTthcTark Street Chicago

Military Language Phone Method,

<■„■

l.yth,

Red Cn

I. Al.

. Spi

sh, French,

LANGUAGE-PHONE METHOD
And Rosenthal's Practical Linguistry

The living voice of a native protessor pronounce9
theforeiirn lansruaf?e over and over, until you know
it. Family and frienda can use it. Our Record3
fit all machines. Write for Military circular. Book-
let and Free Trial Offer. Easy payments.
Tbe Language 1'hone Method, 1) tl) Putnam KM?.
2 W. 45th Street. N. V.

If you are earning less than

$SO PER WEEK

and like to draw —you should study

Commercial Art

Leading Art Managers — the men who know —

recommend us and employ our students. We

will guarantee to make you successful— Learn at

| home in your spare time— or in our resident school — Day or evening.

Write for FREE illustrated catalogue.

COMMERCIAL ART SCHOOL, 724. II6S0. Michigan Ave., Chicago, III.

^SHORTHAND
' > IN 30 DAYS

Learned at your Home in 30 days. Boyd System,
Based on Syllables, and entirely new principle which has
revolutionized the Stenographic world. Easy, practical,
speedy. 150 words a minute guaranteed. Course in Tomh
Typewriting FREE. Send today for Catalog, Special Offer
and Sample Lesson.
Chicago Home Study Schools. SOS Reaper Blk.. Chicago. 111.

LEARN RIGHT AT HOME BY MAIL

DRAWING-PAINTING

Be a Cartoonist, Newspaper, Magazine
or Commercial Illustrator; paint in
Water Colors or Oil. Let us develop
your talent. Free Scholarship Award,
Vour name and address brings you
full particulars by return mail and
our Illustrated Art Annual FREE.
FINE ARTS INSTITUTE. Studio 399. Omaha, Neb.

Dr. Esenwein

Short - Story Writing

A course of 40 lessons in the history, form,
structure, and writing of the Short-Story,
taught by Dr. J. Berg Esenwein, for years
Editor of l.ippinrott's. Over one hundred
Home Study Courses under Professors in
Harvard, Hrown% Cornell and leading
colleges. 250-page catalog free. Wrile today.

TheHomeCorrespondence School
Dept. 95 SPRINGFIELD, MASS.

PAID

for

ONE

DRAWING

ITIusrxators — Cartoonists — Com-
mercial Artists make big money.
Learn now at home in spare time
bv our new instruction method.
Hancisome booklet free explains
everything. Wr'te for it today.
Get our Special Free Outfit offer.
Washington School of Art
1285 H St.. N. W.. WASHINGTON, O.C.

Questions and Answers

(Continued)

Dimples, Exeter, N. H — Directors sel-
dom engage people on merely photographic
evidence. A good photographer can make
a very ordinary looking Sapper look like a
million' dollars and no one knows this bet-
ter than the motion picture folk. Madge
Evans is 5 years old, Jane Lee almost the
same and Katherine Ditto is 7. Never
beard of Pauline. Don't think she's an
actress, but you can't always tell. "Masque
of Life" cast: Pierrette, Rita Jolivet; Pier-
rot, Hamilton Revelle; Evelyn Wolf son,
Evelyn Vadito; Mr: Wolf son, Prince George,
M. Comerio; Pete, Pete Montebcllo.

E. M., Hamilton, Ont., Canada. — Mary
with Robert Warwick in "The Argyle Case''
was played by Elaine Hammerstein.

B. D., Weston, W. Va. — If you mean the
girl in "Patria" we think you mean, it is
Dorothy Green. Mary Charleson is playing
opposite Henry Walthall. Ed. Coxen and
Frank Mayo are married.

E. F., Marshall, Minn. — You prob-
ably refer to Triangle's "A Daughter of the
Poor" in which Carl Stockdale played the
factory owner and George Beranger the
leading male role.

G. W., Athens, O.— They say that the
baby looks like Wallie, but see for yourself.
Xorma Talmadge was on the cover in the
February issue. Mrs. Castle is no relative
of Courtenay Foote. They are different
Feet, as it were. Cleo Ridgely has perma-
nently retired from the screen. Bill Hart
is not engaged to marry anyone yet but —
Family pictures are hard to get. It seems
to be out of fashion to have them taken.

Seventeen, Montgomery, Ala. — Unable
to find out the day of the week when Rich-
ard Travers was born. Awfully sorry.

L. U., Chicago. — Emmy Wehlen is not
married and it's her real name. Write her
care Metro, Los Angeles, Cal. Write Mary
Pickford, care Lasky, Hollywood.

L. B., Washington, D. C. — Sessue Haya-
kawa has been married about three years.
Marguerite Clark has never played in a se-
rial.

E. H., Philadelphia.— Pauline Frederick
has brown hair and gray eyes, is five feet
four inches high and can be reached at
Famous Players, New York City.

S. S., Denver, Colo. — Your former fel-
low townsman, Robert Z. Leonard, is back
at Universal and is directing Mae Murray in
Bluebird pictures.

G. H., Worcester, Mass. — Write to any
trade paper for the names of the exchanges
in Boston.

E. E., Washington, D. C. — WTilton Lack-
aye lives at the Lambs Club, 130 West 44th
St., New York City., and Jack Holt is with
Lasky's in Hollywood, Cal. Always be glad
to hear from you.

Russell, Brookton, N. Y— D. W. Griffith
is making pictures in Europe and has already
completed three war stories, we are informed,
with the Gish sisters and Bobby Harron in
the principal roles. Franklyn Farnum is no
relative of Bill and Dusty. Few of the stu-
dios permit visitors. ,

Snow White, Montreal, Canada. — Your
letter was a treat and we are sorry it could
not have been acknowledged sooner.

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

i3S

Questions and Answers

(Continued)

Margaret, Washington, D. C. — Write
to the auto department for information
about tin Elizabeths. Niles Welch can be
reached by long distance at the Somerset
Hotel, N. Y. City. Vernon Steele is with
Goldvvyn; so is Mabel Normand. Antonio
Moreno is with Pathe and Billie Burke with
Artcraft.

Shiela, San Francisco, Cal. — It's about
three years since Alice Joyce and Tom
Moore played together. Tney played in
"Nina of the Theater" and "The Brand."
Owen Moore is about 29, we think. Come
again.

E. G., Rosebank, N. Y. — John Bowers
played opposite Miss Pickford in "The Eter-
nal Grind." "The Little Princess" was com-
pleted by that star in mid-September. Hazel
Daly who has been playing opposite Bryant
Washburn, is a product of Cnicago. Mary
Miles Mmter will send you a photograph.

E. H., Dalton, Ga. — Your photograph
was somewhat out of focus so we couldn't
tell how you'd stack up as a photographic
subject. In "Mind Over Motor," the leading
part Tish Carberry was played by the late
Camille D'Arcy. Other members of the cast
were: Charlie Sands, Eugene Acker; Bet-
tina, June Keith; Jasper, Edmund Cobb;
Mr. Ellis, Grant Foreman ; Lizzie, Louise
Crolius; Aggie, Marion Skinner; sheriff,
Hugh Thompson.

A. H., Boston, Mass. — The "feeling" that
one could succeed in the movies is exceed-
ingly prevalent and especially common
among girls of from twelve to sixty-two
years old in that part of the United States
which lies between the Atlantic and Pacific
oceans. The only way to ascertain definitely
whether one has camera possibilities is to
have a photographic test made. Training
in a dramatic school will be a good thing
for you even if you fail to get into the
"land behind the screen."

John, Lawrence, Mass. — Alma Rueben
is still with Triangle and is now a star in
her own right. J. Barney Sherry is also
with the old homestead. House Peters and
Blanche Sweet are not engaged at this
writing.

A. L., Berkeley, Cal. — Write Theda
Bara, care William Fox, Los Angeles, Cal.

G. G., Oakmont, Pa. — Vivian Martin was
the girl in "The Girl at Home." Margue-
rite Clark will be delighted to send you her
picture.

Point Lookout, L. I. — Anita Stewart
does live at Brightwaters, Long Island, but
her mother, not her sister, lives with her.
Jack Holt played opposite Mary Pickford in
"The Little American." Charley Ray is a
little over six feet high and has brown hair
and eyes. Petrova is married but has no
children. Her hair is red and her eyes are
green but they don't look that color on the
screen. Poetry, muh dear. Yes, tis; don't
it rhyme?

William, Passaic, N. J. — Bill Hart has
made several pictures since "Wolf Lowry"
including "The Cold Deck" and "The Nar-
row Trail." He was never an actual cow-
puncher.

Lola R., Paterson, N. J. — Grace Cunard
was married before she became the wife of
Joe Moore. The latter is 22 years old. Wil-
liam Farnum is married. His wife is Olive
White of the legitimate stage.

Y BUYS A GIBSON

Tho Sweet,
Mellow Tone
of "Gibson"
Instruments
has made
many a
"Sammies"
Departure
easier to bear

Make$

1 ormfl as
low as St.fHJ down —
51.50 per month. Mandolin or
Guitar hi nf. on approval. Liberal
lownnco on old instruments in exchange for
the**<jill»f*on. "Tiie wonderful now Gibson violin
construction hns set the whole Mandolin una
Guitar world talking. Get our new FREE BOOK— 112
pages— 111 illustrations, a valuable fund of information
for plaver and teacher. Also £M£I£I£ treatise on
"HOW TO PRACTICE."

Exclusive Features Thai Make Every Gibson Matchless:

Stradiverlua arching — scientific graduation

from thickness at center to thinness at rim, securing
strength— sensitiveness— free vibration of entire
sounding board. Tilted neck, high bridge with
extension string holder, securing increased
string pressure that vibrates a larger sounding board,
producing a bigness of tono never before realized.
Reinforced, non-warpoble neck — elevated
guard plate or finger rest — easy action— *
adjustable string-bearing at bridge overcom ing f Gibson Mandolin
sharping of heavier strings in upper positions. § fcrultar Company

| _ 472 Parsons St,

800 to $5000 or More a Year /

Teaching and Selling the Gibson f

Become a teacher. Splendid opportunities for either sexjnevery ■

Ealamozoo, Mien., U. 8. A.

Gentlemen:- Without obli-
gation, send raefree book com-
- m plete Catalog, free treatise,
localityfor private and class instructionand the sale of Gibsons. * also information about the Wm.
Gibson instruments have **made" many a teacher, profession* • Place, Jr., hook and instrument
ally and financially. Wohaveapermancnttcachitigandbusiness # checked. It teacher check bere^
opportunity now open for either sex. Other positions pendinpr. f n lufnnrfr,!;n n Mnn/t/i.hnu
WfUTE PROMPTLY. A. O. Broekmeyer, St. Louis, Mo..Teacher « „ ™ T, " JtoA-tel

and Director writes: "Will do Slo.OOO business in 1917; did | Q Mandola U Guitar

$7,000in 1916." C. A. Templeman, teacher, Sioux City, Ia.,writ«: * UMando-cilh □ I'ari.rvitnr
'•$4,500 Kross business for the year." Wm. Place. Jr. America's I «--'«-"--•"«••» --- crp-nt'tar
Greatest Mandolin virtuoso. Star Soloist for Victor Talking Machine -
Co.. UNQUALIFIEDLY ENDORSES THE GIBSON. _ _ _ _ f

' Name

)Id; return ff

poods not sold. 7T—

Organization, Dire'

cssnil director, ft....

logically Explained," all free. Doo't Wait: ACT NOW.' FILL II>J THE COUPON.

Gibson Mandolin-Guitar Co., 472 Parsons St., Kalamazoo, Mich., U. S. A

Do Business on Out* Capital ^SS-S^SS%^!^&

furnished. We pay the advertising.. Vou make the profit. You pav for poods when sold; return

1 Try our •'Still Hunt." FREE to those interested, our new $1.00 book "The ■
and Maintenance of the Mandolin Orchestra," by America's most sue- *

Be euro you bavo checked instrument.

The

irttrqM

of Every

Woman

The attractiveness
of Venus is in that
form divine — a per-
ct bust and fitrure—
?h hrs become fa-
■"mous throughout the ages.
These glories of sex are nat-
ural to all women who can, if they wish, possess
them to an astonishing degree.

I have just written a book which tells how women
may satisfy their natural desires and secure the
beauty of bust development. The book is sent free
because it also tells about the

Kathryn Murray Method
of Form Development

This Book Free

Send for it and learn how to
add style and attractiveness to
your figure— develop your
bust— possess beautiful round-
ed shoulders. Book tells you
how to do it in a charmingly
natural and simple manner.
Write for it today. Sentfree
in plain sealed envelope.

KATHRYN MURRAY

Suite 125S-B Garland Bldg., Chicago

urse

Earn SJ5 to $25 per week

Thousands are taking up this congenial,
respected vocation. Offers unusual so-
cial advantages. Excellent income. Any
woman of 18 or over can learn under
our simple, perfected system.

LEARN AT HOME

Our system founded 1902 is endorsed by
leading physicians. Dr. Perkins, the founder.

nthly payments. Send for 32 lesson
pages ami large illustrated catalog today —
AL'- FREE upon request. Write now. Dept. 5
CHICAGO SCHOOL OF NURSING, Fst. ] ": .'
116 South Michigan Boulevard CHICAGO

Why She Turned
Her Head Away

!|HM The woman with super-
B?QTl fluous hair never for
^tf / one minute forgets her
T /I 1 disfigurement. She is
continually self con-
scious. She is afraid
of close scrutinyindaily
business or social life.
X. BAZIN Depilatoiy
Powder will rid her of this embarrass-
ment. It has been used for over 75
years by women of the stage and by
society women, by leading surgeons
in hospitals. X. BAZIN is easily ap-
plied, acts quickly, and effectively.
We have sold over one million
bottles to American women. This is
the best guarantee of its efficiency.

50c and $1 at Drug and Department Stores

// they do not have X. BAZIN,

send us 50c for large bottle.

HALL & RUCKEL 213NEwhYnaRKSt

Contains rare and beautiful designs for
Edgings and Insertions. To introduce TEX-
AZILK, our new hard-twisted, mercerized
cordoney (best for tatting, edging- and ini-
tials).we will mail this Crochet Book Free
and Postpaid to any lady sending only 10c
silver or stamps for 2 full size sample balls

TEXAZILK

comes in eize70only, in white, black, med-
*0i" ium green, pink, rose, scarlet, light blue,

delph, light yellow. Crochet Book is clearly illustrated so designs
may be copied by anyone. Send at once and get this book FREE.
COLUNGBOURNE MILLS, Pept. 537 . ELGIN. ILLINOIS

When you write to advertisers please mention PHOTOPLAY MAOAZTNT5.

'36

Photoplay Magazine — Advertising Section

Relieve your
foot troubles

with a

Misplaced bones cause most foot troubles.
Fallen arches cause pain in feet, legs, thighs,
and back. Lowered bones pressing on the
sole cause callouses. Misaligned bonescause
run - over heels. The
iio»a\ Wizard Adjustable

Callous /temovsr

Arch Ba/Mer

Affect tereJer

give instant relief by
supporting misplaced
bones in normal position,
with soft inserts in over-
pping pockets. Any adjust-
ment needed easily made.
Wizards are soft, flexible,
featherlight and feel fine. No
metal — no breaking in. Each
device made separate or
combined for cases with
more than one trouble.
For sale by shoe dealers.
If not by yours, write us.

'Orthopraxy of the Foot." A
treatise oit foot troubles. Free.

WIZARD FOOT APPLIANCE CO.

1537 Locust Street, St. Louis, Mo. bum

YOU WANT THIS CARD

Because it will represent you better, or do more for you than
any other card in getting some desired interview. The famous

Peerless Patent Book Form Card

is the exclusive choice of the man of distinction everywhere. It Is
one of the evidences of his distinction. You cannot appre
ciate or understand the uniqueness of this card
without a visual examination of
it. The fact that you are not no
using it, if you are
not.isaccountedfor
solelybythe further
fact that you have
not examined it.
Examine it forth-
with. Send for a
sample tab today
anddetach thecards
one by one and note
their perfectly
Smooth edges— Appearance ol Our Neat Card in Case
their absolute perfection. It is the card you want.

THE JOHN B. WIGGINS COMPANY

Engravers, Die Embossers. Plate Printers
705 Peoples Gas Bide.. CHICftGO. 1104 SOUTH WABASH AVE.

MRMY^NAVY

Just Out! CoIHnRbourrje'sArmyand NavyV

Knitting Book Tells how and what to knit fori
our soldier and bailor Boys. Contains complete
instructions tor knitting Trench Caps, Helmets.
Jackets Wristlets. Mufflers, SockB. Sweaters
Mitts, Wash Cloths and many other novelties.
: Free and postpaid to any lady who will
her name and address, and state that
useCollmorbourne's (best value) Lus-
trous Wool, or CollinRbourne'a Knitting Cot-
ton, which you can get from your dealer, or
if he cannot supply you, eend toua. Write
today. ia\

COLUNGBOURNE MILLS

Dipt. 47

Elgin, III.

Questions and Answers

(Continued)

H. S., Marysville, 0. — So would we
think a lot ol Pickford and Fairbanks pic-
tures if we had to drive 28 miles in our lord
to see them, but unlortunatuiy we have no
Ford — not even a tierce Sparrow. Gale
Henry is at Universal City and Polly Moran
at Mack Sennett's bonbon foundry. Per-
haps Theda never received the roses you
sent her.

Irene, Lowell, Mass. — There might be
some difficulty with the government censors
if Tom Forman were to be interviewed at
this time. You see he is a soldier now.

J. F., Meridian, Miss.— "The Red Rose,"
a Russian modern play, is the latest Bara
vehicle. It was written by Richard Ordynski,
one of Russia's foremost playwright-actors
who plays opposite Miss Bara in the produc-
tion. We cannot recommend any corres-
pondence course in photoplay writing.

Peggy 15, Philadelphia. — Congratula-
tions on acquiring another year. Gazelle
Marche was the wife of Bruce in "The
Argyle Case." Glad you like the new style
magazine and that makes it unanimous.
Hope all subsequent issues will meet with
the same approval.

Frances, Chicago. — Florence Lawrence is
retired. Her husband is Harry Solter, now
a Universal director.

Loida, Vineland, N. J. — We are of the
impression that Mr. Ray answers his cor-
respondence himself. "The Coward" was a
photo drama produced by Triangle.

C. H., Oakland, Cal. — Clara Williams
played in "Hell's Hinges." Margery Wilson
played in "The Clodhopper." The Fairbanks
twins are both of the so-called gentle sex.
They are on the musical comedy stage now.
Thanks for your "hope."

R. B., Davenport, Ia. — Roscoe Arbuckle
is married. Her name is Minta Durfee and
you've probably seen her in Keystone
funnies.

Dandy, Cheyenne, Wyo. — Eileen Percy,
Doug Fairbanks' leading lady, is a native of
Ireland but she left the old sod at a very
tender age. She is only 17 years old, so
you are probably mistaken.

B. L., Venice, Cal. — Gertrude Berkeley
was the mother of the boys in "War Brides."
It was her first screen appearance as she
had been playing the same part in the vocal
version with Nazimova.

F. S., Little Cedar, Iowa. — Enjoyed your
poem immensely. We have informed Miss
Minter that you had chosen her as your
favorite and she said she was delighted.

John, Lawrence, Mass. — Zane Grey's
"Light of the Western Stars" has been pro-
duced by Selig but it was said to be a failure
and was never released. We are told that
Selig will do it over again. Alma Rueben
is heading her own company at Triangle
now. James Young with Clara K. Young
in "Without a Soul," is the star's husband
as you surmise. Only Frank Keenan knows
whether he will return to the Shadow Stage
and maybe he isn't sure.

Caterpillar, Chicago. — Hard to tell you
just what sort of reception you'd get. Gas-
ton in "American Methods" was Bertram
Grassby, M. Moulinet was Willard Louis,
Betty Armstrong was played by Florence
Yidor and Octave by Jewel Carmen.

A. F., Little Falls, N. Y.— Ethel Clay-
ton is with World. She observes her natal
day yearly on November 8, not having
reached the age of birthday aphasia. Wil-
liam Courtleigh, Jr., played with Miss Clark
in "Out of the Drifts." Some of our well
known players are now starring in "Out
of the Drafts."

H. A., Portland, Ore.— William S. Hart
is an inch over six feet tall, weighs 190
pounds, is a native of Xew York state and
is of English and Irish extraction.

E. Jane, Chicago. — Elmer Clifton is 25
years old having been born on March 14,
1892. He is a Canadian and married.

M. P., Hudson, N. Y. — Edward Martin-
dell played Robert Armstrong and Paul Gor-
don was Dick Armstrong in "Vanity" with
Emmy Wehlen.

M. E., Stevens Point, Wis. — No, that
wasn't Douglas Fairbanks* in "Seventeen."
It's a long time since Doug has played "bits"
and he's never done it in the movies.

C. S., Kansas City, Kan. — Jack Mower
was the handsome guy who made the hit
with you in "Miss Jackie of the Navy" op-
posite Margarita Fischer. He's now with
Universal.

J. Yew, Bocas, Panama. — We are hardly
qualified to tell you which of the two gentle-
man, Jack Kerrigan or Francis Bushman
"know more about pugilism." Charley
Chaplin is English. "Neal of the Navy"
was filmed in Southern California more than
a year ago. Remember us to the hat man.

K. P., Erie, Pa. — Nazimova and Petrova
are natives of Russia. The former is Mrs.
Charles Bryant in private life, the latter the
wife of Dr. Stewart of Indianapolis. Mr.
Bryant is an actor.

L. K., Balmain, N. S. W., Australia. —
If we see Francis X. we'll surely tell him
that he ought to answer your letter. Stage
experience is not essential to success on the
screen.

B. C. D., Richmond, Va. — You will have
to write the stars direct if you desire their
photos. That's outa our line.

E. M., Cleveland, O. — "Can a family go
to Los Angeles and make a living like in
Cleveland?" Most assuredly. There are
quite a few families in Los Angeles and
business at the poorhouse is awfully bad just
now. Mary Miles Minter is at Santa Bar-
bara, Cal.

Leslie, Hamilton, Ont., Canada —
Douglas Fairbanks is his real name and he
is 34. Write him at Hollywood for a photo-
graph. You needn't send him any money
for it.

F. M., Oakland, Cal. — Tom Santschi is
married but that won't make any difference
if you want to write him as he does not
make a practice of answering letters.

Kathryn R., Cincinnati, O. — House
Peters hasn't signed any contract at this
writing. He played Stuart Kirkicood in
"The Lonesome Chap."

Phrynette, New York City. — Donald
Brian hasn't been filmed for a long time.
Don't think anyone is thinking of producing
"The Merry Widow" as screen entertain-
ment.

Ever! advertisement ia PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

137

Direct Barnard y Co At K£

Headquarters Prices

14K Solid Gold
t4CSteel Blue $30.00

S^SC Extra Cue $41.5(>

3-8C Rare Steel $62-50

14K Solid Gold
Blue White . . . »#SMW
J.tr°eJ<?tgerEIUe $121-50

W^li^ *'"! $SO.oo

From

If you expect to invest in a diamond between now and Xmas be sure to get my big free

book. It will open your eyes to diamond facts necessary
for you to know in order to buy safely and intelligently.

Here are the secrets of my money-saving prices on dia-
monds: With my world-wide business of tremendous vol-
ume, I can buy direct from the cutters of Europe, then
resell direct to you at the smallest margin of profit. I
have eliminated all middlemen — all waste — in the selling
of diamonds and guarantee that you cannot match my
prices anywhere, wholesale or retail. If you don't see a
savingof 35% in the diamond I send you for free examination, send it back!

Send No Money!

Merely send for my beautiful Diamond Book — select the diamond
and mounting of your choice, and I'll ship it for your inspection — at
my expense and without obligating you to buy. As we get all our
business in this way our success proves our prices lowest by comparison.

Bankable Money Back Guarantee

The only bankable Money Back Guarantee in the diamond business.
You can take it to any bank and cash in your diamond investment if
you want to. The only guarantee without red-tape, delays or evasions.
It is also a legal certificate of carat weight, quality and value of the
diamond. Allows you to exchange it at full value
at any time.

$88

Per Carat

Blue White, per-
fect cutting, good
brilliancy. Worth
$100 per carat.
X Carat $15.50
% Carat

% Carat

40.25

7 fine quality Best Blue
White Diamonds, platinum
cluster. MKRing&^^gg

7 Diamond cluster, finest
Blue White Diamonds, plat-
inum, 14KRi
$1(J0 feizo . .

$67-13

14K carved rose finish ring.
3-8C Blue White $35.88

3-8C Steel Blue «CQ OR 3-4CHire£teel «| 70 ar%
Diamond JJ>£>y.OO E,ne Djamond. ** l*»

1"K Solid Gold Ring.
6-8C Steel Blue »lfiq 00

3-4CHareSteel
Bine "

Fine Italian

Coral Cameo

in hand made

dinner rinp. 1

fine Diamond.

$20 quality and

value. Barnard

price.

$10-88

Solid Gold Necklace, brand new
and stylish. 15-inch chiin. 6 fin©
quality Line White Diamonds.
Very fine desiim and v7or:anan-
ehip. S40. value. (>Oy1 Ofl
Barnard price . . . &££±»<-><>

*133

Per Carat

Extra BlueWhite,
perfect cutting,
extra brilliancy.
Worth $200 per C.
H Carat $22 50
X Carat 59.00

% Carat 96.00

$117

Per Carat

Wesselton Steel
Blue White, per-
fect cutting.
Sight perfect.
H Carat $ 27.00
H Carat 77.00

% Carat 128.00

$233

Per Carat

Roberts Victor
Steel Blue , perfect
cutting, first qual-
ity eye perfect.
H Carat $ 39,00
H Carat 90.00

% Carat 165.00

$288

Per Carat

Rare Jagers fon-
tein Violet Blue,
absolutely perfect
and better than
first quality.
K Carat $ 42.00
% Carat 119.00
% Carat 205.00

FRFF 1918 DeLuxe Book

of DIAMONDS

Profusely illustrated in colors.
Shows thousands of the greatest
bargains in diamonds. Tells you all
about diamond qualities, colors, im-
perfections. Shows every fash-
i onable and popular style of mount-
ing in 14K solid gold and platinum
at actual factory cost. Also all
sizes of diamonds in 7 different
qualitiesatimportpric.es. Agold-
titled bound book, free f orasking.

N. W.

Barnard & Co.

Headquarters Chicago, u. s. a.

Cor. State and Monroe
Dept 2488 -P

Book
Coupon

BARNARD & CO., Dept. 2488-P
N. W. Cor. State and Monroe, Chicago

Without expense to me or the slightest
obligation please mail 1918 DeLuxe Book
of Diamonds to

Name.

/ Addi

fCity State.

When you write to advertise™ please mention rHOTOPI AY MAGAZINE.

i38

Photoplay Magazine — Advertising Section

Play Billiards!

Keep the Home Fires Burning

Carom and Pocket Billiards are an all-year sport — brimful of fresh surprises
every game ! This is not forced exercise, but healthful fun ; and it brings to
players life-long benefits.

Shared by boys and girls, and mothers and" old boys" — billiards instils the
love of home in all. With practice you can soon control the balls, but not the
merrv flow of jest that often makes the best of players lose.

Give your home Carom and Pocket Billiards — not "sometime," but NOW — this Christmas.
A small part payment puts a scientific Brunswick Table in your home. Pay the balance monthly — as you play.

Send

Your Address

For Billiard

Book FREjE,

HOME BILLIARD TABLES

THE DRUNSWICK-DALKE-fOLLENDER TO.

Life, speed, accuracy and lightning action — beautiful cabinet work in rose-
_ wood, mahogany, oak and walnut. Brunswick "Quick Demountable" Tables
^ fit all size rooms, and are easily folded when not in play,
w "Baby Grand" home-size regulation styles for spare-rooms, lofts, basements, or

^ private billiard rooms. Balls, Cues, Rack, Markers, Tips, Cue-Clamps, expert book of
r> eou ar> e-y> o ^33 games, etc., all included free.

Dept. 58H, 623-633 5. Wabash Ave. ^ Write at once for handsome color-book— "Billiards — The Home Magnet"

Chicago, HI. ^ ancj pj^ out tne s|2e an(j S(y]e Dest fitted to your home.

Send me one of the free color-books— ♦ Lou' prices, easy terms and home trial offer included.

"BILLIARDS-The Home Magnet" + Mail the coupon for this interesting book at once.

and tell me about your home trial offer.

Same

.... ^

A tiJress

JHE gRUNSWICK-gALKE-fOLLENDER £0.

Dept. 58H, 623-633 S. Wabash Avenue, Chicago

Dealers, Write for Attractive Agency Proposition

Every advertisement In THOTOFLAY MAGAZINE is guaranteed.

^ q^4 1

FAIRYSOAP

White, oval, floating— Fairy
Soap combines purity and
convenience with a fine
cleansing quality that is
most refreshing.

Its use adds real pleasure
to toilet and bath.

THE N.K. FAIR BANK COMPANYl

The oval, floating cake
fits the hand.

"Have you a little Fairy
in your home?"

F/flftY

V-cc.

IMt WUKLUb LtADlNU MUV1NL. ni^lUKL MAUAZ-lINt

r-cL'd. n

PHOTOPLAY

January
20 Gents

N«i:*a i« DaJar. When you finish rending this

Notice to Header. mik(fft2i,ie place* i-c*nt ?umP

on this notice, hand same to any postal employee

and it will be placed tn the hands of our soldiers or

sailors at the front. NO wrapping— no address.

A. S. Burleson, Postmaster General.

JUNE ELVIDGE PAINTED BY HASKELL COFFIN

%££?£! Ptdges If 777 C* In This Do You Really Want Better Pictures?

rive great short stories. <9<9 ^Brilliant interviews •*-'*' x Ul/J /

with Marguerite Clarke, Earl Williams, Julian t You can have them. It's up to you. The great picture

Eltinge, 'Baby Stars, "June Elvidge and others. ±SSUC producers of America tell you how to get them. See page 70.

zMary £MacLane 'writes her Impressions of the ^Movies

Polish and Protect Your pnoleuflj

-- - -::--- -^^ ./- -• / .... >— -^--_L ; jj

\ ■ \ . .

With Johnson's Prepared Wax. Any housewife can easily apply it and
keep her floors in perfect condition by "simply wiping up the dust occa-
sionally with a dry cloth. Less than an hour is required for polishing a
good-sized floor and it may be walked upon immediately. Johnson's
Prepared Wax brings out the pattern of Linoleum and preserves it.

A Dust-Proof Furniture Polish

to its life — covers up mars and small surface scratches
and prevents checking. Johnson's Prepared Wax
will quickly and permanently remove that bluish
cloudy appearance from your mahogany furniture.

JOHNSON'S

"Z/q use/ arzcf />ctsfe

PREPARED WAX

sized floor, or an automobile in half-an-hour. Johnson's Liquid Prepared Wax is ex-
actly the same as the Paste Wax except that it is Liquid.

Contains No Oil

Tell your dealer that Johnson's Prepared Wax is now made
in Liquid Form and insist upon his supplying you with it.

A Splendid Auto Polish

With Johnson's Prepared Wax you can make your
car look like new and save the cost of revarnishing.
It covers up mars and scratches — removes road oil — pre-
vents checking and cracking — sheds water and dust — and
makes a "wash" last twice aslong. It preserves the varnish and
protects it from the weather, adding years to its life and beauty.

Write for our folder on Keeping Your Car Young — it's free.

S. <1 JOHNSON & SON, Dept. P.P.I Racine, Wis., U. S. A-

Photoplay Magazine — Advertising Section

WHIM

Dt?>

Like Taking a New Home

Treasured sentiments and memories cluster about the old home, and yet —

THE new home represents new ideals, new
hopes, the fulfilment of years of planning,
expectations realized. It suggests a honey-
moon, or the renewal of a honeymoon long passed.
It starts a fresh chapter in the book of our lives.

Sentiments and memories cluster about one's faith-
ful old motor car, too. Yet the old car can't go
on forever, and the superior new one, like the new
home, carries with it new ideals, new hopes, and
a freshness that gives life a delightful zest.

Now that your old car has served its period, let
your new one be a Winton Six — a car especially
planned to your individual taste, and picturing
your personal ideals. Our artists have long spe-
cialized in creating just the type of car to fulfil
your hopes. It will increase your happiness.
Better telephone or write our nearest branch house
Open Cars or dealer right now.

$2950 to $3500

closed Cars The Winton Company

$3265 tO $4750 734 Berea Road, Cleveland, Ohio, U. S. A.

■0 • /. Branches in New York, Boston, Newark, Baltimore, Philadelphia,

trices Subject tO increase Pittsburg, Cleveland, Cincinnati, Detroit, Chicago, Milwaukee,

'Without notice. Minneapolis, Kansas City, Los Angeles, San Francisco, Seattle.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

wiiimiimiiiiiiiiiiiiiiiiiiiiiiiimiiiiiiimiiiiiiiiiiiiiimim

"We are advertised by our loving friends'

Mellins Food

The successful use of MellirTs Food and cow's
milk for over fifty years as a satisfactory food for
the baby is due to the fact that this diet contains
the elements necessary for the healthy growth and
development of the baby.

Write today and ask us to send you a copy of our helpful book,

"The Care and Feeding of Infants," and a Free

Sample Bottle of Mellin's Food.

Mellin's Food Company,

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

\i y-cc

REG. U. S. PAT. OFF.

THE WORLD'S LEADING MOVING PICTURE PUBLICATION

PHOTOPLAY MAGAZINE

"The National Movie Publication"

James R. Quirk, Editor

nine1: ■; .: j ■ ■ : . . ■ , t- ■.■■ :»■,■,,■■., I,,,!' ii .■■,■ .■■ , > 'iiiinniiiHiHiiniiiii!

VOL. XIII

Contents

No.

JANUARY, 1918

nit-z^

Cover Design — June Elvidge

From the Pastel Portrait by W. Haskell Coffin

Rotogravure: Vivian Martin 19

Blanche Sweet 20

Mrs. Sidney Drew 21

Miriam Cooper 22

The Land of Make-Believe Editorial 23

The Movies— and Me By Mary MacLane 24

A Famous Writer Gives Her Impressions of the Picture Stage.

The Villain By Delight Evans 26

She Adores Him.

Where Childish Dreams Come True By Elizabeth Peltret 27

Some Kiddies Who Have Found the Road to Fairyland.

The Little Princess (Fiction) By Frances Denton 32

A Christmas Story from a Christmas Photoplay.

Out Where

A Tribute from a Soldier in France.

By A. J. Anderson 37

Mid- Winter Sports a la Mode (Photographs) 38

The Clothes of a Perfect Day By Harriette Underhill 40

June Elvidge Knows How to Wear Them.

Signing Up Cynthia (Fiction)

By Frederick Arnold Kummer 44

Illustrated by Charles D. Mitchell.
Cynthia Was Lost— But She Had Her Contract With Her.

(Contents continued on next page)

liiiiiiiini' ' ■■ i iiiiiiinininiini niini

i ;•

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111.

Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. Robert M. Eastman, Sec.-Treas.

Alfred A. Cohn I Managing ) Los Angeles

Randolph Bartlett f Editors ( New York

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba:

$2.50 Canada; $3.00 to foreign countries. Remittances should be made by check, or postal

or express money order.

Caution— Do not subscribe through persons unknown to you.

Entered at the Postoffice at Chicago, 111. , as Sec ond-class mail matter.

Next Month

Just a Little Tip

Photoplay Magazine has had a
wonderful increase in circulation of late.
The reason? Inasmuch as 05 per cent
of it sells over the newsstands it must
be that folks like it. We know no other
reason. Be sure of getting your copy.
Many people have been disappointed
and have written in to us only to find
we didn't have a copy left. The best
way to get your copy is to order it
from your newsdealer in advance. Just
tell him to save you one.

Real Help for Scenario Writers!

If you are at all interested in scenario
writing — and a census would show that
almost every second adult person in the
United States is — you will be delighted
with the series of articles on that sub-
ject by Anita Loos and John Emerson,
which will begin in the issue of Photo-
play following this one. We feel that
these articles will be the most practical
ever published, for they deal, not only
with the actual writing of the scenarios,
but with all the other essentials such
as studio conditions, adaptability of
players, camera limitations, etc. They
will tell you just what material they
want at the studios — and what's just as
important to you, what they don't
want. These articles will do one of two
things for you, encourage you along the
right direction, or demonstrate to you
the utter futility of your wasting time
on this line of literary endeavor. Be
sure to get the first article of the series.
It appears in the February issue.

Alice's New Clothes

Alice Joyce has been spending a lot
of time at the dressmakers these days.
The results are worth it, however, and
in the February issue of Photoplay
you will be given an opportunity to see
her new gowns and wraps.

u»ir:!,rnr:!

piwy

ItrffeJt ■ ll-VU.-.TT

;il rill", H'tH i'lr^Tl ""'ItW?"

Contents — Continued

"She Says To Me, Says She—" By Edward S. O'Reilly

"Tex" Meets Marguerite Clark, and Utterly Succumbs.

"Mother-o'-Mine" (Photographs)

Barker— His First Name is Reginald— By E. V. Durling

But He's Successful in Spite of It.

Stars of the Screen and Their Stars in the Sky

Ellen Woods

Horoscopes of Kathlyn Williams and Wallace Reid.

A Branded Soul (Fiction) By Isabel Ostrander

Narrated from the Photoplay.

Getting Down to Brass Tacks By Cameron Pike

Just a Few Little Things About Earle Williams.

The Shadow Stage By Randolph Bartlett & Kitty Kelly

Reviews of the Latest Photoplays.

She Earns Every Penny (Photographs)
Rotogravure : Kitty Gordon

Portraits of Antonio Moreno, Robert Harron, Thomas Meighan,
Owen Moore, Montague Love, William Desmond and Harold
Lockwood.

Doris'Kenyon
Close-Ups
Griffith Mystery Solved

Letting the Big Secret Out.

On the Screen— At the Studio

The Difference Between Them.

Editorial Comment

Why Do You Do It?

Six Great Producers Tell the Public the Credit and Blame is Theirs.

Mothers Plus— (Photographs)

Clothes Do Not Make the Woman By Kenneth McGaffey

Just the Same — Julian Eltinge Is a Perfect Lady.

Hydrant-Headed Reform (Fiction)

By Edward S. O'Reilly

Illustrated by D. C. Hutchison.
Temperamental Tim Joins the Law-and-Order League.

Lady Gun-Men (Photographs)

Plays and Players By Cal Yorke

Peppery Personalities About Popular Players.

"Stars or No Stars — That Is the Question"

By Alfred A. Cohn

H. O. Davis Harmonizes Efficiency and Art.

The Savage (Fiction) By Jerome Shorey

From a Photodrama of the Far North.

Why Do They Do It?

Film Critics Point Out Inconsistencies in Pictures.

The Winners of the Scenario Contest

An Ail-Around King By Allen Corliss

Raymond Hatton, Official King of the Lasky Studio.

Fifteen Feet Away They'll Pass for the Real Thing

About Arthur Sheppard, an Artist of All Schools.

Douglas Fairbanks' Own Page

"Old Doc Cheerful" Extends the Season's Greetings.

Over the Top at Fort Lee (Photographs)

Lionel of the Cinemas (Fiction) By Roy Somerville

Illustrated by John R. Neill.
Lionel Makes a Hit in an Entirely Original Make-Up.

70
71

72,73
74

78
79

82
84

Questions and Answers
Dressing for the Movies

By the Answer Man
By Helen Starr

91
92

101

103
105

106

107

108
109

113
133

Next Month

What Makes Them Emote?

That's a question the Editor has had
fired at him a thousand times. How
do the directors get their players
worked up to the pitch where they cry
real tears, where they register real emo-
tions like fear and horror, love and af-
fection, and a thousand other emotions?
Sometimes they spend a whole day
working a player to the point where
they feel satisfied and give instructions
to the cameraman to "shoot." Then
there are other ways, let's call them
artificial methods, of securing this desir-
able end. In the February issue you
will be told all about it in a wonder-
fully illustrated story.

Acquitted by a Photoplay

You would regard it as fiction,
wouldn't you, if some one told you a
jury in a murder trial had been influ-
enced in their verdict by a motion pic-
ture. But it is a fact. One of our
largest cities has been talking about it
for weeks. You will get the full details
next month.

"Beating Them to It"

That's enough to say. Frederick
Arnold Kummer is one of those few
authors who hit the bull's eye every
shot. The title of the next one is
"Beating Them to It," and it's just as
lively as the title.

Some Personalities

You are probably familiar with the
remarkable work of Warner Oland in
the Pathe Serial, "Patria." It was as
consistent a piece of characterization as
has been put on the film in a long time.
He played the part of the Japanese spy. '
It is a pleasure to introduce this man
to you in his real light. He is a sterling
actor, a scholar, and a gentleman. He's
well worth knowing about.

What kind of a chap is Harold Lock-
wood? And Elliott Dexter, the impetu-
ous lover in Mary Pickford's picture,
"A Romance of the Redwoods"?
And, what about Monroe Salisbury
who has created so many wonderful
characterizations, notably in Mr. Clune's
production of "Romona" and others?
All in the February issue.

Eileen Percy is planning a surprise
for the American boys in France— an
idea all of her very own. We promised
her we wouldn't tell about it in ad-
vance, and we always keep promises.

From stenographer in a Market
Street commission house to a moving
picture star in three years. A credit-
able achievement indeed. That's the
record of Virginia Valli, Essanay's
newest star. She is only twenty years
of age, and success hasn't increased her
head measurement a fraction of an
inch. And here is a girl who attributes
all her success to her mother. Says she
would still be a stenographer if mother
hadn't been right behind her every
minute. Some girl. Some mother.

Photoplay Magazine — Advertising Section

How Culinary Experts Create a Soup

It Takes Three Years — Sometimes

THIS is how a Van Camp Soup is perfected by
our scientific cooks. By experts who are col-
lege-trained in chemistry, in dietetics and
hygiene. By men who study every detail, who an-
alyze materials, and who often test a thousand
blends to get an ideal flavor. Nearly every Van
Camp Soup began with a famous French recipe.
They were first made in our kitchens by a noted
chef from the Hotel Ritz in Paris.

Each was considered at that time the finest pos-
sible soup of its kind. Some of them were famous
among connoisseurs.

Then, one by one, these soups
were taken hold of by our scien-
tific cooks. Every ingredient was
studied, and a standard was fixed
for the best.

They made countless experi-
ments. Hundreds of blends were
compared. It has taken as high

SOUPS— 1S

Kinds

Prepared in the Van Camp Kitchens at Indianapolis

as three years to arrive at what they called perfect
flavor. For each important material they fixed the
time of cooking and the degree of heat.

Some of these soups, as now perfected, require
as high as 20 ingredients, and as much as 23 hours
to make.

The formula for a single soup covers many pages.
It specifies grade on every material. On some it
fixes the analysis. It minutely directs every step of
the process, so a Van Camp never varies.

The result of these methods is soups vastly better
than ever were made in the old ways. The differ-
ence will surprise you. Yet they
cost no extra price.

Suggest some soup that you like
best and get that kind in Van
Camp's. Learn for your own sake
what these methods have done.
We promise you a new delight
which all your folks will welcome.

Van Camp's Pork and Beans

Perfected by the same exacting methods.
It will bring you a new conception of this
familiar dish.

Van Camp's Spaghetti

An Italian dish which these expert methods
have made many times as good. We value
the formula at $500,000.

Van Camp's Peanut Butter

The finest peanut dainty that has ever been
produced. Twice the flavor of the former
kinds.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Go to the theatre that shows PETROVA PICTURES !

Madame Petrova is now "on tour."

Not in person, but in personally^produced Petrova
Pictures.

"Daughter of Destiny," the first of these dramas,
is now being shown throughout the United States. It
tells the story of a brave American girl whose love for

a crown prince involves her in a network of European
intrigue. There is a morganatic marriage; a sudden
twist of destiny; a tremendous adventure in which the
girl's American ideals must stand or fall. You willen^
joy the exciting outcome — you will say: "Give us more
Petrova Plays like the 'Daughter of Destiny.' "

The foremost theatre

in your town will show

Petrova Pictures

Petrova Picture Company

25 WEST 44th STREET. NEW YORK

Look for the sign that dis-
tinguishes these dims from
all others —Petrova Pictures

Every advertisement in rnOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

JJLALU,AlJAlJUkAAU./^lLLLAXLJLLLlJy.JL^^JLUJ^/^

Who is first in your heart

among these INGRAM stars ?

To the most popular screen star in this Ingram list we will send, on your behalf,
a charming gift of Ingram Perfume and Toilet Water. And to you, for sending us
your vote, our guest room package.

Below is an alphabetical list of photoplay stars whose portraits and testimonial letters have
appeared in our advertising during the past year.

We are proud of their endorsements, as this list comprises most of the famous beauties of
the screen — where complexions are subject to the most trying test possible.

Each of these stars, has freely given credit to

zzz3\

Itigtdm's

MilKw&ed

CtGani

and other Ingram Toilet Requisites

Now we want your expression as to your favorites among
this list of general favorites. If you will fill in the coupon-
ballot at the right, indicating your first, second and third
choices among these stars, we will send you free our Guest
Room Package, for which we have always charged six
cents, and for which we shall in future be obliged to
charge ten cents. You get the package
whether your favorites get the most
votes or not. And the most popular star
will receive a beautiful gift of our fine
perfume and toilet water.

Says

Almost Every

'Movie " Star —

Time is i

Beauty i

[ in hJery
1 Jar

What the Package Contains

Our Guest Room Package contains Ingram's
Face Powder and Rouge in novel purse packets,
and Milkweed Cream, Zodenta Tooth Powder,
and Ingram's Perfume in Guest Room sizes.
Altogether a very handy and useful gift, and one
that will give you a good introduction to Ingram
Quality. Mail coupon today to

Frederick F. Ingram Co.

established 1885

102 Tenth St., Detroit, Mich., U. S. A.
Windsor, Ont.

Frederick F. Ingram Co.,

102 Tenth St., Detroit, Mich.

I have marked my 1st, 2nd and 3rd choices
Z'$ ]™2 and 3' !n this Iist of Ingram stars of
1917. Please send me the Guest Room Pack-
age FREE.

Enid Bennett
Ethel Clayton
Marguerite Clayton
Nell Craig
Grace Cunard
Hazel Daly
Mary Fuller
Dorothy Gish
Louise Lovely
Mary MacLaren
Violet Mersereau
Mabel Normand
Cleo Ridgely
Ruth Roland

Name . . .
Address.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Herbert Brenon

presents

SirJohnstonForbesMertson

in the

Passing of the
Third FloorBack

Jerome K. Jerome's famous
drama carries a singular message
of cheer, hope and sympathy. To
a dingy and drab boarding house
in the sordid section of London,
comes a stranger. The house,
peopled with unhappy souls fight-
ing against circumstances, is beset
with misunderstanding and
rancor. Before the sad smile of
the stranger, the bitterness and
strife disappear. Kindliness and
love come out of the chaos of
trouble. Then the mysterious
passer by goes on his way once
more.

Sir Johnston Forbes-Robert-
son's splendidly drawn portrayal
of the stranger, replete with a
fine spirituality, stands in the
gallery of great stage creations
of the last decade. His playing
marks one of the bigger things
of the silent drama.

Personelly Reefed fr M.rk.ri *~-

ADDRESS BRENON CORPORATION.

BRENON STUDiOS, HUDSON HEIGHTS,N.J. for SIR FORBES-ROBERTSON STORIES

I'vory advertisement in PHOTOrLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Have you lost your Make -Believe?

Cparamount

'J'hree -ways
to know

where to be sure of
seeing Paramount
and Artcraft mo-
tion pictures.

A By seeing these %
v trademarksor |
names in the news- jj
paper advertisements t
of your local theatres

@ By seeing the

same trademarks

on the front of the

theatre or in the lobby

fik By seeing them
v-' flashed on the
screen inside the
theatre

Come on — let's go!

We'll see a picture-play — and a good one.

We don't even know the title of it — we don't happen to care this time.

We do know a theatre that advertises under the Paramount and Artcraft trademarks
— and we know that means "famous stars superbly directed, in clean motion pictures."

^Pictures "

"FAMOUS STARS. SUPERBLY DIRECTED. IN CLEAN MOTION PICTURES"

What an illusive thing it is you are paying for
and giving your time to ! Phantoms dissolving
to nothing at all when the light snaps off.

Is it? It's nature, sunshine, laughter, love,
life!

What do you really see as you sit there in your
chair unconscious of others in their other chairs
all around you ?

Not the illuminated screen, not the beam of
brilliance from the projection machine up above
— no, not the moving lights and shadows of the
photograph itself — not the picture at all, but the
story the picture tells.

You live it.

For that one hour or two you live a different
soul — likely in a different land, quite possibly a
thousand years ago. Maybe you half realize
after a while that your tongue is dry. Sometimes

:'i0Mk$. FAMOUS PLAYERS -LASKY CORPORATION flV,

'JS^^^^i ADOLPH ZUKDR Pro JESSE LLAS1TV i\* Pro CEm » DE MI11X frn»r«M"W S

your eyes grow moist — with sympathy or mirth,
no matter. You don't know it. You've lost
yourself — and good riddance for a bit.

You are living the romance that makes this
work-a-day world well worth while after all. You
are adventuring, struggling, overcoming, aveng-
ing, forgiving, laughing, hating, loving.

And when the story ends, you walk out into the
blazing real world — but you are for quite a while
a good deal younger and a sight more human !

That's you, isn't it? There are ten million
others just like you in that one thing.

But there are twenty million others who are
missing. Some of them are your own friends.
Why not tell them?

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Macazine — Advertising Section

*V7

it * ff * * /f >r t»^

ft*

frnm

Norma (Halmaug?

*
s

* 3 "* * ^ 3* *

«4?«/.v%

* <!?

ONE HUNDRED
ART PORTRAITS

With Biographical Sketches

Only Fifty Cents

Your Money Back if Not Delighted

Printed on special quality enamel paper.
Beautiful de luxe edition of "Stars of the
Photoplay," with biographical sketches.
Read what enthusiastic purchasers have said
about this remarkable volume. Get your fa-
vorite players in permanent form. A wonder-
ful collection, superbly printed on fine paper.

An Ideal Christmas Gift

for the friend who is interested in moving pictures.

Send fifty cents — money order, check or stamps — for
your copy and it will be sent parcel post, charges pre-
paid, to any point in the U. S. or Canada. If it does not
come up to your expectations send it back and your
money will be cheerfully refunded, also mailing charge.

PHOTOPLAY MAGAZINE

Dept. 8F, 350 North Clark Street, CHICAGO

He is going over
the top! and he
needs a smoke
to cheer him up!

Americans, our fighting men in
France need tobacco. They are
giving their lives to defend you.
Do your part to make them com-
fortable during the dreary hours
in the trenches.

Twenty-five cents provides
enough tobacco to make one of
our gallant defenders happy for a
week. $1.00 sends a month's supply.

Prominent magazines and news-
papers stand back of this move-
ment. The War and Navy De-
partments endorse it.

A War Souvenir for You

In each package is enclosed a
post card addressed to the donor.
If these come back they will be
war souvenirs much treasured.

Mail Coupon Today

"OUR BOYS IN FRANCE
TOBACCO FUND"

25 W. 44th St.

New York

Gentlemen:— I want to do my part to
cheer up the American soldiers who are
fighting my battle in France. If tobacco
will do it — I'm for tobacco.

(Check below how you de»iro to contribute

I send you herewith.

,my

contribution toward the purchase of to-
bacco for American soldiers. This does
not obligate me to contribute more.

I enclose $1.00. I will adopt a soldier
and send you $1.00 a month to supply
him with "smokes" for the duration
of the war.

Name

Address

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

"DoriTteH458 _^

you never ha3 a chance!

" Four years ago you and I worked at the same bench. We were both discon-
tented. Remember the noon we saw the International Correspondence Schools'
advertisement? That woke me up. I realized that to get ahead I needed special
training, and I decided to let the I. C. S. help me. When I marked the coupon
I asked you to sign with me. You said, 'Aw, forget it ! '

"I made the most of my opportunity and have been climbing ever since.
You had the same chance I had, but you turned it down. No, Jim, you can't
expect more money until you've trained yourself to handle bigger work."

There are lots of "Jims" in the world— in stores,
factories, offices, everywhere. Are you one of
them? Wake up! Every time you see an I.C.S.
coupon your chance is staring you in the face.
Don't turn it down.

Right now over one hundred thousand men are pre-
paring themselves for bigger jobs and better pay through
I. C. S. courses.

You can join them and get in line for promotion.
Mark and mail this coupon, and find out how.

INTERNATIONAL CORRESPONDENCE SCHOOLS

Box 6480, Scranton, Pa.

^International correspondence schools

BOX 64.80, SCRANTON, PA.

Explain, without obligating me, how I can qualify for the posi-
tion, or in the subject, before which I mark X,

DELECTRIOAL ENGINEER

3 Electric Lighting

JFIectric Railways

3 Electric Wiring

__ Telegraph Engineer

J Telephone Work

Z] MECHANICAL ENGINEER

J Mechanical Draftsman

^ Machine Shop Practice
Gas Engine Operating
CIVIL ENGINEER
Surveying and Mapping
MINE FOREMAN OR ENGINEER
Metallurgist or Prospector
STATIONARY. ENGINEER
Marine Engineer
ARCHITECT
Contractor and Builder
Architectural Draftsman
Concrete Builder

Structural Engineer

"J VIA 'HRING AND III AUNG
Sheet Metal Worker

„ Textile Overseer or Supt.

J CHEMIST

SALESMANSHIP

ADVERTISING

Window Trimmer

Show Card Writer

Sign Painter
.. Railroad Trainman
3 ILLUSTRATING

Cartooning

BOOKKEEPER

Stenographer and Typist

Cert. Public Accountant
_ TRAFFIC MANAGER

S Railway Accountant
Commercial Law

w GOOD ENGLISH

3 Teacher

Zl Common School Subject*
Mathematics
CIVIL SERVICE
Railwav Mail Clerk
AUTOMOBILE OPERATING
Auio Repairing IQ Spaoiib
Navie-at ion |Q German

_ AGRICULTURE |Q French

□ Poultry Raisin? |Q Italian

Name __

Present
Occupation.

Street

and No

City.

When you write to advertisery please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

HighSchooKburse

in OlfearsSKESss

Here is a thorough, complete, simplified High
School Course that you can complete in two years.
Meets college entrance requirements. Prepared by
leading professors in universities and academies.

Don't Stop Growing!

Make up
for Lost

Timet

Men and women who
were denied a hitch
school training can
'jL-atch up" by tak
ing this simplified
course at home.
Hundreds have prof-
ited by this remark-
able opportunity.

Keep on (joingt Train roar brain!
Uroadcn your mental vi- ion! A hij-'h
school education multiplies your
ohanoes for success in business or
social life.

Study this intensely interest ine
course in idle hours at home without
interfering with your regular work.
"Cash in" on your natural ability.

Choice of 20 Courses

We have helped 50.000 men and
women to winl Let us help you, too.

SEND COUPON TODAY

Ior_F_REE_Book_and Full Information

Anierlcan School
of_CorresDortdcnce. Chicago. U.S.A.

Dept.P1531 Gentlemen: Please send me booklet and
tell me how I can fit myself for the position marked X.

.... Shop Superintendent
....Lawyer

Business Manager

....Auditor

....Certified Public Acc'nt

....Stenographer

....Bookkeeper

Fire Ins. Adjuster

....Sanitary Engineer
....Automobile Engineer

.High School Course
. Electrical Engineer
.Telephone Engineer
.Architect
.Draftsman

• Building Contractor
.Structural Engineer

• Mechanical Engineer
.Civil Engineer
.Steam Engineer

Name

Adbrkss.

WANTED - More Salesmen

— Salesman Earns

$6500 THIS YEAR

Earned $6,500

"Last year I
Earned $800. This
Year $6,500— pro-
moted to Sales
Manager. All cre-
dit to you. You
offer your mem-
bers Many Good
Positions."
C. W. Birmingham
Dayton. Ohio

— only an ordinary record. Thous-
andsof successful members. Even
greater opportunities are yours
as a City or Traveling Sales-
man. Increased prosperity, en-
listments and the "Draft" have
created thousands of good posi-
tions. Experienceunnecessary.
Write for large list of lines in
which good positions; are open
and how to obtain them.
Address nearest office, Dept. Sl-A

NATIONAL SALESMEN'S TR. ASSN.

Chicago San Francisco NewYork

LEARN RIGHT AT HOME BY MAIL

DRAWING-PAINTING

Be a Cartoonist, Newspaper, Magazine
or Commercial Illustrator; paint in
Water Colors or Oil. Let us develop
your talent. Free SchoiarshipAward.
Your name and address brings you
full particulars by return mail and
our Illustrated Art Annual FREE.
FINE ARTS INSTITUTE, Studio 391. Omaha, Neb.

RTISTS OUTFIT FWF

{ ^v\?f///A ^rite quick for our ^l

.*.»'Ailf//w remarkable offer. Learn ^

) NOW at home, in spare time, by

' our new instruction method.

Commercial Art? Cartoon i n g.

Illustrating, Designing. Delightful,
fascinating work in big demand . $50.00

Eaid for one drawing. Handsome free
ook explains ,vw.\ thing. SEND FOR
IT TODAY. Postcard will do.

Washington School of Art wash.ngto'n'.p.c:

ID,

nating profession pays
big money. Opportunities everywhere.

IRN $20 TO $75 A WEEK

imean expertin spare time at home. Earnwhile

ou learn, pppp Complete Show Card Writer's

mtt Outfit to new students. Write

Postal for amazing offer and free booklet.

Litholia System of Lettering*

'» 171 Flatlron Bldg.. NewYork, N.Y.

ymssssk

HD GUIDE

SENT FREE

Write for this valuable booklet which contains the REAL
FACTS We revise poems, compose and arrange music,
secure copyright and facilitate free publication or outright
sale. Start right with reliable concern offering a legitimate
proposition. Send us your work today for free examination

Knickerbocker Studios ,6S °Z£ X£"c>??mi'"

CLASSIFIED ADVERTISING

i;-n i-vr-i n.rVh rvn n^nrtn^nhnn n n n n n n n nnnqpnT

Rate
15 cents

per
word

All Advertisements

have equal display and
same good opportuni-
ties for big results.

J ;U LHJ"U U U U U U UUU'U u

This Section Pays.

82% of the advertisers
using this section during
the past year have re-
peated their copy.

UUU'Uuuuu'uuirij'

Rate
15 cents

TTOT

FORMS FOR MARCH ISSUE CLOSE JANUARY FIRST

AGENTS AND SALESMEN

MOTION PICTURE BUSINESS

AGENTS. $1.0(1 COMMISSION EVERT CALL.

1 household money saver ever Invented. Samples

tree. Ovee Mfg. Co.. 18G Ovee Bldg., Louisville. Ky.

BIG PRO I'll S NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by Government institutions. Cata-

INSTDE TYRES. INNER ARMOUR FOR AUTO-
mobile Tires. Prevent punctures and blowouts and
double mileage. Tremendous demand. Thousands sold.
Big profits. Details free. American Accessories Co.,
Dept. 295, Cincinnati.

Bldg., Chicago

OF INTEREST TO V/OMEN

LADIES— FASCINATING HOME BUSINESS TINT-
Ing Postcards, Pictures, etc., spare time for profit. $5

AGENTS $40 A WEEK SELLING GUARANTEED
hosiery. For men. women and children. Must veal
12 months or replaced free. Agents having wonderful

on 100; no canvassing : samples 1 Oc stamps . Particu-
lars free. Artlnt, 573-B. 91 MeseroleSt., Br<<

success.. Thomas Mfg. Co.. 2264 North St., Dayton,
Ohio,

OLD COINS AND STAMPS

AGENTS— 5 00% PROFIT; FREE SAMPLES; GOLD
sign letters for store and office windows; anyone can
put on. Metallic Letter Co.. 414 N. Clark St.,
Chicago.

WILL PAY $100.00 FOR TRADE DOLLAR 1885:
$7.00 for 1853 Quarter without arrows; $750.00 for
certain $5.00 gold without motto. Cash premiums tor
rare coins to 11)12. Gel posted. Send 4c. Get our
Large Coin Circular. Numismatic Bank, Dept. 75.
Fort Worth, Texas.

AGENTS. $60 WEEKLY. WONDERFUL WINTER

automobile fuel reduces operating expenses half. Outfit
free. L. Ballwey, Dept. 186, Louisville, Ky.

ii TO $50 0 EACH PAID FOR HUNDREDS OF
coins dated before 1910. Send 10 cents for New Illus-
trated Coiu Value Book, 4x7. Showing guaranteed
prices. It may mean your fortune. Get posted. Clarke
Coin Company. Box 127, Le Roy. N. Y.

TELL THE READERS OF PHOTOPLAY WHAT
you have of interest to them. You can reach them

at a very .small cost through an advertisement in the
classified section. 82% of the advertisers using this
section during the past, year have repeated. The section
is read and brings resulis.

CALIFORNIA GOLD. QUARTER SIZE \ND COLT'M-
bian Nickel for 27c. Three Villa bills and catalogue
10c. Norman Shultz, Dept. P. King City. Ho.

BOOKS

SEVEN DIFFERENT NEWFOUNDLAND STAMPS

BOOKS — NOVELTIES — PICTURES. CATALOGUE
3c. Vim Co., Box 108-P. East St. Louis, Illinois.

PATENTS

BUSINESS OPPORTUNITIES

WANTED IDEAS, WRITE FOR LIST OF PATENT
Buyers and Inventions Wanted. $1,000,000 in prizes

ADVERTISE EVERYWHERE. 25 WORDS IN 100

monthlies, $1; 100 weeklies, $2.50; 40 Sunday papers
$10. Ph. Cope Agency, St. Louis.

offered for inventions. Send sketch for free opinion as
to patentability. Our tour books sent free. Victor .1.
Evans & Co., Patent Attys.. 763 Ninth. Washington.
D. C.

CURIOS

INVENT SOMETHING. YOUR IDEAS MAY BRING

INDIAN CURIOS. BASKETS. LARGEST BUFFALO
Rohe in existence for sale. H'eitniuller Art Co.. 1307
14th St., Washington, D. C.

wealth. Free book tells what to invent and how to ob-
tain a patent through our credit system. Talbert &
Parker, 4724 Talbert Bldg.. Washington. D. C.

GAMES AND ENTERTAINMENTS

PHOTOPLAY TEXT BOOKS

PLAYS, VAUDEVILLE SKETCHES. MONOLOGUES,
Dialogues,' Speakers, Minstrel Material, Jokes. Recita-
tions. Tableaux, Drills, Entertainments. Make Up

"HOW TO WRITE A PHOTOPLAY" BY C. G.
Winkopp, 1342 Prospect Ave.. Bronx, New York City.
25 cents. Contains model scenario.

Goods. Large Catalog Free.

T. S. Dcnisnn & Co.. Dept. 7 6, Chicago.

PHOTOGRAPHY

HELP WANTED

FILMS DEV. 10c. ALL SIZES. PRINTS 2Ux3»4.

MEN— BECOME U. S. RAILWAY' MAIL CLERKS.

$75 to $150 month. Every second week off with pay.
Education unnecessary. Sample examination questions
free. Write immediately. Franklin Institute, Dept.

2 4 hours service. Work guaranteed. Send negatives
for samples. Girard's Com. Photo Shop, Holyoke, Mass.

SONGWRITERS

J-211, Rochester, N. Y'.

SONGWRITERS' "MANUAL & GUIDE" SENT

FOREMEN SHOPMEN. AND OFFICEMEN

Wanted to work spare time as special representative of
large well-known mail-order house, selling Watches.
Diamonds, and Jewelry on Credit. Liberal commissions
and exclusive sales rights granted. No investment or
deposit required for outfit or samples. Write at once

Free. This valuable booklet contains the real lacts.
We revise poems, compose and arrange music, secure
copyright and facilitate free publication or outright sale.
Start right. Send us some of you;- work today for free
examination. Knickerbocker Studios, 166 Gaiety Build-
ing, N. Y. City.

for details. Address S. D. Miller. Dept. 32. Agency
Division, Miller Bldg., Detroit, Mich.

WRITE THE WORDS FOR A SONG. WE WRITE
music and guarantee publisher's acceptance. Submit

RAILROAD TRAFFIC INSPECTORS WANTED.
$125 a month and expenses to start; short hours; travel;
three months' home study under guarantee; we arrange
for position. No age limit. Ask for Booklet. L-6.
Frontier Prep. School, Buffalo, N. T.

poems on war, love or any subject. Chester Music Co.,
103 9 Wilson Ave., Suite 112, Chicago.

MANUSCRIPTS TYPEWRITTEN

PHOTOPLAYS, SHORT STORIES. ETC., COR-

FIVE BRIGHT, CAPABLE LADIES TO TRAVEL.

demonstrate and sell dealers. $25 to $50 per week.
Railroad fare paid. Goodrich Drug Company. Dept.
59. Omaha, Neb.

rectly Typewritten. Neatness Guaranteed or money
refunded. Send script to-day! Hursh. 123 So. Third,
Harrisburg, Pa.

MANUSCRIPTS TYPED AND CORRECTED FIVE

cents hundred words. Holland, 20 2 6 No. 12th Streel,
Philadelphia.

SCENARIOS, MANTSCRIPTS TYPED TEN CENTS
page including carbon. Spelling corrected. Seven
experience. Marjorie Jones, 322 Mouadnock Block.

WOMEN WANTED BY" RAILROADS FOR In-
spectors; supplant men called to colors. $125 monthly
and expenses. Delightful work, travel; promotion.
Booklet A-8 Free. Frontier Prep. School. Buffalo.
N. T.

GOVERNMENT PAYS $!)00TO $1,800 YEARLY'. PRE-
pare for coming "exams" under former Civil Service
Examiner. New Book Free. Write Patterson Civil Service
School. Box 3017, Rochester, N. Y.

Chicago.

TELEGRAPHY

TELEGRAPHY— BOTH MORSE AND WIRELESS.

EDUCATION AND INSTRUCTION

mand — much greater than supply — Permanent Positions
Secured. Big Salaried — recently raised. Ideal Working
Conditions — short hours, vacations with pay, sick and
death benefits, etc. — prevailing. Great Opportunities
for Advancement. Women Operators also greatly desired
by Railways and Western Union. Tuition reasonable.
Cheap living expenses — can be earned. Oldest and larg-
est school — established 43 years. Endorsed by railway.
Western Union and Marconi Telegraph Officials. Large
illustrated catalogues free. Correspondence courses also.
Write today. Enroll immediately. Dodge's Institute.

SHORTHAND IN 3 0 DAYS. LEARNED AT Y'OUR
home. Boyd System, based on Syllables, an entirely
new principle which has revolutionized the stenographic
world. Easy, practical, speedy. 150 words a minute
guaranteed. Course in Touch Typewriting Free. Scud
today for Catalog. Special Offer and Sample Lesson.
Chicago Home Study Schools, 5 05 Reaper Block.
Chicago, 111.

HUNDREDS OF PEOPLE MAKE BIG MONEY

Peoria St.. Valparaiso. Indiana.

writing Photoplays, Stories, etc-. Why don't you? Write
us for free details. Bookmart Co., Dept. 8, Auburn.

MISCELLANEOUS

N. T.

MORE THAN 200.000 COPIES OF THIS MAGA-

LOOSE LEAK BOOKS

zinc are sold every month. An investigation showed
that in 8 3rr cf the homes entered it is read by all.

A GENUINE LEATHER COYER. LOOSE LEAF
Memo Book. 5 0 sheets paper. Your name stamped In
gold on cover. Postpaid 50 cts. Loose Leaf Book Co.,
Christmas Gift Dept. 3, Box 6, Sta. L.. N. Y'. City.

s 2 of the users of classified during the past year have
repeated. The classified section offers a real oppor-
tunity to classified advertisers. For further information
address Photoplay Magazine, 350 N. Clark St., Chicago.

Every advertisement in PnOTOrLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

is best expressed
through a gift that
shows you thought of
what the recipient
would really want.

Your friend will ap-
preciate PHOTOPLAY
MAGAZINE for a
whole year. They will
remember that you
thought of what would
really appeal to them.

Each and every month a
better magazine and each
and every month a reminder
of your thoughtfulness.

That Boy in France

When you return coupon at-
tach a Postal or Express money
order or a Check. Better hurry.

Photoplay Magazine

352 North Clark Street
CHICAGO ILLINOIS

Christmas Subscription Coupon

Year, $2.00. Six months, $1.00. Three months, $.50.
Canada, $2.50 per year. Foreign Countries, $3.00 per
year. All subscriptions to our soldiers in France
at U. S. rates.

Photoplay Magazine, 352 N. Clark St., Chicago

Gentlemen: — Enclosed find $ for

(Length of subscription)

Send to — Name

Address.

From— Name.

Address (Jan.)

Compare It With a Diamond

Solid Gold
Mountings

Flat Belcher Ring

No. 1. Solid gold mounting.
Eight claw design with flat
wide band. Almost a carat,
guaranteed genuine Tifnite
Gem. Price $12.50; only $3.50
upon arrival, balance $3 per
month. Can be returned at our
expense within 10 days.

Ladies' Ring

No. 2. Solid gold mounting.
Rasa guaranteed genuine Tif-
nite Gem almost a carat in size.
Price $12.50; only $3.50 upon
arrival. Balance $3 per month.
Can be returned at our expense
within 10 days.

Tooth Belcher Ring

No. 3. Solid gold six-prong
tooth mounting. Guaranteed
genuine TifrnLe Gem almost a
carat in size. Price $12 50;
only $3.50 upon arrival. Bal-
ance $3.00 per month. Can be
returned at our expense within
10 days.

Send the coupon NOW! Send no money. Tell us which ring you pre-
fer. We'll send it at once. After you see the beautiful, dazzling gem and
the handsome solid gold mounting— after you have carefully made an ex-
amination and decided that you have a wonderful bargain and want to
keep it, you can pay for it in such small easy payments that you'll hardly
miss the money. If you can tell a TIFNITE GEM from a genuine diamond,
or if, f orany reason at all, you do not wish to keep it, return it at our expense.

Remarkable
New Discovery

The closest thing to a diamond ever

discovered. In appearance a TIFNITE and
a diamond are alike as two peas. TIFNITE
GEMS have the wonderful pure white color
of diamonds of the first water, the dazzling
fire, brilliancy, cut and polish. Stand every
diamond test— fire, acid and diamond file. Mountings are exclusively (
fashioned in latest designs— and guaranteed solid gold. •

Sf»nrl No MnriPV Just send coupon. Send no

hJGUU 11VJ ITHJllCjf reference, no money; no obliga-
tion to you in anyway! You run no risk. The coupon brings
you any of the exquisitely beautiful rings shown and described
here for 10 days' wear free. Be sure to enclose strip of •
paper showing exact finger measurement as explained. »

MAIL THIS COUPON IMF}'*

Send now and get a TIFNITE GEM on this liberal offer. Wear /
it for 10 days on trial. Every one set in latest style solid *
gold mountings. Decide then whether you want to keep it

How to Order Rings

To get the right size ring, cut a strip
of heavy paper so that the ends ex-
actly meet when drawn tightly around
the second joint of finger on which
you want to wear the ring. Be careful
that the measuring paper fits snugly
without overlapping, and measure
at the second joint. Send the strip
of paper to U3 with order coupon.

FreeTrial Coupon

THE TIFNITE GEM CO.

/ Rand McNally Bldg., DepL 290, Chicago, III.

£ Send me Ring No on 10 days' ap-

• proval. fin ordering ring, be sure to en-

f close size as described above.) If satisfac-

* tory, I agree to pay $3.50 upon arrival; and

balance at rate of $3.00 per month. If not

satisfactory, I will return same within ten days

at your expense.

or not. Send for yours now— today — sure. Send no money.

THE TIFNITE GEM COMPANY

Rand McNally Bldg., Dept. 290, CHICAGO. ILL.

£ Name .

m* Address.

Earn$25tol00aVeek

Motion Picture, Studio and Commercial /»
Photographers earn bi(r money. Big opportu-'.rf
nitiesnow.You can qualify for this fascinating j ^

^.■^^■k.

branches. Experts train you i
to-datestuc"
ses. Easy
for free book].

N. Y. INST. OF PHOTOGRAPHY
Dept. 31,141 W. 36th St., N.Y. City

AIMENE

SCHOOLS— E.t. 20 Years
The Acknowledged Authority on
DRAMATIC
■""■"■ STAGE ''..
PHOTO-PLAY

AND
DANCE ARTS

A.T. IRWIN, Secretary
225 West 57th Street, near Broadway, New York

Dr. Esenwein

Short - Story Writing

A course of 40 lessons in the history, form,
structure, and writing of the Short-Story,
taught by Dr. J. Berg: Esenwein, for years
Kdltor of Mppinrott's. Over one hundred
Home Study Courses wider Professors in
Harvard, Brown, Cornell and leading
colleges. 250-page catalog free. Wriie today.

The HomeCorrespondence School
Dept. 95 SPRINGFIELD, MASS.

rint

Your Cards
Cir cul ars

_ Newspaper
BooK, Labels, Programs, TicKets

With an Excelsior Press. In-
creases receipts, cuts expenses.
Easy to use, printed rules sent.
' a Bov does good work. Small out-
yT lav. pavs for itself in short time.
Will Inst for years. Write fac-
tory forcatalogof presses, typo,
outfit, samples. It will pay you.
THE PRESS CO. 0-43. Meriden. Conn

REMEMBER

Every advertisement in PHOTOPLAY is guaranteed, not only by the advertiser,
but by the publisher. When you write to advertisers please mention PHOTOPLAY.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

acThe Stars'
As They Are

Twelve single-reel peeps into the
lives of the shadow players —
a new high-class subject every
month, beginning soon ! The title:
PHOTOPLAY MAGAZINE
SCREEN SUPPLEMENT. Pic-
ture the contents of Photoplay
Magazine — the world's leading
motion picture magazine — come
to life, and you will appreciate the
treat that awaits you in Photoplay
Magazine Screen Supplement.
Imagine how you will enjoy seeing
"ofF-the-screen" motion pictures
depicting such favorites as William
S. Hart, Charlie Chaplin, Henry
Walthall, Mary Charleson, Bessie
Love, Edith Storey, and a host of
others — many stars in each release.

Ask the manager of your favorite
theatre when the first one will
be shown. Urge him to screen it.

Photoplay Magazine

Chicago, Illinois

•LS^f.-

Every advertisement in THOTOrLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Theatres all over the. United States and Canada will soon be
showing Photoplay Magazine Screen Supplement — a novelty in
motion pictures. You'll want to see it without fail — for it's
literally Photoplay Magazine come to life on the screen — all
your favorites in motion pictures doing the things of which you
hive read in Photoplay Magazine. To make sure of seeing it,

Ask the manager of your favorite theatre today

Photoplay Magazine

Chicago, Illinois

When yovi write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

cWhai has he said to her ?

Does your glowing face cause an exclamation of pleasure?

Brilliant lights revealing every grace
and every flaw; eyes fixed upon you
ready to admire — can you face them
uneinharrassed ?

Don't spoil your evening wondering
about your complexion. Descend the
stairs to meet your friends radiant and
blooming — thrilled by the knowledge
that you are looking your best.

You can have this confidence

You can make your skin what
will. Nature does her part. You
can do the rest. Every day the
old skin dies and new skin
forms in its place. What this
new skin is depends on the care
you give it.

Skin specialists say that the
best way to build up a clear,
beautiful complexion, to keep
the skin in a healthy, active condition,
is by proper cleansing and stimulating
treatments with a soap carefully pre-

you

pared to suit the nature of the skin.
Woodbury's Facial Soap was pre-
pared by a skin specialist after 30
years of experience with the skin and
its needs.

Let this treatment give you
the charm of a flawless skin

Begin tonight to get the benefits of

this skin specialist's soap for your skin.

Use this Woodbury treatment every

night and watch your skin lose every

flaw; watch it take on a smooth

texture, a soft glowing color.

Lather your washcloth well with

Woodbury's Facial Soap and warm

water. Apply it to your face and

distribute the lather thoroughly.

With the tips of your ringers work

this cleansing antiseptic lather into

your skin, always using an upward

arjd outward motion. Rinse with

w%rm water, then with cold — the colder the

better. If possible, finish by rubbing your

face for a few minutes with a piece of ice.

Always be careful to dry your skin well.

For sale tcherever toilet goods are sold

A 25 cent cake of Woodbury's Facial Soap
is sufficient for a month of this treatment.
Get a cake today. It is for sale at drug-
gists and toilet counters everywhere in the
United States and Canada. Watch your
skin gradually improve so you can face the
most glaring light, the most critical eyes-
confident of its smoothness and freshness.

4c brings you a week's
treatment

For 4c we will send you a sample cake of
Woodbury's Facial Soap large enough to
last a week. Write today. Address The
Andrew Jergens Co., f-~
.501 SpringGroveAve.,
Cincinnati, Ohio. A~^i^ ~~">>

r~ e-ro-T0(j

If yon live
in Canada. ad-
dress The An-
drew JergenS
Co., Ltd.'.
SOI Sher-
hrodke St.,
Perth.
Ontario.

Every advertisement in riTOTOPLAY MAGAZINE is guaranteed.

TTT'i/F do Vivian Martin and Fido look so especially happy? It must be that
VV they've just dined and that Vivian cooked the dinner. But her fame as a cook
is old stuff ; just now we want to know whether she's an economical one.

'M.

VI l^.CHE SWEET, when are you? Several thousand admirers want to know.
±J The lenses of a thousand projecting machines are dim with mourn Jul moisture
at your absence. We need you and your art upon the screen. Come bark!

_^_

T J 7 E don't want to hurt Mr. Sidney Drew's feelings by insinuating that this lady is
VV his better half—so meet Mrs. Sidney Drew, the charming partner of a perfect
50-50 combination, whose business it is to give us smiles without regrets.

1X/TIRIAM COOPER is a southerner, but it wasn't her southern accent that made
IV 1 her one of the stars in "The Birth oj a Nation" and "Intolerance." Miss
Cooper was without stage experience, too. She is now starring for William Fox.

;^AWAAAAAAWAAA¥JAgA3

JW/AttMMMWAM^^

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

PHOTOPLAY

VOL. XIII

JANUARY, 1918

NO. 2

The Land of ^Make-believe

/f LITTLE child amuses itself alone. A chair in one corner is the home
/""> A-i of a mythical neighbor, the pantry a den of ravening lions from whose
^S ■*■ onslaughts the neighbor must be saved. The child's imagination creates
these things to lend color to its own peaceful, tenderly 'mothered existence.

Little girls caper down a street, beplumed hats grotesquely teetering on their
heads, "grownup" skirts trailing behind them. There s a fire in the middle of a
vacant lot; around it leap painted and feathered Indians — small fourth'graders
in other hours.

They are living in the wonderful Land of Ma\e-Believe.

For the Land of Make-Believe is the only land in which one is always given
his heart's desire. The precious gift of fancy is Heaven-sent, it is ours at our
first wailing breath and it stays with us till we die: the solace of Ma\e-Believe
ivhich enables so many of us to wal\ our stony, bruising paths of reality straight
and bravely to the end.

Every woman would be loved and lovely, every man would be a hero. This
is not vanity; that we cannot all accomplish our desires is of no moment. For
it is this inborn instinct for betterment and the striving that goes with it that
has made this world of ours a fit place in which to dwell.

So on the stage where dreams are born to pictures, we visualize our dreams.
V/e do not need to confess; no one knows our secret yearnings; we can see our'
selves what we will.

The settled and level-headed business man is a lithe and care-free youth, reck-
lessly plunging down a mountain side, a shower of stones and gravel in his wake.
He is virile, young, and his pulse sings an accompaniment to the swift-rushing
prairie wind at night.

The tired scrubwoman rests her weary frame on a luxurious, satin-covered
bed; she draws a long, relaxing breath and is a pleasant idler for an hour, her
day sunny and servants at her call. It is a glimpse of Heaven.

The matron, who in her secret heart rebels that silver has crowned her head
so soon, sees herself a belle with dimpled shoulders; the lovers she never had
crowd round her. She is young again.

Alas for the soul that finds no solace in its dreams!
Alas, indeed, for a world without its pictured dreams!

^w^y,vv.vMyMv.vy^VYYv..v.v.vg;

wrf

Director Arthur Berthelet, explaining the 'script to Miss Mac Lane, at the Essanay Studio.

The Movies— and Me

By Mary MacLane

JUfARY MacLANE, of Butte, Montana, has become a movie star. The same Mary MacLane who
at the age of seventeen made the world at large sit up and take notice, with "The Story of Mary
MacLane, " in 'which she registered some astonishingly frank truths about herself and her emotions.
A late book, "I, Mary MacLane," a matured continuation of the introspective analysis in the first,
has aroused recent interest, and a third product of her pen, "Men Who Have Made Love to
Me," is being immortalized upon the screen at the Essanay Studio, in Chicago.

ANY time I write my opinions and impressions of this
moving picture thing in its varied phases and com-
ponents, it is not in the least as a critic who carps,
but purely as an ardent film fan who eats up the whole
game relishingly from soup to nuts.

Everybody knows it is not the critics who keep that
multicolored ball rolling, but "us fans" who pay our fifteen
cents and go in at the front door prepared to like every
possible thing we see that's likeable and eat up every pos-
sible morsel of romance that slides Lillian-Gishfully across
the screen.

Many a critic, if we are to credit their interesting dope
sheets, has come away from a picture show sickened, nau-
seated to his hard heart's core by the tragic want of art,
logic, continuity and all those juggled-up things to be
found in the whole film idea as is.

But nothing like that ever happens to me. In the first

place. I don't attend picture shows in order to get nau-
seated. And in the second place, I usually grow so de-
lightfully fussed up with charm, thrill, appreciation and
the general sense of human emotion and color that the
demon art seems quite all out of it.

It is one of my theories that the true expression of the
human equation never can be pure art. and pure logic and
pure continuity. Human beings are not formed to that
end — not while kaisers and cabarets still go on and beds
continue to sag in the middle. And since — which is an-
other of my theories — the cinematograph really does mir-
ror human life as it really does daily happen, it can't pos-
sibly be pure art and pure logic and still be good moving
picture stuff.

Charlie Chaplin is, in my opinion, the nearest thing to a
perfect artist in the long gamut of film stars, and he is by
that token a case in point: Charlie Chaplin does not in

The Movies— and Me

any way express any form of human life as it is lived in
this present state of civilization.

He falls down flights of stairs nine times with the utmost
abandon and runs around tables with surprising velocity
and precision, but, strictly speaking, those things are un-
likely to happen in most average households. The cook
would leave too often, and besides it would wear out the
rugs, and prove other-
wise inconvenient.

No, the nonchalant
Charles, though I
hand it to him as an
artist and a very good
one, is not a favorite
of mine. Nor is Mis-
ter F a i r b a n k s, re-
markable though he is
for his ready mirth
and his ability to
jump over things.
For, again, the fore-
going reasons: though
indubitably great stuff
it is not true to life.
I have not yet known
the host in any me-
nage I've been in to go
from room to room in
leaps and bounds. It's
all very intriguing to
those who relish the
bizarre and the highly improbable in pictures.

But for myself, I am the tamest, the least
fiery, the most equable type of film fan. I like
dramas where young people marry with lacy
clothes, and a mob in the last few feet ; romances
where I can sit open-eyed and pensive, forgetful
of passing time; and everyday ish stories where I
can watch Alice Brady walk and Robert War-
wick frown and Va-
leska Suratt's back
and Louise Glaum
look balefully at her
leading man.

Sometimes the mere
look of a country hill-
side with the sunshine
sparkling upon it, and
leaves and grasses and
wild flowers blowing
in the breeze, to a
gaze too long inured
to farthest Butte or
darkest Chicago, is
plaisance and paradise
enow.

Since nineteen-
eleven when most of
the stars who now
bloom madly in elec-
tric lights were not
even names and were
in fact working hum-
bly and anonymously for Biograph, the picture theater has
been my main stand-by in moods of relaxation.

I spotted the lyric-looking Blanche Sweet as a coming
star when I was totally unable to discover her name, so
reticent was the screen in those days. And the famous
Pickford was known but by her curls. And the artistic
Walthall peered at the camera merely as a hard-working
lead. And "legits" shied like frightened steeds at the mere
mention of the films. And Theda Bara in her sleek dark-
ling pride existed not.

Mary MacLane, in
two scenes from "Men
Who Have Made
Love to Me," a pic-
turization of her own
experiences,

I have trailed stars from their dawn to their be-limou-
sined present. I have paid fifteen cents on several thousand
afternoons in the far wilds of my native Butte in order to
translate me from the somber colors of myself to the
passionful prisms of life as presented by Mister Selig, Mis-
ter Fox, Mister World, Mister Essanay, Mister Blue Bird,
Mister Paramount, Mister Triangle, et al. And I have

never been disap-
pointed.

There has always
been something in
every picture I have
ever seen, though it
might be but the sin-
gle expression of some
warmly-sexed lips or
eyes, that registered at
rather more than fif-
teen cents' value. I
maintain there is more
of sheer beauty —
world beauty, life
beauty, human beauty
— in moving pictures
than in any other pop-
ular expre ssi o n of
everyday life. If
there's much that is
crude in it all as yet,
there is much more
that is lovely.
And speaking of Mister Essanay reminds me of
the most astonishing thing that ever happened to
me. Without effort, without volition, without, in
short, wanting to, I — I have become a "film star."
Such is fame.
Nay, more, a vampire.

I had thought that it required a devilish lot of
energy and pep and punch and stunningness to

become one of those
things. But not so.
It requires languor
and clothes and ease
and loads of astonish-
ingly yellow make-up.
And a kindofa, sort-
ofa vampish way with
men. I have thought
of myself, when it
came to self-expres-
sion, purely and sim-
ply as a lit 'ry woman.
But being gently
induced to play the
lead in a picturization
of some of my own
stuff I found I had all
the requisites of the
little old screen vam-
pire.

I shall have a lot to
write about the mak-
ing of my picture
when all is over. But just at present my days are a wild
maze of directors, camera men, extra people, heroes, sets,
props, electricians, luncheon hours and tumblings out of
bed at six o'clock in the morning.

And they tell me I have a screen personality.
Still I remain in my own accounting not a film actor,
but a lit'ry lady. I am still deeply unused to grease paint.
I may look like a vampire, but I continue to feel singularly
unlike one. I am a fan and not a critic, and my secret hank-
ering is to be an extra person, ad-lib-ing in a mob. Voila.

The Villain

Delight Evans

ILLAINS!
But are they ?

You've seen
These Pepful Percies.
What Sense-of-Humor they Have
Is Over-developed.
One of them
Is always In Hiding
In the Village.
He is Dressed,

Like a Lily-of-the-Field; and
He Dazzles the Sexton's Daughter,
Who Never Knew a Man Before
There are Love-Scenes
In the Hayloft,'
Over the Fence,
Down by the Spring,
By the Old Stile,
In the Hayloft,
Over the —
And the Last Time
He Kisses her.
It all Ends
With a Wedding —
Rice-and-old-shoes,
Merry Villagers, and
All the. Rest of it.
But Just then
The director Decides
That Things have been Peaceful
Long Enough ;
So he Sends For
The Other-woman,
Who Wrings her Hands
And Spoils
A Few Blank-Cartridges.

There's

The Straight Heavy.

He has a Full-Grown-Grouch,

And no one can Say

He's Selfish.

He Simply Breaks Up the Atmosphere

With the Heavy Stuff he Pulls.

When they Want someone

To Hurt the Mahogany,

Or Worry the Heroine,

They Call him In.

And Father Says:

"He Oughta Be Shot."

And Mother Says:

"The Brute!"

And Sister Says:

"He Wears his clothes

SO Well!"

While Brother

Wants to be Just Like That Man

When he Grows Up.

And then

The Commonhorde.

They are Always

Accomplices; and

They do — ssh ! —

The Dirty-work.

They are Charter-Members

Of the Great-Unshaved.

No Self-respecting Matinee-girl

Ever Writes to one.

We won't waste Any More Time

On them.

And here is
The Baron.

(Dear Editor:

We Can't

Make that

Alliterative ;

Because

He Isn't

Boastful or Bashful,

And we never did Know

The Meaning Of

Bi-furcated).

He'll do

Anything.

He has been Known

To Gamble, Murder,

Abduct, or Poison ;

And Sometimes

He's Real Wicked, and

Wrecks Trains, or

Fights the Hero.

He Twirls his Mustache.

He Slides Home

Around Corners.

He Shadows.

He Watches the Heroine

Through Half-closed Eyes.

He is

The Foreign Spy, and

The Gentleman Burglar.

He is

Awfully Sensible :

He makes it a Point

To be Far Away from Home

When they Search his Apartments.

He Always
Escapes; and there is
The Pursuing Motor, and
The Officers-of-the-Law.
The Baron
Catapults his car

Over the Highest Cliff in the County;
And the Scene Fades-Out
On the Smouldering Ruins
Of what was Once
A Perfectly Good Villain.

Villains !

But are they?

Some little girls only read fairy tales — the big, kind genie of the camera permits Virginia Lee Corbin to live them.

Where Childish Dreams Come True

Think of the rapture of being able to live a fairy tale

^y Elizabeth Peltret

FORMING a semicircle around an urn filled with in-
cense, a group of Japanese children sat on their heels,
their heads bent low, and prayer beads in their hands.
Little streams of smoke curled from innumerable joss sticks
in a jar in front of an ancient altar. There was no sound
except the slow, steady ringing of a gong and the voice of
a yellow-robed Japanese priest monotonously intoning a

chant for the dead. The children looked very dejected and
sat very still, because they knew that all this was a matter
of business as well as of make-believe. This was a game
and they were naturally playing it with childish thorough-
ness. The Fox kiddies were making a scene for "The
Mikado."

With the exception of little Virginia Lee Corbin, the

Photoplay Magazine

leading lady, and Violet Radcliffe, the "heavy," the chil-
dren in this scene were all really Japanese. Violet, who
was supposed to be The Lord High Executioner, was made
up with a man-sized mustache and goatee, but not one of
the children even smiled. So far as they were concerned,
there was nothing funny about it. For all practical purposes,
Violet really was the Lord High Executioner, they really

Above: Carmen De Rue as Katisha, and Violet
Radcliffe, the famous kid "heavy," as Ko Ko.
Center— taking a scene for "The Mikado." Below:
The children in their private school at the Fox
Studio are given five hours of class work every
day.

were in Japan, and Yum Yum's father really had just died.
Have you ever noticed children "playing show" in a
corner of the back yard? The ''curtain" made out of an
old sheet — the near-green tree painted on that same sheet
with a combination of liquid bluing and prepared mustard
which represents a dark and dismal forest — the white night
gown, the old lace curtain, and the cover of somebody's

"sanitary couch" that go to
make up the "gorgeous" cos-
tumes— and, behind it all, the
longing every child has to do
big, spectacular things? For
generations, countless thou-
sands of children have so
longed to live their fairy tales,
it seems like a fairy tale come
true that these little children of
the pictures can at last realize
that longing.

There was another scene in
"The Mikado" where Yum
Yum — ■ little Virginia — left
alone next to the room in which
lies the body of her father,
realizes for the first time how
utterly alone in the world she
is. She has been separated
from Nanki Poo — Francis Car-
penter— and there is nobody
near who loves her — nobody at
all. It was explained to Vir-
ginia that under these circum-
stances Yum Yum would nat-
urally feel very sad.

"And when people feel sad."
said this little five-year-old
baby, "they always cry."

She sat for a while with her
face turned away from the
camera, her head bent, her shoul-
ders drooping. Yum Yum was
feeling sad. Then Virginia began
to swallow back and seemed to be

Where Childish Dreams Come True

trying with all her might to keep jrom crying.
(Of course, being grown up, Yum Yum wouldn't
want to cry, but she just couldn't help it.) As
the baby turned her fice- to the camera the
tears were streaming down her cheeks. She
looked so utterly miserable that nearly everyone
around cried with her. A minute later, she and
The Lord High Executioner were playing tag.
It was such acting as very few grown people
in the world can achieve and those few are great
because they have learned the technic of their
business in order that they may forget it and
go on living in the land of make-believe.

While Virginia and Violet were working,
Francis Carpenter, the "leading man," and Car-
men De Rue, the comedienne, were at school.
The children are given five hours a day in school
but it never seems that long to them. Naturally,
the time must be broken, an hour or two in
school, off to the set for the making of a scene
and then back to lessons again. They never
sit still long enough to become restless,. and so
give all the attention to the occupation of the
moment. The teacher has only a few children
in the room at a time and, as these belong to all
different grades, she is able to give them an
amount of individual attention they could never
receive in a public school. Francis has been
going only a very short time. He has just
passed his sixth birthday.

Mr. Francis Carpenter, the noted leading man, is made up at
home by his mama before he goes to the studio.

Stagg

The famous leading lady, Miss Virginia Lee Corbin, is

not too proud to help dry the dishes 'specially if mama

has promised to take her to the movies.

"Francis," said Miss Wilcox, the teacher
of the Fox Kiddie school, "show our visitors
how well you can add."

"Sure," said Francis; "Five and two are
nine."

Francis began his screen career at the old
Fine Arts studio where he played with the
Gish sisters, Douglas Fairbanks, Norma
Talmadge, Tully Marshall, and Donald
Crisp. While there, he worked under the
same direction he has at present, that of the
Franklin brothers,— "Chet" and "Syd."
Later, he went to Culver City, where he
"worked," as he says, with "Bill" Hart.
One of his most cherished possessions is a
silver cup inscribed to him "In remembrance
of his friends, Thomas H. Ince and W. S.
Hart."

Since joining the Fox company, Francis
has had all of the experiences of Jack, the
Giant Killer; has known Long John Silver
and discovered Treasure Island; has tested
the powers of Aladdin's wonderful lamp and
found them real, has been left in the woods
to starve, and has been Naki Poo, the Crown
Prince of Japan. Certainly, it would seem
that if Francis needs anything to make him
the ideal hero of EverygirPs dreams, that
thing would be a romantic sorrow that has

Staeg

3°

Photoplay Magazine

nothing to do with the pictures. But Francis doesn't need
a thing to make him an ideal hero. He has even had the
romantic sorrow.

Just as a hero should do, he "stands within a mist, far
off, alone," friendly with everybody, but determined never,
never, to marry. By which it may be seen that this ro-
mantic sorrow of his is the direct consequence of a disap-
pointment in love. His heart has been made desolate by
the perfidy of a woman.
This fickle one is no other
than Norma Talmadge.

They met at the Fine
Arts. Francis was three
years old then, and had not
yet risen to the dignity of a
leading man. Norma was
in her teens and a great
star; but love bridges all
chasms, and these two
loved at first sight. It was
only a little while until
Norma promised faithfully
that she would always be
his sweetheart. Until a
year or so ago she remained
true to that promise. Then
she went to New York and
in her case absence did not
make the heart grow
fonder. Instead she met
and fell in love with an-
other.
"Oh, the years we waste,

and the tears we waste,
And the work of our head

and hand,
That belong to the woman

who did not know,
(And now we know that

she never could know)
And did not understand."

"And now," said Francis,
concluding this sad story
which he told to show just
why he was not in love with
his beautiful leading lady,
Virginia Corbin, "Now,
Norma's married and I'm
off a women forever!"

"Are you conceited, Francis — stuck up?" he was asked.

He considered an instant, two little wrinkles appearing
between his eyes. At length: "I don't know," he answered
gravely, "Honest, I don't know."

Then, apropos of nothing at all, he said suddenly:

"I wonder if a person's stomach could really swell up
and burst? And if it did — (He was assuming that such
a thing was not only possible but' probable) — I bet it
would make a lot of noise."

Francis is really not in the least "stuck up," but just
as wholesome and natural as any little boy in the world.
He and his mother live in a little flat on Western Ave-
nue (Hollywood), near neighbors to Maty Pickford, whom
Francis loves. Only as a friend, however— understand that
clearly. Not even "little Mary" can take the place of the
gone-but-not-forgotten Norma.

When he is not working, Francis wears overalls and goes
barefooted just like any other kid, and he is friends with
everybody on the street. More than anything else he likes
to write numbers with a typewriter that has a red ribbon.
Francis is very particular about the ribbon — he thinks he
can do so much better work with a red one. He writes re-
markably well both in long hand and on the typewriter.

As if to make up for never having had a romantic sor-

If you see " Aladdin," watch for the Lady-in-waiting to the Princess,
will recognize this little charmer, Gertrude Messenger.

row, little Virginia has had an almost incredible number oi
romantic joys. Unlike Francis Carpenter, she has been
on the screen only a very short time. When she started
playing the Princess in "Jack and the Beanstalk," she was
little more than an extra. The picture was half finished
before she was offered her first contract; since then, her
contract has been changed three times, and at its last
writing little Virginia was "signed up" for five long years.

Not the least remarkable
thing about this rapid rise
of Virginia's is the large
amount of it which is due
to chance. Virginia was a
very, very frail baby, so
frail, in fact, that she
caught all the childish dis-
eases she possibly could.
She was unable to walk a
step until she was two
years old. Right after she
had had a long hard siege
with the whooping cough
her parents took her to
Long Beach. California,
where they rented an
apartment next door to
Baby Marie Osborne.
"Little Mary Sunshine"
and Virginia soon became
great friends. It was Mr.
Osborne who was respon-
sible for Virginia's first ap-
pearance. He took her on
a visit to the Balboa studio
where she was given a
small part in a picture and
played it very well. Still
Mrs. Corbin made no ef-
fort to make Virginia a
member of the company.
Then followed the unusual
circumstances which made
her a leading lady in her
second picture. Baby
Marie Osborne was kid-
naped and was absent from
the screen for a long time.
During this time Mrs.
Corbin took Virginia to the
studio and happened to get there on a day when the
little girl taking Marie's place was particularly unmanage-
able. The director saw Virginia.

"Has this little girl ever been in a picture?" he asked.
"Yes," said Mrs. Corbin. "She worked here, once."
"All right," said the director. "I'll use her."
At the end of her Balboa engagement. Virginia went to
Universal City and worked under the direction of
"Mother" Lule Warrenton. After that came "Jack and
the Beanstalk," with the Franklins.

If Virginia has no troubles in life, she has a trouble —
a very serious one. On the q. t., it's a false tooth.

One morning Virginia came to work and everyone no-
ticed that a certain front tooth was missing. No one, least
of all Virginia, knew what had become of the tooth, but
anyway, it was not there. What to do? Yum Yum was
supposed to be grown up, the tooth had been registered in
previous scenes and who could imagine a heroine without
a front tooth? The Franklin brothers delivered their ulti-
matum. Virginia must have a tooth. She did not have
time to grow one. so she went to a dentist and had one
made. But this did not end the trouble, no indeed. That
tooth has been disappearing with a frequency which would
make dizzy the most accomplished magician. "Virginia,

Where Childish Dreams Come True

where is your tooth?" is the sentence that young lady
hears more often than any other.

One day out on location Mrs. Corbin put the tooth in
the corner of her lunch basket while Virginia was eating.
After lunch both of them went away and forgot the tooth.

"Virginia," said Director Chester Franklin, seeing his
cue, "where's your tooth?"

Virginia didn't know, neither did Mrs. Corbin. There
followed a long wait while the members of the company
searched desperately through countless lunch boxes and
much garbage until the missing tooth was found.

Carmen De Rue, the Katisha of The Mikado, and
Violet Radcliffe, who is Ko Ko, have had their little
tragedies. Both have played leading parts and now, be-
cause the years have overtaken them, they have to play
character parts. (Violet is ten and Carmen nine years old.)
This does not seem to bother Carmen very much, but it
does worry Violet. She keenly regrets the time when she
used to wear long curls and always look beautiful. One
feels that she gets little comfort from the fact that she is
a splendid actress whose work as a villain is comparable
to that of many an actor who has specialized on heavies
for years. She was Count Rudolpho in "Jack and the
Beanstalk," The Black Prince in "Babes in the Woods,"
The Magician in "Aladdin," and Long John Silver in
"Treasure Island."

Both of these little girls have been on the stage and both

come from theatrical families. Violet made her debut in
Pueblo, Colorado, when she was seventeen days old. She
was the child of Nero in "Quo Vadis." In the pictures,
she has been with Pathe, Keystone, Universal, Fine Arts
and Fox. Carmen, too, was with the Franklin brothers
at Fine Arts, and also worked at Universal.

In a few more years these little girls will be old enough
to play leading parts again and perhaps the training they
are getting now will make them so accomplished that they
will never have to dread the approach of the character part.

Little Georgie Stone, once leading man with the Fine
Arts kiddies company, recently rejoined his old colleague,
Francis, at the Fox studio. He has been engaged to play
leads in a second company which is in charge of Sidney
A. Franklin, the younger of the Franklin brothers, while
Chester retains the Carpenter-Corbin-Radcliffe-De Rue
company. Georgie is a more virile type than Francis —
one of those caveman heroes — and he has as his leading
lady Miss Gertrude Messinger, another clever tot, who
has two more sisters in the company.

The kiddies have a building to themselves at the Fox
studio. Next to the school room is a double row of dress-
ing rooms and it is the ambition of every Fox kiddie to
have a private dressing room. The building adjoins a big
glass stage, with a separate street entrance, which is used
only for kiddie pictures, so that the kiddie companies are
virtually isolated from their grown-up fellow players.

YOU'RE ALL WRONG, LILL- ALL WRONG"

Scene: A Photodrome.

Any Time.

(Enter Two Young Things, ycelpt Lillie and Vashti, who
teter down the center aisle, making various dives into
those rows where there is only one seat vacant. Finally
they stop at the second row, where there are two seats at
the other end.)

Vashti: "You knocked over that hen's umbrella!"

Lillie, giggling: "I should smile — Gosh — here comes
that swell young organist. Look at that chin! And that
forehead! He's the grandest player I ever — "

Vashti: "Pearl told me that Grace told her that Sara
said he was married to that fresh thing in the ticket-office."

Lill: "I don't like these seats. Let's change."

Vashti: "You knocked over that umbrelia again!"

Lill, giggling: "I should — Say! Look over there!
If there ain't Maybelle and Harold together; and she was
going with Alfred only last week!"

Vashti: "What is this picture, anyway?"

Lill: "That looks like Francis Bushman, but where's
his leading lady, Blanche Sweet, that always plays with
him? They was married last month."

Vashti: "You poor simp — that's Jack Kerrigan! Say,

I heard him speak, and he was No, it aint! That's

Harold Lockwood — I'll never forget him after I seen him
in 'Broadway Jones.' His wife's Kathlyn Williams — the
one that always plays in Keystone comedies.

Lill: "Oh no — you're thinking of Clara Williams."

Vashti: "Well, it was one of them Williamses. anyhow.
They're all related."

Lill: "I seen Lillian and Dorothy Gish last night in
Conscience.' "

Vashti: "It couldn't have been them. They're over in
Egypt now taking scenes for 'Cleopatra.' That oughta
make a swell fillum."

Lill: "Yeah — can't you just see Earle Williams as
'Romeo?' He'll be simply wonderful in that balcony
scene."

Vashti: "I love his eye-brows, don't you?"

Lill: "And the way his hair grows."

Vashti: "And that dimple! Oh — Say, will you look
at that girl? If she could get a job in a studio, — we're
Movie Queens! Look at her! I ask you — "

Lill: "There's that grand villain, Taylor Holmes! Did
you see him in 'Skinner's Dress Suit?' He's married to
Virginia Pearson, — her that played 'The Littlest Rebel' on
the stage."

Vashti: "But I tell you who is my fav-or-ite. Eugene
O'Brien; he's got such handsome eyes. He used to play
with Mary Miles Minter."

Lill: "Yes — I remember. And I seen him just the other
day in 'Polly of the Circus.' Mae Murray is great in that."

Vashti: "I seen Grace George in it on the stage."

Lill: "I read that Mary Garden is in the movies now.
Her first picture is going to be 'The Men Who Have Loved
Me.' I know a girl that used to use Mary Garden Perfume
once."

Vashti: "Did you see Fannie Ward in 'Joan of Arc?'
I went, but there wasn't a thing to it. All she did was
show off her beautiful gowns. But her husband — "

Lill: "Fannie Ward aint married!"

Vashti: "She is, too! To Wallace Reid; and I can
prove it. I got a friend lives in Los Angeles: he's a shoe-
clerk, and — "

Lill: "I know a girl that saw Douglas Fairbanks on the
stage once. It was in 'Hamlet,' with Mrs. Pat Campbell.

Vashti: "Billy Sunday — that actor that Billy Burke
was named after — he's in the movies now."

Lill: "He's supporting Douglas Fairbanks now. ain't
he?"

Vashti: "Yeah."

Lill: "I love Douglas Fairbanks, don't you?"

Vashti: "Yeah."

Lill: "Well, I can't see what on earth this picture is
about!"

Vashti: "It's the silliest thing / ever saw!"

Lill: "Well, common. Let's go."

Vashti: "All right. Say, let's tell the usher on our way
out that he's gotta lotta nerve running a fillum like this."

EXIT.

A TIRED little girl dragged
herself up a flight of
interminable stairs, and
threw herself, exhausted,
upon her grimy bed. It was
Hearing Christmas and the spirit
of "Peace on Earth; Good Will
to Men" was being indicated, or
rather counterfeited, in the usual
way, at Miss Minchin's School
for Select Young Ladies, in Lon-
don, England. There was the
rush of shopping, planning gifts,
decorating the great, high-ceil-
inged rooms of the school with
holly wreaths and ivy and mis-
tletoe, the joyous preparations for
the holidays.

But the joyous preparations
took no heed of blistered little
feet, aching little backs, and hun-
gry, wistful little stomachs and
hearts. The joyous prepara-
tions were all to gladden the
hearts of the Select Young La-
dies of Miss Minchin's school,
whose indulgent, wealthy papas
sent fat, crispy checks — or
cheques as they spell it in Eng-
land— for Miss Minchin's endors-
ing. The preparations meant
nothing to Sara Crewe, wearily
climbing the stairs to her attic
chamber, but more scolding, more
fatigue and more heartache.

To Becky, Miss Minchin's lit-
tle slavey and drudge-of-all work,
the joyous preparations meant
that the cook's temper was short-
er than usual, owing to the cakes
and plum puddings and holiday
dainties which must be prepared,
and so Becky's head was continu-
ally sore from the more-than-
usual number of thumpings it re-
ceived, her feet were swollen from
the extra miles they were obliged
to travel, and her back had an
ache that no amount of rubbing
nor liniment would subdue.
Becky had to sleep in the cold attic, too; she was not
even as fortunate as Sara, for she had no golden mem-
ories to come at night and brighten her dreams.

Tonight, as Sara's numb little fingers fumbled with the
pins and buttons of her clothes, she began her favorite
game, the pastime that took her mind from her sorrows.
She began to "pretend."'

"Now, let's pretend that I am really a princess and that
this is my room and I am going to bed. I will go over and
warm myself by my beautiful red fire — " she moved over
to the cold, cheerless grate. Down its chimney the wind
moaned like a person in pain.

"I'll slip on my satin, fur-lined slippers and wrap my-
self up in my velvet dressing gown and my maid will bring
me my dinner because I don't care to go down to the
dining room this chilly night. There'll be — let me see, I'll
have a slice of nice, juicy brown turkey and some cran-
berry sauce, and I'll have some little cakes and ice cream
and—"

The wind screamed down the chimney and drowned her
voice. On the dead ashes in the grate fell a few flakes of
snow.

Sara's lips quivered. It was hard to keep up her illu-

And the joy with which she and Becky

The Little

The story of a bra-ve little girl
drudgery isuitb her dreams — and

By Frances

sions. But she shook herself, determinedly screwing her
eyes tight shut to keep from seeing the squalor of the room.

"I — I guess I'm not very hungry tonight. Nora. You
may bring me my gown and I'll go to bed." She slipped
into a ragged night dress. "Just turn the sheets back.
Nora. That will be all; good night."

She slipped in between the clammy sheets and their chill
seemed to penetrate to her heart. "What a fine thing it is
to have a nice — warm — b-bed," she whispered, with chat-
tering teeth. "W-when so m-many poor children — Oh.
I can't, I can't! I'm too tired to pretend tonight I want
my father; I want my father! "

For a long time the wind down the chimney had

handed gifts to those less fortunate children.

r inces s

■who tried to lighten her life of
how happily her dreams came true

Denton

for an accompaniment a brave child's broken sobbing.

But after a while she slept. And after a while came the
dreams, the beautiful dreams of the time when she wasn't
Miss Minchin's ill-fed slave, of the time when she was
Sara Crewe, the petted little daughter of Captain Crewe,
a multi-millionaire of Bombay, India.

She saw the wide, clean-swept courtyard, where as a
baby she had played, attended always by a dusky ayah
and cherished by a troop of her father's turbaned servants.
She breathed the spicy incense of the East at prayer, saw
the slow-moving bullock carts, and heard the sweet tinkle
of many little bells.

Then came the long voyage to England. She stood on

shipboard holding right to her
father's hand, the salt spray
stinging her face as she looked
out over a green waste of water
to a dim blue line which her
father said was England.

Now she was at Miss Min-
chin's school, indulged, dressed in
satin and fur and velvet, with
every luxury lavished upon her
that her father could buy. Her
father's judgment in such mat-
ters had not been wise, but he
was young, and heart-broken at
having to leave his motherless
little girl so far behind him. All
he could do was to buy for her
everything he could think of.
There are no good schools in In-
dia for children of English parent-
age, and so, as Sara, there are
many little eight-year-olds who
must spend their childish days,
with an ocean between them and
the ones who love them best of
all the world.

So wildly extravagant had been
Sara's clothes, and so toadying the
attitude of Miss Minchin and her
snobbish pupils then, that they
had dubbed Sara "The Little
Princess," in flattery. And they
still called her that, though now
the words were but cruel mock-
ery.

Sara had been a silent, thought-
ful child and so homesick and
hungry for her father that at first
she had refused to eat, although
Miss Minchin, as a mark of spe-
cial favor had permitted Sara to
dine with her alone, and not at
the big tables in the school din-
ing room. Now, the little girl
was glad to get what scraps were
left when the plates came back to
the kitchen; and sometimes, if she
were on an errand, she got no din-
ner at all, for the cook would nof
be bothered saving anything.
Sara stirred restlessly in her sleep. She was dreaming
now of her twelfth birthday; she had been the favored
pupil until that dreadful day. Miss Minchin had given
her an extravagant party, and it was when the fun was at
its highest that the news arrived which tumbled Sara from
her high estate and made her a partner with little Becky,
the kitchen slavey. A gentleman was announced who
wished to see Miss Minchin, and a few minutes later Miss
Minchin sent for Sara. And there was no oily kindness in
her voice when she greeted the little girl.

The gentleman was Captain Crewe's solicitor from In-
dia, and he brought word that little Sara was not only a
pauper, but an orphan as well. Captain Crewe, upon the
advice of an intimate friend, had invested his money in a
diamond mine. The friend, Captain Carrisford, had con-
trolled the stock of the company in which Captain Crewe
had invested. The mine had proved worthless, the com-
pany had collapsed, and worst of all. Captain Carrisford
had disappeared. The shock of finding that he was penni-
less, as he supposed through the perfidy of his friend, had
caused the death of Sara's father. He had never been
strong and he had died of heart failure before he could
give any directions for the future of his daughter.

Photoplay Magazine

■

Sara had been so homesick at first that she had refused to eat.

Sara awoke. Her dreams always ended right here and "Oh, there's the 'Little Princess' in her ermine

her dreary day began. From the night of her twelfth trimmed gown! What do you want for Christmas, 'Prin-
birthday she had been the despised little servant of the cess?' — a pair of my old shoes?"

school, no longer the little princess, but a caricature in her Sara stood still and looked at her. When people spoke

old and outgrown finery which she was still obliged to to her rudely she never answered, only looked at them;
wear. The ermine trimmed dress had been baptised with and her gaze gave them the impression that she was look-
many an immersion into greasy dishwater, and came ing through them at something far away. It was as if she
barely to her knees. Her other clothes were worn thread- drew a barrier between them and her real self, and it gave
bare and Miss Minchin would not buy her anything new. her tormentors a feeling of discomfort and uncertainty.

Miss Minchin, however, gave her grudging shelter for Lavinia drew back a little; there was something about
two reasons: one, that she did not want tales circulated the poise of Sara's head and the steadiness of her eyes
about herself and her callousness which might hurt the that made the little parvenue feel at a disadvantage. The
reputation of the school, and the other was the fact that child's quiet ignoring of her insolence was far more potent
Sara was more than ordinarily in its influence than any uttered

clever and spoke French well. In words of retaliation could have been,

another year, Miss Minchin fore- i-he Little Princess Then one of the girls, a chunky

saw, Sara would be able to take \T,Dn.Trn v. ■ ■ u Vitile plebeian named Ermengarde.

the place of a teacher with the MARRATED by permission, trom the stepped forward in Sara's defense.
11 j t\t- 1 * photoplay version of Frances Hode- <Vcu t • • i t*m.

vounger scho ars, and save Miss „„ £ *,* , <(C n „ 5 Shame on vou, Lavinina When

<.. Y- .i i • r r lL son Burnetts novel Sara Crewe, pro- „ ', ', , ,

Minchin the hire of one. For that ,]uced by Artcraft. Cast given as in the Sara was Parlor boarder she was

reason, Sara was compelled to photoplay. kind t0 everyone. Never mind,

study at night to keep up with her Sara; I'm sure you'll get something

classes. Sara Crewe Mary Pickford for Christmas better than old

Sara put on her ragged clothes Captain Crewe Norman Kaiser shoes!"

and descended to the kitchen. On Miss Minchin Katherine Griffith Sara slipped past them without a

the way she passed a group of chat- Amelia Minchin Ann Schaefer word. Ermengarde was a stupid.

tering girls, up thus early because Becky Zasu Pitts good-natured girl who was the de-

of the excitement of Christmas Ali-Baba Wm. E. Lawrence spair of her father, an exceedingly

week and the hurry of finishing Cassin Theo. Roberts well-educated man. Finding her in

gifts, half done. The school snob, Ermengarde Gertrude Short tears over her books one day, Sara

Lavinia, who now occupied Sara's Mr. Carrisford. . .Gustav von Seiffertitz had discovered that Ermengarde's

former throne of favoritism, called Lavinia Loretta Blake grief was because she could not

out, tauntingly: Ram Dass Geo. McDaniel comprehend the things her father

The Little Princess

wished her to learn. Sara had offered to help her and the
two had made a bargain: Sara would read the wonderful
books that Ermengarde's father sent and afterward tell
the stories to Ermengarde in such a way that she would
remember them. The scheme worked beautifully and the
slow-witted Ermengarde, listening to Sara's vivid tales,
acquired a knowledge of her books that delighted her
father and puzzled Miss Minchin. And Sara's eager mind
reveled in the tales of romance and history, all of which
helped to weave the mantle of aloofness with which she
protected herself from the sordidness and grime of her
daily existence.

But this week there was no time to spare for tales, and
try as she would, the fatigue of Sara's days made it impos-
sible for her to summon her protecting mantle of "make
believe" at will. Added to the drudgery of herself and
Becky was another torment: the sight and smell of the good
things being prepared in the kitchen, of pies and tarts, can-
dies and huge, frosted cakes. It was almost more than flesh
could bear to be obliged to seed raisins and chop citron, to
be surrounded by a maddening aroma and to be half fed
and not permitted as much as a taste of all this delectable-
ness.

The two girls stood watching
the cook spread chocolate over a
huge cake, one afternoon. Sara
had been out on an errand at
luncheon time, and had had
nothing to eat but crackers and
tea, when she returned. As she
watched the delicious black
chocolate slowly drip from the
edges of the cake, she turned
faint with desire.

Cook carried the cake, to a
shelf in the pantry and stepped
out into the area way a minute.
Arm in arm, Sara and Becky
stole into the pantry and stood
gazing at the cake as if hyp-
notized. The chocolate was still
oozing a little and had run down
the sides of the cake onto the
shelf. One of Sara's small fore-
fingers went out — and a little
chocolate puddle found its way
into her mouth. Then Becky's
forefinger — until there were no
chocolate puddles left.

There were crumbs in the pan-
try, too; flaky ones where some
mince tarts had been cooling.
The chocolate was intoxicating;
the two reckless adventurers de-
scended on the crumbs — and
then looked up to cringe be-
neath the cook's menacing voice
and frown.

"Ouch!" cried Becky in
agony, for her head was still sore
and Cook's hand was heavy.
Sara she did not cuff, but ordered
supperless to her attic room, and
poor Becky was banished to a
like fate in the dismal cellar.

Some hours later, as Sara, faint
with hunger and one throbbing
ache from head to foot, sat in her
chilly attic dreaming of sunny
India, she thought she heard a
scratching at her window. She
opened it a crack and in popped
a tiny Indian monkey.

Sara rubbed her eyes and wondered if she were dream-
ing. She opened them and the little creature was still there.
It climbed upon her bed and scrambled to the headboard,
where it stood regarding her gravely.

Then another miracle happened. The door of her attic
opened softly and a servant, beetle brown, his head
wrapped in a gorgeous turban, entered. He was exactly
like the servants of her babyhood, whom she saw so often
in her dreams. With a low salaam, he picked up the mon-
key and went out. Sara watched him with popping eyes
as he vanished across the roof of the Minchin school.

Sara's heart throbbed with wonder and excitement.
Then a feeling of apprehension crept over her. She had
read so many stories, she had "made believe" so much, and
she knew she was light-headed from want of food. Un-
doubtedly the monkey and the servant were but creatures
of her imagination. Perhaps she was going to lose her
mind. Considerably frightened she went in search of
Becky and confided to her what she thought she had seen.

Greatly concerned, Becky felt of her head and hands,
and pronounced them " 'ot." It was her personal opinion
that Sara was getting "balmy" from her flights of imagina-

No longer the little princess, but a caricature in her outgrown clothes.

Photoplay Magazine

tion and the ill treatment, combined; and she divided with
her a piece of bread which she had managed to steal while
the cook's back was turned. Then, with motherly protec-
tion, she went up to Sara's room and stayed with her until
she had fallen asleep.

Next day, being the day before Christmas, was hardest
of all. To hear the peals of the door bell and the excited
squeals which fol-
lowed in its wake,
to hear the "Merry
Christmas" greet-
ings, to know that
the hour was almost
at hand when all
the joyous expecta-
tion would be real-
ized, and that they,
the two little
drudges, would have
no share in the
merry making, was
enough to break
older hearts than
Sara's and Becky's.
And when they
climbed their stairs
on Christmas Eve,
the "Little Princess"
and the cockney
drudge clung tight to
each other, trying to
gather some crumb
of comfort from
their mutual mis-
ery.

Sara opened the
door to her attic,
entered, gave a wild
exclamation, dashed
out and dragged in
the wondering
Becky.

Then they both
stood transfixed. A
cheerful fire burned
in the grate; Sara's
little table had been
pulled out from the
wall and a white
cloth covered it.

And on that cloth was set a full dinner service of silver and
china for two, and in the middle — Oh, wonder of wonders!
— a beautiful, glistening brown turkey reposed serenely
upon a platter!

With eyes starting out of their heads, the girls clung to
each other and tiptoed around the table. There was a
mound of creamy mashed potatoes, there were squash and
celerv and olives and nuts and everything that goes to
make a bountiful Christmas dinner. Tantalizingly deli-
cious odors rose from the steaming food.

"Do you see it, too?" whispered Sara, as trembling with
excitement she pinched Becky's arm.

"I not only sees it, but I smells it!" announced the val-
iant Becky.

Then, for the first time, the children noticed that the
attic had been transformed. Indian tapestries covered the
cobwebbed walls and cheerful pictures were hung here and
there. It was too much to try to understand. The food
was enough for immediate comprehension, and Sara, re-
membering her training, served herself and Becky; and
though famishing, began to eat daintily, tears of joy in
her eyes.

There was a heavy step upon the attic stairs. The chil-

With eyes starting out of their heads the girls clung to each other and
tiptoed around the table.

dren sprang to their feet and looked at each other in alarm.
The door was thrust rudely open and Miss Minchin en-
tered. She had chanced to smell a savory odor where
savory odors did not belong, and she had traced it to its
lair.

"So you've been stealing from me, have you?" she cried,
her face thunderous with rage. "I'll teach you! I'll send

you where little
thieves belong!"
And she pounced
upon the terrified
Sara like a hawk
upon a helpless
fledgling.

But someone had
been watching and
there was a swift
interruption. The
attic window flew
open and in
stepped a tall man
with the pallor of
India's heat upon
his face. He was
followed by the
brown servant
whom Sara thought
she had dreamed.

"Oh, he must
have brought us
the dinner!" cried
Sara, and breath-
lessly she addressed
the servant in Hin-
dustani.

Then the man
spoke sternly: "I
had my man pre-
pare the dinner for
these two children
and decorate their
attic as a Christ-
mas surprise. He
has told me how
they are mistreated
and abused."
Then, to Sara, ea-
gerly: "But tell me
where you learned
Hindus tani, my
child. It seems strange to hear it, here in England."
"My father and I always spoke it to our servants in In-
dia," she answered.

"Who are you — who was your father?" he cried ex-
citedly.

"I am Sara Crewe — my father was Captain Crewe, of
Bombay."

"Then at last my search is ended! I have looked for
Captain Crewe's little girl all over the world. And to think
that I should find her in an attic, next door! I am John
Carrisford, your father's friend, my dear."

Slowly the light left Sara's eyes. John Carrisford? The
man whom the solicitor had said was responsible for the
loss of her father's fortune and his death?

Carrisford saw the doubt that was creeping into her face.
"No, no," he cried eagerly. "I was not to blame. Don't
judge me, my child, until you hear. I knew nothing of
your father's death nor what caused it, until afterward. I
was ill, stricken with tropical fever, and not expected to
live, when it all happened. It was not until I returned to
Bombay that I heard of the supposed failure of the mine —
and the consequences. I was not to blame."
(Continued on page 132)

I see the sweet faces of Jackie and
Mary,

And Marguerite's graces, (she's cute
as a fairy)

Why here's Charlie Chaplin (the
light's getting dim)

Hello! here's the Sub. What's the
matter with him.

There must be some news, it's ex-
cited one freddy,

"Barrage in ten minutes? Correct,
sir, we're ready!

#91 175 7 P 6 -A. J. Anderson,
46th Canadian, France.

The Editors of PHOTOPLAY consider this
poem, written with all the ruggedness, sincer-
ity and fire of a Kipling, a Serviss, or an
Empey, one of the most splendid tributes
paid a publication in recent years.

You May Prefer Skating or Ice Boating,

Keystone Mermaids at Santa Monica.

But We Favor This Midwinter Sport

It doesn't seem like Christmas without snow for Santa Claus' sleigh, but these
poor movie folks who are obliged to spend the winter in Southern California
have their compensations. A drop of a few degrees in the temperature, and a slight
chilling of the water, does not prevent them from doing water scenes out there.

Here, going to sea in a tub, is
Myrtle Lind, and in the natty-
stripes we have Marie Provost
again, while to our right "eight
little Keystoners sitting in a row"
await the signal to plunge in.

"When 1 earned #150 a
week I spent $100 for
clothes. I was like a child
suddenly let loose in a vast
garden of toys. I liked
whatever I looked at and
looks went
where."

every-

Every important event in the career
of Miss Elvidge has happened in
June. She was born in June, came
to New York in June, and it was in
(line she made her first picture for
World Films.

The Clothes of a
Perfect Day

Being an authentic record
of the rise of June El-vidge,
choir singer, to sartorial fame

By
Harriette Underhill

Photograph! by White

THREE years ago June El- p
vidge came to New York with p
just enough money to last a p
week, if she lived at the Y. W. C. A.
Now, she goes shopping to buy a |
hat and comes home with twelve.

The signs of the Zodiac and two
stern parents decreed that June
Elvidge must earn what little money
was necessaiy for personal adorn-
ment by singing in a choir.

Miss Elvidge told us all about it her-
self, and she never realized that to our
impressionistic mind the real story lay,
not in what she was telling, but in the
fact that during the recital she was
garbed in a gold brocade gown which cost
$500; that in her hair was a jewelled osprey
and around her perfect throat a chain of
seed pearls finished off with a diamond and opal
placque. Her stockings were hand embroidered
gauze; her shoes were gold and on her fingers sparkled fine
gems. She was exotic, gorgeous, langorous, opulent and
wonderful. One little bit of the brocade in her gown was
of sufficient value to have bought a whole outfit in the
days when June sang "Lead Kindly Light" in the village
choir.

"I am a fatalist you know," said Miss Elvidge. "Per-
haps that is why I never worry about anything. You may
wish with all your might and main to be an aviator but if
fate says that you have to be a tailor or a baker, why you
might as well go ahead and be a good one, for that you
will have to be. You see it was not decreed that I should
be a piano teacher or a choir singer, although I was afraid
T was going to have to fill one of those niches, in the early
days before I even heard of motion picture's.

"The first five dollars I ever earned was for singing at a.
funeral and it looked so big to me that I wondered what I
should spend it for. Yes it is true, I was a wife, a mother
and a widow before I was twenty years old. Until that
time my life had been very quiet. I had few clothes, and
it never seemed to make any difference to me until one day
I read something of the money that moving picture people
made, and I decided to try it. How true it is that 'Fools
rush in' and so forth. I knew so little about it that T
fancied it would be easy.

"Well, to New York I came to seek my fortune. I knew

"I buy everything I see for two reasons. One is because I can't help it
and the other is that I don't want to help it."

just one person in this town, and to him I went for advice,
telling him that I intended to devote the remainder of my
life to making pictures. Oh the glorious egotism! I did
not say 'hoped to' or 'wished to' but 'intended to.' This
man knew a man who was a friend of Jake Shubert, so
next day I duly presented myself, armed with colossal
assurance and a letter of introduction

" 'Well, what can you do?' Mr. Shubert asked, as he
looked me over with an appraising eye.

"I think I said that I could play the piano and lead the
choir or words to that effect, for he said sternly, 'Stand
up!' I stood up. 'Take off your hat!' I did so. 'Take
off your coat.' Horrors! So the dreadful things I had
heard of theatrical managers were true. But I needed the
money so badly that I resolved to. make this last conces-
sion. T took off my coat, and all he said was, 'You can go
to work as a show girl in the Winter Garden tomorrow if
you like. Now how much money do you expect to get?'

"I thought quickly. I needed money, that was certain,
but I feared to make it prohibitive and so with finger on
his pulse, figuratively speaking. I murmured. 'Eighteen

Photoplay Magazine

"lama fatalist, you know. Perhaps that is why I never worry about anything."

dollars. ' abashed at ray own temerity. Mr. Shuberl
laughed and said he would give me thirty to start, and do
you know, within six months I was making Si 50 a week.
"I think the virus must have been injected into my
veins that first week I lived in the Metropolis, for I re-
member thar my first pay envelope was emptied to bin a

new hat. When 1 earned Si 50 a week I spent $100 for
clothes. I was like a child suddenly let loose in a vast
garden of toys. I liked whatever I .looked at. and my
looks went everywhere.

"My entrance into pictures was an accident, too. I vis-
ited the World Studio one day with a friend, and there

The Clothes of a Perfect Day

-i j

they asked me if I would care to have a test made. I said
that I should if it was not painful, and I never saw nor
heard again of any test. What I did see, was Mr. World,
himself, offering me a contract to sign, and the stipulated
stipend made me gasp. But even this vast sum I managed
very nicely, and soon I found that having your income
doubled over night does not necessarily mean that you
need have any uneasiness about being able to dispose of it.

"It was fortunate at that time that I had to work as hard
as I did; otherwise I should have had more time for shop-
ping and in that case I probably would have spent more
than I made. I have no head for figures. I'm like the
woman who wouldn't believe that she had overdrawn her
account because she had so many unused checks.

Every important event in the career of Miss Elvidge has
happened in June. She came into the world in June, she
came to New York in June and it was in June that she
made her first picture for the World Films.

" 'The Lure of Woman' was my first picture. It sounds
lurid, doesn't it? Of course my first part was small, for
my greatest asset was my voice and that never was of any
particular value to one wishing to win laurels on the screen.
So really all I had was an unflinching determination to get
there."

Miss Elvidge's remark was not intentionally provocative
but we could not help retorting, "Yes, but you had the open
sesame to the door of success — perfect beauty." It did
not seem right for anyone to ignore that greatest of all
gifts as Miss Elvidge seemed to do. She smiled as she said:

"Well, that never took anyone very far if she hadn't
something more. People like to look at you once. Then
they want to see what you can do. For two years now I
have been making pictures. They have gone all the way
from the 'Butterfly on the WTheel' to 'Rasputin, the Black
Monk.' That, I think, is the only picture I ever have
made where I was not called upon to furnish my own cos-
tumes.

"Oh, what a joy are motion pictures! In one of my re-
mit ones I wore twenty-two different frocks, hats and sets
of furs, and selecting them was one of the most pleasurable
things I ever did. I eased my conscience by saying 'Of
course I need these things in my work. It is not for self-
gratification that I buy them but merely because my art
demands it.' "

"Do you convince yourself that you really are a martyr
to the cause?" we asked, when Miss Elvidge paused.

"No, 1 don't," she replied. "I may as well be frank
about it. I know perfectly well that I buy everything that
I see for two reasons. One is because I can't help it and
the other is that I don't want to help it.

"Why, compare this," and Miss Elvidge flipped a blank
check contemptuously, "with this?" And she caressed a
parti-colored peignoir. "Just think, by writing out a few
figures on one of these little pieces of paper you can own
any hat or gown in New York. Isn't it wonderful!"

"Do you find motion picture work hard?"

"Well, hardly. Who could find it hard work changing
from one glorious creation to another? From nine o'clock
until six is not a bit too long for me. Of course you can't
wear a gown more than once, on the screen, and you can't
wear it in public, for everyone will recognize it if you do;
so I have mine all made over. My evening coats are re-
versible and my frocks are ripped up and fashioned over
again. A piece cf brocade like this, for instance, has
infinite possibilities. It is lovely, isn't it?" and Miss El-
vidge smoothed the shining stuff.

"No, they do not approve of me at all back home — back
home being a suburb of Pittsburg; but it is difficult to per-
suade a person who wears $500 gowns that she would be
just as happy if she had only $200 a year to spend on her
wardrobe. Mother's favorite saying used to be 'train up
your children in the way they should go and when they
are old they will not depart from it,' but now I think she
leaves out the 'not.' "

William P. Earle, Vitagraph producer, directing a scene in "Miry Jane's Pa." The players in the foreground are: Marc MacDermott, Eulalie
Jensen, William Dunn and Mildred Manning. These comprise the star members of the cast.

Uac

'I was on the point of striking the beggar but she whispered that the fellow had doubtless made a mistake.

Signing Up
Cynthia

Cynthia, herself, was a "find, " but when
she went to the city she took a blank con-
tract with her and found $2,000 a week

^y Frederic Arnold Kummer

Illustrated by Charles D. Mitchell

AS I went into the club, I saw Jerome Kurtz, of the
Metagraph, sitting at a table with Victor Ellis,
the playwright. Jerome looked as dejected as
though he'd just bet his last dollar on the wrong
horse. I nodded.

"Sit down and have something," Ellis said to me with a
smile.

• I drew up a chair. Jerome tried his best to look
pleasant, but the only result was a sickly grin.

"Hear you've signed up that English chap, Horace Ath-
erton," he remarked. "We turned him down, last month."

"So he tells me, Jerome," I replied. "Says you people
couldn't meet his figure."

"Wouldn't, you mean. We decided he wasn't worth it.
And he ain't. You'll find out."

"Jerome," I said with a smile, "Atherton has already
earned his year's salary, so far as we are concerned, and
he hasn't begun his first picture yet."

"How do you figure that out?" he asked.

"He dug us up a new star."

Jerome grunted. I could see he thought I was stringing
him.

"New stars don't get you any money," he said. "You
spend a couple of years making 'em, press-agenting 'em,
giving 'em a million dollars' worth of publicity, and the
first thing you know they sign up with somebody else, and
all you get is the gate. Believe me, boys, it would be a
whole heap better for the fillums if there wasn't no stars.
Excuse me" — he rose — "there's a fellow I gotta see. Hey!
Abe! I been looking for you." He hurriedly left us.

"Sort of nervous, isn't he?" I said to Ellis.

"Been having trouble with Cynthia Love," the play-
wright replied.

"How so?" I asked.

"Well, I don't know as I ought to tell you, but Jerome
didn't put me under any bonds of secrecy. Last month
the Metagraph asked me to write a special picture for her.
Six or seven reel production. I got a synopsis — corking
idea — read it to Jerome tonight — now he won't close. You
see, Cynthia's contract with the Metagraph expired a cou-
ple of weeks ago, and there's been some trouble about re-
newing it. And they've got to renew it, of course, for
Cynthia's the biggest attraction they have. As near as I
can make out, Jerome told her the star system was on its
last legs, and refused to increase her salary."

"H-m. Lots of concerns would like to have her," I said.

"Sure. Jerome knows that. And she knows it. And he

' Polly was waiting for me at the station, wearing the same little gingham
dress and a really fetching hat with flowers and things on it."

knows she knows it. And she knows he knows she knows
it. Sounds like a puzzle game, I'll admit, but you get me.
Jerome tried to run in a little bluff, and it didn't work. He
told Cynthia to think the matter over, and come back the
next day."

"Well?"

"Well — she didn't come back. She just disappeared, and
the Metagraph haven't seen hide nor hair of her since.
Nobody knows where she is. Jerome is half crazy. Ben-
ton, of the World, swears she's in California. Jim Woods
says she's bought a camp out in the country somewhere,
and is taking a rest. / believe she's right here in town.
But wherever she is, she's got the Metagraph's goat and
then some. And all because of Jerome's little bluff."

"Jerome's a great bluffer," I said. "I used to play stud
poker with him a lot, in the old Bioscope days. But he
usually overplays his hand."

Ellis smoked for a time in silence.

"What's this stuff you were giving him about Harold
Atherton?" he presently asked. "Nice chap. I met him
in London last year. Good actor, too, but thick — awful
thick, even for an Englishman, you know. The kind that
sees the joke you've told with the soup in time to laugh
with the coffee and cigars. But a nice chap, just the same.
Did he really dig you up a star?"

Photoplay Magazine

"He sure did," 1 said, laughing.

"Never should have believed it of him."
What's more, she's an ace. Our Chief hasn't got
ihrough thanking him yet. Harold is the little bright-eyed
hoy over at our shop right now."

Ellis leaned forward and looked at me with a laugh.

"You're bursting to tell me about it," he said, "so you
might as well shoot."

"All right," 1 replied. "I will, and believe me, it's some
story.

"Harold signed up to make four pictures for us this year.
It was all arranged by cable. No — he couldn't go into the
army — some trouble with his eyes, I believe. We are to
start shooting the first one next month. Naturally I didn't,
expect to see him much before then, but about ten days
ago he walked into the office, very ceremonious and correct
in his cutaway and spats, and said he was ready to go to
work. The Chief threw up his hands, and turned him over
to me.

"I was terribly busy on our latest Betty Mason picture
— -'The Verdict,' released next month — and hadn't any
time for Harold, so I put him up, here at the club, intro-
duced him to a couple of chaps, and advised him on ac-
count of the ungodly heat, to beat it for the seashore or
the mountains' for a couple of weeks, and enjoy himself
until 1 was ready for him.

"He did. Ran into a man he'd met in London last sea-
son— -Eddie Greenwood, the comedian — you know him —
and got an invitation to spend a week or two at Green-
wood's camp up in Maine. I was delighted when he told
me about it, for 1 was too busy to have him on my hands
just then. He was tickled to death at the idea of roughing
it for a 'fortnight,' as he expressed it, and laid in a stock
of flannel shirts, boots and the like — regular frontiersman's
outfit. He didn't realize Greenwood's idea of a camp —
breakfast, with cocktails at noon, poker till midnight, and
the heaviest work anybody has to do is to shove his chips
into the pot and say, T call!'

"I didn't hear anything more of Harold until yesterday
morning, when he burst into my office with a look on his
face that told me at once something was up. I asked him
what I could for him.

" 'Business of the utmost importance, old chap,' " he ex-
claimed, mopping the beads of perspiration from his fore-
head. " 'Eve had no end of adventures, up in the woods,
and I've brought you down a little girl that's a wonder. I
want to introduce her to you, and to Mr. Goldheimer, this
morning. You see I — I've promised her a berth.'

" 'You don't mean it,' I said, laying aside the scenario I
was reading. 'Quick work. What is she — little village
maiden, anxious to see life in the big city? I shouldn't
have thought it of you.'

" T say, old chap, don't spoof me/ he replied. 'I'm in
earnest. Of course she hasn't had any experience, and all
that, but she's a rippin', positively rippin', and I know
you're going to like her.'

" 'How did you run across her?' " I asked, smiling at his
earnestness.

"Quite an adventure, I assure you. You see, I found
things at Greenwood's place a bit different from what I had
expected. Hospitality no end, and all that, but I had ex-
pected to rough it — do my ten miles a day, up with the
sun and to bed with the rooks, you know, getting myself
fit for the work ahead. Greenwood has different ideas —
not what you would call athletic — doesn't go in for the out-
of-door thing — awfully nice chap — don't mean to criticize
him, you know — but not what I had expected.

"The first day 1 put on my walking things, boots,
puttees, knickers, flannel shirt, ready for a bit of mountain
climbing, and went down stairs. It was about six in the
morning. The house was as silent as a tomb. After look-
ing about I found one of the domestics, who seemed quite
alarmed to see me. Thought T must be ill. I said some-

thing about breakfast, but she told me it wouldn't be ready
for hours — somewhere around noon, she said. However, 1
got her to make me a cup of tea, and managed with some
biscuit and an apple I found in the dining room. Then 1
set out.

"I walked for a matter of five or six miles, I fancy,
although I couldn't be at all certain, for the country was
rough and wild, and covered with underbrush, so that one
found difficulty in making progress. Presently 1 came to a
bit of a stream, with a point of rock jutting out, awfulb
picturesque and romantic and all that. So I went down to
the river bank, and feeling a bit warm, decided to refresh
myself by taking a dip in the water.

"I had removed my shirt, and was just taking off my —
ah — knickers, you know, when I had a beastly shock.
Even now I shudder when I think of it. Erom the bank
behind me 1 heard a voice, and some one said, Would you
mind putting off your swim until I finish my lunch?'

"I looked up, and there was the rippin'est little girl
you ever saw, in a blue gingham dress and sunbonnet, sit-
ting on a flat rock and smiling down at me as friendly as
you please. I almost lost my head. Just fancy. There I
stood, with my shirt off, and my knickers, — well — if she
hadn't spoken just when she did, I don't know what 1
should have done, really. Never was in such an awkward
position in my life.

"I got back into my things as quickly as I could, and
went up on the bank. The young woman had some sand-
wiches, and fruit, and a bottle of milk set out on the rock
beside her. She was sunburned, and her hair hung in a
braid down to her waist, and she smiled at me in such a
friendly way that it quite put me at my ease.

"Awfully sorry to have disturbed you," I said.

"Rather the other way about, isn't it?" she laughed. "I
interrupted your swim. In return for your goodness in
waiting, I'm going to give you a sandwich." She pointed
to the napkin she had spread out on the rock.

"Her suggestion sounded awfully good to me, you can
imagine, for it was now close to ten o'clock, and all I'd had
was the tea and biscuit hours before. So I thanked her,
and sat down.

"Of course I could see that she was just a little coun-
try girl, awfully young, and naturally I knew she was im-
pressed by my appearance and all that, so I considered it
the proper thing to introduce myself.

"I'm Harold Atherton," I said.

"Really," she answered, smiling at me. "I'm Polly
Green."

"Do you live hereabouts?" I asked.

"About a mile away. How about you? At a guess I'd
say you were at least three thousand miles off your beat."

"I couldn't quite make out what she meant by this, so
I up and told her more about myself. "I'm from New
York," I said, "but I don't live there. I'm English."

"Not really," she said, as though it was quite a surprise,
my being an Englishman.

"Honor bright," I told her, and went on to explain about
my work. "I'm an actor, and I've come over to make some
pictures for the International. Don't suppose you've ever
heard of them, but they're a big motion picture concern in
New York."

"I love motion pictures," she said, with the jolliest sort
of a smile. "Did j^ou ever see The Fatal Wedding? It was
down in Rockville last week."

"I told her I never had. Then I took another look at
her.

"Do you know, Polly." I said, "you'd look rippin' in pic-
tures yourself."

"Oh — do you really think so?" she gasped, and I saw I'd
made a hit. "I'm dying to try."

"Come along down to New York with me," I said, feel-
ing quite like a gay Lothario, don't you know, "and I dare-
say T can manage to get vou some sort of a berth."

. v1*»

»' m"%\ '* .

rx * \

3*-^-

"There I stood with my shirt
off and — Well, if she hadn't
spoken just when she did

"f>"'*

isWXHjLAc t ** H Vi <-. -k-i

Photoplay Magazine

"She looked at me in the queerest way for quite a long
time, and I came to the conclusion that I'd offended her.

"I know of a rippin' hotel for women down there," I
said. "Friend of mine in London, Mary Graham, went
there last year. And I'd do my best to get you a berth —
really."

"With the International?" she said, with her jolly little
smile.

"Of course. Then we could see something of each other.
And I might be able to give 3-011 a pointer or two, now
and then."

"It's awfully kind of you," she said. "I'll ask my
mother. It would be lots of fun, wouldn't it?"

"No end," I agreed. "Of course you couldn't expect
much in the wa3r of salary, to begin with, but I'd do my
best for you."

"Do you think they'd give me twenty dollars a week?"
she asked me.

"I told her I thought so, that I understood beginners in
the States got as much as that, although of course they
don't, with us.

"By that time we had finished the sandwiches, and
Polly threw the paper in which they had been wrapped into
the stream, took up the bottle and went down to the edge
of the bank. 1 thought she'd gone to wash the bottle, and
you can imagine my amazement when I heard her calling
to me, and looking up, saw her in a canoe in the middle
of the stream. It must have been tied close under the
bank, where I couldn't see it. She waved her paddle.

"See you to-morrow, old dear," she called to me, and
before I could struggle to my feet she was gone.

"When I got back to the camp I found the whole party
playing poker. I told them of my encounter with the
young woman. Greenwood yawned.

"Don't get gay with these country maidens, old top,"
he said. "They all read the Sunday supplements, and are
wise. Let 'em alone, or you'll get into trouble."

"I said I thought I could take care of myself. Green-
wood is a nice fellow, but he thinks women are devils. So
I didn't say anything more about the matter, but made up
my mind to go back to where I'd met the girl, the next day.
I had an idea she'd be there.

"And she was. Sitting on the same rock waiting for me.
She had lunch ready, too, and I noticed she'd brought an
extra lot, so I knew she expected me. Jolly nice of her,
wasn't it?

"Hello," she said, when she saw me, "I've spoken to
mother, and she says she's sure you must be a gentleman,
so it's all right."

"You mean to say you'll go?" I asked.

"I certainly do. Whenever you are ready."

"I was a bit surprised, of course, for I hadn't thought
her mother would let her do it. I wondered if she meant
to bring the mother along.

"Will you be going alone?" I asked.

"She laughed, in the jolliest sort of a way.

"Certainly not," she said. "I'm going with you."

"I saw I was in for it, and all that, and to tell you the
truth I began to feel a bit queer. She's such a rippin' little
thing, sort of helpless, don't you know, and I knew I'd have
to look out for her, and see that she did get a berth, and I
wondered what would happen if she didn't. But I'd given
my word, so we began to make our arrangements for the
journey.

"She was to drive over to the station on the following
Thursday, which was two days off, and I was to meet her
there, and we'd go on to Boston. She had a cousin there,
she explained, who would put her up for the night, and
the following day we would proceed to -New York. When
everything was arranged, she left me, explaining that she
had a lot to do, getting ready and all that, and I went
back to the camp feeling almost as though I'd become en-
gaged to be married, or something serious like that.

I didn't say anything to Greenwood about it except
that I had an aching tooth, and should have to nm down
to New York to have it attended to. I don't believe he
was sorry. Greenwood's an awfully nice chap, wouldn't
say a word against him for the world, but I saw that 1
didn't fit in his party at all. I'm a duffer at poker, and
while I like a Scotch and soda at times, I find if I drink
it all day, in this climate, it gives me a touch of liver. So
1 got my luggage together and drove over to the station tin-
next morning before any of the others were up. I'd said
good-by to them the evening before.

"Lolly was waiting for me at the station, wearing the
same little gingham dress, although this one was pink, and
a really fetching hat, big, with flowers and things on it. 1
must say, old chap, your country girls here in the States
know how to dress. Simply, of course, but with taste. And
her satchel and parasol were quite correct, so I knew I
shouldn't feel any embarrassment, bringing her here to
New York. In fact, a lot of chaps on the train looked as
though they'd jolly well liked to have been in my boots.
And I daresay they would have, too. Polly is rippin'-
positively rippin', and some day she is going to make a hit.

"We had a bully trip down to Boston, and, do you know,
Polly wouldn't let me pay for a thing. Her mother had
given her the money for the journey, she said, and she pre-
ferred to be independent. Awfully decent of her, I thought.

"When we got to Boston we had dinner, and I took her
to the theater. She was delighted with everything, but I
told her to wait until we got to New York, and then she
would open her eyes. You see, Boston was no surprise to
her, for she'd been there once before, she told me, on a visit
to her cousin. She left me, after the show, asked me to
put her in a taxi, and said she would drive out to her
cousin's alone; that it was a long journey out into the sub-
urbs, and she wouldn't think of asking me to go along. It
was arranged that we were to meet at my hotel for a late
breakfast the next day, and then go on to New York.

"Well, to make a long story short, we got here last night,
and I took Polly to the hotel I'd told her about, the
one where my friend Mary Graham had been, and then I
went and got into evening kit, and took her to dinner. She
was bowled over by New York, I can tell you. The build-
ings, the restaurant where we dined, the whole thing sim-
ply stupefied her. All she could say was 'Amazing — per-
fectly amazing!'

"She'd fixed herself up for the evening, just a simple
little white dress, one her mother had made, I fancy, but
she looked rippin' — positively rippin'. A lot of people
stared at her most offensively, I thought, as we went in to
dinner, and one bounder actually tried to speak. I was on
the point of striking the beggar, but she put her hand on
my arm and whispered that the fellow had doubtless made
a mistake.

"I never had such a pleasant evening in my life. Polly
is just the rippin'est — "

" 'Look here, Atherton,' I said, 'are vou in love with the
girl?'

" 'By Jove!' he said. T more than half believe I am.
Can I bring her in to see Mr. Goldheimer today?'

" 'I'll ask him,' I said, and went in and had a talk with
the Chief.

"He wasn't overj'03'ed, to put it mildly, but I pointed
out to him that Atherton was a man we expected great
things of, and that it wouldn't do any harm to give his lit-
tle country friend the once over.

"'She may be of some use to us as an extra woman in
that rural thing we start next week,' I said. 'We need
some local color.'

"The upshot of the matter was, that Goldheimer arranged
to see Atherton and Miss Green at three o'clock that after-
noon, and he asked me to be on hand as well. I told Ath-
erton what T had done, and he went away delighted, to
{Continued on page 132)

"I stuck my hand down and she caught it. and I held her hand — I have that hand yet. I'll carry it with me to my grave."

She Says to Me, Says She

A famous author visits a famous actress at the Famous Studio

By Edward S. O'Reilly

HE last time I was talking to Marguerite Clark. Clark on the screen, only she really talks. You who have
she says to me, says she, — ■" seen

Yes it is true. Whv I should be the fortunate said.

seen her pictures know that there is nothing more to be

one to be selected by the gods, is past understanding, but
it happened. After searching the dictionaries and Poet's
Own Guide for words to describe her winsome sweetness, I
have despaired Miss Marguerite in person is like Miss

It all happened because an editor had a bright idea.
"Tex." said he. speaking casually, "I have a job for
you."

"Fine," said I. "What is it?" But I had misgivings.

4')

Photoplay Magazine

"You are to interview Marguerite Clark." He said it
just as calmly as if he was talking about interviewing an
ordinary queen or princess. I flatly refused.

"Why pick on me," I argued. "In the first place 1 don't
know anything about the pictures, and in the second place
the writer who could do that subject justice would have
to know more words than Shakespeare. In the third place
I simply won't do it in the first place."

But Editor Simon Legree insisted and threw out a hint
about stopping
my pay checks.
Now there is a
peculiar trait in
m y character.
Whenever the
boss stops the
checks I always
refuse to work.
I've always
been that way.
So just to avoid
a misunderstand-
ing I agreed to
tackle the job.

"I am tired of
doing all the
thinking for you
writers," said
Editor Simon.
"You must do it
all yourself."

Then for fif-
teen minutes he
told me how to
do it.

"Find out
something about
her home life.

Does she live with her mother? Can she cook and does she.
and can she sew?"

Without any effort I could think of about a thousand
things I would rather do than interview Miss Marguerite.
For a long time I have worshiped her from afar, and it
seemed kind of sacrilegious to bust right in and ask her
if she could cook.

At last the fatal summons came and I reported in a new
necktie to Randolph Bartlett, who was supposed to fix
things. He escorted me to the Paramount office. A man
from the office, who seemed to know all about Marguerite,
came with us, and we hiked for the studio.

Three seconds after we entered I was seized by four
husky persons and thrown into the street. It seems that
I was smoking a cigarette, which is against the constitution

Only a "still" photograph from one of Miss Clark's "Sub-Deb" pictures

Clark has plenty of clothes on.

and by-laws of the studio. This act of hospitality made
me suffer with satisfaction. It was an excuse to escape,
but the man from the office brushed me off and hauled me
back into the studio.

I have been in several battles and free-for-all riots, and
once attended a peace meeting, but never in my life have
I been in the midst of such a unanimous pandemonium.
In one corner a gang of rough necks was throwing an Eng-
lishman out of an office, forty-seven carpenters were pound-
ing and sawing,
and a gang of I.
YV. W.'s were
running madly
around trying to
wreck the place.
Emulating
Bartlett I began
to hop, skip and
jump, hither and
yon, trying to
dodge the enemy.
H e succeeded
fairly well but
I was wounded
several times.
One outspoken
individual with
a yellow shirt,
yelled, —

"Hey, you big
longhorn. get out
of the set."

Now I never
met that fellow
before in my
life, so how did
he know me.
Anyway the joke
was on him, because I wasn't setting at all but was leaping
hither and thither.

All at once I happened to glance down, and there She
was, right under my left elbow. Dazed, I heard the man
from the office intoning an introduction. Then I realized
that Miss Clark was actually going to shake hands with
me. I stuck my hand down, and she caught it, and I held
her hand, and she smiled and I grinned, and she held my
hand, and —

I have that hand yet I will carry it with me to the grave.
After the first shock I knew that I must say something.
So I mumbled something about the editor and his plots.

"But you know I have never consented to an interview,''
said Miss Clark.

There it was. With my usual skill I had said exactly

And whisper — Mis

"She Says to Me, Says She — "

the wrong thing at the right moment. I was about to
mumble an apology and dive for the door when Bartlett
came to the rescue and took me gently by the hand.

That man is a wonder.
He talks just as easy, and
every once and awhile says
something pat and to the
point. In a moment I found
myself seated as one corner
of a triangle, while he was
talking fluently and well, ap-
parently without any em-
barrassment.

The man from the office
had given me quite a large
collection of information on
our way to the studio. One
of the things he had told me
was that Miss Clark was
playing in one of a series of
pictures called "'The Sub-
Deb." I had thought it was
a war picture and that Miss
Clark went down in a sub-
marine or something. For-
tunately I did not speak and
betray my ignorance. After
we were in the studio it was
easy to see the story was
about a riot in the subway.

For a few minutes after
Miss Clark had shaken
hands with me I was in a
trance. When I recovered
my poise she was talking,
and I listened.

"The reason I never con-
sent to an interview about
the pictures is because I
really have nothing new to
say," she was saying. "Peo-
ple who know the subject
have dealt with the question
so much better than I could.
Now what I think about the
pictures is that there should
be more out of door scenes.

"Directors lately seem partial to elaborate indoor sets.
There is nothing in an indoor set that cannot be done as
well or better on the stage. A photoplay is not handi-
capped by stage limitations. It has a field all its own and
should exploit that field.

"Take my picture 'Wildfire' for instance. It was a light

little story but the setting was enchanting. Beautiful out
door scenery. That picture is still popular."

After listening to what she had to say I don't see why

Miss Clark should refuse to
talk about pictures.

Then I heard Mr. Bartlett
talking about "The Am-
azons," one of Miss Mar-
guerite's latest pictures. He
was remarking how delight-
fully at ease she appeared in
boy's clothes. I never would
have had the nerve to say
that.

"Well, you see I am rather
accustomed to them," she
replied. "On the stage I
played several parts that de-
manded boy's clothes, 'Peter
Pan' for instance. So it was
really not a new experience."

The man from the office
had mentioned, nine or ten
times, the fact that Miss
Clark had recently pur-
chased a $100,000 Liberty
Bond. In the stress of lis-
tening I had forgotten the
bond, but Bartlett remem-
bered, and mentioned it. She
admitted that she had gone
on the government's bond to
the extent of the sum men-
tioned.

By this time I thought
that it was up to me to horn
in on this conversation some
place, so I said, —

"Where did you get the
money?"

my admirers think
it," she answered

"Why,
I earned
naively.

There

Marguerite helps an extra lady, (a
make-

cold statuesque person
up.

it was again. It

/ith her isn't possible that a greater

admirer of hers lives today,

than myself, yet I had not

thought of that. Deriding that conversation was not my

forte I subsided and let Bartlett do it.

For some time Thad noticed a quiet little gray haired
lady wandering about the studio, talking to the directors
and occasionally making a note on a sheet of paper.
"That is my sister," confided Miss Marguerite, waving

Photoplay Magazine

"The last I saw of her she was standing, tip-toed, on a chair peeping
through a big field gun of a camera."

her hand. "She is the official family spanker and makes
me behave. We live together."

That started it, and we learned some interesting facts
about her home life. It seems that Marguerite is a serious
minded person who loves her home and has little time or
inclination for play.

"My work at the studio requires so much of my time
that there are really few hours left for social life," she
said. "We live very quietly, my sister and I. Usually I
spend my evenings reading. When I get a little vacation
there is always something to be attended to — the dentist
or the dress maker. Sometimes I run out to Chicago and
visit my relatives.

"Of late I am trying to do some serious reading. The

old classics I neglected in school days. I have no time for
the lighter modern fiction. The magazines for instance."

This last remark pleased me very much. I wish the
editor could have heard it. Thought of the editor re-
minded me of my duties. He wanted certain information
and I was there to get it.

"Do you cook?" I asked.

"No," she said. So that was one point settled.

"Do you sew?" I persisted.

"Sometimes, but I am afraid I am a failure," she con-
fided. "Lately I have been doing some war work. Tried
rolling bandages, but after several hours' work I only fin-
ished two. I tried to make them too neat. So now I am
knitting socks for the soldiers."

Sherman was wrong.

Speaking of soldiers reminded me of a little story and
I told it. General Pancho Villa is a photoplay fan. At
the time he captured Mexico City he attended the theatre
frequently to see the pictures. One night Miss Clark's
picture, "The Seven Sisters," was shown.

Villa, the boss of the bandits was highly delighted and
extravagant in his praise of Marguerite's beauty.

"What did he say about me?" she queried.

There I was up against it again. If I told her the truth
I would be thrown out, for Pancho ever was an untutored
savage. So I told a polite little lie, hiding my embarrass-
ment behind my hat. I hate to lie, and the only reason
I do it is because of force of habit.

Miss Clark talked on a little while and I gleaned some
more facts. She has two homes; a fiat in Manhattan and
a country place in Westchester County. She likes the
country home best, and rides a horse and raises flowers.

My impression of Miss Clark, formed by viewing her in
pictures, was that she was a happy hearted little elf smiling
her way through the sour old world. She is all of that and
something more. She is a serious minded little person
intent on doing her work well. Even the directors say
that she is less trouble than anyone in the cast, and obeys
orders like a little soldier.

For the last few minutes of our conversation a discon-
tented looking man had been hovering in the back ground.
For some reason I took a dislike to him. He proved that
my hunch was right when he interrupted to say that time
was up, and Miss Clark had to get on the job of Sub-
Debbing.

"I wish you would take a look at this here set," he says.

Some of these things the actors say about the directors
may be right after all.

So we shook hands again — that makes twice.

The last I saw of her she was standing, tip-toed, on a
chair peeping through the range finder of a big field gun
of a camera.

Then I was led out into the open air. As I was towed
down the street I was babbling superlatives of little Bab
the Sub-Deb. That editor is not such a bad fellow after
all.

So that is why I haunt the theatres where Marguerite
Clark's pictures are being shown. When I catch a friend
I impale him against the wall with my finger, throw out
my chest and begin, —

"The last time I was talking to Marguerite Clark, she
says to me, says she — "

If You Have
Any Friends

who are not acquainted with PHOTOPLAY MAGAZINE, don't per-
mit them to live in the darkness any longer. Throw a ray of
sunshine into their lives. How ? Easy ! Just send their names and
addresses in to us and we'll turn on the sunshine. How'll we do it ?
We'll just send them a sample copy. That's all. DO IT NOW.

MOTHER-O'-MINE "

When a fellow starts out to climb he's wise if he picks out
the right kind of a mother. Herbert Brenon did — and just
see where he is today! Past sixty-six years old, Mrs. Brenon
is still helping her gifted son. She wrote the sketch in which
he appeared for three years in vaudeville — a long time ago.
And now she is his sternest critic and most valued adviser.
At the left she is shown at his side while he is directing a
scene for " Empty Pockets," watching every detail, and check-
ing up on costumes and scenery.

When Reginald
Barker wanted to
be a motion picture
director, he offered
bis seivices for
nothing. That's one
sure and certain
■way to get your
chance

FIVE years ago Regi-
nald Barker, fresh
from a series of
Broadway triumphs as a
stage director went out to
the studios of the New
York Motion Picture Com-
pany, walked up to Thos.
H. Ince and offered to work
for nothing. Ince was so
astonished that he
'" — -, accepted the offer
on the spot. Since
that day Barker
has risen from the
lowest salaried director in
the industry to a position
in which he is
£*7- r-». generally

|^ credited a s
being the
highest paid man in his
profession excepting, of
course, those directors who
have also become great
producers.

Reginald Barker direct-

His First Name is Reginald-
But He's Lived it Down

By E. V. Durling

ing a motion picture, for real action, energy and the old
time "pep," makes Billy Sunday look like a one-legged
Egyptian mummy with the gout. In fact there is a great
suspicion in motion picture circles that Billy stole his stuff
from Reggie. For a long time the extras at Inceville
thought Barker was a nickname. Xo doubt there will be a
legend among the good folk of the countryside in years to
come not unlike that of Washington Irving's immortal tale
of Rip Van Winkle. Hearing the thunder they will say to
the little ones "That is Reginald Barker directing a pic-
ture in the hills of Inceville."

It was either Nat Goodwin or Kipling who said "A
woman is only a woman but a good cigar is a smoke." A
good cigar is more than a smoke to Reginald Barker, it
is an absolute necessity. Barker without a cigar is like
Ty Cobb without a bat. Barney Oldfield without an auto-
mobile or Doug Fairbanks without a smile.

The wily actor working under Barker knows that when
the cigar remains dormant and the director chews vigor-
ously on the end, it is better to remain silent. Also that
when the cigar is puffed violently, the time is ripe for a
quick touch or a plea for a part in the next picture. When
the Barker cigar is removed from the mouth and thrown
upon the stage the wise actor ducks under the nearest
table. Nobody has ever seen Reggie entirely without a
cigar so it cannot be definitely stated just what his state of
mind would be on such an occasion.

Reginald Barker knew when he came to Inceville and
made the rather unique proposition aforementioned, that
while he knew the legitimate stage he did not know motion

picture technique. Fortunately for Karker thi> was firmly
impressed upon his mind. Therefore when he met Ray-
mond West, who is now also a very successful directo. .
he immediately began an exchange of ideas. West was an
expert on motion picture technique but never had had any
stage experience. Therefore he was very willing to advise
Barker in return for some instruction in dramatic technique.
The result was that from two average directors came two
of the very best producers in the industry.

An incident which illustrates the Barker way of doing
things, and one which accounts for his success, is the story
of his introducing Japanese actors to the screen. Before the
time Mr. Ince assigned the direction of a series of Japanese
pictures to Barker, Caucasian actors had always played the
Japanese parts. This arrangement was not satisfactory to
Barker and he immediately began a search for real Japanese
actors and actresses. The first one he found was Tsuru.
Aoki. He asked this young lady if she knew any more
Japanese who might be persuaded to act before the camera.
She said she knew of a young man who might be able to do
something. Tsuru brought him around the next day. His
name was Sessue Hayakawa, the same young man who is
now a Paramount star and who, by the way, later became
Miss Aoki's husband.

With Sessue Hayakawa, Tsuru Aoki and the other
Japanese actors and actresses, Barker made such screen
classics as "The Wrath of the Gods" and "The Typhoon."
Since that time when there is a Japanese part to play the
companies secure a Japanese actor. It seems simple enough
but like all great discoveries, this simplicity is most notice-
able after some pioneer has tried it.

Somebody has been hiding Reginald Barker's light under
a bushel, as with the exception of those on the very inside
of the industry few people know of his many real achieve-
ments. It was Barker who directed that first Bill Hart
success "On the Night Stage." It was Barker who first
gave Sessue Hayakawa the great opportunity with "The
Wrath of the Gods." It was Barker who directed the very
first pictures released on the Triangle program, "The Cow-
ard" and "The Iron Strain." The former picture raised
Charlie Ray from the ranks. It was Barker who directed
the sensational "War's Women" and it was he who was
responsible for "The Criminal" which picture skyrocketted

Clara Williams to star-
dom.

Reginald Barker be-
ieves in his profession

"No, no! That isn t
the way. Slower."

Photoplay Magazine

and believes it to be as dignified a one and as worth while
as any other. He has an interesting word for those young
men who are undecided in their choice of a career.

"1 believe," he says, "that no other industry in the world
offers better opportunities just now to the college and uni-
versity trained man than that of the motion picture. This
is a young man's game and it pays well. Five thousand
dollar a year salaries are common; $10,000 a year is not
extraordinary, many men make $25,000 and not a few $50,-
000. Fortunes are to be made by men of unusual ability
and strong character just as in any other manufacturing
business. It is not a question of stage experience or the
possession of peculiar talents but merely a matter of energy,
education and intelligence."

Biographically speaking, as it were, Reginald Barker was
born in Winnipeg, Canada, in 1886. His mother died when
he was two years of age and he was sent to Scotland where

he lived until he was eight. From Scotland he went to
England to meet his father who took him to America.
They settled in California.

Young Barker decided upon a stage career after seeing
Charles Dalton in "The Sign of the Cross." This was when
he was nine years of age. At fifteen years of age he wrote,
produced and played the leading part in a play called
• Granna Uile" which was shown in Los Angeles. At eight-
een he became leading man and played in various stock
companies. After that he was associated with Robert
Hilliard in the production of the daddy of all vampire
plays "A Fool There Was." This was his first New York
experience and during the time he was on Broadway he
was associated with Walker Whiteside, Mrs. Fiske and
Henry Miller. All of his motion picture experience until
very recently has been with Thos. H. Ince. Mr. Barker
is now with the Paralta Company.

■ ■-:■ V :■:: - -::v. ■.,■.,,■;.

I^fc

1*1

p^H

Ml ^a

m*~ * JBL

If
fll

fit

KBBBflK- 1

Stars of the Screen and Their Stars in the Sky

By Ellen Woods

Nativity of Wallace Reid, Born April 15th.

WALLACE REID was born April 15th, at 1:12 a. m.
Again we find the Cardinal sign Aries. These are in-
fallible signs that the person so born will enjoy public distinc-
tion which is lasting. We find the evidence of the actor, viz:
Venus in good aspect to Mars, but Mr. Reid has other talents
which balance the actor. Mercury is in good aspect to Venus,
Moon, Jupiter and Saturn, which all indicates that if he had
devoted as much time to. music as he has to acting, he would
be one of the greatest musicians in the world. Mr. Reid's
memory is of the best, and he is very truthful, sober, just,
humane and sympathetic. Inclined to melancholy if left alone
too much, he should be with cheerful and optimistic people
The position of Lord of the ascendant in the sign Vigo, indi-
cates that he should not eat much meat nor take strong coffee
or narcotics. Uranus located in the ninth house in the sign
Libra, gives him a great inclination for the study of phil-
osophical and progressive subjects, and I have known many
inventors to have the same position. Mr. Reid is counted one
of the handsomest men on the screen, and it is easy to see why
this is so, for we observe that Venus, the little goddess of love
and beauty, beholds the ascending degree. Mars, the god of
strength, also beholds the ascendant, which gives Mr. Reid
courage and the desire for all outdoor sports, and to become
the victor over all.

Nativity of Miss Kathlyn Williams, Born May 31st.

KATHLYN WILLIAMS was born May 31st, at thirty-seven
minutes after ten o'clock at night. When I saw her on
the screen playing with lions and tigers, I thought she was an
Amazon, but upon casting her nativity, I found her shy, timid
and very retiring. The twenty-second degree of the sign Capri-
corn was ascending at the hour of her birth, with the lord
Saturn in the intellectual sign Gemini, Moon in conjunction
and just rising with the ascending degree, all of which gives her
an inclination to travel or to be on the go, most of the time.
Mercury, lord of the nativity, is located in the sign Taurus
in conjunction with the war god Mars, which indicates that she
would have power over large animals if she wished to use it.
We find three planets in the fifth house, the home of the
theatres, viz: the Sun, Venus, and the lord of the rising sign.
Saturn. Jupiter is located in the house of marriage, the seventh.
and I would say that Miss Williams should have a happy
married life. The platic conjunction and parallel of the Sun
and Venus alone would insure happiness in marriage, but we
find the Sun in aspect to Saturn, with Venus conjoined also.
which shows delays or grief, but Jupiter, in the seventh sextile
to Saturn, predominates. If Miss Williams ever wishes to
change her vocation she should deal in real estate, which would
increase in value, viz: Jupiter in sextile to Saturn, with Sun.
Venus and lord of the horoscope in the fifth.

oA Branded
Soul

Concbita's surpreme sacrifice
quenches the evil- flame in
the heart of John Rannie

By
Isabel Ostrander

THE bell of the old mission
church of San Miguelito
tolled its last paternal call to
early mass and its overtone
still vibrated on the shimmering, tor-
rid air as a group of horsemen rode
across the village plaza and halted
beside the graveyard wall, their ac-
coutrements jingling a discordant
note in the echo of its mellow
symphony.

The leader, a broad shouldered, bronzed, young man
swung himself from his horse with a lithe quickness of
movement in sharp contrast to the lazy slouch of his pad-
rones and issued a curt order.

"Get busy, all of you, and tear down the wall pronto!
Those old grave stones must be carted away by tomorrow
morning — "

A protesting murmur in liquid Spanish like the ripple of
disturbed waters passed from man to man and they averted
their furtive eyes from this desecrating Americano.

The murmur grew and John Rannie had taken a hasty,
threatening step forward when from the church behind
him there poured forth such a flood of melody that he
paused spellbound. Clear and golden as the Mexican sun-
light, rich and rounded yet quivering with reverential awe
the exquisite timbre of the woman's voice rose upon the
still air, but as the last lingering note pulsed into silence.
Rannie roused himself and turned with a muttered impre-
cation to the padrones.

"On the job now! Tear down this wall! "

Surlily the men slid from their horses and with pick and
crowbar approached their task. Within the church the
huddled worshippers had lowered their rapt gaze from
the girl who sat alone in the choir loft and the fat padre's
intoned prayer droned sleepily about their ears when all
at once the deafening ring of pick on masonry and crash of
dislodged stones brought them, terrified, to their feet.

With the padre in advance, they swarmed out into the
sunlight and met the cool insolent glance of the Americano.

"Senor!" The priest raised his hands in expostulation.
"Senor Rannie! What is this unholy thing that you
would do?"

"Only what I warned you of, Padre." Rannie spoke
with crisp finality. "This church property, the village and
all the land about is mine! I mean to spud out a well — "

"But my children!" the priest wailed. "My sleeping
children! They have rested here for centuries. Senor!
You would not despoil them — ?"

Conchita mia! It has seemed long without thee, but it is over. I will gamble no more."

"Wait, my father!" A clear young voice broke in upon
his protestations, and the girl who had sat in the choir loft
sprang forward, her dark eyes blazing, and confronted the
intruder.

"Senor!" she began passionately. "You who with your
gold have bought the ground from beneath our feet, the
good earth which has been ours since the coming of the
conqueror, you shall not invade the sanctuary of our dead!
Their curse and that of the Holy Church will be upon
you!"

Rannie's eyes swept her slender form in a swift apprais-
ing glance and he bowed with ironic humility.

"The Senorita will pardon, but curses do not impede
the development of oil wells."

"Conchita!" A woman murmured warningly in the
group, but the girl gave no heed.

"In your thirst for the oil which means riches to you,
you have taken from us all that we have, but the dead you
shall leave in peace! You shall not desecrate this holy
ground!"

For a long moment their eyes met and battled, then the
American shrugged and a sharp order to the padrones sent
them scurrying back to the horses.

Rannie turned again to the girl.

"It was you who sang just now." There was a new,
quickened note in his voice. "The churchyard shall not be
molested, Senorita, since it is you who ask it. Sometime
you shall sing for me. Hasta la vista!"

He swung himself into his saddle and clattered off down
the white, sun-baked road, his padrones following in a
cloud of dust.

With a sudden flame leaping beneath the clear olive
of her cheeks the girl watched until they had vanished
across the plaza. Then her smoldering eyes dropped and
she followed the others into the church.

All during the service and later, when in the cool of a
moonless, starry night she sat in her father's patio, Con-
chita pondered with a vague stirring of fear in her heart.

Photoplay Magazine

Hasta la vista — "Until we meet again." A caress that
was at once a menace had lurked in the Americano's bold,
avid, confident eyes. Passionate hatred surged up within
her. He had prophesied that sometime she should sing
for him! Then before that day came, might the good
God take from her her voice and leave her dumb forever!

If Juan had only been there beside her, at the church
doors! But Juan — ? The girl sighed.

Her lover, whose passion for gambling had scandalized
the good padre and led him to forbid their banns until
Juan forswore the dice, had not since taken communion
and heavy were the penances awaiting his tardy con-
trition.

At their last meeting, Juan had passionately reavowed
his love for her, and assured her
that within a week he would give
the required promise to the padre,
but first he must try his luck once
more. He had boasted of a change
of fortune, hinting at a hacienda
for their future home, with broad
orchards of grape-fruit and limas
instead of the adobe village dwell-
ing they had planned. Why had
Juan been so confident, so sure?

The Americano was forgotten in
the troubled thoughts which as-
sailed her. She had seen Juan
frequently with a stranger who
spoke in odd guttural tones, of
whom it had been whispered in
San Miguelito that he was a spy,
an enemy of that great country
north of the Rio Grande. Could
the luck of which Juan had spoken
be connected with that man and
his despicable calling?

Two days longer she waited in feverish anxiety and then
Juan appeared at her father's casa.

"Conchita mia! It has seemed long without thee but
it is over! I gamble no more!"

There was exultation in his tone but as he embraced her
he averted his ardent brown eyes and a curious flush spread
beneath the tawny pallor of his. cheeks.

'Ah, Juan, but my heart sings!" Her own eyes were
luminous with joy as they sought his. "And tomorrow
thou wilt go to the good padre and confess — "

His arms dropped from about her and he turned away
with an uneasy laugh.

"How like a woman! You do not even ask, Carita, if I
have lost or won! "

"Had you lost every peso, Juan, what matter? So that
you play no more with cards or dice! "

"It is done. But I have won. Conchita, won! See!"
He drew a wadded handkerchief from his pocket and
spread it out upon the table showing the coins heaped
within it. "Gold! Gold for the hacienda and for you, my
beloved! For a necklace of opals and silk dresses and a
mantilla from Old Spain! For the padre's fee and the
wedding feast — "

But Conchita was scarcely listening. She was staring
at the money piled before her and her breath came in a
little frightened gasp.

"So much! "she whispered. "It is wealth, but what game
is this in which the stakes are so high? Juan, tell me!"

He shrugged.
What matter, since I won? All is fair — "

Juan paused and wheeled about suddenly, his face pal-
ing. The door had opened silently and upon the threshold
two men stood regarding them. One was short and
swarthy, the other tall and immaculately clad in white
flannels with a straw hat which he removed as he bowed
in ironic greeting.

"A Branded Soul"

^J ARRATED by permission from the
photoplay of the same name, writ-
ten by E. Lloyd Sheldon and produced
by Fox. Cast as given in the picture.

Conchita Cordova. ... Gladys Brockwell

John Ronnie Lewis J. Cody

Juan Mendoza Colin Chase

Dona Sartoris Vivian Rich

Dolores Mendoza Gloria Payton

Neil Mathews Fred Whitman

Adolf Uylie Barney Furey

Conchita gave a little cry and then stood as if turned
to stone. It was the Americano, John Rannie! ■

"Your pardon, Senorita, for invading your home and
intruding upon this happy reunion, but I have business
with Juan Mendoza, here." He drew a folded paper from
his pocket and held it out to the man who confronted him
in half-shrinking bravado. 'You recognize this docu-
ment?"

Mechanically Juan took the proffered paper and glanced
at it.

"No, Senor." He spoke through set teeth. "I have not
seen this before."

"It was brought by a spy, disguised as a tamale vendor,
from the army encampment across the border. The
traitor there has been appre-
hended and has confessed." There
was a hard ring in the Ameri-
cano's tones. "This spy was sus-
pected before he started on his
iourney and followed by my agent.
Pedro, is this the man?"

He turned to his swarthy com-
panion who nodded and stepping
forward laid his hand upon Juan's
arm. The latter shook him off
with an oath.

"It is a lie!" he snarled. "A
trick of this pig of an Americano!
Conchita, you will believe — ?"

Rannie pointed to the little
heap of gold upon the table.

"There is the price the German
paid you for your despicable job.
You delivered the other docu-
ments to your master, but this one
fell into my hands. The game is
up, Mendoza."
"Juan!" Conchita's lips barely framed the word. "Is
this true? Is this the luck of which you spoke?"

"Quien sabe?" He shrugged but his eyes blazed with
sudden passion. "The Americanos are not our people!
If I am employed to buy what one of them is willing to
sell, have I not the right?"

Conchita shrank as if he had struck her a blow.

"A spy!" she faltered. "You — a spy! Madre de Dios!"

"It was for thee, carita mia!" Juan's voice broke. 'The

cursed dice — I was ruined, I would have lost thee! The

German offered me good pay and there was little risk — my

last gamble! For thee, Conchita!"

He held out his hands but the girl stood as if stunned,
staring straight before her with unseeing eyes. After a
moment Juan's hands dropped to his sides and he squared
his shoulders with the old reckless despairing gesture.

"My last gamble," he repeated, "and I have lost once
more! Come, I am ready to pay!"

Rannie motioned peremptorily toward the door and un-
resisting, Juan turned and- left the house with Pedro at his
heels.

Slowly Conchita roused herself and turned dazed eyes
upon the Americano.

"What will you do to Juan?" she asked.
"Need you ask, Senorita?" Rannie made a significant
gesture. "You have seen other traitors shot, there in the
plaza."

A sudden wail issued from her pale lips.
"Ah, no! Por Dios, not that! You will not, Senor, you
cannot! If it is true that he did this thing for me I am
equally guilty! Punish me, but spare him! You granted
me a favor in the churchyard on Sunday, hear me now!
He is so young to die! Senor, see! I will beg you on my
knees."

He stepped quickly toward her and into his narrowed
eves there came again that eager, avid gleam which had

A Branded Soul

sent the blood leaping into her cheeks on their first meet-
ing.

"You need not beg, Conchita ! Juan has not yet been de-
livered to the soldiers. Pedro will watch him until I give
the word and that word depends on you. The life of your
amigo is in your hands."

"In mine, Senor? I will do anything, anything — "

"Will you come to my house tonight?"' Rannie's tones
were thick with sudden passion. "I love you, Conchita! I
have wanted you from the moment you defied me, there
before the church, and I made up my mind that you should
come to me! An hour against the life of Juan Mendoza!
You alone can save him, Conchita, if you will!"

The girl put out her hands instinctively as if warding
off a blow and backed slowly from him, her eyes dark and
wide with horror.

"Senor!" She whispered hoarsely. "You mean that
you — you will have Juan shot unless—? You cannot!
The bueno Dios would not permit that you could be so
cruel, so merciless!"

"All's fair in love!" he reminded her. "That is what
Mendoza himself was saying when I came. Will you send
him to face the firing squad at dawn or will you come to
me? It is for you to choose!"

Conchita bowed her head and he waited, his quickened
breath the only sound within the silent room. At last she
looked up and in her eyes shone the exaltation of a supreme
sacrifice.

"I will come, Senor."

An hour later, through the fragrant darkness. Conchita
crept to the casa of John Rannie, to keep her promise. He

welcomed her with a return of his well-poised self-control,
but she scarcely seemed aware of his presence. Sinking
submissively into the chair he proffered, the girl gazed
about her with the air of a trapped animal, helpless, mute
before the black fear which assailed her.

"A toast, Conchita!" Rannie bent over her a wine glass
in his hand. "To love!"

"Love?" She shrank uncontrollably from him. "What
have I to do with love, Senor? I have come to buy the
life of Juan Mendoza. I have kept my word; I trust you
to keep yours. But love one cannot sell.''

She .aised her eyes timidly to his, the prayer for mercy
which she would not utter shining from their soft depths.

John Rannie put down his glass.

"You love him so much, then, this spy?" he asked,
averting his own eyes from hers.

"But yes. Senor." Conchita replied simply, ignoring
the contempt in his tone. "It is a great wrong that Juan
has done, but he did it for my sake, and then it may be
that he did not understand. He is a man and I think men
do not always comprehend the wrong they do."

"Perhaps not." Rannie's tone was low and constrained.
"Do you think that he will understand vour having saved
him?"

"He shall never know. Senor. I will never see him
again." She closed her eyes in a swift spasm of pain.
"But he will live, and be a good man. Nothing else mat-
ters now."

For a time silence fell between them as Rannie paced
the floor moodily. Had she glanced at him. Conchita
might have divined the struggle that was taking place be-

"What have I to do with love, Senor? I have come to buy the life of Juan Mendoza. I have kept my word; I trust you to keep yours."

Photoplay Magazine

"It is a lie," he snarled. "A trick of this pig of an Americano! Conchita, vou will believe-

tween his passion for her and the better self she had all
unconsciously awakened.

The greatness of her sacrifice, sublime in its abnegation
had wrought a miracle in the selfish predatory soul of the
Americano and when at length he halted before her there
was a look of reverence on his face which purged it of all
grossness.

"Juan 'will be free," he said gently. "You have kept
vour word, child, you have bought his life. Now you may
go."

"Senor!" Transfigured with swift, half-incredulous hope
Conchita raised her eyes and what she read at last in his
brought to her face a radiance almost divine. "You mean
that I, too, am free! You will forgive Juan for the wrong
he has done to your countrymen and I — I may return now
to my father's casa?"

"As you came." He nodded gravely. "It is still two
hours before the dawn. No one will see you, no one will
ever know that you have been here. You can slip home
through the darkness — "

"The dawn? Is not that the dawn?" A sharp cry from
Conchita broke in upon his words and following her gesture
he saw the eastern windows lighted by a ruddy, angry
glow.

"My oil wells!" The bitterness of overwhelming ca-
lamity shook his voice. "San Miguelito has risen against
me at last! I must save what I can — !"

Turning he dashed from the room, but Conchita stood
as if rooted to the spot gazing with horrified fascination at

the towers of smoke which leaped in crimson effulgence
against the sable sky. Two ruddy columns — three — they
were setting all his wells ablaze, ruining him —

"Conchita!"

She turned. Juan stood in the doorway.

"Ah! It is thou!" Conchita ran toward him joyously.
"You are free, Juan, free! Senor Rannie has promised — "

"Has he?" Juan's face was contorted with passion.
"And you, what are you doing here? Dios, I need not
ask! While I risk my life for you, you take this Americano
for your lover! You would even have had me shot to rid
yourself of me! "

"Juan, you are mad! You do not know what you are
saying — "

"Mad, am I?" He laughed stridently and advanced
upon her. "I will show you how mad I am, you — !"

At the name he uttered, Conchita shrank as from some
loathsome thing and turning fled swiftly through the low
French window and instinctively toward the nearest of the
burning wells. She was conscious only of overwhelming
horror and an anger that tugged at her heart as if it would
uproot something which had flourished there.

The scaffolding of the well was burning and she halted,
held back by the waves of heat which rolled out upon her.
her eyes searching the crowd all unconsciously for the tall
white-clad figure of John Rannie.

Suddenly a rough hand seized her and she found herself
confronting Juan Mendoza once more.

(Continued on page ijo )

Getting Right Down to Brass Tacks

Some facts about Earle R. Wil-
liams 'which repeal -what
manner of man he really is.

By Cameron Pike

His Winton doesn't require repairs, but he likes to fuss with the machinery.

A S my friend Owen Hatteras, a writer of biography
/■i and philosophy, has observed, you can tell more
•^ ■*■ about a woman by the way she eats an artichoke
than by knowing where she was educated. Biographies are
usually dull, partly because they tell too much, and partly
because they do not tell enough. I could give you the his-
tory of Earle Williams from the day of his birth to his latest
Vitagraph release, but that would tell you nothing except
his relations with the world. What is much more interest-
ing is Mr. Williams' relations with himself. And as such
if lotions have to do with fragments, hobbies, habits, inci-
dents, preferences, prejudices, and so on, so let the truly
important things about Mr. Williams be related:

HIS favorite pastime is running a moving picture camera,
but he never has succeeded in turning out a good
strip of film.

He can drive an automobile with one hand, and can make
minor repairs, but he doesn't like to, and never does when
there is a chauffeur or garage handy.

His favorite type of woman is a medium sized brunette.

He once won a prize in a long distance bicycle race in
California.

The most curious present he ever received from an ad-
mirer was a pipe made from a mocha nut, sent to him by
a picture nut named Xutt.

The most useless present he ever received was a box of
flowers from a woman living near Boston. The flowers
were withered when they reached him. The same woman
has sent these bouquets to him many times, and they are
always faded when they arrive.

He keeps his collars in a velvet-lined case.

He shaves himself every morning, immediately after ris-
ing, using an old-fashioned razor. His beard grows so fast
that he often has to shave twice a day when he is working.

He smokes cigars by choice, usually four or five a day,

the two-for-a-quarter kind and always the same brand.

Nearly every prominent actress that has ever worked for
Vitagraph has been his leading woman at one time or an-
other, among them being Lillian Walker, Helen Gardner,
Dot Kelly, Anita Stewart, Leah Baird, Corinne Griffith.
Miriam Fouche Miles, Grace Darmond, Edith Storey, Clara
Kimball Young, and Mary Charleson.

The only players who were with Vitagraph when he
began work with the company, and who are still there,
are Harry Morey, Julia Swayne Gordon and "Mother"
Maurice.

He has appeared in two serials, "The Goddess," and
■ The Scarlet Runner."

When working he drinks vast quantities of water, and
always has a big pitcher of it handy.

He is a Native Son of the Golden West, born in Sacra-
mento.

His dressing room looks more like a business office than
the official home of an actor, the principal articles of fur-
niture being two roll-top desks, his own and his secretary's.

He does not come from a theatrical family, only one
known relative ever having appeared on the stage. He was
James Paget, a favorite player of the previous generation.

He says: "I would rather be a mediocre actor and sane,
than a great actor and crazy." He is sane, but I wouldn't
call him a merely mediocre actor.

His first love affair came when he was only twelve years
old. It ended unhappily, and he has avoided subsequent
ones as far as possible.

A correspondent once wrote that she heard he was a
woman-hater. He isn't. He likes women but he is afraid
of them.

He is five feet, eleven inches tall, and weighs one hundred
and seventy-six pounds.

The biggest fight he ever had in picture work was with
Harry Northrup in "Two Women." He refuses to say

Photoplay Magazine

When working lie
drinks vast quanti-
ties of water, and
always has a big
pitcher of it handy.

what was the biggest fight he ever had in real life.

He is not superstitious, and has worn a fine black
opal ring for a long time, but the stone is cracked
and he is going to discard it.

He has worked in the jewelry business, wholesale
hardware and bicycles, usually as a salesman, but
he never liked any of them.

Sacramento, California, his birthplace, served the
same purpose for Mary Anderson, Sibyl Sanderson.
Mabel Oilman, Bob Warwick and Eva Dennison.

He found his way into pictures through a letter of
introduction to Fred Thompson of Vitagraph. from
a theatrical agency, and has worked for Vitagraph
ever since. Helen Case was his leading woman in
his first picture. "The Thumb Print." That was six
and a half years ago.

His favorite woman among actresses is "Mother"
Maurice. His favorite actresses among actresses are
Mary Pickford, Pauline Frederick and Anita
Stewart.

In 1906 he played in "When Knighthood Was in
Flower," other members of the company being Her-
bert Brenon, John Adolfi and Edward Dillon, all of
whom are now directors of moving pictures.

He receives an average of two hundred letters a
day, all of which are first opened by his secretary,
who selects the most important and interesting ones
for him to read.

His favorite actor is William S. Hart.

He is fond of the best literature, but doesn't get
time to read any. He reads hundreds of scenarios
every month.

He doesn't know how many suits of clothes he
owns; his valet keeps track of them, however.

He regards "The Christian" as his best picture.

When he was telling me these things, he wore a
silk shirt with red, green and black stripes. He has
his shirts made to order.

He is never sick. The only time he was ever
laid up was last summer, when his right foot was
injured while he was working in a picture, and
blood poisoning set in, keeping him away from the
Vitagraph studio for two months.

He has never played anything but leading roles
in pictures.

He has been impersonated in Chicago by a man
who does not look in the least like him, but who
had used his name in making love to an aged and
wealthy widow. In Toronto a woman gained local
fame by claiming to be his mother. His mother
never has been in Toronto.

He lives in a bachelor apartment in Brooklyn,
and is driven to the Vitagraph studio by his chauf-
feur. He does not drive his own car when he can
help it.

He wears his watch in the upper left breast
pocket of his vest, with a finely woven chain con-
necting to the opposite pocket, where he carries
a gold knife, pencil and cigar cutter.

The most costly present ever sent to him by a
stranger is a monogrammed cigarette case of ham-
mered silver, gold lined. He seldom smokes ciga-
rettes, except when his parts demand it. He has
often used this cigarette case in his pictures.

He usually gets to sleep about 1 o'clock a. m. If
he is in bed at that time and finds he cannot sleep,
he reads William Dean Howells. ,

His parents wanted him to take a course at a
Polytechnic College in California, but he obtained
an engagement with a stock company in Xew
Orleans instead.

His beard grows so fast he often has to
shave twice a day when he is working.

Getting Right Down to Brass Tacks

His father was Augustus P. Williams, a California
pioneer; his mother was Eva M. Paget, of the Cincinnati
Pagets.

His studio chum is Bobby Connelly, whom he always
consults about his scenarios.

His greatest antipathy is being called a matinee idol.

His secretary's name is Sam.

Miss Miles, who has been his leading woman in several
recent pictures, became an actress through a determination
to be his leading woman, after seeing some of his films in
her home town, Shreveport, Louisiana.

His favorite director is Paul Scardon. Mr. Scardon is
now directing his pictures.

His favorite food is anything that is well prepared.

He cannot write on a typewriter, and dislikes having
one around. His secretary has to answer most of his let-
ters in handwriting, and if any have to be typewritten he
takes them over to the Vitagraph office.

He never wears loud clothes. Everything he wears
except his shoes and socks is made to order.

He never exercises, finding that the active life of making
pictures keeps him in good physical condition.

His dressing room is on the third floor of the north,
wing of the Vitagraph plant. There is no elevator. It
is impossible to find it without a guide.

His first important stage engagement was with the Alca-
zar Stock, San Francisco, operated by Frederic Belasco,
a brother of David. Later he played with James Neill,
Henry E. Dixey, Rose Stahl, Mary Mannering and Helen
Ware. His last stage appearance was with George Beban
in "'The Sign of the Rose."

His entire name is Earle Rafael Williams. He is thirty-
seven years old.

Next to "The Christian" his best pictures have been
"My Official Wife," "Juggernaut," "The Vengeance of
Durand," "The Scarlet Runner," "My Lady's Slipper,"
"The Love Doctor," "Transgression," "Maelstrom," "The
Soul Master," "The Hawk," "Arsene Lupin."

His studio chum is Bobby Connelly, whom
he always consults about his scenarios.

He has a valet to keep track ot such things
as how many suits of clothes he owns.

His hair is black, his eyes blue.
He is a mighty fine chap.
He wears ordinary round "no
metal can touch you" garters.

He likes to wear dinner and even-
ing clothes — but he's no snob.

His teeth are white and perfect
and he has a "regular fellow" smile.

He is exceedingly good natured
and not afflicted with "tempera-
ment."

He has a fixed appointment
every month with his dentist.

He is especially fond of corned
beef and cabbage, with French
mustard.

He sleeps with his windows
open — but he doesn't like chilly
baths.

He likes lots of cream and
sugar in his coffee.

His handkerchiefs are mono-
grammed with a plain "E. R. W."

He wears a size 8 shoe, and a
size 15 collar.

He writes with a stub pen and

he uses military hairbrushes.

He has his fingernails manicured
by an old maid in a barber shop in
Brooklyn.

He has been known to wear sus-
penders— but he doesn't do it very
often.

He has never had his fortune told,
never kept a diary, and has no use
for women who bleach their hair.

Once he started to do systematic
exercising, but he took on ten pounds
and quit.

He is not a very good dancer, but
once a year he spends an evening
doing all the stunts at Coney Island.

When he was a boy he read Xick
Carter, and went to Sunday School —
for three weeks.

He is never late at the studio. He
never kicks when he has to work late.
Once he worked 48 hours on a
stretch, and then he said. "Well,
I'll be here at the usual time in the
morning.''

Although he prefer? to play
straight leads, roles of upright,
noble young men. He doesn't

Some leading women who
have worked with Earle Wil-
iams — around the circle,
beginning at his right elbow:
Dorothy Kelly, Miriam Miles,
Clara Kimball Young, Lillian
Walker, Anita Stewart, Grace
Darmond and Edith Storey.

insist on reading scena-
rios in advance to see if
the part is suited to him.
and all that sort of thing.
He hates to sit in a barber shop
waiting for the call of "Xext." His
pet peeve is to have his hair cut. but
it's part of his business, so he tries to go
to sleep in the chair while the barber wields
the scissors.

In real life he has had only two fights. Once
when a thug tried to relieve him of his pocket-
book, and once when he stopped a longshoreman
from beating his wife. The first time he beat up
the thug so badly they carried him to the hospital.
The second time the longshoreman hit him with a chair,
and knocked him out.

He isn't especially religious. But he likes to hear "nod
speakers deliver good sermons.
He has few intimates, but a horde of friends.
He has been given all kind? of tests for temperament, but none
of them have re-acted.

The Shadow
Stage

A Department of Photoplay Review

By Randolph Bartlett

and
Kitty Kelly

In '" Cleopatra " (Fox) Theda
Bara rises to heights of tragic
expression hitherto unsuspected.

By Mr. Bartlett

SPECTACLES were invented as aids to defective vision.
Moving picture spectacles serve much the same pur-
pose. Through the medium of these elaborate and
costly productions, producers of photoplays, one by one, are
beginning to see clearly this great basic truth:

Public interest in a story, whether told in poem, story,
painting, drama or photoplay, is in direct ratio to the rec-
ognizable human qualities portrayed therein. Similarly,
public interest in a star is in direct ratio to that star's abil-
ity to portray recognizable human emotions.

Before pictures had found
themselves, when everyone
was experimenting, a cer-
tain passing interest could
be aroused by informing
the public that a produc-
tion cost a million dollars.
After viewing a few of
these gorgeous affairs
(most of which cost not
more than one-fourth what
was claimed for them) the
public ceased to care
whether a production cost
a million dollars or a
plugged nickel. As photo-
plays began to take their
place as a big factor in the
social life of the world, the
world began to demand
that the photoplays reflect
life itself.

"Cabiria" was a huge
success, in spite of the ab-
sence of personal interest
in the story, because in its
day it was a novelty. "The
Birth of a Nation" was a
success, not because it was
spectacular, but because its
theme came right out of the
heart of America's greatest

In "A Daughter of Maryland" (Mutual) Edna Goodrich, lithe, petite,
sustains her reputation.

crisis. "Intolerance" fell short of great success because it
was too darned educational. "A Daughter of the Gods,"
despite its marvels of beauty, fell short, because the tale
was purely artificial. '"Joan the Woman" related an epic
fable, but fell just a little short of the intimate, human
touch.

Meanwhile the comedy of life was progressing. A Pick-
ford story took in dollars where the spectacles accumulated
dimes. The Fairbanks-Emerson-Loos satires leaped into
favor. Such mirrors of contemporary life and character as

"The' Pinch Hitter," "Skin-
ner's Dress Suit," and their
counterparts, swept the
public to their celluloid
hearts.

Yet the producers were
not satisfied. They wanted
to command the admira-
tion, rather than appeal to
the affection of their pub-
lic. So they continue
spending vast sums upon
magnificent creations, in
the sincere belief that they
are serving Art with a cap-
ital A, not realizing that
this elusive goddess has
built her altar in the tem-
ple of life itself. Not yet
have the spectacles served
their purpose.

THE WOMAN GOD
FORGOT— Artcraft

This is not adverse criti-
cism. It is an attempt to
place the spectacle in its
own particular niche. "The
Woman God Forgot" is a
creation of magnificent vis-
as

Photoplay Magazine

After a rather unsatisfactory dip into comedy, Sessue Hayakawa returns
to the serious drama in "The Call of the East." (Paramount.)

"The Woman God Forgot" ( Artcraft) joins the list of splendid spectacles,
a thing to be admired for its art, a feast for the ocular senses.

Miss Young returns after many, managerial adventures, in "Magda,"
(Select) a version of Sudermann's drama of the same name.

tas, of barbaric splendor, of sweeping movement, of tower-
ing crags and heaven-piercinp pyramids. It amazes the eye
without bewildering the mind. It pleases, but it does not
fascinate. It is classic, but for one who reads Homer, un-
whipped by scholastic command, thousands read O. Henry.
The story more than suggests that the author is familiar
with Lew Wallace's "The Fair God," which, in turn, more
than suggests that its author was familiar with Prescott's
"Conquest of Mexico." A Spanish captain, Alvarado. is
captured by the Aztecs. He escapes into the private apart-
ments of a princess, the daughter of Montezuma, where his
wounds are healed, and the two learn to love each other.
He is discovered, and condemned to die upon the sacrificial
altar on the day of the princess' forced wedding to an
Aztec chieftain. To save him, the princess admits the
Spaniards into the otherwise impregnable citadel, the gen-
eral promising to depart as soon as Alvarado is res-
cued. The Spaniards break faith, overthrow the Aztecs,
and the princess escapes to a hut in the wilderness.

De Mille has conducted the story in epic spirit. He has
achieved real splendor by the adoption of greatest sim-
plicity, the absence of which made another spectacle of the
month, to be commented upon later, a garish thing. He
went into the Yosemite Valley for his final scenes, and
brought back gorgeous records of America's great, natural
cathedral. But with all this, he could not make his story
live. A woman risks her life and betrays her people for
love, but the heart does not beat one whit the faster.

Geraldine Farrar, as the princess, is — Geraldine Farrar.
She is never the savage, never the fierce woman of an un-
tamed race. She thinks too much. In another costume,
the same actions would have answered for a scheming
courtesan of the court of one of the later Louises. So with
Wallace Reid, as Alvarado, who, of necessity, played in the
same key as his partner in the plot. But far different the
Russian dancer, Kosloff, who enacted the role of the Aztec
chieftain, suitor for the hand of the princess. Here is real
spontaneity of action — thought and deed in perfect syn-
chronism. Theatrical — yes. But it is a theatrical story,
and Kosloff comes as near to making it live as any man
could possibly do. Raymond Hatton as Montezuma is
also barbaric, though it is difficult at times not to smile
at the similarity of his makeup to that of Joe Weber or
Ford Sterling.

So "The Woman God Forgot" joins the list of splendid
spectacles. It is a thing to be admired for its art, a feast
for the ocular senses, a visit to a mammoth, animated
museum. But through the huge lenses of this spectacle
we see, more clearly than ever, the highest function of the
photoplay.

CLEOPATRA— Fox

"Cleopatra" should have been a magnificent spectacle;
the Fox picture is merely garish. Cleopatra herself was
an irresistible little siren; Theda Bara is merely brazen in
a ponderous manner. J. Gordon Edwards, the producer
of this big film, has crowded his settings with bewildering
heaps of fabrics and properties, and thereby has lost his
great opportunity and wasted a large amount of money.
True magnificence is simple, dignified, not a clutter of
expensive decorations. The eye is impressed most strongly,
not by multitudinous detail, but by vast spaces — a long
vista with a collonade of pillars would express Egypt much
better than all Mr. Edwards' rugs, divans, tapestries, hang-
ings, and what not. Moreover, historically the picture is
incorrect almost without a single exception. Yet there is
one inspired moment which redeems the entire production.
Cleopatra, returning from the defeat at Actium. believing
Antony dead, is bowed with grief. Several of the scenes
in this episode are classics. They might be animated
paintings by Alma Tadema. Miss Bara rises to heights of
tragic expression hitherto unsuspected, not by ravings and

The Shadow Stage

hysteria, but bv the sheer grace of despair. Had the
entire picture t.-en done in this spirit, "Cleopatra" would
be a thins of joy.

A SLEEPING MEMORY- Metro

For those who have a taste for the bizarre in plot, there
could be nothing better than "A Sleeping Memory," made
from the E. Phillips Oppenheim novel by Scenarioist Albert
Shelby Le Vino for a Metro production, starring Miss
Emily Stevens. A millionair^ scientist persuades a young
woman who is without funds or friends, to submit to an
operation to test a certain theory of his, that the memory
cell in the brain can be destroyed. The operation is a
success, and the young woman becomes a beautiful, soul-
less creature. Two former friends suspect something is
wrong. One loves the girl, the other tries to blackmail
the millionaire. Meanwhile, another scientist gains hyp-
notic control over the girl for experimental purposes. She
lives in deadly fear of this man, and the lover from former
years drags him off a cliff, both being drowned. A third
brain specialist is called in, restores the girl's memory,
and she and the original scientist find happiness together.
It is an absorbing plot, with curious flash-backs into pre-
vious existences of the helpless subject of the scientific
investigation. Miss Stevens is called upon to play a role
of intricate difficulty, but as the interest is intellectual
rather than sympathetic, she will not receive the full credit
due her, except from the most discriminating critics. Frank
Mills plays the part of the young millionaire scientist in
his best style, completely redeeming himself for his dull
performance in "Today." Altogether this is one of the
most interesting of the month's novelties.

ARMS AND THE GIRL— Paramount

A war comedy? Impossible! Xo, a wonderful fact.
It is "Arms and the Girl" with the onliest Billie Burke
doing her bit. Xot forgetting the fact that Thomas
Meighan, the dependable, was present at all times to help.
In these days it is well to remember that there are
jolly dogs among the Germans. If this be treason, make
the most of it. "Arms and the Girl" is the story of a
young woman who was traveling in Belgium when war was
declared. The German troops occupied the village where
she was marooned, and she was in danger of being arrested
as a Russian spy, until she recognized one of the officers
as a former head waiter at the Ritz. Then an American
engineer comes under the general's suspicion, and circum-
stantial evidence being strongly against him, he is ordered
shot. The American girl saves him by saying he is her
fiance. So the German commander, a portly, sentimental
soul, orders them married on the spot. The girl's real
fiance appears, and there is heaps and heaps of fun.
Again, as always, Miss Burke is enchanting. You realize
immediately that her smile would wheedle any German
officer out of his senses. And Meighan, than whom few
actors can more deftly shift from grave to gay, is a per-
fect team mate.

HIS FATHER'S SON— Paramount

In a Chaplin farce one might expect a young man to
be thrown off a train for getting into a fight with a pro-
fessional gambler, but, while one cannot fairly demand
thorough consistency of a comedy, this is stretching things
a little too far. And when, added to this, the spot where
the young man is thrown off happens to be the very place
where his railroad-owning father is engaged in an impor-
tant deal, the elasticity of credulity begins to. fail. But
when, further, this young man, who has been his father's
secretary, even though in a desultory way, for several
years, does not recognize either the name or the person of

'The Beautiful Adventure" (Empire Mutual) has many lovely settings;
the outdoor scenes are exquisite. Ann Murdock is featured.

Ill ■

^^3

9iA

k. *di

^B|L-

^^m

)

5
1 1

Miss Barrymore in "Life's Whirlpool," (Metro) is superb throughout.
The entire cast seems inspired by her splendid acting.

'The Corespondent" (Jewel) is pretty heavy work for a young actress.
But Elaine Hammerstein is equal to the demand.

Photoplay Magazine

"'The Princess Virtue" (Bluebird) with Mae Murray, is extremely well
dressed, directorially effective, and wonderfully photographed.

"The Adopted Son" (Metro) a Bushman-Bayne picture, is
best feud stories the screen has recorded.

of tht

"The Firefly of Tough Luck" (Triangle) starring Alma Reuben, is a
v;Vid, colorful tale inoculated with a nice sense of humanity.

the parent's chief land agent, common sense revolts. And
when, still further, such silly, trivial blunders occur as
printing a received telegram on a sending blank, one won-
ders if Thomas Ince really directed this picture, as stated,
or whether there is to be a repetition of the old system
of "supervision" which fails to supervise. Charles Ray
made a reputation as a port raver of awkward country
boys, surrounded with delicious human corned}'. His
"Pinch Hitter" and "Clodhopper" were — and are — excel-
lent entertainment. '"His Father's Son" is not such a
picture.

THE CORESPONDENT— Jewel

Elaine Hammerstein, who made her screen debut with
Robert Warwick in "The Argyle Case," returns after too
long a delay, in "The Corespondent/' made from the play
of the same name by Ralph Ince. Miss Hammerstein i:>
young and pretty and the same inexperience which causes
her work to lack the polish of a veteran, lends to it a
freshness and charm that is distinctly pleasing in a world
of sophisticated ingenues. An innocent girl, led into a
compromising position by a wealthy man, becomes a news-
paper reporter, and a romance develops between her and
the editor. She is assigned to a divorce story, and discov-
ers that she herself is to be named as the corespondent in
a suit brought by the wife of the man who tried to betray
her. The man believes this situation saves him from ex-
posure, but the girl and the editor surprise him by printing
the story as it actually happened. It is pretty heavy work
for a young actress. Yet she is charming.

"THOU SHALT NOT STEAL"— Fox

The title of this picture is pure camouflage. You would
expect "Thou Shalt Not Steal" to be a highly moralistic
affair by Ivan. Instead, it is a rollicking melodrama by
Fox, a fascinating mystery story. Virginia Pearson at her
best, and modest William Xigh in a delicious serio-comic
role without permitting his name on the program, which is
remarkable self-restraint for a director. A large sum of
money is placed in a safe, in circumstances permissible
only in melodrama, and stolen. Five persons might logic-
ally be suspected of stealing it — at least that many have
motives. Into the turmoil comes a chipper little doctor —
the role assumed by Nigh — who deftly plays one element
against the other, until the whole affair comes to its logical
conclusion with a double wedding. Miss Pearson is one of
the best screen types of the vigorous, typically American
girl of good family. She does not simper, she does not in-
dulge in mock heroics — she is just courageous and straight-
forward. In "Thou Shalt Not Steal," she is at her physical
best. As the story starts the critical gaze is offended by a
great deal of the chest and eyebrow style of acting, but as
soon as you realize that this is melodrama, you enjoy it.
Eric Mayne, being the worst offender, is by that same
token, one of the most effective players. But it's a dis-
astrous habit in anything but melodrama or farce.

THE PRICE MARK— Paramount

One of the cleanest producing families in picturedom is
and always has been. Paramount. "The Price Mark," a
Thomas H. Ince production starring Dorothy Dalton,
is a lewd, pointless story. Such productions as this furnish
heavy artillery for the friends of censorship. It is doubtful
if Paramount would have permitted a less noted producer
than Ince to foist such a picture upon it. It is doubtful if
Paramount will permit even Ince to repeat the offence.

THIS IS THE LIFE— Fox

George Walsh may not be the greatest comedian in the
world — but he is by all odds the swiftest. In "This is the
(Continued on pope 122 )

The Shadow Stage

By Miss Kelly

AFTER all, we have something to be thankful for,
millions and millions of miles of it, in fact.
In these wheatless, meatless days* when it is easy
to credit the bossy with having jumped over the moon, to
the utter elevatingly unsettling of her lacteal gift to man-
kind; when the coal man, and the muslin man, and the
shoe man, and every other blessed man engaged in life
maintaining, seems to have followed in her acrobatic lead;
when in fact it is almost more of a luxury to live, than the
living warrants, there is one favor to be thankful for. The
movie man has kept on terra firma, and so far, it is cheaper
to be entertained than to be fed.

Nor is this done by scrimping on the entertainment. Not
as the shrewd baker has done, are sly crimps taken in the
celluloid product, nor is the sugar of romance sanded with
too much superfluous padding. Contrariwise, reputable pro-
ducers are all seeking toward improvement of their wares,
more value for the money received.

That may sound over altruistic, but it isn't done from
the kindness of their hearts, but from sound business sense.
A good picture made is ensured a much longer life than a
poor one — it can endure seeing and re-seeing and thus be
sought for ''repeat" engagements; it can stand up against
a several days' run and profit from word of mouth adver-
tising. It is an investment for the producer that returns
real income.

This is not saying there are not quantities of poor films,
for there are — yet. A lot of misguided people are making
just any kind of pictures, and a misguided public is pay-
ing to see just anything. So the world is fairly full of
film traps, just as it is of food falsities.

But, if one be a good marketer, with an eye to trade
marks, and a consciousness of past things well done, one is
competent to go a-shopping amongst the entertainment
counters and pick up real bargains.

Even with the added mite of war tax, which gives every-
one a grateful opportunity to do a tiny bit for liberty, here
is an embarrassment of riches. For a dime, plus the war's
penny, here is laughter and sweet tears, and brave battle,
;ind tender love, and romance and history, and travel, and
science and beauty and art. One cannot list impersonally
all the imaginative wealth the whirling celluloid pours
through the little eye of the projecting machine into the
big eyes of the wondering world. The magnitude and the
far-reachingness of it transcends even the best typewriting
machine — even the most vivid vocabulary.

If the public follows the picture world, if it sees and
remembers and patronizes those players who are good,
those directors who are effective, those writers who put
something into their stories, the public will be holding the
picture industry within bounds by guiding it toward the
kind of productions worthy of being paid a price to be
seen. And producers, taking the box office tip, instead of
wasting money and space on undesirables, will devote
themselves to photoplays with quality in them — and we
will still have the most expensive form of amusement for
the lease expensive rate of tariff.

In the past month's seeing, there have been no par-
ticular whirlwinds of photoplay accomplishment, but there
have been many sterling tales enhanced by nice man-
nered production which should serve to take some of the
drab out of life, as the sands run now.

Thus, there is much to be thankful for.

A DAUGHTER OF MARYLAND— American-Mutual

Edna Goodrich sustains her reputation in this pleasant
tale of peppery father and tyrannical daughter staged
among some of our best people on a Maryland estate.
Lithe and petite, she is almost Norma Talmadge.
(Continued on page J 26)

In "The Adventurer" (Mutual) Chaplin does many clever stunts and a
few very new ones, furnishing material for side-shaking laughter.

' Bondage" (Bluebird) exploits the talents of Dorothy Phillips. An inter-
esting story, very well acted by the star and her supporting cast.

"The Burglar," (World) has force as well as entertaining value, and both
qualities are augmented by good photography.

She Earns Svery Penny

One of Irene Castle's most daring dives, filming
"The Flower of Bohemia," at Marhlehead. Mass.

"The wild and rock-bound coast," that we used to recite about.

was the scene of another kind of pilgrimage, when the summer

colony heard that Irene Castle would make a fifty-foot dive

from a rocky promontory.

PHOTOPLAY possesses documentary proof, in the form of

statements by witnesses, that the flying figure shown in this

picture is the slim form of Irene Castle, diving across death -

menacing rocks, into the water, fifty feet below.

— -

IflTTY GORDON, the ''English Lillian Russell," who can afford to be unselfish
w/V and let others face the camera. She even turns her back to it with perfect
equanimity. Do you blame her? And she has a fifteen-year-old beautiful daughter!

WILLIAM DESMOND

"Quick, Genevieve — the Scissors!"

Antonio Garrido Monteagudo Moreno, of Madrid,
Spain. Oh, you r-r-romance! "Tony's" had a
corner on the market ever since he was born.

William Desmond, from the "bright little, tight little
isle." Born in Dublin ; educated in New York.
Otherwise known as "Bill."

"Bobby" Harron's home again. He's been in the
war zone making a Griffith picture. A few years
ago he was a Biograph office boy.

Montague Love is an Englishman, but the kind that
Joesn't wear spats, a monocle, or carry a cane. He
fought in the Boer War and he'sone of their "finest."

Harold Lockwood hails from Brooklyn although
he's been spending so much time in Hollywood, Cal.,
that they talk of running him for constable. Can
you imagine a "constabule" named Harold?

When people go to see a Billie Burke-Tom Meighan
picture, they go to see Tom just as much as they go
to see Billie. Which is going some.

And here's Owen Moore, who doesn't appear in
enough pictures to satisfy thousands of us. Where
was he born? Three guesses! Right the first time.
He and Bill Desmond came over in the Mayflower
together.

KOHEKT IIAKRO.M

MONTAGUE LOVK

HAROLD LOCKWOOD

©l'hoto by Lumlcre

THOMAS MEICIIAN

OWEN MOORE

J~} ORIS KENYON harmonizes with the background of blossoms just as well as
U with one of icicles and snow. But at that, she's a crack shot, can walk on
snowshoes run on skiis, and has handled a team of eight Alaskan dogs.

Slander. We would like to see a photo-
play in which organizations and in-
stitutions formed for the purpose of taking care
of orphaned and destitute children, are not
portrayed as being composed of cruel, selfish
men and women. In isolated instances, there
is failure to understand child psychology, and
as in all matters where the human judgment
must govern, occasional blunders are made.
But there is no money in this business of taking
care of helpless children, and the men and
women who undertake the work would not do
so unless they had the interests of the children
at heart. Can we not have at least one picture
showing the good that is done by child welfare
societies ?

Cleaning Up The press agent is a much

The Advertising, abused person. So many
tyros in the business of
procuring publicity for stars have employed
silly, fake stories, to get into print, that the
profession as a whole has suffered. Now the
condition is in a fair way to be redeemed, so
far as moving picture publicity men are con-
cerned, through the agency of the Associated
Motion Picture Advertisers. This body, organ-
ized more than a year ago, is composed of men
who take their work seriously. Among other
things that they have undertaken is the tracking
down of exhibitors who indulge in sensational
advertising. A film which may be clean in
purpose, may have a scene which is capable of
being interpreted as salacious by evil minded
persons. Exhibitors here and there advertise
this element, to attract sensation seekers. The
A. M. P. A. is endeavoring to deal with the
problem, and has accomplished a great deal in
this direction. It was the A. M. P. A. also which
originated the now nation-wide movement for
co-operation of the film industry with the Gov-
ernment in its war measures. There is not a
more earnest group of men in the industry than
this. The association is a real power in the es-
tablishment of the art upon a dignified plane.

The Golden This sad old year has been the
Year. greatest that the moving picture

ever knew. Not that the pro'
ductions themselves have been so much better
than before, though there has been a steady im-
provement. Not that financial conditions have
been more stable in the industry, though organ-
izations do seem to be finding their level.

Vastly more important than these circum-
stances is the fact that never before has the
moving picture received such recognition as a
powerful agency in reaching the public. The
Government has welcomed its co-operation in

stimulating enlistment. The flotation of the
Liberty Loans has been assisted immeasureably
by the campaign carried on upon the screens.
The food conservation movement has been
aided, the Red Cross helped.

In brief, when America found herself face
to face with a crisis, and it was necessary to
reach the people instantly and forcefully, the
men who were at the helm of the ship of state
recognized in the moving picture as valuable an
aid as the newspaper itself.

And the companies have come to the front
with open hands. "Take what you need, that
we can give," they have said. And when the
history of America's swift mobilization of men
and resources is written — an achievement that
has struck terror to the heart of Germany, who
sneered at "unprepared America" — no small
part of that history will be the record of the
part played by the toy of yesterday— the moving
picture.

Acting Not On a recent visit to the New York
One Round studios Kitty Kelly, motion pic-
0f Pleasure ture editor of the Chicago Exam-
iner, found that the popular
belief that a film player's life is one round of
pleasure was a fallacy.

"I have been about to a number of theaters,
both screen and stage, and about the streets a
great deal and around in the hotels quite a lot,"
she writes, "but so far I have seen only two
people out of their make-up and their studio,
except at places of appointment. These two
were Alice Joyce and Tom Moore detected at
the Ziegfeld Midnight Frolic, dancing together
very domestically.

"One reason you don't see so many about,
so they say, is because they have to work so hard.
They all tell harrowing tales about getting home
at 6 or 7 o'clock, 'just so tired,' and being
obliged to be on their way again in the morning
between 8 and 9 o'clock."

No More
"Count"
Burlesque.

The blessings of pain have been
recounted all too often by the
pollyanna philosophers, yet their
maunderings carry a grain of truth.
The end of the war is going to bring other prof-
its than peace. It is going to bring, among
other things, international understanding and
sympathy — brotherhood, even — which will end
forever the provincial absurdities which not
only we, but the French, and the English, and
other peoples, manifest especially in the arts of
literature and drama.

Many years ago, when the late Charles
Frohman was emerging from peanut-selling and
program-passing, the 'foreign count" was the

7(>

Photoplay Magazine

glorious prop of dull plays. Any laugh could
be hung on him, any rag-and-bone heroine was
applauded for snapping her fingers under his
nose, papa and mamma cajoled him in, and the
toil-hardened leading man usually knocked him
out.

When the drama, like Jonah's whale, spewed
this unlifelike and disgusting creature from its
maw, the motion picture took him up. Inter-
mittently, he has offended upon the screens for
years. The war is going to end this stuff. We
are learning that the Count and the Earl and
the Marquis are just as common and dirty and
glorious in the Champagne trenches as their
brothers Tommy Atkins and Jean Poilu: men,
no more and no less. For one, we are going to
hiss the next time we have the "foreign count"
flub-dub thrust at us in any American show,
but we don't believe we will have the chance
to hiss!

The Perils of A man, walking across
Walking Across Broadway, New York, one

the Street da* 'n ,March- 1916> J"

struck by an automobile

driven by an intoxicated chauffeur, and instantly
killed. It is obvious, therefore, that no person
should walk across any street in any city in the
world, for fear of being killed. This is the bland
and childlike form of argument employed by a
more or less obscure person signing himself
"Willis J.Abbot," in an article in Metropolitan
Magazine, entitled "The Perils of Writing for
the Movies." Occasional scenarios are pirated,
therefore all picture producers are pirates. How
Mr. Abbot became established in the minds ot
the editors of the Metropolitan as an authority
on anything concerning pictures, it would be
interesting to know, for Mr. Abbot is unknown
to the cinema world so far as can be learned.
In a very lengthy article he accuses moving pic-
ture officials, directly and by innuendo, of every
form of thievery possible in connection with
scenarios. Mr. Abbot writes like a disappointed
scenario peddler. The main indictment for
stupidity, however, must be filed against the
editors of the magazine, who are responsible
for the dissemination of this misinformation,
the libelous nature of which is manifest from
the fact that the author studiously avoids nam-
ing persons and companies. If Metropolitan
is going in for this sort of thing, why not have
an essay by a prominent Oshkosh blacksmith
on the prevalence of murder among university
students.

■«
A Feu) Things Several things still stand

5/i7/ "Wrong in the waY of "perfect,"

With the Movies." or even.nearlY Perfect
motion pictures.

One by one new literary factors are entering
the industry, but their vigorous outcry against
the weekness of plots and stories is merely a
protest, not backed up by a capacity for a cor-
rection of the evils against which they complain.

For, to put it bluntly, the literary factors
cannot themselves produce and direct pictures
because of their utter lack of the technical es-
sentials; while the greater number of directors
now making pictures lack the literary, or cul-
tural, or even dramatic training that any and all
really good directors should possess.

So there you are.

The literary factors have refused to be "tech-
nical," in much the same spirit as that of the
old-time editor, who avoided contamination by
never inquiring how many dollars' worth of
advertising came into his business office.

The technical factors, who know the me-
chanics and craftsmanship of picture-making,
having attained maturity and a salary of several
hundred dollars every seven days, have declined
to acquire more refinement and the cultural
niceties.

The author complains that no story is ever
produced as he wrote and devised it. The di-
rector counters by saying that no author in the
ranks of contemporary literature was ever able
to write a story that could be produced as written.

Both are right.

When will this art-industry produce men
combining these varied essential qualifications —
men who know story values, dramatic require-
ments and possibilities, and the ability to trans-
late this knowledge into film without interference
or conflict?

When such men appear the greatest of screen
problems will have been solved.

What is the Plaintively a sick, tired,

c j i c ■> little girl writes, asking

Secret of Success? u -T -u * i i

J why it is that lucky

chances make stars of some young women, while

others with perhaps as much talent, working

just as hard, passing, as she says, "through fire

and brimstone" in their efforts to reach the top,

get nowhere.

It is the eternal, unanswerable question. The
pages of PHOTOPLAY record from month to
month, the experiences of men and women who
have succeeded, and who have, indeed, in many
instances, owed that success to a bit of luck.
But if that luck had not come their way, is it
not probable that the genius for success would
still have won its place, though perhaps by a
longer road?

After all, the first element in success is to
know what one can do. Perhaps the plaintive
little girl is headed toward the wrong goal.
And then, too, there are so many who mistake
the envy of success for the talent to succeed. Yet
we believe that the history of achievements for
all time ring with the inspiration to fight on, so
long as the fire of aspiration burns, and to
cherish that altar fire so long as life itself en-
dures. For there is a fierce, passionate joy, in
going down to death among the fighters, that
the coward, running away to safety, can never
know.

GRIFFITH

MYSTERY

SOLVED

Enjer since David Wark Qriffth sailed for
Europe, friends and competitors have been
wondering what he was up to. Here is the
answer. His next creation, in making which
he has had the co-operation of the American,
British and French governments, will shoie,
not merely actual war scenes, but the social
regeneration of England brought about by
war conditions. All this will be woven
into a drama, and shown on the screen.

In a trench, a Tommy explains to Griffith the
mechanism of a Lewis Machine Gun.

Griffith and a group of
ladies of British aristocracy
at a social function near
London. At Mr. Griffiths
left is Lady Diana Man-
ners, one of England's
famous beauties; at his
extreme right, Miss Violet
Asquith, daughter of the
former Prime Minister.

Another group of notables on nurse duty at a London hospital, show-
ing what society leaders are doing in the way of war service.

David Lloyd-George and Griffith on the terrace of the Piime
Minister's house, No. 10 Downing Street, London.

This Is What You Will
on the Screen —

See

i;ik< n piece uf paper about six Inches square and cot

■ ■ut ;. hole the size of thin diagram. Place it directly

uvor the men in costume in the picture above, and fou

will Bee inst what the ramera reRiflteTS.

This Is What You Would See
at the Studio

The above is a photograph of Arthur Ashley
directing a scene for a World picture at the Fort
Lee studio. Seated at the table are two villains
plotting against Alexander Hamilton, one of the
most romantic figures of American history.
Director Ashley is urging Mr. Righthand Vil-
lain to pound the table with more emphasis.
AH you have to do is to imagine the din of a
boiler factory: five directors shouting orders
through megaphones, at players and camera-
men; carpenters and property men at their
favorite pastime of imitating an artillery duel
with their hammers, and you are right there.
It's a gay life - if your nerves are in condition.

BY THE MEN WHO MAKE MOVING PICTURES

Do you — you who pay your nickel, or dime, or quarter —want better pictures? It's up to you, and only you. If you
continue to patronize prurient, sensational, "sex" pictures, pictures that are offensive to good taste, you must accept the
responsibility for them. PHOTOPLAY thinks the producers of America, as a class, are as high a type as can be found
in any business. The writers of the following statements, are the chief executives of the six largest film companies — men
with ideals, brains, business acumen, who have faith in their productions, and prove it by trade-marking their goods.

By Adolph Zukor — Paramount

GIVE the public a chance and in the long run it will
learn to discriminate. Five or six years ago when
the photodrama was a "jitney" show, the public's
sense of discrimination was at low tide. It has been rising
Readily since those days, aided in no small part by the
establishment of the feature picture, until now the day of
atrocious "sets," "cheap" actors, puerile stories and "truck-
driver" direction is almost a thing of the

past.

The public can help the producer by
letting him know that it does discrim-
inate. No housewife will go to the
grocery store and buy "a good scouring
soap." She discriminates when she
comes to pay her five cents and she asks
for a particular brand that she knows is
good because her mother found it good
before her, because it has always lived
up to its advertisements and because she
has found it good herself.

No man will go to the drug store and
ask for "a good safety razor." He
knows a particular brand by its adver-
tising, by what his friends have told him
and by his own experience. Modern
shopping is all done by particular
brands, by the exercise of due discrim-
ination, whether the price be a nickel for
a cigar or $20,000 for an automobile.

So when people saunter to a moving
picture show let them not forget there is
a brand on the goods they are about to
purchase. Here is where they can help

Apeila

"The public can render
a service by proving its
sense of discrimination
— by letting the exhib-
itor knew it knoias."

ADOLPH ZUKOR

Paramount

the producer — in fact here is where they are helping the
producer every day. When a big producing firm is striv-
ing honestly to provide the absolute best in the art, in
stars, in direction in stories, in photography, in scenic equip-
ment, in everything that enters into the production of the
very best in moving pictures, the public can render a service
by acknowledging the brand, by proving its sense of dis-
crimination, by letting the exhibitor
know that they "know."

Honest criticism is good for the soul
of the producer. I believe in your "Why
Do They Do It?" department and I have
given instructions that each just criti-
cism of any Paramount picture shall be
brought to the attention of those respon-
sible.

I am happy to say that Paramount
has figured least of all the big producing
firms in the "Why Do They Do It?"
column.

But this straightforward criticism of
concrete points in production can only
be a drop in the bucket after all. The
criticism that hits the producer hardest
is the criticism that means patronage or
loss of patronage. The public can have
an immense influence on the exhibitor by
making known its appreciation of what
is good, by its strong condemnation of
what is bad, by its insistent demand for
good pictures and for a theater whose
surroundings will do the good pictures
justice.

By Carl Laemmle-

Photoplay

■ Universal

Magazine

WHAT'S all this discussion about who is entitled to
credit and who is entitled to blame for the movies?

Why discuss a question when the answer is as plain as
the nose on your face?

Let's play Frank Tinney for a few minutes. You ask me
some questions and then I'll answer them. Then you ask
me some more and I'll answer some more. Let's go:

First you must ask me if the actor is to blame for what's
what in the movies.

Then I'll answer and say, "Bless your heart, no! He
only does what the director tells him to do."

Then you ask me, "Is the director to blame?"

And I'll answer and say, "God bless you, no! He only
puts on the picture the scenario department gives him to
put on." (Ahem! )

Then your next question is whether the scenario depart-
ment is to blame.

And I'll answer and say, "Certainly not. That depart-
ment only carries out the orders given by the producers."

Then you ask me if the producer is to blame and I
quickly reply, "I should say not! He only makes the kind

"The public is entitled
to all the credit for all
that's good in pictures
— and all that's bad."

CARL LAEMMLE

Uni'versal

of pictures the theatre owner demands."

"Aha," you must then say, "then the theatre owner is
the fellow I've been looking for."

And 1 foil you by saying, "No, you're wrong, because
the theatre owner only shows the kind of pictures that the
public will pay money to see."

And with that, my secret is out. It is the public. The
ultimate goat, the ultimate consumer, the ultimate kicker,
the ultimate applauder, the ultimate maker or breaker, the
\ery ultimost ultimate ult is the public.

Nobody else and nothing else. Argue as you will, the
public is entitled to all the credit for all that's good in
pictures. And by the same token he is entitled to all the
blame for all that's bad.

He can MAKE the producer who produces the right
sort of pictures and he can BREAK the producer who
doesn't.

If the dear old ultimate goat — the public — wants baby
oolls to smirk and grin all over the screen, then the theatre
owner who shows the smirky and grinny pictures will wal-
low in wealth.

If the public wants vampires to vamp hither and yon
in the studio, the producer who has the vamps will pile up
coin of the realm.

If the public wants the leading man to throw custard
pies into the heroine's face, the leading man who can throw
the greatest number of custard pies will bring home the
bacon, even if T mix my ingredients or metaphors in telling
you about it.

Producers don't make pictures to please themselves.
They make 'em to please the public, and if they guess what

"The faults of pictures
are merely the bad man-
ners of a young giant. "
R. A. ROWLAND

Metro

the public wants today, they're lucky. To-morrow they
may guess wrong. Yesterday and today and to-morrow
are not twenty-four or forty-eight hours apart in this busi-
ness. There is a chasm between them as deep as hell itself,
and it's all because the dear old public is fickle, and has a
perfect right to be. And knowing that it has a perfect right
to be, it exercises its right some twenty-five hours out of
every twenty-four.

For example (and incidentally to slip over a little pub-
licity stuff on the entirely unsuspecting editor), we've just
finished the first Mae Murray-Bob Leonard production for
the Bluebird. It is stamped all over with class. It is the
best thing of its kind I've seen in years. It represents the
climax of the efforts of our whole staff. We think it's great
—but the public, for all we know, may say it's rotten. And
the dearly beloved public has the final guess. All the film
critics in the world may say that "The Princess Virtue" is
one grand and glorious picture; all the exhibitors may say
so; you may say so. But whether we continue to make this
kind of picture will depend entirely upon old Mister Pro
Bono Publico, Mr. Veritas, Mr. Hoi Polloi, Mr. Proletariat.
E. Pluribus Unum and Erin Go Bragh.

Hand the laurels for all that's good to the ultimate
consumer.

But while you're doing that, give him a good swift kick
for all that's bad.

He's responsible for both.

By Richard A. Rowland — Metro

OUR well known friend, the law of supply and demand,
applies to motion pictures in what might be called
"reverse English." Demand comes before supply, and
supply is regulated absolutely by the demand of the mo-
tion picture public.

In the first place the public demanded nothing but cow-
boys and Indians, and the supply was forthcoming. Then

"Tell your theatre man-
ager -what you like and
•what you do not like —
and tell him why, if
you knew."

J. R. FREULER

Mutual

Why Do You Do It?

came the more cultivated taste, cultivated by the pictures
themselves, and our art rose to a position of genuine rivalry
with the stage. Now, despite all the mistakes and all the
crudities, the motion picture has so far surpassed the stage
as an influence that we of the pictures no longer discuss it.

In our new art, for as arts go it is brand fire, spic and
span new, it is inevitable that there should be a percentage
of bad taste, of indifferent drama, of inferior staging and
dressing of productions, but these are merely the bad man-
ners of a young giant that has entered the arena against
all contenders and who stands strong, conquering and mag-
nificent as the ally of the human race.

Its culture will improve, its technique will advance, but
remember always that the strength of the motion picture
is its real claim to the crown.

By John R. Freuler — Mutual

THE progress of the motion picture as a form of ex-
pression for art and thought is seriously hampered
by the apathy and inertia of the public.

Most serious of all is the public indifference to the menace
of censorship. The public apparently refuses to realize
that it is very much more concerned in the freedom of the
motion picture than are the picture makers — just as it is
true that the public has much more at stake in the freedom
of the press than the publishers have. Censorship is giving
the people of many communities emasculated, mutilated
picture productions, which have been subjected to the im-
becilic editorship of censors who seek to enforce upon
others their own narrow biggoted views of life and art. The
public stands idly by and lets these miscrocopic souled
censor-cranks dictate their picture diet. Any community
which will stand for picture censorship needs a missionary.

The public also neglects its own rights and powers when
it fails to give expression to its likes and dislikes in motion
pictures. Applause is too infrequent in picture theatres,
?nd expressions from the patrons to the management are
too hard to get. If picture patrons would have more to say
at the box office, if they would write letters to theatre
managers as freely as they do to newspaper editors, if they
would, in short, do their knocking and praising where it
could be heard by those really interested, the picture pro-
ducer would get the benefit, and the pictures would improve
in line with the public expression more rapidly.

When the public merely stays away from a picture the
producer's information is all negative. It may mean that
the picture was not well presented or well advertised. Pic-
tures which offered particular merit have failed for this
reason. Poor pictures have made big profits on strong ad-
vertising, and yet have failed to please their audiences.
This is particularly true of the flagrant type of "sex pic-
tures."

Many excellent dramas of historic and foreign setting
are now being refused by producers because most theatre
managers have an impression that "costume stuff won't
go with the public." This is probably not true, as repeated
successes on the speaking stage indicate, yet the photoplay
art will suffer from this restriction until the public supports
some worthy producer in an effort to demonstrate the
truth.

My advice to the public is "Look for the truth in film
advertising and buy your amusement with just as much
thought and care as you buy clothes and food. Above all,
tell your theatre manager what you like and what you do
not like — and tell him why, if you know."

By J. A. Berst — Pa the

JUST as the literature of a nation reflects its thought and
tastes so does its drama. And if this is true, as every-
one must admit that it is, it is true to an even higher degree
of motion pictures for motion pictures are closer to the

"/ do not expect the
public taste to change
for many, many years."

J. A. BERST
I'athe

thoughts and tastes of the average man, woman and child
than are most of the productions of the stage, the book and
magazine publisher.

A moment's reflection will satisfy anyone as to the truth
of this statement.

Dickens' "The Tale of Two Cities," George Eliot's
"Silas Marner" and works of that character are representa-
tive of English fiction at its best, but are they really popu-
lar in the true meaning of the word?

They are not, and if one stopped a hundred persons at
random on the street and asked them one after another if
they had read these works he would be fortunate indeed to
find five who could answer in the affirmative.

Some of the plays of Shakespeare are compulsory read-
ing in the public schools. If they were not compulsory
reading only two or three persons out of a thousand would
be able to honestly say they had read them. In other
words they are "too deep" for the popular taste. The big-
gest sellers, as everyone knows, are the kind of books that
before the day of the popular magazine could be found in
paper covers on every newsstand marked at a price of from
ten to twenty-five cents. And the list of authors repre-
sented did not show Dickens, George Eliot, Shakespeare,
tt al., but Laura Jean Libby and Bertha Clay.

Sam Brown works in a foundry all day. When he reads,
if he reads at all, he selects a newspaper or the lurid fiction
of a cheap magazine. His own life lacks romance — it is
only natural that he should seek it in Gargantuan heroes,
and beautiful and daring heroines. He also likes plenty of
pep, the rattle of gunplay and the galloping of horses.
Gertie Green, who sells women's wear behind the counter
all day, likes the same sort of literature. Tom White in
his fine offices in the financial section, from morning to
night wrestles with big schemes and thinks big figures.
Does he want to read Ibsen to remove the taste of dollars
from his lips? Not he. He has a fellow feeling with the
late Senator Hoar of Massachusetts who was wont to re-
fresh his mind with the wildest kind of detective stories.

Mrs. Thomas White bears out the truth of Kipling's
verse that "The colonel's lady and Judy O'Grady are sis-
ters under the skin." She is apt to have a sneaking fond-
ness for literary "trash" however much she may talk in
public about Browning and the rest of the high brow
crew. Who can blame them? Recreation is the doing of
that thing which is farthest removed from one's daily toil.

In such literature they are living in an atmosphere which
is very different from that in which they really dwell. That
is why that certain elements of adventure, romance, mys-
tery and villainy are demanded and received by motion
picture audiences. Psychological studies do not go. The
motion picture audience doesn't want to think too deeply.
The persons who compose it are too wearied with the daily
struggle of life to wish to do that.

They prefer to be carried along by the strong current of
(Continued on page 131 )

Moth

ers

When the ugly duckling turns out to be a
beautiful swan, most mothers are satisfied to
sit back and say, "Isn't my child the most
wonderful child in the world, and am I not.
therefore, a wonderful person?" Here are a
few mothers whose children have won real
laurel wreaths, but who are real partners, and
do not waste time merely crowing.

Mrs. Flugrath, as a child, wanted to go on the
stage. Her parents wouldn't let her. She got
even with her parents by having three daughters
of her own, and putting them all on the stage
as soon as they could toddle, and later she put
them into pictures. One of these girls is Viola
Flugrath, better known as Viola Dana.

Alice Joyces mother used to be a considerable
help in the matter of wardrobe and other inti-
mate details. That was before Alice Joyce, Jr.
arrived upon the scene. "Mother isn't a bit of
use to me any more," says Alice, "she's so crazy
about the baby." But if mother is any more
crazy about the baby than Alice herself, Mattea-
w an yawns for her.

Mrs. Connelly's function in the career of Bobby is al-
most that of a policeman. Bobby gets all fixed up for
a scene, and then he slips out for a minute or two, and
when he comes back he needs an entirely new makeup.
So his mother is kept very busy preventing Bobby from
spoiling his camera togs.

Gladys Brockwell calls her mother
"Billy." They are more like sisters
than mother and daughter, and
often are mistaken for such. Mrs.
Brockwell is especially clever in the
designing of costumes, and super-
vises the extensive wardrobe of Miss
Gladys. She is also secretary to the
popular Fox star, "And so I manage
to keep her out of mischief," says
Gladys.

Norma Talmadge's mother is one
of the best business women in the
world of moving pictures. She has
scrutinized every contract the petite
Norma ever made — save perhaps
the personal contract with Mr.
Joseph Schenck. She is as much at
home in the studio as is her clever
daughter. Now that Norma is mar-
ried, she devotes most of her time to
her other daughter, Constance.

8.1

Clothes Do Not

Above — Bill Eltinge. The cowboys put him up against a

bad actor horse, but Eltinge subdued the horse; then he

offered to lick any three of the cow gentlemen.

At right — They're both Eltinge. How was the "lady"
made shorter? Ask the photographer.

NO re-fined gent would call a "poifect" lady Bill. Yet
what can a guy do when that's the lady's monacker?
Bill is a perfect lady, yet he is a regular fellow to
hoot. To the wide, wide world he is known as Julian
J'dtinge, but "the fellers call him Bill," as Bill Dalton is his
real honest-to-goodness name.

Percy Hammond, the famous dramatic critic, once called
Julian the ambi-sextrous comedian and that neat and nifty
appellation has clung to him ever since.

Julian, being a husky, two-fisted man, didn't care much
for this impersonation of women stuff at first and only did
it at amateur theatricals when he was at school in Boston.
Then someone offered him a job in vaudeville and managers

Concerning a new-
A -Lady" Whose

By Kenneth

kept crowding more money on him as his popularity in-
creased, so Julian decided to make it a regular job and be
a perfect lady. If you don't believe being a perfect lady
is some job just spend a few days with Julian-Bill.

In the first place, Bill likes to go out with the crowd,
conceal himself behind a dipper of brew and pass the time
of day until they come in to scrub out. Too much amber
is liable to cause a slipping of the chest, so Bill, while his
playmates were pounding the ear or ringing for ice water,
had to be up bright and snappy in the gym trifling with the
rowing machine or medicine ball. Then there are a lot of
little tricks that the fair sex puts over on the masculine

Make the Woman

comer in "Cinemania/
Name Is "Bill"

McGaffey

gender that are done so quietly that the m. g. don't notice
them. Bill had to figure these all out and learn them
himself. Pretty soon the women had to admit the best
dressed and best looking representative of their sex wasn't.

After becoming a sensation in vaudeville. Bill was starred
at the head of his own company and, in the language of the
theatre, "mopped up" to such an extent they even named
a big New York theatre after him.

Bill has gone after the silent drama with the same "wim
and wigor" that he went after the •'talkies." He likes
working in pictures and wants to stay with them. Judging
from the success he has made in his first two he probably
will. At first, getting up early in the morning was some-
thing new in Bill's life. The time he had to arise to get to

■
■
■

11 dm
mm

■ t

1 ^

■|^r

| J

jflra v

m Ji

■/ jfl

I A A

1 n

■

| 1

1 1 '*&k *"

1 a

n 1 B » V

n ^W 4

mmmm? -««««

mmmmmmmmmmmmmmmmimmm

^-.... .

Photograph copyrighted by Stmuss-Peyton

Above — Julian Eltinge in one of his vaudeville make-ups. He's

often been the most beautiful "woman" on the program.

At left — as his friends know him. A "regular guy," and one

of the best hosts in New York or Southern California.

the studio at the scheduled hour was just two hours after
his usual bed time and it was a week or more before he
could get over the surprise of seeing so many prominent
people up before noon.

Jesse L. Lasky went to Bill several years ago and came
away with a contract for Eltinge's appearance in the photo-
drama, so when Bill shut up his theatrical season this past
Spring, he came out to the Lasky studio to take a stab at
the capering chromos.

Photoplay Magazine

'Huh — you think you're a grand lady, don't you?" said Mary Pickford to Julian Eltinge.
'What if I told them I saw you smoking a pipe in your dressing room this morning. "

For a while — until everyone got used to him — Bill was
the studio sensation and the Hollywood scandal, and it
was not until the fellows got so they could go up to him
and borrow a cigarette without tipping their hats that the
studio began really to know him.

Some twenty trunks heralded Bill's arrival, and the first
day he went to work all other toil was suspended. Bill
has a habit of forgetting he is a lady in going to and from
his dressing room and the stage; consequently, the display
of hosiery is well worth while. So when a handsomely
gowned young woman crossed the stage with her beautiful
evening gown hiked up so as not to interfere with her knees,
traffic stopped, one property boy dropped a perfectly good
vase so he could signal with both hands to his mates, a

carpenter paused to look, but not in hammering, so took a
smashed thumb to the doctor; three juveniles nearly swal-
lowed their cigarettes, and "gossips' row" gave three cheers,
because there was somebody new on the lot to talk about.
Everyone ran towards the Eltinge set as if it was on fire.
took a good eyefull. discovered who it was and dashed
away to entice others to fall, so "a pleasant time was had
by all."

The studio wasn't the only place that suffered severely
from shock. One fine noon the Ladies' Auxiliary, or some
other organization, adjourned their meeting and passed out
onto the sidewalk to discuss hats and other vital topics
overlooked in regular session. At the same time Bill, who
had been up since six. dressed in a big picture hat and a

Clothes Do Not Make the Woman

»7

low-and-behold evening «own
since nine, let his appetite get
the best of him, stuck a pre-
Iuncheon cigar in his mouth,
leaped into a raceabout and
started up the boulevard on
high search of food.

The members of the Ladies'
Auxiliary took, one look at the
painted, shameless huzzy, who,
in the broad light of high noon,
clad in a bold evening gown
and smoking a cigar drove a
racing car up the main thor-
oughfare. They turned around,
went back to the place of as-
semblage, took a rising vote
lhat the Photodrama was im-
moral, and went to work to find
(he correct grammar with
which to draw up a set of reso-
lutions to be presented to the
city council demanding that
the entire picture profession be
shot at once, and not to wait
lor sunrise.

A lot of the men folks of the
village got a glimpse of Bill
going by, so when he came
back from the hotel to the
studio, a distance of over a
mile, the curb was lined with
people until the scene looked
like a circus parade-day in Du-
buque, or the departure of the
first draft for the training
camps.

A lot of Wally Reid's cow
gentlemen "allowed" they
didn't think much of a man
that would parade around in
woman's clothes, so when the
clay came for Bill to do a little
Western stuff, assisted by the
cow hands, said cowhands
worked far into the' night to
find a horse, sore enough at the
world to toss Bill into the dis-
tance.

To remind the horse that life
was not all it seemed, they
carefully inserted a small but
ambitious fragment of Cali-
fornia cactus between the
horse's cuticle and the saddle
blanket. Bill, unsuspecting,
boarded the horse and for ten

minutes had a very busy time, but he never "pulled leather''
and the horse was ready to quit before Bill was. Then
when Bill dismounted and offered to lick any three of the
cowhands, they unanimously agreed that the clothes do not
necessarily make the woman and that Bill was a sure-
enough he-man.

The world is "agin" so-called female impersonators at
the start and Bill had hardly climbed into his first petticoat
before he knew that he was up against a battle. He
couldn't be a near impersonator. If he wanted to succeed
he would have to make the women themselves admit he was
the most graceful, most beautiful and the best dressed rep-
lesentative of their sex. He did this and it was some hard
job, for you can imagine the gyrations of the feminine
angora when the fair sex was forced to admit that a mere
nan could wear their own clothes better than thev could.

Bill had to be "considerable" bluffer to get what he wanted from the dressmakers.
When he started in he didn't know the difference between chiffon and a bias tuck.

So far the star has done three pictures and has now
hiked back to New York to buy some new gowns and that
is "something else again." When he started in, Bill didn't
know the difference between chiffon and a bias tuck or
{whether a lavalliere was worn about the neck or carried in the
hand, like a vanity bag. He had to get up on all that dope —
which is a life work in itself, so he could tell the dressmak-
ers how to make women's clothes, wrhich is about as easy
as to tell a barber how to cut hair. When Bill told some
Parisian modiste he wanted to get an alpaca effect with a
stein of tulle, or wanted a dash of bitters in the guimp. or
some similar technical point, he had to know what he was
talking about, or bluff them into thinking he did, and as
there is probably more bluff used in dressmaking than there
is thread, Bill had to be "considerable" bluffer in order to
get what he wanted. (Continued on page 135)

Hydrant -Headed Reform

<By Edward S. O'Reilly

Author of "Temperamental Tim" and "A Whack at the Muse."

Illustrated by D. C. Hutchison

THERE'S no use in talkin , unless old man Skidmore
fattens my pay envelope, I'm goin' to quit. When
I took this job at Celestial City as corral boss and
general trouble man around the lot, there was
nothin' said about mental anguish. Since that Tim Tod-
hunter person came here to act them bad man parts, I've
had a chronic case of mental anguish.

Now I stood for old Tim when he thought he was in
love with the leadin' lady, and I nursed him through a
severe attack of higher aspirations, but there's one place I
draw the line. If he ever reforms again I'm goin' to
Flanders.

Tessie Truelove was partly to blame for this last trouble,
although the poor little kid meant well and was tryin' to
help. That's the worst of this old man eatin' bandit; you
can never tell how advice is goin' to take on him.

You see we were about knee deep in the middle of one
of these western pictures and Tim was the villain. He
sure does make a sweet villain, with that concrete face and
that battered nose. He just naturally registers the intent
to murder.

One day Skidmore comes to me with a worried look.

"Slim," says he, "I want you to round up that old fool
Todhunter. He's delayin' the game.
Been on a forty-eight hour drunk and
this afternoon, just when I need him for
that hangin' scene, he has gone down
town. The last report I had he'd pried
up hell and put a chunk under it and the
native sons are takin' to the redwoods.
Just go down and beat some sense in
his head."

That there suggestion gave me pause,
as the fellow says. Tim is one of these
kind of inebriates that always believes
in doin' his winter drinkin' before the
fall round up and he's seventeen years
ahead of his schedule. It takes him
about three days to get properly drunk.
When he gets to the yellin' stage he
ain't fit company for man or beast.

I don't know whether I've rightly
impressed on you the fact that this Tim
Todhunter is a real bad man. Down on
the Rio Grande the she wolves and wild
cats used to point to him as a shinin'
example for their young cubs.

The idea of me goin' down there and
mixin' it with him failed to fill me with
glee. I'm not exactly a novice in assault
and battery or mayhem, but I ain't goin'
to match a fight with him unless there's
absolutely no other way out. So I called on Tessie True-
love for help.

"Tessie," I pleads, "it's up to you to lead him back to
the lot. He sets a powerful store by you and you can
make him do anything you says."

So Tessie says she will. She seems to enjoy makin' old
Tim jump through the hoops.

Well in a little while she brings him back and the old
man shoots that hangin' scene. That scene was mostly
fightin' and the old man was just tickled to death. He was
the only one in that scene that was pleased, unless Tim
might have takin' a kind of morbid satisfaction in beatin'
up them extras.

For the next few days things seemed to be goin' smooth.
Tessie had old Tim in tow most of the time and they
seemed to be gettin' right confidential. Two or three
times she takes him to town to some meetin' but I didn't
know what they were until it was too late. I had noticed
that Tim was on the water wagon, but just set it down to
Tessie's good influence. One day he comes into the bunk
house and starts one of them confidential talks.

"Slim, I want to ask you to cut out that demon strong
drink," says he. "It ruins your brains, if you had any.
rots your insides and plays hell with your moral fibre."

"You ain't got no call to go castin' aspersions on me," I
declares with some heat. "Of course I may take a little
snifter now and anon, but I know when to draw the line.
I ain't paid a fine now in five months."

"Yes, but think of the example you set the young men
under you," he argues.

You couldn't be expected to catch the pithiness of this
remark unless you knowed the wild eyed bunch of human
hyenas that I have to look after. All them extra cow
punchers and stunt men.

"Why this sudden spasm of virtue?" I asks,
vou leave much to be desired.

You're the best catch as catch can, left handed drinker,
that ever licked a bartender, bar none."

"Don't Slim, please don't." he begs. "I don't like to
hear them references to my wayward past. I used to be a
moderate drinker, but all that is gone. I've joined the
law and Order League."

"Why in Sam Hill did you do a thing like that?" I yells.
1 aw and order is two thing? old Tim has consistentlv
neglected to practice.

"I started projectin' up and down the street thinnin' out these rum in-
halers, and if the police had let me alone I'd have
been through before sundown."

'"Well I don't mind tellin' you that it was Tessie True-
love that made me see the error of my ways," he admits.
"Slim that is sure one grand little woman. Slim, you
wouldn't believe what high ideals and horse sense that lit-
tle lady has concealed in her bosom. She told me a lot
about it herself.

" 'Tim,' says she, 'you don't know what ruin the demon
rum is wroughting to the manhood of our fair land. It's a
damn shame,' she says, 'the way these gilded dens cater
to the unsuspecting thirst of the youth of our country.
Why,' she says, 'I've seen many a man carryin' home a
bottle of whiskey when he didn't have a thing to eat in
the house.'

"That hit me all of a heap, because many's the time, in
the old days, I did that very thing. So I go with her to a

few of these Law and Order
meetin's and now I've joined
the bunch and also the Anti-
Liquer League and the W.
C. T. and V. Why the night
I joined I was so full of en-
thusiasm, not havin' any-
thing else for five days, that
I made a little speech.

"From now on." I told
them. "I'm agin' this de-
mon rum hoof, horn and
hide. Any man that I
catches defendin' the devil-
ish traffic I'm goin' to bust
him wide open. Before you.
Slim, you see a reformed
bein'. With regret I look at
my past, but with grim de-
termination I gaze forward
at a cold water future."

When the old fool gets
that way there ain't any
manner of hope of changin'
him, so I shut up and let
him rave. In fact, I was
rather pleased at Tessie's
work, because I figured that
old Tim on the water wagon
would be easy to handle.
Right there is where I reck-
oned without my hostages,
as the poet says.

It was along about noon

the next day when I got a

wild bleat for help from

Skidmore. I rushed down to the office

and this is what he told me.

"The dad blamed old catamount is
down town runnin' completely wild. He
must be crazy. The last report I had
he's cleaned out four saloons and
whipped the police force. They've got
him backed up in a blind alley now, and
are buildin' barbed wire entanglements
around him. For the love of Mike get
down there and see if you can stop the
slaughter."

It was all over when I got there. The
chief of police had called out the night shift and fire de-
partment and they'd overpowered poor Tim by sheer
weight of numbers. He was in a cell and that face of his
hadn't been a bit improved by the foot prints they'd made
on it. But old Tim was still feelin' fit and rearin' to go.

"Thought you was on the water wagon," T sneered,
through the bars, which is the best way to sneer at Tim.
"So I am," he yells, "and you just wait until I get out
of here and every other rum hound in this town will be
ridin' it with me. I've cleaned up four of them dens of
vice already but I've only finished one side of Main Street.
Wait till I start and work back."

"Oh, that's it," says I. "You was just enforcin' law and
order. It's that dad blamed reformation that's been
workin' in your system. How did it start?"

"Well, I was takin' a little sashay down the street,
droppin' in to them saloons and tellin' the boys that this
demon rum was rottin' the fabric of their souls. Then one
of these booze peddlers told me to shut up because I was
takin' the shingles off his roof.

"So I up and told him that he was a panderous de-
baucher of the fair fame of our country, and should be rid
on a rail. At that he spoke right impudent to me so I
combed his hair with a chair. That's the way it started.

9«

Photoplay Magazine

llavin' begun it I thought
there was no better time Jo fin-
ish, so I started projectin' up
and down the street, thinnin' out
these rum inhalers. I did right
well too, and if the police had let
me alone I'd have been through
before sun down. The way them
police acted proves what Tessie
Truelove told me. They're in
cahoots with the liquer traffikers.
•Slim you just bail me out
and let me resume operations
right where I left off. I think it
was the third door from the cor-
ner of Olive and Main Streets."

Right there I did some hasty
figuerin'. I knew that Tim
would do just what he said he
would. So I beat it down to the
desk sergeant and called up Tes-
sie Truelove.

"You've started somethin'
you've got to help finish," I told
her. "Come down here and help
control this fire eatin' pacifist
before he makes this town a
howlin' wilderness."

She was game all right and
came right down. When I told
her all about it she laughed right
merrily and says:

"Oh that's easy. Let him out
and I'll take care of him."

So I bailed him out and Tessie
nails him at the door and off
they went arguin' down the
street. After he'd calmed
down a little bit Tessie archly
asked him if he'd buy her a little
glass of beer.

"What," roars Tim, with the
light of hope in his eyes. "Don't
us fellows who's enlisted in the
war against rum have to stay on the water wagon?"

"Now Timmy, dear." she coos. "Tell me, did you ever
drink much rum?"

"Well no. Miss Tessie," admits Tim, "I usually drink
corn whiskey or mescal."

"Well then," Tessie explains, "as long as you show your
attitude toward the rum traffic and vote for prohibition
and woman's suffrage, there isn't any harm in an occa-
sional glass of the milder grades of whiskey."

"The saints be praised," says Tim. "I'll vote the pro-
hibition ticket, and I've shown my attitude toward the rum
traffic all down the north side of Main Street. Let's cross
over to the south side and have a drink."

So they did. Tim orders a seidel of whiskey and when
Tessie leads him back to the lot that evenin' he was lookin'
more normal and actin' more natural than he had at any
time since he got this law and order disease.

I slipped Tessie a ten spot for her trouble and every-
body seemed satisfied. But I was still uneasy. Tim was
just wandering around by himself, kind of singin' a song
under his breath. Tim is like a volcano; he usually rum-
bles that way before he explodes. I was afraid he might
break out in some new kind of uplift.

So I called on Archie Warrigan. Archie is a cow-eyed
perfect thirty-six who plays them he hero roles in the love
pictures. He always goes around recommendin' himself
very high to everybody he meets.

"Archie, here's a chance to do me a good turn and also
make a little money," I told him. "You know I want to

" 1 ve shown my attitude to-
ward the rum traffic all down
the north side of Main Street.
Let's cross over to the south
side and have a drink."

keep Tim Todhunter out of town tonight until he kind of
simmers down. There's one thing he just can't resist and
that's a game of poker. Now you take him down to the
bunk house and keep him busy playin' cards until the
saloons are closed. Don't take his money too fast. Let
him last through the evenin'."

"Will I?" agrees Archie. "I'm just the boy to clean up
the rube. Lead me to him."

It was maybe two or three hours later when one of the
siable boys sneaks up and hands me a note. This is what
it said:

"Dear Slim, —

Please come quick. I want to go home. Come to the
shack back of the corral. Bring a pair of pants, a coat, a
pair of shoes and a shirt. I have a hat.

"Archie."

When I read that note I felt a load roll off my mind. I
knew that old Tim was normal again. Archie's hat is too
small for him anyway.

LADY GUNMEN

Out at Culver City the girls are gwwing mili-
tant and several of them are quick on the
trigger, and not one of them is afraid of the
smell of powder — they're used to various kinds.

Louise Glaum started it. She handles her

six-gun with all the sincerity of Douglas

Fairbanks himself, though she is still lacking

in some of his more subtle technique.

Margery Wilson prefers the old-fashioned
shotgun for her private feuds, a habit she
acquired in the filming of "Mountain Dew."

The desperate character at the left is Ruth

Stonehouse. She shoots as well without a

gun as with one.

Olive Thomas didn't know the difference

between a blank cartridge and a safety catch,

when she came to Culver City not long ago.

Now she has all the cowboys cowed.

Alma Rueben would strike greater terror to

the heart of the individual looking into the

business end of the revolver, if the smiling

lips did not belie the piercing glance.

Inlays andJP/ayers

Facts and Near-Facts About the Great and Near-Great of Filmland

HERBERT BRENON is definitely "on
his own," as forecasted in this
chronicle of current and prospective
events, two months ago. In other words,
he is going to make his pictures first,
without entangling alliances, and sell
them afterwards. The practical advan-
tage of this is that Mr. Brenon is not
hampered by' the ideas of any one dis-
tributor of photoplays. He does not
have to cut his cloth to fit anyone. He
has already completed "Empty Pockets,"
from Rupert Hughes' novel, has begun
"The Woman Thou Gavest Me," from
Hall Caine's novel, and about the first of
the year will begin a magnum opus, "Kis-
met," from Edward Knobloch's play, with
Otis Skinner in his great role of Hajj.

THE death of Jack Standing recently
in Los Angeles came at the end of a
long illness. He was born in London, the
youngest of the seven sons — all actors — of
Herbert Standing, the English player.
Jack Standing's early education had as its
goal the Navy, but though he graduated
from an English naval school and was ap-
pointed a second lieutenant, the love of
the theatre was too strong an inheritance
to be resisted. He left the Navy and
joined the stage, playing a succession of
engagements in England, coming to Amer-
ica with Olga Nethersole. Some time later
he joined the Lubin forces, at Philadel-
phia, where he remained for five years.
Standing was 31 years old, unmarried, and
had played with nearly every company on
the Coast.

% CAL YORK

IF the talkies had carried out their idea
of several years ago, and barred from
the stage any players who appeared in
pictures, here are a few of the notables
now appearing in Broadway productions
who would be missed by this season's
playgoers: Marie Doro, Billie Burke,
Maclyn Arbuckle, William Gillette, Mar-
jorie Rambeau, Ernest Truex, Jane Cowl,
Juliette Day, John Barrymore, Lionel
Barrymore, Constance Collier, Julia San-
derson, Barney Bernard, Willard Mack,
Vincent Serrano, Irene Castle, and dozens
of other stars, to say nothing of the hun-
dreds of secondary players. The produc-
tions which would be robbed of their prin-
cipal attractions are "Misalliance," "A
Successful Calamity," "Eyes of Youth,"
"De Luxe Annie," "The Very Idea," "The
Riviera Girl," "Peter Ibbetson," "An-
thony in Wonderland," "Rambler Rose,"
"Business Before Pleasure," "Tiger Rose,"
and the big show at the Century.

PATRIOTIC note: Clara Kimball
Young presented Liberty Bonds to
the members of the New York Giants who
made home runs during the recent alter-
cation with the Chicago White Sox. She
sustained no financial loss.

ANITA STEWART has lost in her at-
tempt to leave Vitagraph before her
contract expired. It is probable that she
will appeal to the supreme court of New
York state against the injunction holding
her to her agreement, but meanwhile her
plans, whatever they may have been, have

been interrupted. And if she eventually
loses, it will mean that she will have to
work just that much longer for Vitagraph,
as her contract calls upon her to make up
for any lost time.

FILM followers all over the world will
mourn the recent death of Florence
La Badie, one of the first screen stars to
attain international prominence. Miss
La Badie died at the Ossining, N. Y., hos-
pital on the night of October 13 after a
six weeks' illness following a nervous
breakdown. She was 23 years old, a na-
tive of Canada and one of the noted stars
who began her career with the old Bio-
graph. For years she was with Than-
houser at New Rochelle, N. Y., where she
resided, and it was with this company in
"The Million Dollar Mystery" that she
became known wherever pictures are
thrown on a screen. Another of her early
portrayals of note was that of Mary in
"The Star of Bethlehem." Her last work
was done in "The Man Without a Coun-
try," which was released the week of her
death. Miss La Badie was a fine athlete,
an accomplished linguist and among film
players one of the best loved members of
the profession.

LOUISE G. EDWARDS has asked the
superior court of Los Angeles county
to free her from the so-called bonds of
wedlock. Which would be of no par-
ticular interest were it not for the fact
that Mrs. Edwards happens to be the
"peacock siren," likewise the "vampire
de luxe," Louise Glaum. The other party
to the matrimonial contract is Harry Ed-

Recently Mary Pickford paid a visit to the Los Angeles Orphan Asylum. It was a great

day in the lives of those tots. Mary sincerely loves children. That's the secret of her

charm, perhaps. She really likes folks. So they must like her.

Florence LaBadie, whose untimely

death robs filmdom of one of its best

loved and most talented players.

Gimpbell

Plays and Players

wards, a director of comedy, until recently
with Universal. Almost simultaneously
Miss Glaum announced that she had ter-
minated her Triangle contract, though
without the consent of that company, so
that she may encounter some legal dif-
ficulties in that direction also.

JULIAN ELTINGE quit the Lasky lot
after completing his third photoplay.
The well known impersonator of beauti-
ful woman has definitely decided to for-
sake the stage for at least two years and
devote his time and energy to the screen.

TRIANGLE is making a warm fight on
the stars who have quit that company
following the break with Tom Ince. The
first action was instituted to prevent the
release of the first Hart picture on the
Artcraft program, "The Narrow Trail."
A temporary injunction was awarded Tri-
angle, whereupon both sides prepared for
a strenuous court battle. Triangle al-
leges that the scenario was written by
C. Gardner Sullivan, who at the time was
under contract to that company. Hart
alleges that he wrote the story himself
and has submitted numerous affidavits to
prove his authorship. Triangle also prom-
ises to prevent any showing of photoplays
in which Bessie Love is to be starred.
Miss Love signed a contract with Pathe
after hurdling her Triangle contract.

NELL SHIPMAN is back with Vita-
graph after something like a year in
retirement, a year spent in traveling and
writing screen and magazine yarns.

WHEELER OAKMAN, who may be
remembered for his portrayal of
Kirk Anthony in "The Ne'er-Do-Well," is
now with Bluebird and will be "seen oppo-
site Mae Murray. Casson Ferguson, a

Though "beauty unadorned is adorned the
most," still the camera demands a certain
amount of make-up, and an accommodating
Vitagraph property man rigged up this
dressing table to fit into Miss Joyce's
automobile

well known stage player, is in the same
company.

EVER hear of Patrick Fitzgerald, film
star? 'Course not, but girls, if you
promise to keep it quiet, we'll tell you
who it is. Well, it's Creighton Hale, that
delightful young gentleman of the serials
you've all been writing the Answer Man
about to find out if his hair is really
blond and if he is married and what kind
of a collar he wears. If it hadn't been
for a lawsuit which Creighton filed re-
cently, we would have remained in igno-

In "Rasputin, the Black Monk," there is a scene where the Russian enemies of the monk chop
a hole in the ice and throw his body into the water. To create realism a section of the floor of
the World Studio was removed and a large tank installed. Large blocks of ice totalling two
tons in weight, were laid upon the surface of the water, then sprayed and frozen together by
apparatus such as is used in making artificial ice. Eight tons of salt was distributed about the
floor to give the impression of snow, and a freezing temperature was maintained. The night
effect was obtained by a skillful arrangement of lights.

Don't scold Vivian Martin for getting her

nice clothes all muddy. The director made

her do it. And Paramount can afford to

buy her a newdress, anyhow.

ranee, probably for years, that he's Pat-
rick, rather than Creighton and Fitzgerald
instead of Hale. Anyhow, what's in a
name? as Carl Laemmle, or somebody,
said.

CLIFFORD BRUCE was badly in-
jured recently when his automobile
dropped down an elevator shaft on the
second floor of a New York garage.
Bruce was backing the machine to the
elevator when someone started it down
and he was unable to stop the car. He
was thrown out and sustained a broken
nose, wrenched back and lacerated face.
Bruce was playing in "Blue Jeans" with
Viola Dana at the time of the accident.

EARLE FOXE has been acquired as
Constance Talmadge's new leading
man and will make his first appearance

with the younger Talmadge in 'The
Honeymoon." As the name would imply,
most of the scenes were made at Niagara
Falls.

UNIVERSAL made a revolutionary
move recently when all comedy com-
panies and all others not engaged on fea-
ture pictures and serials were summarily
dismissed. For many years Universal was
noted for its miles of short length films and
the discontinuance in the manufacture of
these pictures is taken in some quarters
as marking the passing of the nickel the-
ater. The ostensible reason assigned is
the increased tax on films. Even the old
reliable firm of Lyons and Moran ceased
operations at Universal City, although
both these comedians are retained on the
payroll by virtue of a long term contract.
In the general upheaval, nearly a score
of writers and others connected with the
scenario department were dismissed, while
about 200 players of varying degrees of
importance were handed the much
dreaded blue envelopes. More than forty
companies have been active at one time
on the big Universal "lot" where an even
dozen now work.

THERE are now two "kiddie" com-
panies working at the Fox West
Coast studio. The new one is headed by
Georgie Stone, one of the famous Fine
Arts kiddies of another day, and the di-
rector is Sidney Franklin, of the firm of
Franklin Brothers, kid play specialists.
Georgie went to Culver City from Fine
Arts and played in a number of produc-
tions. He was the first leading man in
the Fine Arts kiddie company which was
directed by the Franklin brothers, so must
be regarded as a pioneer in the "game."
(He is six years old.) The first produc-
tion with Master Stone will be "Ala Baba
and the Forty Thieves."

CHARLEY CHAPLIN made a trip to
Honolulu prior to beginning work at
his new Hollywood studio. He was ac-
companied on the trip by Rob Wagner, a
well known author, who it is said, is
writing Charley's autobiography. It will
be Charley's second "story of my life."
The first one, which ran serially in a
newspaper syndicate, was summarily
stopped by the famous comedian because
the writer who was autobiogging him in-
terpolated some incidents that Charley
said had never happened. It was the stop
order on this autobiography that led to
the feud between Charley and Lord
Northcliffe, the London publisher who
was running the serial story in one of his
newspapers. The publisher retaliated
with charges that the comedian was a
slacker and for a time he made things
very disagreeable for the funny fellow.

DOROTHY BERNARD is back under
the Fox colors after a lengthy ab-
sence from the screen. She "comes back"
in "Les Miserables" with William Farnum
and Jewel Carmen. Miss Carmen is to
be starred by Fox in the near future.

CONWAY TEARLE is now an accred-
ited citizen of Cinemania. He be-
came a full-fledged Cinemaniac by jour-
neying from "the only city in the world"
to Los Angeles and remaining in Holly-

Photoplay Magazine

wood long enough to play the male lead
in "Stella Maris'' with Mary Pickford.
Like others who have done the same, Con-
way speaks very highly of Hollywood.

Well, well, it wasn't enough to have Mary
in the business, but sister Katherine must
come in too. The MacLarens are doing
well. And she's Jack Pickford 's leading

woman too.

One day recently Douglas Fairbanks caught
Antonio Moreno looking glum and blue.
"Cheer up," said Fairbanks. "Can't,"
answered Tony. "Got a toothache."
"Well, listen to the new story I just heard."

Was it a good story? It made Tony for-
get his toothache so it must have been.

TTENRY B. WALTHALL has com-
*■ *■ pleted his first Paralta photoplay,
"His Robe of Honor," and is now em-
ployed on his second with Mary Charle-
son playing opposite. Rex Ingram,
maker of many Bluebirds, is the Walthall
director.

MARY MacLAREN has almost fully
recovered from the effects of a bad
auto accident in Los Angeles several
months ago. No operation was per-
formed, although it was thought for a
time that one would be necessitated by
an injury to the young actress' head. Dur-
ing her convalescence, Miss MacLaren
appeared in court to testify in her suit
against Universal for that company's al-
leged "blacklisting" of her with other
producers.

T LOYD LONERGAN, dean of scenario
J— ' writers, has retired, perhaps perma-
nently. Mr. Lonergan was with Than-
houser for eight years and first attained
prominence as a writer of photoplays by
the authorship of "The Million Dollar
Mystery." He has prepared the scripts
for hundreds of film plays since then.

FAY TINCHER didn't go to work for
Pathe after all. Although arrange-
ments had been made for her to produce
her own comedies, the youthful come-
dienne alleged that the company did not
"come through" as she expected.

THEODORE ROBERTS, veteran char-
acter man of the Lasky studio, is
Hollywood's latest bridegroom. The new
Mrs. Roberts is Florence Smythe, who
has played in a number of DeMille-made
photodramas.

EVEN famous beauties are not immune
from the ills which the common herd
is heir to. Olive Thomas, whom an en-
thusiastic Coast exhibitor bills as "The
Raving Beauty of the Follies," was away
from the Triangle studio for nearly two
weeks with an ulcerated tooth. She re-
turned without it. Miss Thomas will be
seen in "Betty Takes a Hand," the sec-
ond prize winner in the Photoplay-Tri-
angle scenario contest, the first of the
prize winning stories to be filmed.

MACISTE, the husky hero of "Ca-
biria," was not killed in action on
the Italian front, as reported. The big
fellow got a lot of widespread publicity
on his supposed death from an Austrian
bullet, but just about the time film folks
were discussing plans for a monument,
along came a cable from Rome which
read: "Maciste enjoying his usual appe-
tite." Maciste's right name is Ernesto
Tagani and he was a dock roustabout
before someone discovered his wonderful
physique and tremendous strength. An
American tour is being planned for him
after the war.

MRS. LILIAN DESMOND, wife of
William Desmond, the Triangle star,
died last month after an illness of years
following an accident which happened in
Australia. Mrs. Desmond was a sister of
Nance O'Neil and was known on the stage
as Lilian Lamson.

(Continued on page 120)

"Stars or No Stars"

— That Is the Question

Mr. Davis believes that the public prefers a good
story that's starless, to a star that is storyless

By Alfred A. Cohn

EFFICIENCY is not saving money; it is making
good pictures in which every dollar expended is re-
flected on the screen."

During the last two years the name of H. O. Davis has
become almost synonomous with motion picture efficiency.
Early in his film career he was alternately hailed as a
genius and a joke. He has always disclaimed the former
distinction; the latter has been definitely disproved. The
opening paragraph is Mr. Davis' definition of efficiency
as applied to the making of photoplays. It has a place in
motion picture annals because of the previously mentioned
fact that "H. O." is a part of eveiy argument on studio or
production efficiency.

Something over two years ago, the writer, under a nom
de plume, told in this magazine something of the tremen-
dous sums of money wasted in the making of moving pic-
tures. The title was ''Waste" and in the article mention
was made of the cry for efficiency and the conflict between
"art" and business methods. Since that time the entire
manufacture of motion pictures has been revolutionized
and perhaps to Harry O. Davis belongs much of the credit.

They laughed at him when he first went to Universal
City with no cinema experience other than that gained by
a survey of the Universal producing plant for President
Carl Laemmle. Other producing executives joined in the
laughter. They said it couldn't be done — combining art
and efficiency. Mr. Davis said it could be done and
pretty soon a lot of stars collided with his theory — now
become actual condition — and found themselves summarily
without employment. He does not believe in temporizing.

But all that is extraneous matter. What the writer
started out to relate in this particular part of this story
was that during the last two years practically every pro-
ducing concern in the country has gone on an efficiency
basis. Even in the ateliers where the meringue farceurs
work at their art, they keep tally on the pies that are
hurled. Art and efficiency have been effectively welded
with no apparent injury to either.

The joke, however, is on some of the rival producers
who were among the first laughers. They have gone
"Efficiency" Davis one, or more, better and walloped art
all over the lot with the punch clock. In one studio, even
the directors and actors are compelled to punch the clock
when they come to work in the morning and when they
leave for the day.

As showing the advance of the business system theory,
when Mr. Davis went to Triangle several months ago as
vice president and general manager of that concern, he
mitigated some of the more stringent regulations which
had been prescribed by the former boss of the great Culver
City studio. One of these rules provided that all members
of the stock company had to remain on the grounds until
4:30 p. m. whether actually employed or not. Now, they
go home when there's nothing for them to do.

"True efficiency," adds Mr. Davis, "is making good
pictures, and this cannot be done unless there is a spirit of
loyalty among those in the studio. This spirit is impos-
sible where oppressive rules are laid down for their con-
duct on the mistaken theory that because persons are being

"True efficiency," says H. O. Davis, "is making good pictures."

paid, they must remain at their place of employment
whether actually engaged or not. Our writers and actors
do not punch a clock; only those are required to do so
who are employed by the hour, such as carpenters and
painters. Many a writer or player can do a fine day's
work in fifteen minutes."

But the public in general is not tremendously interested
in film production machinery. It is interested in good film
plays and in efficiency as it affects the quality of the prod-
uct. This really started out to be a personal story about
Harry O. Davis, one of the outstanding personalities of
the motion picture industry, but it is next to impossible to
write of Mr. Davis without getting into some of the more
or less controversial issues and problems of this kalei-
doscopic industry.

It was Mr. Davis who first attacked the star system.
He is firmly of the opinion that starlight is largely moon-
shine, so to say, and is endeavoring to prove it by actual
experience. As a matter of fact, he insists that he has
already proven it in the making of Bluebird photoplays
for Universal when he first applied the Shakespearean
slogan: "The play's the thing," to the film industry. He
cites the fact that Bluebird photoplays, in which the lead-
ing players are "featured," not "starred," have been
among the most consistent financial successes of the in-
dustry since he created that brand of film stories a year
and a half ago.

So just now, through the powerful medium of Triangle,

Photoplay Magazine

the manufacturing concern founded by the three then
leaders of the industry, Griffith, Sennett and Ince, this
crusader of the celluloid is continuing the battle against
the star system, with its tremendous salaries, in the belief
that the public eventually will line up solidly for 'the
story, not the star."

But let us allow Mr. Davis to state to the jury his case
against the star system:

"Our policy is based upon the well founded belief that
the general public favors a good, interesting story that is
starless, in preference to a star that is storyless. So we
are trying to produce plays, according to our conception
of the prime requisites for a good photoplay. These, in
my belief, are: First, an interesting, properly constructed
story; second, a well balanced cast, each player selected
for an ability to portray the character to which he is as-
signed; third, proper staging; fourth, good direction.
Neglect of any one essential and a good play is impossible.
Then let us take the subdivisions beginning with the first
requisite, an adequate story:

"The word 'story' is used liberally. We say now that
the story is good if the action is interesting and holds at-
tention, provides suspense and creates emotion. Analyzed
in a cold-blooded manner, this is not literally true. The
best laid plot in the world, with interesting action and good
situations becomes commonplace unless it deals with in-
teresting persons. There is no story, or type of story,
that has a universal appeal. Our tastes differ vastly. A
photoplay which we of the studio have voted a good one
may bring in a flood of sarcastic comment from public
and exhibitor after its release. So we must vary our
product, but there is one rule which must be adhered to—
that no matter what other qualities a story may possess,
it must provide a vehicle for interesting characterization.
Interesting people have a universal appeal but few writers
seem to appreciate that fact.

"The majority of writers submit stories of love, action,
thrills, punch, humor; piling one incident atop another
without any regard for consistency, or real humaness. And
the average star play is generally written in this manner.
All characters other than the star, are merely incidental
and subordinated to the star role. Unnatural situations
are developed so that the spotlight may be kept on the
leading player and many times, a good play or story, is
ruined by allowing the star to dominate every situation.

"Under the star policy there can be no well balanced
cast, another reason for our opposition to that policy. I
believe that it is just as important to have a talented act-
ress play the part of a maid as it is to have a capable
player in a leading role. And if the maid's character in
the story is such that her actions have an important bear-
ing on the development of the action, I believe in giving
her part its natural course without considering whether she
is 'taking anything away' from the lead.

"Often it happens that there are characters in a play
who appear in only a few dozen scenes out of a total of
approximately 300 in a five-reel play. If one of our

prominent players is best fitted to portray that role,
he or she is cast for it. No part will be rewritten to the
detriment of the story, merely to give greater prominence
to the player. A good actor can make a 'bit' stand out as
the predominant feature of a photoplay in which he is only
on the screen long enough to be noticed.

"So it is our effort to build up an organization of
talented players, any of whom, backed by modern adver-
tising methods under a different system, might be a po-
tential star. But we are making good see-able film plays,
rather than individual notables. Above all, the characters
of a film drama must be firmly established as human
beings. Otherwise it will be merely a motion picture.

"Everyone realizes the necessity of proper staging in
which attention to detail is of first importance. The set-
tings for the various scenes are only important in that they
enable the spectators to see the action in the proper
atmosphere, but a single mistake in some slight detail may
easily and effectively ruin an otherwise excellent produc-
tion.

"In placing direction last on the list of requisites, I am
incurring the risk of much adverse criticism. There has
never been a time in the history of the industry when the
director has been paid so lavishly as now. There are cases
in which the director draws more salary than the aggregate
of the entire cast working under his direction. Where
everything is left to the director, as is the practice of some
of the producing companies, even the preparation of the
story, the casting and the proper investiture of the scenes,
the salary does not seem so inflated; but in the final sifting
down, the director will only be called upon, as under our
system, only to execute the plans laid down for the pro-
duction. Of course, a poor director can easily wreck a
well cast, well staged photoplay."

Mr. Davis' withdrawal from the Universal Film Com-
pany early last summer was one of the sensations of cellu-
loid circles and, according to his version of the affair, it
was due to the insistence of the company controllers to
return to the star system after he had proven the "play's
the thing" to be sound financial doctrine.

At any rate he stepped right into the control of Triangle
with its great producing plant covering twenty-six acres
of buildings, and an annual payroll of $3,000,000. Since
then he has attained even more prominence by his war on
contract-breaking players and his overturning of an occa-
sional pet theory or fetish of filmdom. He is the recog-
nized chief protagonist of the anti-star faction of the pro-
ducing world and as such the chief opponent of the
recognized master of the star-controllers, Adolf Zukor.
It is going to be a nice gentlemanly little war, this fight
against a system which has developed salaries undreamed
of in any profession a few years ago; with the public,
the ultimate consumer, in the usual role of jury. Whatever
its outcome, H. O. Davis has already put the permanent
stamp of a militant, thoughtful personality on an industry
that will always occupy a dominant place in the- public
attention.

None With Limousines Need Apply

Next time Director Tom Terriss of Vitagraph wants an
extra girl, he will engage one that needs the money. When
he was making "A Woman Between Friends" he fell into the
fatal error of employing for an unimportant, but necessary'
"bit," a young woman who came seeking admission to the
movies in a limousine. She was handsome and Tom fell. Inci-
dentally, he convinced her that extra girls owning limousines
were required to take the director to his home after the day's
work was done. This young woman's ignorance of conditions
was divulged by one of her first questions.

"Does Miss Joyce get paid, or does she do it for fun?"
All went well for several days, and Terriss was congratu-
lating himself upon having such a de luxe addition to his com-
pany, until a rainy Saturday arrived, but the extra girl did not.

They waited an hour, then Terriss telephoned to her home.

'Why. I couldn't possibly come today." she told him.
"It's raining."

"You can come in your car."

"Oh, I don't want to get it all wet and muddy. I've just
had it cleaned," the extra girl replied.

"But you can't do that," Terriss pleaded. "We must
finish the picture today."

"Well, anyhow, I can't come just now. I'm having break-
fast." (It was 10:30).

After more expostulation she finally agreed to sacrifice
herself and her car, upon Terriss' guarantee that she would
get to New York by 1 o'clock, as she had a luncheon engage-
ment at the Ritz.

The Savage

qA tale of the Canadian Tfyrthwett.

^y Jerome Shorey

There were scores to be evened up with Julio: one was the two hundred dollars he
had won from Bedotte.

JOE BEDOTTE and his gang came swinging down out
of the Caribous, eager for a frolic, and scarcely less
eager for a fight. It would be a lively night in Cheval
Blanc, one might guess from the nature of the sinister
jests. Joe, leader of the gang because he was just a little
greater bully, just a little more reckless than any of the
rest, was the silent one. There was business to be done in
Cheval Blanc. First of all, there was the matter of
another deal in whiskey, to be sold later at great profit to
Indians, in disregard of the law. Then there was the ques-
tion of Lizette, which naturally brought up the companion
question of Julio Sandoval. On two distinct counts, there
were scores to be evened up with Julio. One was the two
hundred dollars Julio had won from him the last time he
came down to Cheval Blanc. The other was that Lizette
had spurned him for the gambler. Not that he cared so
much for Lizette, but that the girl should prefer the half-
breed was intolerable. For was not Joe pure French, with
the white man's contempt for a "breed?" Assuredly, it
would be a lively night in Cheval Blanc.

From different directions, two other persons, destined to
play important roles in the career, of the whiskey-runner,
were on their way to the little trading post. Marie Louise,
daughter of the factor, Michael Montague, was coming
home from school — coming home a woman, who had gone
away a child. And Captain McKeever, of the Northwest
Mounted, was coming under instructions from headquar-
ters to arrest Bedotte himself, for there had been sufficient
proof of his illicit traffic in whiskey to send him to the
penitentiary. But like Bedotte, McKeever had a double
mission. He had met and won the heart of Marie Louise
while she was at school in Calgary, and he hoped to take
her back with him, as well as his other prisoner, a more
willing captive.

So the fateful lines converged upon Julio, the half-breed,
the gambler, the savage, to whom life was interesting in

direct ration to the adventures it brought to him. In
truth, things seemed a little dull, that brilliant summer
day, as he roamed aimlessly through the woods. Even
gambling was monotonous when you almost always won,
and then there was Lizette — always following him around
with her big, pleading, doglike eyes. She was well enough
in her way, but what was a woman after all? Nothing but
a nuisance when she became so devoted.

The rattle of a light wagon interrupted his musings.
Down the winding road came the mail stage, but the driver
was not alone. Julio stared at a pretty shimmer of white
that framed a prettier face. Who was this lovely creature,
coming to the wilderness of Cheval Blanc?

"Why hello, there's Julio Sandoval," a musical voice
called out, as the wagon drew nearer.

Wonderingly, Julio approached. Who could this be,
who knew his name? He looked closer, and then remem-
bered. Across his memory there flashed a picture of a
child struggling in the water, where she had fallen from
the slippery rocks — his own swift rush to save her. This
was the same Marie Louise, the same, but a blossom where
there had been a mere bud.

"You're so beeg lady, it mak me to forget you," said
Julio with a smile and a bow, but behind the grace of his
French parentage, the heart of the savage beat faster, and
there was a gleam in the eyes that stared at Marie Louise.

And when he returned to Cheval Blanc, Julio found
Lizette no longer even to be tolerated. He told her so,
plainly. He informed her that she was a bold hussy.

"You don' drop da beeg blue eye an' look down on da
blouse," he explained, and went on to sing the praises of
Marie Louise. "Her skeen, she white lak da milk, her
hair, she lak da gold. Your hair — " Julio paused, his
silence scornful. But Lizette would have it all.

"My hair—"

"She lak da tail of my horse."

Photoplay Magazine

Julio did not understand that in all creation there is no
fury like a woman scorned or perhaps he might have been
more diplomatic. But he would have been sufficiently pun-
ished could he have known what was going on in the house
of the factor. Captain McKeever had put pleasure before
business, and lost no time in making his betrothal to Marie
Louise official. Much as it grieved Montague to lose this
daughter who had just returned to him, he understood
more than ever that Cheval Blanc was no place for her.
The same mail stage that had brought her, had brought
orders for him to go to Montreal. She would be alone. It
could not be helped. So it was agreed that Captain Mc-
Keever should take her back to Calgary.

Perhaps love had raised the captain's spirits to a pitch
too high for caution. Perhaps he
counted too much upon the re-
spect in which the uniform of the
Northwest Mounted was usually
held. At least, he did a foolish
thing. Entering the crowded sa-
loon he demanded:

"Which of you is Joe Bedotte?"

Half of the men crowded around
the bar were friends of the outlaw.
The others were not anxious to
have a quarrel with his cut-throat
crew. So McKeever found him-
self in the center of a jostling mob,
while Bedotte slipped quietly away
by the back door. McKeever was
for making a fight of it, even
against such odds, but Julio sprang quickly to his side.

"You play da beeg fool," he whispered, and then, in
general invitation, "I buy leetle drink."

The danger was averted, at least for the moment. Joe's
gangsters slipped away one at a time, to follow their chief
back into the fastnesses of the Caribous. McKeever
cursed himseif for his blunder. There was only one thing
to do. He had instructions to arrest Bedotte. He had
failed in that. The course that remained was to locate his
hiding place and bring back a force adequate to round up
the entire gang. At least he knew now the perils he was
facing, and would be cautious accordingly. The following
morning he dispatched a courier to the post with the infor-
mation that he was following Bedotte into the Caribous,
and asked that a force be sent after him if he did not
return in five days.

With deep misgivings, Marie Louise watched him ride
away. He made light of her fears, promised to be careful,
and gayly kissed her "au revoir."

Bedotte was an old campaigner. He knew that merely
to retreat was only to postpone the issue. So as he with-
drew into the mountains he left watchers along the trails.
The first fruit of this caution was the capture of Mc-
Keever's courier. The dispatch was confiscated, and the
man sent back with a warning that his life would pay for
a betrayal. Then an ambush was set for the captain.
But McKeever had become more cautious, and did not
keep to the trail. As he approached the hiding place of
the gang, a sixth sense warned him of danger. Dismount-
ing, he reconnoitered on foot. A horse neighed, and he
dodged behind a tree just as a long knife flashed past,
missing him by inches. Bedotte's men never used the noisy
rifle except as a last resort.

Then the fight began. His back to a big tree, McKeever
watched for his foes to show themselves. He fired at a
moving bush, and a yell of rage answered him. Again the
knives sped toward him, but the men who threw them could
not stop to aim, and although they pinned his coat to the
trunk, his gun hand was free. The outcome was inevi-
table, however. Circling around, while his attention was
engaged from in front, several of the gang came upon him
from behind, and McKeever was soon helpless. Then

The Savage

NARRATED from the Bluebird
photoplay, based upon a story by
Elliott J. Clawson, directed by Rupert
Julian, and produced with the following
cast:

Marie Louise Ruth Clifford

Lizette Colleen Moore

Julio Sandoval Monroe Salisbury

Captain McKeever Allen Sears

Michael Montague. . .W. H. Bainbridge
Joe Bedotte Arthur Tavares

back into the mountains Bedotte rode with his captive.
When they had reached their camp, the outlaws flung him
into a hut, with the cheerful assurance that he had
wounded one of their number seriously.

"We keep you here a while," Bedotte informed him, "so
eef Pierre, he die, then you die too."

Glumly, McKeever considered his second failure. It
was so humiliating, that he did not much care what they
did with him. But at least he had forseen such a possi-
bility, and there was always the chance that his comrades
from the post would be able to find the trail. He took it
for granted that his courier had made the trip safely. But
the courier had returned to Cheval Blanc, so terrified by
the threat of the gang that he said nothing of what had
happened. So the days passed,
and at the end of a week Mc-
Keever gave up all hope. And
then they told him that Pierre had
died, and he was to be taken out
and shot. Bedotte and his men
stood there and grinned at him,
but he gave them nothing to gloat
over. It was part of his business
to face death, and he would, please
God, face it like a man. This was
not to their liking. Perhaps if this
captain had time to think about
dying, he might not be so calm
about it.

"We geev you two hour to say
your prayers," said Bedotte, and
they left him again, leaving a sentinel guarding the barred

door. There was no escape.

* * *

After her betrothed had left, Marie Louise was lonely.
To escape the sordid surroundings of Cheval Blanc, she
went up into the hills. It was all beautiful and peaceful,
just as she recalled it. The little, tumbling stream, in
which she nearly had been drowned, fascinated her. It
was a warm day and the brook was invitingly cool. So,
stripping off shoes and stockings, she waded in the crystal
water, and played with the ripples.

It was thus that Julio found her, and watched from
behind a screen of bushes. The savage was aroused again.
He stared with hungry eyes, and a cruel smile came over,
his face. He waited until she was tired of her play and
had put on her stockings and shoes. Then he came to
where she stood. She greeted him with a. friendly smile,
but as she looked into his eyes, her intuition told her that
this was not the Julio who had saved her life, so many
years ago. She drew away, but he stopped her, a heavy
hand on her arm.

"Geev me da leetle kees," he said, with a leer.

She pulled herself awav and ran, but it was a hopeless
flight.

"See," he shouted after her, " \vay up dere, my leetle
cabane w'ere da mountain scrape da sky. We go up dere,
you an' me."

Prostrated with fright and exhaustion, the girl fell head-
long. The powerful half-breed caught her up in his arms
as if she had been a child, and started up the mountain.

"They'll kill you for this," Marie Louise gasped.

"I get keel some day, jus' same — no diff'rent what for."

The burden was a light one when they started, but it
was a steep climb, with here and there a mountain marsh
in which the man sank almost to his hips. And Marie
never ceased struggling as her strength returned, but he
gripped her until she screamed for pain, and promised to
lie still in his arms. When they reached the little cabin,
Julio was exhausted. He could barely stagger the last few
steps. Weariness, utter and complete, enveloped him with
the swiftness of a violent blow. Like the breaking of a
steel wire, something snapped in his brain. His herculean

The Savage

effort had broken down the savage in him. With physical
weakness, the white man's mind returned to its own. The
fiend in him had died of its own venom.

Marie Louise cowered in a corner, terrified. Julio
approached her with a reassuring gesture.

"Don' cry no more — Julio don' hurt yon," he said
softly.

"Then take me back home," the girl pleaded.

"Too dark now — da trail not safe. You sleep in dere,"
and he opened the door to an inner room. "Tomorrow I
take you home."

With that he turned and left her, and building a big
fire on the hearth, flung himself beside it.

But Marie Louise could not sleep. She no longer feared
for her safety, but the excitement drove away all possi-
bility of slumber. Toward morning she heard Julio mum-
bling in his sleep. The sound grew louder, and at last he
began to shout and rave in delirium. She hurried out to
wake him from what she believed was a nightmare, but as
she bent over him she rec-
ognized from his flushed
face and burning hands
that he was stricken with
mountain fever. From
childhood she had been
familiar with the symp-
toms and the simple rem-
edies, for the malady
was not dangerous under

''Geev me da leetle
kees," said Julio with
a leer.

proper care. So she forgot the incidents of the previous
day, remembering only that once he had saved her life, and
flung herself into the task of curing him.

So several days passed. The cabin was well stocked
with provisions, for Julio was always prepared to be cut
off from Cheval Blanc by bad weather. Down in the set-
tlement, it was noticed that Marie Louise was missing,
and searching parties were sent out. They scoured the
mountains, and finally keen eyes found the trail — the place
where Julio had pursued her, and the spot where the two
trails became one — where the man's feet had sunk deep into
the earth because of some heavy burden. And grim men,
heavily armed, made their way to the little cabin.

Julio's mother had heard the mutterings, and took a
short cut to warn her son. She it was who had given him
his Indian blood, and despite her age she outstripped the
armed searchers.

"It's all right," Marie Louise assured the mother and
son. "I'll explain it to them."

She led the Indian woman out into the clearing, and
when the posse arrived, told them that she had wandered
on the mountain until she was lost, and had been
brought to the cabin by the Indian woman. They
accepted her explanation, as a mat-
ter of course, and started back to
the town.

Then, to her dismay, Marie
Louise learned that no word had
come from Captain McKeever. As
soon as she reached Cheval Blanc
she hurried to find the courier who
had started with the message to the
post, and forced from him an admis-
sion of his failure to perform the
task. Then she went among the men
of the town with a plea for a rescue
party, but they shook their heads.
They wanted no feud with Bedotte's
gang. The girl was frantic. Bedotte
himself had secretly visited Cheval
Blanc to discover if he was in dan-
ger. He had taken occasion also to
pay a visit to Lizette, who, knowing
of the simultaneous absence of Julio
and Marie Louise, had drawn con-
clusions characteristic of her kind.
But still to Bedotte she was cold
and distant. At last, in response to
his wooing, she said:

"You keel Julio Sandoval
— then, maybe, I lak you."

Another score to be set-
tled. Bedotte slipped away
into the Caribous again, to
deal with McKeever as
might be necessary. And
then — Julio.

Julio himself, recovered
from his illness, and all un-
suspecting of the danger
which now pointed directly
toward himself, came down
the mountain. To him Marie
Louise went with her appeal
for assistance for McKeever.
What the men of Cheval
Blanc had feared to do in a
body, he undertook to do
single-handed, but Marie
Louise refused to let him go.
She would not wait in suspense,
alone. Together they rode up the
Caribou trail.

IOO

Photoplay Magazine

'We keep you here a while," Bedotte informed
him, "so eef Pierre, he die, you die too."

.•ntmm

Captain McKeever had finished his prayers. He was
ready to pay the outlaw penalty for having killed one of
their band. He had only two regrets — one that he had
failed in his mission — but that was not so bad. He had
gone against long odds, as the men of the Northwest
Mounted were expected to do. Where he had failed, an-
other would succeed. In fact, because of his very failure,
the next time the law reached out for Bedotte, it would be
more strongly armed. His greater regret was for Marie
Louise. He knew she loved him, and that she would
mourn for him, mourn too long and too deeply. She would
stay in the sordid little settlement in the mountains, and
lose the best years of her youth in vain sorrow. If he could
only send her a last message — but he knew it would never
be delivered.

There was but one thing left for him to do, and that
was to die like an officer and a gentleman. At least he
could do that, and he would. As he steeled himself for the
ordeal, he heard a muffled curse, and a struggle. Hurrying
to the window he looked out. The gang had gone back to
the main building of the camp, and Julio, creeping up un-
observed, had taken the sentinel by surprise. In a few
seconds the guard was lying motionless. There was a soft
sliding back of the wooden bar which fastened the door
on the outside, and Julio was in the doorway, one hand on
his lips for silence, the other beckoning. And in another
instant they were running through the woods to where
Marie Louise was waiting with the horses.

They had a few minutes head start — all they could have
hoped for. A woman had witnessed the struggle at the
hut, and warned Bedotte and his men. With hue and cry
they started after the fugitives.

Julio and McKeever dodged behind trees at the first

shot from their pursuers, and answered the challenge with
lead. It gave the outlaws a fair warning that there would
be no easy capture. They halted for a council of war, and
their quarry took advantage of this to gain a still longer
lead. But the move was observed, and the battle resumed.
So the fight went on, the outlaws closing in at every op-
portunity, and the captain and his rescuer dodging from
tree to tree in their flight.

Bedotte had shrewdly chosen for his hiding place, a spot
which could be reached only through a single narrow gulch.
It served his purpose perfectly for purposes of defence,
but now it served McKeever and Julio as well in holding
the pursuers at bay. Yet, in the end, they knew that
numbers must count. Given sufficient time, some of
Bedotte's men could climb the sides of the gully, and from
a point of safety above, have them at their mercy. It
was at the farther end of this gully that Marie Louise
waited with the horses — but there were only two horses,
and the horse which carried a double burden soon would
be overtaken. And Julio knew there were but two horses.
He had not troubled to inform McKeever of the fact.
In a lull in the firing, he suddenly turned to McKeever,
and said:

"We're in ver' tight peench. Ever' man for hees self.
Au Voir," and he ran toward the entrance of the gully.

McKeever was astounded at the move. It seemed that
Julio was deserting him, even at the risk of being shot as
he bounded across an open spot in the canyon. Mc-
Keever knew he had no chance alone against the gang, and
followed. Julio suddenly dropped down on his knees be-
hind a big log. McKeever supposed this was only a
momentary pause in his flight, and soed onward, the
(Continued on page 128)

Why-Do-They-
Do-It

Strange Indeed

ONE thing that I noticed in Maxine Elliott's first pic-
ture, "Fighting Odds" was the presentation to her
of a black band bracelet by one of the members of the cast.
This bracelet she wore in the same scene before it was
given to her. Rather strange, I think, to receive a present
one already has.

Very truly yours,
Louis Ellefsen, Brooklyn, New York.

Some We Know Do

NO one can dispute the educational value of the cinema.
In "Open Places," I learned that chickens keep late
hours. The villain had killed a man, and returned the
same night to his little cottage. The scene following the
sub-title "That Night," shows a cottage in the darkness,
and chickens running all about the place.

Francis Ziesse, Brooklyn, N. Y.

Fatty Would Reduce

IN "Your Boy and Mine," a Universal comedy, the thin
boy whistles to the fat boy, and is shown a few feet
away from the window where Fatty is sitting. Later on
when Fatty joins him he crosses an alley, climbs a fence,
and runs fast and far in the wrong direction to get to
him.

In "The Red Ace," a secret service man opens a note
book which is bound at the top. In the close-up to show
his notations the notebook opens at the side.

Mrs. W. M. Phelps, Minneapolis, Minn.

Stranger Things Have Happened

In "The Hawk," Earl Williams was so unused to call-
ing up his wife that he was obliged to look in the 'phone
book for his number.

Rita Reilly, Wayne, Penn.

One of the Oldest, But Still Going Strong

THE new Fairbanks film "Down to Earth" contained
one of the oldest inconsistencies known to the film
world. Staying away from civilization two months, the
men would have done credit to any barber shop, and the
women's clothes and hair were immaculate. The villain's
trousers even had a crease in them when he came back to
the hotel after his two months ala Robinson Crusoe.

Jno. Bullington, Dallas, Texas.

They'll Drown Poor Mary Yet

A LITTLE late perhaps to remark on "The Pride
of the Clan," but here it is. The water was even
with the decks, the boat about to sink, and yet when we
are shown the interior of the old boat, the water is just
coming in, with "Our Mary" in water up to her knees.
How did they keep the interior from filling up, while the
boat was nearly submerged?

An Observer.

A Spirited Steed

RECENTLY in the Universal production entitled, "The
Soul Herder," I discovered a very obvious fault on the
part of the director. After the text which reads: "After
a long night's ride," we see the hero dashing madly along
a mountain trail in pursuit of the villains, but strange to
say the horse which he is riding looks as fresh as though
he had just been taken from the stables. I know from
experience that if you ride a horse for quite a period of
time with any degree of speed, he becomes lathered and
drooping, but not in this picture.

R. M. S., Jr., New Haven, Conn.

Hard to Explain

CAN you explain why the funny little general with the
long white mustaches in "The Spy," when telling an
important piece of news to a group of patriots, stands with
his back to them and his face to the camera? While
watching the scene I was expecting the men behind the
general to stretch out into a double line, and go through
at least one verse and chorus of an opera number.

Arthur Turner, Brooklyn.

They Should Teach 'em Esperanto

IN "The Man of Mystery," a Vitagraph Blue Ribbon
Feature starring E. H. Sothern, I was informed by
the sub-title that the action was laid in Rome. The
geography tells us that Rome is in Italy and that the
people there speak Italian. Mr. Sothern said, "Show him
in," to his butler, so plainly that anyone could tell by his
lips that he had spoken English. Directors should remem-
ber that moving pictures have made most of us proficient
in the art of lip-reading.

N. Brewster Morse, New York City.

Too Chic, Those Movie
Menials

RATHER odd that one
never sees servants at-
tired in the musical comedy
outfits they wear in the
movies. Maids, even in mil-
lionaires' homes do not wear
silk hose, calf-length dresses,
yard-long streamers on im-
possible caps, and tea-plate
size aprons.
D. C. Dodd, Chicago, 111.

101

102

Photoplay Magazine

While We Trembled for Her Safety

IN "Wolf Lowrie" Bill Hart leans against his bunk house
every eve until the light in his sweetheart's window
is blown out. One evening he detects her in danger, and
instead of running over to her cabin which must be only
a short distance away, he mounts his horse and rides for
miles over hill and dale. This is done, no doubt, to give
the villain time to half strangle Bill's girl, or else Bill has
awfully good eyesight.

H. W. A., Tacoma, Wash.

Dumb Show

THE old Romans, consistently pursuing the Hellenic
ideal of absolute perfection within a limited field,
found in the dumb shows of their masked actors an excel-
lent vehicle for the exposition of that ideal. And the dif-
ficult art of pantomime has come down to us through the
ages, in more or less pure form, until the miracle of the
two-dimension drama appeared, ready to assimilate it and
bring it into its own.

But motion picture directors have apparently ignored
this precious heritage, and instead of restrained expression
of thought or emotion — actual transcription of the way we
have seen people conduct themselves — what do they give
us? Posing, gesticulation and facial contortion. The
painstaking efforts of our screen players to "act out" each
bit of business, is an insult to the intelligence of motion
picture audiences.

The Elizabethans disapproved of elaborate stage scen-
ery because they thought it did not stimulate the imagi-
. nation. What chance have our poor imaginations?

H. M.
Another Equine Wonder

IN the Goldwyn picture, "Polly of the Circus," one can-
not help but marvel at "Bingo," the circus horse.
Polly rode him rapidly over hill and dale for, approxi-
mately, three or four miles. Resting, only long enough
for Polly to enter him, he joined the horses that were wait-
ing for the gong, and easily won the race. Any other
horse would have had the thumps, but "Bingo" came
down the home-stretch as fresh as a rose.

Ethelyn Fay, Tulsa, Okla.

Faults A-plenty

In "The Little American" where did Mary Pickford make
the raid of the smart looking and perfectly fitting little
dress which she immediately donned after arriving at the
old chateau in France. She lost all her clothes on the sub-
marined boat and landed at the Chateau in the dancing
frock she wore when the boat was attacked.

In a recent picture I saw a bride stand up with her
guests and drink with them while she was being toasted.

How do the movie people get married without a license?
They do it every day. For instance in "The Little Terror"
Violet Mersereau and her fiance left her grandfather's
house and paid an impromptu visit to the minister without
ever concerning themselves with such an important trifle as
a marriage license. Olive Thomas did the same thing in
"Madcap Madge." Bryn Mawr, 'i6.

Earle, the Gallant, Suffers a Relapse

EARLE WILLIAMS, the star of "The Stolen Treaty,"
completely overlooks the trivial courtesy of doffing his
cocked-hat to say nothing of sweeping the ground with it,
as we have heard was the custom during the period of
George and Martha W., when a gentleman of old met his
lady love. J. W. N. D., Galveston, Texas.

Modern Innovations in the '6o's

I DON'T often complain, but I don't see why those direc-
tors are not careful about details. Dorothy Gish was
fine in "The Little Yank," and it was a good Civil war
story; but when the close-up of the house of that old
Confederate "villyun" was shown, I was very much aston-
ished to notice a modern electric push-button on the frame
of the door. H. C. P., San Antonio, Texas.

And He Never Knew

I SAW "Their Compact" with Beverly Bayne and Fran-
cis X. Bushman. In one scene F. X. B. pulled on his
gloves thus wasting much effort, for when he got outside
they were tucked in his belt.

Also: In the "Ten O'Diamonds," Dorothy Dalton and
the butler were soaking up the wine supposedly, but the
butler happened to turn the bottle around and showed the
brand, "Applju." Now I've drank Applju and I never
knew till I saw that play what it does to one. They acted
"puffectly scan'lous." I wish somebody'd atold me.

Victor S. Hudson, Sacramento, Calif.

Pearl Does a Lightning Change

AT the close of episode
XII of "The Fatal Ring,"
Pearl White is seen balancing
in mid-air on a steel girder,
clad in trousers and a sweater.
In the following episode Pearl
still struggles on the girder,
now wearing a tailored suit.
Laurence Cohn,
New York City.

A Prosperous Penny-Pinchcr
TN "The Gentle Intruder"
-*- featuring Mary Miles Min-
ter, one of the titles introduced
an old gentleman as "a well-
to-do lawyer." In the next
title his wife and daughter
complain that they have not a
decent dress between them.
C. J. Hanilston,

Boston, Mass.

Some Transformation

WHY do they do it? That's the question. The direc-
tor of the picture "Christus" should be given a vaca-
tion. The mother of the sick girl who was healed wore
the latest of high heels. Also Joseph started out in the
desert with a mule and when he reached his goal his mule
had grown into a camel. Strange!

Francis J. Guinan, Baltimore, Md.

Will It Be Ever Thus?

IN "A Son of the Hills," Antonio Moreno is rescued by
Mary Anderson from a watery grave, and immediately
after a scene is flashed on in which Mr. Moreno appears
wearing dry, clean clothing, and there are creases in his
trousers. Producers have been criticized for this in-
numerable times. When will they learn the error of their
ways? Verona Uhl, Rochester, N. Y.

Mrs. Kate Corbaley, winner of the first prize, and her four children.

The Winners of the Contest

The four prize-takers in the Photoplay-Triangle Scenario
Contest tell something about themselves and how they did it.

Stagg

WE promised, last month, some little stories from the
prize winners themselves, and here they are:
Mrs. Kate Corbaley, winner of the first prize,
who is the wife of Charles Corbaley, a well-known construc-
tion engineer of Los Angeles, Calif., doesn't like to write
about herself, but she has given us the picture of her four
beautiful children, which tells a volume about her success
in combining the occupations of mother and writer.

Katherine Kavanaugh, winner of the second prize, hasn't
added much to her original statement, but the recounting
of her experience will encourage many aspirants.

Mabel Richards' letter is surely inspirational ; enough to
encourage the most feebly pulsing of faint hearts, and Mrs.
Byrd Weyler Kellogg's article shows us how the picture
play has become standardized in the Great American
Family.

"Real Folks," Mrs. Corbaley's play, is now being filmed';
so also is Miss Kavanaugh's "Betty Takes a Hand," with
Olive Thomas, of Follies' fame, in the title role.

Next month we will publish the scenario of "Real Folks,"
— the thousand-dollar prize winner.

The "honorable mentions" need not feel discouraged.

Miss Mabel Richards.

Mrs. Byrd Weyler Kellogg.
103

io4

They were selected from over 7,000 submitted stories, and
in a contest like this the sieve must necessarily be extraordi-
narily fine. They are: "His Brother's Keeper," by Fran-
ces E. Russell, Marquette, Mich.; "The Panther," by Clara
McCorkle, Seattle, Wash.; "Cupid Picks a Lock," by W.
Russell Cole, San Francisco, Calif.; "The Doctor," by
Sophie W. Xewmeyer, Cleveland, Ohio; "A Man of Re-
sources," by Madeline Rice, Holliston, Mass.; "Tempering
Justice," by Gizelle Wohlberg, Waco, Texas, and "The
Alien Strain," by Katherine Kavanaugh, winner of the
second prize.

KATE CORBALEY

Winner of First Prize — $1,000
Scenario: "Real Folks"

To some people life is narrative; to others it is drama.
To me life is dramatic; it is never just a story, and to me
scenario writing is the easiest form. of expression.

A year ago I saw an item in a local paper stating that
Mr. and Mrs. Sydney Drew wanted stories for their com-
edies. I tried and failed. I tried again and succeeded, and
the encouragement 1 received from Mrs. Drew is what led
me to take up scenario writing. She told me I had the
ability to create real people.

My first five-reel play is still journeying.

My second five-reel play won the first prize in the
Photoplay contest. That it did is far more than a mere
personal satisfaction, for it proves what I so earnestly be-
lieve, that the day has come when people want plays of
character and not plays in which exciting plots are hung
on wooden automatons.

There are no new stories. They have all been told over
and over again ever since the world was young. Even
Shakespeare took his plots where he found them, but our
lives are infinitely richer because of the men and women
he created.

Because the kaleidoscope of humanity is infinitely ner-
vous, and because man is of eternal significance in a world
of temporal things I believe the scenarios of the future
will show us real men and women who love and hate, suffer
and rejoice, sin, endure, and conquer as we do ourselves,
and that the plots of these scenarios will develop logically
from the inter-play of characters.

KATHERINE KAVANAUGH

Winner of Second Prize — $500
Scenario: "Betty Takes a Hand"

I've spent a good part of my life on the stage; a number
of seasons in stock, and seven consecutive seasons in vaude-
ville, playing dramatic roles.

Have written a number of sketches for the vaudeville
stage, and this time last year I wrote my first photoplay,
in synopsis form, and sent it out, never dreaming that it
would be accepted. After what seemed a long time, I got
a letter from Mr. Harry Hoyt, Scenario Editor of the
Metro Company, accepting the story for the use of Miss
Emily Stevens.

I was surprised and delighted, of course, and a few
months later had a new sensation in seeing my story on
the screen. It is only fair to say that there was a great
deal more story and much more gotten out of the idea
than I had put into it, but it was my story just the same,
and the company gave me full credit for it. A short time
after that I sold "The Will 0' the Wisp" to the same com-
pany. This was played by Mabel Taliaferro.

These are the only two plays that have been produced
so far, but others have been sold, and I am still writing
and learning. I keep in touch with the moving picture
trade papers, and go several times a week to see the late
pictures, in order to see what the different companies are
doing.

Photoplay Magazine

I firmly believe that to write successfully for the screen
one must have a dramatic sense — whether one is born with
it or acquires it by training; and that secondarily, a great
deal of study and application is necessary.

It is like everything else in life ; if success is worth hav-
ing, it is worth working for. There is no "royal road."

MABEL A. RICHARDS

Winner of Third Prize— $300
Scenario : " The Tree of Life "

Has it ever been your experience to reach, with a sicken-
ing sense of dismay, the apparent end of all your resources,
physical and mental, when lo! suddenly the whole world
changes, and a new and vibrant energy sweeps through you?

Do you personally believe in that one last "try,"
although you feel in your inmost heart that you're headed
straight for failure, and that the only sane and logical
course would be to give up gracefully while you have the
chance?

Well, I do believe this with all my heart.

A thin, gawky girl who grew too fast, I had to be kept
from school for a while. Later, when I did enter school, I
won first honors, the class valedictory, the gold medal our
school gave for continuous highest averages, etc. This was
not, however, because of any brilliance or special aptness
en my part, but was because I had to study hard to get any-
where at all. It has always been so with me. After one
year in high school, my plans for a broader education came
to an end, for my help was needed. I took up stenography.

Meanwhile, fostered by all my teachers and friends, the
idea had grown within me that I could write. When 11
years old, I had written a story, which was to be the first
of a long series of "hopefuls." It didn't win the prize
offered, but it did get "Honorable Mention." I kept on,
but nothing came of it. I remember so well the efforts of
those years, wistful, inadequate little stories, groping out
for the verities of life from my narrow little window. Xo
wonder they didn't sell! Day by day, I ground out dicta-
tion at so much per, and in my spare moments wrote and
dreamed and planned and studied — always under the handi-
cap of poor health. During all that time, I believe my only
dissipation was postage stamps to and fro with special
stress on the jro, if you please. Was success never com-
ing to me?

A year ago, I learned of this Scenario Contest. I had
never written a scenario, knew nothing about how to go
about it, but I felt like trying anyway. There was a chance'
that it might succeed better than my stories had. Besides,(
the prizes beckoned alluringly, for my mother and I arei
making payments on a little home.

I sat down and wrote my best little story. I read it over
and over, but I felt only profound contempt for it. This
child of my brain was a weakling, puny and knock-kneed
It wasn't worth its salt. In disgust, I threw it aside.

A week went by, a month, two months. The contest drew
rapidly to a close, but my customary enthusiasm simply
wouldn't enthuse. I persuaded myself that I was now for-
ever through with writing, but I was abjectly miserable
about it. But wait! Don't you hate a quitter, too? Sud-
denly I knew I just couldn't give up that easily. All my
lost courage surged back, bringing in fresh reserves with
it, until I felt like an Amazon. I fairly shook that little old
scrawny skeleton of a story of mine by its bony shoulders,
and laid down the law to it. It dare not fail me in this
pinch! It had to win one of the prizes! It must! At
breakneck speed I went at it again, until, finally, there was
but one day of grace left before the contest closed. Then I
put on the finishing touches, and, with many a misgiving,
sent my scenario away on its eventful journey. And now,
just for that, I think I'll still have to keep on trying.
(Continued on page 12Q)

oAn
All- Around King

Raymond I, of Everywhere, Has Lost More
Thrones than Anyone in the Sovereign Business

By ALLEN CORLISS

ALL this news of the European kingdoms crumbling,
Czar Nicholas out of a job, King Constantine of
Greece in search of employment, and the Kaiser
on skids, is viewed with fear and trembling by
Raymond Hatton, who makes a specialty of film monarchs.
If kings become too unpopular in real life, they are liable
to become unpopular on the screen and Hatton may be
shy employment in one of his most important lines of
endeavor.

Hatton is the official king of the Lasky studio and has
ruled over more photodrama nations than anyone else in
Celluloid Land.

Ray's debut as a monarch was as the old king in support
of Ina Claire in "The Puppet Crown," and so well did he
rule this mythical kingdom, that Cecil De Mille selected
him to be the Dauphin in support of Geraldine Farrar in
"Joan the Woman." Hatton's impersonation as the weak-

Above: Raymond Hatton as Charles,
VII in '"Joan the Woman."

As President Cavillo in "The American Consul."

Hatton is the official

king of the Lasky

Studio.

At the right: Ina Claire
and Raymond Hatton
in ''The Puppet
Crown." In this film
Mr. Hatton made his
debut as a monarch.

ling King of France in this famous production is a classic,
and firmly established him as one of the leading character
actors of the screen.

From "Joan the Woman" Hatton was delegated to rule
over a South American province in support of Theodore
Roberts in "The American Consul." He was seen on the
screen only for a few brief moments, but the scenes of the
monarch strutting majestically over the slippery cobble
stones is one of the most humorous incidents in the picture.

From South America he was transported to a European
kingdom in support of Jack Pickford and Louise Huff in
"What Money Can't Buy."

Hatton's last portrayal of a monarch was as Montezuma,
king of the Aztecs, in "The Woman God Forgot," a mag-
nificent production featuring Geraldine Farrar.

105

FIFTEEN FEET AWAY THEY'LL PASS FOR THE REAL THING

From Aztec Palaces to

Rembrandt copies is a long.

long jump.

But Arthur Sheppard's

brush leaps through many

centuries.

FROM painting a street in Timbucktoo to reproducing
an old master in ten minutes is too much to ask of
any artist, but it is all in the day's work for Arthur
Sheppard, the artist at the Lasky Studio.

If there is anything to be done that has to do with
paint, Sheppard and his assistants do it.

Outside the window of every set that is filmed on the
stage there must be what is known as a backing. This
backing must be painted to represent just
what one would see looking out of the
windows of the particular room in which
the scenes are taken.

Sometimes it is a tenement street. At
other times the housetops of upper New
York, or, in the case of offices, it may be
the skyline of Xew York itself, or of the
buildings across the street.

These backings are rarely shown, but if
the scene should be taken and the win-
dows shown, there must be something in

Louis Leo, artist of the Morosco studios at work on a
glass panel to be used in an interior church setting.

back to harmonize with the setting and lend atmosphere.
For some ancestral hall or rich man's home, the walls
are naturally hung with paintings. In some cases the
paintings must be old masters, and they must look the
part. If it was actually necessary to show the real old
master, the directors would try to secure it, but merely
for wall decorations to create the proper atmosphere, the
Sheppard copies defy the detection of anyone but an
expert.

Sheppard may be peacefully decorating
a vase for a hallway when his phone will
ring, and some excited interior decorator
will inform him that he must have a Rem-
brandt or a Van Dyke in half an hour.

From his excellent library Sheppard se-
lects a print of the painting desired. His
canvasses are all stretched — he starts out
and in twenty minutes he will have a copy
that when fifteen feet away could not be
detected from the original.

Mr. Sheppard and one of his assistants plotting to de-
ceive the camera, in their workroom above the studio.

106

DOUGLAS
FAIRBANKS'

Own

PAGE

"WfHEN

you

say

to a

friend, 'H

appy

New Year,'

put a

real wish behind it.

Make your

friend

feel that you

mean

it."

"Dou^" Ft

zirbanks

THE hardest thing about the writing game is getting
anything started. I've tried every opening attack
in the correspondence course, with the result that I
could discover no nice, pleasant, entertaining way of be-
ginning this chapter. I know a lot of things to write about
and they sound good as a monologue, but the minute I
put them down on paper they seem flat and flabby. And
there's no use in writing things for clever people to read
unless you can interest them. Anyhow, I finally appealed
to the editor for a "lead" and he said, "Oh, write some-
thing about Christmas, or New Year's, or something."
Just like that!

Now I had thought about that myself — nothing so ter-
ribly original about it either. What suggests itself more
readily at this season of the year than a little Christmas
sermon? Given a typewriter that can stand hard punish-
ment, some copy paper, a certain space to fill and im-
munity from blue pencil ambuscades, the impulse to launch
into preachment is almost compelling. Now that I think
of it, I should have started this page:

"Well, here we are again with another Christmas and
another New Year staring us in the face." Clear, succinct
and punchful — and seasonal! And with this cue, I should
have gone on to tell you to do your Christmas shopping
and snipping early, make some good New Year resolu-
tions, and all the old stuff we know by heart and of which
to a great degree, familiarity has rendered us contemptuous
and cynical.

While resisting the temptation to Christmas sermonize,
there is one thought I'd like to get over. The Holiday
spirit is a great deal like Sabbath observation. Most of us
are extremely well
satisfied with our spir-
itual welfare if we go
to church once on Sun-
day and make our kids
sit around in stiffly
starched clothes feel-
ing that they are being
punished. It's worse
and more of it around
Holiday time.

Men and women
who live ingrowing
lives fifty-one weeks
of the year, round it
off with the fifty-sec-
ond week spent in dis-
tributing largess, or
their old clothes to the
less fortunate, and in
the thought that they
are making hundreds
glad by wishing them
a Happy New Year.

The idea I want to
eet over is this:
When vou sav to a

Douglas Fairbanks and his scenarioist. Miss Anita Loos, going over a 'script, just outside
"Doug's" dressing room.

friend, "Happy New Year," put a real wish behind it,
mentally if not audibly. And make your friend feel that
you mean it. Sincerity is one of the greatest — well, here
we are preaching after all. Anyhow, when you wish some
one a "Happy New Year" this year, think what it will
mean to the person you are "wishing it on" — perhaps bet-
ter health, or a higher position, or a happier lot than of-
fered by the previous year. Put a real wish behind it —
it can't do any harm and it might help a lot.

The other day I received a letter from Japan that had
unusual interest for me because of the oft repeated state-
ment that our little brown allies have no sense of humor.
With the assumed permission of my friend, Hidemi Takata,
here it is:

. Koishihawaku,

Tokyo, Nippon.
Dear Sir,

Please pardon this hasty writing. I was perfectly
charmed by your excellenting acting which is full of
humore.

I was a gloomy boy. But since I saw your cheerful
acting my gloomy heart has become very cheerful like
you.

Therefore I am writing this letter with thankful heart
for you. And I am anxious to receive your photograph.
If you favor me with your photograph, I shall be much
pleased and able to pride myself upon keeping the great
actor's photograph like you.
Dear Sir,

Your very obliged friend,

Hidemi Takata.

I have reproduced
this letter just to show
that a suggestion of
happiness, even on the
screen, will have its
effect. Hidemi was de-
pressed— "a gloomy
boy" as he says — and
something of the spirit
of cheerfulness that
was flickering before
him penetrated the
gloom, made him smile,
and gave him a normal
view of life.

And now something
tells me that my al-
lotted space is nearly
filled, so I take this
opportunity to wish all
of my friends — and
everybody else — a
Merry Christmas and
a Happy New Year —
and it's a regular wish
too.

107

Over the Top at Ft. Lee

The "Seventy- first" enjoys a fight and a frolic with Bill Farnutn in Fox's "Les Miserables'

All ready to go to France, via Ft.
Wadsworth, S. C, these recruits
to democracy's legion accepted the
invitation to make a bit of tobacco
money and mix it up with "Fight-
ing Bill." The orb of joy in the
middle of the picture is Farnum's
off-stage countenance.

After the Sammies had garbed
themselves in the fashion of Na-
tional Guardsmen of old France,
it may have been "Les Miserables "
they -were playing in, but there
was nothing miserable about the
way they flung themselves into the
fight on the barricade in the streets
of this transplanted Paris.

1C8

"Come out of that, you poor fish!" he commanded.

Lionel of the Cinemas

By Roy Somerville

Illustrated by John R. Neill

Miss Hortense Beverly,

Beverly Court, Coldston Road,
Hammersmith, West.
My dear Hortense:

My man Bowles wrote you of the outrageous treatment
I received at the hands of the Lord Mayor of New York,
U. S. A. Quite so.

I placed the matter in the hands
of the British Consul, who informs
me that the rotters introducing
themselves as Mary Pickford and
Art Craft were rank imposters.
Their charging a fee for filing the
contract was a bally swindle.
Fancy !

The Lord Mayor expressed re-
gret that he had me sent to the
dotty ward of the hospital, but
contends he was justified. He
claims I burst into his office like a
madman, demanding a contract
with Mary Pickford at two thou-
sand pounds a week. Perhaps I
was a bit excited, but then how
was one to know what these Amer-
ican politicians will do in trade?
Eh, what? He is now convinced

that I am only a bit hard-headed — as hard as ivory, he
said. Perhaps he is right, you know. It is a Glendenning
trait. I have accepted his apology. The blighter!

I trust you succeeded in exchanging my I. O. U. for
fifty quid with your cousin, Lord Percy. The manager of
this hotel asks me repeatedly to pay my account. I have
told him that, in England, it is considered extremely bad
taste to dun a gentleman, but he replied in a most insolent
manner that some English gentlemen were like bad medi-

cine which always leaves a bad taste. Fancy that from an
inn-keeper!

Bowles is highly indignant, and insists that I leave the
hotel immediately. I wish I could.

With constant affection and all that, your

Lionel.

The Previous Adventure of Lionel

THE younger son of a baronet, Lionel
found learning to be a soldier a bally
nuisance, so he came to the States to make
his fortune. The idea of going into trade
made him shudder, he disliked the notion
of marrying for a living, so the only thing
left was to enter the cinema business. He
wrote to Mary Pickford, offering his serv-
ices as leading man, but much to his annoy-
ance, received no reply. Fortunately, how-
ever, he chanced to stumble over a young
woman in a hotel lobby, whom he knew must
be Mary Pickford because she was so fami-
liar with the cinema business, or "movies"
as it was ridiculously called in the States.
The young woman rdmitted that her name
was Pickford and introduced Lionel to Mr.
Art Craft, who offered Lionel a contract.

Dear Hortense:

The lad at the cigar-stand in-
forms Bowles that I am a celebrity
— that the newspapers teem with
my exploits in the Lord Mayor's
office, and the neat way I handled
the swindlers. Quite so. I feared
at first he might be spoofing, but
Bowles has brought me copies of
all the bally publications in the
city and I find he is quite correct.
It is most extraordinary the way
the facts are twisted, but through
it all one may trace the dominant
note that a Briton fears no foe. I
am enclosing the clippings. The
one in which the editor comments
on my generous acceptance of the
Lord Mayor's apology, and thank-
ing me on behalf of the people of
the United States for averting a grave international crisis,
should be sent to the Times. Quite decent of me, don't
you think?

I am so busy being interviewed by the bally reporters
that I shall have very little time to write a long letter. I
refused to see the blighters at first, but it was quite useless,
you know. Bowles found them most impossible. They
pushed past him into my room, where I was taking my
tub. Fancy!

109

I IO

Photoplay Magazine

I quite forgave them, as they proved to be such a jolly
lot, and with such a keen appreciation of my remarkable
personality, as one beggar put it. You will notice his flat-
tering account of an interview with me. I consider it quite
a compliment that he should try to imitate my English
manner of speaking. A sorry mess to be sure, but never-
theless, the poor blighter meant well. Quite so.

Another press chap is at the door, so I must close this
letter and receive him.

With love, and all that sort of thing, I remain, your

Lionel.

Dear Hortense:

I am forced to work in the cinemas!

This is slavery in a most outrageous form. I shall com-
plain to the British Consul at the first possible moment.

It came about in the most amazing manner, you know.
That person at the door, whom I mentioned in my last
letter, was no reporter. Not at all. It was a fat, little
bounder named Spink, the proprietor of the Alibi Film
Corporation, or some such bally rot. And with him came
that obnoxious manager person who has developed a most
impertinent interest in my personal affairs. The cinema
person advanced upon me with the most annoying famil-
iarity, and declared:

"Well, old top, you win!"

"Win what, may I ask?" I replied with hauteur, hoping
to shame the little bounder.

"A job with the famous Alibi Films," he replied, not the

With love and all that sort of thing,
I remain, your

Lionel.

least bit abashed. "Who's your press-agent? He's sure
some pippin."

"I beg pardon," I vouchsafed coldly.

"Oh, all right," with a gesture of impatience — the rotter.
"Keep it up if you want to. Maybe that's the best play
after all."

"Are you trying to rage me, or is this another swindle?"
I queried, with a suspicion that all was not right.

The little bounder studied me for several minutes before
making an answer — the insolent beggar. Then he turned
to that obnoxious manager person and remarked, as though
I was not in the room at all: "Heavens, Joe! I think it's
on the level! What a find! The good looks of Harold
Lockwood, the drawing-room manners of John Drew, and
the head of Francis X. Bushman." He regarded me doubt-
fully, and added: "I'll sign you up, but I'll put a clause
in the contract to cut your salary if this turns out to be a
publicity gag. Now, what salary do you want?"

"Two thousand pounds a week — not a shilling less," I
responded firmly, having in mind, you know, that I was
once more in trade. One would think that the bounder had
been struck between the eyes by a cricket-ball. He fell on
the lounge and begged for air until I began to feel a bit
alarmed. Then he opened his eyes again, and asked the
obnoxious manager person if he had heard aright. Upon
receiving the proper assurances, he recovered and looked at
me so abjectly, I felt quite sorry for him, until he asked
in a hopeless sort of voice: "How about two quid — ten
bucks a day during the life of the picture?"

Fancy! A Glendenning at two quid a day! I ignored
him completely, and turned to faithful old Bowles.

"Call the porter, and have this bounder thrown out of
the hotel," I ordered.

And then the conspiracy was revealed! That obnoxious
manager person stepped forward, and countermanded my
orders in rather angry tones. He came close to me and
thrust out his jaw in that vulgar way the costers do in
civilized countries.

"He's not going to be thrown out," he snarled, "but you
are, if you turn down this chance to go to work and make
enough to settle your bill."

I am still living at the hotel— a peon. You see the con-
sequences of not hastening that loan from Lord Percy?
Now I am forced into trade, willy-nilly, and at a slave's
wage. I am having Bowles read Uncle Tom's Cabin, or
some such bally rot, as I am ignorant of the laws against
peonage, and I am quite certain the black found a means
of escape.

As you are to blame for my predicament, you should
agitate my bondage in the news sheets, and interest mem-
bers of Parliament. In the meantime^ I remain, your

Lionel.

Dear Hortense:

I received your letter containing the fifty quid from your
cousin, Lord Percy. Too late! I am bound out to the gal-
leys of trade. Lionel Glendenning is legally a serf — a
Briton in chains! Quite so!

Bowles is heart-broken over my horrid fate. He found
that Uncle Tom escaped his shackles only by a cruel death.
I do not wish to escape that way. The contract only calls
for six weeks — then for freedom and revenge. Righto!

I went out to the thing they call the "lot" today. Such
a bally crowd, you know. And the pretty girls — fluffs as
the lad at the cigar-stand called them. Perhaps my term
will not be so unpleasant, as you know, old dear, the
feminine influence lightens all of a man's troubles. Suffer-
ing has made me quite sentimental, don't you think?

But what a sickly lot of people to be sure. Most of them
have pasty, yellow complexions, with deep blue shadows
around the eyes, and slender bodies that are quite anemic.
I shall have an interesting letter to write to the Times on
conditions here at the expiration of my six weeks' service.
Righto! (A pun, by jove! Write— righto — don't you
know. Nothing can affect a Glendenning's sense of humor.)

The little bounder, Spink, introduced me to a pleasant
sort of chap he called a director. I shall report the inter-
view in their own jargon, for most of it was unintelligible
to an educated mind. Perhaps you will be able to inter-
pret it.

"Lord Caccywax," said Spink, referring to me, "meet
your director, Mr. Schmidt." (A Boche! My humiliation
was complete.) "He is just casting up for the greatest
melodrama you ever saw. Lots of punch, and all that, with
two falls over the cliff. And get the title: 'The City of
Sin.' Ain't that a knockout? Now, you — " He stopped
as he noticed the cold glare in my eye. "What's the mat-
ter?" he asked. "Don't you like it?"

"Whether I like it or not is matter of small considera-
tion. I am not Lord Caccywax; in fact, I doubt whether
such a title is mentioned in Burke's peerage. I shall have

Lionel of the Cinemas

Bowles look it up, however, before I make a positive asser-
tion. Believe me," I continued addressing Mr. Schmidt, "I
am no swanker. I am simply an English gentleman, the
second son of Lord Horace Glendenning, of Battersly."

The director person extended his hand and cried im-
pulsively, "Thank heavens! We'll have one foreigner on
the lot who is not a duke or an earl or a count in dis-
guise." I ignored the extended hand, and the Schmidt per-
son looked toward the little bounder inquiringly.

"You don't mind my little jokes, do you, old top?" he
apologized with offensive familiarity. Addressing Schmidt,
he added: "The old top doesn't mind anything I say. He's
dead from the neck up."

I disdained to contradict the rotter. I gave him the lie
direct by moving my head rapidly in all directions. It was
not too subtle for the little bounder, as one might suppose.
Instantly, he became effusively polite, and begged me to
withdraw into an adjoining room that he might discuss me
more freely with this Schmidt person. Eventually, I shall
teach these commoners their places. Nevertheless, I re-
mained close to the partly open door and made a few notes
of the conversation. The Spink thing was talking:

"I can't make out yet whether he is a simp or a wise
guy; but either way I've coppered the ace. If he's a simp,
those good looks and good manners will make him the big-
gest kick in the pictures for drawing-room leads. And if
he's a wise guy, he's a damned good actor. And publicity!
Say, he's had more space than the President. All we have
to do is the follow up stuff. I just landed him about a
half hour ahead of the Shox Film bunch."

I shall have Bowles take my notes to the lad at the
cigar-stand for interpretation. I have already had him ask
what a simp might mean. He came back with the surpris-
ing information that it meant a boob. I am not susceptible
to flattery, but one does not like to miss the meaning of a
compliment, does one? Eh, what?

As I was leaving the bally lot, the Boche director gave
me final instructions in this impertinent manner: "Report
at nine o'clock tomorrow morning unless it rains. Make
up for soup and fish."

Quite so. I have turned the entire matter over to Bowles
for a solution. You will have to excuse a longer letter at
this time, Old Pollywogs, as I am jolly well exhausted.

Your

Lionel.

Dear Hortense:

My first day in the cinemas! What an extraordinary
title for a written heirloom to my posterity! Some day,
when Bowles is not too busy, I shall have him transcribe
an account of my peonage. I would attend to the matter
now, but these literary efforts tire one so, and I shall need
all of my energy for the frightful days to come on the lot.

This day was a series of shocks, you know, and so wear-
ing on the nerves. Bowles awakened me at the beastly hour
of half after seven. Fancy! I offered the beggar a sov-
ereign to tell me it was raining, but he could not be bribed,
and I was quite too drowsy to insist. Unfortunately, the
sun was shining brightly; so I had my tub, and lingered
a bit over my personal appearance. I would not have the
"fluffs" see me at a disadvantage. Not that I care for their
bally opinions, old dear, but I have heard that one should
dress well' in trade circles.

As we started out for the studio or lot, Bowles made a
sudden dash back to the lodgings, and returned with an
oddly-shaped bundle. In response to my natural query as
to what the bally thing contained, Bowles became mys-
terious:

"I shan't tell yet, sir. It is a surprise for you — at the
studio, sir. Thank you, sir."

The beggar's manner was most amusing, but when
Bowles behaves that way, one is always certain of a
pleasant surprise, you know. Righto!

Perhaps I was a bit excited —

The insolence of these bally tradesmen! We arrived at
the studio but an hour late, and this Boche director was
tearing up and down the stage like a dilly person.

"For the love of Mike!" he bellowed coarsely. "Who
do you think you are — Dave Griffith? Get on your make-
up— pronto!"

The most part of his tirade was unintelligible, as I have
no acquaintance with the persons mentioned; but the make-
up— I had quite forgotten it, you know! Indeed, I had
not learned the meaning of the expression, — "make up for
soup and fish."

Faithful old Bowles! As I hesitated uncertainly, I
caught his eye. It was half-closed — a signal I had taught
him when he had something of a private nature to com-
municate. I turned sharply and went to the little lodge
pointed out as my dressing-room. Once inside, the rascal
began to unwrap the mysterious bundle he carried.

"You see, sir," he explained. "I was quite hard put to
discover what was meant by soup and fish, sir and make-
up, sir. Not wishing to betray your secrets, sir, I ques-
tioned the lad at the cigar-stand about make-up alone, sir.
He told me — costume, sir. I had no need to inquire further,
sir. A costume for soup and fish. Here it is, sir."

Righto! Bowles is becoming deucedly clever, you
know. His former master must have been a stupid ass.
While I was in deep thought on this subject, he uncovered
the costume. The faithful beggar had sat up all the night
preparing it.

Really! It was most artistic. The main piece repre-
sented a bally fish with a papier mache head, and silver
spangles were worked into the satin body, for all the world
like scales. A series of small fans supplied the fins, while
a larger one, the tail. Extraordinary, don't you think?
He had borrowed a soup-tureen and ladle from the chef at
the hotel for the fish to carry. Soup and fish, don't you
see? Clever! Eh, what?

I 12

Photoplay Magazine

I am ordinarily quite sparing in my praise, having no
wish to spoil a good servant, but I was quite carried away
by his cleverness, and complimented him several times. He
fairly glowed with pleasure, until I asked how one got into
the bally thing. He looked so blank, you know, that I
realized at once he had forgotten to leave an opening. The
stupid ass! He had to rip the seams, and sew them up
again, after I was safely inside.

Meantime, the Boche director was sending messengers
every few moments, commanding us to hurry. The rotter!
Eventually, Bowles led me to him. Through the eyes in
the fish-head, 1 could perceive the astonishment of the play-
ers; so their attempt to vent their jealousy in ridicule and
laughter was quite lost upon me. I was most interested in
the expression on the director person's face — a mixture of
surprise and speechless admiration. He could only gasp:
"What the — " but could not finish the sentence. Finally,
he asked Bowles: "What is it?"

"It's my master, sir — Mr. Lionel Glendenning, sir. I
designed the costume, sir. Thank you, sir."

My departure from the rule against praising servants
was having its effect. Bowles was fairly bubbling over
with conceit. He designed it, did he? Who gave him the
idea? The beggar had never heard of a soup and fish cos-
tume before I mentioned it to him. Only gentlemen have
a sense of honor in these matters. That conceited ass,
Bowles, was speaking again.

"They'll never guess the answer — do you think so, sir?"

"The answer to what?" The director looked a bit
puzzled.

"The answer to the charade, sir. Soup and fish, sir. If
they should guess it, you could turn it off with a laugh, sir,
and say, 'No — Jonah and the whale.' Quite a tricky one,
don't you think, sir?"

One would think that the Boche director had been struck
a sudden blow in back of the neck. His head scrunched

A clever retort! Eh, what? The players were howling
with laughter at the little bounder's discomfiture, as Bowles
led me back to the dressing-room.

I have learned since that the costume for "soup and fish"
is evening dress. And in the day-time, too! Fancy! Any-
one but a stupid ass like Bowles would know that. Quite
so.

Love, and all that sort of thing, from your

Lionel.

'ouch! ouch! " so
ttracted — includ-

down into his shoulders, and he shrieked
loudly and repeatedly, that everyone was
ing that little bounder, Spink.

"What's the matter?" he inquired, betraying alarm. The
matter was explained to him and he fairly choked with
coarse laughter. I was quite disappointed when he recov-
ered his breath.

"Come out of that — you poor fish!" he commanded.

"I regret, I cannot — you poor soup! " I was a bit sharp,
though muffled. "You see, I am jolly well sewed up in
the bally thing."

Dear Hortense:

The most appalling thing has happened to me. Today,
I was carried away from the lot in a swoon, and am lying
in my bed at the hotel, expecting death at any moment.
The grim monster will soon release you from your troth to
me, and then I presume you will marry Hugh Baxter. The
rotter! Tell father I forgive his harsh treatment of me. I
have arranged with Bowles to take over the balance of that
fifty quid loaned by Lord Percy, which will pay his passage
back to Briton's shores. That obnoxious manager person
may whistle for the money — one cannot collect from the
dead, can one? I am quite prepared to die.

It is all so sudden, you know. It was raining on the lot
today, and I wandered into a large building from which a
most mysterious greenish light was issuing.

The interior of the building was divided into a number
of small rooms made of the most flimsy material. Evi-
dently some of the players live on the lot. Quite handy,
you know, and all that, but not the sort of thing for people
of refinement.

Chancing to pass a drawing-room that was vacant, and
noting a large mirror — well, you know, my habits, old dear.
I stopped to arrange my tie. Xo one will ever know the
horror that surged over me as I saw my face. It had turned
a purplish-green that extended down my neck!

Bowles insists that it must have been an illusion, that
my head and neck are quite normal, and makes a pretence
of' forcing a * * * mirror into my hand that I may
judge for myself. Faithful * * * arl .1 appreciate
his good intent, but I have no wish to * * * horrid
death-head again. It is the bubonic plague — the * * *
death. The mortification has, as yet, extended no further
than the head and neck. That little bounder, Spink, recog-
nized the symptoms that first day at the studio — I am dead
from the neck up!

Good-bye forever, from your loved and lost

Lionel.

Tabloid Scenarios

DISSIPATED eastern youth disowned by wealthy dad —
Punches cattle — meets a girl pursued by outlaws bad ;
Climbs a building — makes a raid — swings to safety with the maid-
This would make a bully script for Fairbanks!

NOBLE, grave young minister who comes of fighting stock,
Cleans up western mining town and saves his little flock;
Loves a girl whose father's bad —
Wins the maid — converts her dad-
Just the sort of stuff Bill Hart can handle!

WIFE invites young sister for a visit — husband's glad;
Sis makes eyes at husband — really things look bad!
Sister makes an awful scene — ■
Puts a bullet through his bean —
What a lovely part for Theda Bara!

Kray Z., Ithica, N. Y. — Just called up
Marguerite Clark about your rumor that she
was killed. She is positive, she says, that
there's no truth in it. Blanche Sweet and
Marguerite Courtot are temporarily off the
screen. It is about a year since Miss Sweet
has appeared before the camera. The "X"
it not an unknown quantity; it stands for
Xavier. Artcraft and Paramount are owned
by the Zukor interests. Glad- you like the
new size. Most everybody does.

Harold's, Toledo, O. — Marshall Neilan
played opposite Mary Pickford in "Butter-
fly." Write him, care Lasky's, Hollywood.
Roscoe Arbuckle's address is Long Beach,
Cal.

E. P., Newport, Victoria, Australia. —
Charles Chaplin was born of English parents
in France and is still, like you, a subject of
King George.

Clara, Chicago. — Herbert Rawlinson is
the husband of Roberta Arnold, who is on
the stage. Alice Joyce is still the wife of
Tom Moore. Write us often.

L. M., Chicago. — Your kick received and
placed on file. Mr. William S. Hart tells us
that he "don't give a whoop" if the whole
world calls him "Bill," so there you are. We
can't think of anything more manly than
that vurry monacker even if it isn't so gosh-
hanged dignified. Wot's dignity between
friends ?

Margaret, Philadelphia. — Now that we
know what you do with the pictures, we'll
ask the editor to print more of them in the
art section. Would like to advise you about
the display of your favorites, but when it
comes to art, we're an awful dub.

Yvonne, Montreal, Canada. — We regret
to state that Jack Mulhall is reported to be
married. Write him at Universal City, Cal.,
and Mary Pickford, just Hollywood, Cal.

Reader, New Straitsville, O. — Yep, Ju-
lian Eltinge is now a movie. Good one, too,
if his first picture is any criterion. No, he
isn't married. Mr. Fellowes is. Eugene
O'Brien is back on the stage playing in
"Cousin Lucy." All of your old favorites
are in retirement, some permanent and the
others hoping it isn't. You almost called
the turn on us, especially that Greek god
stuff.

All letters sent to this de-
partment which do not con-
tain the full name and address
of the sender, will be disre-
garded. Please do not violate
this rule.

V. S. M., Washington, D. C. — It was
kinda silli, as Richard Carle says, to see
Robert Warwick playing a college man; yet
a short time ago, we saw Dusty Farnum in
a football suit. Your letter with its resume
of past stars and plays was like a whiff of
old lavender. Anna Nilsson played last with
George Cohan in "Seven Keys to Baldpate."
Jack Drumeer was the willan in "The After
Glow."

L. Q., Sheldrake, N. Y. — Don't know
Henry. The only Russells on our books are
Bill, Dan and Thaw.

Duchess, St. Joseph, Mo. — Never heard
of "The Forest Nymph." It sure is strange
that the girls fall in love with screen stars;
can't understand why they do it. Is Mrs.
Bushman jealous? That's a very personal
question, but if we were she, we wouldn't
be.

Ruth, Racine, Wis. — Some companies
believe it is bad policy for husband and wife
to play together. Actresses assume stage
names because they do not like their own
for that purpose. Of course, this is merely
our assumption.

Jean, Detroit, Mich. — That's a very cute
knickname. When you don't know the ad-
dress just send it care Photoplay Magazine,
350 North Clark Street, Chicago, and it will
be forwarded.

G. M., Pittsburgh, Pa.— "The Raiders,"
with H. B. Warner in the leading role, was
released March 5, 1916. Dorothy Dalton
played opposite. "Mickey" is now the prop-
erty of Triangle unless it has been sold
within the last month.

Wood Nymph, Lake Delaware, N. Y. —
Theda Bara played in "Camille," "Cleopa-
tra," "The Red Rose" and "DuBarry," after
"Heart and Soul." Mile. Valkyrien may be
addressed at 416 Longacre Building, New
York City. She reads English ; writes it, too.
Haven't heard anything about Mary Garden
losing her voice.

Evelyn, Framingham, Mass. — Bryant
Washburn has been signed by Pathe. An-
tonio Moreno is with the same company.
Write Wallace Reid, Douglas Fairbanks and
Vivian Martin at Hollywood, Cal.; Gail
Kane at Los Angeles, and Marie Walcamp at
Universal City.

Mildred, Baton Rouge, La. — Only that
which you recognize as regular advertising in
this magazine is paid matter. The editor se-
lects the material and pictures and there is
no charge to the players. The reason why
you see more pictures of certain prominent
players than others is that they are more in
the public eye. Naturally the high salaried
players spend more money for photographs,
so that there is always a supply of them
coming in. House Peters is not engaged, at
this writing. He was a successful actor on
the speaking stage and has played with Lu-
bin, Famous Players, Lasky and most of the
other big companies. He is married, has a
son nearly two years old, and will be glad
to get that letter you tell about if you ad-
dress him at Beverly Hills, Los Angeles, Cal.

D. and J., Indianapolis, Ind. — Who do
we consider the most beautiful girl in screen-
land? Gee, if we told you that, it would
take up a whole page. Mary Thurman is 23
years old. She's married, too ; pity 't is true.

R. S., Winnebago, Minn. — Dorothy Dal-
ton is the divorced wife of Lew Cody, also
of the screen, and she is a native of Chicago,
American descent, and gray eyes. Chaplin's
last picture, "The Adventurer." Howard
Hickman is now with Paralta.

W. C, New York City.— If it hadn't
been for your note we would have remained
in ignorance as to Miss Nielson. If she is
"the greatest of European film stars," no
doubt she'll soon get a situation.

11.?

ii4

B., Spring Valley, N. Y. — Elliott Dexter
played opposite Miss Pickford in "A Ro-
mance of the Redwoods." Joseph Schenck,
the husband of Norma Talmaage, is manager
of the Marcus Lowe interests. Judging irom
your handwriting, we would staie, ex cathe-
dra, as it were, that you would be success-
ful in the movies, as you write a great deal
like Mary Pickford.

E. B., Greenville, S. C. — Montague Love
is 40 years old. He was on the legitimate
stage lor many years. It is much more dif-
ficult for a mature actress to "get away with
it" in ingenue roles on the screen than on
the stage. Alice Brady is 22 and the daugh-
ter of the Brady of World. Arthur Ashley
doesn't say whether he is or not, so the in-
ference is that he isn't — single. Mary Pick-
ford has been married about seven years.

E. V., San Jose, Cal. — Your Mersereau
information is all contained in the December
issue. Violet and her sister Claire are still
filmers.

Margaret, Vancouver, B. C. — Mae Marsh
is said to get a salary of $2,500 weekly,
while Miss Pickford gets at least lour times
that amount. Can't understand where you
people get the idea that we are making
guesses on handwriting. All we know about
chirography is that some of it's easier to read
than others.

M. G. C, Des Moines, Ia. — Here are the
"opposites" you want: Robert Vaughn,
with Marguerite Clark in "Still Waters";
Mahlon Hamilton, in "Molly-Make-Be-
lieve"; William Sorelle, in "Fortunes of
Fifi" ; Richard Barthelmess, in "The Valen-
tine Girl"; Thomas Meighan, with Laura
Hope Crews in "Blackbirds" ; Owen Moore,
with his wife in "Cinderella"; Sylvia Bre-
mer, with Charley Ray in "The Millionaire
Vagrant" ; Charlotte Burton, with William
Russell in "Soul Mates"; Charles Richman,
with Norma Talmadge in "Battlecry of
Peace." You're entirely welcome.

Betty, Waterbury, Conn. — The only
way to find out is to write them. Don't
cost much to try, anyhow.

R. J., Atlanta, Ga. — Musta been some
other magazine. We don't like to advise
girls about going into the movies, except to
advise them not to.

A. R. T., Seattle, Wash.— David Powell
may be reached care Mutual. Charley Chap-
lin is not married. He isn't quite certain
that two' can live as cheaply as one, and it
costs something to live these days. The
sample of your art is excellent.

N. W., Enid, Okla. — Mary Pickford has
several autos and she drives them herself oc-
casionally. She is a five-footer. Edward
Earle is married; Kerrigan isn't. Mr. Wal-
thall is 30 years old. His wife is Isabel
Fenton, once of the stage.

A. G. G., Biddeford, Me. — It certainly is
a shame — a million sestercias for eight com-
edies; and besides, the money virtually goes
out of circulation, they tell us, after it's paid
over to him. Kenneth Harlan hasn't en-
listed, as he is now with Universal. Cheer
up; they wont get the Answer Man until
the last possible draft.

Blanche Admirer, Sanger, Cal. — Blanche
Sweet is only temporarily off the screen, and
we expect to see her back soon. She is a
native of Chicago but her adopted state is
California, which ought to tickle you.

J. S., Providence, R. I. — Antonio Morenfl
is with Pathe, George Cohan with Artcraft,
and Charley Ray is married, but childless.

Photoplay Magazine

Kuriosity, Minneapolis, Minn. —
"Wooden Shoes," in which Bessie Barnscale
appeared, was filmed at the Triangle studio,
Culver City, Cal. Jack Livingston provided
most of the support. Emmy Wehlen didn't
play in "The Slacker;" it was Emily Stevens.
What do you mean by a "fit education for
a moving actress?"

R. F., Norfolk, Va. — No, her right name
is not Pauline Frederick; it's Mrs. Willard
Mack. But it only happened a few months
ago.

L. S., Jersey City Hfights, N. J. — Ella
Hall wasn't born in Hoboken, but almost.
New York City has the honor. Pearl White
was on the stage a half dozen years before
taking to the shadows. All the persons you
mention are Americans. Pathe and Univer-
sal are the most serious offenders, as they
commit more serials than all the rest of
them combined.

Wene, San Antonio, Tex. — It costs more
to make magazines now, and besides, don't
you get more for your money? Confiden-
tially, we can tell you that more Photoplay
Magazines have been sold at the increased
price than ever before. "Pearl of the Army"
ended happily. Earle Foxe is Nicholas Knox
in "The Fatal Ring." It was in "Redeem-
ing Love" that Kathlyn Williams vamped
Tom Holding.

Clematis, Wellington, New Zealand. —
John W. Dean, who played with Fannie
Ward in "Fanny and the Servant Problem,"
in 1908, and in "Madame President," in
1914, is the same Jack Dean who is now
her husband and screen partner.

L. L., New Kensington, Pa. — Beverly
Griffith is now with Sunshine Comedies, the
Fox comedy subsidiary, as a sort of assist-
ant manager. Edna Maison is no longer
with Universal. Don't know your other
friends.

Olive, Chicago. — Mighty nice of Mr. Hil-
liard to allow you to name your club after
him. If he hadn't you might have had to
fall back on Francis X. Yes, a picture of
the bunch would be a nice present.

Sherrill Fan, Apple Creek, O: — Almost
sure we answered you. Whenever you are
neglected on an address send your letter care
of Photoplay, Chicago. George Soule Spen-
cer was the son in "Bluegrass" with Thomas
Wise. Write him at the Screen Club, New
York. Gladden James at the Screen Club,
Owen Moore at Famous ; Harrison Ford at
Lasky, and Victor Sutherland, Goldwyn.
"God's Man" was Jack Sherrill's last. Write
him, care Frohman Amusement Co.

F. T., Paterson, N. J.— The names of all
the photoplayers who were called to the
colors have been printed elsewhere in previ-
ous issues of this magazine, although exemp-
tions are still pending in a number of cases.
Earle Williams is still playing and right now
Corinne Griffith is playing opposite him.
Chaplin's latest is "The Adventurer."

R. D., Savannah, Ga. — Eugene O'Brien's
last screen appearance was in "Rebecca,"
with Mary Pickford, and he is now back on
the noisy stage. Charles Ray may be ad-
dressed at corner Pico and Georgia Streets,
Los Angeles. Pauline Frederick is at Fa-
mous in New York.

L.. Revere, Mass. — Your youth would be
against anything like steady employment.
You'll have to wait a while.

Steve, Nelson, British Columbia. — Nell
Shipman is again with Vitagraph. Yes, she
played in "The Barrier" on the stage.

Jay Dee See, Chicago. — You're right;
some of those Chaplin imitations are pretty
fierce! Adda Gleason is again with Mutual
at Santa Barbara, Cal. Write whenever the
spirit move; you.

L. R., Sacramento, Cal. — Mary Mac-
Laren is just recovering from a serious auto-
mobile accident. It is easy to hide ordinary
facial blemishes with make-up, but not pro-
nounced ones. Myrtle Stedman is not em-
ployed at present. Your picture is very well
done. It looks just like Vivian.

J. and D., Ft. San Jacinto, Tex. — Gee,
but we'd like to help you out, old tops, but
we fear it's hopeless, as Miss Stewart seems
determined to join the Cameron clan. When
it comes to suggesting shadow affinities at
long range, we must confess our utter utter-
ness. You'll have to struggle along with
only our best wishes.

A. F., Bridgeport, Conn. — No, Miss Kel-
lermann did not cut off her own hair in
"Neptune's Daughter." Is George Walsh a
good batter behind the scenes ? Darned if
we know — never saw a ball game behind the
scenes, but George used to be quite a nifty
sticker when he went to Georgetown Uni-
versity, they tell us.

Peggy, New York City. — Afraid we can-
not advise you in the matter. The young
lady should either send you a photograph or
send back the various two-bit pieces, in our
opinion. Very often, players entrust their
mail to secretaries, so they can only be
blamed indirectly.

Helen, Pontiac, III. — Norma Talmadge's
latest is "The Moth;" Constance Talmadge's
"Scandal." Corinne Griffith is with Vita-
graph and Violet Mersereau with Universal.
Helen Holmes is with Mutual but is ex-
pected to form a new affiliation before the
end of the vear.

Lotta Nerve, Philadelphia. — We don't
mind you lecturing us ; some of the best peo-
ple in the country have done it. Fanny
Ward was born in St. Louis. Reel whisky is
consumed in the drinking scenes, to be sure.
Martha Erlich played with Max Linder.
Lillian Walker is with a film company op-
erating at Ogden, Utah.

L. S., N. S. W., Australia.— "From the
Valley of the Missing" was an awful long
time getting over there. The twins were
Genevieve and George Tobin; Scroggy was
Arleen Hackett ; Floyd Vandecar, Clifford
Bruce; Mrs. Vandecar, Katherine Calhoun;
Anne Shelling ton, Jane Miller; Horace Shel-
lington, Harrv Spingler; Mr. Brimecomb,
Frank Powell"; Mrs. Ditto, Gladys Peck;
Everett the same, William Bailey; Lon
Cronk, Wm. Riley Hatch; Lem Crabbe,
Robert Cummings. It was Rockliffe Fel-
lowes in "Regeneration" and J. W. John-
ston in "God's Half Acre."

James the 3RD, Philadelphia. — Why,
you poor little thing ; that picture you saw,
"Her Condoned Sin," was really "Judith of
Bethulia," which is regarded as one of the
best photoplays ever directed by D. W. Grif-
fiths. We haven't seen it since its name was
changed, but the same policy which would
prescribe that change would also jazz up
the picture. Mary Pickford has never had
but a single husband, Owen Moore. Wil-
lard Mack, now the husband of Pauline
Frederick, was the feUow you mean in "The
Conqueror." Your "Merry Christmas" was
no joke after all.

M. H., Louisville, Ky. — Pedro de Cor-
doba is married — has been for about six
months. Mollie King will be twenty next
vear.

Photoplay Magazine — Advertising Section

A touch oj Vutex
Nail White under-
neath the nails re-
moves all stains —
gives the m snow*
white tips.

The new way to manicure. Head how
easily and quickly you can have good-
looking, well-kept nails.

Cutex Nail Polish

gives just the quirk,

waterproof polish

you veed.

Why cutting ruins the cuticle

How you can keep it smooth and firm without cutting

START today to have the shapely, well-
kept nails that make any hand beautiful.
See how quickly, how easily you can have
the mot wonderful manicure — see how smooth
and firm Cutex keeps your cuticle without
trimming or cutting it; how lovely it makes
your nails look !

What specialists say about
cuticle cutting

Dr. Murray, the famous specialist, says: "On
no account trim the cuticle with scissors. This
leaves a raw, bleeding edge which will give rise
to hangnails, and often makes the rim of flesh
about the nail become sore and swollen."

Over and over, other specialists repeat the
advice — "Do not trim the cuticle." "Under
no circumstances should scissors or knife touch
the cuticle." '"Cutting is ruinous."

It was to meet this need for a harmless cuticle
remover that the Cutex formula was prepared.

Cutex completely does away with cuticle
cutting, leaves the skin at the base of the nail
smooth and firm, unbroken.

The new way to manicure

In the Cutex package you will find orange
stick and absorbent cotton. Wrap a little cot-
ton around the end of the stick and dip it into
the Cutex bottle. Carefully work the stick
around the base of the nail, gently pushing back
the cuticle. Almost at once you will find you

Ethel Clayton,
deservedly one of the
most popular motion
picture Stars, says:
Oue cannot know
of Cutex and not love
ia use it. Cutex
keeps my nails look-
in so beautifully,
y friends often re-
mark it."

Julian Eltinne. that
clever impersonator
of beautij ul women
says: "I really aon't
think I could manage
to do without Cutex.
I have to be doubly
particular about my
manicure' and have
found that only
Cuter aires my mills
the trim finish and
summetry I must
have."

Send 15c today for this com-
plete Midget Manicure Set

Tear off the coupon now and send it
to us with 15c— 10c for the manicure set
and 5c for postage and packing — and we
will send you a midget manicure set
of Cutex preparations, com-
plete with orange stick, emery __— a ;i»>
boards and absorbent cotton.
Enough for six "manicures."
Send for it today.

This complete manicure set
sent for l.ic.

can wipe off the dead surplus skin. Then rinse
the hands in clear water.

A touch of Cutex Nail White — a soft, white
cream — removes all discolorations from under-
neath the nails.

Cutex Cake Polish rubbed on the palm of the
hand and passed quickly over the nails, gives
them a delightful polish. Should you wish an
especially brilliant, long-lasting polish, apply
Cutex Paste Polish first, then the Cake Polish.

The first Cutex manicure makes
a decided improvement

Until you use Cutex, you cannot realize
what a great improvement even one application
makes; you cannot know how attractive your
nails can be made to look.

Where to get Cutex

Cutex manicure preparations are sold in all
high-class drug stores and at the toilet goods
counters of department stores.

Cutex comes in 50c bottles with an introductory size at
25c. The 50c bottle is the more economical size to buy — it
will last three times as long as the 25c bottle. Extra large
size bottles, $1.00. Cutex Nail White is 25c. Cutex Nail
Polish in cake, paste, powder, liquid or stick form is also 25c.
Cutex Cuticle Comfort, for sore or tender cuticle, is 25c.
If your favorite store has not yet been supplied with Cutex,
order direct from us and we will fill your order promptly.

NORTHAM WARREN

Dept. 701 9 West Broadway New York

If you live in Canada, send ISc to Maclean, Benn
& Nelson, Ltd., Dept. 701, 4S9 St. Paul Street West,
Montreal, for your sample set, and ret Canadian prices,

M/UL THIS COUPON WITH 15c TODAY

NORTHAM WARREN I

Dept. 701, 9 West Broadway, New York

City.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

A. P., San Francisco. — Helen Jerome
Eddy was the girl with George Beban in
"His Sweetheart." They are playing to-
gether again, this time lor Lasky. William
Farnum's birthday is July Fourth and he is
two years younger than Dustin, who is about
44. "Bella Donna" has been shown in your
city.

Katherine, Indianapolis. — Grace Cun-
ard's hair is red and she drives a white car,
which, according to a revision of ancient
standards, ought to signify good luck. She
was until recently with Universal. Tom
Forman was recently divorced by his wife,
Ruth King, and he is now a soldier in the
Coast Artillery. He is a went,, not a sent.
Eddie Polo is married and lives in Holly-
wood, a suburb of Los Angeles. Francis
Ford, while with the Universal Company,
made his pictures at another studio for a
year. He, also, is again out of Universal.

E. L., Boone, Ia. — Even if you failed, you
were probably glad to see that all of the
scenario contest prize winners were mem-
bers of your well known sex. Robert Mc-
Kim is still at one of the Los Angeles stu-
dios. His wife is Dorcas Mathews, for a
long time with Triangle. Your album sug-
gestion has been slipped to the editor with
our O. K.

Elaine, Calais, Me. — House Peters played
with Mary Pickford in "The Bishop's Car-
riage," and with Blanche Sweet in "The Cap-
tive," among others. Walthall now with Pa-
ralta.

Dot, Fort Worth, Tex. — Jack Mulhall
gets his letters at Universal City, Cal., and
Sessue Hayakawa, care of Lasky's. Richard
Barthelmess was the opposite to Miss Clark
in "The Valentine Girl." Write him care
Famous Players.

K. O., Madison, Wis. — Wallie Reid and
George Walsh will send photos to you if
you write them. You may write us as often
as possible. We've been vaccinated and a
mule kicked us in the head when we were
small.

E. R., Hemstead, N. Y. — Edward Hugh
Sothern is his full name and his present wife
is Julia Marlowe.

L. M. P., Wheatland, Wis. — Jane Gail
was Captain Nemo's daughter in "20,000
Leagues Under the Sea."

Lucille, Indianapolis, Ind. — So far as we
know, Mary Pickford does not wear a wig
as a regular practice, although she has in
certain photoplays. She and Alice Joyce
married Owen and Tom Moore, respectively,
and the Moores are brothers. Douglas Fair-
banks has had the same leading lady, Eileen
Percy, for nearly a year.

R. S., Racine, Wis. — So you heard re-
cently that Harold Lockwood was married?
So did we — quite a coincidence, isn't it? No,
it isn't May Allison. Mrs. Bryant Wash-
burn's stage name is Mabel Forrest. Don't
ever ask us if any star has got fatter.
You've the same look at them that we have.
Sometimes, though, it's the fault of the pro-
jecting machine, or the camera.

Stenog, Indianapolis, Ind. — Dorothy
Gish and Wallie Reid played the leads in
"Heidelburg," which was filmed at the old
Griffith studio. We are of the impression
that Mutual has it. Your letter was highly
interesting. Wish we had space to print
some of those good ones.

M. F., Devil's Lake, N. D — Kenneth
Harlan played opposite in "Betty's Burglar."
Yes, Tom Forman is a soldier now.

Photoplay Magazine

Rosalie, Minneapolis, Minn. — Write
Mary Miles Minter at Santa Barbara, Cal.,
and Viola Dana, care Metro Studios, 1025
Lillian Way, Hollywood, Cal.

W. P. N., Burlington, Ia. — So far as we
know there have never been any actors in
the Kerrigan family. Sydney Eyres died in
a sanitarium in California. He was mar-
ried. Madam Petrova has never confided
her age to us. Carlyle Blackwell is above
the draft age; born in Troy, Pa.

S. H., Terra Bella, Cal. — A negative
film can be made from a positive. A nega-
tive registers the reverse of the colors; white
is black and black is white. The positive
registers them correctly. Griffith is credited
with inventing the closeup, and G. W. Bit-
zer, his cameraman, the fadeout. Artcraft
is a releasing organization.

Virginia, Oak Park, III. — Kitty Gordon
is not related to Alice Brady. Miss Gordon
is Mrs. Beresford in private life. Her hus-
band is an Englishman. Grace George's hus-
band is William A .Brady, the father of
Alice Brady. H. B. Warner's wife is Rita
Stanwood, an actress.

M. M., Boston, Mass. — We quite agree
with everything you say, but we do not
believe it possible for an actor to freeze to
death playing opposite Petrova, even in the
winter. We are of the hunch that Cleo
Ridgely will be coming back soon. Ormi
Hawley has been with Famous and Ruth
Stonehouse is with Triangle. We dare you to
write again.

F. J. W., Dallas, Tex. — Elsie Ferguson
was born in 1883 and is the wife of Fred
Hoey. Her first Artcraft was "Barbary
Sheep" and her next "The Rise of Jennie
Cushing." You may accept our personal
assurance that Mary Pickford is one of the
cleverest and most intelligent persons in the
film business — of either sex.

L. S., San Francisco. — Write Miss Turner
at Hepworth studio, New York City.
Thomas Holding is married. His wife is
not in pictures. There has been no divorce
in the Moore family and none contemplated
so far as we know.

Helen, Hancock, Mich. — "The swell guy
that was always gambling" in "The Inner
Shrine" with Margaret Illington was Jack
Holt. Corinne Griffith is the wife of Web-
ster Campbell and no relative of D. W.
Griffith. Sure, tell all the girls to write.

Mother, Purcell, Okla. — Yes, Mr. Field-
ing was divorced, as stated in this magazine.
"In the Hour of Disaster" was the last
picture in which he played. Recently he
directed for World but at this writing is
not engaged. Write him care Screen Club,
New York City. Many things have hap-
pened, Mother, since them good old Lubin
days.

F. G., Abington, Mass. — Tom Moore
played opposite Mae Murray in "The Prim-
rose Ring." In the Neilan story in the
September Photoplay, the small figures on
the table opposite Director "Mickey" were
Mary Pickford and Henry Woodward, a
member of her company.

M. S., Philadelphia.— Alan Forrest was
Ira in "Periwinkle" with Mary Miles Minter.
Mrs. Douglas Fairbanks' maiden name was
Beth Sully. Charles Clary is about 37 years
old.

R. S., Dunkirk, N. Y. — Carmel Myers is
now a Universal star. Yes, she is the
daughter of a Jewish rabbi. Don't think
there are any rabbis in Gail Kane's family.

J. F., New York City. — Evart Overton is
married. Turribly sorry.

U. E. L., Norfolk, Va.— Cecil B. DeMille
pronounces his first name Sess ill, accent on
the sess. If he were a girl it would be
Cease ill. Dorothy Bernard was born in
South Africa and in private life she is Mrs.
A. H. Van Buren.

' Ibon, Havana, Cuba. — "The Voice of the
Wire" was made at Universal City, Cal.
Yes, "The Crimson Stain Mystery" was made
in America, worse luck. Neva Gerber is
not married, 22 and five ft. two. Don't
know of any Cubans occupying any promi-
nent position in the movies, but baseball is
full of 'em.

N. H., Concord, N. H. — Some of Emily
Stevens' other pictures are "Destiny," "The
House of Tears" and "Tne Wager." It all
depends on the contract with the exchange
whether the exhibitor has to take what's
sent him, but that's usually the case. J.
Parke Jones played George in "The Lone-
some Chap."

F. S., Toronto, Canada. — Wrong again;
Tom Forman is 24 and is almost single as
his wife, Ruth King, recently was awarded
a divorce that is made final in about a year.
We regard Antonio Moreno as a very good
actor, but if he cured your toothache, he's
better than we supposed.

G. K., Chicago, Ih. — Mayme Kelso was
Aunt Jane in "Rebecca of Sunnybrook
Farm." Jack Holt appears with Hayakawa
in "The Call of the East" which has been
released since you wrote. Raymond Halton
was the reporter in "Hashimura Togo." The
story "Sato Finds the Way" was released
under the title "Forbidden Paths." You are
wrong and we were right about the "Purple
Mask" cast. Antonio Moreno is not mar-
ried and hasn't been drafted.

The Girls, Dothan, Ala. — Thomas Carri-
gan was the brother of Mary Miles Minter
in "Somewhere in America." Robert War-
wick's picture has appeared several times in
Photoplay, but no interview with Jack Holt.

Billy, Bridgeville, Pa. — Of the Universal
actors and actresses 232 are married and
186 have children. Since two years ago
1,134 have been employed and have left.
These are not the correct figures but they'll
do as well as any others. Don't send us
your picture unless you have one to spare
as we hardly think you are old enough for
stardom. Your chirography indicates that
you are vain.

B. H., Toronto, Canada. — There is an
Irene Hunt in the pictures and just now
she is playing leading roles for Triangle
at Culver City. She is 24 and married to
Lester Scott. Claire Whitney and Stuart
Holmes are not married.

Miss Inquisitive, Rochester, N. Y. —
Never mind the good paper. You'll get a
hearing just as quick if you write on butcher
paper, old dear. Mr. Moreno has never
written anything for Photoplay. The last
Bushman-Bayne play was "Their Compact."

D. Sisters, Brooklyn, N. Y. — "The Lone
Wolf" was Bert Lytell's first photoplay and
he comes from the legitimate stage. He's
so new to pictures we haven't had time to
ask him his age or the brand of suspenders
he wears.

C. C, Toledo, O. — It is safe to assume
that Miss Burke's latest screen vehicle will
play Toledo, if it has not already done so.
Her name is Mrs. Florenz Ziegfeld, Jr.
(Continued on page 118)

Photoplay Magazine — Advertising Section

II7

c)es, it certainly has
cleared my skin

"After years of experimenting with all sorts
of things for my skin, I began to use Resinol
Soap. In a very few days I could see a marked
improvement.

'It seems impossible that anything so simple
as washing my face twice a day with hot water
and a delightful toilet soap can have done more
good than all those tedious, expensive treatments,
but the fact remains that now my complexion is
clear, with the natural glow of health and youth
that I feared it had lost for good."

If you are having trouble with your complex-
ion, if you find that an unattractive skin is a
handicap in your social or business life, think what
it would mean to have your problem solved so easily!

Soap

Try Resinol Soap a week and you will know why
you will want it the year round. The soothing, heal-
ing Resinol medication in it reduces the tendency to
blotches and oiliness, soothes irritated pores, offsets the
effects of neglect or improper treatment, and brings out
the real beauty of the complexion, giving Nature the
chance she needs to make red, rough skins white and soft.

Resinol Soap and Resinol Ointment are sold by all
druggists and dealers in toilet goods. For trial size of
each, free, write to Dept. 14-B, Resinol Chemical Co.,
Baltimore, Md.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

1 18

F. M. C, Cleveland, O. — No record here
of Marguerite Reed. Maybe she changed
her name, or got married or something.

Second Ann, Eureka Springs, Ark. —
Ann Pennington is 22 and Paul Willis is 17.
Yes, we get lotsa letters from your vicinity.

K. D., Seal Harbor, Me. — Dorothy Green
is with the Selznick Company in New York.
Blanche Sweet is not under contract now to
any company. Yes, she sends out photo-
graphs.

Hayakawa Admirer, Dallas, Tex. — Hav-
ing passed through all the stages of "being
foolish about Francis, crazy over Kerrigan,
woozy about Wallie and lost on Lockwood,"
you are now — well, we'll call it soft on Ses-
sue. How's that? Yes, we think he's quite
great. He's five, seven and a half high and
28 years old.

H. W., Jamestown, N. D. — The "hero" in
"The Common Law" was Conway Tearle.
Her friends call Tsuru Aoki, Tuhruh (with
the accent on the two) A 0 kee with the
middle syllable accented. Mrs. Bushman is
a non-professional. June Caprice's last
name is pronounced Ca preece; giving the
E's the best of it. Antonio Moreno isn't
married, nor is Edith Storey.

A. K., Philadelphia. — The only way you
can get to be a cameraman is to get a job
first as an assistant cameraman, the salary
for such positions ranging upward from ten
bucks a week. When traveling, all expenses
are paid by the companies.

C. K., Shelby, Neb. — At this writing
Mary MacLaren's address is the Horsley
Studio, Los Angeles, Cal. She is seventeen.
Norma Talmadge had the leading role in
"The Battle Cry of Peace."

Marjorie, Los Angeles. — Address Tom
Forman care Seventeenth Company, Coast
Artillery, San Pedro, Cal., Douglas Fair-
banks, Hollywood, Mae Murray at Universal
City and Harold Lockwood, care Metro,
New York. You have us wrong. We don't
advise people not to enter the movies, we
advise them not to try to enter. Quite a
difference.

J. P. M., Mt. Vernon, N. Y. — Constance
Collier is now playing at His Majesty's The-
ater, London. The battle scenes for "The
Birth of a Nation" were taken in the vi-
cinity of Los Angeles.

W. and A., Grimsby, Ont., Canada. —
Sorry to have disappointed you about Tom.
Ethel Fleming is the wife of William Court -
leigh, the younger, and they were married in
1915. Your Neilan and Hayakawa requests
seem to have been anticipated.

O. M., Evansville, Ind. — Time varies,
but a fifteen episode serial is usually done
in not more than thirty weeks and often
less. Ralph Kellard was Captain Payne, in
"Pearl of the Army."

D. D. Fan, Rochester, N. Y— Mae Mur-
ray's first Bluebird picture is "Princess Vir-
tue." Fanny Ward is said to admit having
seen 47 summers though certain theatrical
records credit her with only 42. Some folks
never do get all the credit they deserve.

A. M., Berkeley, Cal.— Mae Murray is
five, three. Actors within the age limit are
liable to conscription just the same as other
young men. Mae Murray's husband, Jay
O'Brien is not an actor.

Photoplay Magazine
Questions and Answers

(Continued)

Dreamy Eyes, Salt Lake City, Utah. —
Yep, nice name. Conway Tearle is playing
with Mary Pickford in one picture. Do we
prefer blondes or brunettes on the screen?
Well, that's a rather intimate question, but
we certainly do.

Riene, St. Louis, Mo. — We never get
mad at nobody, so you needn't try to make
us. Enjoyed your "come back" but why
the pome? Do write again; your writing is
so easy to read.

R. D. M., New York City. — Here are
the dimensions of the damsels you query
about : Marguerite Clark, 4 ft. 10 in. 90 lbs.
Ann Pennington, 5 ft. 100 lbs. Marion
Swayne, 5 ft. 4 in. 122 lbs. Mary Thurman,
5 ft. 3 in. 125. .

Clutching Hand, Newfoundland. — Adda
Gleason was Aland in "Prisoners of Con-
science" and she also played opposite Donald
Brian in "The Voice in the Fog." Lois Wil-
son was Joan in "A Son of the Immortals."

Hazel, Albany, N. Y. — Mabel Taliaferro
is Mrs. Thomas J. Carrigan in private life.
Write to your friends care of Photoplay
Magazine and the letters will be forwarded.

J. M. B., Waukegan, III. — Daniel Gil-
fether is "the rich old man" who always
played with Baby Marie Osborn in Balboa
photoplays.

H. N., Brooklyn, N. Y. — You are some
poet, old top and we enjoyed your poem
vurry greatly. Why a model letter for all
questioners? That would take all the joy
outa our job. No donations, please; give it
to the Red Cross.

K. E. K., Lansing, Mich. — You're wrong.
Our answers are not a result of inspiration
or desperation — just information and antici-
pation, sometimes. A great majority of the
stars originate in the north according to the
biographical records.

L. Y., Manchester, N. H. — Robert
Walker who played opposite Viola Dana in
"God's Law and Man's" was born in Bethle-
hem, Pa., in 1888.

Mig, Preston, Ont., Canada. — Charley
Chaplin was born in France of English
parents. His mother lives in England and
his father, also Charley Chaplin, is dead.
Hope the Jack Pickford story fulfilled your
expectations.

Anna, Pittsburg, Pa. — It's all wrong
Adolf; Ralph Kellard is engaged to neither
Grace Darmond nor Pearl White because if
he did get himself engaged to either of them
his wife might get awfully cross with him.
Mr. Kellard appeared at the Duquesne The-
ater, your city in "The Warrens of Vir-
ginia."

U. T., Fort Worth, Tex. — No, we weren't
drafted. Sorry, too, as we sure needed the
rest. Write Harold, care Metro, 1329 Gor-
don, Hollywood, Cal. Write often — that is,
to us.

M. H., Cheyenne, Wyo. — William Far-
num played both roles in "A Tale of Two
Cities." Gladys Brockwell was once married
to a director named Broadwell.

C. B., Marshall, Tex.— "Perils of Pau-
line" put Pearl White on the movie map.
Creighton Hale played with her in that
and Sheldon Lewis made his debut with
Pearl in "Exploits of Elaine" a year later.

Robert, Winnipeg, Canada. — Anita Stew-
art has no children. You must have been
misinformed. We have no record of Kathlyn
Williams in the play you name. Sorry ; you
draw blanks all around this time.

D. H., Fresno, Cal. — Ellis Paul and Mary
McAllister were the children in "Little
Shoes." Birthdays as follows: Bessie Love,
Sept. 10; Mae Murray May 9; Lillian Gish,
Oct. 14. Henry Walthall was born in 1878.
Tom Moore is the oldest, we believe; then
Owen, Matt, Mary and Joe.

Margaret, Indianapolis, Ind. — Earle Wil-
liams should feel mighty proud to have such
a loyal friend as you are. And just to show
you how we feel about it, we'll ask the edi-
tor at once to have just the kind of story
about him you'd like us to have. Now, aint
we a nice old guy?

Sammle, St. Petersburg, Fla. — So you'd
be willing to pay 50 cents a month for
Photoplay instead of 20, if necessary?
Well if paper and things keep going up and
the war keeps going on and everything, one
can't tell what'll happen. Ben Wilson and
Neva Gerber are now making another serial
"The Phantom Ship." Write Ben at Uni-
versal City.

S. S., Toledo, 0. — We do not sell photo-
.graphs. Write to the players direct and send
sufficient to cover the mailing charge.
Twenty-five cents usually is sufficient.

Mrs. W., Atlanta, Ga. — Address Mrs.
Harry Thaw care of United Booking Office,
New York City.

Orchid, Tarrytown, N. Y. — "The Heart
of Maryland" was produced for the screen
about four years ago with Mrs. Leslie Carter
in her own role, but it was not regarded as
a very good picture. Mahlon Hamilton
played with Miss Clark in "Molly-Make-
Believe" and Richard Turner with Anita
Stewart in "The Combat."

J. F., Meridian, Miss. — Vola Vale ap-
peared in many photoplays prior to "Each
to His Kind," but her name was then Vola
Smith. In real life her name is Mrs. Russell.
William Courtenay and Zena Keefe played
the leading roles in "The Island of Surprise."
Can't advise you about that scenario.
Against the articles of war and the by-laws
of this lodge.

A., Broad Ford, Pa. — Ralph Kellard is
credited with a wife. He is now on the
stage but a letter addressed to him care,
Pathe, Jersey City, N. J., will be forwarded
to him.

Spanish Tony, West Somervllle, Mass.
— By all means get that dope off your che6t
as soon as possible. Just tell it to us; we've
been vaccinated and everything. Julius
Steger has appeared in "The Stolen
Triumph," "The Fifth Commandment,"
"The Master of the House" and "The Liber-
tine." No, the latter has nothing to do
with Liberty Bonds. Silent Bob in "Her
Soul's Inspiration" was Edward Hearn.
Sure, we'll bite; how did you come to se-
lect that name?

Audrey, Boston, Mass. — Wayne Arey was
the beloved one in "Her Beloved Enemy."
Suppose you saw that picture of Norma
Talmadge's lud and mahster in a recent
issue. Awfully glad you finally discovered
us, but can't see why you didn't do it long
ago. Yes, we like cake, if it has lots of
gooey frosting on it.

{Continued on page 135)

Photoplay Magazine — Advertising Section

'THIS is the lowest price at which genuine

diamonds have ever been offered. You will never
have this opportunity again. Act on it, here and right now.

This Acquaintance Offer Limited
Positively to This Importation —

We make this offer to "get acquainted." Never before were you
offered such a bargain in genuine diamonds; never again will you have this
chance. No other importer can meet this sensational price. We handle
better grades of diamonds, described in our big catalog. But a genuine
diamond at $69.75 the carat can be bought only now.

No. Pioi — Brilliant. genuine diamond.
full one-carat weight, set in 14k sold
gold Tiffany mounting, hand made.
Attractively boxed. .Mount- dJ'TO Cfi
ing,$3.75. Price, complete, «P« O.D\J

No. PlOS — Genuine diamond. M
carat, $15.00. 14k solid gold Tif-
fany mounting, $3.75. *IO 7c
Price, complete. «plO.I«J

No. PlOS — Genuine diamond. %
carat. $25.00; 14it solid gold Tif-
fany mounting, $3.75. fcOC 7C
Price, complete. «p£0. I «J

No. PlOU — Genuine diamond, K
carat, $34.75. 14k solid nold Tif-
fany mounting, $3.75. tf^OO C A
Price, complete ffOO.OV

No. P105 — Genuine diamond, %
carat, $43.75. 14k solid gold Tif-
fany mounting, $3.75, &A'7 Cft
Price, complete ^II.OU

No. PlOS — Genuine diamond, %
carat, $.j2.00. 14k solid told Tif-
fany mounting, $3.75. flJCC 7C
Price, complete 4>*>J. I J

We Send These Diamonds for Free Examination

— Our Written Buy-Back Bond Protects You If You Purchase!

Upon your simple request, we will send your diamond for free examination.
Your order to Basch is not a promise to buy. You are not obliged to purchase. We pay all
charges. If you do buy, our written guarantee allows you to exchange your purchase, at any time, for

full value. It also guarantees to buy back your diamond for full purchase price less 107° within a year. You are absolutely protected.

$joo For This Fountain Pen!

No. X70. This is a safety lever-self-filling fountain pen. The lever-self-filler is the

simplest and most practical fountain pen ever manufactured. A perfect flow of ink is assured at all times. The
barrel and cap are made of first quality Para rubber. Your name inlaid in gold FREE. The pen is made of
14 K solid gold, iridium tipped and hand tempered, full &l/2 inches long. We guarantee free repairs for 2 years.
All mailing charges prepaid. Gift case free. Don't delay. Send for this pen today — NOW— only $1.00.

Big, New 1918 Book FREE!

Send for our large De Luxe Diamond and Jewelry Book — new edition

just out. Save one-third to one-half through this bargain book. But if you want a dia-
mond ring at this startling price of $69.75, order now from this advertisement. When
present supply is sold, this offer ends. Our catalog offers diamonds in five grades, from $97.50
upward — the lowest prices by far, quality considered. Send the coupon now for FREE book.

L. Basch & Co.

State and Quincy Streets

Dept. Q3520 , Chicago, III.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

120

Photoplay Magazine

HELEN GIBSON, once the Hazardous
Helen of Kalem and now of Univer-
sal, has joined the war brides. Her hus-
band, Ed "Hoot" Gibson, has gone to
American Lake, Wash., with the rest of
the Hollywood conscripts. "Hoot" is one
of the West's champion riders of bad
horses and also an expert auto race
driver.

HIS country also called Wesley Rug-
gles, Yitagraph director. Ruggles was
producing an adaptation of Earl Derr
Biggers' "The Agony Column" when the
call came. There were many scenes to
be made and no one knew what to do
until President Smith had a brilliant idea.
He went to the exemption board and told
the draft officials that if they allowed
West to remain long enough to finish the
picture, Vitagraph would supply, free of
charge, a five reel feature to be shown
at the various cantonments. The offer
was accepted unanimously.

EDITH STOREYS first Hollywood pro-
duction for Metro, "The Legion of
Death." has in its cast Charles Gerrard,
the well known heavy, Fred Malatesta,
for many years with Essanay, and Philo
McCullough. formerly with Balboa. Tod
Browning, one of the old Fine Arts group
of directors, officiated in his usual ca-
pacity.

1V/IITCHELL LEWIS, whose work in
1V1 'The Barrier" raised him up among
the notable male stars of screenland, re-
cently joined the Coast colony for a pho-
toplay of the outdoors made in Bear
Valley, the Alaska of California.

THOMAS HOLDING is Madame Pe-
trova's new leading man. Mr. Hold-
ing has the reputation of having supported
more women film stars than any leading
man in the business. He will remain with
Petrova for a number of photoplays.

TAMES HORNE, producer of many
J Kalem thrillers and serials, is engaged
in making one of the latter for Universal.
It features Universal's champion dare-
devil, Eddie Polo, and the cast includes
Vivian Reed and Hal Cooley. The tenta-
tive title of the serial is "The Bull's
Eye."

THEDA BARA has left California flat.
Immediately upon completion of the
last scene of "DuBarry." the vamp of
vamps packed her gauzy gowns and pea-
cock plumes and boarded a train for
New York. Miss Bara made three photo-
plays in Hollywood, "Cleopatra," which
cost the Fox company something like a
quarter of a million dollars in actual cash;
"The Red Rose." a Russian story, and
"DuBarry." in which Miss Bara sub-
merges her raven tresses under a blonde
wig.

rxOUGLAS FAIRBANKS plans a re-
*-' turn to New York after finishing
"D'Artagnan of Kansas," to remain
throughout the winter. Allan Dwan is
directing the newest Fairbanks vehicle

Plays and Players

(Continued from page 94)

and many of the scenes were taken in
Arizona, at the Grand Canyon, the Petri-
fied Forest and the Cliff Dwellers ruins.
Doug took a prominent part in the en-
tertainment of Ambassador Gerard when
the latter was in California. He gave
him a wild west show in which Doug pro-
vided some of the thrills by riding a
bucking bronco.

MUTUAL has acquired "The Planter,"
a photoplay which had more direct-
ors employed on it than perhaps any other
picture ever made. Director John Ince
began it and Director T. N. Heffron fin-
ished it, with innumerable directors in
between. Much of it was filmed in Cen-
tral America, some in Nevada and most
of it in California. Tyrone Power plays
the lead and Lamar Johnstone is also in
the cast.

DW. GRIFFITH has returned to
• America, bringing with him many
thousand feet of negative, Misses Lillian
and Dorothy Gish, and Bobbie Harron.
As usual, not even those most intimately
connected with his enterprise have the
slightest idea what it is all about, except
that it is something international and po-
litically important. After his arrival in
New York, Mr. Griffith passed two weeks
going back and forth to Washington for
conferences with President Wilson. Then
he went west to complete his picture in
California. As Bobby Harron had been
drafted, the question arose whether or not
the public interest served by the film
would exempt him from immediate serv-
ice. This question had not been decided
at the time this issue of Photoplay went
to press.

GERTRUDE SELBY is Bryant Wash-
burn's leading lady in his first pic-
ture under Pathe auspices and it will be
that young lady's first release from a
career of several years devoted exclusively
to comedy. Washburn is now a fullfledged
member of the Hollywood colony and
already speaks deprecatingly of the fierce
weather "back East."

BROWNIE" VERNON was among
the many who went out from Uni-
versal City with their makeup boxes and
wardrobe during the recent "canning"
spell. "Brownie," it is said, was asked to
play atmosphere, and preferred walking
out.

ALICE LAKE will be seen again with
Rosoce Arbuckle after delving into
the mysteries of drammer at Universal
City. She was formerly with Arbuckle in
New York and will be opposite Roscoe in
his first Long Beach-made comedy.

ALBERT CAPELLANI, one of the
most popular of all directors, has
been engaged by Metro. This company
has adopted the system of alternating
directors, two working with each star,
giving each director time to cut and
assemble one picture and opportunity to
work out the details of another, while his
alternate is photographing the other play.

EDWARD S. (TEX) O'REILLY has
established the record of receiving
three offers for a scenario from one com-
pany, all in one day. Recently he closed
negotiations for the sale of his story
which appeared in Collier's, "Dead or
Alive," for Henry Walthall. The same
day, a literary agent wrote him that the
same had commissioned him to secure the
story. And later that very day, the New
York office of the company received a
telegram from the California office asking
that the story be obtained for Henry.
Paralta got the story, but Tex received
only one price.

ARTHUR JAMES, Metro publicist,
will please stand up and receive the
Red Badge of Courage for fathering this:
Director W. C. Dowlan wanted a classic
dancer for "The Outsider." starring
Emmy Wehlen. Driving along Broad-
way in a taxi he saw a girl who was the
double of Mary Miles Minter. He called
to her, she ran. He followed in the
taxi. , She ran faster. He pursued. She
ran into a house and he dashed up the
steps. A janitress accused him of being
a white slaver. He explained. The girl
was engaged.. Her name is Clare Vernon.
She happened to be a classic dancer. Oh.
Arthur!

1LIODOR may have been pure-minded
in his relations to the Russian revolu-
tion, but the courts told him that he
could not get away with his ideas of busi-
ness ethics in America. He contracted
with Herbert Brenon to appear in no
other film but "The Fall of the Ro-
manoffs" and then deliberately violated
his agreement to play in "The Tyranny
of the Romanoffs." The court ordered
that this film should not be distributed,
so long as it contained any pictures of
Iliodor, or bore his name in any connec-
tion. It seems that an actor must at
least have his first naturalization papers
before he is permitted to jump a contract.

THE magazine of a moving picture-
camera holds about 400 feet of film.
When Arthur Hopkins was directing a
certain scene at the Goldwyn studio, he
noticed that the camera man had stopped
grinding. "What's the matter?" he de-
manded. "Run out of film." the camera
man explained. "How much film does
your camera hold?" Hopkins asked. He
was informed. "Then get one that holds
two thousand feet," he ordered. "This is
going to be a long scene." After he had
made a picture or two Mr. Hopkins wrote
a long, scathing article, criticising moving
pictures in general and studios in par-
ticular.

THE Tower of Babel had nothing on
the studio where the Lina Cavalieri
pictures are being made. Madame speaks
little of anything but Italian, though she
understands Director Emile Chautard's
French. Leading Man Alan Hale speaks
neither Italian nor French, but gets even
by sputtering very bad German at both.
Occasionally it occurs to someone to add
to the variety by speaking English, which
has a foreign flavor in the circumstances.

Photoplay Magazine — Advertising Section

121

Plays and Players

(Continued j

THOMAS HOLDING has been en-
gaged by Mme. Olga Petrova as
leading man for her first five pictures.
Mr. Holding had a distinguished stage
career with English stars before adopting
the cinematic career.

BILL HARTS admirers will have to
wait a while for his first release fol-
lowing his jump from Triangle to Art-
craft. The Triangle company has brought
suit against Artcraft and Thomas H. Ince,
claiming that the Hart Picture, "The
Narrow Trail," was written by C. Gard-
ner Sullivan, directed by Lambert Hillyer,
and acted in by Sylvia Bremer, at a time
when all three were under contract to
give their entire services to Triangle.
The suit also charges that Sullivan drew
salary from Triangle at the same time
as he was drawing salary from Ince. It
alleges that Ince made contracts with
these people, knowing that they were
under contract with Triangle. If Triangle
is able to prove its case, the problem of
who owns "The Narrow Trail" will be a
difficult one to solve.

FLORENCE LABADIE died in the
Ossining Hospital, Sunday night,
October 14, after four weeks illness. She
was injured in an automobile accident,
which resulted in internal complications
that neither the skill of the physicians, nor
her own splendid physique, could cure.
Miss LaBadie was only twenty-three
years old, and was one of the pioneers
in pictures. She appeared under the di-
rection of D. W. Griffith in many of his
earlier films, and then went to Than-
houser. She had just completed her work
in "The Man Without a Country" at the
time of her death. Her best picture,
many still think, was "The Star of Beth-
lehem," made several years ago. One of
her most successful recent screen imper-
sonations was in "War and the Woman."

IN the company supporting Ethel Barry-
more in her next Metro picture. "Red
Horse Hill," is a young woman whose
name is Kaj Gynt. She comes from the
Royal Dramatic Theatre of Stockholm,
but is no relation to Peer Gynt.

MACISTE denies that he is dead. It
was reported last month that he had
been shot in the Austrian campaign, a
vital spot.

ALICE JOYCE had a birthday in
October, and celebrated by present-
ing herself with a S7,ooo (press agent
figures) set of furs.

BILL FARNUM'S faith in the ability
of the Giants to win the world's base-
ball championship, cost him, it is re-
ported, several thousand dollars. But he
was seen at the Lambs Club a few days
later, playing pool, and apparently happy.
Which may mean that he didn't lose so
much after all, and also may mean that
he is a good loser — both of which are
probably true. The tragedy, however, is
that he was about S7.000 ahead after the
two games which the Giants won in New
York.

-V

For Clear Throats
and Ringing Voices

A husky throat is no help in business — in school —
in Congress — or anywhere else.

This is an age of efficiency — of clear, ringing, decisive
voices.

Keep your throat clear.

Get the good habit of using Smith Brothers' S. B.
Cough Drops. Keep a box ill your pocket, in your desk
and at home. Use them to ward off coughing. Stop
the cough before it begins. Put one in your mouth
at bedtime to keep your breathing passages clear.

After exposure to cold, raw air and dampness, S. B.
Cough Drops should be used as protection. Policemen,
letter carriers, salesmen, motorists and many others who
are outdoors in all weathers are great users of S. B.
Cough Drops.

Encourage the children to use S. B. Cough Drops.
They'll ward off many a cold
and sore throat as well as
relieve coughing. And the
youngsters like them.

S. B. Cough Drops are pure
— absolutely pure. No drugs.
No narcotics. Just enough
charcoal to sweeten the stom-
ach. Good for children and
grown-ups alike, in any
quantity.

SMITH BROTHERS

of Poughkeepsie

Also makers ofS. B. Chewing Gum

Business men, public speakers,

singers — all who must use their

voices — know the value of S. B.

Cough Drops.

When you writ* to advertisers please mention PHOTOPLAY MAGAZINE.

122

Photoplay Magazine — Advertising Section

MeeTyour favorite
Movie Sfar

Take Your Choice

M:ike your selection f"i-
es many as you want and
send with your remit-
tance. Our money back
guarantee protects you.

May Allison

Theda Bara

Mrs. Vernon Castlo

Alice Brady

Billic Burke

Francis X. Bushman

June Caprice

Lon Chaney

Marguerite Clark

Viola Dana

Grace Darling

Grace Darmond

Douglas Fairbanks

Franklin Farnum

Neva Gerber

Myrtle Gonzales

Creighlon Hale

W. S. Hart

Louise Huff

Rupert Julian

Mollie King

Harold Lockwood

Louise Lovely

Mary McLaren

Marie Osborne

Virginia Pearson

Dorothy Phillips

Jack Pickford

Mary Pickford

Eddie Polo

Myrtle Stedman

Norma Talmadge

Pearl White

Clara Kimball Young
600 others that you know.

These photo post
cards of your movie
favorite present
such exact like-
nesses, that to
possess them is
a good deal like
meeting them
personally. We
were the first to
sell by mail post-
card photos and
photographs of
the movie stars and to-
day are the largest di-
rect-to-you distributors.
Personal acquaintance
with many screen favor-
ites enables us to include
exclusive and recent
poses at these low prices

18 for 25c

18
for
25c

100

for

$1.00

For 25 cents you ___.
have eighteen of your own
choice or 50 cents for
forty or a dollar for a
.hundred.

100 for $1

MONEY BACK
IF DISSATISFIED

SPECIAL

Actual photographs in
attractive poses. Size
8x10 of all feature
Stars, at 50c each.
We have many Stars
in different views
and poses. Get 3
beautiful photos of
your favorite. Spec-
ial at $1 .OH for 3. Send
stamp for sample
card and our list.
Sen! free with all orders.

The Film
Portrait Co.

127 A First Place
BROOKLYN, N.Y.

FD C Kl P U MILITARY

KtNLM CONVERSATION

by the Military Lan^na-o-T'hone Method andDiscRec
Ords. A practical, short course lor Alilita*"y Service
Also Spanish, 1'rench, Italian. German by the
LANGUAGE - PHONE METHOD

And Rosenthal's Practical Linguistry

The HriDg voice uf a Dative professor pronouueea the for-
eign language, over and over, uotil jou know it. Fai
and friends can use it. Our Disc Phonograph Record:
all talking machines. Write for Military circular. llaoWct
and Free Trial Offer. East pavtnenta.

THE LANGUAGE-PHONE METHOD

940 Putnam Bldg. g W. 45th Street, N. T,

SPANISH.FRENCH
ITAUAN.GERMAN
.AN IDEAL
XMAS GIFT

FREE BOOK

Learn Piano!

This Interesting Free Book

shows how you can become a skilled
player of piano or organ in your o« n
home, at one quarter usual cost.

Dr. Quinn's famous Written Mettm.l
is endorsed by leading musicians and heads of State Conservatories.
Successful 25 years. Play chords at one* and complete piece in every
key, within 4 lessons. Scientific yet easy to understand. Fully illus-
trated. For beginners or teachers, old or young. All music free. Diplo-
ma gran ted. Write today for 64-page free book/' How to Stud v Music. * '

M. L OUINN CONSERVATORY. Studio P. A. Social Union Bldg., BOSTON, MASS.

The Shadow Stage

By Randolph Bartlett
(Continued from page 68)

A Good Gift Suggestion

See Page 124

Life" he leaps from crag to crag of inci-
dent with all the nimble certainty of a
mountain goat. The important part of the
plot is a dream Mr. Walsh has while un-
der the influence of laughing gas in a
dentist's chair. He thinks he has gone to
South America with a moving picture
troupe, which turns out to be a gang of
revolutionists, and just as the chief con-
spirator buries a knife in his throat he
wakes to find — that the doctor has just
pulled out the tooth. It is real fun, orig-
inal in device, and lightning-like in move-
ment. Wanda Petit is a new name worth
watching. It is the name of the girl for
whose sake the youth engages in the ad-
venture of his dream. She is pretty, and
shows much camerability.

LIFE'S WHIRLPOOL— Metro

Given the right sort of a story, Ethel
Barrymore is as wholesome as a letter
from your sister. There is a profundity
about her understanding of the realities
of life that sets her apart from almost all
other actresses. Not for her the gilded
romance, the purely theatrical drama, the
artificial structure of mere plot and move-
ment. But let her have the role of a
woman who is humanly recognizable as
some one you or I might know, and she
comes right home to the perceptions. She
knows that women who are living through
a tragic experience, have their moments
of happiness, and can smile gayly, can
forget at times the thing that pursues
them. She knows that life is not a mon-
otone, but even when its fabric is prin-
cipally a dull gray, it is shot through with
yellow and green and blue threads. So in
"Life's Whirlpool," written for her, and
directed, by her brother Lionel. It is
the story of a young woman who married
a man of flint, to discover after the birth
of her son that she loved another. The
husband discovers part of the truth, and
after he denounces her she escapes from
their home with her boy. The husband
is murdered by a man he has oppressed,
the wife is suspected, and later exon-
erated. There are glaring faults in the
story, such as the dragging in of an en-
tirely unnecessary second killing, and a
mob scene outside the jail — spurious at-
tempts at exciting action. But Miss Bar-
rymore herself is superb throughout. The
entire cast seems inspired. Alan Hale is
the young lover, and plays his role well.
Frank Leigh does a remarkable bit as
the crazed murderer. It is the best Bar-
rymore picture I have yet seen.

THE SCARLET PIMPERNEL— Fox

As has been remarked elsewhere in this
compendium of current flickerature. Fox
doesn't give a hang, apparently, what
others are doing or are not doing. His
latest declaration of independence of cur-
rent superstition is Dustin Farnum in
'The Scarlet Pimpernel." Anybody can
tell you that "the public don't want cos-
tume pictures," so Fox turns out a cos-
tume picture. It deals with a secret or-
ganization formed to assist aristocrats to
escape the Reign of Terror in the French

Revolution. Mr. Farnum plays the role
of the nead of this body, outwardly a fop,
really a man of daring and action. His
character impersonations, disguised as a
peasant woman and later as a patri-
archal Hebrew, are the best parts of
the picture. Miss Winifred Kingston is
a pleasing actress, but won't she please
stop painting her pretty mouth into a
Cupid's bow? There are several other
actresses doing this same thing, and with
all the ferocity of our naturally peaceful
nature, we hereby declare war upon the
hideosity. Next thing, the girls we know
will be doing it.

MAGDA — Select Pictures

Clara Kimball Young is back after many
managerial adventures. Her first produc-
tion under her own management is a ver-
sion of Sudermann's "Magda." There is
little of the original drama in the screen-
ing. What was originally a keen satire upon
middle class hypocrisy has become the
personal drama of a woman who, unfor-
tunate but ambitious, is driven by cir-
cumstances from home but achieves great
success. Returning home, she is wel-
comed, and an attempt is made at a be-
lated redemption of the family honor by
trying to compel her to marry the man
who had caused her troubles. She refuses,
and her father dies of heart failure. So
the story ends. It is anything but a dra-
matic finale. The word "Finis" on the
sheet is astonishing. But in the picture
Miss Young is beautifully dramatic and
dramatically beautiful. Few women have
her talent for expressing epic scorn. The
news is spread that no more will Miss
Young portray these unhappy creatures,
but in the future will radiate sunlight and
cheer.

CAMILLE— Fox

That immortal concoction of drivelling
sentimentality, that deathless joy of easy-
weeping schoolgirls, that masterpiece of
platitude, that — well, in short, ''Camille.''
has been done again for the screen, this
time by Theda Bara. There is this to be
said for William Fox — he doesn't seem
to give a hang who has done, is doing, or
proposes to do a story, if he wants to
do it himself. Under its own name and
various aliases, this tubercular drama has
endured upon the stage and the silver-
sheet longer than the memory of this gen-
eration can recall. The only interest in
it is — does Theda Bara make a better
''Dame aux camellias" than any of the
other hundreds of women who have rat-
tled its laryngeal chains? It is a matter
of taste. Personally, we prefer it on the
screen because we don't have to listen
to the coughing. Personally, we prefer
the Theda Bara version to many of the
older screen recitals because Miss Bara
makes Camille the brazen hussy we be-
lieve she was. At the outset she is a
scheming, unscrupulous, frankly immoral
cocotte. and glad of it. and therefore
there is less danger of the unthinking
shedding crocodile tears over her quite
just and logical fate. And the final death

Every advertisement ill PnOTOPLAT MAGAZIXE is guaranteed.

Photoplay Magazine-t-Advertising Section

123

The Shadow Stage

( Continued)

scene is gratifyingly brief. Altogether an
excellent revival of a tale we hoped was
dead. And buried.

BABES IN THE WOODS— Fox

Another of those splendid children's
classics, "Babes in the Woods," continues
the delightful Fox Kiddies series. It is
a combination of the old tale of the same
name with "Hansel and Gretel." Virginia
Lee Corbin, the dainty maiden who can
weep to order and continue indefinitely,
is tragically charming, with Francis Car-
penter as a pocket edition of Francis Ten
Bushman. Any adult who cannot enjoy
these pictures as much as the youngsters
do should hasten to be shrived for his
sins. The brother directors, C. M. and
S. A. Franklin, have beautified this story
by filming it among the California red-
woods.

THE TROUBLE BUSTER—
Paramount

They've got Vivian Martin selling pa-
pers again this month. She cuts off her
curls, lives in a piano box with Paul Willis.
makes a statuette which proves a billiken
sort of gold mine, has Paul sent to a
surgeon who cures his blindness, and then
marries him. The tale is simple enough,
and without the expert guiding hand of
Director Frank Reicher would be almost
childish. It is the manner, not the mat-
ter, which relieves the situation. Yet
Vivian Martin's charm also has its value.
Not a great picture, but a good one.

THE CURSE OF EVE— Corona

Another producer has discovered the
double standard of morality and thrown
a fit. His righteous wrath is smeared
over seven reels, called "The Curse of
Eve." Enid Markey is starred. Pos-
sibly believing that this would be his last
chance of speaking out in meeting, the
producer takes a side-swipe at another
thing he doesn't like — the law prohibit-
ing criminal operations. The mere fact
that the picture makes it appear that the
loosely constructed story is told by a
minister to his congregation, with an open
Bible before him, does not make the story
fit to repeat here. It will probably make
a lot of money.

THE CALL OF THE EAST—

Paramount

Sessue Hayakawa returns to the serious
drama in "The Call of the East," after
his rather unsatisfactory dip into comedy.
This is the sort of thing in which the
admirers of the Japanese star prefer to
see him. To Americans, Hayakawa brings
the mystery and fatalism of the Orient
as no other actor can possibly do. In
this he is aided by his wife, Tsuru Aoki.
With such a unique and otherwise unoc-
cupied field, it does seem an idle waste
to depart into the field of comedy, though
"Hashimura Togo" was not without a cer-
tain charm of its own. The theme is
once more that of the clash of the Occi-
dental and Oriental ideas and ideals, with
the Orient finally accepting, with stern

21 Jewels

8 Adjustments

Ultra. Thin

Solid Gold

The watch of a gentleman.

Sterling character, in classic design, dressed in
solid gold.

The newest and finest of a fine old line. A titled
timepiece, whose possession instantly brands you a
connoisseur.

A priceless heirloom — the gift that lasts a lifetime.

No man can know the fullness of pride of
possession, till he owns the $100 Lord Elgin.

ELGIN NATIONAL WATCH CO., ELGIN, U.S.A.*
Designers and Producers

These Club Feet

Made Straight
in Four Months

Annabell Williams was born with Club
Feet. After other treatment had
failed, her mother brought her to the
McLain Sanitarium, January 17, 1916,
at 11 years of age. Four months later
they returned home — happy. Read
the mother's letter.

"I took Annabell home, on May 19, 1916,
with two straight and useful feet. Today
she runs and plays as any child. We can't
say enough for the McLain Sanitarium
and will gladly answer all letters of
inquiry."

Mrs. Morgan Williams, Higbee, Mo.

This deformity was corrected without plaster paris or general anaesthesia.

FOR CRIPPLED CHILDREN

This private institution is devoted to the treatment of children and young
adults afflicted with Club Feet, Infantile Paralysis, Spinal Diseases and
Curvature, Hip Disease, Wry Neck, etc. Our valuable book " Deformities
and Paralysis," with Book of References, free.

THE McLAIN ORTHOPEDIC SANITARIUM

804 Aubert Ave., ST. LOUIS, MO.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

124

Photoplay Magazine — Advertising Section

Merry
Christmas
Twelve Times

A Gift Suggestion that will appeal to you

YOU. have a friend who is very much interested in
moving pictures. You are going to give a Christ-
mas present of some kind to this friend. There
will be more pleasure for both of you if the gift is a
particularly appropriate one. Or, how about that boy
in France? A subscription to

Photoplay Magazine

vCill afford a delightful surprise on Christmas morning and give
new satisfaction on the first day of each month during the
ensuing year. Every issue will be a reminder that you are
the thoughtful provider of several hours of interesting news,
entertainment and instruction — the source of a twelve-time
Merry Christmas.

To enable you to send this gift subscription in a correct and
most attractive way, an artistic Christmas Card has been
provided, stating that PHOTOPLAY MAGAZINE
will be sent for whatever period you desire. Your name
and Christmas greetings xCill appear on this card, which
will be sent either to you or to the recipient of the gift.

When you return coupon attach a Postal or Express money
order or a Check. Better hurry.

PHOTOPLAY MAGAZINE

356 North Clark Street, CHICAGO, ILLINOIS

CHRISTMAS SUBSCRIPTION COUPON

Year $2 00. Six months, $1.00. Three months, $.50. Canada, $2.50 per year. Foreign
Countries, $3.00 per year. All subscriptions to our soldiers in France at U. S. rates.

Photoplay Magazine, 356 N. Clark St., Chicago, 111.

Gentlemen:— Enclose find $ for

Send to— Name

(Length of subscription'

Address .

From— Name.

Address .

Jan.

The Shadow Stage

(Continued)

calmness, the inevitable outcome. Mar-
garet Loomis offers a remarkably fine
study of an American-Japanese girl.

THE ADOPTED SON— Metro

One of the principal reasons why recent
Bushman-Bayne pictures have not been
up to the standard that Metro is estab-
lishing for its output, is that either Mr.
Bushman insists upon posing intermin-
ably, or his director gets him to do it.
The next reason is that the stories have
not been up to the mark. The latter dif-
ficulty has been overcome in "The
Adopted Son," but the former remains.
Mr. Bushman plays the part of a gun-
fighting westerner, a man of swift de-
cisions and swifter actions, yet no matter
what the situation, he stops for a good
long pose before he unlimbers. Nor is
he the only offender in this regard in pic-
turedom, but possibly the most persistent
one. Mr. Bushman is no Apollo Belvi-
dere; his admirers want to see him do
something, not merely be handsome. He
does do a good deal in "The Adopted
Son," and if he did not interrupt the flow
of action by his impersonations of statu-
ary, it would be a rattling fine photoplay.
In the role of an adventurer, he finds
himself in the midst of a Tennessee feud,
and at the behest of the sister of a boy
who has just been killed from ambush,
takes the place of the slain youth for
purposes of revenge. It is one of the best
feud stories the screen has recorded. It
is especially notable for its character
roles. J. W. Johnston, as the cowardly
killer, makes a despicable villain almost
admirable by sheer artistry. The moun-
tain scenes are magnificent.

THE SPREADING DAWN—
Goldwyn

Jane Cowl's first picture with Goldwyn,
is advertised as her first screen adven-
ture. They forget "The Garden of Lies"
in which the All Star Features Company
presented her more than two years ago.
"The Spreading Dawn," is blamed to
Basil King as author, and Larry Trim-
ble, as director. Whoever wrote the
scenario was fascinated by the name
"Vanderpyl." The woman about whom
the tale meanders was Vanderpyl both
before and after her marriage. Al-
though Miss Vanderpyl first meets
Mr. Vanderpyl at her "coming out"
ball, their families apparently were ac-
quainted, for another Vanderpyl, brother
of the other one, was a guest. And sure-
ly, with a name like that, in the exclusive
social circles of New York in the early
'sixties, they must have been aware of
each other's existence. Another curiosity
in this picture is the new light cast upon
the change in New York climate since the
Civil War. An April scene shows the
trees and shrubbery in full leaf, while the
dainty dames run about in summer garb,
flop on the grass, and everything. An-
other revelation is the use of big head-
lines in the newspapers, which Walter
Irwin, historian of American journalism,
had informed the world was an invention
of Pulitzer and Hearst.

Every advertisement In PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

125

The Shadow Stage

( Continued)

THE BELGIAN— Sidney Olcott Players

The firm hand of a brilliant writing
man is seen in "The Belgian," a picture
produced independently by Sidney Olcott,
with Walker Whiteside as the star. The
writing man was Frederic Arnold Rum-
mer, who has been delighting readers of
this magazine with a series of his short
slories based on moving picture life. His
genius, in this picture, shines out in the
fact that he did not go on a frantic
search for "punches," horrors, atrocities,
and the like. His topic was what hap-
pened in Belgium. He was willing to
take for granted that the public knew
of the reign of terror. He wanted to
show how it came about — how Belgium
and France were infested with German
spies, while the people went about their
business all unsuspecting — working, play-
ing, loving, and creating works of art.
He wove his story about a Belgian fisher-
man, a born sculptor, who, going to Paris
to mature his art, fell into the web of
one of the Kaiser's women, while his
sweetheart, back in the little fishing vil-
lage, was menaced by another thread of
the vast web. The tale is told dispas-
sionately, and therefore the more con-
vincingly. Walker Whiteside, one of
America's greatest actors, a scorner of the
chest and eyebrow technique, a man who
knows the meaning of expression by re-
pression, plays the part of the young
artist. The picture's sole fault is that it
does not move quite swiftly enough— a
fault that can be easily remedied by ju-
dicious trimming, in the earlier reels.
Messrs. Kummer and Olcott have turned
out a true classic of the war.

OVER THERE— Select

Friends of Charles Richman, who have
wondered what became of this robust star
after his departure from Vitagraph, will
discover him as large as life in "Over
There," a war play based upon the theory
of prenatal influence. Mr. Richman plays
the part of a young man who inherits an
unreasoning horror of the sight, or even
the thought of blood, because of the fact
that shortly before his birth his mother
had happened to witness a brutal murder.
When war is declared upon Germany, he
advances one slender excuse after an-
other, for not enlisting. At last his fear
of his friends' and his sweetheart's scorn
becomes greater than his fear of blood,
and he enlists, to redeem himself glo-
riously on the battlefield. Anna Nilsson
impersonates the sweetheart. There are
several big battle scenes, staged, we are
informed, by Lieut. W. A. O'Hara of the
Canadian forces, after seven months in
the first line trenches in Flanders.

BAB'S BURGLAR— Paramount

Marguerite Clark is redoubling her well
known popularity in the Sub Deb series,
photoplayed from Mary Roberts Rine-
hart's stories. Latest of these is "Bab's
Burglar," one of the best of the tales,
and much livelier in incident and richer
in opportunity than its predecessor,
"Bab's Diary." Richard Barthelmess, a

young man who is coming to the front
rapidly in picturedom, has the leading role
opposite Miss Clark, and they make an
ideal pair. The producer who realizes
trftt all this boy needs is a little experi-
ence and coaching, can acquire a valuable
player by developing the talent latent in
his pleasant personality.

THE FIREFLY OF TOUGH
LUCK — Triangle

Dark-eyed Alma Reuben flashes as the
Firefly of this western tale of desert,
deserted mining camp and general desola-
tion, lighting, finally, all of these depres-
sions into the way of happiness. It is
another of the new Triangle's own. a
vivid, colorful tale, inoculated with a nice
sense of humanity.

Walt Whitman is responsible for a large
part of its creating, such as the quaint old
Baxter who sought to save the pride of
his heart, Baxter's Corners — derisively de-
tailed by his fickle friends as "Tough
Luck" — from desertion.

The captions, a trifle over-talky, may-
hap, but in their consistent colloquialism,
instill a distinctive style into the produc-
tion, which combined with the interesting
story, the competent playing, and the good
photography, make it a very seeable piece
of celluloid romance.

MAID OF BELGIUM— World

World can when it will — so why
won't it? Here is as lovely a picture of
its sort as has been wrought in any photo-
play laboratory, containing an intriguing
tale, if not a perfectly possible one, at-
tractive people behaving rather like sensi-
ble folk should; satisfying and tasteful
settings. In addition there is Alice Brady,
very beautiful, very appealing, very truth-
fully expressive. As the Belgian maid, of
lost memory, she realizes with subtle ef-
fectiveness just such a situation, and her
bits with the baby are exquisite.

Flying with the flock of war stories, it
still has its own individuality, dealing with
a. romantic and human aspect of the great
reversion, rather than the propagandic.
"Maid of Belgium" is a photoplay worth
making an effort to see.

teauty in

• the Making.

THE SEA MASTER-

Mutual

-American-

William Russell as skipper of a rough
ship and rough crew, cruising somewhere
all the time, a primitive soul who fights
and loves in the elemental key. with the
lady of his conquest wearing the same
lingerie waist about eighteen months with
no signs of disintegration in the good
lawn.

"The Planter" — Mutual — exploits Ty-
rone Power as super-villain, and a South
Mexican rubber plantation as scenery;
possesses slaves, slaughterings and senori-
tas to an alarming extent; more horrors
than happiness.

"Desire of the Moth" — Bluebird — is a
dashing, smashing western, possessing
scenery and sentiment of the first water.
RuDert Julian, Ruth Clifford and Monroe
Salisbury is a distinguishing combination
in a piece of enjoyable red-bloodedness.

N j—

WILL beauty be your daughter's
lot in life ? Begin early to lay
the foundation for her future
good looks and attractiveness — to
teach the vital lessons of skin health
and complexion care that may mean
her life's happiness.

After the day's play, indoors or
out, give the tender skin, face, neck,
arms, hands, a thorough cleansing
with D. & R. Perfect Cold Cream-
relieve the pores of the dirt they
accumulated. Make it a daily prac-
tice in childhood, it will be a daily
habit in girlhood; a daily delight —
a splendid reward in womanhood.

DAGGETT*RAMSDELLS

PERFECT COLD CREAM

TJic KukI T/iaJ Jte&ps

Made exclusively by Daggett &
Ramsdell for more than twenty-five
years, D. & R. Perfect Cold Cream
has in thousands of homes been a
popular, valued nursery adjunct —
a constant comfort, a ready relief,
a first and faithful aid in any illness
or in vigorous health.

For safety, for satisfaction, for
service — for your child's nursery or
your own toilet table, demand D.&R.
Perfect Cold Cream, "The Kind
that Keeps," the kind that cleanses,
nourishes and beautifies the skin,
that banishes unwelcome signs of
passing time or marks of recent
illness. The cream for every per-
son— a size for every purse.

POUDRE AMOURETTE- a face pow-
der without a fault. The D. & R. Label is
a guarantee of its purity, its perfection, its
preeminence. Flesh, white, brunette, 50c.
Should your dealer be sold out, we will
forward a box to you by return mail on
receipt of 50c in stamps.

TRY BOTH FREE

Trial samples of Perfect Cold Cream and
Poudre Amourette sent free on request.

Get a Free Sample
For Your Husband

Write for a sample of the latest "Per-
fect" product made only by Daggett &
Ramsdell —a shaving cream in which we
have scientifically incorporated D. & R.
Perfect Cold Cream. The first time your
husband tries this "Perfect" Shaving
Cream he will say, "Well, that's the best
shave I ever had." He will be as enthu-
siastic over "Perfect" Shaving Cream as
you are over Perfect Cold Cream. Sur-
prise him with a sample.

DAGGETT & RAMSDELL

Department 234
D. & R. Building, NEW YORK

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

126

Photoplay Magazine — Advertising Section

Lift Corns out
with Fingers

A few drops of Freezone

loosen corns or calluses

so they peel off

Apply a few drops of Freezone
upon a tender, aching corn or a
callus. The soreness stops and
shortly the entire corn or callus
loosens and can be lifted off with-
out a twinge of pain.

Freezone removes hard corns,
soft corns, also corns between
the toes and hardened calluses.
Freezone does not irritate the sur-
rounding skin. You feel no pain
when applying it or afterward.

Women ! Keep a tiny bottle of
Freezone on your dresser and
never let a corn ache twice.

Please Try Freezone

Small bottles can be had at any drug
store in the United States or Canada.

The Edward Wesley Co., Cincinnati, O.

Oh, You Skinny !

Why stay thin as a rail 1 You don't have
to I And you don't have to go through life
with a chest that the tail or gives you; with
arms of childish strength ; with legs you can
hardly stand on. And what about that stom-
ach that flinches every time you try a square
meal? Are you a pill-feeder?

Do you expect Health and Strength
in tabloid form — through pills, po-
tions and other exploited piffle?

You can't do it; it can't be done.

The only way to be well is to build up your
body — all ofit— through nature's methods —
not by pampering the stoinach. It is not
fate that is making you a failure; it's that
poor, emaciated body of yours; your halt-
sickness shows plain in your face and the
worl i loves healthy people. So be HEALTHY
—strong— vital. That's living. Don't

think t»o long; send send 6 cents in stamps '

"■■:nc

tarn
ilingof .
IN PHYSICAL AND HEALTH CULTURE

rpl .

. "INTF.LMG^NCh:

by the strongest physical culture in-
structor in the world.
LIONEL STRONCFORT, Master of Physical Culture
362 Park Bldg., NEWARK, N.J.

NEW FOR. GIR.L5

90 assorted Christmas greetings, caids and folders, 20 each of 3
designs, 10 each of 3 designs sent pre-paid, COc. May be hand col-
ored. S«'U to yonr friends. Self-blenuing water colors for color-
Irg car''f ]<>c additional. 10 handsome embossed assorted cards
20c; worih Guc. E. B. WINSLOW, Dept. M, Tuckahoe, N. Y.

The Shadow Stage

By Kitty Kelly

(Continued jrom page 6g)

The story rather rambles, and takes a
deal of deviating to quench the villain,
which is, however, cleverly done. Direc-
tor John O'Brien has found a great deal
of beautiful exterior for the photoplay's
enhancement, and Miss Goodrich fur-
nishes her quota in her own way. The
result is an attractive film romance, many
miles ahead of "Reputation" in atmos-
phere and procedure.

"THE MAN-HATER"— Triangle

Triangle in emphasizing the story rather
than the star, has in this instance done
rather better by the star than the story.
For the one proves more interesting than
the other.

That is not, however, so much the
story's fault, as because of the lagging it
is permitted to do. It's a good, heart-
some, human little tale, of the girl with a
drunken father who interpretated all men
in terms of him, and came gradually to
know there was another sort. But some of
the scenes, good scenes in themselves, too,
are so prolonged that the watcher begins
to watch the clock face, which is no way
to do at a photoplay romance.

But Miss Winifred Allen, dark-eyed,
smooth-haired, and otherwise different
from the curlied queens, is compensation
even for these over long moments. She
has the kind of face that repays watching;
sweet, clean-cut, forceful, mobile.

"The Man-Hater" is good.
* * *

"Cassidy" — Triangle — a poignant tale
of a slum's son, somewhat prolonged on
some of the suffering, but well played,
well-constructed drama.

THE ADVENTURER— Mutual

The season's great laugh, not quite so
regular as the full moon, is amongst us
again, after an eclipse since June. Mr.
Chaplin, in presenting "The Adventurer"
as his Mutual swan song maintains the
quality of past risible events, though shad-
ing in a trifle more on the deft stuff to
the diminishment of the broad. He kept
within the Hooverish mandates, as well,
eliminating pies and other edibles, con-
fining himself to the extraction of all the
fun he could from the human foot, kick-
wise expressed, with a little soda water
siphoned in for lubrication.

As a convict endeavoring to escape, he
spends most of his time in a dress suit,
admiring the lovely Purviance, and dodg-
ing distasteful policemen. He dodges suc-
cessfully, at the end escaping into the no-
one-knows-where, but judging by his past
experiences he is bound for more success.
It's the only end anyway, for it would be
most unpsychologic to leave Chaplin be-
hind prison bars. Even he could extract
no smiles from that as a permanency.
But before his final dodge, he does grab
eff about a million. There are many
clever stunts in the "The Adventurer,"
and a few very new ones, furnishing ma-
terial for much smiling, if not for side-
shaking laughter.

Mr. Chaplin's Mutual career has been
a satisfying one. He has given the com-

pany a row of excellent comedies of his
own peculiar vintage, which must needs
be valuable for several years. Consider-
ing that he did as well by Essanay, it is
a safe gamble that his next affiliation will
be similarly productive of excellence. He
is an artist as well as a player of motley.
Also he is a — good business man.

THE BEAUTIFUL ADVENTURE—
Empire Mutual

"The Beautiful Adventure" is the tell-
ing of the play of that name, having to
do, you may remember, with the efforts
to maroon two unclergyed young people
by a grandmother of the old school and
Rooseveltian beliefs. It might have been
great comedy in certain efficient hands,
but here it is too obviously a careful
skating over thin ice, being as nice as it
possibly can be without being particularly
interesting. Ann Murdock, in her com-
bination of Billie-Burkeness and Mae-
Marshness, is an interesting film person.
The picture is shrouded in lovely settings
— except for the interior of the counfs
house, which is full of carved furnish-
ings. The grandmother's house is charm-
ing with its old-fashioned furniture, and
the outdoors is fairy-like in its exquisite
summer invitingness.

FOR FRANCE— Viragraph

A brave tale, beautiful and poignant, is
Vitagraph's "For France," with Edward
Earle and Betty Howe projecting the
title roles. It is set yonder in France in
the early wartime, and deals with the
personal side rather than the national,
but perhaps is the more nationally appeal-
ing for that.

Edward Earle, the hero, is an American
art student aviating for France, and the
girl is one of France's daughters, his
sweetheart, one of the many almost the
victim of the Prussian spirit.

Of all the current war pictures, it is
one of the most elaborate, being beauti-
fully staged outdoors, with many ranks
of soldiers of all classes, with machine
gun attacks, and sharp shooting. It is
none of this elaborate battle stuff, but a
simple, natural sort;1 the soldiers lost
among the leaves shooting their spiteful
spitting guns, the little rush forward, the
falling into position again. There is, of
course, the pillaging of the farm house,
and the terrorizing of the people by the
Hun horde — and such applause as burst
forth spontaneously when the leading Hun
offenders were shot!

There is no word of preachment in any
caption, but the preachment is as large
as life, "For France" means for our own
homes and firesides. The nearest thing
to an offered creed is this gallant notion,
"A man says every man has two coun-
tries, his own and France."

BONDAGE— Bluebird

"Bondage" is further Bluebird sky for
Dorothy Phillips' shining. It is an inter-
esting, if somewhat hectic and hurried
tale about a woman and two men, and
idealism and materialism.

Every advertisement In THOTOPLAY MAGAZTNTC Is guaranteed.

Photoplay Magazine — Advertising Section

127

The Shadow Stage

(Continued)

Miss Phillips, the ambitious young
writer who drifts via newspaper sensation-
ing into Bohemia, is brought back to
hometownlike ways of doing, by a sterling
man from that home town, though first
there has been an emotional singeing by
a light o' heart of her adopted kind.

It isn't, though, so much the story, that
demands attention, as the feeling in it, the
nervous distraitness of the young wife
with ability and nothing to do.

William Stowell's portrait of an under-
standing, unfailingly sympathetic husband,
is a rare piece of screen work. He does
that kind of a man under all kinds of
provocation, without making him a
goody-goody, keeping him a creature of
good red blood. Once in a while we
would have liked him to shake her, but
that would have been psychologically
wrong. Miss Phillips as the near-neuras-
thenic accomplishes vividly as is her
custom.

Ida May Park did the directing, as
well as evolving the story from one of
Edna Kenton's.

YOUNG MOTHER HUBBARD—
Essanay

Miss Mary McAllister is one of the
most charming persons in one of the
most charming pieces of the month, as
"Young Mother Hubbard." It's a slight
little story written by James Mortimer
Peck, and directed by Arthur Berthelet
in such fashion as to extract all the hu-
manness of it. Mother Hubbard it is
opined had nothing at all on the minia-
ture Miss Mary with the children whom
she mothered when the four little or-
phans were deserted by their stepfather.

It's all a sweet and tender little story,
with a deal of realistic juvenile charac-
terization in it. Youngsters will revel in
the adventuring of the children, and
elders will find their hearts suspiciously
softening toward the small nuisances
which surround them.

Mary McAllister is a gem of a child.
Her charm is that she is so childish that
she can keep her naturalness before the
insistent posing demands of the camera.
Her second venture into stardom is a
shining success.

THE BURGLAR— World

"The Burglar" was made out of Fran-
ces Hodgson Burnett's dear childhood
story, "Editha's Burglar," and Augustus
Thomas' play. As dramatized for the
screen it contains a deal more than either
predecessor ever could. It delves into
the youth's college experiences and gives
adequate reasons for every result.

But, for all its sensation, it does bear
down heavily on the human note, and
when the bullet finally reaches home
there's a wrench over it, though of course
you know it's the only way a right minded
dramatist could have established a quietus
for the troubling situation.

Carlyle Blackwell picks the bay leaves
for his performing, accomplishing a most
sensitive and poignant characterization of
the young man when he comes back

a-burgling. Here Mr. Blackwell discloses
some dramatic emotionalism one never
dreamed he had in his bag of acting
tricks. His renunciation has the grip of
the genuine. Miss Greeley is attractive,
and Madge Evans makes an appealing and
well poised little figure out of her Editha
role. Good photography emphasizes the
picture value.

If logically, or even sensibly inclined,
one must wink and blink at a lot of situa-
tions, but there is a spirit to the photo-
play that gives it force as well as enter-
taining value. Of course, it is no thing
for ardent young readers of "Editha's
Burglar" to patronize!

SHALL WE FORGIVE HER?—
World

"Shall We Forgive Her?" is World at
some of its luridest again, but frankly,
very interesting at that. The hapless
lady's cruel adventures are so invested
with humanness by the cleverly dramatic
June Elvidge that the spectator finds him-
self following her misfortunes with a tense
stretch of interest, which is an accom-
plishment, for it is growing harder and
harder to exact observing interest in a
lady wronged, rescued, blackmailed and
discarded by righteous husband till every-
thing is explained.

Miss Elvidge puts grace into the grace-
less tale, and recommends herself anew
as a sincere and gifted dramatic inter-
pretator.

THE DORMANT POWER— World

World has a wardrobe full of nice pic-
ture garments, but it insists upon draping
them over the veriest old skeletons of
past and gone melodramas that one can
imagine.

For instance, here in "The Dormant
Power" it has made a luxurious picture,
which looked at without analyzing from
the intellectual side would go down as
something really worth while. It has
Ethel Clayton in it, Montague Love,
handsome costuming, good looking sets,
general sumptuousness of procedure — and
it is raw melodrama, even slipping loose
in matters of detail. It's the kind of
thing that is too bad because it has such
a lot of good in it.

There may be, and doubtless is since
they do it, people whose minds are at-
tuned only to this sort of thing. If that
be so, save Ethel Clayton out of it, and
put her into something plausibly human
that is worthy of her presence.

THE GIRL ANGLE— World

A lot of people are going to miss "The
Girl Angle" because it is so much better
than one expects, just seeing it billed. It
is the first appearance of Anita King as
a Horkheimer star, and it's a mightily
entertaining appearance.

Anita, turned man-hater, features bi-
furcated wearing gear, in which she is
most effective, during her rapidly adven-
turous life in wild Arizona whither she
betakes herself to live on a claim. Miss

IP* CREDIT m

NDS T
YVftTCHES :j

MAKE THIS A
DIAMOND,
WATCH and
JEWELRY
CHRISTMAS

TO,

CHOOSE YOUR GIFTS
FROM OUR CATALOG

Our Diamonds are distinctive in beauty
and brilliancy. A Genuine Diamond is the
best investment into which you can put
your money. It constantly increases in
value and lasts forever.

CHRISTMAS GIFTS

The easiest, most convenient way to
make handsome, "worth-while" pres-
ents is to send for our Catalog, make
your selections in the quiet of your own
home, and have everything charged in
one account. By this plan you can
make very little ready money supply
all your gifts.

Send for Free Catalog

There are over 2,000 photographic illustrations
of Diamond Rings, Diamond La Vallieres, Diamond
Ear Screws, Diamond Scarf Pins, Diamond Studs,
Signet and Emblem Rings, Watches, Wrist Watches,
Bracelets, Cuff Links, Brooches, Lockets, Chains-
Charms, Silverware, Clocks, Toilet Sets; also our
wonderfully showy assembled Solitaire Diamond
Clusters.

Whatever you select will be sent, all shipping
charges prepaid. You see and examine the
article right in your own hands. If satisfied,
pay one-fifth of purchase price and keep it;
balance divided into eight equal amounts, pay-
able monthly.

Men's Favorite Diamond Ring

Extra heavy 14 karat solid gold six-
prong Tooth mounting. Faultless-
ly made. Specially selected fine dia-
monds, perfectly cut and very bril-
liant. The deep groove and grace-
ful lines make this a very popular
mounting. See our Catalog and se-
lect just the ring you wish. Each
ring is cased in a handsome box.

Watch Prices "Down to Bed Rock"
21 Jewel "S5&3ffiSaSr $2.50 a Month

Send for Catalog and get posted about Watches before
you purchase. Our Catalog illustrates and describes all
the new models— 15,17,19,21, 23 Jewels, adjusted to tem-
perature, isochronism and positions. Our watches are
guaranteed by the factory and further guaranteed by us.
We make all necessary repairs, barring accident, free of
charge, for a period of three years from date of purchase.

Loftis Solitaire Diamond
Cluster Rings

Look Like What They Are
Intended For— A
Large Single
Diamond

94-575

Looks like
k$250single

The
Loftis Seven'
Diamond Cluster
was designed for those
who desire a large showy ring
for the least money, as it has the ex-
act appearance of a Solitaire that would cost three or four
times as much. 1 he secret of the rare beauty of this
ring lies in the perfectly matched stones.all of the Dia-
monds, set in platinum, being uniform in size, quality
and brilliancy; mounting is 14 karat solid gold.

Suggestions for Christmas Presents

A few of the many desirable articles shown in our large,
handsome Catalog. Every article listed below can be fur-
nished at prices given, and up to any price you wish to
pay. All are popular selections of exceptional value.

Diamond Rings, Soli
taire $10 up

Loftis Solitaire Dia-
mond Clusters . . $50up

Diamond La Vallieres $10 up

Diamond-set Cameo
La Vallieres . . $12 up

Diamond Brooches . S7 up

Diamond Ear Screws SIO up

Diamond Studs . . SIO up

Diamond Cuff Links . $5 up
Send for Catalog, make selections, and have as many

articles as you wish charged in one account.

Diamond Scarf Pins $5 up
Signet Rings . $4 up

Pearl Necklaces, Diamond-
set Clasp . . $8-50 up
Wrist Watches SIO up
Watches, gold filled $12 up
Bracelets. solid gold$12 up
CameoRings, Dia-
mond-set . . . $12 up
Vest Chains, solid
gold .... $12 up

National Credit Jewelers

DEPT. H502 108 N.STATE ST.
CHICAGO, ILL.

Hi BROS & CO. 1858 Stores in Leading Cities

IOFTIS

When you write to advertisers please mention TIIOTOPLAT MAGAZINE.

12!

Photoplay Magazine — Advertising Section

The Shadow Sta^

(Continued)

Society of New York

and Paris

Society and Stage Beauties of
Paris and New York have used

X. BAZIN

Powder (for removing objectionable
hair) for the past 50 years. Approved
by physicians, hospitals and dermatol-
ogists.

We have sold over one million bottles
of X. BAZIN Powder to the women of
America. Time and extensive use has
proven X. BAZIN Powder safe and
certain in its action. Try it.

SOc and $1.00

Refuse cheap, dangerous substitutes

If your druggist does not keep
X. BAZIN, send direct to us.

HALL & RUCKEL

231 Washington Street, NEW YORK, N. Y.

MR. AUTO OWNER

YOU— ARE— LOSING — M0NE1

UNLESS WE ARE FURNISHING YOU WITH

TIRES, TUBES AND ACCESSORIES

We Will Saie You from 35 to 60" b on Anything You Need for Your Car
trna rvAMDl r J 80x8* Non Skid Tirea . . $11.90
FOR EXAMPLE } Champion Spark Plugs (all sizes, 49c

OUR BIG LIST WILL FURTHER CONVINCE YOU. IT'S FREE FOR THE ASKING

UNION TIRE CO

THE HOUSE THAT PRICE BUILT

1123 Wood Street PITTSBURGH, PA.I

GRAFLEX-KODAKS

C.nneras, Lenses and supplies of every de-
scription. We can sane you 25 to 60 per cent on
slightly used outfits. Write at once tor our free
Bargain Book and Catalog

listing hundreds of slightly used and new
cameras and supplies at money - saving
prices. All goods sold on ten days' free
trial. Money refunded in full if unsatis-
factory. You take no chances by dealing
with us. We have been established in the
photographic business over 16 years.
CENTRAL CAMERA CO.
124 S. Wabash Ave., Dept. 1281, CHICAGO, ILL.

I TEACH : :/?

BY MAIL.

I won World's First Prize for best course!
In Penmanship. Under my guidance you can \
become on expert penman. Am placing many of n
students as instructors In commercial colleges at hit
salaries. If you wish to become a better penman, write
mo. I wiUsend you FREE one of my Favorite Pon«
and a copy of the Ransomenon Journal. Write today.

C. W. Ransom, 365 Essex Bldg.,KansaeClty,Mo.

King is comely, photographs better than
she used to, has fine dramatic apprecia-
tion, and takes adequate advantage of all
the opportunities offered her. She pans
out well as a star on her own. When she
plays she has a pleasing poise, she gets
effects by holding attitudes instead of
wildly gesticulating and madly murmur-
ing, and the result is distinctive.

Her story here is delightful feminized
Wild West comedy— all about the Ari-
zonians who wooed her, and how, and
what she did to them, she a lady with a
firm disposition and a violent hatred for
man humankind. Situations and captions
impel the laugh frequently.

THE CALENDAR GIRL—
American-Mutual

Juliette Day spins through some mod-
erately entertaining adventures in her
American-Mutual offering, "The Calendar
Girl." She has comedy sense and dra-
matic feeling and an elfish spirit, and
would make out excellently in a more tan-
talizing tale. This ought to be very pop-
ular though, if a certain theory holds, for
it deals extensively with clothes, having a
lot of scenes placed in a modiste's estab-
lishment involving the live-model-display
of many gowns.

There are some fetching bathing suit
exteriors and a rapid-firing romance, mak-
ing in all a seemly little tale.

ANYTHING ONCE— Bluebird

"Anything Once" possesses Franklyn
Farnum and a jumble of wild and woolly
imitations of the redoubtable D. Fair-
banks, the Farnum prodigy giving Blue-
bird great delight because of his mimicry,
which they count a distinctive asset. It
has to do with a will and love and plot-
ting on a wide ranch in the wild west,
and is brimful of fast riding and swift
shooting.

AUTOMANI ACS— Universal

Alice Howell, aspiring to be the femi-
nine edition of Charlie Chaplin, dresses
queerly, mops her hair up in a mess on
top of her head, kicks freely and puts a
pained-surprise expression over her face,
the while she comedies at the head of her
own company. "Automaniacs" is one of
these productions, containing the conven-
tional slapstick femininely applied. It
dug guffaws out of the audience, however.

THE PRINCESS VIRTUE— Bluebird

To see "The Princess Virtue" appre-
ciatively, one must catch oneself in a
bizarre mood, for of all bizarreities, it is
among the superlatives.

Miss Murray, in a Glaum-Pickford-
Tanguay potpourri, is the spirit of it, sup-
posedly a French innocent, seeking her
mate. In Glaumy clothes, with Pickford-
ian roll of the eyes under a mop of Tan-
guay hair, behaving as no other young girl
one knows of, she puzzles between her
suitors, Passion, Desire and Love, follow-
ing out one of the usual kind of duel
romances, for the locale is France and
personal satisfaction the measure of honor.

Never for a moment is one in danger
of forgetting who might be the star of the
offering, for Miss Murray, with her ela-
borated artificial ways is ever before the
camera's eye. One longs to see the change
coming and catch her with curls subdued
and Quaker primness ruling, but the tale
ends merely with her claiming her love
leaving the observer quite in the dark as
to the time he had taming her to Bos-
tonese.

This first Mae Murray flight for Blue-
bird is very facile and full of style, in
fact more so than of substance. It is
extremely well dressed, directorially ef-
fective and wonderfully photographed, but
the heart of it is too much concealed
under furbelows.

The Savage

(Continued fr

thought of Marie Louise's safety upper-
most in his mind. In a few seconds he
had reached the spot where she was wait-
ing, trembling for his safety, as she heard
the sound of the firing. A swift embrace,
and they turned back to see what had
happened to Julio. To McKeever's sur-
prise the half-breed was still kneeling be-
hind his log. popping up from time to time
to fire. Single-handed he was holding the
trail for them. McKeever started to re-
turn to the battle but the girl clutched his
arm.

"Don't!" she cried. "I can't bear it!
Don't!"

But even as she spoke they saw a fig-
ure dart down the side of the gulley
behind Julio. Before McKeever could
take aim, Joe Bedotte had flung himself
upon his enemy and buried a knife in his
back. Julio had given his life to atone
for what wrong his savage mind had one
time conceived.

McKeever would have undertaken im-
mediate justice upon the killer, but he

Every advertisement in PHOTOPLAY MAGAZIXE is guaranteed.

0)11 page ioo)

remembered the girl at his side. He had
no right to keep her in danger an instant
longer than was necessary. Bedotte could
wait. The arm of the law would reach
him in good time. So the lovers rode
down the Caribou trail, to safety and
happiness.

But Julio was not alone in his final
moments. From behind a boulder crept
a sad little figure. The one who had loved
him most of all, and who had hated him,
but loved him most deeply even when
she hated him. had followed the man she
had told to kill him. Now Lizette found
that her request had been granted. Julio
was dying.

With a moan she flung herself beside
him, showering kisses upon him and beg-
ging forgiveness. Julio did not under-
stand. With fading sight he looked up
at her, and smiled weakly.

"Au 'voir, Lizette," he whispered. "I
go long voyage now. Some day, may-
be—"

And the torn heart of the savage was
at rest.

Photoplay Magazine — Advertising Section

129

Winners of the Contest

(Continued from page 104)

MRS. BYRD WEYLER KELLOGG

• Winner of Fourth Prize— $200

Scenario :
"The Moth and the Skipper Fly"

My interest in the screen had a queer
inception. I represented a prominent
club of this district, on a censor board.
We first sat on "The Underworld of
Paris." Found it both innocuous and
stupid ! These private exhibitions put me
in touch with a part of life I had never
seen. Rapidly I developed into a devotee.
I got the vision of the future then, and
suggested co-operation as a means to our
purpose.

So I've gone along, my family with
me, until today our knowledge of the
silent drama • is comprehensive. Faith-
fully we follow our favorites. We like
House Peters. He's a man's man, sprout-
ing neither wings nor hoofs, — just hu-
man. Keeping human is an art in itself,
practically a lost one.

The inimitable Charlie Chaplin has
SOUL. I hurl a defi at every highbrow
within hearing. We like Sessue Haya-
kawa. He's the only motionless motion
actor in captivity. That is what we like,
his inactivity — repose. And Jack Pick-
ford — all the youth of America — your son
and my son. "Seventeen" and a younger
"Varmint" — just struggling boy, — with
manhood straining at the leash.

My son (six years) is a fan. Imagine
the hybrid — it walks like "Charlie" and
fights like "Doug"!

I repeat today what I said years ago
in committee, the public will get what it
demands. The audience of today, busi-
ness men, professional men, want interest
and accuracy. All the great middle class
of America, that universal axle of life
that swings civilization, expects and will
get a gradual development in the motion
picture world. Already the silver sheet is
taking on all the attributes of good litera-
ture; action, physical action, alone is
passing.

And so, after all this, what more na-
tural than that I should write a scenario.
For a long time I have been a member.
of the "I-could-write-a-better-one-than-
that," club. The sequence follows: I
tried — opportunely, Photoplay Magazine
urged me on, and I submitted "The Moth
and the Skipper Fly." Behind the natural
desire that it come out right, honor and
justice triumph, etc., was a stronger urg-
ing. I wanted to help one desirable, ma-
ture, bachelor win a pretty girl. Just
youth to youth, because it is, is an un-
reliable charter for the sea of matrimony.

Adorable Marguerite Clark really drove
me to it. When I saw her in "Something
in Hoops" (title forgotten) discard a per-
fectly good, before-the-war bachelor for
a young jackanapes in a badly fitting
coat, I lost all sense of masculine rea-
soning.

So that maternal instinct, seldom dor-
mant in a happy wife, made me champion
the bachelor. The younger man might
have made Jane happy, but — why risk it?

Goodness, I hope the doctor and his
wife live haDpy ever after, for I did it
with my little Corona!

w///;//;/a>//////////^^^^^

BEAUTIFUL

EYEBROWS and LASHES

will transform a plain, unattractive face to one full of charm,
beauty and expression. Read what a famous Fashion and Beauty
Expert says in the Chicago Examiner:

nightly. This well-know preparation nourishes in a natural manner the
eyebrows and lashes, making them thick, long and silky, thus adding depth and
soulful expression to the eyes and beauty to the face. LASH-BROW-INE,
which has been successfully used by thousands, is guaranteed absolutely-
harmless. It has passed the famous Westfield-McClure test for purity.

Sold in two sizes, 50c and $1.00. Send price for size you wish and we will mail LASH-
BROW-INE together with our Maybell Beauty Booklet, prepaid in plain, sealed cover.

SATISFACTION ASSURED OR PRICE REFUNDED

Genuine Lash-Bmw-ine
Manufactured only by

MAYBELL
LABORATORIES

"Don't Shout".

"I hear you. 1 can hear
now as well as anybody.
'How"? With the MORLEY
PHONE. I've a pair in my ears
now, but they are invisible. I
would not know I had them in,
mvself, only that I hear all _
The MORLEY PHONE for the

to the ears what
glasses are to the eyes,
visible, comfortable, weight-
less and harmless. Anyone
car adjust it" Over 100,000 sold. Wiite for booklet and testimonials.
THE MORLEY CO., Dept. 789, Perry Bldg., Phila.

DEAF

PARKER'S
HAIR BALSAM

A toilet preparation of merit.
Helps to eradicate dandruff.

For Restoring Color and Beauty
to Gray and Faded Hair.

50c. nnd $1.00 at druggists.

*$20!

VIOLIN

Ukulele Guitar, Man-
dolin, Hawaiian Guitar or Cornet

/ Yes, absolutely free to first pu-
pils in each, locality. ^Ve have
[' the most wonderful, new, system for learn-
| I I ! ing by mail to play by note. Piano, Organ,

I * Violin, Mandolin, Guitar Ukulele. Hawai-

ian Guitnr or Cornet. Very small charge
for lessons only expense. Wo guarantee success or no charge.
Complete outfit free. Write now. No obligations.
Sllngerland School of Music, Dept. 240, Chicago, III*

E A BANKER

Prepare by mail for this high profession, in which there
are great opportunities. Six months' term. Dhploma
awarded. Semi for tree hook, "How to Become a
Banker." EDGAR G. AIGORN. PrcsiHent

AMKRIOAN SCHOOL OF BANKING

457 E.st State Street COLUMBUS. OHIO

When you write to advertisers please mention THOTOPLAT MAGAZINE.

•3°

Photoplay Magazine — Advertising Section

DOWN

FREE
TRIAL

No Games Like These !

In all this big, wide world, there are no more absorb-
ingly interesting games than Billiards and Pool. Every -
i lays, or wants to play— and everybody wants to
well. It's practice that perfects your ga me .
For only a few cents a day, you can soon own your

edehs

Billiard and Pool Table

It can be set on dining or library table or on its own legs
or fuldinjr stand. No speciul room is needed. Put up or down
in a minute. Sizes range. "P to 4'.<x 9 ft, (standard). Prices
of Tables $15 up '$1 or more dowiu. Ball-;, cuts, etc., free.

The original Burro wes Home Billiard and Pool Tables are
world-famous. Thev are splendidly built in every particular.
Many experts use them for home practice. Burrowes Regis
Hiffh-Speed Robber Cushions are the best made.

Burrowes Tables are now on sale in many cities and towns.
FREE TRIAL — Write us for catalog .illustrated),
containing free trial offer, prices, terms, order blanks, etc.

THEE.T. BURROWES CO., 186 SpringSt., Portland, Me.

Also San Francisco and Los Angeles Offices

6VERYWOMAN '

Your Poise

^nd Carriage

are affected more by the unseen things
of your apparel than by outer garments

HOSE SUPPORTER

contributes to your ease and comfort — allows
the utmost freedom of action and retains its
life and resiliency after long wear.

It is the only woman's hose supporter having
the Oblong Rubber Button which pre-
vents tearing and drop stitches.
l GEORGE FROST COMPANY, MAKERS, BOSTON Jl

Only $2.50

IPrice-To Introduce

To prove to you that our blue-
white MEXICAN DIAMOND exactly

resembles the finest genuine
South African Gem. with sunie
dazzling, rninbow-hued brillian-
cy (floaranteed ) , wewill send you
this beautiful, high-grade. 12. kt.
gold-filled Tiff. King set with
1-kt. gem. regular catalog price
$4 98, for One-Hall Price $2.50.
Same gem in Gent'sHeavy Tooth
Belcher K i ng. cat a log pr ice. S6. 26.
for $3.10. Wonderful, dazzling"
rainbow bri llianoy. Guaranteed SO
rears. Sen.] SI 00 and wewill ship aO.D. for Free Examina-
tion. Money back if not pleased, Act Quick. State size.
Offer limited. Only one to a customer. Catalog free. Agents Wanted.
MEXCIAN DIAMOND IMPORTING CO., Department C. B., Las Cruces. NEW MEXICO
(Exclusive Controllers of the Genuine Mexican Diamond)

VETERINARY COURSE AT HOME

Taught in simplest English dur-
ing spare time. Diploma granted.
OoBt within reach of all. Satis-
faction guaranteed. Have been
Tending by correspondence
twenty years. Graduates assisted
in many ways. Every person in-
terested in stock should take it.
Write for catalogue 1701717
and full particulars *^ *VCC

LONDON VET. CORRESPONDENCE SCHOOL

A Branded Soul

(Continued from page 60)

"You cannot run away from me so
easily! You thought you had sent me to
my death — " he paused.

The reflected glow from the smoke
clouds had glimmered on the gold cross
which hung about her neck, suspended on
a slender chain, and Juan's maddened gaze'
centered upon it. With an oath he tore it
from her breast and cast it into the burn-
ing timber.

"Juan, my cross!" A little sob burst
from Conchita. "Ah, give me my cross
again!"

"That I shall do!" An evil, triumphant
laugh escaped him and leaping upon the
charred scaffolding he took the cross from
the fire with his bare hands. "Here is
your cross, to carry while you live as a
mark of your shame!"

Conchita shrieked once as the searing
agony of the brand bit into her flesh.
Then the firelight died before her and she
swayed in merciful faintness. All. at once
the oblivion into which she was sinking
was pierced by a groan in a voice which
brought her senses back in a swift rush
and unmindful of her own torture she
sprang forward.

John Rannie, with blood running down
his face, was struggling feebly in the
grasp of a howling mob who were lashing
him to the scaffolding of the burning well.

"Stop!" Conchita cried high and clear
above the raucous shouting. "Let him go!
Madre de Dios, you would not burn him
to death! You shall not harm him!"

The mob turned with one accord and
stared at her in mute astonishment and at
that moment Juan Mendoza sprang in
front of her.

"It is his mistress!" he shouted. "Con-
chita Cordova, mistress of the robber who
has taken from you your lands and homes!
Will you listen to her?"

A howl of mingled rage and derision
went up from the rabble and they turned
again to their victim. Conchita measured
their strength and a sob of utter despair
welled up from her heart. The next mo-
ment she had slipped from the throng and
was running with all her might to where a
group of horses was tethered beneath a
mahogany tree. A dexterous twist of the
rope, a slim figure swarming up into the
high peaked saddle, a clatter of hoofs on
the hard-packed road and Conchita was
off- for the north and the army encamp-
ment which lay beyond the border.

The blow of the machete which had
gashed Rannies brow had mercifully
stunned him and he was conscious at first
only of the ropes which bound him so
tightly that each was a separate torture.
It seemed to him that for just a moment
the face of Conchita had appeared before
him, eager, pleading, but it vanished and
a great cloud of smoke billowed down
about him. He tried to cry out. to strug-
gle, but a white-hot agony seared his lungs
and darkness closed in upon him.

When he awakened after aeons of time
it was with the silver tones of a bugle
ringing in his ears, and trim khaki-clad
forms bore him from the blazing scaffold
just as the huge derrick fell. The rabble
had been miraculously dispersed at the
approach of the detachment of cavalry
and Rannie searched in vain with his
smoke-bleared eyes for the face of Con-
chita Cordova.

"Girl rode to camp for us." The com-
manding officer was youthful and scented
romance. "Came back with us but she
must have slipped away somewhere. Guess
you know who she is, old chap!"

The next morning John Rannie. weak
and pallid, tottered about over the burned
area as near as he could safely go to the
still flaming wells. He was a ruined man.
All that he had struggled for and planned
and hoped had gone up in a spark of mob
vengeance!

His aimless, wandering steps led him
unconsciously to the old mission church,
and he strolled up the path and peered in
at the door. At first he could discern
nothing in the dense shadow but grad-
ually the outline of a slender kneeling fig-
ure took shape before the altar rail and
scarcely daring to credit the evidence of
his senses, Rannie stole down the aisle.

It was Conchita. He knew her by the
lithe swaying of her body as she prayed;
by the masses of shining brown hair which
were knotted low upon her neck, by a
subtle influence which seemed to emanate
from her as fragrance from a flower.

Gently, silently he crept forward and
knelt beside her.

Conchita glanced up startled, then as
she recognized him the light of a benedic-
tion so pure, so radiant flowed from her
eyes that John Rannie bowed his head in
the reverence of one before a veritable
shrine, and hand in hand, like little chil-
dren, they gave thanks together.

Impossible

Uept. H

London, Ontario, inn.

These things I have seen, in the electric theatre:

Plays in which I hoped the villain would defeat the hero, keep the papers,

marry the girl, foreclose the mortgage, and live happily ever after.

Plays in which I longed to see a Boy Scout slap the hero on the wrist

and smash his watch.

Plays in which the ingenue looked old enough to be the mother of her

country.

Plays in which the society belle looked and behaved as if she had been

brought up next door to the gas works by a family of Hottentots.

Plavs in which cowboys, brakemen, mechanics, plumbers and similar

types of nature's noblemen, looked as if they had just stepped out of a

tonsorial and manicure emporium.

And so on.
But these things I have not seen, nor ever expect to see:

Plays in which Douglas Fairbanks gets licked.

Mary Pickford plays which end unhappily.

Every advertisement in rTTOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

l3l

Why Do You Do It?

(Continued from page Si)

the narrative, to have the motives and
emotions simple and easily understood.
The critics of the motion picture forget
this. They demand that audiences shall
receive that which they, the critics, think
they ought to get, not that which the au-
dience wants, knows what it wants and
insists on getting. In other words, they
would make Shakespeare, Ibsen and
Browning ''compulsory reading*' with
screen audiences, forgetting that those
audiences are after recreation, and can-
not get it through an appeal to depth of
thought and breadth of learning.

And as the patrons of the motion pic-
ture theaters are paying to get what they
want, they are just as much entitled to
get it as the man who goes into a haber-
dasher's to buy a particular cravat which
he has seen in the window, and which
he wants to the exclusion of all others.

The public can help the producer by
taking pleasure in the sight of character
building and character destruction on the
screen; in the appreciation of the fact
that certain causes are bound, in real life,
to produce certain effects, and that in
reality, handsome and heroic young men,
ever striving to save beautiful young
girls from some horrible villany, are not
half so common as plain young men.
courting in a plain and unheroic way,
plain everyday girls.

But. just as it is the unusual which
makes a so-called "comedy situation," it
is the unusual which generally makes the
dramatic effect, and I do not expect the
public taste to change for many, many
years.

The wise producer makes his pictures
to suit the public taste and not that of
the critics.

By H. O. Davis — Triangle

1KNOW it has been the fashion to deny
the existence of any taste for prurient,
unwholesome photoplays, but I am not
going to deny the existence of such a
demand. It is as real as crime and the
drug habit, but it applies to an equally
small percentage of people, and, like
crime, the drug habit and other vices, it
doesn't pay. least of all to the man who
supplies the commodity.

If the exhibitor in a large community
puts on a questionable film, and procures
a lot of talk about it, and numerous
written objections, he may fill his house
for a period. The prurient, however, are
consistent : they hang together.

But while getting his maudlin attend-
ance the exhibitor must also be aware of
this: in choosing his patronage he has
deliberately cast aside ninety-five per
cent of the picture patronage of the com-
munity; in gaining his houseful, he is
getting all there are of their kind. In
drawing a houseful of the people who
want wholesome photoplays he is not even
skimming the surface of the community's
better element, who will come again and
again and again.

Big Money for Typists!

Let me save you more than Vi on a $100 UNDERWOOD

Read what Woman's Council of
National Defense says:

Washington, Oct. 23— Dr. AnnaHoward
Shaw, of Woman's Council of National
Defense urges America's girls to take up
typewriting in defense of their country.

"A vital need of the Government and
business today is for stenographers and
typists and we are urging our state
divisions to spread the idea among girls
and young women. Government posi-
tions pay from $900 to $1200 a year to
start.

"The Committee urges that all who
are untrained immediately undergo in-
struction in exactly the same spirit
that has moved them to attend classes
in nursing, that is, the spirit of help-
fulness.'*

You May

RENT

' APPLYING RENT

PURCHASE PRICE

FOR CASH OR
ON EASY
PAYMENT*

Positions Open Everywhere

Never was there such a demand fur typists
and stenographers as now. Never was the
opportunity so great for the man, girl or
woman who secures a typewriter and quali-
fies for an office position. Employers
everywhere must replace trained help who
have gone to war and wages are higher
than ever before.

What I Will Do

Write me today on postcard or coupon below and
I will tell you how you can EARN a genuine
Underwood while LEARNING in your own home.
I will gladly RENT you one of these fine machines
on a small monthly rental and I will accept your
first six months' rental on the purchase price
if you decide to own it.

What I send you— Ten Days' Free Trial

I will send you a genuine No. 4 Visible Writing Under-
wood, exactly as illustrated, witii Hack Spacer. Tabu-
lator, Stencil Attachment, 2-Color Ribbon, Waterproof
Cover, and Special Touch Typewriting: Instruction
Book, which will teach you to operate a simple Under-
wood in one day. I save you more than }i the manu-
facturer's price. I will allow you Ten Days' Free Trial
so that you can see, try and use the machine all you
want before keeping.

No Other Institution Like Mine

I am the largest typewriter rebuilder in the
world, handling onlyUnderwoods, obtaining all
machines and parts from the Underwood Com-
pany. I give a written FIVE-YEAR GUAR-
ANTEE WITH EACH MACHINE. 200,000
customers use my machines.
Mail Coupon Below — Write today and I will
send you prices, terms, rental, monthly pay-
ment or Agency Plan No 53. Mail coupon below.
E- W. S. Shipman. Pres.,

TYPEWRITER EMPORIUM

34-36 Lake St.. Chicago

IMr.E. W.S. Shipman, President, Typewriter
Emporium, 34-36 Lake St., Chicago
Send me at once your complete plan No. 53 for
Rental, Partial Payment and saving of over
*■> manufacturer's price on Underwood Type-
writers.

Name.

St. or R.R. No.

City.

TYPEWRITER EMPORIUM

Established Quarter of a Century

Look Here!!

*4t Autographed Photos of Movi%
" M Stars. superior to all other* at

10c each or a set of 12 lor $1

They are 7x11 and make a very
suitable decoration for your room
or den. Make your selection of
the following;

Alice Joyce, E>oug1a9 Fairbanks,
Pearl White, Glga IVtrova. Mar-
gruerite Clark, Clara Kimball
Young, Mary Pick ford, Theda
I '..i ::i (2 poses), Anita Stewart,
William Farnum, Norma Tal-
madge, Francis X. Bushman and
others.

Send stamp for list and your
order at once with currency,
money order or U. S. stamps to

S. BRAM
Pent. A28.126W. 46th St., NewTfork^

mUblu In Your Home UlLL

By the Oldest and Most Reliable School of Music
in America — Established 1895

Piano, Organ, Violin, Mandolin, Guitar, Banjo, Etc

Sou &*n M-oA TnMAM. IMt tfoa opuM^

Beginners or advanced players. One lesson weekly. Illus-
trations make everything plain. Only expense about ic
per day to cover cost of postage and music used. Write
tor Free booklet which explains everything in full.
American School of Music, 8 Lakeside Bldg., Chicago

DIAMONDS -WATCHES on CREDIT

NO MONEY IN ADVANCE .
A -Hy Pure, Blue-white Diamond or any other ai..v

our cataloe on approval- all CHARGES PREPAID. s
t — balance 10>» mi '
Fiiarantce with each Diamond covering quality ; exchangeamc ai i
FULL VALUE. Transactions confidential. All honest person!
. given credit. Write today for CATALOG No.6"TContainii.„
4000 photorrraph-i of Diamonds, Watches, Jewelry, Silverware,
\ etc.— it's FREE. 10>Diicount Allowed For All Ca.h.

cJAIMES BERGMAN fete 37~ %%&&,£ £%±£^

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

132

Photoplay Magazine — Advertising Section

El-Rado

Julian Eltinge, foremost impersonator of
beautiful women, finds El-Rado invalua-
ble in his professional work. He freely
recommends it as the quickest, simplest,
and safest way to remove hair from the
face, neck or arms.

Prominent actresses regard El-Rado
as really necessary for their dressing
tables and traveling kits. Clean, hair-
free underarms of babylike smoothness
can best be attained through the use
of El-Rado, a sanitary lotion easily
applied with a piece of absorbent cot-
ton. Entirely harmless.

Ask for "El-Rado" hair remover at any
toilet goods counter. Two sizes, 50c.
and $1.00. Money-back guarantee.

If you prefer, we will fill your order by
mail, if you write enclosing stamps or coin.

Pilgrim Mfg. Co., DepL P, 112 E. 19th St., New York

Canadian Address, 312 St. Urbain, Montreal

Lillie Langtry Used Magda

"Excellent and so pleasant to use" is the way she
expressed her appreciat.on of Magda' s merits. This
famous Actress whose wondrous beauty thrilled the
world used Magda Cream. Suppose she had used a
cream that was not pure, a cream that contained
lead, bismuth or injurious chemical. Beauty is but
skin deep but most ladies prefer retaining it, and
the best way is to use a cream that you know is pure,
free from Animal Fats or Injurious Cnemicals.
\lngda Cream contains none of these things, Those
who have used Magda need no urging. The people
we want to reach a e the ones who have not used it.
We want to show you its merits at our expense if not
pleased. Buv a pacKage, use it a week, if not satisfied
return and we will refund your money. Magda
gives best results used nightly for the massage, andis
a habit acquired by leading stagn folks and society
women who must always appear at their best.
Magda Cream can be obtained in 25c
tubes ; 50c Opal Jars ; 75c Japanese Jars ;
$1 Tins at drug departments, or direct.
F. C. KEELING & CO., Rockford, 111., Agents

EMPRESS

Instantaneous

Hair Color
Restorer

>/=:

Worth its weight
in gold to anyone
whose social, pi ofess-
ional or Business
Success depends on
looking young. One
appl ication restores
Gray or Faded Hair
to ItR natural color
immediately. Makes the hair soft and
fluffy. Covers up the tracks of ape.
Defies detection. Easily applied. No
after washing. Constantly used for
20 years, by Hair Dressers and re-
fined people everywhere. If your
dealer hasn't it, order by mail, price
$1.25, in plain wrapper. If you
have never used itwe will send y^y^ T"i r*
enough for one application r* |\ IVP^
(state color desired). . . . m.^.m^^+
Empress Instantaneous Hair Remover
is an unqualified success, endorsed by many
experts; removes unsightly hair. Sold with
kback guarantee. Hoes not encourage new
shaving. It retards growth and eventually d
oots. Lai

rge bottle 50c of your deale

... out
, or by mail of

EMPRESS MANUFACTURING CO.
Dept. 43. 36 West 20th St.. New York

A Good Gift Suggestion

See Page 1 24

Signing Up Cynthia

(Continued

take his inamorata to lunch. Poor dub,
I thought. Next thing he'll be getting
married.

"Promptly at the appointed hour Ath-
erton showed up. I was in the Chief's
office, discussing some changes in a pic-
ture I'd just done, when he was an-
nounced.

" 'Show 'em in,' the Chief growled to
his secretary, then turned to me, holding
out a letter the girl had given him.
" 'What do you think of that?' he roared.

"I took the letter and read it. It was
from Josephine Walker, the woman we'd
counted on to appear as co-star with
Atherton. It said that she had sprained
her ankle, and would be laid up for at
least a month.

"The news upset me considerably. I
was still reading the letter when Atherton
and Polly came into the room.

" 'Mr. Goldheimer,' I heard him say.
'Permit me to present you to — '

"That was as far as he got. The Chief,
who had been staring at the girl with
bulging eyes, rose from his chair with a
roar of delight.

"'Cynthia Love!' he exclaimed, and
held out both his hands. As for Harold,
he stood frozen in his tracks, his jaw
dropped, and he looked as though he
thought the Chief had taken leave of his
senses.

"The girl, however, was perfectly self-
possessed. I had never met Cynthia Love,
although her face was as familiar to me
as my own. She stood there in her dainty
little gingham, that must have cost fifty
dollars if it cost a cent, looking the very
picture of demure innocence and grace,
while the Chief beamed at her like an
overgrown schoolboy. He had moved
heaven and earth for eighteen months to
get Cynthia away from the Metagraph.
and to have her walk so unexpectedly
into the office simply took his breath
away.

from page 48)

" T say — ' Harold began, but Cynthia
cut him short.

" 'Mr. Atherton has promised to get me
a position with the International,' she
said.

" 'How much do you want, Miss Love?'
the Chief asked, pressing a button on his
desk.

"Cynthia took a folded paper from her
purse and laid it before him.

" 'Two thousand a week,' she said,
'with an interest in the next profits. Here
is my contract with the Metagraph, which
expired last month. I have noted the
changes in pencil.'

" 'Ralph,' the Chief said to the clerk
who came to the door. 'Send Mr. Lewis
here.' Lewis is the head of our legal
department. Then he turned to Cynthia.
'Your terms are perfectly satisfactory,
Miss Love. If you care to do so, you
can begin by playing the star part in our
big new production of 'Camille,' with Mr.
Atherton as your leading man.'

"Poor Harold, who had been com-
pletely submerged for several minutes, at
last managed to come up for air.

" 'By Jove!' he said, mopping his fore-
head. 'You were spoofing me all the
time!'

"'No,' Cynthia said to him. 'Not all
the time. Only about my work. Every-
thing else was real. Will you forgive
me?'

"Nobody on earth could help forgiving
Cynthia anything, when she looks at them
that way, and least of all could Harold.
As I said before, he's head over heels
in love with her, and I have an idea she
is by no means indifferent to him."

"Quite a little romance, isn't it?"

Ellis looked at me with a grin.

"My God," he said. "No wonder
Jerome was nervous." Then he took a
folded manuscript from his pocket.
"Here's that synopsis I wrote for Cyn-
thia," he continued. "Look it over.
Maybe I can sell it to you."

The Little Princess

{Continued from page 36)

Miss Minchin, seeing the turn affairs
were taking, interposed.

"I have always been fond of Sara; she
is an unusually bright child. I hope that
you will remember all that I have done
for you, Sara, dear."

Sara turned her serious eyes upon the
woman.

"What have you done for me?"

"I have given you a home," began Miss
Minchin, uneasily. "I might have turned
you — "

"You will be well paid for what you
have done," interrupted Carrisford,
brusquely. "Not that you deserve it, but
because I think Sara would rather have
it so. She does not need to have it said
that she owes anyone a penny. The re-
port about the failure of the mine was
not true — and I have invested Sara's in-
heritance so that she now has a fortune of
many millions."

Turning from the speechless Miss Min-
chin, he said to Sara: "When you have
done your dinner, come with me. My
home will be your home, hereafter, and

tonight there will be something there for
for you."

"And Becky, too?" asked Sara.

Carrisford inclined his head. "Becky,
too, if you wish."

So Ermengarde's prophecy was realized
in a far greater measure than she or Sara
had ever dreamed. A pair of old shoes
for a Christmas gift, indeed! Oh, the
glory and wonder of the star-studded tree
that Carrisford hung with gifts for her
in his home. Oh, the rapture with which
she invited in all the cold hungry children
of the London street who were standing
with their noses pressed to the window-
pane! And the joy with which she and
Becky, herself in lace and ribbons and
Becky in all the bizarre finery her soul
craved, handed gifts to those less for-
tunate children, upon that wonderful
Christmas Eve!

"It's a fairy tale," whispered Becky
and Sara to each other, when at last the
lights were out and the morning of their
new life was but a few hours away. "It's
a fairy tale, come true!"

Every advertisement in PHOTOPLAY MACAZIXE is guaranteed

Photoplay Magazine— Advertising Section

133

Dressing for the Movies

Some of the costume tricks 'which the
aspirant for screen stardom must learn

By Helen Starr

A FAMOUS author was visiting a
picture studio for the first time.
The stage was set for a scene in
a photoplay featuring Fannie Ward. The
author was not a little amazed to see
this famous star come from her dress-
ing-room garbed in a green broadcloth
skirt, a bright blue waist, a yellow tie
and a purple belt.

The author made a little inward
gasp. "Why, I've known Fannie Ward
for years and there never has been a
more perfectly dressed woman on the
stage. Color has always been an espe-
cial fetish with her — in London she used
to spend weary hours matching a shade
or hunting a fabric which would blend
with the tones of her hair and the color
of her eyes. Certain shades of pink
and blue have been named for her — and
all the small town women in the country
watch her costumes on the screen. Now,
why do you suppose to-day she is wear-
ing such a distressing color discord?"

The author's outburst was cut short
by Miss Ward's greeting. The visitor's
eyes must have disclosed what she was
thinking.

"There's a serious reason for this color
mixture,-' laughed Miss Ward. "You
see this particular green broadcloth skirt
fits me to perfection. Now, the director
asked me to wear this blue waist be-
cause the sleeves have to be torn away
when the rough soldiers enter the Ma-
jor's home. and. as it happens, these
sleeves will pull away easily. This tie
had to be in the outfit because it is
woven of material strong enough to tie
the enemy's spy to a tree and this belt
serves as a whip lash which I use on the
villain. The camera of course wont tell
the atrocious color secret.'"

In this matter of color, the picture
actress has a decided advantage over her
sister in the legitimate. She can often
use gowns remodeled from two materials,
the colors of which clash decidedly when
exposed to the naked eye, or costume ac-
cessories which do not tell their whole
story on the screen. A green handbag
carried with a red suit might make a
loud noise in any business block, but the
same combination on the screen might be
carried by the most conventional of in-
genues.

In the stock company in your home
town the autocratic leading lady says,
"next week I shall wear blue in the first
act. The rest of the company may plan
accordingly."

The "second" woman who usually
plays vamp roles has the next choice.
"I'll wear pink." she states with an air
of finality. Perhaps the ingenue and the
other woman in the company will have to
buy new gowns of different hues no mat-
ter what the cost, for the leads have
first say in the matter and must not be
crossed.

In picture drama every woman in the

cast may wear blue if she chooses with-
out fear of incurring the displeasure of
the star. Nor does the film actress have
to think of the colors of the scenery be-
hind her. This matter is of the utmost
importance in stage productions. In the
pictures, she will not have to buy -a new
gown in order to produce a color contrast
with some particular set which the man-
ager wishes to use in the drawing-room
of the villain's home.

If one is making a real stage entrance
each night before critical audiences, it
is necessary to have the materials of
one's gowns made of the best the market
affords.

When the production of film stories
began one of the greatest objections
voiced against screen heroines was the
fact that their gowns were often tawdry
and their appearance far below the mark
set by the best legitimate actresses. Fab-
ulous fortunes had not yet been made
from celluloid fiction and the production
managers bought sparingly of historical
costumes and none at all of modern
stuff. Gradually, as the business devel-
oped and more perfected cameras por-
trayed texture to a remarkable degree,
the best in gowns and accessories was
none too good for the screen.

Present-day pictures are a veritable
fashion show. Stars never use a "repeat"
of the same gown in different pictures.
One company, producing a continued
story which centers about a pretty hero-
ine, purchased some six gowns a week —
at the- rate of three hundred and twelve
a year — for her exclusive use in the film
story. Each was cut from a sumptuous
fabric and there were hats, parasols,
shoes, jewelry and other accessories to
go with them.

Geraldine Farrar's account at a well
known Los Angeles dry goods store shows
an expenditure of two thousand dollars
a month for feminine finery. Besides
herself, the stars who spend fortunes
for gowns and who are undoubtedly the
smartest and best dressed women of the
screen are Mrs. Vernon Castle, Olga
Petrova, Norma Talmadge. Mary Pick-
ford, Alice Brady, Pauline Frederick,
Anita Stewart. Billie Burke, Clara Kim-
ball Young, Marie Doro, Fannie Ward,
Mabel Normand and Marguerite Clark.
Photoplays starring any of these women
are full of fashion tips.

The extra women in pictures or those
just mounting the ladder to success do
not have to buy the best of materials for
their gowns. As long as they make
background and are rarely called into a
"close-up" they get by with a good gen-
eral appearance. Of course, gowns must
never be dowdy or soiled — at a few -of
the better studios a woman of excellent
taste reviews all the picture people who
are to play in scenes at that studio. If
a drapery is torn or a skirt hangs askew
or a pair of slippers is soiled the actress

This Gift Will
Please Any Man

You'll be sure of giving him just
what he wants if you choose the

Boston Garter

in one of ourhandsome,iiewChrist-
mas boxes. Any man who receives
it will leel that be is greeted by an
old friend in holiday dress, because
every man who wears garters
knows the "Eo&ton," Beautifully
colored holiday boxes (different
designs) at stores everywhere.
or by mail,
postpaid,
25,35,50c
GEORGE
FROST CO.
BOSTON

MiniatureBottli

You have never seen anything
like this before

The most concentrated and exquisite per-
fume ever made. Produced without aico-
hol. A single drop lasts days. Bottles like
picture, with long glass stopper, Rose or
Lilac, $1 50 ; Lily of the Valley or Violet.
$1.75. Send 20c silver or stamps for mini-
ature bottle.

An Ideal Christmas Gift

FTowerDfops

The above also cornea in less concentrated
(usual perfume* form at $1.00 an ounce at
druggists or by mail, with two new extra
odors, "Mon Amour' 'and "Garoen Queen."
which are very fine. Send §1.00 for souvenir
box, five 25c bottles same size as picture,
different oders. Send stamps or currency.

BEAUTIFUL NAILS

WW F™1 JTi ]| A f\ A Woman's hand is one of her

r~t W^ #V lyl 1/ chief charms. Naitux is a Nail

^^ ^^ Food. Itisnot an enamel— nota

ar a WW w T \T varnish. Itdoesnutclogthepores

l\l J\ll I J X of the nail. It contains all the

■» » **■ •» '-' *~ "** essemi.il oils to keep the nails in

The Polish That Lasts Perfect Condition

and imparts a brilliant, Lasting
Polish. Soap and "Water does not effect the luster. The
Nails Never become Drj or Brittle when Ntrilux is used.

Thrre months' mpply 25c. Large sizeSOcfer bottle.

Mail proper amount and NAIL I Xwitlbe sent at once.
HER MO CO., 542 East 63rd Street. CHICAGO

YOUR TWO
GREATEST DESIRES

Be Beautiful, Prosper-
ous— learn advanced
method of Personal Cul-
ture. Possess perfect
complexion. We teach
you — make yon an expert in
care of Face and Scalp, Fac-
ial Massage, Electrolysis,
Scalp Treatments, Shampoo-
ing, Manicuring, MarcelWav-
f ng, etc. Improved Beauty and
^jn^ Business independence assured.
$12 00 to $25.00 a week positions guaranteed all who
qualify $18.00 to $30.00 a week made in your own
home. Write for FREE} information.

MARINELLO CO.. Pept. 3, Mailers Building, CHICft60

BEAUTY
PROS P E RITY

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

134

Photoplay Magazine — Advertising Section

STUDIO DIRECTORY

For the convenience of our readers who

may desire the addresses of film com-
panies we give the principal ones below.
The first is the business office; (s) Indl
cates a studio ; In some cases both are
at one address.

Amwucan Film Mto. Co., 0227 Broad-
way, Chicago; Santa Barbara, Cal. (s).

Artchaft I'll 'II IBBS COBP. (Mary 1'ick-
fordi, 72!) Seventh Ave., .New York City ;
Hollywood, Cal. (S).

Balboa Amusement Producing Co.,
Long Beach, Cal. (s).

BhbnON, HebbebT, Prod., 729 Seventh
Ave., N. Y. C. ; Hudson Heights, N. J.
(s).

Christie Film Coup., Main and Wash-
ington, Los Angelas, cal.

EDISON, Thomas, Inc., 2826 Decatur
Ave., New York City. (s).

Empire Ali.-Stah Corporation, 220 S.
State St., Chicago; Myrtle Ave., Glendale,

I.. I. (SI.

Essanay Film Mfg. Co., 1333 Argyle
St.. Chicago, (s).

FAMOUS Players Film Co., 485 Fifth
Ave., New York City; 128 YV. 56th St.,
New York City. (s).

FOX Film Corp., 130 AY. 46th St., New
York City; 1401 Western Ave., Los Angeles
rs) ; Fort Lee, N. J. (si.

GAUMONT Co., 110 W. Fortieth St.. New
York City ; Flushing, N. Y. (s) ; Jackson-
ville, Fla. (s).

Goldwyn Film Corp., 16 E. 42nd St.,
New York City; Ft. Lee, N. J. (s).

Horsley Studio, Main and Washing-
ton, Los Angeles, i

Kalbm Co., 235 W. 23d St., New- York
City; 251 W. 19th St., New York City (s) ;
1425 Fleming St.. Hollywood, Cal. (si ;
Tallyrand Ave., Jacksonville, Fla. (s) ;
Glendale, Cal. (s).

Keystone Film Co., 1712 Allesandro
St., Los Angeles.

Kleine, George, 16G N. State St., Chi-
cago.

Lasky Feature Play Co., 485 Fifth
Ave., New York City ; 0284 Selma Ave.,
Hollywood, Cal. (S).

METRO Pictubes Cobp., 1476 Broadway,
New Y'ork Citv ; Rolfe Photoplay Co. and
Columbia Pictures Corp., 3 W. 61st St.,
New York City (s) ; Popular Plays and
Players, Fort Lee, N. J. (s) ; Quality
Pictures Corp.. Metro office; Yorke Film
Co., Hollywood, Cal. (s).

Morosco Photoplay Co., 222 W. 42d
St., New York City ; 201 Occidental Blvd.,
Los Angeles, Cal. (s).

Moss, B. S., 729 Seventh Ave., New
York City.

Mutual Film Corp., Consumers Bldg.,
Chicago.

Paralta Plays Inc.. 729 Seventh Ave..
New York City; Los Angeles, (s).

I'ATin: Exchange, 25 W. 45th St., New
York City; Jersey City, N. J. (s).

Powell. Frank, Production Co., Times
Bldg., New York City.

IioTiiACKER Film Mfg. Co., 1339 Diver-
sey Parkway, Chicago, 111. (s).

SELIG Polyscope Co., Garland Bldg..
Chicago; Western and Irving Park Blvd.,
Chicago (s) ; 3800 Mission Road, Los An-
geles, Cal. (s).

Selznick, Lewis J., Enterprises Inc,
729 Seventh Ave.. New York City.

SIGNAL Film Corp., 4560 Pasadena
Ave., Los Angeles. Cal. (s).

Talmadce, Constance, 729 Seventh
Ave.. N. Y. C. ; SOT Fast 175th St., N.
V. C. (s).

Talmadge, Norma, 729 Seventh Ave.,
N. Y. C. : 318 East 48th St., N. Y. C.
(s).

Thanhousbr Film Corp., New Ro-
chelle, N. Y. (si : Jacksonville. Fla. (s).

TRIANGLE Company. 1457 Broadwav. New
York City; Culver City, Cal. (s).

Universal Film Mfg. Co.. 1600 Broad-
wav, New York City; Universal City,
cal. ; Coyetsville, N. J. (s).

Vitagbaph Company of America. E.
15th St. and Locust Ave., Brooklyn, N.
Y. ; Hollywood, Cal.

Vogue Comedy Co.. Gower St. and
S;mta Monica Blvd.. Hollywood, Cal.

Wharton, Inc., Ithaca, N. Y.

World Film Corp., 130 W. 46th St.,
New York City; Fort Lee. N. J. (s).

in question must go back to her dress-
ing room and correct her appearance.
Elaborate hair dressing is tabooed and
this criticism of the background folk is
one of the elements which goes to make
the drawing-room atmosphere of these
concerns one of refinement.

All credit is due these "extra" folk
and the actresses on the lower rung of
the ladder of fame. Such a swapping of
hat trimmings as goes on between dress-
ing-rooms and such a patient search for
bargains in the downtown shops. A good
appearance is an actress' prime asset and
the women of filmdom are far more
clever in the art of dressmaking and
millinery than many of the shopfolk on
downtown avenues.

Jobbing people or those who "supe"
on special days are notified the evening
before what sort of a costume they must
provide. By hook or crook the outfit
has to be found, for the moving picture
aspirant must be at the studio and made
up ready for work at nine o'clock.

It is said that the Woolworth five and
ten cent store jewelry business has dou-
bled in New York and Los Angeles since
moving pictures came into being. Used
discriminately and with a good looking
evening gown these imitation gems rival
the real thing from Tiffany's when pro-
jected on the screen. Bargain laces, but-
tons, handbags and buckles often come
from the cheaper stores to adorn movie
gowns. And everyone has a hundred hats,
for what cannot be done with about a
dozen old shapes and plenty of flowers
and feathers and ribbon for quick
changes?

"Have you ever aspired to be an
artist?" asks Theda Bara, a woman with
observations really worth while. "If so
you know that the painter in oils revels
in color harmony while the pen and ink
artist thinks in areas of bold blacks and
whites. Now, this same difference of
artistic attitude is found in the woman
who hopes to make the tones of her new
ball-gown blend like the hues of the rain-
bow, and the other woman who poses
daily before a camera, and knows that
blacks and grays with spaces of white
between are all that counts."

Checks and dotted materials are good
in moving pictures if they are not over-
loaded with trimming and if the scenery
and furnishings are not too elaborate.
Broad plaids are confusing to the eye if
worn during an interior scene, but no
material could be more striking than a
Mackinaw worn in an Alaskan story tak-
en before white, snowy backgrounds. The
surrounding country has a great deal to
do with the character of the costume.

"Beware of black and white materials,"
says the camera man. "They often pho-
tograph in hard lines. Red takes better
than black itself and pink, blue or yel-
low better than dead white. If an actress
wishes to wear a lace gown, I advise her
to have a lavender foundation dress be-
neath, for this brings out the pattern
of the lace in detail. Shining white satin
is to be avoided for a strange phe-
nomenon known as halation sometimes
occurs. Light reflected from the satin
or from white shirt bosoms of men in
evening dress often produces a ghostly
double which appears to follow the ac-
tors about the scene."

A gown should be so planned that the
sections of black and white are large in
area wherever they occur. If a light
gown has its stripes of trimming too close
together the whole loses uniformity and
lessens the individuality of the figure.
Open mesh laces and cut work embroid-
ery are effective on the screen. Jet
sparkles under the studio lights and is
particularly handsome. Satins with a
soft lustre will shimmer with good effect
and light and airy malines are the main-
stay of the ingenue.

Watching Italian moving pictures, one
often sees an actress wearing a tulle
scarf with long ends which swing airily
as if a gentle breeze were blowing through
the porticoes of that summer country.
This same effect is often produced in
American studios by using an electric fan
at one side of the studio.

"Now, would you think the lines of a
gown were important in the movies?"
asked Louise Glaum, the well known Tri-
angle player of vampire roles. "Re-
member the stiff taffeta costumes of a
few springs ago with their flaring knee-
length tunics? Those were not at all
practical for a moving picture actress —
particularly for a woman who plays
snakey vamp roles. I found that I merely
walked inside such a skirt and any action
of the hips and limbs was lost. An
actress must appear to throw her whole
self into a part, but in such a dress I
knew I could only act above my waist-
line! Clinging gowns betray each move-
ment and seem to give the artist more
life and animation. Drapery, too, is better
than puffs and tunics because it is full
of attractive shadows, depths and high
lights."

If character costumes are needed — In-
dian, Colonial, English court, etc. — these
can usually be found in the company's
wardrobe room. However, if some spe-
cial need arises, the wardrobe mistress
gathers her forces together and turns
them out on short notice. One hundred
and fifty special costumes were com-
pleted in two days when a certain his-
torical film had to be finished with speed.

If the director of a picture is not
particular as to costume details, the ac-
tress herself must be. Weak film plots
and inappropriate costumes never escape
the scathing comment of the critic. If
he sees a movie star playing the part of
an Indian girl, and trying to ford a
stream in high heeled shoes instead of
mocassins, he writes a little paragraph
about it in his newspaper.

Again he may see the heroine of an
Alaskan story with a bandana handker-
chief swathed about her neck. He criti-
cizes this costume detail, because he ex-
plains that those handkerchiefs are a
necessity in Arizona — not Alaska — and
are carried for use over the mouth to
keep out desert dust raised by the swift
hoofs of horses.

So it behooves a movie star to prime
herself on the sort of thing which a
Spanish girl probably would have worn
in California mission days, and to be
equally versed in the apparel of Ireland
or Labrador.

It's not always easy to appear attrac-
tive on a motion picture screen.

Every advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

Photoplay Magazine — Advertising Section

135

Clothes Do Not Make
the Woman

(Continued from page 87)

As a boy, Bill ranged around the hills
near Los Angeles, so on this trip he
picked himself out a nice piece of prop-
erty overlooking Silver Lake and is build-
ing a home. He is just as good a designer
of homes as he is of gowns and next
spring when his place is complete it will
be one of the show places of Southern
California. The house is going to be a
sort of jewel box for his mother, filled
with the little things in which they both
delight, for looking after his mother has
been one of Bill's chief diversions, and
the two are nearly always together. With
their new home the mater can nestle in
one of the most beautiful spots in the
country while Bill works in pictures,
scampers about the country, or otherwise
disports himself.

Up to now only the big garage with the
servants' quarters above is complete, and
Bill and his servants occupy these. So
far no automobile has graced the interior,
for just as Bill was about to drive in he
discovered that it would be a grand place
to give stag parties and hold other fes-
tivities and it has been used for that pur-
pose ever since, while the car shivers all
night under a neighboring tree. As a host
Bill is king of them all.

Julian Eltinge picked the hardest job
in the world to succeed at, but he did it,
and while he can number the admirers
of his work on the speaking stage by
thousands, he can already number the ad-
mirers of his work on the screen by mil-
lions.

Success hasn't bothered him and all
they can say about him has been summed
up by one of the Lasky studio electricians
who remarked, "Bill is sure some regular

guy."

Questions and Answers

[Continued from page 118)
Eleanor, Philadelphia. — Yep, that's a
new question. George Cooper hails from
Newark, N. J., where he was born Dec. 18,
1891. Not married that we know of. He has
appeared in the following Vitagraph films:
"Mills of the Gods," "Drop of Blood," "The
Outlaw," "Tangled Threads," "From Out the
Big Snows," "In the Days of Famine," "Four
Grains of Rice."

Helenita, Paducah, Ky. — David Powell is
with Empire All-Star, playing opposite Olive
Tell right now. He appeared opposite Ann
Murdock in "Outcast" with the same com-
pany, a Mutual subsidiary.

Reader, Paterson, N. J. — Violet Merse-
reau and June Caprice have light hair and
blue eyes. Neither married.

Beatrice, Philadelphia. — Billie Billings
played his daughter with Earle Williams in
"The Soul Master." Hal Ford marries Pearl
White in "May Blossoms."

C. V., Elcampo, Tex.— Watch Photoplay's
advertising columns for the information
about learning to be a cameraman. This
magazine investigates and recommends every
firm or concern which advertises in it.

Joy Lady, Prescott, Ark.— Billie Burke's
latest is "Arms and the Girl." Paul Willis
was last with Morosco. Edward Earle is
with Vitagraph.

When

Our Terms:
Monthly

Convenience in the
matter of payment is
one of the advantages
gained by buying from
the "House of Sweet."
You pay only 20% of
the price upon accept-
ance, and the balance
in eight equal monthly
payments. Each and
every Diamond we
sell is accompanied by
our Binding Guar-
antee. Remember you
don't buy unless abso-
lutely satisfied in every
way.

Gold Filled Watch

Bracelet. Gilt Dial

SHI.OO

Solid Gold Watch

Bracelet, Gilt Dial

J2S.00

Buy Today-Eight Months to Pay

CHRISTMAS SUGGESTIONS

Diamond and Jewelry Gift Catalogue 42G FREE
Our De Luxe Catalogue No. 42G con-
tains over 1000 excellent gift suggestions.
Diamonds, Rings, Pins, La Vallieres,
Watches, Bracelets, Chains, Cuff Buttons,
Earrings, etc.; Silverware, French Ivory
Toilel Ware, Cut Glass; also Cameras and Phon-
ographs. Send for your free copy Now— Today.

Our
Profit Sharing
Guarantee

Diamond values are
steadily advancing.
These increases are sure
to continue. We fur-
nish a guarantee cer-
tificate with every Dia-
mond we sell. Therein
we agree to allow
7^% yearly increase
in value on Diamonds
bought horn us at any
time you wish to pur-
chase a larger gem.
We stand a'one in mak-
ing this unusual and un-
paralleled offer, fully ex-
plained in our Catalog 42G.

L. W. SWEET & CO., Inc., ht&ZSsts;

Crooked Spines Made Straight

If you are suffering from any form of spinal trouble you
can be relieved— and probably wholly overcome your affliction-
right in your own home without pain or discomfort. A wonderful
anatomical appliance has been invented by a man who cured him«
self of Spinal Curvature. Its results are marvelous. It is nature's
own method. Eminent physicians are endorsing it. The Philo
Burt Method relieves the pressure at the affected parts of the
spine, the whole spine is invigorated and strengthened, ell sore-
ness is taken out of the back, the cartilage between the vertibrae
is made to expand, the contracted muscles are relaxed, and the
spine is straightened. There is bright hope for you, no matter
how long you have suffered. We have strong testimonials from
every State in the Union. Each appliance is made to order from
Individual measurements and fits perfectly. There 13 positively no inconveni-
ence in wearing. We guarantee satisfaction and let you use it 30 days.
Write today for our new book. It gives fall information and testimonials.

PHILO BURT MFG. CO.. 329 -X Odd Fellows' £ldg., JAMESTOWN, N. T.

$Q50 A Month
^^m ^™" Buys a
mmmVutbleWritlng

L. C. SMITH

Perfect machines only of stand-
ard size with keyboard of
standard universal arrange-
ment—has Backspacer — Tabu-
lator — two-color ribbon — Ball
Bearing construction — every
operating convenience. Five
Days' Free Trial. Fully guar-
anteed. Catalog and special
pn^e p<>"t free.

H. A. SMITH , 851 -231 N. 5th Are. , Chicago, III.

Show the Xmas Spirit In a big way for
little money. Our Factory Itebuilt
Typewriters are Ideal Xmas Gifts
for children, students, business people.
They Save you $25 to S75 on your
purchase. Standprd Makes, thoroughly rebuilt,
rrade-marked and guaranteed the same as new.
Knneh sti-res in leading cities irive prompt service.

•iMERICAN WRITING MACHINE CO., Int.

Send for catalogue

339 Broadway, N. X.

you write to advertisers please mention PHOTOPLAY MAGAZINE.

136

Photoplay Magazine — Advertising Section

The

Birthright

of Every

Woman

The attractive-
ness of Venus is
in that form di-
/ine— a perfect
bust and figure —
which has become fa-
mous throughout the ages. A book has just
been prepared which tells how women may
secure the beauty of figure development hith-
erto unknown to them. This book is sent free
because it also tells about the
Kathryn Murray Method of

Form Development
by which any woman, young or middle-aged,
iin wonderful results. This method 1* simplicity it-
self. It does not comprise the use of massage, foolish
plasters, electricity, medicines, etc.
It acts in a perfectly natural way —
se uritlg the development desired

it: a comparatively short time.

This Book Free

"The Crowning Glory of Woman-
hood." Sen i for it and learn
h >w to add 'tvle and attractive

ncss to your figure — develop your J

chest— possess beautifully round- / 7-.-^^

ed shoulders. Rook tells you how / ~^'.C~><«,„

to do it in a eharminaflv natural / ~i^l^^

and simple manner. Write for / ^=>

it today. 1

Kathryn Murray, Inc.

SUITE 158-B Garland Bld'g., Chicago

From The Diamond Cutters Direct To You
By Mail at The Diamond Cutters' Prices

If you have never bought diamonds direct from the dia-
mond cutters, you will be amazed at the difference between a
diamond cutler's and a retailer's prices. By purchasing cirect
from us, you save not only the importer's, but also the
cutter's and retailer's profits.

MONEY BACK1N FULL ANYTIME WITHIN ONEYEAR

With every purchase we issue our written money back guar-
antee, which gives you the right to return your diamond any-
time within one year, and we immediately refund the full
price paid, to the penny.

TELEGRAPKYOURDIAMONDORDERSATOUREXPENSEi

To expedite delivery and to avoid disappointment, you can
lie sure of receiving your goods on time by telegraphing
(collect) your diamond orders direct from this ad. Tele-
graph charges will bt Paul ;>y us. In ordering a ring be
sure to give ring size. WIRE YOUR ORDER NOW.

BtftUtl fcUfc 1 9\& C ATALOXi "FREE

Write today for our beautiful 244-page catalog describing

in detail thousands of gifts in Damonds, Watches, Jewelry,

h money-savin)! prices as you have never known

before. This big book mailed free on receipt of postal

letter. Write NOW

//",■ .icctpt

LIBERTY BONDS

in p tynunt for

he same

.rs ea ■■■:

l"r T5U7i.»nPi pMt A PA .

\Vfomen\Mantedin Government
/elrvice

Warconditions have cre-
sted thousands of openings
in the U. S. Civil Service.

Women are urgently
needed as clerks, tjpists,
stenographers, bookkeep-
ers and in other well-paid
positions. Here is your op-
portunity.

Positions are not difficult to obtain. Salaries
are liberal— much higher than employers outside pay
for similar work. Certain pay, rapid promotion, short
hours, congenial surroundings, generous vacations-
all these combine to make the work ideal.

Right now the I. C. S. are training hundreds of men
and women for well-paid positions in the Civil Service.
We can prepare you quickly— at a trifling cost and in

J'our own home— to pass examinations for the particu-
ar position you wish. Write today for book telling
you how to qualify.

INTERNATIONAL CORRESPONDENCE SCHOOLS,
Box(5479i Scranton, Pa.

Questions and Answers

(Continued)

P. W. Admirer, Plainfield, X. J. — Pearl
White converses fluently in Italian. You'll
have to ask her the rest of the questions
yourself; we don't want to get in Dutch
with her.

Polly, Davenport, Ia. — Address Margery
Wilson at Culver City, Cal., and Mildred
Harris at Lois Weber Studio,. Vermont and
Santa Monica Blvd., Los Angeles.

Glory, Minneapolis, Minn. — Mae Mur-
ray gets her postal cards at Universal City,
(id. The only "near ones" we have at the
front are several great grandsons.

Interested, Guelph, Canada. — Mr. John-
son is now actively engaged in the producing
business as one of the high officials of Tri-
angle. Your letter was highly appreciated
and we would welcome others.

F. M., Kansas City, Mo. — Sid Chaplin is
looking after his brother Charley's business
interests but threatens to play in some com-
edies of his own soon. Broncho Billy An-
derson is producing stage plays now.

B. M. B., Cleveland, O. — Mahlon Hamil-
ton is uncommunicative on the subject of
uxorial matters. May Allison is with no
company at present. William Stowell is
married but his wife is not playing.

Agnes, Greenville, Ala. — Brace yourself
for the shock. Arthur Shirley is married
and is a father as well. He is with Balboa
at Long Beach, Cal., but his hair is not gray
unless it's just turned lately.

B. D., Detroit, Mich. — Maybe there'll be
another Beauty and Brains contest and may-
be there won't. It's hard telling right now.

Bessie, Boston, Mass. — Billie Burke is
considerably taller than Marguerite Clark
who isn't even five feet high. Billie is 31 and
her baby's name is Patricia Burke Ziegfeld.
Write Miss Burke, Care Artcraft, New York.
June Caprice is 18.

M. N., Grand Rapids, Wis. — Golda Mad-
den was Cora Hayes in "Fires of Rebellion."
Francine Larrimore was Leigh's daughter in
"Somewhere in America." Dorothy Phillips
and Allen Holubar have a little daughter.
We are making a number of suggestions to
the editor after reading your letter and we
are sure that you will see some interesting
results.

Grace, Berkeley, Cal. — Owen Moore
played opposite Ann Pennington in "The Boy
Scout." Jack Pickford answers his mail.
He and Olive Thomas were married a year
on October 25. Jack was 21 in August.
Margarita Fischer is with American. It is
impossible to tell from a snapshot, or even
a thousand posed photographs if the subject
thereof could get by in the movies.

G. A., San Francisco, Cal. — Paul Capel-
lani played Artnand to Clara Kimball
Young's "Camille," in the first of the three
photoplays of that name.

H. Z., Detroit, Mich. — Of course if we
said that October was a hard month in which
to break into the movies, it's true. Why?
Because October is one of the twelve months
of the year and the same applies to all
twelve.

M., Moundridge, Kan. — Send you a
photograph of the Answer Man? Sure, but
first you must fill out the necessary applica-
tion blank and enclose the required amount.

Polly, Piqua, O— It is a good idea to send
25 cents when you request a photograph,
although stars like Mary Pickford, Douglas
Fairbanks, Theda Bara and others in the
over a thousand a week salary -class do not
require it. Ann Pennington is with Famous,
Charles Gunn, Triangle; Cleo Ridgely, Glen-
dale, Cal., and Louise Huff, Morosco.

J. B., Mobile, Ala. — Bessie Eyton is at
the Selig studio, Los Angeles.

M. B., Chicago. — Olive Thomas has not
played in the Follies since last season. Wil-
liam Parke, Jr., has played opposite Gladys
Hulette, since "The Candy Girl," in "The
Cigarette Girl," "The Streets of Illusion,"
"Miss Nobody," and "A Crooked Romance."
Carlyle Blackwell is a native of New York
and it's his sure enuff name.

R. S., Silverton, Colo. — Some wise old
coot said once that a lady looks as old as she
is, or a woman is as young as she acts, or
something like that, which being true, Fannie
W7ard is about two years older than Mary
Miles Minter, but the Blue Book says she is
43 and Miss Ward admits that she's older.

Evadne, West Perth, Australia. — Write
to Madame Petrova, Godfrey Bldg., New
York; Edna Purviance, care Chaplin Com-
pany, Los Angeles and Marjorie Daw, at
Lasky's. Neither Miss Courlot nor Miss
Allison is on the screen at present. Hazel
Dawn is 26 and her last appearance was in
"The Lone Wolf." Edward Earle is with
Yitagraph.

E. E., Chicago. — So far as we know the
"Neglected Wife" was finished, as all neg-
lected wives are. Anyhow there was no
fire in the Balboa studio where it was
filmed. Miss Roland has been appearing
in vaudeville.

H. H., Redwood City, Cal. — Charles Gunn
was the handsome feller who played with
Margery Wilson in "Mountain Dew," which
was the photoplay you have in mind. Ad-
dress Miss Wilson personally. The others
will send photographs to you.

Shammie, Atlanta, Ga.— Helen Holmes
and Helen Gibson are two separate and
distinct personages, entirely unrelated except
that both are affiliated with the photomelo-
drama, so to say.

G. E., Binghamton, X. Y. — Mae Marsh is
22, unmarried at this moment, and lives in
New York Citv.

Spade, Kansas City, Kan. — Harold Lock-
wood is 29 or thereabouts. Yes, we agree
with vou in toto.

Silver Spurs, St. Paul, Minn. — Glad to
see you again. Yes, we have met Mr. Foxe
pussonly but never got so chummy that he
confided to us his matrimonial affairs. He
is thinner in the East than he was in the
West, also in the waist.

Lorena, Kansas City, Mo. — Your criticism
has been sent to the desk of the person who
will be most benefited by it. Thanks ever
so much for the compliment. Where did we
acquire "such wonderful patience?" Oh, just
getting bumped around the world, and every-
thing.

W. M. S., Grimsby. Oxt., Canada. — Ar-
thur Ashley was your hero in "Tangled
Fates" — the drummer. Write Tom Forman,
17 Co. C. A. C, Fort MacArthur, San Pedro,
Cal.

Every advertisement in rHOTon.AY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Questions and Answers

( Continued)

L. R., Hancock, Mich. — Mary Pickford's
most recent photoplay is an adaptation of
William J. Locke's novel, "Stella Maris," in
which Miss Pickford plays a dual role.

L. J., Albion, N. Y. — Helene Rosson and
E. Forrest Taylor played the leads in "True
Nobility."

D. P., Havana, Cuba. — Delighted to hear
from you again. It was Mane Walcamp in
"Liberty" and not Shirley Mason. No, we
never get tired answering questions and if
you believe that one we'll tell you another
some day.

Mavis, Freeport, L. I. — We have no record
of Jean Dumar. Sorry. We have printed
pictures of nearly all the newly weds in
filmdom, haven't we? You are a grand
little Photoplay booster.

Ruth, St. Louis. — Irving Cummings is an
American. Arthur Ashley is married.

S. W., Hartford, Conn. — "Is Mr. Frank-
lyn Farnum dead or alive?" Just as an off-
hand opinion, we should say he is alive.
At least he has always denied that he is a
dead one. We rather think it is an imposi-
tion to ask any photoplayer to correspond
with a stranger. They are much too busy.

Katinka, Owen Sound, Ont., Canada. —
"The Crisis" was made by Selig, not Vita-
graph and most of the exteriors were filmed
on the actual locations as in the novel, most
of them at Vicksburg, Miss., and St. Louis,
Mo. Enjoyed your letter very, very much.

E. W. M., Parsons, Kan. — Jewel Carmen
played with Wm. Farnum in "The Con-
queror." Cast of "Tides of Barnegat" : Jane
Cogden, Blanche Sweet; Dr. John Caven-
dish, Elliott Dexter; Bart Holt, Tom For-
man; Lucy, Norma Nichols; Archie, Bille
Jacobs; Capt. Holt, Walter Rogers; Sydney
Gray, Harrison Ford; Martha, Lillian Leigh-
ton. Cast of "Garden of Allah :" Domini,
Helen Ware; Boris Androvsky, Thomas Sant-
schi; Count Anteoni, Matt Snyder; Capt.
DeTrevignac, Will Machin; Father Roubrer,
Harry Lonsdale ; Lord Rem, Al Filson ; Lady
Rens, Eugenie Besserer; Father Beret, Frank
Clark; The Sand Diviner, James Brndbury;
Batouch, Pietro Sosso; Had), Cecil Holland;
Suzanne, Camille Astor.

R. H. D., Ilion, N. Y.— Carlyle Black-
well is not married to Doris Kenyon, nor
June Elvidge. Nor is Beverly Bayne the
wife of Francis X. Bushman. You're
entirely welcome.

A. B., Manila, P. I.— Write to Bessie Love
for a photograph, care Pathe, No. i Congress
St., Jersey City, N. J. It is customary to
enclose dos reals Mex. or two bits oro.

I. B., Kansas City, Mo. — Many, many
thanks for your very appreciative letter.
Your friend, Mr. Langford is somewhere
in France at the present time, doing a little
scrapping for the good of the cause.

E. B. A., Atchison, Kan.— Miss Clark
has no relatives acting on the screen, we be-
lieve and she is not related to Champ Clark.
She will be 31 in February.

Ethel, Kenosha, Wis. — Brownie Vernon
is not married to Herbert Rawlinson. It
probably never occurred to Brownie as she
is a good friend of Herb's wife. You are
probably right about the reason why June
Caprice always has a new leading man —
anyhow, you're original.

Your Choice!

Sent on Free Trial

You can have your choice of over 2000 musical
instruments for one week's trial in your own home.
Then, if you decide to purchase, you can pay the
rock-bottom price at the rate of a few cents a day.
If you do not want the instrument, send it back. The
trial won't cost you a penny.

Ifin n Dnv ^ou w''^ ^2 astonished at the
1 l/C CI UlXy many instruments you may pay for at

the rate of 10 cents a day. On this great special offer you have
over 2000 items to choose from.

We Offer:

— the best instruments that can be made.

— rock-bottom manufacturer's prices.

— one week's trial at our expense.

—triple silver-plated cornet for only 10c a day.

—your choice of over 2000 instruments.

WuRLlTZER

200 years of instrument making
Wurlitzer has supplied the United States
Government with Trumpets for 55 years
The name "Wurlitzer" stamped on musical instruments has
stood for the highest quality for nearly two centuries. We are
manufacturers or importers of every known musical instrument,
every one sold to you at direct-f rom-the-manuf acturers price.

Play It a Week— At Our Expense

Send the Coupon/

Just put your name and address jf G ^'
on the coupon now and set our S iii "

on the coupon now and get our
big, new catalog absolutely /
free. Please state what in- /
strument you are interested in /
and we'll send you the bin 1 76- f Name

f Address

/The Rudolph Wurlitzer Co.
Dept. ua
East 4th St., Cincinnati, Ohio
SouLh Wabash Ave., Chicago
tlemen : — Please send me your
3 page catalog absolutely free. Also
tell me about your special offer direct
from the manufacturer.

page book free and prepaid.
The Rudolph Wurlitzer Co.

Dept. 1531
E. 4th St. , Cincinnati, Ohio
S. Wabash Ave., Chicago

1 am interested in..

(Name of instrument here)

IBSON

SI.:

^aJIc

The Sweet,
Mellow Tone
of "Gibson"
Instruments
has made
many a
"Sammies"
Departure
easiertobear

Terms as
low as S1.00 down—
.50 per month. Mandolin or
_.uitar Bent on approval. Liberal
owanco on old instruments in exchange for
the"Oib8on. "The wonderful new Gibson violin
construction hcs settle vrliolo Mandolin and
Guitar world talking. Get our now FUEE BOOK— 112
pages— 111 illustrations, a valuable fund of information
for player and teacher. Also I'lil^K treatise on
"HOW TO PRACTICE."

Exclusive Features That Make Every Gibson Matchless:

Stradiverlus arching — scientific graduation

" from thickness at center to thinness at rim, securing
strength— sensitiveness— free vibration of entire
sounding board. Tilted rock, high bridge w it Ei
extension string holder* securing increased
string pressureta-t vibrates a larger sounding board,
producing a bigness of tone never before realized.

Reinforced, non-wnrpahlo necli — elevated »■■»■•»■■■■»■■•■»■■«•'■■«»
guard plate or linger rest — easy action — *
adjustable string-bearing at bridge overcoming ff twibson Mandolin
sharping of heavier strings in upper positions. / Guitar Company

461 Parsons St*
Kalamazoo, Mich., U.S. A*

Make $£800 to $5000 or More a Year /

Teaching and Selling the Gibson

Become a teacher. Splendid opportunities for either sex inevery . ^ete~~Catalor7.~ free- tr
locality for private and class instruct ion and the sale of Gibsons. * also information about the Wm!
Gibson instruments have "made" many a teacher, profession- . Fi-co, Jr., book and instrument
ally and financially. Wohaveapermanentteachinsandbusiness I cbeched. If teacher check hererj

did f LJ Mandola □ Guitar

D Mando~ulh O Harp-Guitar

$7,000
W.500 gross business for tlVe year." Wm.' Place. Jr. America's
«jrea«e»t Mandolin Virtuoso, Star Soloist lor Victor Talking Machine

UNQUALIFIEDLY ENDORSES f HE'dlBSON." ' """" """"" '"' "'""" ' """" " I

P*>BUS'nGSS °" OUI% Ca/titai JS^SSSS^Si&SFs!^ / Name

furnished. Wepay the advertising. You make the profit . You pay foreoods when sold; return f

poods. not sold. Try our "Still Hunt." FREE to those Interested, our new $1.00 book "The f

Organization Direction and Maintenance of the Mandolin Orchestra.' ' by America's most sue- •

cessfu director, Wm. Place, Jr. Write now for CataloK, Treatise. "How to Practice; Psycho- f Addreso

logically Explained," all free. Don" malt; ACT NOW. FILL IN THE COUPON. inouims .....

Gibson Mandolin-Guitar Co., 461 Parsons St., Kalamazoo, Mich., U. S. A. | Bo Bure yoa ha

i checked instrument.

Wrestling Book FREE

Be an expert wrestler. Learn at home from the
world s undefeated champion and his famous trainer

Frank Gotch and Farmer Burns

1 Quickly learned by mall at home. Know the art
of self-defense and jiu-jitsu. Have perfect health

I— — J Learn how to defend vourxelf. Handle bijr men
for HEALTH .Farmer Burns, 1531 R,mge Bldg., Omaha, N.b.

A Merry Christmas
Twelve Times

See Page 124

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

'38

1'in/ioPLAY Magazine— Advertising Section

ffirimtmnck

ALL PHONOGRAPHS IN ONE

"*»

WtfTtLtf*1*'-

*-i££

4i--.'*.c?fc.

Your Problem is Solved

Because The Brunswick Plays ALL Records

WITH each Brunswick come two reproducers.
These arc instantly interchangeable. So for
every type record you may use the proper
needle: Steel, sapphire ball, jewel, etc. This
great achievement, with others equally advanced,
makes The Brunswick the final type phonograph
— all instruments in one.

All records are at your command, all artists,
bands, orchestras, ALL MUSIC. The Brunswick
alone — of the finer phonographs — offers this unre-
stricted selection. This includes the wonderful

Pathe Discs. Heretofore few were permitted to
enjoy the famous Pathe star — Muratore — and other
Pathe arti>ts.

Brunswick tone is unmatchable because of the
all-wood sound chamber, built like a violin.

Who, now, is content with a </«e-record phono-
graph, or with lesser attractions?

Hear The Brunswick first — then compare. !
all its advanced and exclusive features.

You'll sav, too, that it is the one phonograph
e always wanted.

The Brunswick-Balke-Collender Company

Branch Houses in Principal Cities of the United States, Mexico. France

Canadian Distributors: Musical Merchandise Sales Co.. Excelsior Life Building, Toronto

DEALERS: Write for our profitable plan with all the sales details

Every advertisement In mOTOPLAT MAGAZINE li guaranteed.

A Merry Christmas

and

A Happy New Year

W. F. HALL PRINTING COMPANY, CHICAGO

F £

"Oh Dad-
How Did You Know f "

Of course he knew.

Fond parents, who keep young through their children, have a way of
knowing — and besides, he was a bit selfish. He wanted her to have the
Kodak; he knew that it and the pictures it would take would delight her and
her boy and girl friends — and he knew, too, the wily old rascal, that she would
send him loads of pictures from boarding school.

From the kindergarten days up, there's wholesome fun for the children,
and lasting joy for all the family in the Kodak and Brownie pictures the
children make — and Christmas day, with its home pictures, is an excellent
time to start.

Kodak catalog free at your dealer's or by mail.

EASTMAN KODAK COMPANY, Rochester, N. Y., The. Kodak City.

PHOTOPLAY

7e6ruari/
20 Gents

Nntirp to R*>3(W- When you finish readmit this
notice 10 neaaer. magazine place a l-ceot stamp

on this tltttice, hand same to any postal i !U ■:
and it will be placed in the hands of ouraolciicrsor
sailors at the front, no wrapping— no ADDRESS.
A. S. Burleson, Postmaster General.

n great scries of articles on
PhotoDlay Writing by John
Emerson and Anita Loos, the
world's greatest authorities,

BEGINS 111 THIS ISSUE

"More Corns

Than Ever

But They Do Not Stay"

The Story That Millions Tell

This is not a way to prevent corns.

That would mean no dainty slippers, no close-
fitting shoes. And that would be worse than corns.

Our plea is to end corns as soon as they appear. Do
it in a gentle, scientific way. Do it easily, quickly, com-
pletely, by applying a Blue-jay plaster.

Modern footwear creates more corns than ever. But
have you noted how few people ever evidence a corn ?

The chief reason lies in Blue-jay. It is ending mil-
lions of corns each month. Instantly, for every user, it
puts a quietus on corns.

The procedure is this: Attach a Blue-jay at the first
sign of a corn. It will never pain again. Let it remain
two days, and the corn will disappear.

Occasionally, an old, tough corn needs a second appli-
cation. But that's an easy matter, and the corn is sure to go.

This is the modern
method. Old, harsh, mussy
methods are long out-of-
date. Paring, of course, is
dangerous.

Here a gently-acting wax
is centered on the corn alone.

Try it to-night
the results
en a single
corn. In a
few hours
you will
know that
corns are
needless.

Note

$Blue=jay

C/ Corn Plasters

Stop Pain Instantly

End Corns Completely

25c Packages at Druggists

The corn is protected in the
meantime, and the wrapping
fits like a glove.

It's the expert way ot
dealing with a corn, and ev-
eryone should employ it.

Never again will you
pare or pad
them, or treat
them in old-
time ways.
And never
again will you
let a corn spoil
an hour of joy.

BAUER & BLACK

Makers of Surgical Dressings, Etc. Chicago and New York

How Blue ■ jay Acts

A is a ihin. soft pad which stops the
pain by relieving the pressure.

B is the B & B wax which gently un-
dermines thecorn. Usually it takesonly
48 hours to end the corn completely.

C is rubber adhesive which sticks
without wetting. It wraps around ihe
toe, to make the plaster snug and
comfortable.

Blue-jay is applied in a jiffy. After
that, one doesn't feel the corn. The
action is gentle, and applied to the
coin alone. So the corn disappears
without soreness.

Photoplay Magazine — Advertising Section

Direct From

The Factory

To Save You $5 1

Brand New Oliver Typewriters for Half What They Used to Cost.
Latest and Best Model. Sold Under a New Money-Saving Plan.
Five Days' Free Trial. No Money Down. Over a Year to Pay.

Was
$100

OLIVER m

Over 600,000 Sold ~

This is the offer of The Oliver Typewriter Company
itself — a $2,000,000 concern. ■

The Oliver Typewriter Company gives this guarantee:
The Oliver Nine we now sell direct is the exact machine
—our Model No. 9 — which was formerly priced at $100.

We do not offer a second-hand nor
rebuilt machine. So do not confuse
this new $49 Oliver with other offers.

The $51 you now save is the result
of new and efficient sales methods.

Formerly there were over 15,000
Oliver salesmen and agents. We had
to maintain expensive offices in 50
cities. Other costly and roundabout
sales methods kept the price of type-
writers around $100.

By ending all these wastes and adopt-
ing a new plan we save the American
public millions of dollars.

The entire facilities of the Company
aredevotedexclusivelytotheproduction
and distrioution of Oliver Typewriters.

How to Save

This is our plan : You may have an
Oliver for free trial by answering this
advertisement.

Or if you wish further information,
check the coupon.

Used By Big Business

It is the same commercial machine
used by U. S. Steel Corporation; Na-
tional City Bank of New York; Mont-
gomery Ward & Co.; Curtis Publish-
ing Co.; Pennsylvania Railroad; Hart,
Schaffner & Marx; Morris & Com-
pany; Baldwin Locomotive Works;
Ward Baking Company; Jones &
Laughlin Steel Company; Western
Clock Company — "Big Ben;" Ency-
clopaedia Britannica; and a host of
others. Over 600,000 have been sold.

We will send you an Oliver Nine
direct to your office or home for five
days' free trial; it does not cost you
a cent. Nor are you under the slightest
obligation to buy.

We give you the opportunity to be
your own salesman and save $51. You
are the sole judge. No salesmen need
influence you.

If you decide to keep the Oliver, pay
us at the rate of $3 per month. If you
do not wish to keep it, we even refund
the transportation charges. That is all
there is to our plan. It is simplicity
itself.

A Favorite

This standard keyboard, visible
Oliver has long been the world's
model. If you remember, Oliver
introduced visible writing.

Year after year, Oliver inventors
have set the pace. Today's model—
the Nine — is their greatest achieve-
ment.

Any stenographer may turn to the
Oliver and operate it like any other
machine. In fact, its simplicity recom-
mends it to people who have never
used a typewriter before.

This Oliver Nine is the finest, the
costliest, the most successful model we
have ever built. If any typewriter is
worth $100, it is this handsome ma-
chine—the greatest Oliver triumph.

Regardless of price, do not spend one
cent upon any typewriter — whether
new, second-hand, or rebuilt — do not
even rent a machine until you have in-
vestigated thoroughly our proposition.

Take Your Choice

Check the coupon
Free Trial Oliver

or for the Book

Mail today.

You are not ob

ligated to buy

It is waste, and therefore unpatri-
otic, to pay more than $49 for a brand
new, standard typewriter.

The Oliver Typewriter Company, by
this great, money saving, price reduc-
ing plan is entitled to your first con-
sideration.

Note the two-way coupon. Send at
once for the free-trial Oliver, or for
our startling book entitled "The High
Cost of Typewriters — The Reason and
the Remedy."

This amazing book exposes the fol-
lies of the old selling plans and tells
the whole story of the Oliver Rebellion.
With it we send a new catalog, pictur-
ing and describing the Oliver Nine.

Don't turn over this page without
clipping the coupon.

Canadian Price, $62.65

The Oliver Typewriter Company

1472 Oliver Typewriter Bldg., Chicago, III.

choice

i for the

This Coupon Is Worth $51

The Oliver Typewriter Company

1472 Oliver Typewriter Bldg., Chicago, III.

□ Ship me a new Oliver Nine for five davs' free
inspection. If 1 keep it, I will pay 549 at the
rate of $3 per month. The title to remain in you
until fully paid for.

My shipping point is

This does not place me under any obligation to bu*\
If I choose to return the Oliver, I will ship it back
at your expense at the end of five days.

□ Do not send a machine until I order it. Mail
me your book— "The H'gh Cost of Typewriters
—The Reason and the Remedy," your de luxe cat-
alogue and further information. '

Name.

Street Address .
City

.State.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

-4
<
<
-<
-<
-4

-5

-4
-4
<i
<

-4
-4
-5
-4
-■-■
-t
-■-
-:
-4

-4
-4
-4

Ingt&tn's

MitlCw&ed

Ct&atn

Night after night as you watch your favorites
of the screen have you wondered at the beauty
and perfection of their complexions? And
envied, too, perhaps? You can have just such a complexion,
smooth, soft, colorful, and free from the blemishes brought by
wind, sun, flying dirt, weather changes, and natural causes, too.

Just use Ingram's Milkweed Cream as they use it, steadily,
daily. Ingram's Milkweed Cream, you know, is the one cream
possessing distinct curative and healing qualities in addition to its
cleansing and softening ability. Use it tonight. Use it consistently.
And you can look forward to having the complexion you long for.

Buy It in Either 50c or $1.00 Size

in h/ery
Jar

Chicago, III, Oct. 3, 1917
F. F. INGRAM CO.:

I find Ingram 's Milkweed Cream
of great benefit to the complexion.
It is so helpful in protecting the
skin from the ravages of the ele-
ments, so much more so than or-
dinary cold creams.

(Signed)

VlRGIXIA VALLI

Ingn&m's

roouvwawc

FACE POWDER

A complexion powder espec-
ially distinguished by the fact
that if stays on. Furthermore
a powder of unexcelled deli-
cacy of texture and refinement
of perfume. Fourtints— White,
Pink, Flesh and Brunette— 50c.

IqgrtQm's

JPougrc

"Just to show a proper glow" use
a touch of Ingram's Rouge on the
cheeks. A safe preparation for
delicately heightening the natural
color. Thecoloringm art eris not ab-
sorbed by the skin. Delicately per-
fumed. Solid cake. Three shades
—Light, Medium and Dark,— 50c.

Send us 10c in stamps for
our Guest Room Package
containing Ingram's Face
Powder and Rouge in novel
purse packets, and Milk-
weed Cream, Zodenta Tooth
Powder and Perfume in
Guest Room sizes.

(631

FREDERICK F. INGRAM CO.

Established 1S85

Windsor, Canada

1 02 Tenth St., Detroit, Mich., U. S. A.

fYYYYYYYYYYYYYYYYYYY'VYYYYYYYYyy YYYYYYYYYYYYYYYYYYTyYYYYYYYYl

Every advertisement in rTTOTOrLAY MAGAZINE is guaranteed.

REG. U. S. PAT. OFF.

THE WORLD'S LEADING MOVING PICTURE PUBLICATION

PHOTOPLAY MAGAZINE

"The National Movie Publication"

James R. Quirk, Editor

|"P-23"

■miiin ■' .iwwa: mixiixhehi

,-:,..' ■'■ii. ■ ,

.::1:.!::i!,,,i!",!,;;'ji:;;j;!v,'..'i:i:'i!

VOL. XIII

Contents

No.

FEBRUARY, 1918

Cover Design — Alma Rubens

From a Pastel Portrait

Duotone Art Portraits: Mollie King

Jane and Katherine Lee

The Talmadge Sisters

Ethel Barrymore and her Children

Editorial
Elizabeth Peltret

1918

The Golden Girl of the West

Mary Miles Minter, a Riley Heroine.

And George Did It

And George Beban is Doing It Now.

Edith Storey (Photograph)

"Quick, Watson, the Needles!" (Photographs)

The Needles Click as the Cameras Whirr.

Beating Them to It (Fiction) Frederic Arnold Kummer

Illustrated by Charles D. Mitchell.
One of a Great Series of "Inside" Studio Stories.

From Stenography to Stardom Frances A. Ludwig

Virginia Valli Accomplishes the Impossible.

Betty Takes a Hand (Fiction) Frances Denton

Fictionized Version of Photoplay's Prize-winning Scenario.

Come Through !

The Movie Fan Does His Bit Through the War-tax.

Alice Joyce and Her New Clothes (Photographs)

(Contents continued on next page)

15
16

Kenneth McGaffey 20

23
24

30
33
37
38

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111.

Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. Robert M. Eastman, Sec.-Treas.

Alfred A. Cohn I Managing ) Los Angeles

Randolph Bartlett f Editors ) New York

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba;

$2.50 Canada; $3 00 to foreign countries. Remittances should be made by check, or postal

express money order.

Caution— Do not subscribe through persons unknown to you.

Entered at the Postoffice at Chicago, 111. , as Set ond-class mail matter.

Next Month

Griffith is Back

How true that old adage "No man
is a prophet in his own country."
David Wark Griffith, the greatest gen-
ius the screen has produced, went to
Europe and was proclaimed everywhere
as a great artist. In America there are
those who should know better, but
still think of him merely as a "movie
director." In Englard he was enter-
tained graciously by the King and
Queen. The Government afforded him
every facility. People pointed him out
saying, "There goes Mr. Griffith the
great American Cinema director — the
man who made 'The Birth of a Na-
tion.' " It's the old story. Twenty
years from now we r.re going to think
a lot more of David Wark Griffith
than we do of most of the people who
are breaking into the front pages to-
day. America will be proud of him;
will look upon him cs the first great
master of the first great art America
has given the world.

In the March issue of Photoplay
Mr. Griffith will give you his impres-
sions of the world conflict and a lit-
tle insight into the nature of his next
picture. The story will be accom-
panied by some remarkable photo-
graphs, which are in reality "stills" of
his next great play.

"Fakes"

No, we are not alluding to some of
the personalities connected with the
picture business todry. This is just
a hint of a very interesting story, ac-
companied by some really remarkable
illustrations. It is to be called "Fakes
and Fallacies of the Films." You have
many times asked yourself, "How do
they do it ?" when viewing scenes of
railroad wrecks, subrrrrine life, burn-
ing buildines, automobile accidents, or
other thrillers. This story which -is to
appear in the Mprch i=sue, is a swift-
moving, accurately illustrated story
that tells you just what you have been
wanting to know.

Contents — Continued

IIGiJEJiiUS ,.;■.!:., !il!,!i'.,;ii!i,'':!l:ii'!ll!lll!ni!!r:iiill!'i«

Douglas Fairbanks' Own Page

"Doug" on "Doing Your Bit."

Co-Stars (Fiction) Charles McMurdy

Illustrated by R. M. Brinkerhoff.
"Young Jones" Emulates Farnum and Wins the Girl.

Olive Tells Her Secrets Harriette Underhill

Olive Tell is Beautiful— and a Suffragette.

Now Who's the Thief? Brandon Fuller

The Theatre, Not the Screen.

"Lights! Ready! Quiet! Camera! Shoot!" Frances Denton

A Story of Two Women Directors.

Photoplay Writing John Emerson and Anita Loos

First of a Great Series by Two People Who Know.

The Learnin' of Jim Benton (Fiction) Jerome Shorey

A Story of the West, from the Photoplay.

A Package of Pep and a Bottle of Pop (Photograph)
Close-Ups Editorial Comment

It Never Can Happen Again Cameron Pike

Harold Lockwood is Interviewed — and Doesn't Know It.

The Shadow Stage Randolph Bartlett and Kitty Kelly

Reviews of the Latest Photoplays.

Here's News for Mr. Hoover (Photographs)

From Roscoe "Fatty" Arbuckle.

Branded by Cupid (Fiction) Edward S. O'Reilly

Illustrated by D. C. Hutchison.
"Tim Todhunter" Encounters a Studio Feminist.

In the Good Old Davs (Photographs)

A Little Bit Old-Fashioned, But We Loved Them Just the Same.

She Vindicates the Judges (Photographs)

Eileen from the Emerald Isle K. Owen

Miss Percy's Knitting a Scarf for a Sammy.

The Author Gets His Alfred A. Cohn

Times Have Changed; But the Author Isn't Worrying.

A Good Indian but a Live One A lien Corliss

Monroe Salisbury is What He Always Wanted to Be.

The Good-for-Nothing (Fiction) Felix Baird

Retold from the Filmplay of the Same Name.

God Must Have Made the World (Photograph)
At Home (Photographs)

Where They "Hie Them Home, at Evening's — "

Plays and Players By Cal Yorke

What They Have Been Doing and What They're Going to Do.

The Girl on the Cover John A. Gray

Alma Rubens— the Girl with the Eyes.

Stars of the Screen and Their Stars in the Sky

Ellen Woods

Horoscopes of Alia Nazimova and David Wark Griffith.

Maybe You Would Like to Take War Movies Homer Croy

And Then Again, Maybe Not.

A Highbrow Villain from the Arctic Circle

Randolph Bartlett

Warner Oland was Born in Umea; That's Why He's So Cold-blooded.

Heavens, What a Wonderful Blonde! K. Owen

Wanda Pettit, Back in Seattle, Dreamed of Higher Things.

Why Do They Do It?

Film Critics Point Out Inconsistencies in Pictures.

Questions and Answers

The Answer Man

Photoplay's Prize- Winning Scenarios Jack Cunningham

An Expert Discusses "Real Folks" and "Betty Takes a Hand."

58
59
61

87
88

96
97

101

103

105
108

Next Month

Pity the Poor Studio Children

Is the title of our baby star story
for March. If you think the picture
kiddies are blase, affected little minxes,
you'll change your mind after reading
this story. Alter viewing these pic-
tures it will show you that these little
people have a lot more fun in the
films than you used to have when you
carried water for the elephants in the
circus.

Charles Chaplin, Dnector

Charles Spencer Chaplin is tired of
being merely the world's funniest man.
Maybe he cherishes a secret yearning
to we^r a sport shirt, puttees and shout
through a megaphone. You'll think
so at any rate when you see the pic-
tures of him "shooting" scenes from
the pictures that have been making
you laugh during the past year.

"Grand Crossing Impressions"

If you are a reader of Photoplay
you haven't missed some of the little
gems written by Delight Evans. We
are going to tell you a little more
about Miss Evans some day, but right
here we want to tell you about a lit-
tle department she is going to have,
beginning with the next issue. You
know Chicago is the gr-nd crossing
for all film folks going East and West.
Usually they are obliged to sit an
hour or two for the trains and some-
times they stick around here for a
day or two. They ere always kind
enough to drop in and say "Hello" to
Photoplay. Miss Evans is going to
tell you just wlrt she thinks of them.
She meets them from month to month.
Take a tip from the Editor. Watch
Grand Crossing Impressions.

Personalities

Virginia Pearson is the March cover
girl — and Artist Haskell Coffin has
caught and canvassed her brunette
beauty against a striking blue-green
background of Cooper-Hewitt lights.
Really, we can recommend this cover.
Inside there is a story about "Virginia
from Kentucky."

Would you like to know what Bessie
Barriscale fears most of all? Would
you like to know the haunting dread
that stalks beside her wherever she
goes? Elizabeth Peltret found it out
and tells you all about ir in the March
Photoplay. Miss Barriscale does most
of the talking and she is occasionally
interrupted by friend husband — you
know — Howard Hickman. But he is
such a good actor that he is not merely
a member of the "husband club."

Oh, there are so many good things
in that issue that we are really tired
of trying to tell you about them all
You'll have to take some of them for
granted. You won't be disappointed.

Photoplay Magazine — Advertising Section

%TW 4*>»l

Daily Bathing a Joy !

with

JAP ROSE SOAP

The "Instant Lather'* Soap

Unless you are using this delightful soap you cannot fully
enjoy your daily bath, so necessary to complete health.

JAP ROSE is essentially a bath soap— it lathers instantly and freely in hard
or soft water, and rinses quickly, leaving an
invigorated "clean all over feeling," with the
knowledge of perfect cleanliness.

Ideal for shampooing — makes the hair fluffy
and glossy.

Special Offer to Photoplay Readers: — For 20c to

pay packing, postage, etc., we will send you a Week End
Package containing a miniature each of Jap Rose Soap, Talcum
Powder, Cold Cream and Toilet Water.

JamesS.Kirk & Co.,721 E. Austin Ave.,Chicago,U.S. A.

When you write to advertisers please mention PTIOTOP1AY MAGAZINE.

Photoplay Magazine — Advertising Section

WANT
YOU

Sam

Pay $75 to $150 Month

U. S. GOVERNMENT WANTS
Railway Mail Clerks — City Mail Car-
riers— Postoffice Clerks — Clerks
at Washington, D. C.
HUNDREDS MEN AND
WOMEN WANTED

SEND

COUPON

BliLOW

Franklin Institute

Dept.K196, Rochester, N.Y.

Common education eufli- ^^^This coupon, filled out as directed,
cient. Send coupon ^^^ entitles the sender to (1) free earn.
"'"'.,, 'an- ' VV_^^^ pie examination questions; 12) a free
-^^ copy of our book, ''Government Posi'ions and
free. ^^^~ How to Get Them;" (3) free list of positions now
easily obtainable; and (4) to consideration for Free
Coaching for the examination here checked.

. .Railway Mall Clerk [S900 to $18001 . .Customs Positions [S800 to St 500]
. .Postoffice Clerk [S810 to 5120J1 ..Internal Revenue [$700 to $18001
..Postoffice Or'er [$810 to S12001 ..Stenographer [$1100 to $1500]
. .Rural M'll Carrier [$500 lo S12001 . .Clerk in the Departments
..Bookkeeper [S9J0 to $1800] al Washindon [$900 to $1500]

Name .

Address K196

.H^Use this bofore you lose It. Write plainly.aHHBBBi

High School Course

i Spare Time
I Home Study

in 2, Years?

Here ia a thorough, complete, simplified High
School Oour6e that you can complete in two years.
Meets college entrance requirements. Prepared by
leading professors in universities and academies.

Don't Stop Growing!

Keep on going! Train your brain!
Broaden your mental vision! Ahigh
school education multiplies your
chances for success in business or
social life.

8tudy this intensely interesting
course in idle hours at home without
interfering with your regular work.
*'Cash in" on your natural ability.

Choice of 20 Courses

We have helped 50.000 men and
women to win/ Let us hel p you, too.

Make up

for Lost

Time!

Men and toomen who
were denied a high-
school training can
"catch up'* by tak-
ing thia simplified
course at home.
Hundreds have prof-
ited by this remark-
able opportunity.

SEND COUPON TODAY

for^FJREl^Book^ and Foil Information

American School
Of Corresoondcnce. Chicago. U S A.
Dept. P-1532. Gentlemen: Please send me booklet and
tell me how I can fit myself for the position marked X.

High School Course
Electrical Engineer
.Telephone Engineer
.Architect
.Draftsman
.Building Contractor
.Structural Engineer
.Mechanical Engineer
.Civil Engineer
.8'pam Engineer

..Shop Superintendent

..Lawyer

..Business Manager

..Auditor

..Certified Public Aco'nt

..Stenographer

..Bookkeeper

..Fire Ins. Adjuster

..Sanitary Engineer

..Automobile Engineer

Name

Address.

ALVIENE

SCHOOLS— E.t.20 Years

The Acknowledged Authority on

DRAMAfIC

STAGE

r'HOTO-PLAY

AND :'.

DANCE ARTS

Each department a larp;e school in
itself. Academic. Technical and
Practical Framing Students' School
Theatre ana Stock Co Afford New
York Appearances. Write for cata-
logue, meruiomng study desired.

A.T. IRWIN, Secretary
225 West 57th Street, near Broadway, New York I

Earn '25 to 100 a Week

Motion Picture, Studio and Commercial/*

Photnitraphi-rs urn l>icr money. Hot onpnrtu-'. i

annw.You can quality for this fascinating J

LEARN PHOTOGRAPHY

Thr

ntha

branches. Experts tr;
up-to-date studios,
classes Easy terms
for free booklet.

H. V. INST. OF PHOTOGRAPHY
Dopt. 32, 141 W. 36th St., N.Y. City

CLASSIFIED ADVERTISING

in n n r\^n n n n.h n Jin.n n n n n n n n n n n n n h

Rate
15 cents

per
word

jxrrr

TTTTTC

All Advertisements

have equal display and
same good opportuni-
ties for big results.

UUUUUU'UU

rTiarogiaY

in.ru

This Section Pays.

HI'' of the advertisers
using this section during
the past year have re-
peated their copy.

Rate
15 cents

UUUUUUUUUUU'IT

FORMS FOR APRIL ISSUE CLOSE FE3RUARY FIRST

AGENTS AND SALESMEN

AGENTS. $1.00 COMMISSION KVKKY CALL.
Greatest household money saver cier invented. Samples
free. Ovee Mfg. Co., 1811 Ovee lilclg., Lou.sviHe, Ky.

AGENTS— 500% PltOFIT; FREE SAMPLES: COLU

siitii letters f(ir store and i fllco windows; anyone ran
lint on. Metallic Letter Co., 414 N. Clark St.,
Chicago.

AGENTS. $00 WEEKLY. WONDERFUL WINTER
automobile fuel reduces operating expenses half. Outfit
free. L. Ballwey. Dent. 186. Louisville, Ky.

TELL TITE READERS OF PHOTOPLAY WHAT
you have of interest to them. You can reach them
at a very small cost through an advertisement in the
classified section. 81% of the advert sers using this
section during the past year have repeated. The section,
is read and brings results.

GAMES AND ENTERTAINMENTS

PLAYS, VAUDEVILLE SKETCHES, MONOLOGUES,

Dialogues, Speakers, Minstrel Material, .lokes. Recita-
tions. Tableaux, Drills. Entertainments. Make Up
Goods. Large Catalog Free.

T. S. Dcnison & Co.. Dept. 7 6, Chicago.

HELP WANTED

FOREMAN, SHOPMEN, AND OFFICEMEN

Wanted to work spare time as spec.al representative of
large well-known mail-order house, selling Watches,
Diamonds, and Jewelry on Credit. Liberal commissions
and exclusive sales r ghts granted. No investment or
deposit required for outfit or samples. Write at once
for details. Address S. D. Miller. Dept. 32, Agency
Division, Mil'er Bldg., Detroit, Mich.

RAILROAD TRAFFIC INSPECTORS WANTED.
$125 a month and expenses to start; short hours; travel;
three months' home study under guarantee: we arrange
for position. No age limit. Ask for Booklet L-6.
Frontier Prep. School, Buffalo, N. Y.

FIVE BRIGHT, CAPABLE LADIES TO TRAVEL,
demonstrate and sell dealers. $75.00 to $150.00 per
month. Railroad fare paid. Goodrich Drug Company,
Dept. 5a, Omaha, Neb.

GOVERNMENT PAYS $900 TO $1,800 YEARLY. PRE-
pare for coming "exams" under former Civil Service
Examiner. Ne'v Boo ; Free. Write Patterson Civil Service
School, Box 3017. Rochester, N. Y.

U. S. GOVERNMENT WANTS HELP. MEN—
Women. 18 or over. War preparations compelling thou-
sands appointments. $90 month. Easy clerical work.
Short hcurs. Vacations w:th pay. Common education
sufficient. Write immediately for list and description
of positions. Franklin Institute, Dept. K. 211, Rocb.es-

ter. N. Y.

MEN— WOMFN WANTED FOR GOVERNMENT
war positions. Thousands needed immediately. Good sala-
ries; permanent employment; liberal vacations; o'her
advantages. We prepare you and you secure a pos:-
ti^n or we refund your money. Ask for booklet "QL"
free to citizens. Washington Civil Service School, 2023
Marden Bldg.. Washington, D. C.

EDUCATION AND INSTRUCTION

HUNDREDS OF PEOPLE MAKE BIG MONEY

writing 1'hotoplavs. Stories, etc. Why don't you? Write

ns for free details. Bookmart Co.. Dept. 8, Auburn.
N. Y.

LOOSE LEAF BOOKS

A GENUINE LEATHER COVER. LOOSE LEAF
Memo Book. 5 0 sheets paper. Your name stamped in
gold on cover. Postpaid 50 cts. Loose Leaf Book Co.,
Dept. 3 Bex 6. Sta. L.. N. Y. City.

MOTION PICTURE BUSINESS

OLD COINS AND STAMPS

iS TO $500 EACH PAID FOR HUNDREDS OF
coi.is dated before 1910. Send 10 cents for New Illus-
trated Coin Value Book, 4x7. Showing guaranteed
prices. It may mean your fortune. Cet poster. Clarke
ton Company. Box 127, Le Roy, N. Y.

WE PAY TO $80.00 FOR CERTAIN LARGE CENTS;
$5.00 for certan ei etc. High prem.ums paid

for rare coins to 1912, Many in circulation. Watch

y< ur change, S I ic now. Get our Large Ulus*raled

(■(Mo Circular. Numismatic Hank, Dept. 75. Fort Worth,
Texas.

STAMPS SENT ON APPROVAL 70% DISCOUNT.
Reference required. J. Emory Ilenoll. Dept. <
II. ui rrer. Pa.

PATENTS

WANTED IDEAS, WRITE FOR LIST OF PATE-NT
Buyers and Inventions Wanted. $1,000,000 in prizes
offered for inventions. Send sketch for free opinion as
lo patentability. Our tour Dooks sent free. Victor .1.
Evans & Co., Patent Aitys., 7 63 Ninth, Washington.
D. C.

INVENT SOMETHING. YOUR IDEAS MAY BRING
wealth. Send Postal for Free book. Tells what to
invent and how to obtain a patent through our cred t
system. Talbert & Parker, 4724 Talbert Building,
Washington, D. C.

PHOTOGRAPHY

FILMS DEV. 10c. ALL SIZES. PRINTS 2Hx3%,
3c; 3'4x4V4, 4c. We give Profit Shar.ng Coupons and
24 hours service. Work guaranteed. Send negatives
for samples. Girard's Com. Photo Shop. Holyoke, Mass.

SONGWRITERS

SONGWRITERS' "MANUAL & GUIDE" SENT
Free. This valuable booklet contains the real facts.
We revise poems, compose and arrange muse, secute
copyright and facilitate free publication or outright sale.
Start right. Send us some of your work today for free
examination. Knickerbocker Studios, 166 Gaiety Bufld-
ing. N. Y. City.

WRITE THE WORDS FOR A SONG. WE WRITE
music and guarantee publisher's acceptance. Submit
poems on war, love or any subject. Chester Music Co.,
1039 Wilson Ave., Suite 112, Chicago.

MANUSCRIPTS TYPEWRITTEN

SCENARIOS, MANUSCRIPTS TYPED TEN CENTS
page including carbon. Spelling corrected. Seven years'
experience. Marjorie Jones, 322 Monadnoek Block,
Chicago.

TELEGRAPHY

TELEGRAPHY'— BOTH MORSE AND WIRELESS.
also Station Agency, taught quickly. Tremendous de-
mand— much greater than supply — Permanent Positions
Secured. Big Salaries — recently raised. Ideal Working
Conditions — short hours, vacations with pay, sick and
death benefits, etc — prevailing. Great Opportunities
for Advancement. Women Operators also greatly desired
by Railways and Western Union. Tuition reasonable.
Cheap living expense* — can be earned. Oldest and larg-
r-t school — established 4 3 years. Endorsed by railway.
Western Union and Marconi Telegraph Officials. Large
illustrated catalogues free. Correspondence courses also.
Write today. Enroll immediately. Dodge's Institute,
Peoria St., Valparaiso. Indiana.

MISCELLANEOUS

DEN PICTURES !
trated Catalog 10c.
Illinois.

SAMPLE AND BIG ILLUS-

Yini Company, East St. Louis.

BIG PROFI1S NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines are
used and endorsed by Government institutions. Cata-
log Free. Capital Merchandise Co., 510 Franklin
Bldg.. Chicago ^^

MORE THAN 200,000 COPIES OF THIS MAGA-
zino are sold every month. An investigation showed
that in 83% cf the homes entered it is read by all.
81% of thj'usors of c'assif.ed durii g the pas: yar b I •
repeated. Th» classified stotion offers a real oppor-
tunity to classified advertisers. For further information
address Photoplay Magazine. 350 N. Clark St.. Chicago.

Learn NOW

at home in spare time by our new
instruction method. Commercial
Art, Cartooning, Illustrating, De-
signing. Delightful,
fascinating work in
big demand. $50 paid
for one drawing. Hand-
some free bookletexplains every-
thing. Write for it r-w. Get our
special Free Outfit Ofler at orce.
WASHINGTON SCHOOL OF ART
1122 H. St. N. VV., Washington, D. C.

LEARN RIGHT AT HOME BY MAIL

DRAWING-PAINTING

Be a Cartoonist, Newspaper, Magazine
or Commercial Illustrator; paint in
Water ( olors or Oil. Let us develop
your talent. Free SrhnlarshipAward.
Your name and address brings you
full particulars by return mail and
our Illustrated Art Annual FREE.
FINE ARTS INSTTTUTE, Studio 392, Omaha. Neb.

COPY THIS SKETCH

and let me see what < ou ran do
it. Cartoonists and Illustrators earn
from $20 10*125 or more i.erw«-ek. My
practical system of personal individ-
ual lessons I ymail will develop your
talent Fifteen years' success: ul work
for newspapers ami majrazinesqrn lilies
me to teach vou . Send me yorr sketch
of Uncle Sam with 6c in stamps ard I
will s-nd you a test iessnn plate, alsi
collection of drawings showing possi
bilities for YOU.

THE LANDON SCHOOL

of Illustrating and Cartooning

1507 Schofield Building CLEVELAND, 0.

FDCMTU MILITARY

rCtfMV,r"f CONVERSATION

by the Military Language Phone Method, and Disc Rec-
ords. A pra.'ticil, phonetic short course for Military
Service. Armv, Navy, R«-d Croaa.

Also Spanish, French, Italian, German, hy the

LANGUAGE-PHONE METHOD
And Rosenthal's Practical Linguistry
The living voice of a native professor proi ounces
the fireiim language over and over, until yon know
it. Family and friends can nae it. Our Records
fit all marhtnes. Writ- for Military circular. Book-
let and Free Trial Offer. Easy payments.

The Lan image Phone Metho*'

940 Putnam Bldg. 2 W. 45th Street, N. Y.

Every advertisement in THOTOPLAY MAGAZINE is Guaranteed.

Photoplay Magazine — Advertising Section

"Here's Where We Got Our Start"

"Look, Nell — this coupon ! Remember the night you urged me to send it
in to Scranton ? Then how happy we were when I came home with the news
of my first promotion ? We owe it all, Nell, my place as Manager, our home,
our comforts — to this coupon."

Thousands upon thousands of men now know the joy of happy, prosperous
homes because they let the International Correspondence Schools prepare them
in their spare time for bigger work. You will find them in city, town and
country — in office, factory, shop, store, mine and mill, on farms and on railroads.
There are clerks who became Advertising Managers, Salesmen and Executives;
carpenters who became Architects and Contractors; mechanics who became
Engineers and Electrical Experts; men and boys who rose from nothing at all
to splendid responsible positions.

There are such men as Jesse G. Vincent, who advanced
from toolmaker's apprentice to Vice President of Engi-
neering of the Packard Motor Car Company. Such
men as H. E. Gardner, who won through I. C. S. spare
time study the training that equipped him to build the
great Equitable Building. These are but examples.
They have proved what men with ambition can do.

["International correspondence schools

BOX 64-81, SCRANTON. PA.

Explain, without obligating me, how I can qualify for the posi-
tion, or in the subject, before which I mark X.

More than a million men and women in the last 26
years have advanced themselves in position and salary
through I. C. S. help. Over 100,000 are studying right
now. You can join them and get in line for promotion.

The first step to success in the I. C. S. way is to choose
your career from this list and mail this coupon here
and now.

GEltliKlill. ENGINEER

□ Electric Lighting

□ Electric Railways

□ Electric Wiring

□ Telegraph Engineer

□ Telephone Work

□ MECHANICAL ENGINEER

□ Mechanical Draftsman

□ Machine Shop Practice

□ Gas Engine Operating

□ CIVIL ENGINEER

□ Surveying and Mapping

□ MINE FOREMAN OR ENGINEER

□ Metallurgist or Prospector

□ STATIONARY ENGINEER

□ Marine Engineer

□ ARCHITECT

□ Contractor and Builder

□ Architectural Draftsman

B Concrete Builder
Structural Engineer

□ t'llIMRING AND HEATING

□ Sheet Metal Worker

□ Textile Overseer or Supt.

□ CHEMIST

Name

Present

Occupation

Street

and No „

□ SALESMANSHIP

□ ADVERTISING
H Window Trimmer

□ Show Card Writer

□ Sign Painter

□ Railroad Trainman

□ ILLUSTRATING

S Cartooning
BOOKKEEPER

□ Stenographer and Typist

□ Cert. Public Accountant

□ TRAFFIC MANAGER

□ Railway Accountant

8 Commercial Law
GOOD ENGLISH

□ Teacher

□ Common School Subjects

□ Mathematics

□ CIVIL SERVICE

□ Railway Mail Clerk

□ UTOMORII.E OPERATING

□ Auto Repairing ■□ Spanish

□ Natation !□ German
QAGUKTI.TI'RE •□Freneb

□ I'oultr- Raising ■□Italian

City.

.State.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

ETery advertisement in PHOTOPLAY MAGAZINE is guaranteed

MA^W£ft^^

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

PHOTOPLAY

VOL. XIII

FEBRUARY, 1918

NO. 3

TTERES a whole T^ew Tear for you, fresh from the Wor\shop of Time.
I 7 It is perfect. It is Eternity's annual gift to Mankind, to do with as
it will. It is free from the blemishes of human misdeeds and mistakes.
For twelve months it is ours, to wor\ with and play with, to thin\ with and
love with, to laugh with and sigh with. And then, when the twelve months
have passed, what then? Then we must hand it bac\ to the Maker of Tears,
and show what we have done with this gift.

For the next twelve months, all that we hope and fear, all that we do and all
that we neglect to do, all that we create and all that we destroy, will become a
part of the gift, to make it ugly and wea\, or beautiful and strong.

The year is ours.

What will you do with it, you army of shadows on the screen? Will you
thin\ of yourselves as a chosen people, set apart to bring to the world a greater
meed of joy, or as a mere hurrying mob, scrambling frantically for dollars? Will
you thin\, as you play each scene, that bac\ of the clicking camera stand millions
of men, women and children, pleading with you to do your best for them, or will
you thin\ of the tas\ as just something to be done in order to get your salary?

The year is yours — you must decide.

What will you do with it, you rulers of the world of make-believe? Will
you thin\ of your art as a business, or of your business as an art? Will you
say, "Ma\e this picture, because it will sell"? or "Make this picture, because it
deserves to sell '7 Will you ta\e a sordid path to easy dollars, or search for the
higher road with patient faith that worthy achievement will finally win its due
reward?

The year is yours — you must decide.

What will you do with it — you millions in the darkened theatres? Will
you search out the fruits of earnest endeavor, or will you lend your support
to them who pander to your appetite for sensation? Will you hunt for what is
good, or go about sneering at what is bad?

The year is yours — you must decide.

But always remember this — that when the time has come, and you must hand
bac\ the gift to the Maker of Tears, that which is perfect today, untouched
by human hand, will then record your every thought and deed. This is your
responsibility. Thin\ of it then, not as responsibility, but as opportunity.

MWyWvV^/V.YvV^/V>MVvVM/V^YvVvVvV,V,:

;vMYvyyyvVvyyv^vVvVvV/V^\wwv.-

The Gold

Photographs
Stagg

This picture was sent
to PHOTOPLAY with
the request that it be
touched up and M. M.
M's. freckles removed. But
the freckles are there. And
why shouldn't she have
freckles? Did you ever see
a healthy kid without 'em ?
To our mind this is a
photographic barrage that
should silence all doubters
of her youth.

MARY MILES MINTER did not float out on any
tobacco cloud. Instead, she sat on a couch and
knitted with a rapidity that proved her thor-
oughly expert. She was dressed in purple velvet
which brought out in sharp relief the vivid yet soft color-
ing of her skin and hair and eyes — a coloring that makes
her more exquisitely lovely in real life than she is on the
screen. She looked as if Riley had made his verse for her.
Her real name is Juliet Shelby and she was born in
Shreveport, La., April i, 1902, which makes her fifteen,
"going on sixteen" years old. She became Mary Miles
Minter when she was nine years old and playing in The
Littlest Rebel with the Farnum brothers, Dustin and
William.

"The real Mary Miles Minter was a cousin who died
when she was a baby," said "Julie," as the home folks
call her. "She was nine years older than I, and my mother
naturally thought of her when it looked as though we
would have to close the show because I wasn't sixteen
years old. So, when the Gerry man came, mother showed
him the birth certificate of Mary Miles Minter and said
that I was Juliet Shelby's cousin. She had padded me all
up beforehand, too, as I was supposed to be a dwarf. My,

but we were scared. We got by all right, though, but I had
to keep my cousin's name until mine was forgotten."

The fact that New York fell in love with the little girl
of "The Littlest Rebel" is too well known to need men-
tion. Not so the fact that at the time she was "no pam-
pered, velvet-and-ermine-clad doll, whose charms are em-
phasized by curls," to quote the New York Dramatic
Mirror of November 22, 1911, "but a ragged, straight-
haired, woman-faced little one. Critically analyzed," the
article goes on to say, "the visage of this small conqueror
of a big city is not pretty, except in the inevitable pretti-
ness of childhood in any state — "

Mary Miles Minter likes that clipping. It proves that,
radiantly beautiful as she is now, she did not walk into
fame on the strength of that beauty.

"I loved 'The Littlest Rebel.' " she said. "I want to do
something really dramatic in pictures — like Tennyson's
Elaine,' for instance.

"King Arthur is my ideal man," she went on, "King
Arthur or Lancelot, but really I don't like any men very
much. Even King Arthur had a fault; he was so busy
taking care of his Kingdom and his Table Round that he
neglected his wife."

en Girl of the West

By Elizabeth Peltret

"A face of fairy beauty, and a form of airy grace,
Floats out on my tobacco, as the Genii from the vase,
And I thrill beneath the glances of a pair of azure eyes,
As glowing as the summer, and as tender as the skies."

She is very girlish.

"My favorite play used to be 'Romeo and Juliet,' but
it isn't any more. It seems too sentimental, somehow, and
then, too, I believe so firmly in life after death — you know
that Romeo and Juliet lived good lives, and that in the
end they were together and happy — it really doesn't
seem a bit sad to me — not a bit."

She has quick, intuitive likes and dislikes and, as
soon as she meets people, associates them with some
color or combination of colors, that seem to suit
them most. She has given colors to all the people
with whom she played on the stage, going as '"far"
back as the time of her first appearance
when she was five years old, in Cameo
Kirby with Nat Goodwin and Maude Fealy.

"I can't remember what color I gave Mr.
Goodwin," she said, "but Maude Fealy's
was white and yellow, Mrs. Fiske was
beige; Robert Hilliard, French gray, and
Emily Stevens — I had a great deal of trouble
giving a color to Miss Stevens. For her, I
thought of marigold with a narrow stripe of
violet, but I wasn't exactly sure. Mary

Mother, Grandmother, and
Sister assist while Juliet
demonstrates that even swans
have an eye for beauty — and
popcorn !

Photoplay Magazine

You may have been "caught" reading, Mary. But child! Isn't that a dictionary?

Pickford is many different colors, but they are always warm
and soft and beautiful — she is like a sunset sky. Dustin
and William Farnum are very different. To William I
gave russet brown and woodland green, while to Dustin
I gave purple streaked with cerise. I gave Madame
Bertha Kalich violet streaked with crimson." She laughed
lightly. "Perhaps I put in the crimson because she got
mad at me once. We made it all up afterward and I
love her.

"In the play, she was supposed to be my mother and
all through rehearsals I persisted in skipping when she
wanted me to walk. Finally she said, 'Oh, it is true! The
child CAN'T walk! Come here to me, Little One. I,
Kalich, will teach you how to walk!" (Miss Minter had
laid aside her knitting and was giving a funny imitation
of herself and Madame Kalich.)

" 'See!' Madame Kalich went on, T am your mother,
but you have not seen me for a long time. Come, express

it, so! " -— (Showing
just how Kalich
wanted her to do, she
took two little steps
and drew back a little,
then three little steps
and drew back a little,
finishing up in a run.)
"It wasn't natural for
me to do it that way,"'
she went on. "Madame
rehearsed me again
and again, but I
wanted to skip and so
I could not — or would
not — do it right. Any-
way, I didn't skip on
the night of the per-
formance; I walked,
but not — oh, not — as
Kalich wanted me to!
I held my knees as
stiff as if they were
sticks — (she illus-
trated with telling ef-
fect)— it broke Kalich
all up and she was
furious. 'The child
have ruin everyt'ing,'
she said. 'She have
deser-r-crate my art ! '

"All of us get mad
when we have some
good cause for it. I
can remember just rs
well how mad I got at
Maude Fealy because
she used one of my
socks as a handker-
chief, and I was only
about five years old. It
was during Cameo
Kirby. Miss Fealy
had a dreadful cold,
she had mislaid her
handkerchief, and had
only a few seconds be-
fore it was time for her
to go on. She was
looking around desper-
ately, when she spied
Mama standing there
with a pair of my
socks. 'Oh, give me
that, please,' she said
and snatched one of them. I had to go on 'sockless!'
"Here, at the studio, everything goes like clockwork,"
she remarked. "I'm living the most monotonous life."

Her days are, for the most part, spent at the studio, and
her evenings at lessons. She is taking music (vocal and
piano), French and literature, and has three tutors, giving
two nights a week to each. Even in as small a city as
Santa Barbara, she is personally very little known, out-
side of the Hotel Arlington where she lives with her
mother, grandmother, and her beautiful brunette sister,
Margaret Shelby. But, of course, Mary Miles Minter is
none the less a favorite subject of conversation and some of
the things said about her would make good plots for sce-
narios. For instance, one day Margaret Shelby was sitting
next to some of the inhabitants of Montecito, the millionaire
colony, in a picture show, when she heard one say:

"Mary Miles Minter is thir-r-rty-nine years old; you'd
never think it, would vou?"

The Golden Girl of the West

"Oh, I don't know!" said the other. "They hide it with
make-up, you know."

"She looks so dainty," said the first. "But really, she
is quite ignorant and uneducated. She was born in New
"York on the east side. Her father was a common drunk,
and her mother had to scrub office floors for a living. At
last, her father disappeared and her mother died — of ex-
haustion, probably. She was adopted by a neighbor almost
as poor as her parents had been. This neighbor took
care of her until she was about sixteen years old. Then, a
show girl saw her, noticed her beauty and got her a place
in the chorus. She worked herself up from there, grad-
ually. Remarkable,
isn't it?"

Margaret Shelby
thought that it was re-
markable. For a mo-
ment she had an intense
desire to enlighten
them, but she didn't.
"It would really have
done no good," she said.

As a matter of fact,
Mary Miles Minter is
descended from a fa-
mous pioneer and In-
dian fighter, Gen. Isaac
Shelby, who became the
first Governor of Ken:
tucky and she never
suffered, even the least
little bit, from poverty.

She has a fervid am-
bition, is direct, earnest
and sincere.

"I know that I will
do big things," she
said. The sentence
was, of course, without
a trace of egotism. She
was ignoring the fact
that her name is fa-
mous all over the world.
"I have my wagon
hitched to the very
highest star of all and
I'm determined to get
there and sit right on
the top of it, some
day."

It was just as we
were leaving; and Mary
called us back.

"Yes?"

"I wonder if I might
write a little letter to
the people who have
been so kind to me —
send them a little mes-
sage through Photo-
play?"

We agreed that it
would be very nice in-
deed; and Mary disap-
peared for some min-
utes. When she came
back she handed me
the letter, with a little
smile, half-shy, half-
triumphant.

"Dear Friends
Everywhere:

"I'm writing to you,

care Photoplay Magazine, because 1 want to tell you all
that I've been hoping to tell you for a long, long time.

"You know, when I was on the stage, I was pleased with
my little successes. But I never dreamed that some day
I would have so many friends. You have made me
very happy; and I shall do my best to please you always.

"Perhaps by the time this reaches you, Christmas will
have come and gone. But the thought is uppermost in
my mind, and I wish you all the merriest Christmas pos-
sible, and the happiest New Year.

"Your Friend from Shadow-Land.

"Mary Miles Minter."

Riley must have known a Mary Miles M

inter. And loved her. She is to thousands of fans the living spirit of
An Old Sweetheart of Mine."

And George Did

George Beban's ascent to fame was neither
sudden nor easy, and certainly not made more so
by Father who had other prospects for George.

By Kenneth McGaffey

FTER you, my dear Al-
fonse! After you, my
dear Gaston!"
Everybody knows them,
but did you ever stop and think
back how long these two famous
personages have been displaying
themselves in the comic supple-
ments? I don't know myself, but
it was long before the photodrama
began to flicker. Then there was a
musical comedy version of Alfonse
and Gaston which played the pistol
opera circuit for several years — and
guess who was the
man who first
played Alfonse?

Mr. Beban's make-up

for Latin roles is perfect.

Not the smallest detail

is overlooked.

!?lpp^

shoots" a domestic scene on the
Papa and Mamma Beban are

Ta-a — da — the curtains move. Ta-a —

da — the official announcer steps forth.

Coughs. Bows. Coughs again. "Ladies

—and — gentlemen." — (Pause.) — "I take

great pleasure in introducing the speaker of

the evening — the original Alfonse, who is

none other than the famous interpreter of

Latin characters, — Mister George Beban."

Ta-a — ■ Ta-a — Ta-a — da. The curtains part,

revealing Mister Beban in poses plastique of an

Italian Peddler. Applause. — Cheers. — Curtain.

Those funny cartoons of Frederick Opper brought
George Beban to the attention of the theatrical world
and were the first step of the long ladder of successes
his popularity has erected. His appearance in "Alfonse
and Gaston" attracted the attention of a theatrical
manager and Beban was given an opportunity to appear
on Broadwav with a real show and from then on it was

a cinch. How he developed from
a French comic into the most fa-
mous player of Italian types is a
long and complicated story.

To see Beban now on the screen
as an Italian truck gardener or
peddler, do one of his wonderful
scenes with a little child — one of
those scenes where you sneak the
handkerchief out and dust the rain
out of the corner of your eye — you
cannot imagine him singing "A
Flower from My Angel Mother's
Grave," with Lask's "Bitters and
Vigor of Life Medicine Show" in
some Western tank, with the boost-
ers among the crowd calling, "An-
other bottle sold. Doctor!" at the
saddest part. That was the time in
Beban's life when he had taken the
name of "George Dink" so his irate
male parent could not find him and
haul him home.

George was born in San Fran-
cisco, where so many eminent
actors started from. He had a fine
voice for a twelve-year-old kid and
his father planned that he should
become an opera singer. Accord-
ing to George's notion, it took too
long to prepare for opera, so, with
the help of his elder brother, he
sneaked out and got a job with the
old McKee Rankin Stock Company
and made his debut on the stage
as "Jack Mason, age 6, the tender
cord that bound two loving hearts
together." It said all this on the

Mfc

George Beban and
George, Jr. who co-
starred with Daddy
in "Lost in Tran-
sit." Some distinc-
tion for a young
man not three
years old.

Photoplay Magazine

program, so all that George had to do was to wrap them
up. He played Little Jack for nearly a week, when one
night the manager came to him, told him he was rotten,
had no talent, and fired him.

At home the elder brother tipped off the
fact that George's
father had gotten to
the management and
had him fired. A little
later George co-
railed a job at the
old Vienna Gardens.
He wore an old satin

French table d'hote presided over by a buxom proprietere
recently from France. Beban would engage her in con-
versation and rapidly acquired the Franco-American
dialect. Pretending to have trouble with
his eyes, he got her to read his part to him.
When he appeared on the stage he used the
table d'hote dialect and
made a hit. A little
later he was starred in
"Alfonse and Gaston" —
then came the
offer to support
Marie Cahill in
"Nancy Brown,"
on Broadway!

Mr. Beban takes it easy after
a nard day's grind at the
studio. His companion could
not be induced to look pleas-
ant.

suit he had outgrown, and was billed as "The
Boy Baritone of California," the song that
made the biggest hit being "The Picture
that's Turned to the Wall." For this and
a couple of other tearful ditties George collected twelve
dollars a week. Father located him again and the man-
ager told him he had a rotten voice and sent him on his
way. George could not figure this out; the audience
seemed to like him, yet he would always get fired for being
rotten.

"A brief rest at home and then I got a job with the
Reed and West Minstrels as one of the boys in a quartet,"
said Beban in reviewing his past. "Even under the burnt
cork the eye of my father found me again, and again I
was fired for being no good. Then I woke up and, to get
away from the parental influence, joined out with the
medicine show with a boy chum. The towns the 'Vigor
of Life' visited were too small to have theatres, so we
played in hotel dining-rooms, lodge halls and vacant lots.
When I was not edifying the audience with my boyish
baritone, I was down through the crowd selling 'Bitters.'
We got a rake-off for every bottle we sold," explained
Beban, "but trade was none too good for in some dis-
tant mountain town the 'Bitters' lost their bite and the
'Vigor of Life' fluttered and went over the Great Divide,
and I had to write home for money enough to get back to
San Francisco."

Goodyear, Elitch and Shilling's Minstrels came to Oak-
land and George pussy-footed across the bay and joined
out. The minstrels went east and so did George, and it
v/as many years before he saw the tower of the ferry build-
ing, and when he did get back he was not afraid that his
father would have him fired.

Beban did fine in black-face and then went into vaude-
ville. A little later he went to the Pan-American Exposi-
tion in Buffalo and did his specialty in a show called "A
Trip to Buffalo." One of the principals was taken ill and
George was offered a part, but he had to have a French
dialect. Now, up to this time Beban did not know any
more French and Italian dialect than a rabbit. "Why, I
couldn't even argue with a boot black." he says.

Beban's favorite dining place in Buffalo was a little

Here he scored
his hit which cen-
tered the eyes of
* the theatrical
world on him.
He was with
Weber and Fields
and then George Cohan wrote "The American Idea" espe-
cially for Beban and he scored a pronounced success.
While on tour with "The American Idea" he heard Elsie
Janis give an imitation of Nick Long reciting an Italian
character interpretation, "Rosa." The little story im-
pressed him deeply and a little later at a dinner in Chicago
he, being called upon for a recitation, gave "Rosa" as an
imitation of Elsie Janis giving an imitation of Nick Long.
Long was the applause when he finished.

"Rosa" was used for after-dinner purposes for some
time until one night at a dinner in New York, the late
Percy Williams, the vaudeville magnate, offered him a
vaudeville engagement if he could make "Rosa" into a one
act playlet. After weeks of hard work he brought Williams
a one-act play founded" on "Rosa" and called "The Sign
of the Rose." Williams liked the playlet and Beban opened
in it two weeks later. For six years, both in this country
and in Europe, Beban appeared in this playlet. Later it
was elaborated into a four-act play and he' appeared for
several seasons in that. Returning to California for a
vacation, Thomas H. Ince induced him to do "The Sign
of the Rose" in pictures and an eight-reel production was
made of it under the title of "The Alien." That is the
history of the little recitation, "Rosa." It changed a comic
Frenchman into the greatest interpreter of Italian charac-
ters on the stage or screen.

During all of this excitement Beban took time to get
married and led Miss Edith Ethel McBride, a professional,
to the Beban dove cote. By this time Beban was begin-
ning to think he was quite a star, but nearly three years
ago he was forced to take second place. George Beban, Jr.,
arrived and grabbed the domestic spot-light. George, Jr.,
is some temperamental, too, for as soon as he was able to
talk he discarded the name Beban and adopted that of
"Bob White." from the quail whistle his grandfather would
call him with. "Bob White" sticks and he refuses to be
known by any other name. Bob appeared with his father
(Continued on page 124)

She doesn't look much like the gallant leader of the Russian lady scrappers, but the signal to cease firing has been given — sorta twenty min-
utes for tea — so Edith Storey got out her knitting. You see Edith has a brother in the navy — American, not Russian — and this is going to
be a sweater eventually, if not now. The background is a Russian village street constructed by Metro camoufleurs. Miss Storey's chaperon
is a fierce Siberian sniffhound that was captured by big game hunters in the wilds of Flatbush.

Serious, serious Marguerite Clark! But, then,

dropping stitches isn't funny. Knit two,

purl two, and reverse.

Beverly Bayne has apples on her bag.
Go right ahead, Beverly — cast on.

This is lovely. But who's going to untangle the yarn after
Evart Overton and Baby Aida Horton have wound it.

"Earle Williams has never been late at the Studio." —
From January PHOTOPLAY. Miriam Miles opposite.

You have to use four needles to make the neck. Director Vignola
should have thought of that before he interrupted Pauline Frederick.

THE film queen passes out of the
camera's vision. She has no more
scenes for an hour or so. She calls
her maid. And Watson, her maid,
brings the needles and the yarn and
the knitting bag, and the film queen
sits and knits and knits and knits —
until the director calls her again. By
and by some gallant soldier boy in the
first line trenches will be handed a
package containing the result of the F.
Q.'s handiwork. He will slip his cal-
loused hands into the sleeves and,
struggling into it, murmur: "Heavens,
when will this cruel war be over?"

In the East and West the girls of the
flicker stage ply the needles relent-
lessly. They are doing their bit and
getting a lot of fun out of it.

Anna Little couldn't find a quiet place to count her
stitches, so she dropped into this little cell — in the studio.
It belongs to a gentleman-burglar. Cast-off, Anna.

Harry Morey is telling Arthur Donaldson that
it isn't so bad ; but Arthur doesn't want to
be a model, not even for Patsy de Forrest.

Beside the chief and myself there were just five persons in the secret. Cynthia Love, of course, and Atherton, and Jean Williams, and
Billy Woodward our "heavy." The fifth was my camera man, Percival Malone.

Beating Them To It

An honest thief was Percy Malone but not too honest to profit by his thievery.

'HAT'S the matter,
old chap?" I heard
someone say at my
elbow. I looked up.
Bancroft of the Times slipped
into a chair.

"What do you mean?" I countered, putting down my
glass.

He laughed.

"Why, when a perfectly good motion-picture director
sneaks into his club, sits all alone in a corner, hurls down
a highball and then spends the next ten minutes grinning
to himself like a Cheshire cat, I consider it high time his
friends interfered.

'Was I doing all that?" I asked.

"You sure were. What's the idea?"

"I've just shaken hands with a thief."
"Nothing unusual about that," Bancroft said, lighting
a cigarette. "Quite common, in fact, around Longacre
Square. Now if you'd said you'd shaken hands with an
honest man, I might show more interest."

"I did that, too," I laughed. "He was an honest thief."

"Sounds interesting," Bancroft said. "Tell me about it.
I need a good Sunday story."

"If you'll promise to print it, names and all," I replied,
"I will."

"You're on — provided it'll pass the censors, and won't
land us in court for libel. Let's have the awful details."

"Well," I said, "I suppose you know I've just finished
directing a big picture — the biggest, in fact, that the Inter-
national has ever produced, which is saying a good deal."

"I've heard rumors of it. Cynthia Love and Harold
Atherton as co-stars, isn't it?"

"Yes. Her first big picture since she left the Metagraph.
We'd planned to have them do Camille, but at the last
moment we struck something better."

"What is it?"

"I can't tell you that. But it's a tremendous big idea —
something everybody knows about. You'll wonder, when
we announce it, that no one ever thought of doing it
before."

"How have you managed to keep it so quiet?"

"Well — we took unusual precautions, of course. But
it's been hard. And at that we are sold out."

Bancroft stared at me. I think he suspected I had been
drinking.

"Sold out, and you sitting here laughing your head off.
What's the big idea?"

"I'm coming to that. Didn't I tell you I'd just shaken
hands with a thief? But to get back to my story. About
two months ago the Chief handed me a newspaper clipping.
It was just a scrap — two or three lines long, but the
moment I saw it, I knew we'd struck a gold mine.

"Fix up a scenario at once," he said. "Better do it
yourself. We can't afford to take any chances."

There was a particular reason for secrecy in this case.
Jerome Kurtz of the Metagraph has been sore as a puppy
with the mange ever since Cynthia Love signed up with us.
He thinks we stole her from them, which isn't true,
although Atherton did. But the Metagraph crowd blame
us for it, and have sworn to get even. Naturally they'd
be watching her first picture with us, in the hope of spoil-
ing it, if they could. Not much trouble to slip Doris Wayne
or one of their other stars into a changed version of the
thing, get out a cheap production ahead of us, and ruin
ours completely. It's been done often enough, God knows.
You remember the celebrated case of Romeo and Juliet.

^y Frederic Arnold Kummer

ILL USTRA TET> <B Y
CHARLES T>. ^MITCHELL

And the worst of it was that this
thing the Chief wanted to do
was free to anyone — as free, as
Mother Goose or The Arabian
Nights. The only way to make
good with it was to get there
first — to beat everybody else to it. But to do that required
absolute secrecy.

It isn't an easy matter to keep a thing like that dark.
In fact, it's almost impossible. You can trust your lead-
ing men and women, but it's with the extra people
that the danger lies. Of course, I wrote my scenario
without a title, and with the names of the characters blank,
so that if anyone by chance got hold of it, it wouldn't
mean much to them, but it wasn't the scenario I was afraid
of. I felt that I could take care of that. It was the danger
that the Metagraph would plant a spy among our extra
people, clever enough to guess what we were up to, or
sufficiently attractive to worm it out of somebody who
knew.

We began work at once, taking a lot of unimportant
interiors that I had no fear would be recognized, especially
as I took care to mix them up, jumping here and there
out of all sequence, and of course making a hopeless jumble
to anyone not in the secret. But it was the outside work
I feared. It's one thing shooting a scene in the studio
behind closed doors, working with just a few people, and
quite another to handle exteriors requiring a small army
of extras out in the open, and still keep what you are
doing from the public.

I arranged to take these scenes at a farm we'd hired
down on Staten Island, and to make assurance doubly sure
I signed up everybody we took along to stay right there
on the job, day and night, until we had finished. No leaves
of absence for any cause whatever. Even letters were
forbidden, and no one could use the telephone without a
permit, and then only in my presence, or that of someone
I could trust. What with our tents, and guards about the
place, it looked like a regular internment camp.

There were a number of big interiors to be taken at the
studio later on, but I knew that by the time our outside
work was done, we'd have too big a lead for the Metagraph
or anybody else to catch up with us, so I wasn't worrying
about that.

Beside the Chief and myself there were just five persons
in the secret — Cynthia Love, of course, and Atherton, and
jean Williams, and Billy Woodward, our "heavy." I
wasn't a bit afraid of any of them — the success of the pic-
ture meant too much for any treachery on their part. And
the fifth was my camera man,, Percival Malone. Percy has
worked with me for years — he's the best operator the
International has — and I'd always made it a point to talk
things over with him quite frankly.

WTe started off in fine shape, splendid weather and every-
thing going smoothly, when one day a big machine drove
onto the lot, and the Chief jumped out, looking as black
as a thunder cloud.

I knew at once that something was up. He had on his
war-paint for fair. We walked to one side of the lot,
where no one could overhear us.

"Somebody's spilled the beans," he shot at me.

"Impossible!" I said.

"Impossible nothing! It's a fact. The Metagraph is
going to beat us to it."

"How do you know?" I asked, feeling a bit trembly
about the knees.

"Purely by accident. Sam Goodman, my nephew, over-

Photoplay Magazine

heard Jerome Kurtz talking lo a friend at the theatre the
other night. Sat right behind him. Jerome was boasting
he'd got a script of our piece and was already at work on
a rival production. We're dished, I tell you.''

I don't believe it," I said. "The only script in the world
is right here in my pocket."

Well — a copy could have been made, couldn't it?"

"How? The thing's never been out of my possession."

"Never?"

I thought a moment. Then I had a sinking feeling.

"Well — one night, yes. I let my camera man, Percy
Malone, take it, to figure out the scene plots and property
lists."

The Chief fixed a glassy eye on Percy, who was standing
at his camera some hundred or more feet away.

"There's your leak," he said. "Sure as you're a foot
high."

"Impossible," I exclaimed. "I'd trust Percy Malone
with my life."

"Then you'd better order one of them $49.75 funerals
at once. We're dished, I tell you. Better call the
thing off."

I felt pretty sore. I knew he blamed me for taking
Percy into my confidence.

"You're not going to throw up the sponge," I said, "on
evidence as flimsy as that."

It rubbed his fighting spirit the wrong way, as I knew
it would.

"No!" he snorted. "Not on your life. We'll announce
the production for the 8th of next month. It's up to you
to have it ready for release on the 1st."

"I'll do it," I said. "But don't announce the name.
There's something fishy about this thing. If Percy Malone
is crooked, I'll throw up my job and go into the buttonhole
business."

The Chief turned away with a growl of disgust.

"Somebody's sold us out," he muttered. "If it isn't
you, or Cynthia Love, or Atherton, or Williams, or Wood-
ward, it must be this fellow, Malone. The Metagraph
would have paid a thousand — five thousand — for the right
dope on our plans. I guess that would look pretty good
to a young fellow with a wife and child to support, these
days. Keep your eye on him. Find out the truth. If he's
wrong, I'll make it my business to run him out of the
picture game."

I felt pretty blue, after the Chief had gone. In the first
place, I remembered that Percy had told me, only the
day before, that his youngster had typhoid fever. Then
other things began to come to me. I'd noticed him going
about a lot with one of our extra women, a red-headed
baby vamp named May Parker. The thing had struck
me as strange at the time, for Percy wasn't much on the
women.

Of course I didn't say anything to him. I was too fond
of the boy, for one thing, and then, too, I realized it
wouldn't do any good. But it was clear that there had
been a leak somewhere, and I made up my mind to do a
little detective work on the side, and see if I couldn't find
out the truth. And just to make sure that Percy hadn't
given us the double cross, I deliberately told him we were
going to announce the picture's release for the 8th of the
following month, but would actually bring it out on the
first, thus forestalling the Metagraph's attempt to injure
us. Yes, I'll admit it was a risky thing to do, especially
as things turned out, but I determined to get at the truth,
no matter what the cost. I figured out that if Percy was
the nigger in the woodpile, he'd lose no time in sending
word of the change in our plans to the Metagraph outfit.
Not a soul in the place knew of the change in dates except
Percy and myself. If the news got out, it would nail him
to the cross.

All that afternoon I kept my eye on Percy Malone. I
hated to do it, but what the Chief had said had sort of

got my goat. About four o'clock a sudden storm came
up and spoiled our light, so I retired to my office and
busied myself figuring out some effects in the scenes we
were to shoot the next day. Percy had come in with me
and left his camera, but he went right out again. I
watched him through the window beside me, and was dis-
agreeably surprised to see him go up to May Parker, that
extra woman I spoke of, and say a few words to her, after
which they strolled off together down the street of a little
village we'd built for some of our big scenes. Percy was
plainly agitated.

From where I sat I could see right down the full length
of the little street. It had just begun to rain. Suddenly,
and with what seemed to me a furtive look about, Percy
and the girl dodged into one of the houses and disappeared
from view.

The whole thing came to me as somewhat of a shock.
Percy is married, as I believe I told you. His wife used
to work for us, and I know her well, and am fond of her.
So, I had thought, was Percy. Why were he and this
Parker woman meeting in that mysterious way? It didn't
look right at all. I began to fear that possibly the Chief
had been right.

It had grown pretty dark, by now, owing to the approach-
ing storm, and the lot was deserted. I took up my hat,
slipped out the door and made my way to the rear of the
little house in which the two had met. It was only a
temporary affair, of course, made largely of compo-board,
without any back to it, and I knew I'd have no difficulty
in overhearing whatever Percy and his companion might
say. Yes — I hated to play eavesdropper, of course, but for
Percy's sake as well as my own I had to get at the
truth.

They had been talking for some little time, when I got
there, and the first thing I heard almost broke my heart.

"I'll have to send them word at once — tonight," I heard
the woman say. "Will you post the letter for me?"

Percy nodded. I could see him through an opening in
the wall. He looked very pale, I thought. Then the girl
got him to give her a scrap of paper torn from his note-
book, and she began to scribble a few lines on it with a
pencil.

"Positively going to be released on the 1st," I heard
her say.

Again Percy nodded. Then he took something from his
pocket.

"Here's a stamped envelope," he said. "I thought you
might need it."

The woman finished her note, and wrote an address on
the envelope. Then she handed the letter to Percy.

"Say," she said, in her best vampire style, "you're all
right, kid. When this picture is done, I want you to come
and see me. I ain't any extra woman, you know. Jerome
just sent me down here to keep tabs on how you people
were getting along. I guess he's figuring to open the same
night you are. Good thing you gave me the correct dope
I'll make the Metagraph cough up a couple of hundred
extra for that. You going out to post that letter now?"

"Yes," said Percy. "When I go down to the ferry for
the evening papers." I forgot to tell you that he was quite
free to come and go as he pleased, for I had trusted him
implicitly, and he was in the habit of going out every
evening after supper to post any letters I might have
written, or attend to any other little commissions.

I saw that he and his companion were about to leave
the place, so I ducked back toward my office, and then
turned as though I had just left it. Percy looked at me
rather sheepishly, I thought, as he caught my eye, and I
saw that his face was lined and careworn. No wonder, I
said to myself, with a rotten thing like that on his mind.
Then I stopped him.

"Percy," I said. "Come up to the office for a moment.
I want to talk to you about a certain matter."

Beating Them To It

He excused himself to the Parker woman and followed
me to the little outbuilding in which 1 had rigged up my
temporary office. When we got inside I switched on the
lights, pointed to a chair, and told him to sit down. I'm
afraid I couldn't quite manage to keep my bitterness out
of my voice, but I had a trying task ahead of me. Not
only was Percy about to lose his job, but I was about to
lose both the best camera man in
New York and a trusted friend.
But I knew that a traitor in camp
was worse than a rattlesnake, so I
pitched in without wasting any time
on preliminaries.

"Percy," I said. "Somebody has
sold us out to the Meta-
graph."

I watched him keenly,
to see what effect my
sudden announcement
would have. To my
amazement, he did not
turn a hair, nor did he
make any reply. Just
sat looking at me in a
helpless sort of a way
that made me feel like a
dog. I hurried on with
my task.

"Tonight," I con-
tinued, "you' gave May
Parker certain informa-
tion which she embodied
in a letter" —

"How do you
know that?" he
gasped.

"I heard you. I
was standing just
outside the house.
She gave you that
letter to post. I want
it."

Percy took the let-
ter slowly from his
pocket and handed it
to me. I glanced at
the envelope. It was
addressed to Jerome
Kurtz, at the Meta-
graph offices, and
was marked personal.
I started to tear the
thing open. As I did
so, Percy sprang
from his seat and put
his hand on my arm.

"Don't open it—

since our interview began. Somehow it did not strike me
as the expression of a guilty man.

"I'm prepared even now to hear some reasonable
explanation of all this," I continued. "You have been my
friend for a long time. I'm not going to condemn you
until I hear what you have to say."

"I thank you for that," he said, earnestly. "Now I'm
going to tell you the truth. The script
the Metagraph people are working
from I sold to them myself lor a thou-
sand dollars. I've carried the money
about with me ever since. Here it is."
He took two folded five hundred dollar
bills from his pocket and laid them
on the table.

I could scarcely believe
my eyes. And to think
that he had the effrontery
to confess his part in the
rotten business without
showing the least sign of
shame. I turned
away in disgust.

"Pick up your

dirty money," I said

bitterly, "and get

out of here as

quickly as you can.

After what you've

just told me, I feel

as though in

jfi about two more

minutes I'd

give you the

worst thrash-

She began to
scribble a few lines
with a pencil .
"Positively going
to be released on
the first," I heard
her say.

please,"
he said. "I'll tell you what's
in it. Just a few lines, in-
forming the Metagraph

people that we are going to announce our release for the
8th, but really intend to show the picture on the 1st."

I gazed at him with rage in my heart. I could cheer-
fully have strangled him.

"Percy," I said, "Ive tried hard not to believe this thing'
of you, but the evidence is against you. It isn't only this
r.ews about our release date. That would be bad enough,
God knows, but there's worse. Somebody has sold the
Metagraph a copy of our script. That script has never
been out of my possession, except when it was in yours.
They are making a picture from it. What have you got
to say for yourself?"

He looked at me in that strange way I'd noticed ever

ever
your

ing you
had in
life."

"Wait a min-
ute," he said,
"I want to tell
you the whole
thing, before I
go. It all hap-
pened before
we started
work on the
picture, about
the time you
,gave me the
scenario to
look over. I
met Jerome
Kurtz on the
street one evening, just as I
was leaving the office. I
don't think the meeting was
accidental. He was looking
for me, and asked me to stop in at the
Knickerbocker and have a drink. We
did — sat down for a while, because he
said he had something he wanted to say to me. Then he
offered me a job as camera man at a big salary. I refused.
After that he intimated that if I'd get him a copy of the
script of our new Cynthia Love production he'd give me
a thousand dollars. I began to do some quick thinking.
Pretty soon I said I'd get him the script.

"The next day I met him and turned it over to him, and
he gave me the thousand. He offered me a check at first,
but I wouldn't take it, so he gave me the bills."

"How could you?" I groaned, more hurt because of his
treachery to me, than anything else.

(Continued on page 123)

From Sten

Hew Virginia Valli Bridged the Gap
Between a Chicago Commission House and
a Private Dressing Room at Essanay

Then she

became a

dancer.

It's a long jump from South Water Street and
an Underwood.

A LITTLE less than four
years ago Virginia Valli was
a stenographer in a ship-
per's office on South Water
street, Chicago. Today she's playing
leads with Essanay on pretty, shaded
Argyle street, Chicago. It's a big
jump, and this is how it happened:

There is fascination in following a
chain of circumstances to its out-
come. If Miss Valli, upon her gradu-
ation from high school, had chanced to become a
stenographer in some well-appointed, mahogany-lined of-
fice, under a consid-
erate "boss" and
with pleasant com-
panions, the chances
are that she would
still be tapping an
Underwood with her
slim fingers and con-
tentedly cashing her
weekly pay check —
cashing it, you under-
stand. As it is, Vir-
ginia is able to de-
posit a good many
checks beautifully
and satisfyingly in-
tact.

But you see, she
went to work on
South Water street.
To a- native of the
Windy # City, that is enlightenment
enough; but for the benefit of the
uninitiated we will interpolate a lit-
tle explanation. South Water street is
the market district of Chicago. It
is only eight blocks long, but it has
traditions of its own, which tradi-
tions haven't changed since the year
of the Chicago fire.

When Miss Valli turned the cor-
ner which led to her employer's
office, she would instinctively press
her handkerchief to her nose. This
was necessary to keep from being
asphyxiated by the distinctive South
Water street aroma — formed by a
combination of green hides, live
poultry, wagonloads* of bananas, de-
cayed pineapples, vegetables in all
stages of dissolution, and cheese in

all periods of ripening. Holding her skirts high, she would
be obliged to step over a crate of chickens, dodge between
trucks propelled by voluble sons of Italy, and then slip
on a spoiled tomato. She would climb a long pair of
dingy, half-lighted stairs, go into a dingy, half-lighted office
and spend long hours writing letters to complaining grocers
or figuring out the freight charges on carloads of cabbages.

Miss Valli didn't like it. She had to work from eight
until six, she couldn't keep herself neat and dainty, and
she had to endure being ogled by express drivers and
roustabouts whenever she went down the street. Some-
times she cried after' she got home. But there was mother,
and little sister, and the home. Virginia must do her share.

Virginia's mother sympathized with her. She wanted
her to find a more pleasant, heartening occupation. But.

If you saw "Efficiency Edgar," with Taylor Holmes, you couldn't have
missed his leading lady.

ography to Stardom

By Frances A. Ludwig

they pay pretty good salaries on South Water street,
so Virginia stayed — quite a while. Finally, she
couldn't stand it any longer. So one sunshiny morn-
ing she handed in her resignation.

About this time the dancing furor was at its zenith.
Virginia, being lithe and slim and especially designed
by nature for pirouetting, became a dancer.

Ah, this was the life! So thought Miss Valli. No
more climbing out early in the morning, no more hang-
ing onto a strap in an illy ventilated street car, no
more hideous chicken coops, no more tiresome dicta-
tion from a man who wore his hat the while he
mumbled his utterances through a
cloud of tobacco smoke.

But Mother didn't like it very well.
Virginia got home pretty late, and
Mother grew pretty tired, sitting up
and waiting for her, sometimes. Mother
worried a good deal, too. Virgie
wasn't looking well — her cheek bones
were beginning to show; and she was
irritable and drank too much strong
coffee and didn't seem to have any
appetite. Mother got a tonic for her
from the doctor, but it didn't seem to
help a bit. The doctor said Virginia
needed fresh air and to get to bed with
the chickens. It was a hard problem.

Then one day Virginia chanced to
visit the Essanay plant with a friend
who was a friend of one of the
directors. She saw how pictures were
made and the process was most inter-
esting. She went home and told her
mother about it.

Virginia and her mother talked
things over. The Essanay company
employed girls, pretty girls, without
stage experience, sometimes. Why
mightn't there be a chance for Vir-
ginia? There surely would be, for —
this was Mother's private opinion, of
course, — there could be no prettier
girls there.

So Miss Valli went back to Essanay

Well, now it's the
limousine life for Vir-
ginia and a dressing
room in stars row.

and registered her application for work. Knowing a director who was
a friend of a friend of hers, made it a little easier. Then she went
home and waited.

She waited two weeks and she didn't get any word from Essanay.
She wondered if it could be possible that they had her address wrong.
She decided she'd go again to see them, and— Oh, well, sort of refresh
their memory.

"And when I went," so said Miss Valli, "the director wouldn't even
see me; didn't remember anything about me!

"I went back three times before he would see me, but persistence

Lewis-Smith

finally won; and then I told him over again who I was.
Then I kept going every day and just sitting there. I think
I went every day for four months before I got even the
littlest bit of a chance."

But she didn't give up, you see. That's the whole story.
Probably if she had wanted to, her mother wouldn't have
let her.

Finally a chance did come — but, Oh, such an ordinary
little chance! The Essanay people produced "In the Palace
of the King" and in it Virginia was given a place as court
lady, along with dozens of other court ladies all alike as
two peas. She was way back in a corner, where she hardly
showed at all.

Then there was more waiting, but little by little, Vir-
ginia edged in. She played all sorts of parts; she says she
was everything from a stenographer to a "scrub lady," and
in "The Little Girl Next Door," Essanay's violently dis-
cussed picture, she played the part of a dope fiend. No
one, seeing her, could imagine it.

And all the while her mother encouraged her and kept
telling her that her time would come.

Her first real chance came one day when directors were
pacing the floor and tearing their respective hirsute thatches
because a certain actress from the stage play "Experience,"
then running in Chicago, hadn't showed up for her part in
a picture, for which she had been engaged. Everything
was at a standstill. Somebody else must be given the part,
quick. But who? Could Valli dance? Valli could. Could
Valli swim? Like a fish. Valli got the part.

Photoplay Magazine

Well, after that the worst was over. In a very short
while Virginia was given leads. She was "Mary Pierce,"
with Taylor Holmes in his first picture, "Efficiency Edgar's
Courtship," and has just finished "Uneasy Money," in
which she played opposite Mr. Holmes. She also played
with Bryant Washburn in "The Golden Idiot" and "The
Fibbers."

Miss Valli is 20 years old and was born in Chicago. She
ccmes of a patriotic family, for her only brother is in train-
ing at the Great Lakes Naval station, and Virginia is ex-
tremely proud of him.

Now listen! It is not necessary to wear curls in order to
"break into" the movies. Miss Valli is living proof of this
assertion, no matter what reliable authorities there are to
the contrary. Virginia has straight heavy dark hair which
she parts and combs back from her forehead without wave
or adornment of any kind. It is a very trying mode, but it
seems to suit her extremely well.

Also, Miss Valli says she doesn't know how to "act." She
just tries to do, naturally, what the director tells her to.

Virginia has delicate features, a fine skin, and her Irish
blue eyes were "put in with a smutty finger." Irish? Well,
here's something that everybody doesn't know. "Virginia
Valli" has a lilting rhythm, but she was born Virginia
Helen McSweeny. And if anyone wants to know the kind
of a girl she is, the fact that she hasn't the slightest hesi-
tancy to owning up to "McSweeny" will give them the de-
sired information.

She's just that kind of a girl.

I am Hart of the West.
Why do you applaud me?

I am not

Beautiful. And I do not

Clothe the Realities

In pursed lips and Windsor ties.

I fling at you

Proof of your meanness. And all of you,

Of a smug world,

Are surprising meek.

I take you back

Where things are simpler;

So you can work it all out

In a simple way.

For, though you will not read or listen,

I reckon you will watch me !

I have taught you

That a man's tears

Are neither so horrible,

Nor so consistently silly

As a woman's.

I have taught you

Renunciation, the greatest lesson.

The women of you

Who are deadly tired, think perhaps

There is Something in life

After all.

And they wish

They had married

Someone like me;

Then Willie

Wouldn't be so quarrelsome; nor little Edna

So Selfish.

And then perhaps they think

About Youth — but they do not call it that —

So Far-off —

And I am not young; why is that?

And then they Sigh ; and decide

Tc make a Meat-Pie for dinner tomorrow —

The Kind He Always Likes So Well.

And the girls of you —

They look about them; and measure all men

By me. I remind them

Of a Song they once heard;

Of a flower they once smelled;

Of a child they once kissed.

But they do not know that.

And the men of you

Slink down in your seats,

And watch me, and try

To gulp down a Lump in their throats;

And blink their eyes,

And hate themselves,

And blow their noses,

And wonder

Where they Caught

That Bad Cold.

The bigger boys of you

Want to grow up to be

Men who can shoot as straight, ride as hard,

And live as right as "Bi'l."

And the children of you —

The children of you adore me. And I am

nicest
To you. I am gentle, under the iron. And I
Prove to you

That the Things you Believe In
Really are. And I tell you
To keep on believing them, and
Keep on, and keep on, and keep on,
And never stop.
For / know,
And I believe them.

And I

Am only an Actor.

But when you saw "The Patriot."

Were glistening proud

Of your Americanism.

And "The Return of Draw Egan"

Shouted to you

To Get Up and Try Again.

And "The Disciple"

Preached Renunciation.

"The Desert Man"

Was a friendly hand-clasp;

"Wolf-Lowry,"

A whole-souled smile.

And I—

I am only an Actor.

I am Hart of the West.
Why do you applauu nie?

you

The story that won the

$500 prize in our recent

scenario contest.

I could see that it was as hard for Dad as it was for me, so I put my arms around his dear old neck and we sat there together.

Betty Takes a Hand

In Which Fate Mixes Betty and a Boarding House
'By Frances Denton

IT seems queer that nothing worth mentioning should her husband years before, and that that trouble had some-
have happened to me until the day I was eighteen, and thing to do with why we were so poor, but I never quite
that since then events have simply careened around me understood it. That afternoon he made it all plain to me.
until I've felt like a little lump of quartz in the middle It seemed that long ago, Dad and a partner of his,
of a landslide. named Bartlett, had located a mine. They had worked
To begin with I was eighteen years old on the day I it on shares for a while, and then, as it had not seemed
graduated from our little high school San Felipe. I don't a very paying proposition, Bartlett had offered to buy my
remember my mother. I had lived with my father in a father's share, saying that there would be a fair living for
little house beside a gold-colored hill one, but not enough for two. I
ever since I could remember. The think my daddy was a sort of a will-
hill was the color of gold because Betty Takes a Hand o'-the-wisp in those days. At any
millions of California poppies rate, he was glad to be off to new
bloomed there. They were beautiful, \TARRATED by permission from the scenes and it was not until he had

to be sure, but they were only elves' IN . „f . „ * .■> „ „ -f completed the sale that he chanced to

, , ,' / ... / photoplay of the same name, writ- j u r> ^ *.< u u

gold, and down at Mintzen s store, t h • K th ' K h H wonder how Bartlett could borrow

they demanded gold of another kind, J a enne avanaug , an pro- money to invest in such an unattract-

gold that bore the stamp of the duced h? Tangle. Cast as given in the ive proposition. Then he found out

screaming eagle. play: that a man name(j Hamilton-Haines,

We never had much of that. And Betty Olive Thomas a mining expert, was Bartlett's

that afternoon, when I came home Peter Marshall Frederick Vroom backer, and that the mine was far

from school for the last time with my Mrs Haims \ [ [ ' [ / BHss Chevalier more valuable than my father had

books under my arm, my father sat , , „ . .. ... realized.

down beside me on our "little porch, ,da hames Mary Warren go Bartlett and Haines gained

and showed me a letter he had just James Bartlett George Hernandez possesSion of the mine and grew rich

received from his sister, who lived Tom Bartlett Charles Gunn . from it, and my poor Dad remained a

in Los Angeles. Miss Catherton Margaret Cullington pick-and-shovel miner, a desert wan-

I knew very little about her. I The Gardener Graham Pette derer for many years. Luck never

knew that Dad had had trouble with His Wife Anna Dodge smiled on him again; and as he told

me these things I hated those men who
had swindled him, and I wished that 1
could do to them what they had done
to him. And then he told me that
Hamilton-Haines was long since dead,
and that my aunt, my father's sister,
was his widow. He had written
to her asking her to let me come
and stay with her until I could

Photoplay Magazine

»«. f

and surrounded by a lawn on three sides, with wide white
walks and driveways. It wasn't much like our cottage in
San Felipe. I went up the steps and rang the bell A maid
c.pened the door and I asked if Mrs. Hamilton-Haines
was in. She looked at me snippily, and asked
for my name. I said, "Please tell her her niece,
Betty Marshall, is here."

The girl came. back in a minute, and in a
very much pleasanter way, took my suit case.
A fine-looking gray-haired woman came for-
ward to greet me, and I would have known in
a minute that she was Aunt Lizzie, for she
had my father's mouth and
eyes. She smiled, and when
she did something warm

Tom told me that his father disinherited
him on an average of four times a year.

make my own way. I told him I wanted to go, for there
was no chance for anyone at San Felipe, heaven knows.
But I didn't want to go to people who had used him so.
But he said that, after all. Aunt Elizabeth was his sister,
and that I would be better off and safer with her than
with strangers.

1 read my aunt's letter. In it she said that she felt that
she owed something to our family and would be glad to
have me stay with her until I got settled. I could see that
it was as hard for Dad as it was for me, so I didn't fuss
any more. I put my arms around his dear old neck and
kissed him, and we sat together, looking at the yellow-
satin covered hills until the red sun slipped behind the
jagged Sierras, and little dots of light twinkled in all the
windows in the valley below.

Next day we said our goodbyes at home, for Dad didn't
want to come with me to the depot, and I knew just how
he felt. He went down into his leather pouch and fished
out a yellow boy, which he gave me with his blessing. I
didn't want to take it, but he had saved it for years for
this very day. Poor Dad! Then I realized how hard it
must have been for him to know that the time was coming
when I must go into the world to seek my fortune, just
the same way as a boy might have gone. "Don't you
worry a bit," I said, as I kissed him good-bye. "When
I come back it'll be rubber tires, not shoe leather that
brings me. You mark my words." And I felt just as
brave as I sounded.

But my father stood by the gate and watched me until
I was out of sight.

However, when I stood outside my aunt's house in Los
Angeles, I felt mighty small potatoes. It was a big place

rushed over me and
before I knew it I
had my arms around
her neck. I had in-
tended to be very distant and
dignified, but the relief at so
kindly a greeting quite over-
whelmed me. I hadn't realized how scared I was, before.
Then I met my cousin Ida and she looked like a regular
girl, and I was sure glad that things were going to be
pleasant, after all. We had a jolly time at dinner and
I told Aunt Lizzie all about my father and how we lived,
and how father felt — well, bitter; and while I talked she
kept lifting my curls with her fingers as if she were think-
ing half regretful thoughts.

Next morning, when I went into the library, Aunt Lizzie
had finished reading her morning's mail, and w7as talking
to Ida. I didn't mean to listen, but I heard her say, "Tom
Bartlett is going." Then in answer to something Ida had
said, which I didn't understand, "But we've got to do
something, Ida," — then I made a noise as I went in. Aunt
Lizzie looked at me and nodded her head, and said, "It
certainly seems providential." Then to me, "Betty, dear;
Ida and I have just had an invitation to go on a yachting
trip to the Bermudas. We are wondering how you would
like to keep house for us while we are gone."

"Why," I stammered, "I'd— I'd like it." Wouldn't I,
though! No worry, no hunting for work for a while, just
to live in that big beautiful house.

"Then it's settled," said Aunt Lizzie. "Everything will
be all right, child. The gardener will be here every day
to look after things. You can do as you like. Come, Ida,
we haven't much time; Mrs. Williams said she would call
for us at three."

% * * ::: # % * * *

Well, I see if I don't speed up a little I'll never get to
the interesting part of my story. That afternoon saw me
all alone and" mistress of all I surveyed. I went through
the rooms, straightening things here and there and trying

Betty Takes a Hand

to realize that I was to live with all this luxury. Then,
like a flash, I saw my daddy all alone, eating his supper
by the kitchen window while the sun slid behind the moun-
tains, and a dreadful choke came into my throat. I hunted
and found paper and pens and sat myself down to write
him a long, cheerful letter, and tell him how kind fortune
had been to me already. When I had finished, though, I
didn't feel quite so cheerful. I could still see him, with
only his pipe for company, in his shabby clothes and in our
shabby kitchen; and as I looked around the beautiful
room, with the vases of flowers on the table, the soft rugs
and bookcases filled with books, I knew there was some-
thing mighty wrong some where. Why should Aunt Lizzie
have all these things, and my Dad nothing, when her hus-
band had practically stolen them from him? Why, these
things really belonged to me as much as they did to her.

Just then the door bell rang. All the servants except
the gardener were gone, so I answered it. There was a
large, important-looking lady standing on the veranda, and
I guess she took me for a maid, for she said: "Young
woman, could you or your mistress tell me of a nice, quiet
place where I can get room and board in the vicinity?
I'm Miss Catherton, of the Lotus League."

She said it as she might have said, "I happen to be the
Queen of Sheba." I shook my head, no. "No, ma'am,
I don't."

She looked at me kind of undecided for a minute, and
then marched down the steps. The idea of coming to a
place like Aunt Lizzie's to ask for room and board! She
must be crazy. Then I went back to my letter.

But do you know, that woman put an idea into my
head, and the idea stayed. Room and board. Here was
a chance for me to earn some money — and
the more I thought of it, the better I liked
the idea. Probably there were lots of other
people in Los Angeles who
would like room and board
in such a nice place. And
who had a better right than
myself to use Aunt Lizzie's
furniture? If it hadn't been
for Dad she probably
wouldn't have been living in
such grand style.

I always make up my
mind awfully quick and I
made it up right then. I'd
do it!

I fished in a drawer and
found a big sheet of blotting
paper, and on it I drew
big letters, "Room and
Board." I was so excited I
didn't wait to finish my let-
ter, but went and tacked the
sign up on the veranda.
Then I took a book and sat
down in the shade of the vines to
see what would happen.

Pretty soon an automobile tore
around the corner and stopped in
front of the house, a young man piled out
and ran up the steps. I could see him, but
he didn't notice me. He caught sight of
the sign and stopped, his mouth wide open.
I had to stuff my handkerchief in mine to
keep from giggling. He took off his hat,
scratched his head, and looked at the sign
again. Then he caught sight of me, and I
got very busy reading my book. I knew
he was some friend of Aunt Lizzie's and
Ida's, and I thought probably he would
speak to me, but instead of that, he did

a funny thing. He went back to his car and dismissed the
chauffeur, for the man handed out a grip and drove away
and my young man walked around a corner with his grip
in his hand.

I got up and went into the house. 1 was beginning to
get a little scared and I wondered if I were breaking any
law. Pretty soon the bell rang.

It was the young man who had just gone away!

He said he had noticed my sign, and asked if I had any
rooms to spare.

I said, "Yes." I was going to see the thing through.

Then he asked my rates. I didn't know what to say. I
didn't want to say too much, or too little. I was all at sea,
but I took a chance, and blurted out, "Five dollars a
week — in advance."

He looked for a minute as if he was going to fall over.
Then he took a big bunch of bills from his pocket and I
knew I hadn't asked enough. All right; I wouldn't make
that mistake again. I stuck the money in my pocket and
grabbed up his suitcase. He tried to take it, but I wouldn't
let him, and he followed me into the house. "

"I — er, will you please give me a receipt, Miss — er — "

"I'm Miss Haines," I said. I thought he would fall
over again.

I wrote out a receipt and he said his name was Mac-
Tavish. Then I told him that I wasn't the original owner
of the house but had just bought it, and was going to run
it as a boarding-house. I thought I'd better make some
kind of an explanation.

I sat myself down to
write him a long cheer-
ful letter and tell him
how kind fortune had
been to me already.

Photoplay Magazine

After that things began to happen. The bell rang and
it was the woman 's-rightish looking lady I had just turned
away, and she was mad clear through. She saw Mr.
MacTavish and brushed by me. 'Your wife here has dis-
criminated against me, sir," she said. "A few minutes ago
she refused me board, and now I see a sign out. I demand
an explanation."

Well, 1 could have died. I tried to say something and
she cut me short. Mr. MacTavish tried to explain, but
she could talk faster than he. Then the bell rang again
and Mr. MacTavish opened it, and I saw the gardener
with two policemen!

"Keep a stiff upper lip — I'll settle them," whispered
Mr. MacTavish — and I'd only known him fifteen minutes!
Then I realized that Miss Catherton' had cooled off a
little and was asking me my terms, and I said, "Forty
dollars a week — in advance."

For a minute she looked like falling over — then she
thought better of it and pulled out the money. I gave her
a receipt and she asked me to have her trunk sent up.
Then Mr. MacTavish came back from the door, and I
knew he had got rid of the gardener and the policemen.
He told me afterward that he explained to them that Mrs.
Haines was hard up and wanted to earn a little money,
and that it was all right. I guess she was, if the truth
were known. Then I showed Miss Catherton to her room.

I came down stairs to answer the bell again. It was
Aunt Lizzie's chauffeur, and for a minute I w7as scared blue,
but he only handed me the key to the garage and said he
was to have a vacation. So that little thing was all right.
Then as it was getting late, I started dinner. I'm a pretty
good cook, and as there were only three of us, everything
went off pretty well, with the gardener as serving maid.

After dinner I began to clear away the dishes. I began
to realize that I had bit off a pretty large proposition and
would have to get some help, when Mr.
MacTavish came into the room. The
first thing he said to me was, "Come,

now, 'fess up, who are you? I happen to know you're
not Miss Haines."

Well, there was nothing for it but the truth, and so I
gave it to him. He kept saying "By George!" and "Well,
I'll be darned!" And after I got through, what do you
suppose he told me? That his right name was Tom
Bartlett, and that he was supposed to be on this yachting
trip with my aunt and Ida. So that was why Aunt Lizzie
was so anxious to go — this Tom Bartlett was a rich man's
son. And — I asked him a few questions to be sure — he
was more than that, this Tom Bartlett was the son of the
man who had helped rob my father. Delivered right into
my hands!

Then I went in and added a postcript to my letter:
"I have found a way to get back some of what is due you,
Daddy dear, and here's forty dollars of it, right in this
letter." I stuffed in the money and ran out and mailed it.
I figured it would sure interest Dad. Then Tom Bartlett
said he had asked the gardener's wife to come as cook
for us, and I told him I was sure I didn't know why he
was taking so much authority on himself. But I was glad,
after all; and I went to bed. It had been a very satis-
factory day.

Well, it wasn't long before we had all the boarders we
could care for. I say "we," because from the very start
Tom seemed to consider himself a member of the firm.
And he hadn't been there three days when he asked me to
marry him. I meant he should; for I meant to punish
him in some way for being the son of his father. But I'll
have to admit that I liked him a w:hole lot better than I
wanted to. To tell the truth, I couldn't have got along
without him. He did the marketing for me, and took
charge of everything. And why shouldn't I like him?
I'd never seen a man like him before — there surely weren't
any in San Felipe. But I didn't say
"yes." I knew it would break Dad's
heart, for one thing, and I wanted to
(Continued on page 116)

Tom said, "Father, this is my

wife." So all's well that ends

well.

Come Through!

It's Up to You — Do Your Bit, Movie Fan!

THERE was a long line passing before the box-office of a
puoi-oplay theaire. A man shoved '.hree dimes through the
ticket-window and was about to pass on.

"War-tax on each fifteen-cent admission, two cents," said the
cashier.

The man laughingly dug into his pocket and produced four
pennies, which were promptly deposited by the cashier in a
separate box.

"Not that I didn't want to pay it," explained the patron; 'I
simply forgot about it, that's all."

The line passed on, each member of it doing his bit to help
win the war. Only a little bit, it may seem to you; but when
all those pennies are counted, there will be sixty million more
dollars to swell the anti-Hun fund.

You who have said, "I can't afford a Liberty Bond; I haven't
time for the Red Cross. So there's really no chance
to do my bit — " you'll find that Uncle Sam has called
your bluff.

Here's one more chance! Remember, every penny
you deposit as admission-tax to a
picture-theatre is a biff for Bill, and
means a box-seat just a little bit
further behind the lines for the
Crown Prince.

Don't say, "There are five in my
family. The children used to go to
picture-shows on the average of
three times a week, but now that
there's this war-tax, I can't afford
it!"

Can you, and thousands like you,
ifford to lose this war?

Don't say, "I have so many
favorites, I enjoy so many films, I
really can't choose which I like best.
i\nd since I can't see them all, I'll
stay away altogether."

Don't say, "I have a pass, so that
lets me out!"

The pass-holder will be taxed just
the same; and the erstwhile movie
bug will be branded "Slacker"!

Think of what doing your bit will
mean to a government that has been
called upon to save the entire world.
Your penny isn't much, but think
of the millions of pennies that are
pouring into a turbulent copper
flood. Roughly estimated there are
15,000 moving picture houses in the
United States not counting those in
our island possessions. Statistics
disclose that in them approximately
11,000,000 persons find amusement
daily. Assuming that the average
price of admission is 12 cents the
box office returns amount to
$1,320,000 a day.

Now figuring the 10 per cent war
tax Uncle Sam gets from them each
day $132,000 — enough to build two
sub chasers, enough for a good start
on a destroyer, enough to fire a

big gun several times. And in a year — let's see 365 multiplied by
$132,000 equals $48,080,000, the amount that your extra pennies
give the government to wage war. And this is only a very con-
servative estimate. Moving picture men are of the opinion that
the war tax will bring in revenue in excess of $65,000,000 annually
en the price of admission alone.

If you, in your town, fall off in your attendance, you'll be lone-
some. Exhibitors everywhere, with a few exceptions, report con-
tinued patronage since November first; and there has been little,
if any adverse comment on the part of the patron. Managers of
the large houses declare that business is better, if anything.

Of course there have been difficulties in the matter of change-
making; but after while there will be more conservation of pennies
— picture-preparedness, in a word. At first there was a little con-
fusion; but time will eliminate this. In fact, many houses have
already solved the problem by raising their prices, thus taking care
of the tax and simplifying matters considerably.

The managers who apprehended a visible falling-off in attendance
were agreeably disappointed.

"The general good-nature of the crowds, and their willingness
to pay," said one exhibitor, "has proved a surprise, and a pleasant
one."

Mary Pickford and Douglas Fairbanks, Marguerite Clark and

Big Bill Hart — an evening with any one of them is essential to

young, middle-aged, or old America; and few will begrudge the

paying of a two-or-three-cent tax. On the other hand, Imogene

Awful or Harold Whoosis will attribute their

public's maddening indifference to Uncle Sam's

no less maddening determination to win this

There can be no doubt that America's Fan
Army — by that meaning all America, will vastly
prefer paying a trifling tax to a terrific tribute.

Break the baby's bank, if you must; count
his pennies, and hurry him off to the nearest
picture-show. And when you hear that "War-
tax, please!" — just smile, smile, smile!

When you hear that
"War tax, please!"
just smile, smile, smile!

Alice Joyce and

"Where's Miss Joyce?
"She's at Mme. Frances'.

That question has been asked so often at the
Vitagraph Studio during the past month and
ans-wered with the same stock reply, that we
feel called upon to furnish indisputable proof
that the time was well spent.

This little frock of blue
gabardine over black
satin might play the
role of ingenue, de-
mure. Its modesty of
bearing shows no hint
of the success thrust
upon it. Buttons and
loops are of black satin.
Pockets wool trimmed
in raspberry, blue, and
yellow.

"But no ingenue parts
for me. I am quite an-
other temperament,"
says the black velvet
frock, black and gold
ribbon be-trimmed.
The open cuffs are
faced with the same
ribbon.

Would she confide to us that this is her one
favorite, shh — don't let her other clothes
hear. But who could help loving a warm,
glowing, scarlet evening cloak with a black
fox collar!

Altogether pleasing is this cape of black velvet, and boasting the newest

of yokes, edged with broad bands of gold cloth. Search where you will,

you can not find a fastener of any description on the new wrap.

Her New Clothes

Photographs by Apeda

A dance frock one does
not forget — a frock whose
old age will surely have
happy memories. Blue
chiffon is embroidered in
silver, girdle of blue and
mauve.

"Why all this worry about
business before pleasure —
why not combine them,"
says this navy blue gabar-
dine. Sleeves and under
shirt are of blue satin;
soutache braid trimmings.

"Surely our initial appearance will score a
success," whispers the black charmeuse after-
noon frock to the black charmeuse girdle.
The white fishnet bodice is embroidered in
white chenille.

Absolutely so successful a wrap — it defies

criticism. Cloth of silver with squares of .

black velvet. The collar is of black Fox.

DOUGLAS
FAIRBANKS'

Own

PAGE

" I was
disappointed
in the

Grand Canyon
— I couldn't
jump it."

Fairbanks.

WELL folks, what have you all resolved to do this
year that you didn't do last, or undo this year
what you did last? All outward indications point
to the greatest little good resolutions year we've ever had
since men started swearing off pet vices on New Year's
Day — and this year the women will have an equal chance
with our alleged stronger sex. They have even a better
opportunity because of the "bit doing" wave that has been
sweeping over the country. It's the man behind the gun
"over there" but on this side, it's the woman behind the
cookstove — or in front of it — that governs the situation.

Just about everyone I know has
joined the food conservation move-
ment, furthering the gospel of the
meatless and wheatless days. (Some
of my friends in the film business
are even contributing plotless plays.)
It is little enough to do for the great
cause. It is only doing a passive
"bit" at the most and those who can
do something more positive and
tangible cannot do better than resolve
now to cut out some little extrava-
gances or luxuries during the remain-
der of the war and turn over the
money saved by such sacrifice to
either the Y. M. C. A. or some other
institution that is making things
easy for the boys already in the
trenches, or about to go there. There
is so much that one can do too —
things that require only an outlay of
a little time.

I was talking recently with a
friend of mine, a boy who had been
rejected at one of the army canton-
ments and sent back to civil life
because of some physical disability.
He had spent several weeks with the
boys and he knew what they wanted.
Well, it wasn't money, or tobacco, or
books — they were being furnished
plenty of these; the great cry was for
letters. "For the Iowa Mike" ad-
jured this boy, "if you have any
friends in France, or at American
Lake, or Camp Kearney, or Rockford
or Mineola or Camp Dix, or any of
the other training camps, write them
lette-s every so often. If you haven't
the time, tell your secretary to do it.
It doesn't make so much difference
how long it is, or what's in it, just
so it's a letter. You haven't any idea
of the happiness the receipt of a let-
ter gives or the utter lonesomeness
suffered by the boy who sees others
get them and is denied that pleasure
himself."

'Doug" in the Grand Cany

So I find time to drop a line to some of the fellows I
know at least once a -week. If you haven't made a good
resolution, try that one. It's very inexpensive and you
will find that you will get almost as much happiness out of
it as the other fellow. For the girls, this goes double.
If a letter from a man can make a fellow feel that he
hasn't been forgotten, think of what a letter from a girl
will do!

I wonder how many people realize what these training
camps have done for a half million young men of this
country and what it will do probably for many more.
The clean life in the open air, the
health building exercises, the clean
wholesome food and the nights of
unbroken sleep have made new men
of thousands who had forgotten the
meaning of physical welfare. Gee,
wouldn't it be g eat if the war would
end just about the time a couple mil-
lion of our boys had been whipped
into such wonderful physical stupe
that the whole nation would reflect
the results for years to come? I
never was much of a militarist despite
an athletic life, but I believe that the
past six months have given us a pow-
erful argument for universal train-
ing— not necessarily for war — but for
civil life.

I returned recently from the
world's greatest "location," the Grand
Canyon of the Colorado in Arizona,
where we filmed some scenes for "A
Modern Musketeer," which originally
was "D'Artagnan of Kansas." Of
course nothing I can say will add to
the glory on that wonderful piece of
God's handiwork; but if you have
never seen it, don't fail to before you
get ready to cash in. (Dear editor:
The Sante Fe railroad ought to give
you several pages of advertising for
printing this.)

Every person of prominence who
visits the canyon is asked to write a
testimonial. It is the custom to
print the notable's impression of the
big gulch on the menu of El Tovar,
the big hotel on the edge of the
Canyon. Well, after reading over
the impressions left by some of our
most famous writers and statesmen, I
was struck with the futility of trying
for adequate words or phrases. So I
wrote down under the caption ''Doug-
las Fairbanks' impression of the
Grand Canvon:"

'T was disappointed in the Grand
Canyon — I couldn't jump it."

Co -Stars

By
Charles McMurdy

Illustrated by
R. M. Brinkerhoff

WHEN the changing pic-
tures on the big screen
got around again to
the scene where Colliston gets
the telegram from his father,
young Jones gathered up his
cap and coat, and with a "Par-
don me," shuffled sideways in
front of the row of rapt specta-
tors who, their gaze, still fas-
tened on the screen, half rose to
let him pass.

As he walked up the dark
aisle past the long rows of
absorbed humanity, Jones un-
consciously threw out his chest
and hardened the muscles just
under his shoulder blades. He
would bet he could put up as
good a fight as William Far-
num, he thought to himself.
What a great thing it Was to be
a strong man — a' man who
could step coolly in at a mo-
ment's notice and dominate the
scene — a strong, calm, resource-
ful man who could hand a good punch to anyone who tried
to put it over him — a real man, ready at the drop of the
hat to fight like a wildcat to protect and defend the weak,
the defenseless — especially some sweet, beautiful young
girl!

It had been a great picture, and he had felt the thrills
running up and down his spinal cord as Farnum had
smashed the ranch foreman in the face and then proceeded
to "mix it" with him. Yes, it was a great thing to be a
man like that — he was glad that he was athletic in build.
He hardened his muscles again as he strode with swinging
step down the long corridor, past the pictures of all the
big stars.

At the sidewalk he stopped a moment to glance at his
own reflection in the big mirror. He pulled his cap half
an inch more over his right eye and grinned broadly at
himself. He had never noticed it before, but in that cap
he looked something like Farnum, — only younger, and
slighter. He caught the girl in the ticket booth watching
him and hurried out.

On the sidewalk his- glow of satisfaction was suddenly
interrupted by the realization that he was hungry. Dinner
at the boarding-house, had been somewhat light. Across
the street the name of a famous restaurateur shone in enor-
mous white script across a broad window. A plate of
wheats and coffee would go just right, thought Jones. He
dodged across the street between the automobiles and
street cars and entered the brilliant and immaculate
restaurant.

"Say, can the comedy, will you?" he said, unconsciously dropping into the vernacular of the street.

Thefe were only a few persons in the big, white-tiled
room, and the long rows of chairs, with their broad table
arms, were almost deserted. Halfway up the room a young
girl was sitting. A cup of coffee and a roll on a plate
adorned the arm of her chair, and part of another roll
was poised in one small, white hand.

"Pretty," thought Jones. Somehow she looked so
lonely, so out of place in the big, glistening room. Some
girl who had just got through her evening's work in one
of the big stores, probably.

"Plate a wheats,"' said Jones.

"Plate a wheats," cried the bored waiter in stentorian
tones.

"Plate a wheats," came the echo from the kitchen.

When they were handed out Jones carried them care-
fully over to a chair near the girl and proceeded to watch
her out of the corner of his eye as he ate. She interested
him. He felt a vague desire to befriend her, to sympathize
with her, to protect her from the hardships of life, in the
big city. An heroic glow of conscious manhood warmed
him, and again he- hardened the muscles of his chest and
shoulders.

And yet, what was the use of having a splendid physique,
unless you were a moving-picture actor? There was no
romance in this prosaic, humdrum, everyday life. On the
screen everything was big and fine and brave and splen-
did, but — nothing ever happened to him. He set his mug
of coffee down in bitter disgust.

Three rough-looking youths burst through the revolving

door wtih noisy merriment and came up the long room
toward the counter. The one in advance spied the lone
girl and immediately assumed an exaggerated and comic
swagger for the amusement of his companions. 'Ah, gee!"
he exclaimed loudly. "Just watch me, kiddo!" He leered
at the girl as he walked past her and his two companions
guffawed. The girl looked down timidly at her plate.

Jones' blood boiled. All the vague heroic impulses that
had been smouldering within him leaped into sudden flame.
Here was a chance for action — a chance to do something —
here was the opportunity he had waited for!

The three toughs, after much noisy jest and argument
with the man at the counter, carried their coffee and rolls
over to three chairs directly opposite the young girl and
settled themselves down to a systematic campaign of low
comedy for her benefit.

Jones sat in his chair,
every nerve tingling. His
hand trembled so that he
could hardly set his mug of
coffee down. Then one of
the youths — the one who
had swaggered in first —
flipped a lump of sugar
across the aisle to land at
the girl's feet. His com-
panions roared.

Jones arose. The vision
of William Farnum smash-
ing his trusty left into the
ranch foreman's face was
in his mind as he stepped
over in front of the three
youths.

"Say, just can the com-
edy, will you?" he said, un-
consciously dropping into
the vernacular of the street.
His voice trembled with
anger and excitement. "Cut
out the rough stuff. This is
a place for ladies and gen-
tlemen— you're not in any
bar-room now."

The comedian of the
trio arose. "Say, bo, what's
eatin' you?" he demanded,
with an easy roll of profan-
ity. "Go on over there and
sit down, you white liv-
ered dude, or I'll push your

face in for you! " He pushed his own face to within three
inches of- Jones' nose.

It was Jones' cue for action. There was only one thing
to do, and Jones did it. One thought of William Farnum
flashed across his mind as he shot his left straight into the
tough's leering face, turning his own head and guarding
his face with his right, as Olson, the boxing instructor at
the Y. M. C. A., had taught him to do. At the same
moment something hit him a sickening blow over his solar
plexus and something else struck him on his right ear,
jarring his whole head horribly. Then the lights on the
ceiling began to whirl around and suddenly went out
altogether.

After a long time — all night, it seemed — Jones heard a
far-off voice say, "He's coming out of it now. He'll be
all right." He wondered vaguely whom they were talking
about. The voice was not one tnat he knew, and it seemed
a long way off. He opened his eyes and looked up at a
snowy white ceiling, studded with millions of electric
lights. A man he never saw was bending over him and
cold water was trickling down his neck'from a wet napkin
on his forehead.

Photoplay Magazine

PATRIOTISM AT THE
MOVIES

>"p HE moving picture theaters
■*■ are becoming community cen-
ters of patriotism. The producers
are turning out films reflecting
the American war spirit and the
majority of the theater owners
have devoted a part of each pro-
gram to pictures and slides cal-
culated to arouse support of the
government. In addition the
theaters have thrown open their
doors to the four minute men,
who are exercising a very great
influence, especially in combating
German propaganda. In com-
munities largely made up of per-
sons of foreign birth or extrac-
tion the work of the movie the-
aters and the four minute men
has been of special value.

Chicago Tribune.

■ ~\t

"Feel better now?" asked the man. Oh, yes, it was the
cashier — he remembered it all now. "Them young rummies
did you up," continued the man. "What else could you
expect — three against one — you shouldn't a tackled 'em."
"Did they get away?" asked Jones faintly.
"Sure," answered the cashier. "They was out a here
before I could get hands on 'em. Jumped their checks, too.
You ain't got no show against them fellahs. They wan-
dered up here from the east side. Guess you're all right
now. I'm awful sorry it happened."

Then for the first time Jones became conscious that the
hand which was so gently bathing his forehead and trick-
ling cold water down his neck was not the cashier's. It
was a very small, white hand and — Jones sat up, to con-
front the girl he had championed. She was kneeling

beside him, and she sud-
denly became very much
embarassed.

"I want to thank you,"
she said haltingly. "It was
awfully kind of you to take
my part."

"Thank me," said Jones
thickly — his upper lip felt
like a balloon. "For what?
For getting licked?"

"Don't you say that!"
exclaimed the girl, forget-
ting her embarassment.
"Anybody'd get licked,
fighting three men at once
— and toughs like that, too.
You did just splendidly!"

"So did they," said
Jones, with a swollen smile.
He got onto his feet and
sat down in one of the big-
armed chairs, and the girl
seated herself in the one
next to him. The cashier
appeared with two mugs of
coffee. "Have another cup
on the house," he said. "I
guess yours got cold. And
if there's anything else
you'd like, say the word."

"You know, I'd just been
over to see Mary Pickford
at the Empire," said the
girl, as the hospitable cash-
ier departed. "And say, the
way you smashed that fellow in the jaw just reminded me
of the way her leading man knocks down the villain in
one scene. It was just grand!"

Jones hardened the muscles of his chest, back and shoul-
ders. They were somewhat sore, but —

"You know, it seems an awful thing to say — I'm so
sorry about your ear — but I'm really glad it happened,"
went on the girl. "You know I was just thinking, as I
sat there, that nothing really exciting or romantic ever
happens to me — and I was just sort of wishing that some-
body would rescue me from something awful and there'd
be an awful fight — and all that." She laughed, embarassed
at her candor. "Did you ever feel that way?"

Thrills of real romance chased up and down Jones' spinal
column as he answered, "Never till I saw you."
No mug of coffee ever hid so charming a blush.
As they stepped out into the cool evening air Jones
tucked the girl's hand under his left arm, where it nestled
snugly.

"Up this way," she said. "Mamma'll be so glad to
meet you, when I tell her what you did."
(Continued on page 124)

Olive Tells Her ,*H~':'< Secrets

A Dissertation On Face Creams,
Athletics, Suffragism and Politics

By Harriette Underhill

OME women are born beautiful and
some achieve beauty. These are the
only kinds there are. The saying
parallels no farther. There is no dis-
coverable record of a woman who has had
beauty thrust upon her. It is the highly
laudable ambition of every normal woman
not born beautiful, to achieve beauty. So

Olive's Mother is her companion and chum,
and her word is law in all such matters as this.

"Where are the old women today?" asked Miss Tell

accusingly. But before we could reply she continued.

"I'll tell you. They do not exist."

as I go about from day to day, my duties happily bringing
me into contact with many beautiful women, I like to
glean here and there such hints as may be helpful for the
carrying out of this ambition, and pass them along.

Olive Tell — for example. Various discerning observers
of feminine beauty have voted Miss Tell the most beauti-
ful woman on the stage — which is taken to include the
screen. If one might discover in what way Miss Tell
maintains her radiantly lovely complexion and exquisite
figure, it would be of interest to some perplexed sister.
Here are the facts:

Miss Tell has discovered a marvelous complexion
cream — it is a ride in the park, on a horse, early every
morning.

She has the cleverest of corsetieres — eighteen holes of
golf on every possible occasion.

She employs freely a never failing health tonic — keeping
close to nature, by swimming, skating, and doing all sorts
of energetic things in the open air.

But these facts were not picked up easily. We had to
travel in a wide circle to reach them. Some cynic once
remarked, "Some women are beautiful, and some are
suffragists." Olive Tell stands a living, breathing, pink
and white refutation of these words. Olive always has
been beautiful but she has not always been a suffragist.
It is one of the things which she has achieved — like Star-
dom, for instance.

Being a direct descendant of the most famous archer
the world has ever known, it was not strange, when Miss
Tell decided to shoot her arrow into the air, that it landed
exactly where she intended that it should land. Not for
her the tedium of climbing a long ladder, rung by rung,
even if its top step is up amongst the stars.

This is allegorically speaking, of course, for in reality
little Miss Tell is very well equipped for the journey.
She rides better than most anybody, she plays golf as
well as she rides, and she skates better than she does
either. It was not the work of climbing that bothered
her, but the time .which would be wasted making the
journey. So she took a running start and jumDed straight
to the top. From the Empire dramatic school she gradu-

ated to the Empire-Mutual
Film Company, only paus-
ing long enough to play an
occasional big part in the
spoken drama, and one
other film feature with
Robert Warwick.

Being on the trail of
beautiful young ladies with
ideas, we decided to find
out just what Miss Tell's
ideas were in regard to
pictures, the stage and a
few other things which are
commonly supposed to in-
terest beautiful young
ladies. And this is what
she said:

" 'A house divided against
itself cannot stand!' Well,
I hope that isn't true, for
let me tell you something:
Mother is for Tammany,
while I am an ardent
Mitchel supporter. Isn't
that funny? Fancy my
gentle little mother being a
Tammany man! Many a
heated argument we have
had and I fancied myself,
terribly, in the role of
stump speaker.

"So you can imagine
what a blow to my pride

it was when Hyland was elected mayor of New York,
took it as a personal affront.

"I am quite sure that no one in our studio dared vote

*^^^ otherwise than for Mitchel. Why,

^P |^ look at what he did for our city!

fe Look at our schools! Look at our

|*V M> Parks!" cried Miss Tel1 enthusiasti-
— W^ g^ cally in her best soap-box-
orator manner. "Look at
our — " she hesitated and
then added as a sort of
anti - climax, "Policemen!
Weren't the Tammany po-
licemen ungainly things?
And aren't the Mitchel
policemen splendid? Why,
every time I look at one of
them I think of the little
Washington Square play,
Eugenically Speaking.'

Photoplay Magazine

•■*&».»

Miss Tell believes that stage experience is good fot
a screen player, but not essential to success.

I believe that man was a
conductor, though, wasn't
he? But I'm sure he was
a Mitchel man.

"I say democracy and I
think democracy and I try
to feel democracy, but I
cannot always make my-
self wholly believe it. I'm
afraid that there is a bit of
autocracy in my heart still.
I do not believe that every
man is as good as another,
if not better, but of course
the distinction has nothing
to do with money. It has
to do with brains, birth
and breeding."

It seemed strange to
hear Miss Tell talking
about Tammany and de-
mocracy and things like
that, for she is so small
and big eyed and pink and
white. Also, she wears
little patent leather pumps
with the sort of heels made
famous by one of the
wicked Louises, and she de-
signs all of her own gowns.
As a matter of fact,
there are two subjects
which are of paramount in-
terest to us — pictures and
clothes. So the fact that Miss Tell was wearing corn-
flower blue velvet just the color of her eyes, trimmed with
mole-skin a little darker than her hair, made it almost an
impossibility for us to take the proper interest in her
political views. She is so beautiful, and her complexion
so perfect, we simply ached to know some of her secrets.
So, being a tactful person, we said, "What is your favor-
ite color?" intending to go
from colors to clothes and
from clothes to cosmetics
and from cosmetics to
creams, and so on down
the list. But Miss Tell was
not to be diverted,
so she answered
promptly, "Yellow
and white," adding.
Didn't we look
splendid marching in
the parade? And I

She employs a never-failing health

tonic — keeping close to nature

and doing all sorts of energetic

things in the open air.

K.ngs

Olive Tells Her Secrets

A cynic once remarked,
"Some women are beau-
tiful, and some are suf-
fragists." Olive Tell
stands a living, breathing,
pink and white refuta-
tion of these words.
Olive has always been
beautiful, but she has
not always been a suffra-
gist. It is one of the
things she has achieved —
like Stardom for instance.

JAHI^ !IIOII7H0/U£i2.y^A(,(

wasn't a bit tired, were you? And now wait until next
fall, and see what will happen!

"I'll warrant you that every woman will vote, whether
she worked to get that vote or not. Why shouldn't we
vote? Haven't we done everything that a man has done
excepting perhaps actually fight in the war? And haven't
the Russian women even done that, and wouldn't we do
it, too, if it were necessary to win the war? Of course
we would."

Once upon a time an actress who knows all about the
psychology of figures told us that our magic combination
was two, four, eight, and that if we would repeat these
numbers over, and earnestly wish for something, that our
wish would be granted. A sort of Aladdin's-lamp con-
trivance. So now was the time to test it.

Looking Miss Tell squarely in the eye, we thought,
"Olive, two, four, eight! Talk about creams, clothes and
cosmetics," and she did. This is what she said:

"Outdoor exercise is the greatest tonic in the world.
Oh, I do not say to avoid cosmetics until you begin to
get results from nature, but do give nature a chance.
Why, do you know that I never miss my ride in the park,

no matter how early I have to rise to get it?

"And golf! Who would think that that little ball could
prove so fascinating? Why, I tremble with excitement
every time I see a bag of sticks. And skating! Oh! that
is glorious.

"But while you are waiting for nature to do her part,
you jump in and do yours. White eyelashes and eyebrows
never are pretty. Therefore, do not have them. That's
simple. Also, there is that thing called a rabbit's foot, and
while it may not possess all the magic credited to it by the
superstitious, it will, if judiciously applied, dispel all pallor.

"Where are the old women today?" asked Miss Tell,
almost accusingly. But before we could reply, disclaiming
all knowledge of their whereabouts, she continued, "I'll
tell you. They do not exist. This is because they do the
things that used to be denied them."

Miss Tell believes that stage experience is a good thing
for a screen player, but not essential to success. She
believes that you should design your own clothes, if you
can do it better than anyone else. And she thinks that a
player should be as careful in choosing a director as in
choosing parents.

Now Who's

the Thief?

The Stage Producers are caught
•with the movie loot in their pockets

By Brandon Fuller

MR. LOUIS DEFOE, the eminent dramatic
commentator of the New York World,
said some time ago to a press agent who
was trying to get him to print an article about a
big moving-picture production:

"I refuse to encourage the movies; they do
nothing but practice thievery upon the theatre."

Of the two biggest successes of the current New
York theatrical season, one is built entirely upon
moving-picture business and conditions, and one
employs one of the most familiar of the mechanical
devices of the camera. While a third production,
an "artistic" success, which means a financial
failure, also utilized one of the most effective
devices of the shadow stage.

"Business Before Pleasure" is the latest Potash
and Perlmutter comedy. Abe and Mawruss have
abandoned the cloak and suit business for the
producing of moving pictures. They spend
$50,000 on their first release, using their own
wives as players. It is an awful thing. Their
director tells them that they have got to get more
money, engage a real vampire, and put over some-
thing big. Their financial backer tells them that
if they will engage a certain vampire actress, he
will get the money. The vampire, a very nice
girl off stage, is hired, and the trouble begins.
Abe's Rosie and Mawruss' Ruth look askance upon
the vampire, and there is much woe. There are
many gems of humor in the lines.

In the picture play the attention is focussed upon the
essential motive of the moment by lighting effects.
The same thing has been done in "Chu Chin Chow."

A scene from "Business Before Pleasure" one of the two biggest successes

"Chu Chin Chow," on the other hand, is a gorgeous
spectacle — probably the most magnificent thing ever
staged. Incidentally, its leading players are right off the
screen — Florence Reed and Tyrone Power. Xow. in the
picture play, the eye is rested from trying to grasp all the
details of a big scene, and the attention focussed upon the
essential motive of the moment, by the use of the close-up.
Exactly the same thing has been done in "Chu Chin Chow."

The curtains close on the big scene, a splendid oriental
vision, dazzling with its light and color and movement and
hosts of fascinating characters. Then the huge curtain
parts half way, in perfect imitation of the opening of the
diaphragm of the camera, and there is revealed a small
group — one or two persons seated on a divan — and the core
of the action is carried on, the story developed as it could
not be on the vast area of the full stage. The drama has
discovered the close-up.

"Barbara" lasted only two weeks. Not even the fasci-
nating Marie Doro could prolong its slender, though

rJf

of the season, a satirical farce with the moving picture business as its theme.

exquisite charms. It was produced by Arthur Hopkins,
who entered the moving-picture field with a blast of
trumpets, some months ago, bringing with him nothing
but his stage experience, which was soon found to be
insufficient for the making of great picture productions.

But he went back to the theatre, not empty-handed.
"Barbara" was a play of dreams and visions. So Mr.
Hopkins utilized the device employed by the photoplay
for years to suggest mystery and visions— the fade-in and
fade-out. When the curtain rises, the stage is black, there
is a faint sound of music, and then, little by little, the
light comes on until the scene takes form. And at the
close of each act the picture fades out in the converse
manner.

This is what the pictures have done for just three of
the most interesting stage productions in New York this
season. There are more instances of a similar, though less
striking nature.

Who's doing the thieving now, Mr. Louis Defoe?

From "Busines
Before Pleasure'

"Every business experience is
moving picture experience.
They go into the movies from
every business — hardware,
groceries, clothing."

"Everybody nowadays has got
two kinds of business, his
own business and the moving-
picture business."

"Scenario writers are like
clothing salesmen- you ad-
vertise for one and you got to
call out the reserves."

"There'll never be any profit
in the picture business until
we get the actors on piece
work."

"Moving pictures isn't a bus-
iness - it's a dissipation, like
poker and pinochle. We bet
Miss Sismondi $1,500 a week
that in six months we can
make more profits than she
can salary. We lost. We
ought to have made her put
up a kitty."

"If vampires made overalls,
a pair would cost half a mil-
lion dollars."

In "Chu Chin Chow" the "close-up" has been applied

to the stage. Its leading players, Florence Reed and

Tyrone Power have both been seen on the screen.

"Lights! Camera! Quiet!

Elsie Jane Wilson in working togj.

ARE we going back to the time
when women ran the civil
government, the army, the
men, ' and everything else
that needed running? Back to the time when
the first "Equal rights for men" advocate was
accused of being un-masculine and told, in no
unmistakable terms, "Man's place is the home"?

We are — perhaps. And then, again, maybe
we are not. It is just possible that what looks
like a cut-back to those Chinese-Babylonian-
Frankish days may, in reality, be an entirely new
scene which serves to introduce another reel —
the millenium.

In that new story, says the prophecy, there
will be no question as to whether some particular
work belongs more to a man than to a woman,
but each will do whatever he or she can do the
best. Also, those who were good shall be
happy — we have Kipling's word for it.

But whether "The Cause" is working toward

These words spoken in a soprano voice "get over" just
as effectively as though growled in deepest baritone.

Man — the Slave, or Woman — the Partner, it gained its greatest
victory when Universal City gave women a chance to become
moving-picture directors. Greatest because, while other vic-
tories were founded, to some extent at least, on precedent, this
victory was against all precedent. Following stage traditions,
moving-picture directing was considered a work exclusively the
property of men. And it is a fitting thing that this city, which
has given women such perfect business equality with men,
should be named Universal.

So it was to the big "U" lot I went in order to find out
whether doing a "man's work" would necessarily make a
woman unfeminine. After wandering around for an hour or
two — probably two — looking for Ida May Park and Elsie Jane
Wilson, the only women directing there at the time, I found
Director Park hidden away in a corner where the seemingly
ubiquitous "Rubberneck" couldn't find her.

She had on a dainty pink and white blouse, a dark dress
skirt, flat-heeled shoes, and was bare-headed. It is absolutely
true that she did not wear puttees and carried no megaphone.

The pic-
ture was a
melodrama.

The Scene fl Ida May Park shows

Which She M ^ Dorothy Phillips just

„.„„ i • ^^K-_ how she should reel

was making J £fc jBJ about it

required

double pho-

Ready! Shoot!"

By Frances Denton

tography and was taking place to
counts. For instance, while the
cameraman counted slowly "i — 2
— 3 — 4," she explained to the
player just what gesture was to
be made at each count — ("At 67,
smile. Take time to let it grow
into a laugh. At 72, you are
laughing.")

She was working
under an overhead
light on a canvas-
covered stage and the
sun was certainly
"doing its darndest."
If you have ever been
in the projection
room of a moving-
picture theatre on a
hot day, you know
something about
heat. This
stage was hot
in just that
way, and the
scene, which
required less

stag?

Ella Hall seems to think Director Wilson is over-realistic. The young
man getting the worst of it happens to be Miss Hall's husband Emory

Johnson.

than five minutes to shoot, was rehearsed for three hours.
And at the end of that time the director looked as cool
and quiet as if she had been sitting under a shade tree with
a pitcher of lemonade. She gave the impression that she
could have stood there and directed that one scene all day
without feeling the least annoyed, which shows that a
woman can sometimes bring more patience to her work
than can a man. At least, a temperamental man, and
many men are temperamental.

"It was because directing seemed so utterly unsuited to
a woman," said Director Park, while her cameraman was
getting his titles, "that I refused the first company offered
me. I don't know why I looked at it in that way, either.
A woman can bring to this work splendid enthusiasm and
imagination; a natural love of detail and an intuitive
knowledge of character. All of these are supposed to be
feminine1 traits, and yet they are all necessary to the suc-
cessful director. Of course, in order to put on a picture,
a woman must have broadness of viewpoint, a sense of
humor, and firmness of character — there are times when
every director must be something of a martinet — but these
characteristics are necessary, to balance the others."

It has been said that a woman worries over, loves, and
works for, her convictions exactly as though they were
her children. Consequently, her greatest danger is in"
taking them and herself too seriously.

"Directing is a recreation to me," Ida May Park went
on, "and I want my people to do good work because of
their regard for me and not because I browbeat them
into it."

She directs quietly, occasionally taking the actor's place
and demonstrating exactly how she wants a thing done,
but more often explaining the situation and letting the
player ,^0 through it in his own way.

5°

"I believe in choosing distinct types and then seeing
that the actor puts his own personality into his part,
instead of making every part in a picture reflect my per-
sonality," she said.

Ida May Park — (Mrs. Joseph De Grasse)— has never
appeared on the screen, but she went on the stage when
she was fifteen years old. Her first manager was Leonard
Grover, the man who brought out Mary Anderson.

"I remember that I tried to make myself look as old
as possible," she said; "Mr. Grover told me that Mary
Anderson had done exactly the same thing. Probably that
is why I got the job."

After her marriage, she and her husband went on tour
with their own company. Joseph De Grasse joined the
Pathe as leading man, Ida May Park became a scenario
writer. Since then she has written over five hundred suc-
cessful scenarios, among them "Hell Morgan's Girl," "The
Rescue" and "Bondage." She began co-directing with
her husband at Universal City two years ago, and was
given her own company in January of this year.

"Being perfectly normal, I don't like housework," she
said. She has one other recreation besides directing —
that is, caring for her roses. She has a rose garden that
is remarkable, even in Hollywood.

She also said that, in her opinion, many directors of the
future will be chosen from among the scenario writers
of today.

Leaving her set, I walked down the big stage, past a
child's blue and white bedroom, a log-cabin room, a ball-
room, and a New York tenement-room, until the strains
of a slow waltz led me to a living-room exquisitely fur-
nished in red and gold. Three very blase-looking musicians
were playing this sad music while a young woman with big
blue eyes, very fair skin, and very red hair, was directing
some "sob stuff."

She was all in white, except for her dainty black French-
heeled shoes. Also, she wore a broad-brimmed hat and
white silk gloves as a protection against the sun.

She repeated my question.

"Is directing a man's work? — I should say it is!" Very
carefully she drew down the top of one silk glove, dis-
closing a forearm plentifully sprinkled with freckles.

"Look at that!" said Director E. J. Wilson, and added,
"Oh, my dear, you can't imagine the money I've spent
this summer on freckle cream!" In that exclamation she
expressed all a woman's natural horror of freckles, inten-
sified by the ingrained habit every actress has of taking
care of her skin. Elsie Jane Wilson has been on the stage
since she was two years old.

"I appeared in the famous English Christmas Panto-

Photoplay Magazine

mimes every year, too," she said. "All of which was the
best possible training for the pictures."

She came to the United States five years ago with her
husband, Rupert Julian.

"Mr. Julian and I always appeared together until after
we came to this country," she said. "Here, we found that
managers do not want husbands and wives to play oppo-
site each other, so we were separated almost at once.
When I was on the road in 'Everywoman' I didn't see Mr.
Julian for almost two years."

During a portion of this time Rupert Julian was leading
man for Lois Weber and Philip Smalley.

After a brief stock engagement at The Little Theatre
in Los Angeles, Elsie Jane Wilson "went into the movies"
and began acting under her husband's direction. Later
she co-directed with him, at the same time playing leading
parts in his pictures.

"We like the same kind of pictures," she remarked,
"but we have such different ideas of how to get the same
effects that if we ever talked over our work we'd fight
all the time."

Her assistant interrupted: "If you're ready, Mrs. Julian,
we are," and she turned her attention to the set.

She was putting on a heart-interest story, the plot of
which centered around three lonely old men and a little
girl they had adopted and learned to love very dearly.
Not a particularly original theme, but one warranted to
be good for many sobs and much laughter if well handled.
It had been well handled in the scenario and certainly
seemed to be well handled in the direction.

"A little sad music here, please," said Director Wilson.
Then to her company, "All ready, everybody? Music,
camera, GO!"

The day seemed, if possible, to have grown warmer.
Besides this and the usual frequent pauses made in order
to work out some important detail, there were innumerable
little things to distract one's attention, and yet the scene
gripped and rang true. Standing a little to the side of
the camera, she went through a modified form of the
action in front of the player while the scene was being
shot. She was "working up" her people; "putting over"
the spirit of the story exactly as though she were on the
stage, and in doing so she was spending her energy
unmercifully. Unfeminine? Hardly! Nor is there any-
thing unfeminine about Lois Weber. "Mother" Lule
Warrenton, Ruth Stonehouse and "Peggy" Baldwin are
other women who have been given companies in the past.
And so, which is it to be? "Man — the Slave," or,
"Woman— the Partner"?

Everything points to "Woman — the Partner."

An Open Letter to Rebecca — Mary Pickford

Mary Pickford.
Dear Mary:

I Want

To Tell

You Something.

Was Standing

In the lobby

"Of a theatre where

You

Were playing

"Rebecca of Sunnybrook Farm.

Like you,

Mary.

I Stood

For Half an Hour.

Then,

They opened the doors, and

The People

My handkerchief; and

Who had Come Early,

Everybody

Poured Out

Looked Anxious.

Past me.

And then,

I Noticed

Another woman, in

A Woman —

The Crowd,

The Tears

Reached Out and

Were Running

Caught the Tearful One

Down her Cheeks.

By the arm.

She

And Said,

Was Dabbing at her Red Eyes

"Dear Eva-

With a crumpled handkerchief.

How

Everybody

Is your Hay-fever?"

Looked at her.

And

But

Fverybody said,

Never Mind,

"What a Sad Picture

Mary.

It Must Be."

You Made

And

ME Cry,

I Took Out

Anyway.

THOUSANDS, yes millions of men and women are ambitious to become writers of scenarios. There is
opportunity aplenty for those who demonstrate ability. In line with its policy of serving the moving
picture public the editor of Photoplay determined to secure the most authoritative advice possible. We
believe that in presenting these articles, which teach all that can be taught of this new art and profession, in
lieu of actual experience in a scenario department, we have accomplished our task. Miss Loos is the high-
est paid writer of scenarios in the world; more than that, the most accomplished. Mr. Emerson is one of
the few really great directors. When Mr. Fairbanks started his own company he. chose them as his partners
in art, and the Fairbanks-Emerson-Loos pictures have set a new standard of photoplays.

UNTIL quite recently it has been the habit of most
writers and stage producers of consequence to decry
the motion picture as a medium quite unworthy
their artistic endeavor. Of late, however, the motion pic-
ture, in spite of the slings and arrows of outraged highbrows,
has attained to such vast importance artistically and com-
mercially that these same writers and producers, with com-
passion in their hearts and an eye for the main chance,
have stepped forward and in a few well-chosen words of
apology have condescended to give the movies a boost — to
reach them a helping hand on their wobbly
journey toward the Haven of Art.

All this is very nice and very helpful
and reminds one of the efforts of a sulphur
match to light up the Aurora Borealis.

We hereby rise to remark that the
movies need no apology. Leaving out of
consideration the mental stimulus and in-
structive value of the educational and
topical pictures, and confining ourselves
to the story-telling qualities of the cinema,
it seems fairly obvious that an art form
which supplies emotional food and exercise
to three hundred million people daily is
certainly worthy of the best and most
serious efforts of any artist, however great and divinely
endowed he may be.

Throughout the history of the civilized world, the emo-
tional food and exercise to be derived from the Arts have
been available only to the wealthy and semi-leisure classes.
The drama, the opera and nearly all types of musical enter-
tainment have been, because of their cost, beyond the reach
of the poor, except as events requiring considerable sacrifice
for their occasional enjoyment. Not until the movies
spread their benignant light over the millions of the earth,
were the poor able to afford a daily thrill to lighten the
sombre reality of their daily work.

"Any time a genuinely
original idea comes into
a scenario office, every-
one from the president
of the company donstin,
gets on his knees and
gives thanks."

It would therefore seem that an art of such magnificent
purpose and unlimited influence as the motion picture,
should be approached by its devotees in a spirit of great
humility — the spirit which has always and everywhere ani-
mated that greatest genius of the art — the man who gave
to the motion picture the honor of producing what is cer-
tainly, to date, the nearest approach to the Great American
Drama, "The Birth of a Nation."

As to the material available and usable for the motion
picture story, it is as broad and limitless as life itself. The
motion picture is undoubtedly the most
elastic medium that has ever been put into
the hands of an artist, and, by the same
token, it is the medium that nearest ap-
proaches life. There is no reason in the
world why the author should pick his
characters out of the thin air of his imagi-
nation.

Movies are life, and the best place to go

for life is to the living. Let us pick our

hero out of the house next door, or find

our heroine in the upstairs flat. Then,

when we have found them, let us make

them do what real, honest, living people

would do, without the aid of the false

mustache, the old mill, the hidden papers, the strawberry

mark on the hero's chest or any other of the time worn,

hackneyed plots.

But, on the other hand, let us avoid the fault of many
authors who, in attempting to deal in realities (and this is
true of the stage as well as the movies) mistake common-
placeness for dramatic realism. This is a fault that is al-
most as bad as that of relying on the false mustache for
one's plot. No photoplay or drama will ever be effective
merely because it tells a truthful incident in the life of
Maggie Manicure. To have drama one must have conflict,
and no ordinary string of incidents will ever make real

Photoplay Magazine

drama just because it is told in a truthful manner. Let us
make our people act as human beings, yes — but let us not
imagine that we are making drama unless we mix them up
in a conflict that is as great as our theme will permit. Truth
of itself will never be drama, but, once we have caught our
drama, we must add truth to it or it will be merely melo-
dramatic bunk.

A great many budding authors are led astray by the fact
that they often see very ordinary stories on the screen and
say to themselves, "I could write as good a story as that,"
which may be very true. But let us give
you the history of the production of the
average "ordinary" story and the reason
why that very same story would never have
been bought had it come through the mail
to the scenario department.

The supply of good stories has never
come anywhere near meeting the demand.
But producing companies have their con-
tracts for a certain number of pictures to
be released, and they MUST make them.
Now, every company has its staff of sce-
nario writers who have been chosen because
of extraordinary ability, but who could
not pretend to keep up a regular pace of
extraordinary stories, with original plots and situations.

So, like other literary workers, they have a certain num-
ber of pot boilers to turn out, which they do, on salary.
If one of these stories came into the department from the
outside, the firm would never think of paying out extra
money for it, when just as good a story could be written
by one of the staff who was on regular salary. So it is very
unwise for the ambitious amateur to look to the ordinary
production for his inspiration — look to the best — the very
best pictures that are produced today — then get busy and
try to write a better one, and you will be on the right track,
at least.

It is a foolish waste of time for the writer of stories for
the screen to bother himself about the working script of a
photoplay. There is a very complicated technique in
photoplay writing as in all other arts and a successful photo-
playwright cannot be developed without practical training.
There could no more be a natural photoplaywright than
there could be a natural violinist, who would play upon
the instrument the first time he took it into his hands.
However, this need not in the least discourage beginners
who have original talent. Any time a genuinely original
idea comes into a scenario office, everyone from the presi-
dent of the company down gets on his knees and offers up
a prayer of thanks. This happens perhaps once or twice a
year, if it is a good year.

Sometimes a script will come in with a trite plot, but
somewhere hidden away in it is a single and original incident
that, had the author realized it, could have been made the
theme of the whole play. Many scenarios are bought for

"An art form that sup-
plies emotional food ana
exercise to 300,000,000
people is worthy of the
best efforts of any artist,
however great. "

this one reason. If the author has an original idea (and by
this we do not mean a mere situation) no matter how much
he is lacking in technical knowledge, his idea will be eagerly
bought, and if he keeps up his pace, he is certain of a chance
to land in a studio where he can learn the actual technical
working out of the photoplay and so develop into a recog-
nized photoplaywright.

After a short experience in a scenario office, a reader soon
comes to know the worth of a script almost immediately on
opening the envelope. If the author sends a two or three
page letter saying that he or she is sub-
mitting a scenario that -is original in plot,
startling in theme, full of action and abso-
lutely unlike anything that he or she has
ever seen, and from there goes on with a
chatty history of his or her life and states
that the reason why he or she wishes to
make a little extra money is to help keep
an aged aunt in Hindustan — it is a safe
bet that the story is rotten.

The best scripts that come into the of-
fice, come in without any heralding, and
often without even a letter, and nothing
but the author's name, address and return
envelope. The best story we ever got was
not even signed, and we scrambled around for months be-
fore we found out that it was dashed off by a young reporter
in Chicago, who had forgotten to put his signature and ad-
dress on it. We do not advocate emulating this young
man's carelessness, although his reticence concerning his
personal history and that of his family and connections is
admirable.

In conclusion let us say that many years spent in pro-
fessional life have forced upon us the conviction that half
the misery in this world is caused by people desiring to
make their living by selling something that they haven't got.
— people trying to sell their voices, when their voices are
not worth listening to; or to sell acting ability, when they
have no acting ability to deliver, and would-be scenarioists
trying to make a living selling ideas, when they have no
ideas to sell.

We are quite sure that no man in his senses would think
that he could successfully run a grocery store unless he had
groceries to sell, or that he could supply the community
with dry goods from empty shelves — and yet thousands
upon thousands of people have become indignant because
their efforts at trying to bunko a purchaser into buying
something that they haven't got, failed.

So we would say to aspiring scenario writers — make sure
first that you have something to sell. Then, write it up in
as neat and concise and clear a manner as possible, without
any attempt at the technical form of a working script, and
send your product out to the market knowing that there is
a hungry purchaser to snatch up any crumb of originality
at a very fair price.

Well,— Isn't It So?

When —

The Heroine pleads with the Hero to Do IT as she
Wants It Done, doesn't she always grip the lapels of
his coat?

When —

The Child is sick, isn't the Family Doctor always a
melancholy man with exuberant whiskers?

When —

The Juvenile enters, doesn't he always steal up and
imprint a bouyant kiss on his mother's ear?

When —

The Cowboys Go After Something, don't they always
fire wildly into the air?

When—

Anyone goes to the telephone, doesn't he or she always
take down the receiver and at once click it up and down
agitatedly?

When —

The Artist has daubed his brush across his canvas, doesn't
he always mince back a few steps and squint at the
result with his black-tammed head tilted 'way on one
side?

When—

The Poor Mother has bidden her son farewell, doesn't
she always use her apron to stem the tide of her stream-
ing tears?

The Learnin' of Jim Benton

Touchin' on an' appertainin' to a certain pizen gang o' wools, an' what jes' nacb'ly happened in the arroyo at Flyin' L.

By Jerome Shorey

JUST why it is that every cattle man thinks of a sheep
herder in the same terms as a pugilist does of a
female impersonator, I cannot say. But the fact
remains. The cattleman is not fussy about the con-
ventional morals of his associates. He knows that the
population of the southwest contains a great many men
who came there for their health — some because the doctors
so ordered, and some because they felt their health would
suffer if they were required to pass a number of years in
stone buildings with iron bars on the windows. Many a
physical and moral wreck has found his way into the cattle
country, and losing his old identity, has gained a new
manhood. And the cattleman asks only two questions — ■
is he kind to his horse and, if he makes a play, has he got
the nerve to go through with it? But with all this broad-
mindedness, there is no room in the hospi-
tality of the cattle man for the sheep
herder. He calls them "wools" and at-
tributes to them all the lowest traits of the
human race.

Jim Benton wouldn't have stood by and
let the gang at Red-Eye Saloon devil a
yaller houn' that couldn't defend itself;
but if he had ever happened to see the same
gang amuse itself by standing a wool in a
corner and shooting off his ears, fingers and
other outstanding portions of anatomy, he
would doubtless have looked on idly, and
made some technical comment upon the
marksmanship of the boys. A wool
simply wasn't human — that was all.
He was the lowest form of animal life,
and not to be classed with the more
advanced forms of evolution, such as dogs and horses.
If Jim had been educated, without losing his viewpoint,
he would have said that Darwin was right, and that the
human race had risen, in many centuries, beginning with
a wool, becoming prohibitionists, and then upward through
the animal kingdom until it reached the dwellers in cities.

education. He could neither read nor write. His grand-
father had been one of the first white men in Southern
California, and had accumulated a huge tract of land and
"cattle upon a thousand hills." His father and mother
were just a plain folk, too — strong with the strength of the
pioneers, but plain. In the fullness of time they were
gathered to their fathers, and Jim was left, sole heir to
an empire in land, more cattle than he could count, twenty-
five of the gamest cowpunchers that ever whooped through
El Cajon, and a vast and unfathomable ignorance of any-
thing else.

So when he paused in front of a canvas notice, nailed to
a tree on the bank of the arroyo that ran through the
Flying L ranch, he was mystified. Then, in a minute, he
was mad. What business had anybody to come nailing
notices on his trees, on his land? He tore
it off, and was first for simply throwing it
away; then it occurred to him that the
thing to do was keep it, track down its
author, and do with him as circumstances
justified. For Jim, while never exactly
looking for a fight, felt a thrill go all over
his big body when he sensed a fight
approaching. He didn't look for trouble,
but if trouble came his way it would be
welcomed with a kiss and a hug.

So Jim kept on being madder and
madder as he rode along the trail, and all
of a sudden he saw something that made
him madder still. Someone had quietly
taken possession of a cabin where his line
riders found shelter when overtaken by
storm or night so far from the ranch house.
There was smoke coming from the stovepipe chimney, and
a horse grazing near by — and not a Flying L horse, either.
So here was the son of a gun that was nailing up notices
on his range. Jim galloped up to the door, and tried to
walk in, but the door was fastened.

"Open that door or I'll fill you so full of lead you'd

culminating finally in the cattle man. But Jim had no sink in the Great Salt Lake," Jim yelled. No answer.

Photoplay Magazine

5o Jim took a chance. He was fighting mad now. He
was refused admission to his own cabin. So he didn't
stop to think of the danger, but flung his whole weight
against the door and followed it through. He found him-
self, before he could regain his balance, looking into the
muzzle of a revolver.

"Holy sufferin' jackrabbits!" he gasped.

The revolver was a toy .22, and the wavering hand
which held it in the general direction of Jim, belonged to
a slim bit of a girl, whose wide, terror-stricken eyes told
of a fearful struggle going on in her mind. She could not
decide whether to kill this intruder, or to throw herself
upon his mercy. Jim decided for
her. He wasn't going to be killed.
Leastways not with that dinky
thing. If he got killed that way,
the boys would never let him hear
the last of it. So he reached out
and took the almost gun away
from her. Whereupon she did
the proper feminine thing — she
fainted.

In the course of time the girl
recovered, and little by little the
two explained themselves to each
other. Jim convinced the girl that
his diet did not consist of straying
damsels, despite the ferocious ap-
pearance that his several weeks'
old beard gave his countenance.
He also pointed out that he had
a right to intrude, as he was on his
own property. And the girl,
Evelyn Hastings, imparted the
information that she was the new
school teacher on her way to El
Cajon, had lost the trail, and
decided to put up at the cabin
until morning.

The word "school teacher" re-
minded Jim of the notice he had
torn from the tree.

"If you're a schoolma'am, give
us the head and tail 0' this," he
said, producing the printed can-
vas sign and carefully spreading it on the floor.

"To Whom it May Concern," she read. "The Segunda
Water Company has completed its dam across the upper
Cajon arroyo. All persons who have not joined the com-
pany by the first day of May next, will be barred from
using the waters of said arroyo. Harvey Knowles, Presi-
dent."

"Th' h — , beg pardon, Miss, but this sure does get
me riled. This here Segunda company is a wool outfit,
an' Knowles is the boss rattler. So — I can't use water
out of my own arroyo, what th' old man used fer years
afore me. Aw, shucks. There's some mistake. They
can't do a thing like that."

"Why don't you bring suit against them — get an injunc-
tion, or something?"

"Suit?" Jim laughed, none too pleasantly, and patted
the two guns he always wore. "Here's Jim Benton's
lawyers."

"You — wouldn't — kill — a — man?" Evelyn gasped.

"Not a man — no," Jim drawled, "but a wool, more
'specially a wool like Knowles — yes."

Evelyn remonstrated, but Jim could not make her under-
stand. And at last it came evening, and Jim left the girl
in possession of the cabin, rolling himself in a blanket
beneath a live oak and communing with the stars on a
new idea that had come to him, and which drove the
thought of sleep away for many hours.

It was the odor of frying bacon that wakened him at

"The Learnin' of Jim
Benton"

NARRATED, by permission, from the
Triangle photoplay, based upon a
story by Al Nietz and produced under
the direction of Cliff Smith with the
following cast:

Jim Benton Roy Stewart

Evelyn Hastings Fritzi Ridgeway

Joe Walter Perry

Harvey Knowles Ed. Brady

Ed Willis, Sheriff Wm. Ellingford

Sid Harvey Thornton Edwards

Governor Harrv Rattenberrv

~tm mr mi mi „it Jl".-

last, and a cheery voice, informing him that breakfast was
ready, clinched a certain resolve that he had half formed
under the stars. He broached it over the coffee.

"I s'pose now, you get paid a heap o' coin for teachin'
school?"

"Sixty dollars a month," Evelyn replied, a little proudly.
Well, I'll make it a hundred, if you'll come to the
Flyin' L and learn me and my outfit instead."

"But I've given my word to the El Cajon trustees."

'Oh, that's all right," Jim assured her. "I got quite

a lot of influence in Cajon. That can be fixed. An' it's

your plumb duty to go where you're most needed. My

outfit is the gol durndest, on-

enlightenedest bunch o' wild an'

woolly reprobates in the whole

cattle country, an' if there's any

spare learnin' floatin' around, we

just natch'ly must have it."

So it was arranged. Evelyn was
attracted by the extra salary,
which meant that much more she
could send home to her mother,
and the novelty appealed to her.
She perceived a great gentleness
behind the uncouthness of Jim
Benton, and the woman in her
wanted to see what a little civiliza-
tion would do to it. She was
placed under the chaperonage of
the Indian squaw, Maquita, and
never was girl safer. Next to Jim,
Maquita was boss, for the quite
sufficient reason that she was also
the cook. She was more to Evelyn
than her own mother could have
been, aside from mere affection,
for the grim old woman knew the
ways of the cattle country, and
more than once made it clear to
Evelyn that certain conventionali-
ties of the cities would not do here
at the Flying L; while on the con-
trary, many things which would
have made her friends in the city
consider her quite an impossible
person, were matters of common routine here where the
broad sweep of sky and mountain transposes the social
values.

In due time the school supplies arrived. The lower
floor of a barn was cleared out for the school room, and
all the apparatus of primary education installed. Jim had
wired for a complete shipment of all that was necessary
for the education of twenty-six ignorant cow-punchers, and
the telegram was taken literally. Blackboards and desks,
pens, pencils, notebooks, copybooks, everything was there —
even to a dunce's cap. And whether it was because it was
'boss's orders" or that these untamed sons of the soil had
realized their need of the rudiments of education all of a sud-
den, at least their promptness and their earnestness in try-
ing to learn was gratifying to the teacher. But all the famous
educators will tell you that the personality of the teacher
is the most important element in the success of the student.
And perhaps this had something to do with it as well.

Jim, as befitted the master of the Flying L, was the
most assiduous and progressive student of all. He felt, of
course, that it was necessary for him to show his outfit
a good example. He felt this so strongly, and so anxious
was he to keep at the head of the class, that he even
prevailed upon Miss Hastings to give him additional
lessons in the evenings. Yet, at these extra sessions he
sometimes found it a little difficult to keep his mind on
his work. Thus the days and evenings passed pleasantly
along at the Flying L, the gentle spring unconsciously

■m; — 1: ■ r :,\: ill! mi mr mr Mr Tm-m— r

The Learnin' of Jim Benton

slipping into glowing summer, the while Jim Benton
unconsciously was falling in love. Or perhaps not entirely
unconsciously. He had learned to take pains with his
appearance, shaved every day, and every now and then
went to El Cajon to have his hair trimmed.

Then, on the first day of'May, a line rider came gallop-
ing to the school-house door, and brought the pupils and
teacher to their feet with his yell. It was the first time
that anyone had dared to interrupt classes, but this was
no time for ceremony.

"The arroyo's run dry," he shouted.

Desks were tumbled this way and that in the scramble,
as the cowpunchers gathered around the line rider for
more information. But Jim understood. He had ignored
and almost forgotten Knowles' notice. It was the first of
May, and the water had been shut off at the dam. He
knew the water laws, like every California land owner, for
water is the very breath of life to the great southwest. To
steal water is to murder. That has been the unwritten
law for decades. Jim owned his land along the arroyo,
and his riparian rights entitled him to all the water he
needed from that stream. He knew that Knowles had
been bluffing, trying to force him to pay tribute to the
new company, but he did not believe Knowles would have
the nerve to openly break the law. But now that Knowles
had broken the law, there was only one thing left for
Jim to do, meet him on his own ground. Even if he had
ever considered such a matter as going to law, there was
no time for that. While the lawyers and judges jawed,
his cattle would be dropping dead. Then, if he won, he
would have the right to sue Knowles for his losses. And
if he won that suit — what? It was too complicated, when
the simple solution was to go up the arroyo with his twenty-

five fight-hungry, infuriated cowpunchers, and blow the
dam to —

"Jim." A soft voice recalled him from his fury, a light
hand rested on his arm. And she had never called him
Jim" before.

"Jim — you won't — shoot; that is, anyway, not to kill."

"Shootin' for fun is just plain suicide," he said, evading
her plea.

"Please, Jim — for me," and Evelyn's voice was softer
still.

Jim looked down at her. "You wouldn't be wantin'
them to bring me back across the saddle, stead of
astride it?"

She trembled a little, hesitated, and compromised.

"Then promise me you won't shoot except in self-
defense."

Jim paused, and promised. Then he rode away.

As they approached the dam they dismounted, and Jim
strode on ahead. Without warning or challenge there
came the crack of a rifle, and a neat little hole was bored
through Jim's sombrero. He dodged behind a tree, and
returned to the others.

"Stay here, boys; I'm going to surround them," he said.

The guards, watching closely the spot where they knew
Jim's outfit must still be stationed, were taken completely
by surprise.

"Throw down your guns," a voice yelled from the rear.

They wheeled, looked into Jim's two guns, and knowing
his record, obeyed. Jim's men, hearing no sound, began
advancing cautiously. A guard who had been stationed
the other side of the stream, saw them, and opened fire.
After that, nobody knew just what happened. In a few
seconds the cowboys had won the battle, and Jim found

Jim, as befitted the master of the Flying L, was the most assiduous and progressive student of all.

Photoplay Magazine

He pointed out that he had a right to intrude as he was on his own
property.

himself standing with his guns in his hands, both'smoking
and empty. He did not remember drawing them, but of
course he must have done so. Several of the company's
guards lay dead. Who could say whose shots had killed
them, when all the Flying L men wore forty-fives? But
that was idle speculation. The thing they had come to do
must now be done. They found a supply of dynamite in
a watchman's shanty near by, and in a few minutes the
Segunda dam had ceased to exist.

Lawlessness — yes. But it was the lawlessness which had
been the only known law right down to days within the
memory of the men who took part in it. It was only
within very recent years that the machinery of the courts
had been set in operation, and it was still looked upon
with suspicion. When a man like Jim
Benton knew that he was right, he went
ahead and administered the law for him-
self. And, strange as it may seem, the
history of those days records very few
cases of injustice resulting from this summary procedure.

Yet it was with a heavy heart that Jim rode back to
the Flying L. He had to tell Evelyn that he had shot,
probably killed, and in the heat of battle, not coolly in
self-defense. It was Evelyn only of whom he thought —
not of the possible legal complications.

Nor had he been wrong in his view of her probable
attitude. She was unable to consider lightly the taking
cf a human life. She had lived in the security of cities.
The traditions of the open country were not hers. She did
not rebuke Jim, but was wounded deeply.

Then it was that the unexpected came to pass. Ed
Willis, sheriff of El Cajon county, rode slowly up to the
ranch house at Flying L. It seemed as if he could not
make up his mind whether to go on, or to turn back. He
was a grizzled veteran of the cattle country, and while he
had accepted the task of enforcing law and order, his idea
of such a job was merely the tracking down of cattle
rustlers and men who shoot from behind. He had no taste
for the job of arresting Jim Benton, son of his old side
kick, and whom he had himself looked upon almost as a
son. But Harvey Knowles had forced his hand, and
Knowles was backed by powerful interests and much
money. So the sheriff had to obey.

"It's like this, Jim," he said. "We got to try you.
There's nuthin' else to it. But I want to go on record
right here, that you're goin' to get a square deal, an'
between you an' me, I'll fix it so's the jury'll be chock
slam full of cattle men. Nary a wool will I summon. An'
so you needn't be skeered o' the verdict."

Big Joe, Benton's chief of staff, was leary of the whole
proceeding. He wanted Jim to refuse to give himself up.
He 'lowed that they wan't no posse they could raise around
Cajon that could git Jim if Jim didn't want to be got.

But Evelyn's intluence was on the other side, and Jim
felt that surrender was the surest way of atoning in her
eyes. He felt no anxiety about the verdict, for if the jury
were only a fair-minded one he believed he was safe, while
if the sheriff managed to get a jury of cattle men they
would bring a verdict of not guilty without moving from
their places. So he went with the sheriff. And Evelyn's
eyes shone, because she now knew that she had been right
all along, and that the bigness of the man was his most
dominant quality.

When the trial began, the special counsel Knowles had
engaged to supplement what he feared might be the feeble
efforts on the part of the prosecuting attorney, thwarted
the sheriff's plan. He drew the attention of the court to
the fact that this case had to do with a feud involving
cattle and sheep men. He therefore made it clear to the
court that both sides should be barred from the jury, and
that the twelve men be selected from other walks of life,
as far from the scerie of the conflict as possible. So it
was a jury, not merely of strangers, that Jim faced, but
one of which he did not like the appearance. No one ever
proved that money had had a part in the result, but after
the days had dragged along to the end of the trial, Jim
numbly heard the foreman report that it found him guilty
of murder in the first degree.

Jim heard his sentence and went back to his cell to wait

Jim heard his sentence and went back to his

The Learnin' of Jim Benton

for the end that seemed inevitable. His conscience did not
accuse him, but the law had. His only consolation was
that Evelyn was now convinced that he had acted in the
only possible way, in the circumstances. He had justified
himself in her eyes, but of what good was that when the
rope was waiting for him? It was a barren satisfaction.

Harvey Knowles made no secret of his elation. The
wool interests were constantly clashing with those of the
cattle men. Benton was the leader of the latter. With
him out of the way, the constant struggle would be easier.
And the cattle men realized this, too. They knew that if
Jim Benton were hanged, some of them might as well go
out of business. Not a day passed in the little town of
El Cajon but there was a fight somewhere over the subject.
Fortunately, no more blood was spilled. With the death
sentence pronounced upon the biggest man in the county,
men began to think a little more before pulling their guns.
But feeling ran so high on both sides that the county
authorities, much to the sheriff's disgust, decided to send
down a few companies of militia, to keep order until after
the execution.

Jim was calmer than anyone else. The sheriff came to
him one night stealthily, and proposed a plan. He offered
Jim his guns, told him he would give him a fighting chance.

"These militia boys caint shoot straight enough to git
you, ef you're careful," he urged. "Leastways, it's a
chance, and I think it's the only one."

"No, thanks, Ed," Jim replied. "I've killed my last
man, and I've defied the law for the last time. If the law
wants my life, and there's no way out, I'm through fightin'.

cell to await the end that seemed inevitable.

Evelyn knew now that Jim's life meant more to her than anything else in
the world.

There's one other chance — they're tryin' to interest the
Governor. If that falls down on me, I'm gone — and that's
all there is to it."

The Governor listened to the appeals that were made
to him, and finally consented to come to El Cajon and
investigate the entire situation for himself. It was not the
question of one man's life, but the whole problem of water
rights was involved. He wanted to see how much it all
meant, and to get down to the facts of the case.

But the Governor was a big man, and large bodies move
slowly. To Evelyn it seemed he did nothing at all. She
was in despair. She knew now that Jim's life meant more
to her than anything else in the world. She knew that she
loved him, and would give her own life to save his. At
last she managed to get the ear of the Governor. She told
him of Jim's promise, she showed him the bullet hole in
his sombrero, she pleaded and sobbed.

"All this is nothing," the Governor replied. "You can-
not prove that he kept his promise, nor does he, apparently,
claim that he did. You cannot prove "•*om what gun the
bullet came that made this hole in his hat, whether before
or after he himself had killed his man. You see, I, too,
am under the rule of the law. Unless something can be
shown me which was not shown at the trial, I can do
nothing."

"But he had a right to the water."

"To the water — yes. But not to kill. He is not on trial
for blowing up the dam, but for killing a man."

So the days dragged along. It was clear that the
Governor would snatch at any straw which would justify
him in commuting the sentence. The day before the morn-
ing set for the execution arrived, and still he refused to
take any action. Then Ed Willis had an idea. He got
Sid Harvey, who had been the principal witness for the
prosecution, into his office, determined to do something,
even if it was not exactly the highest ethics. He was con-
vinced that Jim was innocent, or at least justified, and
that the jury had been "fixed." So he said to Harvey:

"Look here, Sid — you alius was a pretty good guy until
you began mixing with these here wools."

"Well, I got to live, ain't I?" Sid replied, shiftily.

"Yes, Sid, we all got to live, but not that way. Now,
you're doin' yourself no good, stickin' by this Knowles
gang. And I don't mind tellin' you that I'm goin' to need
a deputy on my staff pretty soon now. I know you're no
coward, Sid, so that's all right, but I wouldn't want to
take a chance of havin' a liar wearin' the star."
(Continued on page. 126)

Who, gazing into those soulful eyes, would guess that the possessor of the glowing lamps was
engaged in her working hours in the making of such irresponsible pictures as the "Lonesome
Luke Comedies"? Yet such is such, for this is Bebe Daniels, the Rolin leading comedienne,
waxing tragic over the fact that she has to confine her lunch to a bottle of pop to keep slender.

CLOSE-UPS

EDITORIAL EXPRESSION AND TIMELY COMMENT

The Moving America IS coming! In

Picture's Mission *e furthermost hamlets on
T r> • the edges or the bleak Slav

loKussia. marshes; in the desolate

camps of the discouraged army; in the picture
houses of seething Petrograd, the message will
soon be flashing— America IS coming. It is a
message that will be received with mingled joy,
amazement, and hate. For it will give the lie
direct to the 25,000 paid German fictioneers in
the Russian army and the scheming egotists who
would sacrifice the nation and world democracy
to their own petty ambitions, the professional
traitors with souls so warped that it is not in
their nature to be true to any country or any
God.

America IS coming. Where words fail to
carry conviction the story the camera is now
bringing to the Russian people will, through the
eye, penetrate the brain of the dullest Slav.
They probably know as little of what is happen-
ing in America as we know of their troubles.
But they believe what their eyes see. President
Wilson has said that we do not need men in
Russia now so much as we do motion pictures
to silence the efficient and unscrupulous Ger-
man propaganda.

And acting on his suggestion the entire mo-
tion picture industry is co-operating to gather
every possible foot of celluloid evidence of
America's activities. And this is preferred
freight on Russia-bound steamships.

The Silver Through the medium of motion
Sheet pictures the Russians will see mil-

f T th lions of khaki-clad Americansdrill-
* ' ing, in cantonments here and train-

ing camps in France, with one end in view — the
annihilation of Prussian autocracy, and a world
made worth-while to live in. In darkened halls
they will see these men embark for European
battlefields, and see the flash of their guns as
they charge the Huns. They will see too this
great nation bending all its wealth and its re-
sources to one end, the winning of the war.
They will see its thousands of industries belch-
ing and straining. They will see its president
and read his words, the promises that conse-
crate this nation to the common cause. They
will see that America is just as willing to shed
its blood as it was to sell its ammunition to the
Allies.

For one year Thomas A. Edison has been
devoting himself to the finding of a means of
counteracting the submarine.

It is just possible that he dealt a terrific blow
to Germany years ago when he invented the
moving picture machine.

Humanizing the We find a praiseworthy ten-
Countenance. dency on the part of the

better class of film players to
minimize their facial make-up. There are still
a few women who seem to believe that the
mouth should not be of the shape God intended,
but should be painted into a perfect Cupid's
bow. A little arch of red does the trick, and
the result is something that no man would be
tempted to kiss. And the men are sometimes
as great offenders. No matter through what
hardships the character they are portraying
happens to be passing, their cheeks are smooth
and unlihed. They are as anxious to be con-
sidered pretty as are the girls. But these are
exceptions. The screen is merciless in its be-
trayal of the makeup — the close-up is veritably
cruel. It is curious that players have taken
so long to discover this fact, but we rejoice in
the numerous evidences of the fact that things
are on the mend.

Write Your Harrison, a small manufac-

Own Comments, turing town in New Jersey,
has seventy-two fire hy-
drants and seventy-four saloons. It has no
moving picture theatre. The city council has
persistently refused to grant a permit for the
opening of any such place of entertainment. .

A Prophecy This being a prophet is a pre-
That Missed carious job at best. For exam-
P' pie, here's an editorial from the

Moving Picture World, of June
8, 1912:

Slang and improper abbreviations are one of
the well known weaknesses of America's careless
speakers. Some time ago, when a competition
was started to secure a good sound and universal
name for the moving pictures, " photoplay " was
selected. On this page it was pointed out that
what ever value this name possessed it was very
limited, and, like its predecessor, "Nickelodeon,"
would not fill the desired purpose ; fortunately
" Nickelodeon" is dead; " Photoplay " is being so
seldom used that it may soon be forgotten, espe-
cially so now that the abominable movies has
arisen. Like all such words, it may not last a gen-
eration, but this is written with the wish to drive
it into oblivion as quickly as possible.

At that time the World was the most influen-
tial trade paper devoted to the interests of the
motion picture producers and exhibitors. And
it is still one of the finest of trade journals. It's
hardly fair to dig into the past like this, but
then no one would acknowledge the corn with
more grace than the estimable editor of that
estimable publication. And we must pick on
some one once in a while.

Photoplay Magazine

Money and Miss Marguerite Clayton, a

Screen Success, leading woman, is reported
as saying, It is almost impos-
sible for girls without independent means to
enter the movies nowadays." The word "now-
adays" has an important bearing upon this
statement. There are already so many thou-
sands of young women working for the camera,
and so many hundreds of them possessing a
high order of talent, that with or without
independent means or influence, it is difficult
for the newcomer to find a place. But this is
not what Miss Clayton means. Her point is
that girls have to begin as "extras" and get only
a few days' work from time to time, so that their
earnings do not total to a living wage. And
when they begin to get steady employment, she
says that their expenditures for costumes absorb
most of their salary.

But on the other hand — in no other business
in the world does the beginner look to her em-
ployer to pay for her education. Yet she goes
into the movies expecting, all the time she is
learning her alphabet of acting, to be paid a
good income. Does she realize, while she is
sitting about as an extra girl, waiting for employ-
ment, that she can, if she will, learn the essentials
of the business? Not in the vast majority of
instances. She passes the time in gossiping
about stars, and exchanging pessimistic views of
directors with other extras.

A girl goes to business college for six months
before she can expect to enter an office and
earn fifteen dollars a week or less as a stenog-
rapher. It is true, logical, and right, that no
girl can expect to go to a picture studio and
immediately earn enough money to keep her
family and send her sister to Bryn Mawr. There
is no royal road to success in any of life's activi-
ties.

This is not intended to encourage so-called
schools of photoplay acting. May their tribe
decrease.

Children's Shows If this statement is incorrect,
A Failure. we invite information to the

contrary. We believe that
every effort on the part of exhibitors to provide
specific entertainment for children, has failed.
The latest manager to admit that he cannot
successfully give programs for children is Mr.
Clemmer of Spokane. The trouble is that
theorists, faddists, and other busy-bodies mislead
the exhibitor who mistakes the amount of com-
motion they make, for a public demand. Then,
when he goes to the expense and trouble of
setting aside certain matinees for children, rent-
ing carefully selected films, and advertising the
events, the faddists regard the thing as done,
and take no further interest. The truth is that
children do not provide a sufficient percentage
of the patronage of a picture house to warrant
special performances designed for their enter-
tainment. Furthermore, most children don't
want to be entertained as such. And still

furthermore, most parents like to take their
children with them to the movies. Their naive
comments, their searching, keen-sighted criti-
cisms, are no less entertaining than the pictures
themselves. Pictures that really entertain the
youngsters are just as enjoyable to their fathers
and mothers. For example, Marguerite Clark's
delectable "Snow White," and the series of Fox
fairy tales. Let the parents decide what films
their children shall see. This is the only solu-
tion of this over-discussed question.

Painlessly Scolding the directors of the

Popularizing metropolitan symphony or-

Classical Music. chestras,for their lack of initi-
ative in bringing new music to
the fore, a writer in The Seven Arts recently called
attention to the fact that many of the classical
numbers so beloved of the conductors were
becoming as familiar to the public as the latest
Irving Berlin syncopation, because of the excel-
lent programs offered by the picture theatre
orchestras. Wagner, Liszt, Beethoven and their
compeers are every day fare to the patron of the
movies. Public taste in music is being speedily
educated to keen discrimination between trash
and art. Moreover, the performances by these
picture house orchestras are, in the main, excel-
lent. We heard Chabrier's Spanish Rhapsodie
at the Strand, New York, one day, just after
hearing the same composition done by the Phil-
harmonic at Carnegie Hall, and the Strand
musicians carried off the honors for smoothness
of rhythm in this tricky piece. Nor do the audi-
ences accept these classics merely as a matter
of course. Appreciation, proved by applause,
is invariably manifested. This is no small debt
that the art world owes to pictures — a bypro-
duct of the cinema, but of vast importance.

"Pop " Goes Every so often an obscure

Another Preacher, minister who discovers
that his congregations find
moving pictures more entertaining than his ser-
mons, explodes on the subject of the immoral-
ity of films. The latest reverend gentleman to
make such a spectacle of himself is Rev. C. G.
Twombley of Lancaster, Pa., who assured a
ministerial gathering in Cincinnati that "It is
the direct purpose of a large number of motion
picture manufacturers to produce pictures char-
acterized by immorality, illicit love, and other
features which are ruining the youth of our
country." We will not reply to Mr. Twombley.
Rev. H. E. Robbins, rector of a church in New
York state, and manager of a picture theatre,
has done so effectively, suggesting that Mr.
Twombley advance a few proofs of his ridicu-
lous charge, and observing that "the trouble
with some of the gentlemen of some of the
church congresses is that they try to say some-
thing startling and sometimes they are not quite
well informed."

It Never Can Happen Again

Harold Lockiiuood is interviewed without his knowledge or consent

^By Cameron Pike

WE knew we were going to have a hard time
making Harold Lockwood talk before we set
out to interview him at the Metro studios. Not
that he's upstage and won't see people and
talk! On the contrary, he's the most agreeable and
obliging chap in the world and he'll do almost any-
thing for anybody. But interviews! If you asked him
for an interview for publication you would imagine you
were asking him to stand up to hear a death sentence.
They're out of his scope, he complains; says that he doesn't

know what to say and if he does start to say something he
gets all mixed up and the interviewer doesn't get an inter-
view after all. So what's the use? Besides, he has a press
agent and what are press agents for if they can't write
nice, readable interviews?

But we were not to be satisfied with an interview written
by Mr. Lockwood's press agent. We determined that we
were going to have a real interview with everybody's
favorite even if we had to camouflage our intention. Yes.
that's what we would do; we'd interview Mr. Lockwood

Photoplay Magazine

The Editor is so fond
of this Kewpie — (two
and a half years old)
— he's put it in again.
But it does seem
rather like rubbing it
in.

without his knowing he was
being interviewed. But how?
Someone had told us that
a good way to start Mr.
Lockwood talking was to
ask him if he had taken
away Richard Spencer's
"goat" that day. As we
understood it, Mr. Lock-
wood arrived at the studio
one morning and jokingly
asked Mr. Spencer why he
had stopped work on a
story (Mr. Spencer is Mr.
Lockwood's scenario writer)
at two o'clock the day be-
fore, and had gone home at
that unearthly hour. Mr.
Spencer didn't like the ques-
tion and said so. Immedi-
ately the star knew he had
conscripted Richard's "goat.

After that it was a daily
occurrence for Spencer to try to get Lockwood's goat and
vice versa. Lockwood claimed he had the largest collec-
tion, while Spencer maintained he held the lead. The two
guarded their scores jealously.

Even a practiced emotional veteran like Lockwood can be assisted by that

first aid to emoters, the violin. Maybe you recognize the scene from "The

Square Deceiver."

We didn't come to talk with Mr. Lockwood about any

"goats," but if the subject gave us an opening to what

we wanted, wasn't it all right to use it? We decided it was.

After the customary formalities were over we started in

with our prepared introductory:

"Well, did you get Spencer's 'goat' today?" we asked,
innocently.

"Did I?" came back Lockwood, chuckling and smiling
all over. "Say, I wrote him a black hand letter the other

day and now he's asking for
permission to leave the
studio before dark. Get his
goat? Why, I not only got
the animal, but I took the
chain besides."

We were getting along
very well, we thought, as
our plan of attack flashed
through our mind.

"But you and Spencer
must be mighty good friends
to joke like that without
offending one another?" we
vouchsafed.

Mr. Lockwood grew seri-
ous. "Ah, of course; Dick
and I are great friends," he
answered in a tone of voice
that showed his friendship
for Spencer. "We've known
each other for six years and
we're only having a little
fun."
Instantly we saw our cue. It would be an easy matter
now to run the subject into the channels we wanted, we
thought. So we proceeded carefully:

"Six years? Then you must have met him when you
first broke into the business," we ventured, with an

Before he became a solo-star Harold supported Marguerite Clark.
Brother Jack Pickford is his assistant supporter.

It Never Can Happen Again

Now, honest, Harold — what are you doing under there?

Are you really in trouble or did Friend Photographer pose

those tools so nicely ?

assumption of ignorance, for we knew all the
time that Mr. Lockwood had been playing
before the camera for longer than that.

"No, I broke in before then. This is my
eighth year," he corrected.

We had been hoping for just this answer.
We had the advantage now and we followed
it up quickly.

"Whom did you first work for?" we asked.

Mr. Lockwood smiled reminiscently. "My
first engagement was with the Rex Company.
Funny thing how I got that first job, too. I
was marching down Broadway one morning
when I met my old friend Archie MacArthur,
of the Moving Picture World. We chatted
and Mac inquired why I didn't make a try
for motion pictures. He was firm in the be-
lief that they were 'coming.' Frankly, I had
my doubts at the time, but he kept pressing
his point and offered to give me a letter of
introduction to Edwin S. Porter, who then
controlled the Rex Company. I didn't want
to offend Mac, so I took the letter he gave
me and called on Mr. Porter. The result was
that I was engaged. That's how I began."

We ventured to comment that there is quite
a difference between those days and these.

"Difference!" exclaimed Mr. Lockwood.
"Let me tell you something. When I finished
up with the Rex Company I was engaged by
another outfit. I was to play leads and Doro-
thy Davenport was to work opposite me. Our
company had its studio on the West Coast
and we were told to report there. As there
was no expense money forthcoming, we paid
our own railroad fare. Pullmans, and inci-
dental traveling expenses out of our salary,
which was the munificent sum of twenty-five
dollars a week. Difference between today
and eight years ago? I leave you to judge."

J* *%"*

"Harold Lockwood and May Allison in " preceded the titles of some of Metro's

best pictures for years.

Photoplay Magazine

We judged there was a difference.

"Yes, and there are a lot of other ways that make the
motion picture of today different from those of the time
when I broke in," continued Mr. Lockwood. "You may
not believe it but I used to do one reel Westerns like all
the rest of them. We would take a small company of five
or six people, not including the director and cameraman,
out into the California hills in the morning, and more than
once we returned to the office at night with a complete
picture. And if ever anybody earned his twenty-five dol-
lars a week by the sweat of his brow we moving picture
actors did! I'm glad there aren't many that have to do
it today."

By this time we were getting quite chummy.

"Mr. Lockwood — " we began.

"Let's cut out the 'Mister' part of it," he interrupted.
"I'm not very long on that sort of thing. They all call
me Harold around here in the studio. Over in the Metro
office a few of them call me Mister Lockwood and the only
reason I let them keep it up is because I like to hear what
it sounds like once in a while." He smiled to himself at
this statement. "What do you think — between friends?"
he inquired.

To tell the truth we were taken aback somewhat. But
we agreed. Mr. Lockwood saw we were puzzled for an
answer to this unusual procedure so he explained.

"You know, I want to be one of the boys," he was say-
ing, seriously. "I 'don't want any of them to think that I
feel that I'm the star and they're just working with me.
I admit that I did not always have this viewpoint. Back
in the early days when I was doing my first big picture I
thought it good business to swell up a little for the sake
of making an impression. I wanted to make people believe
I was good, and before I knew it I began to think myself
that I was good; that is, until something happened to
wake me up. Since then I don't harbor any notions about
my ability. I let others judge," he concluded.

"What happened, Mr. Lock — Harold?" we asked.

Mr. Lockwood's eyes twinkled at the thought of that
something.

"Why just this," he began. "I had finished my first big
picture — it seemed big to me then — and I could hardly
wait until it was released so that I could see it in a theatre
and learn if the audience accepted it as I hoped they
would. My big day arrived. The picture was being
shown down town and I was restless for the day's work
at the studio to be over so that I could get away to see it.

"To leave out the details, early evening found me ex-
pectantly seated in the theatre. Behind me sat a party of
four. I didn't notice them until I heard one of them — a
man — saying: 'Wait until you see this fellow Lockwood
— he's great.' Covertly I looked over my shoulder and per-
haps I flushed a little with pride. It seemed that he had
seen the picture before and now brought his friends be-
cause he liked it so well. I settled myself comfortably in
my seat as the picture was flashed on the screen, with an
attentive ear for any complimentary remarks that might be
made. But none came. I was 'panned' up stairs and
down, and all over the place. My sponsor tried to uphold

his views but his friends over-ruled him on every point.
The climax came when toward the finish of the picture I
fell over an embankment and lay in a gulley — supposedly
dead.

' 'He's supposed to be dead, and look at him pant!' one
of the party criticised.

' 'Dead?' came back another maliciously. 'Dead? Why
he should have been dead long ago.'

"That settled al! my notions of how good I was. Later
on I came back to the theatre and saw the picture over
again. I admit I made mistakes. The 'panning' didn't
do me any harm; on the contrary it helped me in two
ways. It brought me back to earth again, where I've re-
mained ever since, I hope, and it also pointed out some of
my faults in mannerisms which I have since rectified."

We were just going to inquire how Mr. Lockwood liked
to be back in New York again when the voice of Director
Francis Ford boomed out: "Harold!"

"Coming," the star yelled back. Then to us: "Tickled
to death to have seen you. Come around again and make
yourself right at home." We replied that we would, as
Mr. Lockwood left us to rehearse a scene for his new Metro
picture, "The Avenging Trail."

As we emerged from the studio we felt a little tinge of
pride, pardonable, we think, at our accomplishment. We
had interviewed Harold Lockwood without his knowing he
was being interviewed.

And, as you may have guessed, the one and only reason
for interviews is to give the public an idea of what their
favorite star is like when he isn't working. Perhaps you
may have guessed from the course of our conversation. If
you haven't, I'll tell you. Harold Lockwood is a "regular
guy." I'll let you into a secret. Lots of actors aren't
that way. They never stop acting. I verily believe they
act for their barbers, tailors, the waiters at the restaurant,
the trolley car conductors, and everyone else they meet.
The reason that Harold is such a good actor is that he
saves it all for his work. As soon as the camera crank stops
turning he might just be a fellow living next door to you,
or the fellow you play tennis with, or anybody. Except
that there aren't such a lot of people so free and easy.

He likes horses, and isn't above doing their manicuring
and hairdressing for them. He likes automobiles, and has
no objection to getting "out and under" when occasion de-
mands. He isn't afraid to get his hands soiled with honest,
clean dirt. He can drink coffee out of an empty tomato
can and hold a wrestling match with the property man.

That sort of fellow usually is a success. He started in
life, after a business education in his home town of Brook-
lyn, as a dry goods salesman, but soon the stage called him
and he responded. He worked his way through vaude-
ville, musical comedy and stock, and then arrived at the
screen, where he will remain. Before joining Metro he was
with Selig, the American and Famous Players. Among
his biggest successes have been "The Turn of the Road,"
•Life's Blind Alley" and "Big Tremaine." But these things
you have to "dig out of the dope." Harold doesn't talk
about them. He's enjoying the present too much to want
to bother about the past.

And Chester Waits

Chester Beecroft, a film agent, recently set sail for Europe
with a collection of Cub Comedies, alleged by the press agent
to be worth $7,000, to sell in Russia. The last purchase he
made before he left Gotham was a fortunate one — a rubber suit
that could be inflated. It proved a fortunate purchase for he
was submarined between England and Russia, but unhurt in the
inflated suit. After floating twelve hours or more he was res-
cued and taken to a Norwegian port. Now comes the story.
Chester telegraphed to his brothers in New York, all film men,
telling what happened to him, the rescue was described thus:
"Taken to sans repondre." The brothers, Fred, Charles, Wil-

liam, George, Arthur and the rest, immediately pooled their
available capital with a view to cabling funds to Chester at
Sans Repondre. The cable company assured them there was no
such place on the map. They were not satisfied, and embarked
in a fleet of taxicabs for the office of the British Consul. There
a clerk glanced at the telegram and haw-hawed in the approved
British manner. "Why don't you see," he explained, " 'sans
repondre' means 'no reply' and is the censor's delicate way of
deleting the name of the port so that you cawn't reply, don-
chano." Whereupon all the Beecrofts decided there was some-
thing in knowing foreign languages after all.

The Shadow
Stage

oA Department of
Photoplay Review

By Randolph Bartlett

and

Kitty Kelly

The Sidney Drews in "His
Deadly Calm" have again
struck twelve for Metro
comedies.

By Mr. Bartlett

EVERY one of the three hundred and sixty-five days
in the year witnesses the presentation to the public of
between four and six feature photoplays, varying in
length from 5,000 to 10,000 feet. If the Shadow Stage were
to record the merits and demerits of all these pictures, he
who patiently ticks out these lines on his long-suffering
Underwood, would have to pass most of his time in theatres
and projection rooms, and Photoplay Magazine would
have to sacrifice fully half its space to the resultant litera-
ture. Nor would this allow for observation of and comment
upon the hundreds of short
pictures — educational, sce-
nic, war, travel, and com-
edies.

Most of all, do we
neglect the comedies —
which, for the most part,
are not comedies at all,
strictly speaking, but
farces. So now we take up
this too long postponed
task, and consider at
greater length than hereto-
fore this form of pictorial
entertainment, certainly
not least of importance
among the achievements of
the silent (in a manner of
speaking) theatre.

The first moving picture
I ever saw was a short,
wobbly strip of celluloid,
the principal action con-
sisting of a man being
chased over hill and down
dale by a motley throng of
men and women. They
tumbled over rocks, over
fences, over declivities,
over each other. And we
all roared. From this be-
ginning, one form of film

Roscoe Arbuckle is the world's greatest athletic fat man. "Fatty at
Coney Island" — (Paramount) — is typical.

farces has developed in a straight line to the elaborate slap-
stick affair of today. We will jot a tentative "Class A"
opposite these, and return later.

Not long after this — at least it seems not long at this
distance — I saw a John Bunny farce. The dearly loved
and much lamented John was not built along athletic
lines. His humor was not that of the merely fat man who
simply falls down and hurts himself. It was an inner
humor that bubbled out and formed itself into circles of
joy that spread in ever widening circles until they touched

the whole world. It was
the humor of humanity's
foibles and weaknesses.
Less extensively, because
such artists are rare, this
sort of farce has also de-
veloped along a straight
line to its present form,
with lamentably few expo-
nents. Which we neatly
mark "Class B" for future
reference, and pass on.

And then we arrive at
"Class C," which stands
for Charles Spencer Chap-
lin, to whom no less honor
can be accorded than a
class by himself. And so
"to our muttons:"

CHARLIE CHAPLIN

Many superficial observ-
ers, including a certain in-
dividual to whom I shall
later pay my respects, be-
lieve that Chaplin is the
funniest man in the world
because he has a funny
moustache, funny shoes, a
funny walk, and performs
violently funny acrobatic

Photoplay Magazine

"The Antics of Ann," (Paramount), is Ann Pennington's first opportunity
to prove that she is a real film star.

Elsie Ferguson, in Artcraft's "The Rise of Jennie Cushing," gives a
portrayal of charm and strength.

In its delicious satire and unique situations, Fairbanks' new one,
"Reaching for the Moon," is a logical successor to "Down to Earth."

feats. Nothing could be further from the truth. Charlie
Chaplin is funny because, more than any other man on the
stage or screen today, he realizes in his pictures the fine
and almost imperceptible line between humor and pathos.
If he had not his reputation as a fun-maker, he could be
the sob king of the universe. Witness "The Vagabond,"
witness the opening scene of "Easy Street," witness "The
Immigrant." His eyes, at times, are those of Sidney Car-
ton, going to the guillotine. In short, he is Class C because
he not only combines Classes A and B, but adds to them
a poignant pathos that gives his comedy a marvelous back-
ground of human feeling. And his latest offering, "The
Adventurer," is far below his standard because, for various
reasons, it lacks this element. But if you are ever tempted
to believe that Chaplin is an accident of make-up and
physical agility, think again of the times when he has
aroused your deepest sympathies. Chaplin is one of the
world's greatest artists. His only counterpart is David
Warfield.

TRIANGLE

Triangle farces are going through a period of reconstruc-
tion. It was the Triangle-Keystones which first introduced
the custard pie into drama. Now, it appears, they are
going to take out most of the pie, and replace it with some-
thing more substantial. The voice of the slapstick still is
heard in the land, but there is a distinct tendency to make
it a part of a logical story. Just what the outcome will
be, is not quite clear at present. It is possible to make
farces too logical to be funny. I don't believe the public
wants a story in a farce. It wants laughs, and doesn't
care much how these are induced. But Triangle is not
doing unintelligent things these days. In all their output
there is manifested a distinct and definite policy. The
outcome will at least be interesting.

PARAMOUNT

Mack Sennett is now producing his violent farces for
Paramount. His principle is something like this: If it is
funny for a tipsy man to stumble against a diner, it is fun-
nier if he makes the diner spill a cup of hot coffee; and
not merely spill the coffee, but spill it on an impetuous
passer by; this victim swings at the original offender,
who dodges and the blow lands upon the anatomy of a
fourth; nor is it sufficient that the three disturbed persons
hurl the original offender into the street — he must land in a
passing automobile, finding himself comfortably seated in
the tonneau, without effort on his part, and thus, in state,
be driven to a fashionable reception, and hailed as the
guest of honor, who has meanwhile been disposed of by a
similar chain of incidents. One laugh must be- linked with
the next, so that they roll up a huge mass of mirth like a
snowball. But more important than this, in making the
Sennett comedies popular, is the realization that, even as
musical comedy is successful in direct ratio to the charm
of the chorus, so the picture farce should be embellished.
The Sennett chorus is all that Charles Yale would have
asked for his original "Black Crook."

FOX

Henry Lehrman is the motive power behind the Fox Sun-
shine Comedies. He has added little to the Sennett
technique, save in such productions as "Wedding Bells and
Roaring Lions," which I have seen three times, and at
which I laughed as long and loud the last time as I did the
first, because of the lions. If some one will explain to me
how he made the scene in which a lion sits on the foot of
the bed, and tickles the feet of two sleeping colored gentle-
men with the brush on the end of his tail. I will be much
obliged. One of the funniest things ever projected is the

The Shadow Stage

result on the gentlemen of color. The face of one turns
white as he wakes, while the other turns over in bed, and a
pale streak — probably yellow — slowly runs up his spine.

PATHE

Until recently, "Lonesome Luke" has been the mainstay
of the Pathe farces. Unlike most comedians, this nimble
person does not confine himself to one guise. I like him
best with big tortoise shell spectacles. Yet "Clubs Are
Trumps" is the Pathe leader in many months, though
Luke — Harold Lloyd is his name — is less himself than
usual. It is a farce built upon a dream of two irrepressible
mashers, who sleep themselves back into the stone age,
when one obtained his lady by clubbing her previous pos-
sessor into unconsciousness. "Love, Laughs and Lather"
is just the barber shop stuff all over again, but "The Flirt"
has much to recommend it — a great deal of this "much"
being Bebe Daniels — who is to Luke what Edna Purviance
is to Charlie Chaplin and Mary Thurman to Sennett.
Pathe has added the noted clown, Toto, to .its guffaw-
factory staff, but the results had not been offered when this
was written.

VITAGRAPH

They're doing it in Flatbush, too. Lawrence Semon is
the director and principal actor in the "Big V" farces.
"Plagues and Puppy Love" is a good sample of his method.
He likes mechanics. A traveling crane figures hilariously
in the action, and in fine contrast, as "cute" a pup as ever
disturbed the peace. Semon has the dismal visage neces-
sary to put over a funny situation. At times I am inclined
to believe that the picture farceurs are recruited from the
undertaking business. It is interesting to remember that
Vitagraph has been the cradle of what I have called Class
B comedies, as it has been of stars. It was here that John
Bunny made his great comedies, and here that Mr. and Mrs.
Sidney Drew began their picture career. It is only within
the last few months that Vitagraph has gone in for the
Class A brand of rib-ticklers, and at present writing is
doing quite nicely.

ARBUCKLE

One of the veterans of farce is Roscoe Arbuckle. He
is the world's greatest athletic fat man. He is the one
comedian who does not use a glum expression to punctuate
his fun. His principal tool is his nonchalance. His latest
Paramount outgiving, "Fatty at Coney Island" is typical
of his form of elephantine joy. His success is due, less to
situations and novel stunts, than to his clever capitalization
of his physical peculiarity. His smooth, bland, childlike
countenance, never fails to awake a reflected smile. No
mention of his productions would be complete without a
tribute to that nimble mountebank, Al. St. John, the human
elastic band.

NEGLECTED BUT NOT FORGOTTEN

There are many others who belong in Class A or there-
abouts, but they are not consistent members. Victor Moore
is an in-and-outer. The Universal farces are usually unusu-
ally violent without a corresponding degree of humor, and
frequently merely vulgar. Ham and Bud have ceased to be
novelties. And so on. And so on.

THE DREWS

Pass we then into Class B, the most distinguished rep-
resentatives of which are Mr. and Mrs. Sidney Drew. This
prolific couple turns out one reel every week, and seldom
fails to strike twelve. It appears that so long as the list

Mack Sennett believes that picture-farce should be embellished. In
"That Night" (Paramount-Sennett) his chorus includes Mary Thurman.

'Sunshine Alley" (Goldwyn) brings back the old Mae Marsh; but
Bobby Harron's art is wasted.

In "Love, Laughs and Lather" (Pathe), Bebe Daniels is to Harold Lloyd
what Purviance is to Chaplin.

Photoplay Magazine

Viola Dana wins more laurels as an emotional actress in " Blue Jeans,"
a charming story done by Metro.

'The Fuel of Life" (Triangle) features that thoroughly winning young
person, Belle Bennett.

'Please Help Emily" (Empire-Mutual) is a frothy little play, with Ann
Murdock in some of her most enticing moments.

of human foibles lasts, they will endure, and the world will
be merrier therefor. Such inconsiderable matters as a
man's unfamiliarity with the technique of the dressmaker,
mistaking the cutting out of rompers for a surgical opera-
tion, provide all the plot they need. They are never
violent. They never smear themselves with pastry. They
perform no stunts. They are always well dressed. In
short, they simply show the world how funny the things
are that everyone encounters every day. We all know
the man whose pride of ancestry makes him an insufferable
bore, the man who fusses with his wife about household
affairs, the man who adopts a fad that makes him unfit
for human companionship. The Drews simply accentuate
these foibles, tell the camera man to turn the crank a few
times, and Metro has a new Drew comedy.

ADE, MASON, ET AL

The George Ade comedies, being based upon the George
Ade fables, similarly poke good-natured fun at every one of
us who is honest enough to recognize himself. The best
part of these pictures is the subtitles, usually taken verba-
tim from the classic humor of Mr. Ade himself. The
pictures themselves need be little more than a running
accompaniment.

Similarly, the Walt Mason comedies. Mr. Mason lives
close to the soil, in a little town in Kansas. What the
Drews and Ade are to city life, he is to the life bucolic.
His smoothly flowing rhymes tell the story, the pictures
trailing along behind, sometimes not too closely. Their
humor seldom causes the audience to make violent noises,
but it is enjoyable and pleasantly sentimental.

And the O. Henry subjects — but they hardly belong
among the comedies. These are, first of all, stories. They
are comedies merely because O. Henry's clear vision of life
was not dimmed because in his spectacles there was a little
curve, that caused him to see life none the less distinctly,
but tilted it a bit to the side.

AND NOW

Having thus surveyed as much of the field of comedy as
the physical endurance of any one man will permit, without
exhausting the field half as much as of the laugh-gland, I
will pay my respects to Billy West and call it a day. A
man who would smash the window of a jewelry store and
try to steal a tray of diamonds, under the nose of a
squad of policemen, would be called stupid. He might be
arrested, but more probably would be sent to an insane
asylum. Billy West has deliberately imitated the make-up
of one of the most widely known figures on the screen, has
imitated the plots of farces in which this star has appeared,
and has offered the public the result as a product of his
own creation.

Is this thievery or is it not? People have told me that
they have gone into theatres where his picture in Chaplin
make-up was displayed, thinking they were going to see a
Chaplin picture, and have been disgusted to the extent of
never patronizing that theatre again. My indictment of
Billy West goes farther. His pictures are almost always
disgustingly vulgar. I myself — no squeamish person —
have felt my dinner rest uneasily as I sat through one of
these performances, while waiting to see the feature of the
evening. I do not believe Billy West's comedies are a suc-
cess. I do not believe the public will stand for them long.

THE RISE OF JENNIE CUSHING— Artcraft

"The Rise of Jennie Cushing" is an example of the

fact that a picture can be entertaining in the extreme,

without possessing any of the qualities usually considered

necessary to pictorial greatness. It has no punch, it has no

(Continued on page no)

The Shadow Stage

By Miss Kelly

THE world, the photoplay world, that is — is turning
comedy-wards, which is a very good turn, indeed.
Wise producers have put their fingers on the public's
pulse, diagnosed that the public needs to smile — and will
if given half a chance — and have set their resources toward
providing that opportunity.

Of course, the financial success of certain sterling per-
formers may have helped to clarify their vision, but
whether it was business sense or psychologic insight that
determined the policy which is now delivering many light,
bright, merry-making circles of celluloid, we have smiling
cause for thanksgiving.

Of course, we used to laugh at films — sometimes — a
great outlay of pie being deemed the necessary stimulus to
our risiblities. But now that it is discovered that real ideas
can be comedy-cloaked, a great light, other than the
Cooper-Hewitts, has shone down upon the studios, and the
polite comedy, or comedy drama has become the thing.

"Comedy drama" is a fine, expressive term, if somewhat
awkward. We like to laugh and like to think a bit, and
when the two reactions are derivable from one stimulus,
there is indeed a bonanza for the prospector who has dis-
covered the new vein.

We can still find sermons, sprightly ones but penetrating,
in little fluffs of comedy; books, in the running reels of
mirth, for into most of these is tucked away a bit of drama,
all the more appealing because it is humanly garbed in a
cloak of fun.

And for some of those efforts that seem not to contain
an idea in the world, there is still a place.

For in these days when in so many homes trouble is
taking its toll, a flash of blithe, breezy fun for an hour's
time in the evening will sweep away the cobwebs from a
tired mind. And of course, in many themes where drama
predominates, flashes of comedy light the spirit on its way.
Indeed the prospects are much brighter than they were a
year agone, with the photoplays themselves bearing witness
to that in the majority of releases.

The pictures commented on, in the main, are weather
vanes indicating the blow of the wind, more of them con-
taining smiles than tears.

A NIGHT IN NEW ARABIA— General Film

Here is one of the modest violets, unnourished by the
hot sun of advertising — and the best picture of all this
chronicler has seen this month. It hasn't any advertised
person in it, but its cast performs as well as if accustomed
to being pricked out against the sky in electric bubbles; it
hasn't any great plot to it, or any spectacular scenes to it,
but it is a joy from end to end. That's no way for one
to rave over a photoplay perhaps, but its very excellence
disarms all reserve.

O. Henry provided the material for the photoplay which
has been put into this delightful form, sending the seer
away with an all over uplifted feeling, just as if he had
had a vigorous swing along a wind blown country road,
refreshed, enlivened from a new experience.

It carries into beautiful celluloid fulfillment O. Henry's
genial satire on human nature.

Cast and director work together earnestly for the reflec-
tion of the author's spirit, and the result is that one
derives the same sort of pleased sensation from the seeing,
as one does from the reading of his stories. That is a big
achievement for a photoplay, which usually falls short of
one's reading memory.

Patsy De Forest is the attractive young lady of the
picture, quite worthy of electric lights, but just as nice
without them, her companions in playing are excellent, and
(Continued on page 112)

Ethel Clayton in "Easy Money" makes one wish that her fine talents
might again be used in domestic drama.

"The Gift o' Gab," an Essanay starring Jack Gardner, will make you
laugh if you fling your reasoning qualities to the wind.

William Russell in Mutual-American's "New York Luck," has a way
all his own that is humanly funny.

Here's Welcome News for Mr. Hoover

Roscoe Arbuckle is doing bis bit,
even if it threatens to ruin his main
asset — his figure. Roscoe 's living
depends upon his figure — but his
figure depends upon his living!

Therefore, how tremendous his
sacrifice! To make the world
safe for democracy, Roscoe is
conserving food by reducing his
mid-day meal to a mere nothing
— half a ham, a medium sized
roast of pork, a dozen boiled po-
tatoes, a loaf of white bread, half
a loaf of rye bread, two pies, a
quart of milk and a handful of
caramels. But of course until he
gets used to this meager fare, he
will have to have a bite in the
afternoon to keep up his strength.
So he has a couple of plates of
sandwiches brought in around
4:30 and a quart or so of cider.

The result of his sacrifice is that
he is how wearing the latest style
in masculine garb — the slacker
pants. Never mind, Roscoe.
Keep it up and in a few months
you will be able to play romantic
heroes with the best of them.

BRANDED

CUPID

Tim '■'falls" again; this time it's a highbrow
dame, who admires his "rugged strength."

By Edward S. O'Reilly

Illustrated by D. C. Hutchison

ALTHOUGH I've knocked around this old world a
good deal, and picked up a lot of knowledge and
facts, there's two things I admit I don't know any-
thing about. One of them is men and the other
is women.

I used to pride myself in knowin' human nature in all its
moods and tenses, but that was before this Tim Todhunter
person came to Celestial City. Tim plays these bad man
parts in the western stuff. Old man Skidmore, the director,
picked him because he's got the meanest lookin' mug west
of the Atlantic Ocean. That face screens one hundred per
cent cold shivers.

Besides his natural handicaps, Tim is full of tempera-
ment and opinions. I used to claim that he was the most
unexpected person that ever was. Since that new lady
star, Olive Green, joined the outfit I've revised my ideas.
There's two of them.

Now, I'm not knockin' Olive. She's a regular little
lady, but she sure does think too much for a female. When
she first took on with the Celestial she was a suffragette.
Then she swore she had a mission in life and then declared
she had a message for the world. I don't know what it was
because she ain't delivered it yet.

Her worst trouble was she took herself too dead serious.
Every little while she'd find a new idea and just ride it to
death. 'Though she was kind of changeable in her cru-
sades, there was one idea that always seemed to abide by
her. She was a confirmed man hater.

Whenever she had a grouch or the director wasn't given
her enough close ups, she'd begin the conversational big
drive against the male folks.

"Real men became extinct about the time of the Wars
of the Roses," I once heard her say. "Look at them today.
Weakling, effete, pajamaed poodles basking in their own
conceit."

I'm not denyin' but what some of them he-actors had a
knock comin', but at that I think she played the one tune
too long.

One day, just as a joke, some of them fellows brought
around old Tim Todhunter and introduced him to Miss
Olive. Tim came in, twistin' his hat in his fists and
blushin' around the ears like a day old calf. For about an
hour they stood there talkin', Tim makin' a break to
escape every few minutes.

Well, it all started in a joke, but inside of two days
darned if that unexpected bit of opinionated femininity
hadn't fallen square in love with that old he-wolf of the
border. She showed it by all the silly signs and soft
glances known to students of the fair sex.

Old Tim has one strong weakness. He always falls in
love with everv woman that smiles at him. When I noticed

" Why, of course I
have clubbed a few
men now an' then,
but I never bit but
one in my life."

him change his shirt in the middle of the week and take to
combin' his hair regular I knew that he was out of his
depth.

Now I've nursed that old wildcat through several of
them attacks and I know the symptoms and reactions.
Always its me that suffers because I have to listen to him
and help him recover. Thinkin' that this Olive Green was
just flirtin' a little for her own amusement I went and put
up a plea for her to leave Tim alone.

"This old cow puncher ain't used to you women's wiles,"
I says politely. "He's takin' your joshin' serious. Al-
though he's a horse-stealin', man-killin' old hyena he's got
some good traits and I don't like to see him get the worst
of it."

Right there I broke my rope. She sure did give me a
callin' down that kept me humble well into the middle of
winter.

"You poor ignorant chunk of masculine nonenity," she
says, lookin' like she wanted to bust me in the eye with a
rock. "Don't you recognize a real man when you see one?
I didn't believe it possible that a man like him still lived in
this decadent age."

"That's the impression everybody gets when they first
see his face," I chirped, sparrin' for an openin' to escape.

Photoplay Magazine

"Why he is like a great primitive pine on a granite
crag," she went on ravin'. "His every move shows rugged
strength and his words show the simple heart of a child
of nature. It would be a privilege to be protected by him.
He is a primordial atavar, that's what he is."

At that I got mad and walked away in high dudgeon,
as the fellow says. I looked up Tim and tried to argue
him out of it, but he was driftin' around in a fool's heaven
of his own.

"Why she's can't be
serious," I warned him.
"Do you know what she
just called you. She said
you was a prime ordeal
attaboy. Now if I said
that you'd shoot me."

"Oh, she's way up on
all them foreign lan-
guages," he says, grinnin'
like a sheep stealin' hound.
"I can't help it if the little
lady loves me. She says
that I'm the only one that
ever understood her. Un-
derstandin' women seems
a natural gift with me.
Just the other day she
said that I was a cave man
that lived by the law of
club and fang. I felt kind
of guilty when T didn't
correct her."

"What correction did
you have in mind," I
asked out of curiosity.

"Why of course I have
clubbed a few men now
an' them but I never bit
but one in my life, and I
ain't ever slept in a cave,"
he says as if givin' away a
secret.

I threw up my hands
and quit tryin' to pry
them two lovin' hearts
asunder. That romance
became the scandal of the
lot. Old Tim went
moonin' around grinnin'
to himself and losin' all in-
terest in his work. She
followed him around the
lot gazin' at him as if he
had her Svengalied.

The worst of it was,
just as I expected, Tim
picked on me to tell his
dad blamed bliss to. One
day he called me, actin'
mighty mysterious and
led me to his room. There
in the corner stood a
kitchen cabinet.

"What, has she accepted you?" I groaned.

"No not yet," Tim admits. "I just been admirin' this
thing in a store window and thought it'd do no harm to
have it ready. You wouldn't believe all the tricks you can
do with that thing."

Right then I saw the jig was up so I thought I'd hurry it
up and get it off my mind.

"Tim," I says, "your triflin' with that woman's young
affections. It's up to you to ask her right out, if she'll
let you be married to her."

"I know it, Slim," he admits. "It's not that I don't
want to, but I ain't good enough. You know and I know
that she's innocent and sweet as hell. But look at me.
1 was naturally no good in early youth and it's become a
habit with me. If she knew my past she'd have no more
time for me."

"Let her have the say so," I advised. "Just come right

One day just as a joke some of them
fellows brought around old Tim Tod-
hunter and introduced him to Olive.
Tim came in twistin' his hat and
blushin' around the ears like a day
old calf.

out and confess your awful past, then ask
her what her intentions are. If she really
loves you, why she'll take you, past, present
and future."

"Do it this afternoon. Go down to the barber shop,
get a haircut and shave, change your shirt, and take a
bath. It'll kind of brace you for the ordeal."

' What do I want to take a bath for," asks Tim. "I
ain't very dirty yet."

Down where Tim comes from it's against reason and
custom to use good drinkin' water for mere washin'.

The upshot of it all was that the old coyote finally
agreed to take my advice. That afternoon he shows up on
the lot in a visible state of panic. He also had a new hat

Branded by Cupid

and one of them scrambled sunset neckties. He'd taken
my advice about the shave and he had a real Kansas
City haircut, shaved neck and all.

He did a lot of sashayin' around, backin' and pawin'
like a bridle-shy horse, but finally I saw him lead Miss
Olive Green over behind a Moorish palace which was part
of the scenery she'd been actin' in.

Now I'll admit I've done some low down things in my
life, and I did one right then. I listened and peeked.
When Tim got Olive in a corner where she couldn't stam-
pede on him he cinched up his belt and began.

"Miss Olive," he says. "There is somethin' I got to say
to you or I'll blow up. For weeks I've been clear orf
my feet just from thinkin' about you."

"Yes, yes, tell me, you true-hearted behemoth," she
answers, kind of eager like. "I know it will be the
sweetest story every told."

"No it will be one of the worst," said Tim. "I want
to confess a few little incidents of my unexpurgated past."

Olive seemed kind of disappointed, but she sat down on
a plank and registered listening.

"I hate to do it but it's got to be done," went on Tim.
'When I get through I'm goin' to ask you to be my wedded
wife, — wait a minute, none of that till you know the
worst."

Olive seemed kind of rebuffed by his abruptness but she
sat down again and registered tragic suspense.

"I ain't good enough to touch the hem of any of your
garments, that's what's eatin' on me," blurts out Tim. "I'll
hand it to vou all in a bunch. Little ladv I'm not the

" Little lady, I'm not the hero that you think.
I've killed seven men not countin' Mexicans and
been mixed up in all kinds of minor hell raisin'."

hero that you think. Tve killed seven men not countin'
Mexicans; I've blotted brands and stole cows, and voted
the Republican ticket and dealt from the bottom of the
deck and whipped a cripple and sold a sucker a mine and
been mixed up in all kinds of minor hell raisin'. Honest
I've been pretty much no count. But since comin' under
your civilizin' influence I'm a different man.

"Now," continues Tim, "if you'll have me after knowin'
all I'll be as good as a preacher. I'll be nice and gentle to
all the world and I'll peel the head of anybody that looks
crossed eyed at you. What do you sav, Olive. Is it a
bet?"

I sneaked a peek at Olive and she was cryin' tears into
her handkerchief. She was sobbin' out loud as if she was
all upset.

"There, I knew it," says Tim kind of bitter like. "I
might have knowed no woman would care to hook up with
a past like that."

"Oh, you misunderstand me, you great big wonderful
man," sobs Olive. "Those little old crimes don't bother
me. They were just the little playful weaknesses of
strength. It's myself. I too have a past. Tim darling,
I'm a wicked woman."

You might of thought that old Tim had been bit by a
snake, the way he jumped. He looked at her for a minute,
and then patted her on the head.

"That's all right, little lady," he says, kind of husky.
"Ybu don't have to tell me about it. We both start from
today with a new deal."

(Continued on page 128)

In the

Good

Old Days

That historic team, Francis Ford
and Grace Cunard, — as they used
to look. Mr. Ford is now direct-
ing Harold Lock wood for Metro;
while Miss Cunard is still with
Universal - as a serial queen.

Yale Boss, the screen's first office-boy. He used to let Mary
Fuller boss him — in Edison's serial, " Dolly of the Dailies."

" Broncho Billy " Anderson,
old-time Westerner and 'A'
of Cssanay to George Spoor's
' S ', produces musical come-
dies now. And Marguerite
Clayton has left Essanay for
Paralta.

SOMEDAY someone, inspired, will write the story of the prog-
ress of motion pictures; and it will be a romance — a glorious,
colorful romance, far more thrilling and exotic than any
Dumas ever spun. And in it, the stars of the day-before-yesterday
will play the prominent parts. Sometimes they were not even
stars, these old-timers; but their public was more loyal and deeply
affectionate than the public of today, and the old-timers repaid
such devotion with the best they had. And today, when we go to
see stars who are paid by the minute, in pictures that spring up
by night, isn't it refreshing to glimpse a few of the scenes from
The Good Old Days?

"Alkali Ike!" Remember
him? Augustus Carney
didn't make so many
people laugh as Charles
Spencer does today; but
they did laugh.

A two-reeler - as a fea-
ture, then. Here is an
old "Rex" with Pauline
Bush and Wallace Reid.
Miss Bush is now the
wife of Allan Dwan,
one of Douglas Fair-
banks' directors.

A long time ago somebody opined that a thing of
beauty was a joy forever. Since then it has been
conceded generally that a few brains thrown in are
no drawback. Miss Alatia Marton has both.
Want proof? All right. She was one of the
winners of Photoplay's Beauty and Brains Contest.
If that isn't enough look on her pictures here, and
then remember that alone and single-handed, with-
out trading on past publicity surrounding the con-
test she went to the Keystone plant and landed a
job. That was her beauty. A little later her
brains cropped out, and she began playing leads —
all in a few weeks. Here she is shown buffing her
nails before going out to star in "Coward's Courage."

Knitting that muffler for someone in France.

Eileen from the Emerald Isle

U. S. Army in France: Attention! The first man, private or officer, who communicates with Miss Percy, care of PHOTOPLAY,
gets tlm muffler with an autographed photograph and letter. She knitted it all by herself, dropping only two stitches en route. It's
a shame to break ub discipline like that, and send the whole army scurrying to the post-office for special-delivery stamps!

"By K. Owen

EILEEN PERCY was born in Belfast, Ireland, on
August i, 1900. That's about as good a way to
start this story as any when one considers the many
different ways in which it could be begun, although
I had seriously thought of introducing her like this: "To
be leading woman to one of the world's most famous stars
at 16 is indeed some, etc., etc." But that's the way most
anybody would do it. In these days of striving for the
original, what is more original, in writing of a beautiful
girl who has suddenly flickered into fame, than beginning
with her origin, so as stated in the foregoing:

Eileen Percy was born in Belfast, Ireland, seventeen
years and a few months a^o and at the age of sixteen, she
became leading lady to Douglas Fairbanks. And it isn't
her "professional" age either because she represented her-
self as nineteen when she was engaged, as she thought her
youth might be held against her. It was Elsie Janis, queen
of mimics, who brought about that result. Eileen had

played with Miss Janis in "The Lady of the Slipper" and
she had become a protege of the star, so when Mr. Fair-
banks asked Miss Elsie last winter where he could get a
good "opposite," Miss Janis asked him to go up "On the
Roof," and take a look at Eileen. He did, he saw, he
signed — Eileen.

At that time Eileen was playing in three productions.
This is the way she tells about it:

"First I'd go to the Playhouse theater where I had a
small part in "The Man Who Came Back." It wasn't
much of a part and not a very pleasant one — that of a girl
dope fiend. Can you imagine me in such a part? At 9:30
I'd go over to the Century Theater where I went on at
10:30 in "The Century Girl." Maybe you remember me
swinging on the trapeze and singing "While I Am Swing-
ing." Then at midnight I sans; and danced "On the Roof"
in the "Cocoanut Grove." This lasted until 2 A. M. and
then it was "Home, James." But I usually got up at 9

Photoplay Magazine

Eileen and sister Thelma — thirteen — breakfasting in their California

bungalow.

The hero of " Reaching for the Moon " reaches as far as the heroine,

and all ends well.

and posed for several hours and as many artists."

Miss Percy was for several years one of the most
famous models in New York's artist colon}'. She has
appeared on many magazine covers, done by Harrison
Fisher and Penrhyn Stanlaws and has posed for many
illustrations and decorations by Howard Chandler
Christie and James Montgomery Flagg. Miss Percy
began life as a model very early in her career. Com-
ing to this country at the age of two years, she was
posing for photographs a year later.

When she was eight years old. Eileen got an engage-
ment in Maeterlink's "The Bluebird." For three sea-
sons she was with that production and played practi-
cally every role in it, from the littlest "Loaf of Bread"
and "Cold in the Head" to the lea. ling bov and girl
roles, "Mytyl" and "Tyltyl." Then came "The Pied
Piper of Hamelin" and later the part of "Buttercup"
in the juvenile production of "Pinafore" 3t the Casino.
Then Eileen played with Edgar Selwyn in "The Arab,"
which was followed by "The Lady of the Slipper" and
( 'ontinued on [>agr -T?3)

THE AUTHOR GETS HIS

By Alfred A. Cohn

Tour modern author of popular novels sighs not for the "good old days. " He's
satisfied with today. He signs contracts for "movie rights, " and the producer does the rest

"Miss Hoozis take a letter to Doublecross Bobbs Com-
pany, Publishers — Gentlemen your price of $5,000 for the
film rights of 'The Lass of the Limousine' while excessive
is accepted and check will be forwarded upon signing of
the enclosed release — yours truly — Gee, if they knew we
wanted it for Marie Dillpickles they'd have soaked us fifteen
thousand bucks wouldn't they?"

YES, it's quite a change that has come about in less
than a decade of motion picture manufacturing;
but in cinema circles, weeks are years and years are
centuries.

It was less than eight years ago that Biograph transferred
Helen Hunt Jackson's immortal "Ramona" to the celluloid.
It was only a single reel photoplay but it marked the first
picturization of a novel. But the interesting point about
the event was the fact that the publishers, probably with a
chuckle of amusement, gave permission to film the story
without exacting any payment for the rights.

Nowadays, the big publishing houses have either a film
rights department, or employ an agency for the disposal of
the picture rights; and the producing companies are sup-
plied with advance copies of novels as soon as they are off
the presses.

And if you could get a peep into the story department of
some big picture con-
cern and see the
avidity with which
these books are
seized and read, you
would have some
idea of the situation
with respect to film
material.

There are stars
galore, an oversup-
ply of actors and no
dearth of directors;
but there is an actual
story famine and the
cry for filmable plots
is heard even above
the shrieks of the
producers as they
sign checks for mil-
lion dollar salaries.

It is the day of the
book, the novel that
abounds in situations
and it need not have
the style of a Wilde
or the sting of a

Shaw to get a respectful hearing. "Fine writing is nix" as one
scenario editor told the writer, "what we want is punch."

Film companies are willing to pay nearly any price for a
novel that has been listed among the "best sellers," or has
run serially in a popular magazine, provided, of course,
that it has something to be picturized. In these days the
serial story is almost a sure thing as a film proposition and
authors have frequently received a bigger check for the
film rights than for the serial rights.

"Ramona" was the first novel to be picturized. Henry Walthall and Mary Pickford
played the leading roles. A more elaborate production has since appeared.

Yet, authors could make their product worth even more
if they paid some attention to the exigencies of the filmers
before they named their stories. Just to illustrate this
point, — Emerson Hough's very delightful novel, "The Man
Next Door," at this writing, has been rejected by scenario
editors on both Coasts because it is an ingenue story — the
man is less important than the girl and in a screen adapta-
tion he would be merely support, though it would have to
be advertised as, for instance, "Marguerite Sweetford, —
The Man Next Door."

Then there's Frank H. Spearman's "Nan of Music
Mountain," which is being produced by Lasky with
Wallace Reid as the star. Obviously, Wallie cannot be
billed as the star of a play which bears the name of
the girl. Yet the male role is the dominant part in the
drama.

Verily, there's more in a name than even Mr. Shake-
speare dreamed of.

The demand for successful, well advertised novels, is
equaled only by the scramble for widely read short stories
and the film rights to well known stage plays. But the
owners of the plays which have made big money are not
hurrying to dispose of the picture rights.

Recently Vitagraph purchased the rights to "Within the
Law" for $50,000 which is the top figure paid to date for

a stage play. The
same company paid
$6,000 for "The
Hawk" and half that
amount for "Arsene
Lupin," while Mary
Pickford paid $15,-
000 for the right to
produce for the
screen "Rebecca of
Sunnybrook Farm."
But there are a
number of "hold-
outs" who have
turned down bigger
offers without bat-
ting an eye. The
owners of "Ben Hur"
w i U not listen to
bids at all and Sir J.
M. Barrie closes his
ears to any sort of
offers for "Peter
Pan" or any other of
his plays and novels.
The heirs of David
Graham Phillips
have placed a price of $30,000 on the rights for "Susan
Lennox," the sensational novel which appeared serially in
a magazine, and which remains unsold at this time, and
Harold Bell Wright, whose "Shepherd of the Hills" is said
to have been read by more people than any American
novel, is willing to accept $100,000 for the picture rights.

Getting away from big figures for a while, let us slip back
to the early days of the cinema — the nickelodeon era. Prior
to the filming of books, D. W. Griffith, producer of the

Photoplay Magazine

single reel "Ramona," in which, by the way, Henry Walthall
and Mary Pickford played the leading roles, filmed a num-
ber of poems. That is, he evolved scenarios around such
classics as Browning's "Pippa Passes" and "The Sands of
Dee."

At about the same time that Griffith was preparing to film
• Ramona," the late Francis Boggs, director-in-chief for
Colonel William Selig was exploring the hitherto undiscov-
ered, vi.gin locations of California. One of his first pro-
ductions was "The Count of Monte Cristo" in one reel,
which shares pioneer honors with "Ramona." A short time
later came Selig's "Two Orphans" done in three reels from
i he book by Adolf Philippe, rather than the stage version.
This was the pioneer multiple reeler. Needless to state,
no authors or publishers were consulted about the rights for
either.

Colonel Selig was the first producer to see the value of
books and plays as film material. If not actually the first
to see it, he was really the first to have the courage of his
convictions, for he went out into the book market and let
the publishers and authors laugh at him — and sell him film
rights for fro-.i $25 up. One hundred dollars was a big
price then.

The Selig Company has enough novels and plays to last
that company twenty-five years, according to an official of
that concern and its storeroom of books :s the envy and
despair of the cinema world. Colonel Selig has been offered
as high as $5, coo for the rights to a book for which he
gave up the sum of $50. The early novels of Mary Roberts
Rinehart are among them, as well as the stories of Zane
Gray, which are so well adapted for our dashing Western
heroes. However, many of the novels are valueless be-
cause the plots have been used under other names, or so
closely copied that the original would look like an imita-
tion of the copy. Among the novels, purchased long ago
and recently adapted to the screen by this company, are
"The Garden of Allah," and "The Crisis," which would
have made their respective authors, Robert Hichens and
Winston Churchill, many thousands of dollars had they
waited a few years longer to dispose of the film rights.

The first author to make a "kill-
ing" on royalties was Rex Beach, who
was also the first writer to participate
in the profits of a film production.
"The Spoilers," made by Colin Camp-
bell for Selig, still helps Mr. Beach
combat the high cost of living.

It is doubtful though if any author
will ever reach the high loyalty mark
established by "The Birth of a Na-
tion" for Dr. Thomas Dixon. Although
no authentic figures have ever been
disclosed, it is said that the author of

A scene from "The Crisis" purchased long ago
and recently adapted to the screen by Selig.

"The Clansman" drew from the Griffith organization the
sum of $260,000 as his royalties for the first year that
"The Birth of a Nation" was exhibited, so it is quite a
certainty that his profits have exceeded $500,000. His
share was 25 per cent of the net receipts and it will be a
long time before he, or his heirs, cease to get royalty
checks from "The Birth."

An interesting "inside" story is told in connection with
the history of the "Clansman" filming. It is not generally
known that "The Birth of a Nation" is really the second
filming of the Dixon story. Back in 1911 when "The
Clansman" was making oodles of money as a stage play,
the author was approached by a representative of the now
defunct Kinemacolor Company with a proposition to film
the play.

It was proposed to use the players in the stage play and
locations were to be picked up and scenes taken during a
Southern tour of the company.

To make a very long and disagreeable story brief, the
thing was done. Approximately $30,000 was expended in
putting "The Clansman" on celluloid and when it was
done, it was found that the characters could hardly be
identified. Practically all of the scenes were taken at a
range of about 60 feet without a single closeup in the entire
affair. It was never even assembled.

When Mr. Griffith decided to do "something big" after
he had quit Biograph, Frank E. Woods, his first lieutenant
who had had some experience with Kinemacolor, suggested
"The Clansman." Griffith expressed a desire to see Dr.
Dixon about it but hesitated because of the fact that his
only acquaintance with the author had been as an actor in
his play on the stage. He feared that Dr. Dixon would
not care to entrust the filming of his great story to one
he had known only as a $30 a week actor. As a matter
of record, the doctor considered it a recommendation for
Griffith that he had acted in "The Clansman" even if he
did* play a minor part and an arrangement was made to
film the story. Of course, neither foresaw the stupendous
success which resulted.

Perhaps the greatest reaper of royalty harvests, after
Dr. Dixon, is Dr. Cyrus Townsend
Brady, like the former, a noted novel-
ist. Dr. Brady's dealings have been
chiefly with Vitagraph and nearly
always on royalty — ten percent of the
gross. He has made more money out
of the film business than any other
legitimate writer, except the author of
"The Clansman." His "Island of Re-
generation," done with Edith Storey,
brought him in royalties something like
$30,000. "The Chalice of Courage"
(Continued on page. 12 j)

Mary Pickford paid #15,000

for the right to produce

" Rebecca o f Sunnybrook

Farm."

The author's profits from "The Birth of a Nation" have exceeded
#500,000. His share was 25 percent of the net receipts.

"The Avenging Conscience"
an early Griffith success iost
nothing for the story, the
copyright baying expired on
Poe's works.

A scene from the recent production of " Ramona " in which Monroe Salisbury scored his first big hit, as Alessandrc.

Mr. Salisbury served
ten years apprentice-
ship with such stars
as Richard Mansfield,
John Drew, Mrs. Fiske
and Nance O'Neil.

A Good Indian-
but a Live One

Monroe Salisbury realizes his boyhood ambition

By Allen Corliss

UNTIL the age of twelve, the consuming desire of
every normal, healthy, male American child, is to
go out west somewhere and shoot Indians. Or if
the n.h.m.A.c. already lives in the west, and knows that
shooting the modern Indian is about as exciting as fishing
for whales in a bathtub, he wishes, with all the ardor of his
intense little dime-novel-reading soul, that he had lived
in the days when Indians were really sumpin' fierce, and
worthy of the attention of a vigorous and rapidly growing
boy. The greatest of the "thrills that come once in a life-
time" is the moment when the lad first encounters the lines:

"Bang! Bang!! Bang!!!

"Three shots rang out on the still night air! ! ! !

"Three more redskins had bit the dust!!!!!"

With most youngsters of the male persuasion, this blood-
thirsty ambition, is crowded out at about the age of twelve
by the somewhat less lofty ambition to marry the bare-
back rider in the circus. But Monroe Salisbury was dif-
ferent. His was a horsey boyhood. Through his summer
vacations, and at all other times when he could wheedle
consent out of his parents, he travelled with his father,
the late Monroe Salisbury, on the Grand Circuit, where
the Salisbury horses were the envy of owners of less speedy
strings. Little Monroe was a man among men. He was
a sportsman among perhaps the cleanest of all sportsmen

Photoplay Magazine

in those days, the owners and drivers of trotters and
pacers. So when it came time for him to discover that
killing Indians was no career for an inspiring youth, hav-
ing an eye always to the picturesque, he decided that he
wanted to be an Indian himself.

It took him almost twenty-one years to realize this fond
desire, but when he did so at last, he made a thorough job
of it. He was Alessandro in "Ramona."

That settled it. His hankering for life among the abo-
rigines, formerly a hazy dream, became a burning passion.
Many of the scenes in "Ramona" were made on the Saboda
Indian Reservation, in the Hemet Valley, thirty-five miles
from Riverside, California. Salisbury was so fascinated
by the spot that he invested most of his earnings in a ranch,
just a mile from the reservation, and here he has estab-
lished himself as a gentleman farmer, devoting all his
spare time to the cultivation of oranges, grape fruit and
alligator pears.

It was not sufficient, however, just to be near the Indi-
ans. He wanted to be among them. Not being a regular
Indian he could not live on
the reservation, so he per-
suaded a goodly portion of
the reservation to migrate to
his ranch. He employs none
but Indian labor, and has
reached a point of such pop-
ularity with the red men and
their- wives, that the first fam-
ily of Saboda, the Isador Cos-
tas, recently renamed their
youngest papoose "Monroe
Salisbury Costa."

And Mr. Salisbury felt that
life had nothing more to offer.

After completing "The Sa-
vage," a recent Bluebird pic-
ture, Director Rupert Julian
told Salisbury he mi^ht have
a two weeks vacation. As

usual he made a bee line for his ranch. And the big event
of the holiday was a birthday party for "little Monroe"
at which fifty other papooses were guests.

On such occasions as this, Mr. Salisbury's chief adviser
and constant companion is his mother, for at thirty-five
Salisbury is still a bachelor. Together they make plans
for increased productiveness of the ranch, and for the en-
tertainment of their Indian friends. Mrs. Salisbury has
become infected with the virus of her son's hobby, and
is as good an Indian as he.

Mr. Salisbury and his little Indian
namesake, Monroe Salisbury
Costa.

Mr. Salisbury preparing fruit
for exhibition.

"This isn't merely a fad,"
says Salisbury, concerning his
love for the Indians. "They
are really the most interesting
people in the world. In the
Saboda school, which is at-
tended by both white and red
children, the little Indians al-
most without exception are at
the head of the classes. And
in sports, they always excel.
Their manners and customs
are still quaint and unique.
They are quite unspoiled. If
I ever can get the time I am
going to write a book about
them, and I believe it will be a most fascinating volume."

Mr. Salisbury was born in Buffalo, May 8, 1882, and
it was through his father's extensive acquaintance with
theatrical folk that the boy first became interested in the
stage. He served ten years of apprenticeship with such
stars as Richard Mansfield, Mrs. Fiske, Kathryn Kidder,
Nance O'Neil, and John Drew. Turning to pictures, in
which he has. been appearing for more than three years,
he played the first Lasky production, "The Squaw Man"
with Dustin Farnum, and "The Goose Girl" with Mar-
guerite Clark, but his first big hit was in the role of the
stalwart Alessandro in "Ramona." It was here that he
attracted the attention of Carl Laemmle of Universal, and
he is now one of the fixtures in the colony back of Holly-
wood, at present in the capacity of leading man in the
Ruth Clifford pictures.

So when the long shadows creep down from the steep
sides of Mount San Jacinto, and there floats across the
fields the sound of strumming strings accompanying a rich
baritone voice, while every now and then the plaintive
chorus of Indian voices takes up the strain, the neigh-
bors know that Monroe Salisbury is home again, enjoying
the fruition of his boyhood hopes.

Monroe employs his spare time cultivating his citrus grove.

A pleasant afternoon
at the Salisbury ranch
in Valle Vista. The
youn^ lady is Mr.
Salisbury's niece.

As a grocer's clerk Jack soon became a prime
favorite with everybody — except the grocer.

The Good-/or-Nothing

Wherein No Fatted Calf is Killed in Honor of the Prodigal's Return

By Felix Baird

GOOD-FOR-NOTHING JACK they called him.
For as he, himself, said when he arrived in the
little western town of Coraopolis, he had been
everything but schoolmistress and barber.
So when the village grocer after some natural hesitation,
offered Jack a place in his store, Jack took it gladly. He
did not know whether sugar was sold by the pound or by
the yard, but his was the adventurer's slogan, "I'll try
anything once."

As a grocer's clerk Jack soon became a prime favorite
with everybody in town — except the grocer. Especially
was he popular with the village belles, for he ladled out the
ingredients of an ice cream soda with a princely disregard
of the h. c. of 1. bugaboo. It is not hard to establish a
reputation for generosity when somebody else foots the bills.
When the Minnow Meadow's Club gave its annual recep-
tion and ball, Jack was one of the first to receive an invita-
tion, and this despite the fact that his past history was a
matter of conjecture only. The truth was that Jack had
run away from home when a young boy, and his most vivid
memories clustered around his father's predilection for a
barrel stave as an instrument of parental persuasion. The
reason Jack didn't relate his history to Coraopolis was that
it never occurred to him that he had any to relate. He
belonged to that vast happy-go-lucky army with whom
"Tomorrow is another day."

But the need of a suitable outfit for evening wear did
bother him a little.

It was impossible to attend the most impressive social
function of the Coraopolis year in a faded shirt and patched
trousers, no matter how great one's popularity. As he pon-
dered, his gaze chanced to fall on an open mail-order
catalog, which lay on a shelf. Jack was soon absorbed in
it. How he envied the spick-and-span specimens of man-
hood portrayed on a page headed "Autumn Styles for
Snappy Dressers." He would be likewise. But how? He
was already overdrawn on his weekly salary. Oh well,
another old saying concerning a sheep and a lamb, decided
him. He borrowed twenty-five dollars more from the long-
suffering grocer, and ordered a dress suit, a la Vincent
Astor, from the mail order house.

That night, while rummaging through his trunk, he
chanced upon a book which his mothe- had given him when
he was a child. It brought back a flood of memories not
intimately connected with the barrel "stave, and conscience
stricken, Jack sat down and wrote home, for the first time
in ten long years.

We will leave the gentleman blandly dreaming of the
sensation he is going to produce in his dress suit, and
follow the letter to its destination. In the first place, it
was addressed to Mrs. Katherine Burkshaw, Jack's mother's
name, as he supposed. But the ten years had brought
many changes. Jack's father had died, and his mother, by
skillful maneuvering, had become the wife of a wealthy
widower, Eugene Alston; and stepmother to his two chil-
dren, Marion, a society belle, and Jerry, a male butterfly.

Photoplay Magazine

As Jack remembered his mother she was a sweet-faced
woman, the kind of mother who wore her hair parted simply
in the middle and fastened the bosom of her gown with
a cameo pin. But he would have been much surprised to
find that with an apparent disregard of the laws of nature
time had rejuvenated her.

The present Mrs. Alston was a modern, well-groomed
woman, extravagantly gowned and jeweled. She made a
perfect society column kind of step-mother for her hus-
band's son and daughter, and that she possessed a grown
son of her own no one ever dreamed.

That son's letter was brought to her one morning as she
sat in the library of her husband's richly appointed home.
She examined it curiously, for it
was disfigured with forwarding r^
marks and addressed to her former
name, "Mrs. Katherine Burkshaw."
Gingerly she opened it. This is what
she read:
"Dearest Mother: —

"Tonight there came over me a
terrible loneliness for you and I am
ashamed that ten years have gone
by without even writing to let you
know what has become of me. But
I waited all this time to make good
and I guess it ain't no use. I don't
blame Dad for kicking me out when
he did. Give him my love, and
please write, mother dear, to
"Your affectionate son,

"Jack."

Mrs. Alston stared at the letter
incredulously. She had worked

hard to attain her present place and position; she did not
intend to jeopardize them by acknowledging an uncouth,
good-for-nothing son. She tore the letter into bits and con-
signed it to the waste basket.

While Mrs. Alston's thoughts were, against her will,
centered on her humble past and her recreant son, her step-
son, Jerry Alston, was spending an uncomfortable quarter
of an hour. Jerry's heart was as fickle as his feet were
agile. Several months before he had contracted a secret
marriage with his father's stenographer, Barbara Manning.
In common with men of his type, once in possession of the
desired object, his ardor had cooled. He was now ardently
in pursuit of a musical comedy star, Cozette La Verne, on
whom he was spending more than his salary; and at the
same time, in accordance with his father's wishes, he was
paying attention to Laurel Baxter, a snobbish young heiress
who was visiting at his father's house. Therefore when
Barbara approached him that morning in his private office,
urging him to acknowledge their marriage and justify her
position, he curtly refused. In desperation, Barbara threat-
ened to tell his father. Far from being frightened at this
threat, young Alston swung on her in a fury and exclaimed:
"If you do, you will never see me again!"

The entrance of the senior Alston put a stop to the dis-
cussion. Barbara went back to her work and Jerry pre-
tended to be very much absorbed. But the senior Alston
was not pleased with his stenographer's evident interest in
his son.

yfi Sp S|e 3(C 3p

To go back to Jack, the good-for-nothing, who gor-
geously arrayed and all unconscious of the brewing of his
destiny, was surveying himself in a foot-square mirror.
The mail order dress suit was surely a scream, and Jack,
carefully holding up the spiked tails of his coat to protect
them from contamination, went downstairs to receive the
congratulations of his employer.

"But don't fergit you've got to meet the midnight
express and unload some crates." said the grocer, as Jack
vent out of the door.

The Good-for-Nothing

NARRATED by permission from the
photoplay of the same name pro-
duced by World Film Corporation, with
the following cast:

Jack Burkshaw Carlyle Blackwell

Marion Alston Evelyn Greely

Mrs. Burkshaw Kate Lester

Mr. Alston Charles Dungan

Jerry Alston William Sherwood

Barbara Manning Muriel Ostriche

Barbara's Mother. . .Eugenie Woodward
Laurel Baxter Kitty Johnston

Jack paused. "Tonight?" with a commiserating glance
at himself and his finery.

"You bet you! Tonight — classy duds or no classy duds."
Jack kicked open the door and went out without speaking.
Jack was the sensation of the evening at the Club dance.
Nothing to approach the grandeur of his dress suit had
ever been known in Coraopolis. The men sneered, of
course, but the girls crowded round him and begged for
the privilege of a dance. He felt that his social prestige
in Coraopolis was forever assured — but just then the clock
struck twelve.

Without stopping to explain, Jack dropped his dancing
partner and fled from the hall: The express was just
pulling out when he reached the
depot and the crates had been un-
loaded on the ground. Horror of
horrors! They contained chickens!
Jack picked up the first crate and
in a rage jammed it down too hard
as he threw it into the wagon. The
slats parted and the chickens flew
out. In a twinkling, all hands from
the railroad station were on the
scene, and with Jack chasing white
chickens over a marshy landscape.
It was a midnight marathon worthy
the price of an entrance fee.

When the chickens were finally

delivered, Jack's mail order suit was

a wreck, windows had been broken,

fences were down, and worse th?n

that a bevy of girls had arrived from

the dance hall and were laughing

themselves into hysterics. In a rage,

Jack seized a cabbage and flung it at them. The girls ran,

but the cabbage struck a rotund mark. It landed squarely

in the middle of Jack's entering employer.

This was too much. The long-suffering grocer turned
upon the erstwhile social favorite:

"You owe me six months' salary now, but it's worth more
than that to get rid o' you. You're fired!"
* * * * +

The next we see of Jack, he is walking up the steps of
the Alston veranda. Marion, seated, and playing with a
little dog, looked up startled at the presence of this fellow,
so evidently out of his element. Jack paused, took off his
hat and stammered:

"I would like to see Mrs. Burkshaw — I mean Mrs.
Alston :

Marion rose with hauteur, and inquired:

"Does Mrs. Alston expect you?"

Poor Jack. It had taken him weeks to locate his
mother and he had not anticipated such a reception as this.
"Mrs. Burkshaw — Mrs. Alston has been expecting me for
over ten years," was, to Marion, his enigmatic answer.

Very much disturbed Marion went in search of her step-
mother, whom she found in the library reading to her
father. "There is a strange man outside who insists on
seeing you," informed Marion.

Mrs. Alston, startled, rose. She stepped to the veranda
and paused haughtily, at first not recognizing Jack. But
Jack, with a cry of "Mother!" rushed forward and clasped
her in his arms.

Marion, coming out, took notice of this amazing scene,
and hurried back to the library to tell her father what was
happening.

Jack hugged his mother again, not noting her obvious
coldness. "Your letter was so long in comin' — and I — I
was just hungerin' for a feel of them arms about me."

Mrs. Alston started. "Those arms, Jack."

Jack's expression changed. "I reckon you won't be
ashamed of me after while, Ma. I'll study hard."

At this Marion and Mr. Alston, entered, and Mrs.

The Good-for-Nothing

"I reckon you won't be ashamed of me
after a while, Ma. I'll study hard."

Alston, greatly agitated, introduced her son to her husband.

Jack extended his hand with, "I'm sure glad to meet my
new Pop."

The aristocratic Mr. Alston drew himself to his full height
and frigidly surveyed his new son. Mrs. Alston, now
almost in tears, turned to Marion, "And this is my daughter
Marion."

Jack smiled and held out his hand. Far from returning
his cordial greeting Marion said pettishly, ignoring the
hand: "Please don't come any nearer — don't you see you
are frightening the dog?"

Jack's eyes flashed, but he said with a grin: "Thanks,
Miss. I'm glad you named it! "

Just then Jerry drove up in his racing car. He gazed
in astonishment when Mrs. Alston introduced Jack, but
snobbishly extended his hand. Jack, however, was too glad
to know that there was a chap his own age in the family
to pay attention to Jerry's manner. Then the butler showed
Jack to his room.

Over a pipeful of tobacco, the scent from which caused
a terrible commotion in the household, Jack thought things
over. He decided that his continued presence would make
his mother unhappy, and so in the morning he informed her
of his intention of going away. She looked at him and the
first time there came to her a surge of real mother love
for her son. She held out her arms and exclaimed "My
boy ! " and Jack's sore heart was healed.

But he held to his conclusion that his absence would
endear him to the Alston family in far greater measure than
his presence, and with the influence of his mother, he
secured a position on a stock farm, upstate in New York.
In a very short time, he was made manager. He studied
hard, and with the incentive under which he labored, it did

not take him long to loss his west-
ern uncouthness of manner. Inci-
dentally, the incentive was Mar-
ion. Jack admired her more than any girl he had ever seen.

In the meantime things were not going well with young
Jerry. Cozette's demands became more and more excessive,
and to supply them, Jerry plunged more deeply in debt
than ever. He was now, also, formally engaged to the
pretty, snobbish Laurel. He must have money, more
money. So he went to his father again.

Alston, senior, having found out that Jerry had over-
drawn his account at the bank, and realizing that he neg-
lected his work, refused his request for more money. Jerry,
rendered desperate, told his father he must have it, where-
upon Mr. Alston denounced him and made his refusal
final. Jerry, in despair, went to his own office and closed
his door.

Barbara came timidly in, realizing that Jerry was in
trouble. She held out her arms to him and said:

"Please let me help you, Jerry."

He brushed her away. "There's nothing you can do for
me."

"But I'm your wife," hopefully.

"My wife!" he cried in a rage. "How are you going to
prove it?"

"Why, Jerry, what do you mean?" she asked in terror.

"I mean that the town hall where we were married in
New Jersey has been destroyed by fire, and all records of
our marriage are lost." Taking a newspaper clipping from
his pocket, he handed it to her. "Read that."

The shock was almost too much for Barbara. Sobbing
she attempted to plead with Jerry, but to no avail. Still
sobbing, she left the room just in time to have Jerry's
father pass and observe her.

With a stern countenance, her employer summoned her
and told her that he could not have a girl in his employ

Photoplay Magazine

who was more interested in his son than in her work. So
Barbara, his son's denied wife, was now denied a means
of livelihood.

That night Mrs. Alston, her stepdaughter and Laurel,
coming home from a party, locked their jewels in a safe in
the wall of the library. I'nseen by them Jerry was stand-
ing just outside the library door, and overheard them talk-
ing. Driven by desperation, he decided to rob the safe>
and accomplished his purpose after they had left the room.
In his excitement he laid upon the library table his ciga-
rette and cigarette holder, leaving them there.

Some time later Jack tiptoed in, having come to spend
the next day with his mother. Entering the library he
turned up the lights and went to the bookcase to obtain a
volume. He noticed that the door of the wall safe was
slightly open, and reached up to close it. As he did so,
the butler entered, and stood watching him. Having found
the book he wanted, an English Grammar, Jack returned
to the library table and his attention was arrested by the
lighted cigarette in its holder, which Jerry had placed there.

The butler quietly withdrew. Jack looked at the cig-
arette holder admiringly, threw out the cigarette, and
slipped the holder carelessly into his pocket.

The theft was not discovered until noon of the following
day. Upon questioning the servants the butler told of
observing the suspicious actions of Mr. Burkshaw, the
night before. Jerry started; here was a chance to remove
all suspicion from himself. He immediately suggested that
Jack's room be searched. Mrs. Alston and Marion stepped
forward in protest, but Alston and Laurel agreed with
Jerry. Then Jack's mother said, smiling proudly:

"I am not afraid to have my son's room searched."

She was championed by Marion whose attitude toward
Jack had changed materially in the last few weeks.

Jack's mother, stepfather, and Laurel conducted the
search, Marion proudly refusing to join them. Jerry
watched his opportunity and when the rest were busy at
Jack's dresser, slipped a bracelet from his own pocket into
the pocket of the coat Jack had worn the night before;
where Mr. Alston discovered it a few minutes later.

So, in the minds of
the family, Jack was
convicted o f
the theft. Be-

cause of his relationship, and the pleading of his mother,
Alston decided to take no action, but indited a letter to his
stepson requesting him to call at his office.

Jack answered the summons with pleasure. He was
kindly disposed toward his stepfather and longed to have
his feeling reciprocated. As he entered, he came face to
face with Barbara Manning, who had returned to the office
for some forgotten belonging. Jack was struck by the
whiteness of the girl's face and the despairing look in her
eyes. He wondered what tragedy lay behind them.

A few minutes later, all unconscious of the charge against
him, he was confronted by his stepfather. With accusing
eyes, Alston took the bracelet from his pocket. Jack
watched him curiously and inquired what it was all about.

"You thief!" said Alston.

"What do you mean?" asked Jack, staggered.

Alston explained, denouncing him. Jack as he listened
in bewilderment idly took from his pocket the cigarette
holder, which he had forgotten to return. When he fully
comprehended the drift of his stepfather's meaning, he was
tempted to disclose what he knew, but instead tossed the
cigarette holder on Alston's desk, and# walked away with-
out attempting to disprove the charge against him.

Alston picked up the holder, and looked at it in a puzzled
way, then consigned it to a drawer. Jack's silence had
entirely convinced him of his guilt.

Leaving the building, sick at heart because everyone,
including his mother, believed him guilty. Jack was pres-
ently aware that directly in front of him walked the girl he
had seen leaving Alston's office. It was also noticeable
that she was ill. Jack hurried forward just in time to
catch her as she was about to fall, and calling a taxi, Jack
took her to her home, the address of which she was just able
to whisper to him.

Jerry, relieved beyond measure that he had been able
to divert suspicion from himself, hurried to Cozette with
his gifts of ill-gotten jewelry. Cozette examined a pin
which had been the property of Laurel, and upon noticing
that it was not new, commented slightingly upon it. Jerry.
very ill at ease, explained to her that the necklace and pins

were some that had be-
longed to the estate of
his mother.

Incidentally, the incentive was Marion And of course Jack married Marion.

GOD MUST HAVE
MADE THE WORLD

Yet if it were not for the mov-
ing picture camera, bow would
untraveled millions ever know?

OOK where you will, in the heart of
any great city, and you can scarce
refrain from wondering if, after all,
God made the world. Little evi-
dence here, of the work of a Divine
Hand. The rickety tenements, the
hungry children, the filthy streets,
the reek of hordes of humanity —
no beauty anywhere to cheer these hopeless prisoners of
circumstance.

All this, of course, is the work of man. But how are
these millions to be reached with the message of the
mountains and plains? The stronger, more ambitious ones
fight their way out, but, to the vast majority, there is
no escape from the sordid surroundings, year after year,
except to the scarcely less crowded amusement places in
the suburbs.

But around the corner is a little picture house, and
travel pictures are cheap. So the beauty-starved thou-
sands pay their nickels and dimes, and there, a mere filler
between a melodrama and a farce, is revealed to their
wondering gaze the snowcapped peaks of Oregon, the gla-
ciers of Montana, the canyons of Arizona, the flowers of
California, the spacious plains of the west.

And they know that, while man has done his worst in
the cities, out beyond, somewhere, the world is beautiful
beyond their dreams. Man could not have created these
splendors — man who builds tenements and noisy streets.
Out there, where all is cool, magnificent silence, the work
could have been done only by the Hand of God.

Courtesy Educational Film Corp.

Where They *Hie Them Home, at Evening's

Close, to Sweet Repast, and Calm Repose'1

JPlays ancfjP/ayers

Facts and Near-Facts About the Great and Near-Great of Filmland

WILLIAM FOX captures the igiy
prize for effrontery without a close
competitor.

Sonia Markova, whom he is advertising
as a Russian star, is none other than
Gretchen Hartman, wife of Alan Hale.
and sister of Mrs. Carlyle Blackwell. This
bit of bunk would be less impudent if it
were not for the fact that Miss Hartman
has already been seen upon the American
screen, and will be recognized immediately
by thousands of picture fans.

But the great guffaw comes with a story
issued by the Fox publicity department,
to the effect that Sonia Markova is suf-
fering from nervous prostration because
of the fact that her Russian relatives are
in dire peril in Petrograd, and to sooth her
temperamental nerves, it was arranged to
take a lot of scenes in her picture on
board ship in the course of a two weeks'
sea voyage. This is a harmless indoor
sport, of course, as the public probably
cares very little about the nativity of
players, but it illustrates a deplorable and
too prevalent viewpoint maintained by a
few producers.

BILLY WEST, the well known pseudo-
Chaplin, is now slinging pies within a
mile of Charlie's Hollywood studio but
thus far their respective friends have kept
them apart.

THE month's best literary gem: "Now
the Fox Film Corporation is receiving
letters from complaining mothers asking
cash balm for clothing ruined by their

<2j CAL YORK

youngsters while emulating the Lee kid-
dies on their spectacular and wet ride.''
Why do they do it?

BEWARE of fake war funds conducted
in the name of screen stars. One of
these, the "Louise Glaum War Luxury
Fund," was organized by a man who
called himself at that time C. Donald
Fox, and who has since been indicted for
frauds perpetrated at the Army and Navy
Bazaar in New York. Miss Glaum, inno-
cently enough, consented to the use of her
name, and foxy Mr. Fox, by showing a list
of about a hundred prominent film person-
ages who had endorsed the idea, obtained
the consent of various editors to act, in
an honorary capacity, upon the committee.
Miss Glaum has now disowned the whole
business, and the members ot the com-
mittee have withdrawn their names. The
postal authorities will do the rest.

SIR JOHNSTON FORBES-ROBERT-
SON couldn't resist the temptation to
see himself as others see him. He has
been appearing under the direction of
Herbert Brenon in "The Passing of the
Third Floor Back.-' one of his greatest
stage successes. The part of the little
slavey is taken by Molly Pearson, the
Scotch heroine of "Bunty Pulls the
Strings"' and it also marks Miss Pear-
son's debut on the shadow stage.

IT looks like a Russian winter. In addi-
tion to the Fox made-to-order Russian
star, the Yitagraph announces one — Hedda

Nova. (We always thought Hedda was
a Scandinavian name.) Miss Nova, how-
ever, claims Odessa as her birthplace, and
had screen experience in Germany befo'
the wah. She appeared in Lubin pictures
and under the direction of Edgar Lewis.
With the Brenon "Fall of the Romanoffs''
and its imitations, and the Russian Art
Films imported from Petrograd, and dis-
tributed by Pathe, there will be plenty of
"caviar to the general."

r\URING the construction of Charlie
U Chaplin's new $ 100,000 studio in
Hollywood every step in the work was
recorded on film by a cameraman sta-
tioned on the job. Sidney Chaplin,
Charlie's brother, superintended the film-
ing job and also acted in the little comedy
which goes along with the prosaic build-
ing operations. When completed the film
will show the erection of the entire studio
in about two reels of continuous action,
with Charlie prominent on the bossing end
of the job. Brother Sid also plans to
make some comedies featuring himself
at the new studio. He has. done nothing
for the screen since his famous "Sub-
marine Pirate" for Keystone more than
two years ago.

RAOUL WALSH has quit the Fox west-
ern studio for an eastern company.
Walsh jumped from an obscure position
at the Griffith studio to a big place in the
Fox organization several years ago and
has directed some of the best money
makers ever released by Fox, including
Bara's "Carmen," "Regeneration," "The
Honor System" and others. His brother,
George, will probably remain with Fox.

Henry King is telling Gail Kane just how to do it.
and isn't that the jealous husband in the mirror?

Pawn." Blame American

It's one of those boudoir scenes,
It's a nice little title — "Souls in

Maybe Essanay stars are hard to
manage — anyway, in "The Dream
Doll ' they're using animated dolls,
the invention of H. S. Moss, as well
as living characters.

Plays and Players

IN addition to her battalion of Coast
Artillery Corps boys, Mary Pickford re-
cently adopted a whole section of the
flying corps stationed at the aero head-
quarters at San Diego, Cal. The little
star now has more than 000 proteges in
olive drab and each carries a little leather
case containing two portrait frames, one
of which holds the Miss Pickford's
favorite photograph of herself, and the
other is for some loved one of the owner.
During the adoption ceremonies at San
Diego, Miss Frances Marion who writes
all of Miss Pickford's scenarios, and
some beauty herself, became inoculated
with the adoption fever and took unto
herself a few companies of artillerymen
who had been overlooked. They showed
their appreciation for the attention by pre-
senting Miss Marion with a handsome
swagger stick decorated with a golden
artillery corps emblem.

MOTHER MARY MAURICE has just
celebrated her seventy-third anni-
\ ersary. There were appropriate cere-
monies at the Vitagraph studio. It also
marked the golden anniversary of
"Mother's" professional debut.

THE boys at the United States Naval
Training Station at Los Angeles Har-
bor gave a big circus and vaudeville show
on the day before Thanksgiving Day, just
for their relatives and friends, and mem-
bers of the film colony' helped Gunner
Frederick Fitzgerald, the impresario, to
make it a big success. Toto, the Hippo-
drome Clown now a Rolin-Pathe film star,
R.oscoe Arbuckle. Olive Thomas, Texas
Guinan, and other shadow performers who
were once "in the lights" on Broadway,
helped out with stunts.

WHEELER OAKMAN is to be seen
opposite Edith Storey in her next
Metro picture.

Mary doesn't have to ride this way —

but yes, she does too. It's a scene for

her new picture, and Mary is a hard

worker.

UNIVERSAL City is no longer a mecca
for the tourists to California who
want to "see how the movies are made."
Under a new policy adopted by the com-
pany visitors will no longer be permitted
to watch the companies at work, thus
making it unanimous, as long ago the
other big companies cut off the visiting
list. The players and directors have long
complained that their best work could not
be done with the eyes of curious visitors
on them. Another reason why motion
picture companies have a rigid ban on
callers is the desire to keep secret the
atmosphere and business of their current
productions. This is especially true of the
comedy studios.

Wallace Reid, Jr. loves music. Some-
day he'll be wearing his hair long.

LOS ANGELES is supplying the United
States army with almost its complete
complement of expert camofleurs, re-
cruited from the motion picture studios
of Southern California. The first unit of
250 men taken from the scenic depart-
ments of the various studios has already
left for the front "over there." Their
business will be to "make" trees and other
camouflage to fool the boche who is out
looking for hidden guns and troops. As
a result of the rush to join the camou-
fleurs many of the studios have had to
engage amateur artists.

'I A TOSCA"

"There, Sir Johnston, is the biggest audience to which you can possibly play," says Herbert

Brenon, introducing Forbes-Robertson to the camera which will later record his performance

of "The Passing of the Third Floor Back." "Instead of playing to a thousand people in

ons evening, you will play to hundreds of thousands/twice and three times daily."

has been secured by
Paramount for Pauline Frederick.
They say it will be the most elaborate
production ever made for this Paramount
star.

GEORGE FAWCETT. veteran charac-
ter actor, is back in the Hollywood
film colonv. D. W. Griffith sent for him.

IN "The Dream Doll,'' soon to be re-
leased by Essanay, both living char-
acters and animated dolls are used.
Marguerite Clayton plays the leading
role as the daughter of a fanatical chem-
ist who has discovered a mixture that
will endow dolls with life.

The animated dolls
are an invention of
Howard S. Moss, ex-
pert doll maker. His
dolls can do everything
but talk. Many of the
little secrets of his
trade are patented, but
he does tell how he
makes the dolls appar-
ently move about on
the screen just as na-
turally as humans and
with no more aid. Sup-
pose Mr. Moss wants a
doll cook to walk to the
kitchen. He moves one
tiny foot probably an
eighth of an inch, and
the cameraman takes a
tiny bit of film. This
tedious process is repeated over and over
again until Miss Cook Dolly reaches the
kitchen. Of course it takes weeks and
weeks to make a picture in this pains-
taking fashion.

ALICE JOYCE was ill for several
weeks in November, but has entirely
recovered, and will continue her tire-
less endeavors for the screen. She
has appeared in more pictures in
the last six months than almost
any other of the first magnitude
stars.

LITTLE MARJORIE DAW, loaned by
the Lasky company to Douglas Fair-
banks to play opposite him in "A Modern
Musketeer," was seriously injured during
the filming of the story in Canyon De
Chelley, on the Navajo Indian reservation
in Arizona. She was riding a horse when
another rider ran into her, se-
verely injuring her knee. The
little player was brought back
to Los Angeles on a stretcher
and the day after her arrival
her mother died, following a
long illness. She was able to
resume work in the Fairbanks
picture after several weeks of
incapacitation.

KATHLEEN CLIFFORD is
back at Balboa filmery
after trying out the vaudeville
stage, her former professional
home, and finding that it had
lost much of its former lure.
She is now playing in Hork-
heimer features and wears curls
and everything. She has a
new leading man in Fred
Church, late of Universal,
Lasky, Fox and the rest of
them.

TEDDY SENNETT, the fa-
mous canine performer of
Mack Sennett's funatorium.
was loaned to Mary Pickford's
company for the filming of
"Stella Maris." There was

Photoplay Magazine

some difficulty in obtaining Teddy,
however, as Mr. Sennett insisted that the
famous dog be given a regular "intro-
duction" on the screen and good "bits of
business" before he consented to allow
him to leave the studio.

waiian rulers. As it was the last time
the impressive native services will ever
be used, the film is regarded as of great
value.

1 DON'T want Ernie to ask for exemp-
tion. I can support myself." Thus
spake Betty Schade,
the little Uni-
versal actress who
six months ago was
married to Ernest
Shield, also a screen
actor. Mr. Shield is now
a sergeant in the One
Hundreth and Seven-
teenth Coast Artillery.
Miss Schade boasts the
honor of being the first
war bride in the mo-
tion-picture studios of
the country.

William Far-
num with a
ball -and -chain
is William Far-
num still. That
smile! It was a
great day at the
Snake Hill, N.
J. Penitentiary,
when he came
to take some
scenes for"Les
Miserables."

LAN CHE BATES
is now a screen ac-
tress. The stage celeb-
rity, one of the few un-
filmed, has been enjoy-
ranch north of Santa
where her company has

WHILE in Honolulu with his com-
pany headed by Sessue Hayakaya,
Director George Melford, dean of the
Lasky Directors, was able to make a com-
plete celluloid record of the obsequies of
the late Queen Liluokalani, last of the Ha-

This is from "The Lost Express" (Signal). They might have
known something like this would happen in chapter 13.

ing life on
Barbara, Cal

been "shooting" Zane Gray's "The Border
Legion." The supporting company is a
large one and among the notables in it are
Hobart Bosworth, Eugene Strong and the
iamous Italo-American thespian "Bull"
Montana, late of the Douglas Fairbanks
company. The direction of the production
is in the hands of T. Hayes Hunter, once
associated with Biograph in what the pio-
neers like to refer to as "the good old

MARY PICKFORD is to remain with
the Zukor interests, despite the
tempting offers of rival concerns. It was
thought for a time that the "million-dol-
lar girl" would go to Pathe, the French
company having raised its offer to $25,000
a week, perhaps the largest salary ever
offered any person in any walk of life,
with the exception of Doug-
las Fairbanks, to whom a
similar offer was made. Hav-
ing turned down the Pathe
proposition, it is assumed that
Miss Pickford may now be
numbered among those very
few geniuses who are paid at
the rate of more than a mil-
lion dollars a year. Adolph
Zukor made a trip to Los An-
geles for the sole purpose of
arranging to hold Miss Pick-
ford. He returned to New
York his mission accomplished.

FASHION note: Charles
Snencer Chaplin, the film
comedian, has adopted a new
hairdress. He has discarded,
or rather, plastered down the
natural marcels which have
heretofore graced his impres-
sive dome, and now affects the
straight and shiny style. Since
getting into the million dollar
class, Mr. Chaplin has also been
making regular appearances in
the society columns of the Los
Angeles papers. He has be-
f Continued on page 118)

The Girl

o n

the Cover

She wants to "vamp," but it would be a shame to waste those eyes on a home despoiler.

By John A. Gray

THE Birdlike brunette with the chic hat saucily over
her left eye and pert business of fluffy black curls,
and the large auburn blonde, were discussing the
subject with animation, not to say vehemence.

They were on the bench at the fringe of the great Triangle
plant at Culver City waiting to be called. They were "at-
mosphere" on tap; what concerned them chiefly was that the
thin-legged, attenuated, tremendously energetic young man
with the fierce shock of taffy hair should point a finger their
way and say, "You." He was rushing around now. Into
the gate came pouring property men, heavies, heroes, war-
riors, villains, ingenues, mothers, stage carpenters, chiefs
of the wardrobe, di- //Mf^^^^^^m/

rectors, cameramen
and what-not. And,

in the meantime

Alma Rubens. It
used to be Ruebens
or Reubens, or some-
thing like that, but so
many editors misspelled her name
she adopted the simplified spelling

The auburn one squinted a bovine blue eye into the orifice
of a paper bag, discovered that which caused her counte-
nance to light up and drew it forth — a plump chocolate
cream.

She poised the confection between pinkly manicured
thumb and forefinger and, while contemplating it with
refined greed, she drawled:
"And she's a regular mamma's girl."
"Yes," agreed the other, who declined at that moment
the preferred bag. "No, thanks, I'm doing ball room scenes
and such. Don't want to get fat at this stage; can't afford
it. Nearly dislocate myself every morning doing thin exer-
cises. You're right" — ignoring the coldness that gathered
on the face of the confection fancier — "and they say she's a
man hater."

They watched the incoming stream curiously.
The plump one continued to eat placidly. Sud-
%. denly the slender girl straightened up sharply.
"There she is!"

"She never had to sit waiting like this,"
complained the auburn-haired goddess, eye-
ing her enviously.

"No, she just landed all of a
sudden with both feet," the other
commented. "How do they do
| it?"

"Ask me," said the creature of
generous convexity from her
mouth full of candy. "I've been
coming around here for gawd
knows how long 'n' I'm lucky if
I get three days a week at three
per. And here this girl Alma
Rubens just prances right into a
star's job as though it'd been
waiting special for her."

"And she aint more than twen-
ty," marveled the brunette.
"Just think!"

The object of their animadver-
sions and admiration was plainly
popular. The mighty ones there-
abouts greeted her affably and
the proletariat of the screen gave
her the high sign of good fellow-
ship.

I had heard the dialogue of the
two "Atmospheres" and had seen,
from a little distance, the tall,
slender girl they had been envy-
ing. I caught a suggestion of her
charm, but it was not until a
month later — and that was just
yesterday — that I had a chance
to know how extraordinary this
youngest and one of the realest
stars of filmdom is.

She made good on the close-up.
We chatted — she did it all — in her pretty
apartment in Los Angeles. Her mother was
away and she was blue, she said.
"Blue?"

"Mamma's my chum," she said, and then came
back to me from that scene at the plant a month

newest,

before — the two girls waiting on the bench to be called-
the words of one — "She's a regular mamma's girl."

She calmly admitted it. "I've always been," she said.

"You don't — ahem — go out much, then?" This meant,
"You don't fancy men," or, in the unvarnished language of
the West, "You haven't got a fellow."

She understood, that being one of her distinctive special-
ties. "No," she replied, "I don't, except with mamma.
Some of my friends say I must be a man hater."

"Wedded to art?"

"Art? Let's say, hard work."

With Douglas Fairbanks in
"The Americano."

Photoplay Magazine

Alma says she
doesn't care to be

She became more animated upon pronouncing that word,
"work." Strange, wasn't it? There are people who shrink,
wince, have an ingrowing, withdrawing sensation and want
to fade away or change the subject when work is mentioned,
but Miss Rubens welcomed the topic not only with pleasure
but avidity. She approached it with loving zest.

"Work is my life," she said. "This is the most difficult
thing I have ever done — to wait between pictures. I think

for all those months — three it
was — I never ceased to be the
Italian peasant girl in 'The Pas-
sion Flower.'

"I love the story; it never left
me. I lived it all the time." Her
many shades of enthusiasm and
memories played fascinatingly
upon her mobile, wonderful face
and unexpected fires came into
her eyes. With the ordinary
mortal the eye is a pigmented
circle above the cheek bone, an
instrument with which to see.
"It" travels in pairs, is inserted
in the face, one on either side of
the nose and is painted, accord-
ing to the whim of nature, blue,
brown, umber, hazel, green or
yellow, with variations. But here
is a girl who has Eyes. You will
have to admit that Miss Rubens
possesses gorgeous optical equip-
ment. These Eyes that are Eyes
converse, laugh, brood; they
flash messages from an illumi-
nated volume; they are morning-sunshine; they are night-
starshine; they plunge for a moment into shadows, and then
flame into springtime.

Pardon the rhapsodizing, but this is an interview, and

In "The Firefly of Tough

Luck," assisted by Charles

Gunn and Jack Curtis.

several thousand feet of film and prove in the
end to be 'a rag and a bone and a hank of hair.'
I'd want to be a 'happy-ending' vamp."

Sane, wholesome, gentle, one would not credit
Miss Rubens with this ambition, but you never
can tell; if she weren't a surprise she wouldn't
be a star.

"You have been very successful, Miss Rubens;
what is the secret?"

"Oh, not successful yet," she demurred; "just
beginning. But whatever I've done has been
due to hard work and such an interest in my
part that I've lived it." She said it simply and
it sounded simple. Apparently this girl has but
one iaea — that of tackling every task with faith
in the potency of work. Her second recipe —
"interest" — recalled vividly a recent scene in her
last picture.

She was playing a highly emotional bit with
Francis McDonald. He had a stiletto with
which, realistic actor that he is, he was trying to
stab her. The realism also extended to the blade,
which was of sharp steel. It was Miss Rubens'
part to ward off the stiletto and she did — with
her hand. The edge cut deep gashes in her
thumb i d forefinger and so shocked McDonald
that he was about to drop the weapon and catch
the girl in his arms.

She has gorgeous Eyes,

laughing Eyes, and

brooding Eyes.

Alma and mother live together in a very artistic little apartment, and she
really likes washing dishes, and all that sort of thing — at times.

as it was held largely with Miss Rubens' eyes, what would
you? After awhile.- when I found what the situation was, 1
v/as tempted to say, "That was a very fine sentiment, Eyes,
and now, how about so and so?"

Partly with the aforesaid very special de luxe medium of
expression and otherwise with a voice that would "listen"
well on the speaking stage Miss Rubens proceeded to tell
how her last story had absorbed — no, consumed her. All
this time, at home as well as at the studio, she was the
Italian girl. She and her mother — she always takes her
mother along on these histrionic journeys — were in Italy.
She wore the bright colors of the peasant class. In her
heart were the promptings, the passions and the subtleties
of the daughters of Lucrece and of the Borgias.

In the picture she was called upon
to be a bit of a vampire. Not very
wicked, but a sort of beneficent luress.
She laughed at the memory and said
frankly:

"Do you know, I should love to
vamp. I've had just enough of a taste
to know how delicious it is, but, of
course, there are vamps and vamps. I
shouldn't care to be a serpentine
creature who uncoils herself through

Photoplay Magazine

He naturally expected she would faint — who wouldn't?
'1 here was a perfect opportunity for her to grow
pale and pass out, or to scream. Instead Miss Rubens
brought her opposite sharply around to the task in hand
with those compelling eyes and quickly whispered words,
and not even the director, the cameraman or the spectators
knew that anything out of the ordinary had happened.

After it was all over they hurried her to a hospital and
several stitches were taken in the cuts, but she was out on
the lot two days later and proceeding with the next scene.
Well, as a matter of fact, she never ceased to work; while
she was waiting for the wounds to heal she was still the
Italian peasant girl and the hospital was in Italy.

The critic on the bench at the Triangle studio in Culver
City was right; "she never had to sit waiting like this."
She became a star with possibly fewer preliminaries than
any other, but there's a peculiarity about stars, heavenly
and otherwise; it's a long time before their light arrives.
Miss Rubens' "light'' was on the way long before any one
saw it. For all any one knows it began 'way back in Ire-
land, where her maternal ancestors came from, and in
France, the home of her father's forbears. But it distinctly
started a flicker a few years ago when she lived in San
Francisco, her birthplace.

It was two and a half years ago that r,he walked into the
Vitagraph studio in Hollywood and, w hout previous expe-
rience, was instantly selected by Manager Sturgeon to take
the title part in "Loralie Madonna." After that the
Triangle found it had to have those Eyes on its payroll.
The bargain has been a good one because the young girl —

now only twenty — proved to be Eyes plus Intellect, beauty
and, especially, The Gift.

She played many parts, several with Douglas Fairbanks,
notably as Theresa in "The Half Breed" and the opposite
role in "The Americano."

"The other day." mused Miss Rubens, "I visited a little
nicolodeon where they were showing 'The Half Breed.' I
hadn't supposed it would be shown again, except out in
little country villages, but there we all were. Douglas Fair-
banks in a heavy dramatic part! Can you imagine that
now?"

Steadily she proceeded with her career. "Career" was at
first a very little package, and it has become a formidable
piece of luggage now. but the traveling for Miss Rubens
is not hard. She is as natural and unspoiled as when she
was a pupil at the Sacred Heart Convent in San Francisco.
She has naught but good words for others. There isn't a
trace of envy in her disposition. Mary Pickford is her idol.

She has played many parts. She starred with William
Desmond in "The Master of His Home," had the leading
feminine role with William Hart in "The Cold Deck" and
other Hart vehicles, and in the last five months Triangle has
featured her in "The Firefly of Tough Luck," "The Regene-
rates," ''The Gown of Destiny," and, next to be shown,
"The Passion Flower," her chef d'ceuvre thus far, although
there has been some talk of changing its name to "I Love
\ou" or something like that.

Miss Rubens has only been such recently. Originally
she was Rueben. but her name was misspelled so often, she
decided finally to simplify it to Rubens.

Stars of the Screen

and

Their Stars in the Sky

By Ellen Woods

Nativity of D. W. Griffith, Born
January 22d.
'HIS famous director was for-
tunately born, in many ways.
At the hour of his birth. 10:33
A. M., we find Venus. Mercury and
Jupiter in the tenth house. Mars
and Neptune in the first, and the
all-powerful Sun in the eleventh,
all of which indicates that Mr.
Griffith will have publicity and fame and high honor; while
Mars rising and Lord of the Horoscope tells us that he will be
foremost in everything he undertakes. Mercury configurated
with Venus indicates that he should have a good voice with
musical abilities. The positions of Saturn and Jupiter tell us
that he will have great power to overcome obstacles, and gen-
eral good luck all his life. Neptune rising indicates that he
can see into the future for years, and gives the ability
to read the minds of others. It also exalts the artistic taste,
giving love to form, color and sound. Mars so exalted makes
Mr. Griffith ambitious, enterprising, aspiring, skillful, and the
creator of his own fate by impulse and strong desire. He loves
"liberty, is independent, courageous, and scorns defeat. The
Sun. so situated, gives lofty ambitions and desires, honesty
of purpose, self respect, constant friends and social success.
His capacity for leadership is so strong that if you dropped
him in the middle of Africa he would have the natives organized
and working for him inside of a week.

Nativity of Mme. Alia Nazimova.
Born June 4th.
A T the hour of this noted
■**■ actress' birth. 3 P. M., the
sign of the scales, Libra, was as-
cending, with Venus located in the
sign Cancer and in good configura-
tion to Mars. These are indica-
tions of the good actress. We also N
find the benevolent Jupiter in the

house of theaters, therefore Mme. Nazimova should play parts
where she can show justice to all, especially to children. Venus
is in the location which rules long journeys and the higher
mind, and I should say that Mme. Nazimova is highly educated
and a great reader, also a great traveler.

Mme. Nazimova will be before the public all her life in some
capacity, and the position of Venus shows that she was highly
born, is artistic, refined, poetic, mediumistic, highly inspira-
tional, and honest to a degree.

I would caution her not to invest money on games of chance,
nor deal in small animals, nor go into partnership, as she
thinks all the human race are honest ; therefore she will lose
from over-confidence in supposed friends. But she will have
many real friends in life, especially among the higher classes.
Her lucky stones are the agate, emerald, sapphire and garnet.
The colors that harmonize best with her are pink, white, crim-
son and blue. The flowers that she should have around her are
white carnation and the lirv-of-the-vallev.

Maybe You Would Like to Take War Movies

The thrilling activities of the camera man in
the trenches, and in the air. He courts death
hourly, but the pictures obtained
valuable that he is compensated for his risks

IN the early days of the war —
that is, a couple of years ago
— pictures were taken for his-
torical purposes. Now they let
history look after itself. The pic-
tures now made are taken for the
purpose of turning Potsdam into
a potato patch.

We will say that you are sitting
at your desk when the boss rings
for you. When you pass the
frosted glass he tells you that you
have been selected to go over and
get some war movies. The chances
are that you will have a sinking
sensation in the pit of your stom-
ach. Anyway the author had
when he was told to make his first
war pictures. He makes no pre-
tentions of being a hero. In fact,
the few times his courage has been
put to the test he did not make his
family any the prouder of him.
The time or two that he has been
in a tight place and had to fight his
way out he acted in a fairly cred-
itable manner, but on occasions
when he knew that danger was
coming and had time to think it
over he usually had a marked per-
turbation under the fourth or fifth
button of his vest. His observations are that a person is
bravest when he gets caught suddenly and has to act before
he has time to think.

So it was with a sinking sensation, where he couldn't
put his hand on it, that he essayed to make motion pictures
of the present conflict. He made some but the interest in
them was comparatively short-lived. At the time he was
taking them he thought that they would make history, but
he found that when he stacked them up alongside of the
work of the other fellows they were about as thrilling and
about as important as a snap shot of a pie social in Pied-
mont, West Virginia.

However, he has kept in touch with other men recently
returned and knows something about the means and
methods followed to present the present conflict cinema-
tographically.

In the earby days they wouldn't let a photographer near
the firing line. They said that he was taking up the space
that a good soldier could be using; but now the generals
plan their battles with the aid of a camera. The generals

By Homer Croy

A balloon being used for movie observation work.

sit back in the rear where they are not annoyed by the
minor attacks and counter attacks and keep their minds
clear for big and strategic moves. These moves they are en-
abled to make by means of pictures. How they are enabled
to accomplish this is a subject too broad to be handled
within the confines of this article, so we shall have to keep
to the part played by the movie camera.

Time was when a photographer could creep up to the
firing line with his motion picture camera, thrust it through
an opening between two sacks and bear away in triumph a
pictorial representation of the affray. But those days of
real sport are over. The man now seeking to creep down
to the firing line and rig up his box behind a sack would
suddenly find himself in a second base hospital, with a white
linen nurse bending over him and asking him if there was
anything special that he wanted to tell his mother.

You don't creep now. You do your photographing by
proxy.

Say that your aim and ambition is to get a trench firing
picture. A noble and laudable ambition, but you had bet-

No Man's Land as seen from an aeroplane, by a camera fitted with a telephoto lens.

Photoplay Magazine

It will

About to make an air flight
machine

ter attend to your correspondence before you go.

save a lot of speculation at home.

Escorted by an officer, he will give you choice of location,

or indicate as to where it would be best for you to make

your photographic attempt. Selecting an opportune time —

and before you have gone two hundred meters you will

realize there is no such time — you will set up your camera

as near the boche lines as possible. However far away they

arc the)- will seem much nearer. And if you listen you can

hear them digging. And if you

will take a look you will see

that the wind has changed and

that they are getting ready for

a gas attack and if you take a

look at the latest shell hole you

will see that at last the artillery

have got your distance. In

fact, you will think that the

whole German army is about to

concentrate its efforts on youi

particular sector.

However, set up your camera

as fast as you can and stake it

down. Wire the head and drive

the pegs down good and deep

if you don't want the first ex-
plosion that comes along to top-
ple it over. The box is envel-
oped in a steel hood with an aperture for the lens. Hoods
are a great protection against shell fragments. It's a pity
their usefulness is confined to the cameras.

Fitted with a telephoto lens — a "Long Tom" — you can
bring the Germans up within a few yards. But standing
there twisting the handle would be what the life insurance
companies classify as a hazardous calling. About two
twists of the handle and you would be on casualty. So a
battery is attached to your camera and a wire runs back
to a trench, where to start your camera going you have only
to touch a button.

This is all right for showing shells detonating and how
No Man's Land looks, but suppose your side is to charge.
Then you wouldn't get anything but their shirt tails. The
picture from the other point of view is the one that sells.
You want to show the Germans coming out of their trench
with their hands up — the proper attitude for Germans —
but you can't do that if you are staked down. So use your
gyroscope camera on that. You have three or four cameras.
You wouldn't think of going to war with just one, as if you
were going out on the front steps to take the baby's picture.
The gyroscope is run with compressed air and you can
swing it on a strap over your shoulder the way an organ
grinder does his means of livelihood, or you can hold it in
your hands as if you were going to hand it to somebody.

Run by compressed air you don't have to do any crank-
ing; kept stable and upright by the gyroscopic disc you
don't have to watch your spirit level; with the universal
focus you don't have to keep your eyes glued to the box.
You take it along, with the lens pointing to the Germans,
and keep your eye out for bayonets. When you see some
one you have never met before headed in your direction
with a bayonet in his hand and a determined look on his
face, then throw your camera aside and grab your pistol.
The quicker you grab it the better it will be for the boys
back home who are expecting post cards. After you have
finished with your pistol put it away for further use and
pick up your camera; have a look to see that there is no
mud on the lens, press the air with your left and start on
again. But keep your eye out for shell holes. If you step
in one and the camera comes down on top of you some man
from Wurtemberg may see you kicking, come up and
arouse your everlasting hatred.
So much for trench fighting.

with the camera perched in a
gun rack.

of the German prisoners being brought in, of the King
dedicating another hospital, of the ambulance boys at work,
or kisses and good-byes and "home stuff" without end. But
you've got to take a lot besides Trafalgar Square stuff if
you want to be a real war photographer. It doesn't take
any courage, or any special equipment of brains to get
a Touching Scene as Our Boys March Down the Streets°of
Paris, or a Who-Says-Woman-Can't-Do-Man's-Work pic-
ture of a lady in overalls, but it does take courage and a

straight line between the lips
to go out and get the real stuff.
Especially if you go in for
aerial.

It's easy to send up a kite
with an automatic attached to it
and let it get what it will. Nor
is it so trying to go up in an
observation basket with your
camera with you, but it does
take determination and single-
ness of purpose to climb into an
aeroplane and start for Essen.
You may start, but there is al-
ways an element of uncertainty
about the tickets calling for a
return trip.

A balloon is all right for ob-
servation work but there is lit-
tle spice or variety unless an aviator from across the Rhine
comes along and turns his rapid fire in your direction.
Housed in and tied down the way you are, there is little
or no opportunity to retaliate in a fitting manner. About
the only thing you can do is to close your eyes, make the
sign and try to forget some of the things you have done.

Nor do you get much for your money when you get in a
flying machine, with a camera that takes pictures only
every four seconds, and scout around back of your lines.
You get the biggest dividends when you climb into a ma-
chine with a motion picture camera beside you, and a pilot
to lead you over the boundary and try to learn what they
are doing along their communicating lines.

You must not stay too high — clouds do not make pic-
tures any clearer. You've got to come down low to make
them distinct. And when you come down low every gun
in Germany turns loose on you.

If the attacking planes jocky into position where they
can play their guns . . . then that is the end of things.
But if you get back alive the films will be shown in the
theatres and people will yawn and lean back in their seats
and say, "I don't see why they don't get clearer pictures."
In the dark room on the motor truck the negative is
developed, and dried, and in the little black room on the
lorry it is printed and projected for the general staff.
Frames from the negative are enlarged and used by car-
tographers. Patiently the maps are pieced out, bit by bit,
a little by what you bring, a little by what some one else
brings. But it isn't yet clear how a certain stream is
crossed, and so back you go. Go until you get it or the
dispatches say, "All our machines returned except one."

That's all they say and the people reading the papers
over their coffee exclaim, "How luck}'. All our machines
teturned except one." When you know Hal or Harry who
shook you by the hand that morning before he climbed in.
and about the picture he carried in the leather case next
to his heart . . . then one machine not getting back
doesn't seem so lucky. 'Specially the next day when the
boys divide up his shaving outfit and try to be cheerful.

When the miniature battlefield, no larger than a pool
table, has been worked out to scale from the photos you
have made, and when the soldiers have been shown what
to do, where to go, and the minute so long prepared for
comes . . . then vou feel that vou have done vour

Then there is the hospital stuff. You will take pictures bit. And it is a fine feeling.

A Highbrow Villain
from the Arctic Circle

By Randolph Bartlett

Mr. Oland at 26 years while he
was playing in "Peer Gynt."

I WONDER if they
know about it in
Umea.
What? You never
heard of Umea? Well, to
climb down off the high
horse, I never did myself
until just the other day.
Now I know all about it.
I know that it is a seaport
in Sweden on the Gulf of
Bothnia, on the sixty-
fourth parallel of latitude,
which means that it is
about even with the south-
ernmost point of Green-
land. I know that it is
within two hundred miles
of the Arctic Circle, and
has a mean annual tem-
perature of 34.9 degrees.
This mean temperature is
very important and should
be remembered carefully.
For it is closely allied with
the final, and most impor-
tant fact concerning Umea,
which is that this chilly
town was the birthplace of
Warner Oland. Recall,
now, that the mean tem-
perature of this Swedish
metropolis is just 2.9 de-
grees above freezing — or
in other words, if you
poured the entire year's
climate into a tub and
dipped it out a cupful at
a time, you would hardly
be able to drink it. I ven-
ture the assertion that this

is decidedly mean temperature. And since Mr. Oland
lived in it for the first ten years of his life, is it any wonder
he treats Irene Castle and Pearl White so mean in the
Pathe serials? He had a running start in cold-bloodedness.
But while this tells everything we will ever need to know
about Umea. I wonder if Umea knows about all the things
that have happened to this wandering son of the Vikings.
(I suppose everyone who comes from the Scandinavian
peninsula should be so designated.) The word "happen,"
however, hardly fits. Things don't happen to men like
Oland. He has played many parts in the drama of life,
worked his way from poor circumstances to something
very like affluence, but always he has been what Henley
called "master of his fate.'' This is the reason why the
villain in the play is almost always a more interesting
person than the men who play the heroes. The hero must
be handsome, tall, attractive in a romantic way. So if a
young man happens to be built along such lines, the

As Baron Huroki in "Patria" Mr. Oland achieves the most remarkable changes
of personality with virtually no makeup.

« Int.-

A recent photograph of
Mr. Oland.

chances are that one day
he will be snapped up by
a theatrical or picture
producer, and told that he
will marry the girl in the
last reel.

No such luck for the
villain. He has to fight
his way through life as
through . the drama. So
with Warner Oland:

"When I was ten years
old," he says, "my father
apparently decided that he
had had enough of the
frozen north, and brought
.his family to America.
Even at that age, my am-
bitions were definitely
formed — I decided to be
an operatic star. But, con-
trary to the general re-
ports circulated in Sweden
concerning the Western
Hemisphere, gold was not
to be picked up on the
streets. As I approached
manhood, I realized that
I would have to earn the
money for my musical ed-
ucation, and reading about
the big prizes offered in
those days for bicycle
races, I decided I would
win a few of them. I
didn't.
L. "Next I decided to go
to Boston. That was the
musical center. I arrived
in that city with nine dol-
lars in my pocket, no pros-
pects of getting any more, and immediately spent three
dollars on a preliminary music lesson. It was not long,
however, before I had discovered that art must be sacri-
ficed to appetite. I knew it would take years to fit myself
for opera, under the most favorable conditions, so I
dropped the dream, and accepted the next best oppor-
tunity— the dramatic stage. My first engagement was ao
a super in 'The Christian,' and while I had given up all
hope of singing, it was singing that took me out of the
super class. The stage manager, Oscar Eagle, asked us,
one evening, who could sing 'Jesus of Nazareth,' the
Gounod Christmas song. I could, and I did, and IVe never
been a super since. That was luck."

"Luck nothing!" I objected. "If you hadn't won out
that way you would have in some other way."

"Well, perhaps — but that eighteen dollars a week they
paid me looked too big to be actually earned by my own
efforts."

IOO

Photoplay Magazine

The opportuni-
ty was all young
O 1 a n d needed.
Slipping casually
over the inter-
mediate events —
h i s engagement
with Viola

Mr. Oland and Mrs.

Vernon Castle in

the serial, "Patria"

lion by introducing Strindberg's works to American
audiences."

"Gained distinction," certainly, but nothing else. It was
decidedly a "drowning success." And by the way, I had
almost forgotten —

Ladies and gentlemen — meet Mrs. Warner Oland, known
to the art world as Edith Shearn Oland, portrait painter,
sister of Clarence J. Shearn of the New York Supreme
Court, lady of letters. This happened thus:

Miss Shearn, one day, laid aside her pallette a few
minutes, and dashed off a one-act play. With remarkable
luck, she sold it at once, and it was staged as a curtain
raiser at the theater where Mr. Oland was then playing.
This is the one occasion when luck appears to have had
any large part in Mr. Oland's career. Miss Shearn came
to rehearsals — and they have lived happily ever since.
Mrs. Oland immediately became interested in the transla-
tions Mr. Oland was doing, and their names appear
together on their published books. Then came their ven-
ture into the field of production of high-brow drama in a
little theater with simplified stage settings.

"The most tragically humorous thing that ever happened
to me, was a certain criticism of 'The Father,' " said Mr.
Oland. "We had worked out our scenes with the utmost
care, spent weeks in studying just the exact color schemes
to get the proper effects, used all the ingenuity at our com-
mand in reducing everything
to its simplest form, and
then an eminent critic re-
marked, sympathetically,

At the advanced age of ten, Mr. Oland
had decided upon an operatic career.

Allen's productions for four years,
with Sothern and Marlowe, with
Nazimova, with Helen Ware, in
"Madame X" and "The Yellow
Ticket" — we reach a unique revela-
tion concerning this many-sided indi-
vidual.

Mr. Oland has achieved the high-
est recognition in two branches of
dramatic art as far removed from each other as the poles
and as antagonistic — in the most intellectual phases of
modern drama, and in serial photo melodrama. And to
make it complete, he has linked the two together with suc-
cess in the purely commercial drama.

It was Warner Oland who first translated the dramas of
Strindberg into English, and it was Warner Oland who
played the devilish Japanese in "Patria" with such diabol-
ical cleverness that it brought a protest from the Mikado's
state department. It was Warner Oland who originated
the now general "little theater" movement, and it is Warner
Oland who nearly kills Pearl White every few minutes in
"The Fatal Ring." It was Warner Oland who introduced
the idea of simplified stage settings to the American
theater, and it is Warner Oland who pursues virtue and
treasure through unnumbered "episodes" in every imagina-
ble transportation device from a high-wheel bicycle to the
latest design in aeroplanes. He has played everything
from Shakespeare to the very devil, including "Peer Gynt,"
and the invariably accurate mimeographing machine of the
International Film Service has recorded the fact that "his
drowning success on the speaking stage was his daring
interpretation of 'The Father' in which he gained distinc-

that the perform-
ance was so good
it was a shame
we did not have
a Belasco pro-
duction. It reminds me of that line from Kipling's poem,
The Pioneer,' which says T remember going crazy.' Such
(Continued on page 126)

Heavens! What a
Wonderful Blonde

Stags

Tell us gentle reader, can anyone so pretty be interested in a book on advanced feminism, or

is it merely a "prop."

mmmmmmmmm
By K. Owen

* <*

Ziegfeld didn't get
her for the Follies
because — she
couldn't see 'em
with a telescope.

Stagg

NCE upon a time a beau-ti-ful young
lady with glor-i-ous golden locks
like a fairy princess's, an unruboff-
able complexion that made peaches and
cream look like a mess of cold porridge and
a voice as sweet and clear as the tinkle of
mission bells at sundown, went to the big
City.

But unlike other beau-ti-ful girls who
leave the hicks and the sticks for the lights
and sights, she did not land in the front
row of the Follies on the second night in
town. It wasn't because she didn't have
the chance — My, no! — but more of that anon.
You see it was not because of the golden
curls and the homegrown complexion that she
was in New York. It was the third ingredient, so
to say, — the voice, — that caused her to leave the
far-off city of Seattle by the Northwest Sea. She
dreamed of a time when she would make vast audi-
ences sit up and take notice, or words to that effect.

Well, getting to the point quickly, her dream has come
true. Just the other night the writer was sitting in a
cinema, as we say abroad. — when a figure flashed on the

101

102

Photoplay Magazine

screen and a man in the next seat sat up abruptly and said
quite audibly:

"Good heavens, what a wonderful blonde!"

So the intelligent reader has tumbled to the fact ere
this, that it wasn't her voice that has brought fame to
golden haired Wanda Pettit.

And it wasn't because Maestro Flo Ziegfeld didn't see
her that the fair Wanda didn't land in the Follies, because
he did see her and he did try to induce her to join his ag-
gregation of beauteous femininity. Unfortunately, the
writer forgot his shorthand while the fair interviewee was
telling about it, and the exact reason isn't clear, but per-
haps it was because she had a voice. Yes, that must have
been the reason.

Connoisseurs in flapperology, other than Mr. Ziegfeld,
came into visual contact with the little princess from
Seattle and it was no time before all
of her waking moments, not devoted
to voice culture, were spent in posing
for artists. As a consequence her
face has lightened the pages of nearly

Aspiring to the concert stage Wanda

went to New York to perfect her

voice. She became a famous artist's

model and then — the movies.

all of the well-known magazines at some time or other.

So it isn't anything extraordinary that the wonderfi.1
Wanda should have eventually landed in Cinemania where
beauty is ever acclaimed and a throne is quickly thrown
together for the newest in feminine loveliness.

"I suppose it was inevitable that I should become a
screen actress," confided Miss Pettit to the interviewer,
'though if it's not heresy, I'd like to say that a musical
career appealed more strongly to me. Ever since I was a
child I have been before the public, either as an accom-
panist for my brother who was a concert violinist, a church
organist or as a vocalist. I have played accompaniments
since I was nine years old.

"When I first reached New York to perfect my voice, a
high soprano, I was still thinking of a career on the con-
cert stage. But it wasn't very long before I arrived at
(Continued on page 129)

Why -Do-They-
Do-It

THIS is YOUR Department. Jump right in with your contribution.
What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of impossibility in pictures you have seen.
Your observation will be listed among the indictments of carelessness on
the part of the actor, author or director.

It's All Right If He Can Prove It.

I SUPPOSE there is no law against it, but by what right
does Director J. Stuart Blackton brevet himself "The
Master of Screen Craft," as he is advertised in connection
with his picture, "The Judgment House?" He does not
even call himself "A Master" but "The." This is a bit
rough on Griffith, Brenon, Emerson, Tourneur, and all the
other men who have really earned their spurs, and who
don't go about calling themselves the Great I Am. The
more I see of the sort of advertising employed by picture
advertisers, the more I am convinced that many producers
think the public is 99 per cent boobs. And the joke of it is
that this is not so.

T. L., Evanston, 111.

Attention! Mr. William Fox

YES it is sad but true. I saw a perfectly good modern
launch sail right across the horizon during the "close-
up" of Jane Lee in the Greek episode of "The Daughter
of the Gods."

Gee, but Nero and his Romans had nothing on the
Greeks for class!

R. E. Larson, Green Bay, Wis.

The Cooper-Hewitt Oil Lamp

IN "The Fighting Trail" during the episode named "The
Other Half" there were two men in a cabin. One of them
lighted a lamp. Before it was half started a strong light
shone brightly on the men's faces although only one was
facing the lamp. I have noticed this before.

Even a Douglas Fairbanks film is not faultless. In "The
Man from Painted Post" when entering the building to see
the school teacher he ties his horse to a post. He comes
out and lo, the beast is tied to a corner of the building.
Mrs. W. M. Phelps, Minneapolis, Minn.

The Ever-handy Wardrobe

IN the recent Photoplay "Charity Castle" featuring
Mary Miles Minter, a scene is shown where she and her
little brother enter the home of the "ogre."

In the night when she hears a strange noise and gets up
to investigate we see her completely clad in a fluffy night
gown and her little brother sporting a pair of snugly fitting
pajamas.

Where did they get this outfit? If I remember correctly
they entered the house with nothing but the clothes on their
backs.

W. E. M., Memphis, Tenn.

We Have Often Wondered

TN a recent episode of "The Fatal Ring," the villains
■■■ roll Pearl White in a blanket and take her away in an
automobile. Before they carry her out of the house, one
of the villains looks to see if anyone is coming.

Apparently no one is in sight, so they carry Pearl out to
the auto. While they are doing it a policeman walks along
on the other side of the street and takes no notice of it.

What are policemen for, pray?

Elliott M. Atkins, Marblehead, Mass.

Curious Climate of Baldpate

SAW Geo. M. Cohan in "Seven Keys to Baldpate." The
season was supposed to be mid-winter. The caretaker
of the inn was clad in a mackinaw, fur cap and muffler, and
Cohan wore an overcoat. Nevertheless the trees were in
full leaf and the flowers in bloom around Baldpate.

Ted Keegan, Denver, Colo.

Another Movie Miracle

IN "Freckles" Jack Pickford as the one-armed boy erects
a shack by himself, for the heroine, but the cabin which
appeared in the picture could not have been built by a man
with all of his members. Many of the logs in the cabin
weighed three times as much as Jack.

In "Poppy" there is shown upon the first page of The
London Times, a book review. This paper never publishes
anything upon its first page but classified advertisements
and display "ads." The heroine is shown reading a news
item about the return of an African explorer to London,
and the article is illustrated. Any reader of this paper
knows that photographs are not used.

W. C. Kinnaird, Lexington, Ky.

A Bad Sign

THE horses have just pulled up over the brow of the hill,
straining at every trace and line, foam is flecked over
their necks and shoulders from the hard pull up the canyon.
The brave fortyniners and pioneers rush to meet the stage
which is bringing One-Shot Ross to the "Cave-in." As
the lumbering vehicle pulls up to a halt, what do we see
over the driver's shoulders? No, Therese, that is not to
mark the grave of a departed redskin. That is a bright
new signpost of the Auto Club of Southern California, and
if we could get closer we might read, "Autos Blow Horn."
Truly a fitting "location" for such a wild, western drammer.
Charlie Fuhr, Los Angeles. Cal.

i<>4

Here's a Keen Observer

OF course it was a very pretty bedroom suite, but why
did they use it in three different establishments in
'The Immortal Flame"? Maude Fealy had it in her room;
then when she left her husband and took a furnished apart-
ment, behold, the same suite; finally, in the mother's death-
bed scene, the same furniture is on the job. Overworking a
good thing, I call it!

When Doug Fairbanks started out to rescue his lady-
love, in "The Man from Painted Post," was it necessary
for him to peel off his coat and vest and start out in a
white shirt? Seems to me he'd be a fine target in that dark
cabin. Yes?

In "Anything Once," Franklyn Farnum took the part
of a young millionaire named Theodore Crosby. Never-
theless, his pajamas were monogrammed with a large and
ornate "F. F." Question: Do millionaires wear borrowed
pajamas?

Slim Jim, Pittsburgh, Pa.

A Tip or Two on Naval Regulations

RECENTLY I saw
"The Slacker," and
while it is a very won-
derful and intensely pa-
triotic picture, there are
several mistakes for
which there is no appar-
ent excuse.

When George Wallace
joins the navy he comes
home in a regulation
uniform, correct in every
detail except the hat.
Now maybe this could
be put over in an inland
town, but in a navy city
such as Vallejo everyone
knows that since declaration of war the flat blue cap has
not been worn. And since when does a seaman have the
white stripe on the left shoulder?

Another mistake. After enlisting in the army, Bob comes
home wearing a cartridge belt. Verily, verily what next?

Nellie M. Korf, Vallejo, Cal.

Would-be Romeos, Please Note.

CAN you tell me, Mr. Editor, why it is that movie suitors
always carry their flowers with them when they call
upon their lady-loves? Most florists pride themselves upon
a delivery service. Or would the directors have us believe
that our hero went out into his front yard and gathered
the flowers himself? Verily, I'll come to that conclusion,
unless somebody injects some twentieth-century tactics into
our movie wooings.

Julia Jones, St. Louis, Mo.

Friend Betty Don't Snooze at the Movies

IN "The Dark Silence" in which the leading parts were
taken by Clara Kimball Young and Edward Langford,
Miss Young wore as a titled lady and the mistress of a
beautiful home a housedress suitable for a maid.

In "Max Wants a Divorce" his wife must have changed
her hat in her limousine as she had on a different hat when
she went in than when she came out.

In "Every Girl's Dream" (Fox) Harry Hilliard carries
a sheep which has been injured. And strange to say the
sheep grows horns between scenes.

Who taught Anna Little to play the piano? It certainly
is good that it was a "movie." Anna Little is a good actress
and I enjoy seeing her play — anything but the piano.
Bftty Anita Willis. Deadwood. S. D.

Photoplay Magazine

And Not An 1830 Model Either

TX one scene of "The Conqueror," we see a daredevil of
*■ Sam Houston's time, wabbling uncertainly upon the
granddaddy of the modern bicycle while an excited crowd
wildly cheers the bold teat. In another scene, only a
few years later, we are shown the grounds of a southern
mansion, and lo! an automobile whizzes by in the dis-
tance. To be sure it was just a flash, but enough to destroy
the impression that it all happened back in the '30's.
Edith Walker, So. Pasadena, Cal.

Alas, For the Queen's English

IN "Rasputin" a title informs us that at a certain stage
the villain "reached the highest verge of success." Pos-
sibly this was at the same time that he was trembling on
the pinnacle of disaster.

D. J., New York.

Ask Me! Ask Mel

WHY do the types selected to represent physicians,
more often suggest either a cub reporter or ye olde
time hack driver, rather than an up-to-date man of profes-
sional poise and intelligence.

Mary M. Hopkins, New Market, Md.

Talking oj Things Cheerful

IN the five reel celluloid monstrosity entitled "The Final
Payment" we are shown first a gruesome knifing scene,
followed by the throwing of a woman from a cliff. Then
we see this woman in her bed of anguish while her husband
is hung in the public square. Morbid scene number four,
is the body of a dead woman floating in the water, followed
closely by the burning to death of the arch-villain in his
fishing schooner.

Whoever is responsible for this masterpiece is certainly
over zealous in his anxiety to satisfy the morbid-movie fan,
for even the most exacting are satisfied to see two of the
characters "bite the dust."

Albert Deane, Sydney, Australia.

A Speedy Recovery

TN the last part of the play "The On-The-Square-Girl,"
-■- Mollie King is so weak and helpless she is assisted from
her room and led down stairs by her artist lover. When
her rival appears on the scene she (Mollie) makes an exit
which for speed would make Douglas Fairbanks look like a
selling plater.

E. F. Griffith, Vevay, Indiana.

It Can't Be Done Without a Make-up

HOW do you suppose a man could fight in a prize-fight,
get licked, and the next day not even show a single
bruise or swollen lips, although he had received a hard blow
on the mouth? This occurs in "Pride and the Man" with
William Russell.

Ten shots one right after another without reloading from
an ordinary pistol is going some even for a slapstick
comedy.

Miss Corrinf. Patrick. Austin, Tex.

Not According to Hoyle

IN "The Firefly of Toughluck," we see a two handed
game of solo, on which the chief action in the photoplay
hinges. I've played solo on both sides of the Mexican line
and never have I seen less than three men playing it. It
just naturally isn't a two-handed game. And then I
thought I saw the faro dealer deal off three cards out of
the box several times instead of two. But it was sure a
great cast.

Joseph McGee. El Centro, Cal.

Pansy, Houston, Tex. — So you honestly
believe we ere a man. Isn't that funny;
we've had the same hunch for a long time.
Must be something in mental telepathy. Your
prediction about Olive Thomas might come
true. She's pretty close to Mary Pickford
right now — sister-in-law. And you're wild
about Doug Fairbanks? Now ain't that pe-
culiar; so is his wife! Write again, Pansy,
and ask some questions.

L. M., San Angelo, Tex. — More of the
Lone Star state and ole Tom Green county
at that ! Haven't no idea, sis, why Emily
Stevens wore such a sort of a dress on the
beach in "The Slacker." It was sure-enough
funny, wasn't it? But there are some ques-
tions we won't even try to answer and that's
one. We never could figure out why certain
women wore certain dresses or why certain
girls fell in love with certain fellows.

V. B., Ottawa, III. — William Courtleigh,
Jr., is married to Ethel Fleming.

J. M., Los Angeles, Cal. — The way to get
to the Lasky studio from where you live is to
take a Grand Avenue car to Fifth and Broad-
way; then walk over to the Hill street sta-
tion and take a Hollywood car to Vine and
walk a block south to Selma. But it won't
do you any good as visitors are not allowed
in the studio.

Wattleblossom, Melbourne, Australia.
— That eye puzzle seems to have "gone big''
in Australia. The answers were in the August
Photoplay.

H. E. D., New York City. — Better write
to some trrde paper or to the producing
companies direct for the prices of their
films. Most of them are sold through ex-
changes.

Lucy, New Orleans, La. — Your tip re-
ceived and placed on file. Elliott Dexter was
on the stage with Miss Doro. That's where
he met her. Story about him now on the
fire. He has kept his age a secret from us
thus far.

Cupid, Walla Walla, Wash. — If you are
"quite good looking and have dreamy eyes,"
we're afraid you will never be a successful
photoplayer. You will never get above the
thousand-dollar-a-week class; your hand-
writing tells us that. Jackie Saunders is
25 and Mae Marsh 22.

Elad, San Antonio, Tex. — Mr. Kerrigan
has officially stated that he was misquoted.
We are sure that he isn't a slacker. Why,
haven't you seen the way he fights? Some
day when we get better acquainted we'll tell
you why we like Australia, but not now.
Do write again.

Hot Air, Porterville, Cal. — Wallie's last
picture: "Nan of Music Mountain." Yes,
he's very popular with seniors, also juniors
and sophs. No, .we won't tell a soul.

All letters sent to this de-
partment which do not con-
tain the full name and address
of the sender, will be disre-
garded. Please do not violate
this rule.

A. R., Waratah, Tasmania. — So Fayette
Perry is out there playing "Very Good
Eddie?" Well, we hope that R. D., of Des
Moines, sees this answer to her query. Many
thanks. "Peg of the Ring" was filmed in
California nearly two years ago. Here is the
complete cast : Peg, Grace Cunard ; Dr.
Lund, Jr., Francis Ford; Flip, Pete Gerald;
Mrs. Lund, Jean Hathaway; Dr. Lund, Marc
Fenton; Marcus, Irving Lipner.

J. L., Roanoke, Va. — William Hinckley
is now back in California recuperating from
an illness. Wally Van is back in the harness,
directing and playing comedies. Pardon our
presumption ; you see we thought that every-
body there belonged to the Bushman Club.

Billy, Drumright, Okla. — Neither Vio-
let Mersereau nor Carmel Myers is married.
Both are with Universal.

Francis, Youngstown, 0. — The cast for
"The Law of the North:" Lieut. Robert
Graham, Chas. Sutton ; Corporal John Emer-
son, Pat O'Malley; Edith Graham, Shirley
Mason; Reginald Annessley, Richard Tucker;
Marie Beaubien, Sally Crute; Pierre Beau-
bien, Fred Jones; Batiste, Robert Keggeris.

De Rit, Hamilton, Victoria, Australia.
— It seems we are indebted to you, so accept
our thanks until we find something better
to ship you. Mildred Harris has become
quite a star and is now with the Lois Weber
company. Louise Lovely is with Universal
and Arthur Shirley with Balboa.

Juliar Casus, Galt, Ont., Canada. —
Why don't you tell your theater manager
whom you prefer? If that don't work, quit
going till he delivers the goods. Anita
Loos writes most of the subtitles for the
Fairbanks pictures and Doug writes some
hisself.

Pats, Wilkinsburg, Pa. — Every single one
on your list isn't. That is, every single one
on your list isn't single. Here they are with
their ages opposite: Creighton Hale, 25;
Tom Forman, 26; Tom Moore, 28; Harold
Lockwood, 2q; Wallace Reid, 27; Douglas
Fairbanks, 34; Earle Foxe, 30; Charles Ray,
26; Marshall Neilan, 26; Allan Forrest, 27;
Jack Mulhall, 26; Dustin Farnum, 44;
George Walsh, 25. Never ask why an actress
could be 29 three years ago and 30 now ;
it isn't done in our set.

Bob, Jackson, Mich. — Vernon Steele
played opposite Marguerite Clark in "Silks
and Satins" and more recently with Mae
Marsh in "Polly of the Circus."

Tom, Greencastle, Ind. — Thelma Salter
is a native of California and eight years old.
She has played in "Sign of the Rose,"
"Flower of the Desert," "Happiness," "The
Crab." We have no cast for "The Call of
the Lilies." Pearl White will answer your
letter.

C. J., Providence, R. I. — Vivian Martin
has been married about two years. Louise
Huff has one child, a li'l baby. She was born
in 1805 — Louise, not the baby. And she was
married in 1Q14. Grace Darmond is with
Vitagraph. Emmy Wehlen is not married.

J. P., Ottawa, III. — Nope, Doug Fair-
banks wasn't in "Villa of the Movies."

10s

[00

Bolo, Madison, Wis.— You are eminently
correct. "Somewhere in America" was made
more than two years ago and was the second
picture that Mary Miles Minter made for
Metro, but it was not released until recently.
Ella Hall is the wife of Emory Johnson.
Mae Murray is married to Jay O'Brien, a
non-professional and George and Raoul
Walsh are brothers.

Photoplay Magazine

there but Mother McCree.) Peter Kennedy,
J. P. Lockney; Flynn, Walter Perry.

Russell Fan, Portland, Ore. — Yes, Bill
is quite a feller. There ought to be a chance
for a job as Answer Man, because they don't
live long. Rudolph Cameron, Miss Stewart's
new leading man was not the one in "The
Valentine Girl.''

M. K., Philadelphia. — Mary Louise
Walker has been with Vitagraph, World and
Famous and can be reached by mail at 6oi
West 72nd St., New York City.

Justice, Montreal, Canada. — We'll try to
have the editor stir up something about
"Rudy" Cameron.

Olga, St. Paul, Minn. — No, Earle Foxe
didn't die in the sixth episode of "The Fatal
Ring." He didn't even die a-tall. He was
born on Christmas, 1887. If that's a poem
you enclose, please confine your literary en-
deavors to prose in the future.

Georgette, Bridgeport, Conn. — Tsuru
Aoki played last with her husband Sessue
Hayakawa m "The Call of the East." But
she's playing with him in his next produc-
tion. Jack Holt was the American in "The
Call of the East" and the German-American
in "The Little American" with Mary Pick-
ford.

M. S., Toronto, Canada. — There is no
reason why an old maid couldn't be an
Answer Man, because a successful old maid
has a good sense of humor or she wouldn't
be one. The photograph looks like Wallie
Reid might have looked at the age of 14.

Babe, Nederland, Colo. — Montagu Love
is 40. Universal City, Cal., is about the
only picture factory that encourages visitors
Holbrook Blinn's address, Lambs Club, New
York City. Dustin Farnum's, Hollywood,
Cal.

Rosemary, Toronto,
Canada.— Hope you were
satisfied with the answer
to your Earle Williams
query. There was another
picture of him in the issue
of June, 1917.

L. B., Clarinda, Ia. — Of course we have
no way of knowing whether Bobby Harron
has been thinking matrimonially these days,
but it's pretty much of a cinch that he
thought more of torpedoes and U Boats re-
cently. There are no American actresses
abroad at present that we know of. The
family name of Lottie and Jack is Smith,
just the same as Mary's.

Nan, Thomasvixle, Ga. — We haven't the
cast of the first screen production of "Oliver
Twist" but Nat Goodwin played Fagin in it
and was starred.

P. G., Oakland, Cal. —
Marguerite Clark is not
married, never has been
and says she never will; so
there! Collect your candy.
John Bowers is with World.

Rara Avis, Nyack, N.
Y. — Mary Pickford's
friends call her "Mary";
so do her relatives and
most everybody else that
doesn't call her Miss Pick-
ford. Her hair is naturally
curly and when she's in the
East, she usually lives at a
hotel.

Peggy, Memphis, Tenn.
— Mignon Anderson has
been with Universal, in
Hollywood, for about a year
and a half. Billie Burke
is now back on the screen.

Mrs. J. E. G., Erie, Pa.
— Jack Dean has appeared
in nearly all of Miss Ward's
photoplays. Rockcliffe Fel-
lowes is married.

E. B., Anson, Tex.—
Full particulars for writ-
ing photoplays? All right;
just wait till we get them.

I., Cedar Bluff, N. Y. —
Yes, we should say that
Earle Foxe is of a "nat-
urally romantic disposi-
tion."

Lucille, Providence, R.
I. — Tom Mix is married,
Mrs. Mix's maiden name
being Olive Stokes, but she
is suing for divorce. Jack
Sherrill is with the Froh-
man Amusement Co.

R. C. R., McKees Rocks,
Pa. — Here's the cast for
"Slumberland" : Eileen Mc-
Cree, Thelma Salter; Nora
McCree, Laura Sears; Pat-
rick McCree, Jack Livings-
ton. (They all seem to be

The Plaint of
Powder- Puff

L. N., Tacoma, Wash. — Beatriz Michelena
played the leading role in "Mignon." Creigh-
ton Hale is with Pathe. "A Woman's Resur-
rection" cast : Katusha Maslova, Betty Nan-
sen; Prince Dimitri, Wm. Kelly; Simonson,
Edward Jose ; Countess
Sophia, Bertha Brundage;
Ivan, Arthur Hoops; Ja-
coby, Stuart Holmes; Sel-
emin, J. B. Williams; Prince
Kerschagen, Edgar Daven-
port; Princess Ditto, Ann
Sutherland; _ their daugh-
ter, Frances Larrimore ;
Marietta, Cecilia Sydney.

(Few Serials have as much Plot and so
much Action crowded into one Chapter. )

HAVE you ever
Thought whata Powder-Puff
would do
If it had its own Way?
It would forswear Powder
For ever and ever.
It would Write a Note
To a Certain Young Man,
And Tell him Ail-
But the Young Man -Would Say
He never put much Faith
In anonvmous Letters Anyhow,
(He Loved the Girl
So Much).

And the Powder-Puff
Decided to End it All.
It waited for a Breeze,
And was wafted to the River ;
And then it Remembered
That a wet Powder-Puff
Is almost the Saddest Thing
On Earth.
So it caught
At a Passing Cloud
And liked it so well Up There.

Stayed. For clouds and Powder-Pufis
Are Kin.
But the first Time it Rained

(The Next Chapter Will be Shown at this
Theatre Next Tuesday.)

=ir

Pickles, San Francisco.
—Blanche Sweet and Tom
Meighan played the chief
roles in "The Sowers."
Theodore Roberts played
with Miss Sweet in "the
Thousand Dollar Husband"
and other plays.

Leiun, Victoru, Aus-
tralia.— William Desmond
was the prince in "Bullets
and Brown Eyes." He
has played on the st^ge
in Australia. Gladys
Fairbanks is no relative of
Doug. And it isn't Doug
who has the twins.

Joy Lady, Prescott.
Ark. — Billie Burke's latest
is "Arms and the Girl"
Paul Willis was last with
Morosco. Edward Earle is
with Vitagraph.

Oversight, S a r a x a c
Lake, N. Y. — Louise Welch
was the girl in "Father and
the Boys" and she's prob-
ably the same who is now
Louise Lovely, although we
didn't see that play. Any-
how, that's Louise's right
name. Louise Glaum was
born in Maryland and Abn
Hale in Washington, D. C.

W. G., Baltimore. Md.
— You'll have to tell us
more about your cousin be-
fore we can look her up.
What does "D. D. S." stand
for?

Gerald, Fort Bliss, Tex.
— Eileen Percy was the girl
in "Down to Earth." She's
a native of Ireland and 17
years old. Tom Forman
doesn't send his pictures any
more. It would take too
much of his corporal's pay.
(Continued on page 130)

Photoplay Magazine — Advertising Section

107

Hflr/

NEVER cut the cuticle. Outing
makes rough, ragged edges arid
causes hangnails.

Why cutting
ruins the cuticle

Notice what an
improvement t

quickly you can rive
your nails the well-groomed
shapeliness everyone odnnr>a.

The wrong and the right
way to manicure

"Photo by Hoyd, N.Y.>
Naomi Childers,
■whose perfect fea-

"When the cuticle is trimmed
or cut, the skin about the base
of the nail becomes dry and
ragged. It roughs up, forms
hangnails and makes youi
whole hand unattractive.

All specialists agree that in

caring for the nails, your

**» effort should be to keep the

have often comment- . . , _ r

ed upon, says" Ajter cuticle unbroken.

my manicurist had

turd Cuttx r„t once. Cutex was scientifically pre-

/ saw the difference, 1 _ . .1 1 r

and now consider it pared to meet the need for a
" '."."','"' '/ """"?? liarmless cuticle remover. It

not tohare hansnaits . . .. , .

or uneven cuticle.-' makes it possible lor you to
have shapely, symmetrical
nails without clipping or cutting. It is abso-
lutely harmless, and the moment you use it you
realize you have at last found the one simple,
successful way to take care of the cuticle.

People who have been cutting the cuticle find
that no matter how much they have abused it,
Cutex soon smooths away the rough skin around
the base of the nail and quickly makes it even
and firm.

Send for the trial manicure set offered be-
low and see what an improvement the very
first Cutex manicure makes.

How to manicure the right way
Wrap a little absorbent cotton around the
end of an orange stick ( both
cotton andorangestick come
in the Cutex package) and
dip it into the bottle. Care-
fully work the stick around
the base of the nail, gently
pushing back the cuticle.
Almost at once you can wipe
off the dead surplus cuticle.
Then rinse the fingers in
dear water.

Apply Cutex Nail White underneath
nails directly jrom tube, then spread it
under evenly ar d remove amy surplus
cream with an orange stick. Removes
all 3tains.

Until you have used Cutex,
you cannot realize what a
great improvement even one
application makes.

Cutex, the cuticle remover
comes in 30c, 60c and $1.25
bottles. Cutex Nail White
is 30c. Cutex Nail Polish in
cake, paste, powder, liquid or
stick form is also 30c. Cutex
Cuticle Comfort, for sore or
tender cuticle, is only 30c.
If your store has not yet
secured its stock, write direct.

Send now for a complete
Midget Manicure Set

Tear out the coupon now before you turn the page. Send
it today with 15c— 10c for the set and 5c for packing and
postage — and we will send you a Cutex Midget Manicure Set*
complete with orange stick, emery boards and absorbent cot-
ton, enough for six "manicures." Send for it today. Address

(Photo Lumiere Studio)
Ethel Clayton, the
c/i arming motion pic-
ture star, who be-

comes more asid more

popular month by
m-'nth, says; " One
cannot kn to of Cutex
and not lone to use it.
Cutex keeps my nails
looking s a beau-
tifully, jny friends
often remark it."

NORTHAM WARREN

Dept. 702 9 West Broadway New Yo

kCii

Rub Cutex Cak

Polish on the pair,
of the hand am
polish the nails by

If you Jive in Canada, send ISc to MacLean, Benn Cf
Nelson, Ltd.. Dept. 702, 489 St. Paul St. lVesty Montreal,
for your sample set and get Canadian prices.

w MAIL THIS COUPON WITH 15c TODAY

I NORTHAM WARREN

1 Dept. 702

J 9 West Broadway, N. Y. City

i
i

I Citv State

■
i

When vou write to advertisers Dlease mention THOTOPLAY MAGAZINE.

Photoplay's Prize -Winning Scenarios

What the expert who put them into shape for production
at the Triangle Studio thinks of the t-wo leaders

By Jack Cunningham

SCREEN personality is one thing we have heard more
about than any other associated with the work of the
person who goes before the camera to portray our
dream characters on the motion picture screen. Up until a
comparatively short time ago, that expression, "screen per-
sonality," was applied only to the actor. Now, with per-
haps a different choice of words, we find the same thing
applied to stories; almost the same analysis being applied
to the story as to the work of the actor before the camera.

As in one case, so in the other, — an actor may have very
little ability to act, from the standpoint of an intimate
knowledge of the technique of his art, but he may have that
indefinable, strange thing known as "screen personality"
and we like to see him before us in the dumb show of the
celluloid strip; so with a story. It may be lacking in big
plot, strong action or thrilling incident, but it has that in-
definable, strange thing known as "screen personality" and
we like to see it projected on the screen.

In an appraisal of "Real Folks," the
first prize ($1,000) story in the recent
Photoplay Magazine contest, the con-
tinuity of which I had the pleasure of
writing, I can think of no better way to
express my appreciation of it than that
it has "screen personality." "Real Folks"
is just a pregnant page taken from every
day American life. Its people live before
us as the girl next door or the boy down
the street might live in any American
village.

And we follow the pilgrimage to the
larger places and the more complicated
life of the metropolis as we might follow
our next door neighbor should he happen
to strike it rich and remove himself and
family to the wider spheres of existence.

As for plot, "Real Folks" presented
some difficulty in construction when the
time came to "put it in continuity" for
the director. In spite of its delightful
characterizations and the true at-
mosphere which surrounded it, the story
was not what might be termed plastic for the scenario con-
structionist. For instance, there were gaps of time which
had to be shortened so that the average picture audience
might not yawn over a lapse of four years, and so on.

The characterizations, pleasing though they are, must
also undergo some changes in order to do what we call
"snapping up the picture," — that is, eliminating non-essen-
tials which in a novel, for instance, might make most enter-
taining incidentals. There must be more of the sudden
transition than is possible to get in slow character develop-
ment and yet it must apppear to be slow. There must be
no forcing.

So, because of the very delightful sketching in which the
author of "Real Folks" indulged, the scenarioist found him-
self up against the problem of tearing apart and put-
ting together again the substance of which three or four
characters were made, much as he had come to love and
coddle those characters in his mind before he started the
continuity.

Another very pleasing item in the original construction
of "Real Folks" was the variety of scene, the imaginative

103

Ollie Sellers, studio

ningham, scenario

production of the

leaps of time and the ground which the story covered, —
all pleasing from the standpoint of story, but presenting
very wonderful difficulties in the preparation of the story
for the screen. These must be eliminated or brought down
to fit into the compass of five reels of film. In other words,
"Real Folks" might have been written as it came to hand,
but it would not have been five reels when finished. That
is a very important thing for the writer outside of studio life
to think about. Simplicity of plot and action, coupled
with the smallest possible time lapse, contribute most
toward the ease with which a screen story can be prepared
for production and toward the ease with which it may be
viewed by the picture audience. "Real Folks" did not
have these three attributes, but it had strong motives, real
characters and fundamental plot, all of which are power-
ful. And it had, above everything else, the thing for which
we search and search, — "screen personality." Given the
"screen personality" in a story we can
simplify and bring it down. But we can-
not, and preserve the story, put "screen
personality" into the story which has it
not, any more than that same thing can
be taught to an actor.

"Betty Takes a Hand," the second
($500) prize winner of the contest,
which was also assigned to this writer,
and which appears in fiction form in this
issue of Photoplay, presented difficulties
and favorable signs quite the contrary
to those discovered in the first prize
story. "Betty Takes a Hand" contained
the elements of comedy drama adapt-
able to the screen, but it presented pit-
falls on all sides. It was full of things
so close to farce that there was much
pulling and hauling to keep on the side
of pure comedy. As to length, it was
a five reel picture before it ever was
touched by the sacrilegious hand of the
scenarioist. There were several little
lumps in it, but they worked out smooth-
ly as all comedy should.
One great help to be found in the original story was the
absolutely clean comedy which was unearthed. There were
several features which appeared hackneyed at first, but they
so easily changed complexion upon sincere contemplation
that they were a negligible quantity when considered as
difficulties. The author had the "old business" of the
secret papers which rapidly disappeared under the light of
close scrutiny and they will not be missed.

There was a most delightful character to draw in the
personality of Betty and, in the contrast found in her sweet-
heart's father, there were great possibilities. Betty, once we
had her established, could be made to do almost anything
and still be in character. She was just as lovely in her way
as "Mother Dugan" in "Real Folks."

In passing, it might be remarked that Betty and Mrs.
Dugan are two of the finest people to be found on the
screen in many a day. They are excellent creations and it
will be well worth the effort of making the two prize pic-
tures just to see these two thoroughly human beings live
before us. It was a pleasure to work them into form
for the silver sheet.

manager and Jack Cun-
writer, discussing the
prize-winning stories.

Photoplay Magazine — Advertising Section

109

Use PomCs Cold Cream t
night. It k an oil cream an
■was prepared (specially f<
cleans;'/^ and massage.

Inside one of New York's fashionable skating clubs

Use Pond'.
keep y ?(>- 1
-■- ■■ an i . ■

ishing Creamjm
kin from chapping. It is absolutely grease-
completely fh* moment yen apply it.

In Winter n specially
;Rin needs two creams

your srih nee

IT is during cold, windy weather that your
complexion suffers the greatest injury
— an injury often so serious that you
can never restore the smoothness and
pliancy of your skin.

To give your skin the care it needs, two
creams are necessary. Learn how each one
benefits your skin.

Every normal skin needs a greaseless, van-
ishing cream to keep it pliant, fresh-looking
and delicately colored ; it also needs an oil
cream for cleansing and massage. Only in
this way is it possible to keep your com-
plexion as lovely as it can be.

Why Vanishing Cream is
a real necessity

If your face is rough or reddened, if your
skin is not perfectly soft and clear, apply a
little Pond's Vanishing Cream. You can actu-
ally see the difference after one application.
The immediate relief it brings torough, dry or
chapped skin is so noticeable that every wo-
man comments on it after the first trial.

The next time you want your skin to look
its loveliest, bathe your face with Pond's
Vanishing Cream after washing it. In a
moment the cream disappears, leaving not
a trace of shine. The wonderful freshness,
the smoothness and delicate coloring of
your skin will be distinctly noticeable.

For cleansing and massage
you need an oil cream

Pond's Cold Cream is an oil cream. The
moment you use it you will exclaim at its
delightful softness and smoothness. You
will love it for massage. It has exactly the

consistency demanded in massage creams
by the best known masseurs.

For cleansing the skin give Pond's Cold
Cream the hardest test. Use it at the end
of the day when your pores are choked with
dust and dirt. Without irritating even the
most tender skin, it removes all trace of grime
and leaves the skin refreshed and clear.

Neither Pond's Vanishing Cream nor Pond's Cold
Cream will cause the growth of hair on the face or
hands. Both creams are sold in all drug stores and
at the toilet counters of department stores. Get a
tube or jar of each todav and try them. See how
their use will improve your skin.

Free sample tubes ! Send for them today

Tear out and mail the coupon before you turn
the page and get sample tubes of Pond's Vanishing
Cream and Pond's Cold Cream free. Or send 8c and
we will send you tubes of each cream large
enough to last two weeks. Send today. Address
Pond's Extract Co., 136 Hudson St., New York City.

MAIL THIS COUPON TODAY

POND'S EXTRACT CO.

136 Hudson St., New York City

Please send me free the items checked :

[ ] A free sample of Pond's Vanishing Cream.
[ ] A free sample of Pond's Cold Cream.

Instead of the free samples, I desire the items checked
below, for which I enclose the required amount :

[ ] A 4c sample of Pond's Var ishing Cream.

[ ] A 4c sample of Pond's Cold Cream.

Name..
Street ,
City

. State .

Wlien you write to advertisers nlease mention l'H0T01»LAT" MAGAZINE.

I IO

"big scene," it has no intricacy of plot.
It is just the story of a girl who, getting
away to a bad start in lite, by her force
of character developed a splendid woman-
hood. The core of the laDie lies in the
fact that Jennie, desperately in love With
an artist lor \shom she was a model, real-
ized that he would be socially ostracized
if she married him. So she calmly de-
cided to live with him without marriage.
Circumstances connected with his family's
interference caused her to run away from
him without warning. But meanwhile he
had come to such a realization of her big
part in his life, that he followed and
eventually found her. Elsie Ferguson
portrays all Jennie's charm and strength.
Elliott Dexter gives the sincere inter-
pretation of the artist that one would
naturally expect of this always pleasing
actor.

BLUE JEANS— Metro

"Blue Jeans" is as inconsistent as a
woman's argument, and every whit as
charming. Here is the old-fashioned sen-
timental melodrama of the 'nineties and
earlier, done into pictures, with Viola
Dana as the winsome waif. The story is
so old that it might be recalled for the
benefit of them whose memories do not
go back farther than the war with Spain.
A young man comes to a small town,
changes his name from Perry Bascom to
Jim Nelson, because the last Bascom
there was cordially hated, and for good
reason. He becomes a candidate for
congress, and secretly marries a waif,
June. A woman arrives who claims she
is his wife, but he insists that she had a
husband when she married him. He can-
not prove it offhand, so he is spurned by
the villagers, and leaves to locate the
woman's real husband. His wife is little
better than an outcast. He eventually
returns and surprises the various villains.
The story is full of real heart-throbs and
humanity, despite its mechanical plot, and
little Viola Dana wins more laurels as an
emotional actress. The atmosphere of
the 'seventies is carefully retained. It
is a good picture. It has much the same
effect as looking through grandmother's
old plush photograph album.

THE SECRET CF THE STORM
COUNTRY— Selznick

"The Secret of the Storm Country,"
it should be understood at the outset, is
not a sequel to "Tess," though, for rea-
sons not clear, the simple little child of
nature who makes the story, is given the
awesome name of Tessibel. Norma Tal-
madge again has something the same sort
of role that she had in "Poppy,", an un-
happy little creature who dreams and has
faith. It is not the greatest of the Tal-
madge symphonies, but neither is it the
least.

DRAFT 258— Metro

So great was the success of "The
Slacker" that the Metro company has
followed with another patriotic offerng
by the same director, William Christy

Photoplay Magazine
The Shadow Stage

By Mr. Bartlett

(Continued from page 68)
Cabanne, "Draft 258," starring Mabel
Taliaferro. Again there is the fine line
drawn between sentimental patriotism
and patriotic sentimentality. This pic-
ture revolves around a young woman
whose elder brother was a rampant
pacifist, and who thereby became a tool
of a ring of German spies and wreckers
of munition plants. But the story is not
especiaiiy important, for the picture is
rather a revue of 191 7 preparations for
war. The big scene is in the office of an
exemption board, revealing human nature
as it came to the surface at the call to
arms. It is good entertainment, and
while not possessing the story value of
"The Slacker," it is a good sort of picture
for Americans to consider just now.

SUNSHINE ALLEY— Goldwyn

At last a Goldwyn picture, which is
only half bad — "Sunshine Alley," with
Mae Marsh as the star. For two or three
reels we have the old Mae Marsh, the
Mae Marsh of "The Wharf Rat," a half
happy, half wistful creature, nai'» and
natural, surrounded by a perfect zoo of
birds and small beasties and children.
It was all atmosphere, all color, all human
joys and woes. Then, evidently, the
Goldwyns said, "Now that we have done
this we must bring the picture down to
the level of the stupid public," whereupon
the thing becomes just another of those
"She-didn't-steal-the-jewels-I-did" mov-
ies, where the bad, bad brother, lured into
paths of wickedness by a low, beer-drink-
ing friend, reforms and saves his sister
from disgrace so that she can marry
Bobby Harron. They didn't let Bobby
do anything but wear dress clothes and
ride in automobiles, so his art is wasted.
But at least this picture is a sign that the
Goldwyn producing machine is not en-
tirely devoid of intelligence, as was sus-
pected from the earlier releases.

THE ETERNAL MOTHER— Metro

Ethel Barrymore again in one of her
serious, powerful roles. Believing her
first husband, a drunkard, and their child
whom he stole from their home, dead,
Maris marries a wealthy factory owner,
who employs child labor. The wife's
starved mother-love is awakened by the
sufferings of the children, but her hus-
band coldly tells her to mind her own
business. The long arm of coincidence
comes into the plot. Maris' own child is
among the employes of the mill. The
former husband tries to blackmail the
mill owner. Maris runs away with her
child. It is a tangled plot, but it unravels
easily. Frank Mills as the factory owner,
and J. W. Johnston as the disreputable
first husband add great force to the
story.

A LITTLE PRINCESS— Artcraft

Mary Pickford's Christmas contribu-
tion is "A Little Princess." made from
the story by Frances Hodgson Burnett.
The story appeared in Photoplay Maga-
zine last month. One of the most de-

lightful passages iu it is the story of Ali
Baba, an interlude describing pictorially
how the Little Princess told the tale to
her friends in a boarding school. It is
deliciously fantastic. Throughout, it is
Mary at her best— the impersonator of
the joys and sorrows of childhood. One
word must be added in praise of Zasu
Pitts, who played the "little marchioness"
slavey — great.

THE SILENT MAN— Artcraft

"The Silent Man" is the first of the
William S. Hart productions for Artcraft
that is not entangled in litigation. It is
a story of a lone prospector who succeeds
after years of hardship in staking a valu-
able claim. He is tricked out of it, but
finally gets it back and marries the girl.
There is the requisite amount of gun-
play to bring it up to the Hart standard
of drama. The production is of the ex-
cellent Artcraft sort, the story by Charles
S. Kenyon containing much good ma-
terial, with unusually striking titles.

DAUGHTER OF DESTINY— Petrova

"Daughter of Destiny" is Madame Olga
Petrova's first offering as her own chief
of productions. It is Petrova at her best,
for she is one of the few actresses who,
placed in ■* court reception, looks as if
she belonged there. The story deals with
the love and patriotism of the daughter
of an American diplomat. She marries a
man who pretends to be an artist, but
who really represents the German spy
system. The story is convincing. Petro-
va herself has never shown the screen so
much of her ability. She is more ani-
mated than before, less prone to immo-
bility. The production is beautiful in
the extreme. Several of the close-ups of
Petrova rank with the highest flights of
the camera into the realm of fine art.

REACHING FOR THE MOON—
Artcraft

"Reaching for the Moon" is Douglas
Fairbanks' December contribution to the
gaiety of nations. Again the Fairbanks-
Emerson-Loos combination strikes twelve.
This time it is the exaggerated notion of
the power of concentration — a "new"
thought fad as old as Buddhism — that
comes in for a larruping. Fairbanks plays
the part of a young man so anxious to be
one of the "kings of the earth" that he
dreams himself into the throne of a tur-
bulent Balkan state. Then his troubles
begin. Life is just one bomb plot after
another, culminating in a high comedy
duel. In these hilariously melodramatic
scenes, Fairbanks is all that he ever has
been, in the spirit of comedy and in
athletic prowess. Then, to quote the title
of a previous picture, he comes "down
to earth," to find that his "one sym-
pathetic listener" has been concentrating
along more practical lines. The satire
is delicious, and the final scenes, where
Fairbanks races afoot through the streets
of the skyscraper section of New York,
to get his old job back at the button fact-

Photoplay Magazine — Advertising Section

III

RIGHT in the face of extreme rising costs in diamonds we make this announcement. Send for our
free diamond book. Find out about this rare opportunity among hundreds of others. You may still have full carat stones
at $97.50, three-quarter carats at $72.00 and one-quarter carats at $20.00. Every stone guaranteed in writing.
Every price 359& under ordinary retail prices because we import direct from diamond cutters and are satisfied with
small profits on a great volume of sales. Don't fail to send the coupon today for our Diamond Book. It's FREE.

~>c

RtOl

'/Set. diamond.
Comp. $12. OO

R102
M ct. diamond.
Comp. $21.25

R104

Vl ct. diamond.
Comp. $48.75

RIOS
Met. diamond.
Comp. $71.25

R106

1 ct. diamond
Comp. $101.25

R120

Japanese signet. 1 fine
diamond. Raised letters.
Complete $15. OO

R124

Festoon lavalliere. Five
fine diamonds - $17. SO

RJ14

Ladies' diamond
cluster ring. Has
appearance of a
three carat dia-
mond. Fine blue
white stones.
Complete

$50. OO

R113

Young Man's Favorite.
Vi ct. diamond $74.50

Basch Money Back
Guarantee We iss^e l

^«» **»■**»»** **■'*■' money back
guarantee with every diamond. This
iron clad protecting money back contract makes
loss or disappointment impossible. It is a legal
contract in writing to refund in cash full price
less 10 per cent should you, for any reason, wish
to return the diamond any time within a year.
Also allows you full price in exchange at any time.
Furthermore, it guarantees exact carat weight,
qualitv and value of the diamond. "See that
your diamond is Basch guaranteed."

FREE Examination

Just select any diamond from

this ad or from our catalog, and we will
forward for your free examination, entirely on
at our expense and

,4. 3.

R115

Solid gold birthstone
tiffany. Any month.
Special - - $1.88

R109

Plain Belcher Y$ ct. dia-
mond. Comp. $37. OO

R118

Gentlemen's
Cluster.
Has appearance
of a S carat dia-
mond. All fine
blue white dia-
monds.
Complete -
- - $65.00

R123

French Ivory
Handled Knife
Has nail file and
knife blade. Name
inlaid in gold
Special - $1.00

without obligating
you to buy unless you
are fully convinced
that it is the very
best value you can
secure for the money.

We refer you to

the Union Bank of
Chicago, the pub-
lishers of this mag-
azine, Dun and
Bradstreet's Mercan-
tile Agencies, any ex-
press company and to
many satisfied pat-
rons in your town
whose names we
shall be glad to give
you on request.

for this

Fountain Pen

This pen is a lever self-
filler, guaranteed non-
leakable. Barrel and cap
are pure Para Rubber.
Your name inlaid in gold
FREE! Pen is 14k sold
gold Iridium tipped. Full
size 6K in. long. We guar-
antee free repairs for 2
years. Special fac- $1 00
tory price to you *■

Write for 1918 De Luxe Diamond Book

We will forward you, postpaid, a copy of this valuable book upon receipt

f A ante

/ L. BASCH & CO.

* Dept R-3520 — State and Quincy
Streets — Chicago, U. S. A.

Please mail me FREE, without
obligating me, Basch 1918 DE LUXE
DIAMOND BOOK.

Dept. R-3520

L. BASCH & CO.

State and Quincy Streets CHICAGO, U. S. A.

Address..

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

112

tory, are unique. This is a fitting suc-
cessor to "Down to Earth" and its other
logical forerunners.

MOTHER— McClure Pictures

George Loane Tucker's drama of
Devon, "Mother," is an epic of the soil.
The essence of the picture is the char-
acterization of the mother by Elisabeth
Risdon. No more heart-impriscning
study has been offered on the silversheet
this year, if any year. Miss Risdon re-
minds one of David Warfield, not merely
in a certain fascinating facial similarity,
especially a sensitive mouth, but in the
spirit of her impersonation. And phy-
sically the picture is wonderful. It was
made in the Dartmoor country, the
rugged roof of the peaceful shire. It is
Mr. Tucker's finest achievement.

SYLVIA OF THE SECRET
SERVICE— Pathe

If Pathe is serious in its invasion of
the feature play field, it had better get
a scenario department that never heard
of serials. "Sylvia of the Secret Serv-
ice" is just a lot of itching hand, grab-
bing claw, gnashing teeth, kicking feet
stuff. Irene Castle has become an actress
of remarkable talent since she first en-
tered pictures. But, exploited in such
junk as this, she will soon lose her appeal.
And "Stranded in Arcady" gave such
promise of good things to come. What a
waste of talent to employ Elliott Dexter
for work that any automaton could do.
Another artist in the cast is the small but
vivid Suzanne Willa, one of the cleverest
girls of her type on the screen.

SUNDRY PARAMOUNTS

"Jack and Jill" are Jack Pickford and
Jill Huff, pugilist and vendor of chewing
gum respectively. It has the comedy of
the New York East Side and of the
Mexican border, with a finale of melo-
drama in the latter vicinity. Its weak-
ness is that the two stars are not quite
in sympathy with the slum-grown char-

Photoplay Magazine
The Shadow Stage

(Continued J

acters they portray. But why the title?

"The Antics of Ann" is the first op-
portunity Ann Pennington ever had to
prove that she is a real film star. A
mischiefmaker at boarding school, a still
more active one at home, but finally the
detector of a scheming villyun after her
sister's hand and money — Miss Penning-
ton "displays her versatility, and other
things." What there is of her figure is
perfect. It is a racy comedy.

"The Clever Mrs. Carfax" is a comedy
melodrama with Julian Eltinge in one of
his ambisextrous roles. There is less
female impersonation than usual in this
piece, and an interesting revelation of
Eltinge as a he-actor.

"A Hungry Heart" is the story of a
wife who discovered that she loved her
husband onl., after she had been untrue
to him, and had been permitted by him
to get a divorce so that she could marry
the other man. It is saved from being
merely commonplace by the brilliant act-
ing of one Pauline Frederick, one of the
two greatest actresses on the screen.
(Don't crowd, girls.)

FOX TALES

If you think you ever saw Bill Farnum
fight, think again, and go to see "When
a Man Sees Red." It's the fightingest
picture yet.

"The Rose of Blood" is a story of the
pre-revolution. before-the-war days, in
Russia, when the greatest of outdoor
sports were hunting and being hunted by
anarchists. Theda Bara plays the part
of the anarchist wife of a prince. It is
a splendid role for her. She is so much
more convincing than in her Cleopatra
that you hardly know her for the same
actress. The story sweeps to a terrific
tragedy. The cast is remarkable for its
men actors, including Charles Clary.
Herschell Mayall and Richard Ordynski.

HITHER AND YON

"The Natural Law" is the one picture
I have seen this month to which the Rev.

C. G. Twombley of Lancaster, Pa., can
point and bellow, "That's what I mean."
(See page 60.) But it is, fortunately, an
obscure thing, and only the very, very
pious folk will find it.

NEARLY MARRIED— Goldwyn

A very amusing story of a young
couple who marry, then separate because
the bridegroom dislikes the bride's brother,
elope only to find that they are divorced
and have to be remarried, and then find
an obstacle to remarriage which is over-
come in a lively series of escapades.
Madge Kennedy is the star in this as she
was in the only other good Goldwyn
picture.

OUTWITTED— Metro

A complicated, but well-told story of
stock exchange plots, family feuds and
fake spiritualism. It is distinctly a "plot"
picture. Emily Stevens holds the center
of the stage, and in the scenes as the
"veiled prophetess" she is delightful.

THE VOICE OF CONSCIENCE—
Metro

Franxis X. Bushman in a double role.
A man who committed a crime, and an-
other who was railroaded to jail for it,
find themselves in adjoining cells, the real
criminal having been sent up for some-
thing else. If you can swallow this im-
probability you can stand the rest of the
yarn. .

RAFFLES— Lawrence Weber Photo
Drama Corp.

Has been screened with John Barry-
more as Hornung's lovable cracksman.
The story is told in a very prosy manner,
but it has all the tension that could be
demanded. Barrymore has been absent
from pictures too long for pictures' good.
His example is needed for the benefit of
the chest and eyebrow school of leading
men.

the environing of the picture splendid.
Crowning delight are the captions.

A GAME OF WITS—
American-Mutual

Here is a laughter-tinkling comedy that
is bound to put a pleasant spot into the
evening, no matter how dull has been
the day. It is no super picture at all, but
a practical and entertaining twist to the
threadbare favorite "He sold his daughter
to pay his debts" idea. The successive
situations bring one bubble of laughter
after another, bubbling spontaneously
and legitimately not forced by some gro-
tesquery. The story, the director, and
the playing of Spottiswoode Aitken. as
the elderly beau with the bank book, con-
tribute chiefly to this happy state of af-
fairs. Gail Kane, vigorous and attractive.

The Shadow Stage

% Miss Kelly

( Continued from page 6g)
the personification of youthful activity,
adds immensely on the ornamental side
and plays with a dashing freedom she
hasn't often shown. It is an all round
nicely handled story, resulting in one of
the happiest opportunities for an hour's
pleasure.

NEW YORK LUCK— American-
Mutual

They've taken away William Russell's
fist heroics and put him into a full sized
suit of comedy — than which he has had
few outfits more becoming. For the big
player has a way all his own of being
humanly funny, and as the lad from
Hohokus. Maine, trying to make his
dreams come true in the wholly baffling
Xew York, he is material for mirthful
contemplation.

INDISCREET CORRINE— Triangle

Olive Thomas has a shining picture
presence that makes one hope her time
for it is long — that Triangle will preserve
her from the kidnapping musical comedy
folk for many a day. In this particular
pictorial festivity, she is delightfully
dowered with opportunities for the dis-
playal of her winsome frolicsomeness, as
the spoiled darling of a rich familv con-
scientiously seeking to acquire a "past,"
aided and abetted by a French maid
thoroughly competent in such directions.

PLEASE HELP EMILY— Empire-
Mutual

The frothy little play has been put into
pictures with a frothy charm, utilizing
Miss Ann Murdock, in some of her most

Photoplay Magazine — Advertising Section

ij3

*/lnd there you will find your
old sweetheart again ~

COML — drop that newspaper for tonight!
Maybe she's tired of a paper wall and silence and
the width of a lighted table between you.
Maybe she's thinking of those other evenings when
you sat next each other — and there were no lights.

Come — forget the r.ews for once. Take her to a
theatre where, any time you go, you'll see a picture
worthy of your best and finest moods — clean, well
directed, played by foremost stars, and bearing the
Paramount or Artcraft Pictures trade-mark.

HOW long since you sat that way together ?
Habit has built a wall of commonplaces. You
sit on opposite sides of a table — and read news-
papers or pore over bills.

But here . . . there is no table between you. No
light to disclose harsh realities. You sit close, side
by side, and maybe your hands touch. You are learn-
ing how to be lovers again, from fleeting lights and
shadows that move across the screen!

And as that unconscious hard crust of life is melted
by the kindly warmth of a finer, tender feeling, you
glance at each other and see — no, not brows knit with
the problems and plans of today and tomorrow —

But the shy young girl and strong, romantic youth
of those other, bygone days and their never-forgotten
sweetness!

You have found your old sweetheart again!

ylND mind, none but the best pictures could work
j\ such a miracle of sentiment in you!

It's the supreme quality of Paramount and Art-
craft motion pictures which moves you —
— the Paramount and Artcraft star-genius,
— the Paramount and Artcraft directing-genuis,
— the Paramount and Artcraft author-genius,
— all working together to bring thrills and joy and
sunshine to you and your friends. No wonder people
look for the Paramount and Artcraft signs!

tyaramount^Gfocrxi£t

^pictures "

"FOREMOST STARS. SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES"

TT»r*»#» wave 1 By seeing these O By seeing these O By seeing these

i urce way* i trade-marks or ■** trade-marks or *-* trade-marks or

to know names in the ad- names on the front names flashed on

how to be sure of see- vertisements of of the theatre or in the screen inside

ing Paramount and An- your local theatres. the lobby. the theatre.

craft motion ^pictures.

FAMOUS PLAYERS -LASRY CORPORATION

ADOLPH ZUKOR /V.>i JESSE L LASKY t'-.v Prct CECIL B DE MULE Oina

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

enticing moments, and other able assist-
ants. As the mischievous and lawless
niece, whose father devotes himself to
consideration of Chinese children, she
leads all of her dependent and correct
family a merry chase, plunges them into
desperation — and gets her desired moon
at the end.

Miss Murdock excellently fulfills the
young minx's devastating destiny, the
situations have been cleverly created and
mosaiced, and the captions have their
share, in making the whole happy pastime
for a stray hour. Good taste rules in the
relating of the madcap's escapades. But
what a Keystone it would have made !

THE ADVENTURES OF CAROL—
World

Again, a season is graced by the pres-
ence of Madge Evans, attractive, intel-
ligent child of the celluloids, who has been
dowered by the World company with an
excellent little story, and an adequate
presentation of it.

There is a touch of the times in it, and
a fine, serious bit of idealism which must
needs appeal alike to child and grown-up
observer. This is, happily, another to add
to the list of photoplays desirable for the
family's entertainment of an evening.

Little Miss Evans makes her picture
child, though somewhat story-booky, very
lovable, moving among the people whose
lives she alters by sheer force of her
sweet and well-mannered youth. She
doesn't do consciously cute tricks, or pose
or prance before the camera, but moves
seriously or playfully as the case demands
through her scenes as if there were no
lens eye upon her.

THE KILL-JOY— Essanay

Here's a wonderful opportunity pro-
vided by the kind scenarioist, Charles
Mortimer 'Peck, for a feminine star — set-
ting her, as the only feminine player in
a large cast of masculinity, with large
chance to shine by contrast. And when
the star is only about three feet tall as
against her playing colleagues, her shin-
ing is that much brighter by contrast.

Little Mary McAlister is the lucky
lady, with her story pitched somewhere
in the wild west — secured around Starved
Rock, 111. — and her companions, and vic-
tims, rough creatures who run a town
from which women are barred. The way
Miss Mary insinuates herself into their
good graces, makes a festive little story —
though one wonders if sometimes, when
she isn't in sight, it isn't a trifle too alco-
holic for general family consumption.

THE SAVAGE— Bluebird

Monroe Salisbury takes his first Blue-
bird flight in this feature, again proving
himself an appealing player of character
roles. This time he is effectively a
French-Canadian, with Ruth Clifford
doing delightfully the lady he desired,
and Colleen Moore, maid of his own kind,
desiring him. There are many exciting
scenes gleaned from the big tree country,
while he reveals the true heart that really
beats in a savage breast.

Photoplay Magazine
The Shadow Stage

(Continued)
THE FUEL OF LIFE— Triangle
Triangle does need to take a tuck in
its proceedings, for many of their pictures
hang heavy before the eye. For the sake
of the very good ideas that are sprouting
out in the Triangle hot bed and the ef-
ficient people that are developing them,
that flaw should be remedied. Here, for
instance, is "The Fuel of Life," featuring
that thoroughly winning young person,
Belle Bennett, with a well knit — but too
loosely — story of private intrigue and
stock manipulation, excellent in idea, but
halting dramatically. Miss Bennett ap-
pears as much too nice a person to be de-
voted to vampiring. She is piquant and
dainty as well as pretty, with a magnetic
personality, quite suited to playing a
clever young woman beyond the ingenue
fledgling's range. Texas Guinan does the
disagreeable adventuress, without much
opportunity being accorded her except in
one set of close-ups, where her quite
marvelously mobile countenance is de-
tected in the act of thought. She gets
across a vivid impression of her person-
ality in this brief space that suggests her
usefulness in roles of greater range.

FIGHTING BACK— Triangle
Westerns are so well worn in theme
and manner that one looks for little new
in them, settling down before one to a
peaceful resume of familiarities — but
"Fighting Back" reverses the procedure.
It makes one settle up. The theme, of
course, is the same, approximately, and
the manner partakes of many horses,
pistol shots and wild riding, as of usual.

But there is a bracing spirit through it.
It seems to be done with vigor and spon-
taneity, rather as if the doers were in-
spired, all of which produces a vivid,
glowing, swiftly moving piece of wild
and woolly tale that commands an alert
spine, and extinguished yawn. William
Desmond does the handsome but unhappy
hero with convincingness, Claire Mc-
Dowell accomplishes better as a senorita
than a dancing girl, though her passion-
ate earnestness gets her across excellently
in an unexpected role, and Jack Richard-
son sizzles with fine sultriness as the
villain.

In addition to the satisfying people and
the humanized story there is the great
outdoors, splendidly utilized, for frame-
work, and horses, spirited, splendid crea-
tures, that almost excell the humans as
interest factors.

THE FETTERED WOMAN—
Vitagraph

Here is Alice Joyce in an awkward
utilization of Robert Chambers' book,
"Anne's Bridge," with all the Chambers-
esque cleverness successfully extracted.
As it stands pictorially, it is a semi-sordid
tale of a girl wrongfully sent to prison,
and then shunned by her neighbors, living
out her life alone on her vast tract of
worthless land.

EASY MONEY— World

Again has World committed one of its
regular melodramas which must be pay-

ing propositions, else they wouldn't hap-
pen with such perfect regularity. Again,
too, Ethel Clayton is the lovely victim
of a lot of maudlin attacks. The picture
belongs to the "You-belong-to-me" type
of photodrama, with the husband of con-
venience and the friend of other days both
violently asserting their claims.

There is the roadhouse with the locked
door, the struggle, the rescuing fight, and
a redeeming conjugal kiss for conclusion,
proclaiming that she has fallen in love
with her husband, though one must won-
der why, for no developing niceties of his
character have been disclosed. However,
on the fifth reel, a program picture must
end, and our moral natures demand that
it end conjugally, if it does not muider-
ously.

Some years back, during her Lubin
connection, Miss Clayton was featured in
some domestic dramas, concerned with
actual, human, possible, plausible situ-
ations, that could find an echo in most
mature observers. One wishes her fine
talents might be again utilized for some-
thing that sends the observer away with
an idea in his mind, rather than a seething
impression of fighting, struggling men
and women, passion led.

No doubt there is money in this — but
might there not be money in the other,
if it were given a chance. The Drews
have demonstrated that domesticated fun
pays — why not have a try at domesticated
problems?

THE MEDICINE MAN— Triangle

This picture needs to strike up its
tempo in such as these, erring on the
side of too much deliberation. Under
an ill-attached title, is related a bare little
tale of a girl and a mine and a man and
some villains, mainly, it seems for the
purpose of putting out a picture with
Roy Stewart at the proper interval.

THE LASH OF POWER— Blue bird

Another of these dream-gone-mad
situations with the hero Bunker Beaning
himself into a most morbidly cruel Napo-
leonic career, and happily discovering be-
fore he left his simple country home that
all was not so.

THE CRICKET— Butterfly

Little Zoe Rae makes the first part of
this offering somewhat appealing, being
a child who goes on the stage, gets her-
self adopted by three wealthy bachelors,
and then grows into a young lady who
runs away with an actor. Put on with
considerable care, but not very well hu-
manized.

RAGGEDY PRINCESS— Bluebird

Violet Mersereau is turned loose in rags
and tatters with an all day sucker, and
a large imagination which works out,
amidst beautiful scenery into the old-
fashioned Cinderella tale, with a rich
father accompanying the fairy prince. A
film which might be sacrificed in the in-
terests of the high cost of living.
(Continued on page 121)

Photoplay Magazine — Advertising Section

Hepbevt Brenon.

jaresents

£ir Johnston Forbe$-Robei?t^on

, &$" ^he fHvaxiqev"

in- °

%BVa$$wqj/:fAe Ifiird flaorBaeK

a stor/ of tremendous strength, with a wondrous
eharm and appeal to all cla^e^ of mankind.

"To me the message of loving
kindness is the greatest mess-
age that can be borne to the
world today, and that is the
message of 'The Passing of
the Third Floor back." I love
the subject; it is full of sun-
shine, beauty, and comedy;
and drama of the finest order.
1 am firmly convinced that
not only will it be the most
artistic achievement of my
career, but the most popular,
and what is equally as im-
portant, fulfills to the highest
extent one of the greatest
functions of the screen — -to
spread the message of Hope
to the masses."
—HERBERT BRENON,

Personally Directs

3fcV,*-;;-..';i.'i:r;;.-X«ii--

,{*'»'!>'r:i':;;.r^

BRENON CORPORATION

'.{Controlled by Herbert Brenon)

: Executive Offices
Brenon Studio's

Hudson He ights.rU

Distribution Offices
509 Fifth Avenue
New YorK City. KY

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

see if something wouldn't happen to sort
of soften the blow. Besides, I found out
that this was the first time in his life that
Tom had ever been on speaking terms
with what is termed honest labor. His
idea was, "Dad has plenty of money;
what's money for?"

He told me that his father disinherited
him on an average of four times a year.
He thought it was a joke, but I thought,
"What if his father disinherits him some
time, on paper?" I'm not mercenary, but
I couldn't forget how hard Dad and I had
always had it. Things were going to be
different in future, you bet!

Tom told me, too, that his father didn't
know where he was and was probably
hunting for him. If it had been anybody
but James Bartlett, I'd have made Tom
let him know.

I, was learning to run the automobile
all this time, and I'd got so that I could
manage it pretty well, although Tom
would never let me go out alone. We got
our stuff in the country two or three times
a week, as prices were dreadfully high in
town. This time I thought I'd go after
things alone. I knew I could bargain bet-
ter if Tom wasn't along.

I got there in fine shape and loaded up
with chickens and butter and eggs and a
lot of vegetables. I jollied the farmer
until I'd got him down to rock bottom
prices. When I started home it was
pretty late, and when I came to a fork in
the main road, leading off over a hill, I
figured that it was a short cut and I could
make time by going that way. So I turned
off and went down the hill a-sailing.

When I got to the bottom I saw two
men nearby waving their arms for me to
stop. I judged they were in trouble. One
of them was an old gentleman, very well
dressed, and the other I knew from his
looks was a chauffeur. I stopped and
they came over to me.

It seemed their car had slid over the
edge of the road and had bumped into a
tree and stopped. If the tree hadn't been
there this would probably have been a
different story. Anyway, they could
reach it by climbing and they wanted to
tie a rope to my car and have me pull
their car up that way.

Well, we tried it. The chauffeur got
into their car and threw on the power,
but their hind wheels spun round and
round and the car didn't budge. They
shouted encouragement to me and I let in
the clutch again and both engines made a
fearful noise. Then — I don't know how it
happened, but I was nervous and rattled
— by mistake I let in the reverse!

It was all over in a few minutes. I
managed to have sense enough to throw
the brake and ease up my speed a little
as my car shot backward over the edge
of the hill. I shut my eyes and tried to
pray. I only got as far as "Our Father"
— when there was an awful smash and I
was knocked half way out of the tonneau.

When I opened my eyes I was still alive
and the two cars were piled in a heap.
The old gentleman was rushing down the
hill toward me, and the chauffeur had
climbed out of the wreck of the other car
and was hanging onto me, and the gas
was pouring out of my gas tank in a

Photoplay Magazine
Betty Takes a Hand

(Continued from page 36)
flood. There'd been a hole punched right
through it.

The old gentleman asked me in a trem-
bling voice if I was hurt. I shook my
head, and together we climbed up to the
road and stood looking at the wrecks be-
low. It was now quite dark. Then the
chauffeur said:

"We can't get help short of twenty
miles, Mr. Bartlett:

I jumped when he said "Bartlett."

Then Mr. Bartlett said: "Well, you'd
better start hoofing it in the right direc-
tion, quick. We'll have to have a com-
plete wrecking crew."

The chauffeur looked at me and grinned
as he started away. I didn't grin — I felt
sick. It was dark and we were at least
eight miles from a house. And I was
starved.

Well, there was plenty to eat in the ton-
neau of my machine. So I looked at Mr.
Bartlett a minute and made up my mind.
I said: "If you'll climb down to the ma-
chines with me we can get a chicken and
you can kill it. There's butter and things
and we can build a fire at the foot of the
hill and I'll cook supper."

He looked perfectly helpless, without
any ideas of his own, just a poor, lost
millionaire. So he groaned a little and
did as I told him. We got the things and
then I hunted and found some sticks with
which to start the fire, while he took the
chicken away and managed to wring its
neck, after I'd showed him how. I sent
him back to the machines two or three
times for the seat cushions and blankets,
and by this time the fire was going good,
and I'd piled on more sticks and we soon
had a bed of coals.

I stood up to brush my skirt and as I
did so, I noticed just a little distance away
something that looked like a house, in the
shadows. I walked over toward it and
came plumb upon an abandoned cabin,
just as if it had been put there for our
benefit.

Well, we got the chicken dressed and I
cooked it the best I could. We were so
hungry that we could have eaten it raw,
and it certainly tasted good. Mr. Bartlett
said it was the best he had ever eaten.
All the while I kept thinking about the
cabin I had discovered. Should I tell him
about it or not?

Pretty soon it grew chilly and Mr.
Bartlett sneezed two or three times. He
groaned a little when he walked, too, as
if it hurt him to move. After all, he was
an old man like Dad, even if he was a
millionaire, and I suppose he hadn't had as
much strenuous exertion in twenty years.

When the fire got lower I threw on
some more sticks, and then I took one
that was flaming and went over to the
cabin. It was empty and deserted except
for an old cot. I went back and told Mr.
Bartlett about it, and that there was a
place for him to sleep. He didn't want
to go, but I knew he'd be a sick man if he
slept outdoors all night, and I made him
take a blanket and go. Then he asked
me, "Do you know who I am?"

I shook my head.

"Well, I'm Jim Bartlett, and I can af-
ford to make this all right with you. little
ladv. and be sure I will."

If he'd only known who I was maybe
he wouldn't have been so sure. After he
had gone I fixed the blankets and seat
cushions and stared into the fire for a
long time. I couldn't quite figure out
what Fate intended to do to me next.
Then I thought of Dad, and then of Mr.
Bartlett, and of how they'd been chums
when they were boys. After a while I
got up, took another blanket and stole to
the cabin. I couldn't help it, somehow.
He was an old man. I tucked the extra
blanket in around him. He half woke,
murmured something and patted my hand.

I went back and felt a lot better. Then
I went right to sleep.

Next morning when I awoke the wreck-
ers were already at work at the top of
the hill. I sat up and the chauffeur yelied
at me. Then I went to the cabin and
woke Mr. Bartlett and told him the wreck-
ers were there.

They got us out about noon. Before
we went Mr. Bartlett gave me his card
and said he wanted me to come and see
him soon. That he had a proposition to
make to me.

I'd been so busy I'd hardly thought of
Tom. But when I got near home I could
hardly wait.

Tom was in the library looking as if
he hadn't slept for a week, and when I
walked in, my clothes all mussed and
crumpled, he just cried, "Betty i" and
opened his arms, and I walked right into
them.

I knew then Tom Bartlett was going to
be my husband, fathers or no fathers. We
sat down on the couch with our arms
around each other and he told me how
he'd been nearly frantic and how many
times he'd called the police, with no satis-
faction, and I told him all about what a
time I'd had. He was awfully excited, of
course, and he wanted to know the old
gentleman's name, and I told him it was
Garrett. Tom simply couldn't imagine
who it could be — had never known anyone
of that name. I let him keep on being
mystified.

That night I wrote Dad that I had met
Tom Bartlett. James Bartlett's son, and
that we loved each other and I was going
to marry him.

As soon as I could I went to see Mr.
Bartlett. I had thought Aunt Lizzie's
home was beautiful, but the minute I saw
the Bartlett mansion I knew hers was
only an imitation and here was the real
thing. It made me feel sore and angry
again, when I thought of Dad.

Then Mr. Bartlett started to talk to
me. He rambled around a while and I
didn't pay much attention until he started
to mention his son. Then, you can be-
lieve, I took notice.

He told me how Tom had been a great
disappointment to him; how he knew he
had good stuff in him but needed some-
thing big to bring it out. He said Tom
had been missing for a couple of weeks,
but that he had detectives looking for
him, and that they were close on his trail.
I wondered how close.

I couldn't imagine what he was driving
at. All at once he said that the greatest
fear of his life was that Tom would con-
(Continued on page 123)

Photoplay Magazine — Advertising Section

117

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Our Special

ow Prices

Our Diamonds arc distinctive in
beauty and brilliancy. A Genuine
diamond is always a safe invest-
Iment. With stores in leading
cities, and our extensive Man
Order House, our large purchasing
power puts us in position to make
prices which are impossible for
small concerns to meet.

The Handsome
Solid Gold LaValliere

No. 926, here shown, is our big lead-
er. Four beautiful, perfect-cut
| Genuine Diamonds,
COCTerms! $5 Down,
*P^O $2.50 a Month

Send for Free Catalog

There are over 2 .000 illustrations of
Diamonds, Watches, Jewelry, etc.
Whatever you select will be sent all
shipping charges prepaid. You see
and examine the article right in
your own hands. If satisfied, pay
one-fifth of purchase priceand keep
it; balance divided into eight equal
amounts, payable monthly. Our
Catalog shows all the new watches
—15, 17, 19, 21, 23 Jewels, adjusted.
Guaranteed by the factory and fur-
ther guaranteed by us. Watches
that pass railroad inspection as
low as S2. 50 a month. Every article
in our Catalog is specially selected
and priced direct to you.

National Credit Jewelers

DEPT. KS02 108 N. STATE ST.
CHICAGO, ILL.

Stores in Leading Cities

The boBBet

The newest Ear Tuffs; reproduce the coiffure of a farrwua

actress in onj of her late screen pictures. As fetching as bobhed

hair. Extra Quality. Full ami Rich Ma-".- evi.ressly to match

your hair. Sent Sample Price per Dai*- $3.00. Greys Extra.

MONEY BACK IF NOT SATISFACTORY

WRITE for FREE Illustrated CATALOG of
GUARANTEED HAIR GOODS

AT LOWEST IMPORTERS PRICES

Transformations, Pompadours, Switches, Wigs, Curls, Etc.

Toupees and Wlga for Men

FRANCES ROBERTS CO.

lOO Fifth Avenue

Dept. 402

^yQQmans

FACE POWDER,

Produces a soft delicious flesh tint
that remains until washed off. All
tints at all toilet counters, or min-
iature box for 4 cents stamps.

THE FREEMAN PERFUME CO.

Dept. ioi Cincinnati, O. </\J

YOU WANT THIS CARD

Be< ause it will represent you better, or do more for you than

any other card in getting some desired interview. The famous

Peerless Patent Book Form Card

Is the exclusive choicj ol the man of distinction ev

one of Nlfl wlttonai ol his dlstmctijn. Vou cai I appn

date or understand the uniqueness of this c
without a visual examination of
it. The fact that you a.e not nu
using it, if you are
not, isiCCOnnte.lt >r
I e furth-r
f.ict that vou have
not examine I it.
Examine it forth-
wi-h. Send for n
samp'e tab today

anddetachthecards

onehyoneand notr
their perfectly
Smooth edges— Appesrsncc ol Our N«at Care .n MM

their absolute perfection. It is the card you want
THE JOHN B. WIGGINS COMPANY

Eng ravers. Die Emh««s*rs, Plata Printe-s
705 People* Gas Bldg.. CHICAGO. 1104 SOUTH WflBASH AVE.

Plays and Players

(Continued from page Q2)
come prominent in the Red Cross activi- DILLIE BURKE'S return to the speak-
ties of Califilmia society, and he is the *-* ine stape resulted in annfher faiinrp
despair of his former pie-hurling col-
leagues of Keystone days.

RUTH ST0NEH0USE has left Tri-
angle for the staterighters. She has
signed a contract to star in six produc-
tions for Harry Berg, a well known state-
right promoter, the first of which will be
"The Wolf Breed." The pictures are to
be made by the Bernstein studio in Los
Angeles. Before beginning on the new
job, little Miss Stonehouse made a trans-
continental trip with the usual personal
appearances.

LEWIS STONE is a new Paralta re-
cruit. Lew made his film debut with
Essanay about two years ago and his pic-
ture attracted much favorable comment.
Marguerite Clayton, for several years
Essanay's premier blonde, has been ac-
quired by Paralta to play opposite Stone.

THE Answer Man may now answer
with truth that Theda Bara is the
right name of the famous Fox vamp lady.
Bara has also become the family name
of all of the immediate relatives of the
noted screen home wrecker. The New
York Supreme Court gave Miss Bara the
right to take that name, discarding the
former name of Theodosia Goodman. By
the same proceedings, Miss Bara's father.
Bernard Goodman, became Bernard Bara,
her brother became Marque Bara, her
sister Esther Goodman became Loro
Bara, and her mother, Mrs. Pauline Bara.
In the petition asking for the change Miss
Bara explained that she is "an actress
who has become celebrated through her
own efforts." Her father, according to
the petition, was born in Poland, her
mother in Switzerland and herself in Cin-
cinnati. Nothing was said about Egypt,
the Sahara or the Pyramids. Bara. it was
further explained, was an old family name,
the mother of the actress having been a
daughter of Francois Bara de Coppet.

\V/ALLIE REID has joined the Amal

ing stage resulted in another failure,
her third successive "flivver" behind the
footlights. The last was "The Rescuing
Angel," which needed something like that.
The other two were "The Deluge" and
"The Happy Ending," which wasn't.
Miss Burke will probably remain on the
screen until she is handed a talkie ve-
hicle that is adequate.

LITTLE Madge Evans, the Worlds kid-
die star, in her new picture, "The Vol-
unteer," has some support. The names of
the people who do their "bit" in "The
Volunteer" read like an all-star cast at
a benefit performance — Kitty Gordon,
Ethel Clayton, June Elvidge, Evelyn
Greely, Montague Love, Harley Knowles,
Carlyle Blackwell, and even William A.
Brady. It happens like this: Little
Madge is supposed to be a film star of
tender years whose father goes to France,
and whose mother joins the Red Cross.
In this exigency Madge is sent away to
the care of relatives, and her scenes with
the big stars consist of bidding each of
them a fond good-bye.

FOR the first time in goodness knows
how long. Pearl White is about to be
seen in a picture that is not a serial.
When "The Fatal Ring" was finished
Pathe decided to star Miss White in a
feature by Charles T. Dazey and Roy
Somerville. George B. Seitz will direct,
as usual.

TOM MIX has been promoted from a
Fox comic to a Fox feature. He is
to do only five reel westerns in the future
under the direction of Ed. LeSaint, and
his leading lady is Miss Wanda Pettit,
the beautiful blonde who attracted so
much attention when playing opposite
Stuart Holmes and George Walsh.

ALMA REUBEN has adopted a sim-
plified patronymic. It's now Alma
Rubens. When the dusky eyed brunette
was playing at Mr. Griffith's studio, that
impresario tried to persuade her to change

W gamated Association of Transconti- her name but Alma wouldn't. Then

nental Tourists with his initial effort a trip
across from Hollywood to Hoboken, punc-
tuated with personal appearances in the
important centers of cinematic civiliza-
tion. He will make a picture or two in
the East before returning to California.

ERIC CAMPBELL, Charley Chaplin's
massive foil, is getting lots of free
publicity owing to the recent shattering
of his domestic romance. The big fellow
married Miss Eunice Gilman, a sister of
Mabel Gilman Corey, early in August and
a few months later, Mrs. Campbell sued
for divorce in the Los Angeles courts.
She asks for a generous slice of Eric's
$40,000 a year salary.

WHAT is probably the most magnifi-
cent moving picture theater in
America has just been opened. It is the
California Theater, at Fourth and Market
streets, San Francisco, and it cost $1,750,-
000, of which sum the organ alone cost
$50,000.

Erery advertisement in PHOTOPLAY MAGAZINE is guaranteed.

when she acquired stardom, her troubles
began. They spelled her name every way
imaginable. She was Ruben, Reuben,
Reubens, Ruebens and every way but the
right way. "It's the easiest way," was
the reason she gave the Triangle man who
makes out the salary checks.

PEGGY HYLAND has completed a pic-
ture with Pathe. She says she never
gave the Mayfair company exclusive
right to her services. Mayfair made one
picture with Miss Peggy as star. "Per-
suasive Peggy," but at the present writ-
ing nobody except a few trade paper re-
viewers have seen it. It is not stated
whether or not Miss Hyland is to be a
permanent addition to the Pathe forces.
There has been a rumor that she might
return to Vitagraph.

S RAN KIN DREW, son of Sidney
• Drew, co-star with Mrs. Drew in the
Metro-Drew comedies, is mastering avia-
tion, over in France. Young Mr. Drew

Photoplay Magazine — Advertising Section

119

Plays and Players

(Continued)

has been in the aviation training school
of the French army since last May. He
has passed full tests in the first class,
which is known as the Bleriot, and has
recently completed his training in the
second or Caudron class. He is now in
the last class, known as the Nieuport.
The names of these classes are the names
of the airplanes used respectively for the
training. Mr. Drew's aim is to qualify
as a pilot.

NO more serials for Doris Kenyon.
The lady of nine or ninety lives in
"The Hidden Hand" will abandon the
breakfast-food type of productions at the
beginning of 1918 to appear in "Doris
Kenyon Features." And after a look or
two one admits that the Kenyon features
are handsome. A company has been
formed for the exploitation of this young
woman; with the usual originality of no-
menclature of picture corporation organ-
izers it is called "De Luxe Pictures, Inc."

HARRY McCOY remembered enough
about piano playing throughout five
years of pie hurling at Keystone to get
a job in vaudeville and he's now touring
on the three-a-day as "The Keystone
Boy." He also sings.

HAROLD LOCK WOOD has a new
leading woman — Sally Crute. She is
to support him in his new Metro play,
'The Avenging Trail." Miss Crute has
been appearing before the camera for the
last six years and previously had exten-
sive stage experience. She has been suc-
cessively with Essanay, Solax, Edison, Lu-
bin and Metro. She was featured by
Edison and Lubin in a number of pro-
ductions, and her latest engagements have
been with Metro, in "Blue Jeans," and "A
Wife by Proxy." Another recent ap-
pearance was with Sidney Olcott's pro-
duction of "The Belgian."

TRIANGLE has won the suit brought
against it by J. Hartley Manners,
husband of Laurette Taylor, to prevent
it from using the title "Happiness" for a
production in which Enid Bennett was
starred. The court intimated that Mr.
Manners had exhibited considerable nerve
in claiming a right to the use of this title
merely because he had widely announced
his intention of writing a play under that
name.

HOWELL HANSEL, one of the Fa-
mous Players' staff of directors, died
of pneumonia at his New York home, No-
vember 5. He had been ill for nearly six
months, as a result of exposure while ob-
taining snow scenes in the Adirondacks
for "The Long Trail," in which Lou Tel-
legen and Mary Fuller were starred. Mr.
Hansel was a member of several Froh-
man companies previous to engaging in
the picture business in 1912, when he
became a director for Thanhouser. He
directed "The Million Dollar Mystery,"
the greatest of all serial money-makers,
and produced "The Deemster" for Arrow,
and several features for Fox.

Give Your Throat
This Extra Protection

Overcoats and furs, rubbers and mufflers — all
are necessary when the thermometer creeps down
to zero and the cold wind sends the snow flying in
your face.

But you need the additional protection that
Smith Brothers' Cough Drops give — the protection
that keeps your throat clear and wards off dangerous
coughs.

Thousands who have to be outdoors every day
— letter carriers, soldiers, sailors, policemen, civil
engineers, railroad men, motor truck drivers, men
who are supposed to be "used to it" — use Smith
Brothers' regularly. They have learned by
experience that S. B. Cough Drops stop coughing
and keep colds away. Don't take chances with
the weather. Have a box of Smith Brothers' with
you every time you go out.

S. B. Cough Drops are
absolutely pure. No drugs.
No narcotics. Just enough
charcoal to sweeten the
stomach and aid digestion.
Always put one in your
mouth at bedtime to keep
the breathing passages clear.

SMITH BROTHERS

of Poughkeepsie

A ho makers ofS. B. Chewing Gum

They're not afraid of the
weather with Smith
Brothers' for protection.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

120

Photoplay Magazine — Advertising Section

STUDIO DIRECTORY

For the convenience of our readers who
may desire the addresses of film com-
panies we give the principal ones below.
The first is the business ofliee ; (si Indi-
cates a studio; in some cases both are
at one address.

American- Film Mfo. Co., 6227 Broad-
way, Chicago; Santa Barbara, Cal. im.

Artcraft Pictdbbs Com'., 7'_".i Seventh
Ave., New Yorfe City; Vine and Selma,
Hollywood, Cal. (s).

Balboa Amusement Producing Co.,
Long Beach, Cal. <s».

BRENON, HERBERT, I'koii., 729 Seventh
Ave., N. Y. C.J Hudson Heights, N. J.

(si.

Chbistib Film Corp., Main and Wash-
ington, Los Angeles, Cal.

EDISON, Thomas, Inc., 2820 Decatur
Ave., New York City. (s).

Empikb All-Stab Corporation. 220 s.
Stat<> St., Chicago; Myrtle Ave., Glendale,
L. I. (s).

Essanay Film Mfg. Co., 1333 Argyle
St., Chicago, (s).

Famous Players Film Co., 485 Fifth
Ave., New York City j 128 W. 50th St.,
New York City. (s).

Fox Film COBP., 130 W. 40th St., New
York City; 1401 Western Ave., Los Angeles
(s) ; Fort Lee, X. J. (s).

FiioiiMAN Amusement Corp., 140 Amity
St.. Flushing, L. I. ; 18 E. 41st St.. New-
York City.

Gaumoxt Co.. 110 W. Fortieth St.. New
York City ; Flushing, N. Y*. (s) ; Jackson-
ville, Fla. (s).

Goldwtx Film Corp., 10 E. 42nd St.,
New York City; Ft. Lee, N. J. (s).

IIorsi.ey Stfdio, Main and Washing-
ton, Los Angeles.

Thomas Ixcb Stidio, Culver City, Cal.

Kai.em Co., 23"> W. 23d St., New York
City ; 251 W. l!)th St.. New Y'ork City (s) ;
142.) Fleming St.. Hollywood. Cal. (si:
Tallyrand Ave., Jacksonville, Fla. (s) ;
Glendale, Cal. (s).

Keystone Film Co., 1712 Allesandro
St., Los Angeles.

Kleine, George, 106 N. State St., Chi-
cago.

Laskv Feature Play Co., 485 Fifth
Ave., New York City ; 0284 Selma Ave.,
Hollywood, Cal. (s).

Metro Pictures CoRr.. 1470 Broadway.
New Y'ork City ; Rolfe Photoplay Co. and
Columbia Pictures Corp., 3 W. 61st St.,
New Y'ork City (s) ; Popular Plays and
Players, Fort Lee, N. J. (s) ; Quality
Pictures Corp.. Metro office; Yorke Film
Co., Hollywood, Cal. (s).

Morosco Photoplay Co.. 222 W. 42d
St., New Y'ork City: 201 Occidental Blvd..
Los Angeles, Cal. (s).

Moss. B. S., 720 Seventh Ave., New
Y'ork City.

Mutual Film Corp., Consumers Bldg.,
Chicago.

Paralta Play Inc., 720 Seventh Ave..
New Y'ork City : 5300 Melrose Ave., Los
Angeles, Cal. (s).

Pathe Exchange, 25 W. 45th St., New
York City; Jersey City, N. J. (s).

Powell, Frank. Production Co., Times
Bldg., New York City.

Rotiiacker Film Mfg. Co., 1339 Diver-
sey Parkway, Chicago, 111. (s).

Select Pictlres Corp.. 729 Seventh
Ave., New York City.

Sei.ig Polyscope Co., Garland Bldg.,
Chicago; Western and Irving Park Blvd..
Chicago (s) ; 3800 Missiou Road, Los An-
geles, Cal. (s).

Sei.znick, Lewis J., Enterprises Inc,
729 Seventh Ave.. New York City.

Signal Film Corp., 4560 Pasadena
Ave.. Los Angeles, Cal. (s).

Th. madge. Constance, 729 Seventh
Ave., N. Y. C.

Talmadge, Norma. 729 Seventh Ave.,
N. Y. C. : 318 East 48th St., N. Y. C.
(s).

TiiANnousER Film Corp., New Ro-
chelle, N. Y. (s) ; Jacksonville, Fla. (s).

Triangle Company, 145? Broadway, New
York City; Culver City, Cal. (s).

Universal Film Mfg. Co., 1000 Broad-
way, New Y'ork City ; Universal City,
Cal.; Coyetsvilie, N. J. (s).

Y'itagraph Company of America, E.
15th St. and Locust Ave., Brooklyn, N.
Y. : Hollywood, Cal.

Y'ogue Comedy Co., Gower St. and
Santa Monica Blvd.. Hollywood, Cal.

Wharton, Inc., Ithaca, N. Y.
World Film Corp., 130 W. 46th St.,
New York City; Fort Lee, N. J. (s).

Plays and Players

(Continued)

RUMORS that Marguerite Clark was to
desert the screen for a jaunt back
into musical comedy have been denied
by both Miss Clark and the Paramount
people. There was probably as much
truth in the stories in circulation to the
effect that Norma Talmadge and a num-
ber of other film stars were to take a
flyer on the noisy stage.

GLENN MacWILLIAMS, of the
Douglas Fairbanks' photographic staff,
has won him a bride, quite after the man-
ner of the days of King Arthur. While
"Reaching for the Moon,'' Fairbanks'
latest Artcraft play, was being filmed, a
fight was scheduled between the star and
a band of assassins composed of Bull
Montana, Strangler Lewis, Spike Robin-
son, Kid Fleming and Leach Cross. A
real gory time was being had by all when
a pretty girl rounded the corner, and
after one horrified glance, fainted. Mac-
Williams instantly stopped grinding and
went to the rescue. The belligerents, not
noticing that the cameraman had for-
saken his paying job for a more tender
occupation, kept right on registering.
Finally Spike sat down heavily as the
Fairbanks right connected with his anat-
omy, and while so doing the unoccupied
camera came within his line of vision.

Spike let out a yell which stopped the
fighting, and the contestants, angry at so
much good blood having been wasted,
were inclined to take it out on the cam-
eraman.

The girl was Miss Marie Campbell, of
Minneapolis, whose engagement to Mac-
Williams has just been announced. Doug-
las Fairbanks is to be best man and all
the assassins have appointed themselves
ushers at the wedding.

BILLY SUNDAY was recently the
guest of Mary Pickford at the Art-
craft studios, and was discussing the ben-
efit of films for moral uplift. "There can
be no doubt that the moving picture is
slowly but surely taking the hide off the
saloonkeeper by giving the workingman
a better place in which to enjoy his eve-
nings than the filthy booze joints," said
he.

MARIE DORO returned to New York
in the fall to appear in a stage play,
"Barbara," but its delicate charm was a
little elusive for Broadway, and it passed
away with a sigh after two weeks. An-
other production is being made in which
the winsome Marie will appear early in
the new year. Meanwhile she indignantly
denies that she ever said, as widely mis-
quoted, that she was leaving the screen
forever. Which is good news. Though
it must be admitted that the celluloid fails
to register fully half of the Doro charm,
through its inability to reproduce her ex-
quisite speaking voice.

AFTER reading the descriptions of
"The Zeppelin's Last Raid," looking
at the picture itself, and recalling Thomas
H. Ince's previous war spectacle, "Civ-
ilization," a lot of the neighbors about
Times Square remarked that apparently
Mr. Ince had accumulated the odds and

ends of film left over when he completed
"Civilization," added a few Zep. scenes,
and called it a new feature. With a Zep-
pelin substituted for a submarine, theme
and plot are almost identical, and the
same players appear in both. The owners
of the picture, however, deny heatedly
that "The Zeppelin's Last Raid" is merely
a plate of hash, and declare that it was
made from a separate scenario, though at
the same time Mr. Ince was working on
"Civilization." This, of course, explains
the similarity.

EARLE WILLIAMS has been trans-
ferred from the Flatbush to the Hol-
lywood plant of Vitagraph. He will re-
main in California six months. This is
the first time in seven or eight years that
he has visited his native state.

ELLIOTT DEXTER is one of the half
dozen leading men who need a secre-
tary to keep a record of demands for
their services. He thought he was going
west in November to play on the Lasky
lot, but a telegram brought him back just
after he had started, and he will be seen
in the next Alice Brady production, "The
Lifted Cross," which is the picture pro-
ducer's idea of a good title for Charlotte
Bronte's famous novel, "Jane Eyre."

BILLIE RHODES has loads to tell her
little movie-friends this month. You
know she gave a Thanksgiving dinner at
her ranch — only she spells it "ranche" —
just outside of Los Angeles, and the turkey
was a twenty-pounder and everybody was
having a real nice time, and then the
champagne was served — yes — and Billie
was called upon for a speech and she
said she was so pleased with the turkey
and the Thanksgiving and all, because
she found a diamond ring in the Thanks-
giving turkey's gizzard and she had lost
a ring like that anyway — oh, that's not
the way she told it, but the really im-
portant thing is that the ring is an en-
gagement ring and that Billie absolutely
refuses to tell the name of the lucky
man.

JOHN BARRYMORE is not married.
Yes, he was; but Mrs. Jack has told
the court that the glamor he inspired in her
when she was Miss Katherine Harris, has
worn off; that she was obliged to appear
on the stage with him in order to catch
a glimpse of him occasionally; that now
all she wants is to be Miss Katherine
Harris again. Only fancy.

EDNA GOODRICH has just sold her
three highly-bred saddle-horses to
United States cavalry officers, her per-
sonal friends. There's one with two
white fore-feet and another named Bal-
larat. Ballarat! Isn't that a lovely
name? And Miss Goodrich says she
told the captain of cavalry, her personal
friend, that if he really wants to get to
Berlin all he needs to do is to let Bal-
larat— Ballarat! — feel the touch of the
spur and Ballarat won't stop until he
reaches Mr. Hohenzollern's front porch.
Did you ever!

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

121

The Shadow Stage

(Continued from page 114)

A CASE AT LAW— Triangle

A terrible, tasteless treatment of the
drink evil, dragged through infinite space
— it seemed to the viewer — encompassed
in five reels. A sordid tale so unpleas-
antly presented as even to make the moral
unpalatable.

HER HOUR— World

This contains Kitty Gordon, and much
emotion, matrimonial and maternal.

THE REGENERATES— Triangle

A trim, trig little tale this, of a nice
old gentleman with tyrannical ideas about
his family tree under whose shade he in-
sisted all his family should linger, to
that end ordering his grandson and grand-
daughter cousins to an immediate mar-
riage. The young people's desires hap-
pened to be in the way of this little
scheme and things went very badly — for
the old gentleman — till finally a crevice
was found to his heart, and a melting
agent applied which reduced him to hu-
manness again. Walt Whitman does the
old gentleman in very fine fashion, and
Alma Rubens adds another portrait of
a lovely girl, to that interesting collection
she is hanging on her celluloid gallery.

WHO SHALL TAKE MY LIFE? —

Selig

This is one of the exceptions that
proves the comedy trend. It's not par-
ticularly timely, but nevertheless it is
very powerful propaganda, if almost
painful in its attack on the sympathies.

Capital punishment is the object of
its protest, the cause developed through
a skillful twisting of justice by circum-
stantial evidence to the ruin of an inno-
cent man. A familiar theme and -many
times excellently done, but this time very
excellently, under the direction of Colin
Campbell.

The picture is especially distinguished
by the playing of Thomas Santschi as the
wrongly accused man, and Bessie Eyton
as his wife. Such fidelity in the render-
ing of the ruthless sundering of two who
love truly, has seldom been accomplished.

THE GIFT O' GAB— Essanay

Its avowed intention is to make you
laugh — and it will if you fling your rea-
soning faculties to the wind. At that, it
has a grain of an idea underneath all its
George Ade fabling — though George had
nothing to do with this composition, ex-
cept as a possibly remote inspiration to
the scenario carpenter, and at the con-
clusion, farcical and fanciful as it all was,
one feels as if there was a ledge of foun-
dation for the laughs.

Jack Gardner, transported from the
musical comedy stage, has taken along
with him his musical comedy air. He
cultivates in addition a case of hoppingitis
which brings to mind that comparison too
familiar for repetition. You should see
him leap around on automobiles and
street cars, though. His efforts are bent
toward making enough money to win the
girl, which he does deviously but effect-
ively, not so much by the use of his brains
as his agile tongue.

Big Money for Typists!

Let me save you more than Vi on a $100 UNDERWOOD

Read what Woman's Council of
National Defense says:

Washington, Oct. 23— Dr. Anna Howard

Shaw, of Woman's Council of National
Defense urgt-s America's girls to take up
typewriting in defense of their country.

"A vital need of the Government and
business touay is for stenographers and
typists and we are urging our state
divisions to spread the idea among girls
and young women. Government posi-
tions pay from $900 to $1200 a year to
Start.

"The Committee urges that all who
are untrained immediately undergo in-
struction in exactly the same spirit
that has moved them to attend classes
in nursing, that is, the spirit of help-
fulness."

" APPLYING RENT

'■on ■•■:

PURCHASE PRICE

Positions Open Everywhere

Never was there such a demand for typists
and stenographers as now. Never was the
opportunity so great for the man, girl or
woman who secures a typewriter and quali-
fies for an office position. Employers
everywhere must replace trained help who
have gone to war and wages are higher
than ever before.

What I Will Do

What i send you— Ten Days' Free Trial

I will send you a genuine No. 4 Visible Writing Under-
wood, exactly as illustrated, with Back Spacer, Tabu-
lator, Stencil Attachment, 2-Color Ribbon, Waterproof
Cover, and Special Touch Typewriting Instruction
Book, which will teach you to operate a simple Under-
wood in one day. I save you more than Vz the manu-
facturer's price. 1 will allow you Ten Days' Free Trial
so that you can see, try and use the machine all you
want before keeping.

No Other Institution Like Mine

I am the largest typewriter rebuilder in the
world, handling only Underwoods, obtaining all
machines and parts from the Underwood Com-
pany. I give a written FIVE-YEAR GUAR-
ANTEE WITH EACH MACHINE. 200,000
customers use my machines.
Mail Coupon Below— Write today and I will
send you prices, terms, rental, monthly pay-
ment or Agency Plan No 53. Mail coupon below.
E. W. S. Shipman, Pres.,
TYPEWRITER EMPORIUM

34-36 Lake St., Chicago

Mr. E. W. S. Shipman, President, Typewriter

Emporium, 34-36 Lake St., Chicago
Send me at once your complete plan No. 53 for
Rental. Partial Payment and saving of over
V<i manufacturer's price on Underwood Type-
writers.

Name.

St. or R.R. No.

City.

11.

EWRITER EMPORIUM

\tabtished Quarter of a Century

Iflublu tti Your Home UlLL

By the Oldest and Most Reliable School of Music
in America — Established 1895

Piano, Organ, Violin, Mandolin, Guitar, Banjo, Etc

T s5

■r: j. 'i J j i J-

9ou «v.\ Mad 7Uua*c liAt tKu quicfc^

Beginners or advanced players. One lesson weekly. Illus-
trations make everything plain. Only expense about 2c
per day to cover cost of postage and music used. Write
for Free booklet whicb explains everything in full.
American School of Music, 63 Lakeside Bldg., Chicago

GRAFLEX-KODAKS

Cameras, Lenses andsupplies of every de-
scription. We can save you 25 to 60 per cent on
slightly used outfits. Write at once lor our free
Bargain Book and Catalog

SEXUAL
KNOWLEDGE

ILLUSTRATED

By WINFIELD SCOTT HALL, M.D., Ph.D.
SEX FACTS MADE PLAIN

What every young man and

American Pub. Co., 230 Winston Bldg., Philadelphia

.I1DGUIDE

MAN U At "sent free

When you write to advertisers please mention PHOTOPLAY MAGAZINE

122

Photoplay Magazine — Advertising Section

The Author Gets His

(Continued from page 80)

How to Reduce

Your Weight

You CAN do it in a dignified,
simple way in the privacy of
your room anl surprise >our
family and friends.

I KNO V von can, because I've
reduced 3.r>, 000 wo nen from 2 1 to 85
lbs., and what I have done for so
many I candu for you.

Don't reduce by drn^s or diet
alone. You'll look old if you .1...
You sho-ild have work adapted to
your condition.

No woman need carry one pound
of excess fat. It is bo simple to
weigh what you should, and ynu
enjoy the process. My cheerful
letters and your scales keep you
oiiihused.

I build your vitality, strengthen
your hear' and teach you how to
htand, walk and breathe correctly,
as I reduce you.

Don't endure fat when it is so
easy to reduce.

If you send me your height and
wt-ight I'll tell you just what you
should weigh. No charge-an 1 I'll

send vnu an illustrated bn.,klet 1-RLh, shiwinp you how to i
correctly. Write me. I will respect your contidence. .

Susanna Cocroft

Dept. 35. 624 S. Michigan B!vdv Chicago

■*$20

VIOLIN

iV, Ukulele Guitar, Man-

dolin, Hawaiian Guitar or Cornet

Yes, absolutely free to first pu-
pils in each locality. V e have
* the most wonderful, new, system for learn-
ing h\ mail to play by note, Piano. Organ,
Violin. Mandolin, Guitar Ukulele. Hawai-
■ 1. ui Guitar or Cornet. Very small charge
for lessons only expense. We guarantee success or no charge.
Complete outfit free. Write now. No obligations.
Sllngerland School ol Music, Dept. 240. Chicago, III.

STRAIGHTEN *QUR TOES
BANISHTMI^

ACHFE' DT'S
Perfection Toe Spring

Worn at night. with auxiliary a pplianc

for day use.
Removes the Actual Cause
o£ the enlarged joint and Imnion.
Sent on approval. Money back if
not as represented. Sen! outline oi
foot. Use mv Improved Instep Sup-
port for weak arches.
Full particulars and advice free
in plain tnvtlopt.

M. ACHFELDT, Foot Specialist, Estab.

Marbridge Building. Dapt.X.N., 1328 Broadway (at 35lh Street) NEW

1901
YORK

also netted him a tidy sum which con-
tributed to the fortune he has made from
film stories. These Brady stories were
among tne greatest nnanciai successes ever
produced by Vitagraph, others including
"The Battiecry of Peace" filmed from
Hudson Maxim's book, also on royalty,
an.l "God's Country and the Woman."
The latter is reputed to have added some-
thing like $31,000 to the bank account of
its author, James Oliver Curwood.

Vitagraph also has a royalty agreement
with the heirs of O. Henry for the rights
to his stories. The last picture produced
at the Fine Arts studio was an O. Henry
story, "Madame Bo-Peep of the
Ranches," for which Griffith is said to
have paid the writer the huge sum of $30.

Although the Griffith pictures stood out
in bold relief for several years, his organ-
ization spent very little money, compara-
tively speaking, for photoplay material.
Rupert Hughes collected the top price for
a short story — $1,800 for "The Old Folks
at Home," which was done with the late
Sir Herbert Tree, although Rida Johnson
Young got $2,500 from the same source
when she brought suit after seeing
"Daphne and the Pirate" on the screen.
She alleged that it was taken from a play
she had written and the suit was settled
out of court. Opie Read got a check for
$200 for the right to film his short story
"A Yankee from the West" which was
done with Wallace Reid, and Thomas Nel-
son Page was awarded a like sum for
"The) Outcast" in which Mae Marsh
starred.

Ibsen's "Ghosts" and "Pillars of So-
ciety" were also filmed at the Griffith
studio but nothing was paid for them as
they were not exhibited abroad. But
Herbert Quick got $1,000 for "Double
Trouble" which was done with Fairbanks.

Another early Griffith success "The
Avenging Conscience." cost nothing for
the story as it was a combination of Poe's
"Telltale Heart" and "Annabel Lee," the
copyright having expired on Poe's works.

Up to a few years ago $500 was a very
liberal price for the rights to a well known
novel or short story and three years ago
film circles were given a sensation when
it was reported that the American Film
Company had paid Harold MacGrath
$1,000 for "The Lure of the Mask" and a
similar amount to Lloyd Osbourne for
"The Infatuation."

With the big prices now being paid for
novel rights, the uninitiated would natur-
ally wonder why the producers do not go
back a generation or so and gather up the
books that were popular then. There are

two reasons why that isn't done. The
first is that they want the advertising ad-
vantages of the modern popular story; the
second, that practically every plot con-
tained in a novel has been filmed in some
form or other. The good old novel of
twenty years ago has nothing in it that
can be used except the name and except
in rare instances, the name is va»ueless
for a photoplay. Take even the O. Henry
tales, masterpieces of short story telling —
practically every one had been pirated be-
fore any had been filmed under the
original name.

An instance of the value which the
producer attaches to a name is provided
by the case of Peter B. Kyne's "A Man's
Man." Kyne, who, incidentally, is rated
as the best salesman among story writers,
has made a snug fortune from the sale of
the film rights to his short stories. His
first novel, "A Man's Man," appeared
serially in a fiction magazine. Kyne went
to Los Angeles with the proofs of the
story but could not interest anyone in it
at a valuation of $1,500.

About a year later J. Warren Kerrigan
wanted a story for his debut as an indi-
vidual incorporation. The name of the
story, and the novel itself, but chiefly
the name, appealed to Kerrigan's manager
as eminently fitted to his star. He jumped
on a train and went to San Francisco
where he persuaded the reluctant Mr.
Kyne to take a check for $5,000 for the
right to make a photoplay of the novel.

On the other hand we have the case of
the novelist, who shall be nameless in this
story, and the producer, whose identity
likewise must remain a secret, who gave
the novelist an advance of $500 for his
book against a 10 percent royalty. The
novel was well advertised and the writer
thought he would surely get ten times the
advance. It was highly successful on the
screen but when the author went to the
producer to collect, the latter showed him
documents to prove that he had disposed
of the screen production to a distributing
company for $5,000, so that he had been
"paid in full." The fact that the dis-
tributing company was owned by the pro-
ducer did not enter into the argument.

This is a rare instance of trickery in
these days, however. Practically all of
the big producing companies are fair
dealers and they are doing their utmost
just at present to wipe out the reputation
accorded the motion picture industry —
and perhaps earned — in the days when
the offices of the producers were infested
with the lineal descendants of Captain
Kidd, disguised as scenario editors.

MORE DEFINITIONS

Leading-Man. Anyone with a soft shirt and lips which will express love. pain.
ardor, indifference, passion, purpose, hope, courage, despair, nobility in trying cir-
cumstances; nobility under abuse; nobility in distressing situations; nobility.

Leading-Woman. Anyone with eye-brows, a wrist-watch, and Soul. Mostly Soul.

Director. Anyone with the ability and the inclination.

Camera-Man. Anyone with a Bored Expression.

Press-Agent. Anyone with an Imagination and no sense-of-humor.

Ingenue. Eye-lashes, curls, and a Pout.

Child- Actress. Curls, pout, and a Smile.

Vampire. Arms.

Heavy. Heavy.

The Public. Dear, if they swallow it: general, if they don't.

Every advirtlsement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

123

Betty Takes a Hand

(Continued from page 116)

tract a worthless marriage. And that he,
Mr. Bartlett, had had ample evidence that
I was a sensible young woman, and that
he believed a girl like me, who could take
care of herself so well in any emergency
and who was so unselfish, would be the
making of Tom. And he wound up by
offering me $50,000 to marry his son.

Do you get it? I didn't at first. James
Barthtt was offering me $50,000 to marry
the only boy in the world! The only boy
for me, anyway.

It was ail I could do to keep from hav-
ing hysterics. All that money to give Dad,
and me Tom's wife! I know such things
don't happen — but this did.

He was a little dazed, but he got the
main idea and piled in.

Well, after a little natural shy hesita-
tion, I agreed. Mr. Bartlett was to pro-
duce Tom and I was to marry him if he
suited me. I was to call again the follow-
ing afternoon.

I did some swift thinking on the way
home. I knew that Dad would simply
froth at the mouth when he got my let-
ter, and he'd probably start right for Los
Angeles.

I drove up to the front of the house
and leaned out and called to Tom, and I
beckoned to him to hurry. When he
reached me I grabbed him. "Hurry, Tom ;
we've got to get married right away!
Hurry, and get the license."

It didn't take us long to get the license
and Tom telephoned for a minister.

Well, James Bartlett's car was in front
of the door. I guessed that he'd trailed
Tom to his lair, at last. I ducked, and
Tom went in.

I drove around for an hour. When I
got back Tom told me of the interview
with his father. It seems the old gentle-
man had made up his mind that Tom was
to marry a Miss Andrews (that was the
name I gave him). Tom told him he was
going to marry the daughter of Peter
Marshall. His father nearly had a fit.
His son should marry Miss Andrews or
he'd disinherit him for good. If Tom
would marry her, he'd give him half a

million for a present. Tom started to tell
him where to go with his half million, and
his father held up his hand and said,
"Wait, wait until you see the girl. She'll
be at the house tomorrow afternoon."
Then Tom said he was so mad he couldn't
speak, and his father went away. I
calmed Tom down. I told him it wouldn't
hurt to go, as we'd be safely married be-
fore that time. Then the bell rang, and
it was the minister.

In fifteen minutes I was Tom Bartlett's
wife.

Well, you can almost guess the rest of
ic I went, as I had promised, to Mr.
Bartlett's the next afternoon, and as I
sat in the library and waited I got an
awful start. For loud and angry from Mr.
Bartlett's den came the voice of Dad. I
never thought he'd get there so quick. He
was denouncing James Bartlett and telling
him that his daughter should never marry
the son of a scalawag, and my dear papa-
in-law was declaring with equal fervor
that he had no intention of marrying his
son to the daughter of a good-for-nothing
prospector. I walked in just in time to
keep them from blows.

I called, "Daddy! Daddy!" and had
my arms around Dad's neck in a twinkling.
You should have seen Mr. Bartlett's face!

He started to say, "I've been tricked!"
— when in walked Tom. He said, "Father,
this is my wife. We were married yes-
terday."

Then I thought the roof would go. But
it didn't. And after all, what could they
do? So they finally shook hands and
father found out that his old partner
hadn't wronged him as much as he
thought ; that the mine was worthless and
that the Bartlett millions came from a dif-
ferent source. Father Bartlett came
across like a true sport and I've got the
fifty thousand tucked away for a rainy
day, which I hope will never come. And
Aunt Lizzie forgave me, after a while, and
now Ida is my best chum.

"All's well that ends well," as a famous
playwright once said. And I think my
boarding-house venture ended pretty well.

Eileen from the Emerald Isle

(Continued from page 78)

"Stop, Look and Listen" with Gaby
Deslys.

So it will be seen quite readily that
Miss Percy has had quite some stage
career before venturing into the realm
of the black and white reflections. And
during this time she made nine trips to
"the ould sod" with her parents.

In the films she made her debut in
"Wild and Woolly" and played opposite
Mr. Fairbanks successively in "Down to
Earth," "The Man from Painted Post"
and "Reaching for the Moon." In addi-
tion to being an expert equestrienne, this
colleen is also a finished ice skater, swim-
mer and tennis player — and you ought to
see the way she knits!

The knitting craze did not catch her
unprepared for she had learned the art
in childhood. Now all of her spare time
is taken up manipulating a pair of long
yellow needles and there is considerable
rivalry between her and her thirteen-

year-old sister, Thelma, who lives with
her. When not at the studio, both may
be found at their little Hollywood bunga-
low, busily knitting something or other
for the soldiers. Just now it's mufflers
and by the way, take another look at the
one she is knitting now — the presumption
being that you have already looked once.
Well, when completed this is to be six
feet long. It's olive drab in color, the
uniform color, and it will be sent by
Miss Percy to the first American soldier
writing her from "Anywhere in France,"
care of Photoplay Magazine. And may-
be she'll enclose some nice photographs
and letters and things because Eileen is
intensely patriotic and military, if her
taste in clothes is any criterion, and if
further proof is required, I'll betray her
secretest secret. She just loves military
parades and she'll play hookey from the
studio any time she hears that there is
to be a parade in Los Angeles.

\i"-

-J

te-c

! \ \-'.VrK^X^Z~i

tT/b-&.,

Si look your 3est

il%

ocial hcasons

a -

GOOD looks is a social
asset. Personal appear-
ance has determined
the social standing of many

a woman — has made or lost for
her an enviable place in her own
circle. First impressions- always
lasting — are from the external,
and every social consideration de-
mands that you look your best at
all times.

The mission of D. & R. Perfect
Cold Cream is to help women to be
better looking, to be more attractive,
to realize the fulfillment of life's
possibilities. This it does by a ra-
tional and wholesome effect upon the
skin, by improving and preserv-
ing its health, texture and firmness,
by preventing premature lines and
wrinkles, by keeping unimpaired
the natural blending of pink and
white that make the feminine skin
beautiful.

DAGGETT*RAMSDELLS

PERFECT COLD CREAM

TJic Kind 1 hai Keeps

D. & R. Perfect Cold Cream, used
by American women for more than
twenty-five years, is a positive and
potent aid to health and beauty
revives and refreshes the skin after
late hours or long illness. For
Safety's Sake demand D. & R. Per-
fect Cold Cream — "The Kind that
Keeps" — the kind that cleanses,
clears and revitalizes the skin and
beautifies the complexion. The
cream for every person — a size for
every purse.

Put a tube in the Soldier's kit
— a comfort in camp or trench.
POUDRE AMOURETTE— another
" perfect " product from the D. & R.
laboratories. A fine, filmy, fragrant,
fascinating powder for the com-
plexion. Gives a faultless finish to
correct dress. Flesh, white, brunette,
50c at your dealer's or from us.

TRY BOTH FREE

Trial samples of Perfect Cold Cream and
Poudre Amourette sent free on request.

DAGGETT & RAMSDELL

Department 235
D. & R. Building, NEW YORK

When you write to advertisers please mention PIIOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

One Hundred Art Portraits
Only Fifty Cents

With

Biographical

Sketches

Your Money
Back if Not
Delighted

Photoplay Magazine 35° North ciark street Chic

g°

"\Tr\l n T?nrtrlll ! CaPtain Leslie T. Peacocke's
ly(J(JJ l\(cLiLiy . remarkably popular book on

Scenario Writin

A Complete and Authoritative Treatise
on This New and Lucrative Art.

C. The book teaches everything
that can be taught on the subject. It
contains chapters on the construction
of comedies, form, titles, captions,
detailing of action; also a scenario
from a library of scripts which have
s.een successful production.

Send for it today — Price, fifty cents postpaid

Address Dept. 9G

Photoplay Publishing Co., 350 North Clark St., Chicago, 111.

And George Did It

(Continued from page 22)
in "Lost in Transit" and nearly stole the
picture- — in fact, some say he did. Bob
acted right out and did every scene as
if he had been before the camera ten or
fifteen years instead of that many days.
He was scarcely two and a half years
old, but he went at it in the manner
born.

The watchful eye of the Morosco Com-
pany spied Beban on the screen and it
was not a great while until he was over
at that studio toiling away. "Pasquale,"
"His Sweetheart," "A Roadside Im-
presario," "Lost in Transit," "The Bond
Between," "The Marcellini Millions,"
"The Cook of Canyon Camp," and a
number of others have been produced
there.

Beban works with the picture from the
first germ of a story until it is finally
ready for release. His director, Donald
Crisp, has always guided the Beban pic-
tures and Beban and Crisp swear by
and at each other. "Jules of the Strong
Heart," which Beban has just recently
finished, was directed by both of them —
though, of course, Crisp did the majority
of the work.

He appears in nothing but clean, whole-
some pictures, filled with wonderful sym-
pathy and human understanding. Having
been through what he has, this is easily
understood.

"You do not have to have hairbreadth
escapes or sensational stories to make
a hit in pictures," said Beban recently.
"You can take a simple little story and
if it is human — if it has the personal
feeling in it — the average photoplay
theatre patron will like it just as well as
some big, thundering drama with a lot
of battle scenes and such like. Give your
audiences something they can feel and
it will do just as well as some, and a
great deal better than many of the pic-
tures now shown."

George's elder brother, the late Senator
D. J. Beban, of California, once said to
his father, "If George wants to be an
actor — let George do it." And George
did.

Co-Stars

{Continued from page 42)

For a moment they stood silent. The
clanging of the street cars — the long pro-
cession of automobiles speeding up the
avenue — the laughing crowds hurrying
past the brilliant store windows — all
seemed imbued with a new and lively
interest. It seemed to Jones as if he
had always known her — that she was
the girl he had been looking for all his
life — and he had only just found her now.
She tightened her clasp on his arm as he
looked down at her.

"I guess all the things that are fine and
brave and noble — and exciting — don't
have to happen in plays, do they?" she
said. "I guess we had a perfectly good
adventure of our own, just as exciting as
any Mary Pickford ever acted in."

"Or William Farnum," answered Jones.

And from across the street the big flash-
ing sign of the Strand shed a red and
golden radiance over them as they walked
up the avenue together

tvery pdvertisement in l'HOTOPLAY MAGAZINE is guaranteed

Photoplay Magazine — Advertising Section

125

Perils 0 f a Critic

HOW IT STARTED

"If you are a Pickford-in-any-piece devotee, you'll think 'Rebecca of

Sunny brook Farm' is just too sweet for words However, this seems

to be what the dyed-in-the-wool Pickford fans want, so it was a good pic-
ture, with enough of Mary to satisfy everyone, and not enough story
to take the mind off the star." — November Photoplay.

WHAT IT STARTED

AM not a Pickford fiend — I am not a
dyed-in-the-wool Pickford fan. I
have other favorites. Your precious
Marguerite Clark is among 'em. But
Mary Pickford is Mary Pickford and
above criticism. You highbrows yell and
scream and howl about the sameness of
Mary Pickford — "the usual Pickford
way" and "a Pickford picture" are pet
stock phrases of yours. You gorge the
public with your superior and intolerant
remarks anent curls and pouts. And yet
you never once have been known to com-
ment scathingly on a "regular Fairbanks
film."

But because poor Mary Pickford hap-
pens— no. not happens — because she is
unanimously proclaimed first in the hearts
of her countrymen — even you magazine
iconoclasts and literary lights must
admit that she is thai — just because she's
up you set out to pull her down. Let me
implore you to let Mary's wonderful
curls and her really excellent child por-
trayals rest — let "em be — forget 'em,

aiong with 's age and 's married

state, and s divorce. She's Queen

and you might as well leave her there —
you can't hurt her popularity much by
your ill-natured jabs and pokes — you
only get yourself disliked.

Let Mary alone — pick on somebody
your size — begin on Hart. Isn't he
always the same old Bill? And don't we
just flock to see him? Or try Douglas
Fairbanks — he's able to take care of him-
self. Next you'll be stooping to pull
Mary's hair. And I hope she slaps you.
Wrathfully,
Helen Ricker, Des Moines.

TO WHICH WE REPLIED

Bless your loyal little heart, we love
HER as well as you do, but perhaps more
wisely. We believe SHE is entitled to
better stories than the one which we
criticised adversely. You will note that
it was the story and not HEP.SELF we
did not like.

We believe that the only way we can
help to improve pictures is by pointing
out their shortcomings. Adverse criti-
cism is bound to offend someone. Would
you like to have us abandon adverse criti-
cism altogether?

As for that slap, if we could only per-
suade HER to administer it publicly, we
would be famous.

<BUT SHE CAME RIGHT BACK

Goo'ness, goo'ness, goo'ness!! When
the postman gave me that yellin', screech-

in', howlin' and proclaimin' Photoplay
envelope I just stood there, my feet glued
to the spot and my knees stirrin' up
enough air to give me pneumonia.
Scared? Oh lor"! You see, I've always
been told that some day I'd be arrested
for disturbing the peace — what there is
left of it! — and I sez to myself, sez 1,
' The-hand-of-the-Law hez fell!" And
when I got strength to read it, I was
worse demoralized than ever, because you
were so nice about it.

Honestly now, I don't think that in
this case you made yourself clear as to
the people who write her stories. And to
tell the truth, I'm getting kind of tired
of that tune too. Mary Pickford is one
of the almighty few who don't need a
story. She could carry a string of close-
ups with a whole lot less to hold them
together than these same literary loons
have been providing her with.

You know, Mary and I quite firmly
believe that it is best to keep in one's
sphere — though I admit that I do butt
into other people's sometimes! But
sometimes I wonder if she isn't dead
right to leave the plots to Bara and Hart,
the action to Fairbanks, and the gowns to
Norma Talmadge, and deal in her own
forte fortissimo, her own unique and
individual art — kid stuff. Quit hollerin'
for plots for Mary — she doesn't need
them in her business.

And who doesn't want them to stay
just babies always? Me, a perfectly
healthy, and I hope sane, specimen of
eighteen-in-May. I can suffer with
Norma Talmadge and go the limit with
her — and say I've seen a good film. But
I can sit and weep long and copiously
with Mary Pickford, and go around with
a reminiscent grin for a week. Which is
the better artist? Nothin' the matter
with Talmadge or Petrova or Love —
they're certainly all there — as far as they
go — which isn't so far as Mary. So let's
let Mary play- — let other folks have the
troubles.

No, I wouldn't stop adverse criticisms
altogether. Heaven knows some folks
need 'em! Only, if you can't pat Mary
on the back, you'd better keep your hands
off— or you'll hear from me, I warn you!
After all, are you so anxious to keep out
of hot water? I'm not — it's so much fun
to look back on after you're all cool and
comfy again. (I speak from experience.)
Temporarily pacified,

Helen Ricker.

P. S. — Mary's too nice a girl to slap
you anyway, but "we" hope she won't.

first Line Defense

As the mighty coast
defense gun stops
the foreign foe, so

XJiEANS i

'J3HE8--1

stop colds and after- ef-
fectsofcoldswhichfollow
upon the heels of sudden
changes in temperature,
draughts, dampness and
bad weather.

They taste good — they are
good for the whole family, from
the baby up. For seventeen
years, millions of users have
been proving it. Get them any-
where, from coast to coast.

Good for the Throat —
Bad for the Cough

AftMY^NAVY
"HITTING BOOK

With EACH of These 1
Collingbourne Komfori.
Kit Mending *| /"\«-» ■
Cards -only x v»~ (

ThisHandyOutfitcontainsBO i
yds. white. 60 ydB. Khaki,
60 yds. strong Khaki but- ,,
ton thread, and 100 yds. (^

ending floss. Send only
_ Jc in silver or stamps
for this Mending Card and
will also send you free and

'time's New Army and Navy

_ ting Book. Tells how to knit Trench Caps. SweatexS?
| Mufflers, Socks, Mitts, wristlets, etc. SEND TODAY.

COLLINGBOURNE MILLS, Dapt. 57. ELGIN, ILL.

g^sHYGLO

NAIL POLISH

Brilliant, lasting and
waterproof. Powder
25c. Cake 25c and 50c.
Send for free sample.
GRAF BROS., Inc.

119 W. 24th St. New York

V.T.en ycu (Trite .to advertisers please mention PHOTOPLAY MAGAZINE.

126

Photoplay Magazine — Advertising Section

The

Birthright

of Every

Woman

The attractive-
ness of Venus is
in that form di-
vine—a perfect
and figure —
which has become fa-
mous throughout the ages. A book has just
been prepaied which tells how women may
secure the beautv of figure development hith-
erto unknown to them. This book is sent free
because it also tells about the
Kathryn Murray Method of
Form Development

by which any woman, young or middle-
may obtain wonderful results. This method is simp]
self It does not comprise the use of massage,
pi isters, electricity, medicines, etc.
It acts in a perfectly natural way —
Si- urinff the develODinent desired
in a comparatively short time.

This Book Free

"The Crowning Glory of Woman-
hood." Send for it and learn
h »w to add -tvle and attractive- /
ness to your figure — develop your
chi-st-poai
ad si le

aged,

ultv it-
foolish

Kathryn Murray. Inc.

SUITE 258-8 Garland Bld'g., Chicago

BEAUTIFUL NAILS

are Nature's own jewels for the hands. With
N AILUX you can keep apermanent luster on your
nails, a brilliant polish that defies soap and water.
\T A J J f JTf a nail food, keeps the
1 V r\ I jLi C_/y\ nails from getting brittle
One application and your nails will have all the
exquisite finish of Mother-o-Pearl for one week.

Jntmrltifi-rxw Clffo* Tf> introduce Nailux we will send

introductory vjrrer one 60c. eize (3 mos_ 3uppiyi and

our special combination list of guaranteed toilet specialties for
25c. Only one to a family. Send 25c now before offer is withdrawn.

Money Refunded if Dissatisfied
HERMO CO., 544 East 63rd Street, CHICAGO

LOOKS

Important
Beauty-creating discoveries.
Enable every woman to possess
greatest beauty and earning capac-
ity. Taught in short time — by largest
Personal Culture school in the world
—Scientific care of Face and Scalp, Facial
Massage, Electrolysiat Scalp Treatments,
Shampooing, Manicuring, Marcel Waving,
etc. Positions guaranteed all who qualify — $12
to $25 a week. SIS to $30 earned at home.
Short courses in any branch if desired.
Send NOW for Free Facts.

Marinello Co. °"«.r3s BIdg. Chicago, III.

INCREASE YOUR INCOME

Short - Story Writing

A course oS 40 lessons in the history, form,
structure, anil writing of the Short-Story,
taught 1'V l>r. J. Here Ksenwcin, for years
Editor of I Ippiitroit's. Over one hundred
Home Study Courses under Professors in
Harvard, firowtt, Cornell and leading
colleges. 250-page catalog free. Write today

The HomeCorrespondence School
Dr. Esenwein Dept. 95 SPRINGFIELD, MASS

Your Cards

Circul ars

Newspaper

Book, Labels, Programs, TicKets

With an Excelsior Press. In-

.^^^ jrp-ases receipts, cuts expenses.

,L -ttv Easy to use, printed rules sent.
in HWBo "nv d"es good work. Small out-
"\\\ WT* < lav, pavs for itself in short time.
Wilt last for years. Write fac-
tory forcatalogof presses, type,
rmtfit. samples. It will pay you.
!THE PRESS CO. D-43, Meriden. Conn

A Highbrow Villain from the Arctic Circle

(Continued from page ioo)

failure to understand what we were trying
to do almost drove us insane. Only our
sense of humor saved us. But we have
a certain satisfaction, these days, in
watching the more advanced theatrical
producers doing exactly what we were
doing then, and being highly commended
for it."

Here is something for the intellectuals
to ponder gravely. Mr. Oland and his
wife gave to the modern drama several
years of sincere labor, with absolutely no
financial return, although their artistry
and the literary quality of their transla-
tions were generally recognized. In other
words, there are thousands cf people who
want to be considered high-brow, but only
a few who are willing to support a truly
intellectual movement in the theatre. So
Warner Oland is playing villains in Pathe
serials, and enjoying life from the view-
point of one who can afford a chauffeur.

But the most interesting thing about it
all, is that this proponent of modern
drama does not hold moving pictures in
contempt. From the moment he made his
first scene — his debut was under Herbert
Brenon's direction in ''Sin" — he has
brought to the camera all the art he
knows, that can be injected into the rather
violent incidents in which he participates.
He achieves the most remarkable changes
of personality with virtually no make-up.
He thinks himself into the mental condi-
tion of the role he is playing. In "Patria,"
a fraction of an inch painted off the outer
points of his eyebrows, shoulders stiffened

and slightly hunched, and he was the plot-
ting baron, a Japanese so real as almost
to deceive a Californian. It was because,
for the time, he was thinking in terms of
his part, that his features naturally as-
sumed the required aspect.

"If they don't kill me off pretty soon
in 'The Fatal Ring,' I think I shall do a
little solo villainy, and make a close-up
of myself committing suicide," said Mr.
Oland, anent his future plans. "I have
no quarrel with serials — they have been
very kind to me — but I am anxious to
do something in which there is more op-
portunity for real characterization. I'm
a bit tired of all this killing. Miss White's
remarkable vitality has saved her in
everything from boiling oil to starvation,
and I think some one else should have
a chance at murdering her. I've done my
best. And it has been good experience.
I have accumulated some valuable knowl-
edge. The other day I tried to kill Miss
White with a pile driver, and I got the
hang of the machinery so easily that the
foreman told me he'd give me a job any
time. And there would be more money in
it than going back to modern drama.

But with all his desire to get into a
somewhat more artistic form of cinematic
expression, I don't believe Mr. Oland has
such a bad time of it at that. Between
murders, he and Pearl White get along
quite well, and the business of producing
serials is not without its lighter moments.

But the question remains, do they know
about it in Umea?

"The Learnin' of Jim Benton"

(Continued from page 57)

Sid still shifted in his chair. At last he
blurted out:

"Look a' here, Ed, I ain't done no per-
jury. Honest to God, I thought it was
Jim Benton's shot that — "

"You thought. But at the trial you said
you knew."

"Well, it looked that way, but they
was so much shootin' goin' on, come to
think of it — well, if I was to tell it over
again, I don't know as I'd care to say I
know."

"That'll be enough. Come on and tell
the Governor," and Ed led Sid across the
street to the hotel where the chief execu-
tive of the state was holding his con-
stant court, digging for the truth.

But the Governor was not the sort of
man to take such a sudden change of story
unquestioned. He was no novice at cross-
examination, and he went after Sid with
all his mental resources in action. It was
a third degree such as no man, not abso-
lutely in control of a brilliant mind, could
have withstood. It had one motive, and
one only, to wear down the witness until
his brain was so tired that he could not
tell anything but the truth, no matter
how hard he tried. But Sid had turned
honest again, and sticking grimly to the
actual facts, he never contradicted him-
self through the .entire ordeal. The Gov-

ernor finally understood. Sid had simply
been loyal, as he saw loyalty, to his em-
ployer. He was not even the kind of man
that needed to be bought. He was work-
ing for Knowles and automatically he
did and said the things he knew were
in Knowles' interest.

This inquisition lasted all through the
night, and it was not until dawn came
that the Governor was satisfied, and told
Sid he could go. And as a great, sweep-
ing, galloping army of horsemen ap-
proached El Cajon, a girl met them, hold-
ing a paper in her hand.

The cattle men were not going to see
Jim Benton die. but what they were pre-
pared to do by force, had been accom-
plished in another way. Jim Benton was
pardoned, and Evelyn rode at the head of
a triumphant army to head off the proces-
sion to the scaffold.

"You see. dear," she said, as they sat
that evening on the verandah of the
Flying L ranch, and leaned her head on
his shoulder, "you see, it's best to obey
the law. and get yourself cleared."

"You're shore right," Jim replied, "but
I don't mind savin' that the connections
came just a wee mite too close for com-
fort. Fifteen minutes more, and that date
you mentioned just now would be of no
particular interest to Jim Benton."

Every advertisement in PHOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

127

The Good-for-Nothing

(Continued jrom page 86)

In the meantime, Barbara had been
very ill. In her delirium she called con-
stantly for Jerry and revealed the fact
that she was his wife. When the crisis
was over, Jack, who had been a constant
caller, suggested that Barbara and her
mother come out to the farm where he
was manager, for there Barbara would
soon gain health and strength. Grate-
fully the mother accepted.

Knowing Barbara to be Jerry's wife,
Jack determined in some way to bring
him to a realization of his obligations, and
incidentally to find the stolen jewels, re-
turn them to Marion and clear himself
in her eyes. With this purpose in mind
he followed Jerry from his office one
afternoon, traced him to Cozette's apart-
ment, and then followed the couple to a
cafe.

Entering, Jack took a table near his
quarry, and signaling a waiter, slipped a
bill into his hand and directed that Jerry
be called to the telephone on some pre-
text. His ruse being successful, Cozette
was left alone.

Jack walked over to her.

"You don't know me," he said, "but I
have something very important to tell
you. That pendant you are wearing was
recently stolen from the Alston home."

Cozette, astounded and resentful, was
about to raise an alarm, when Jack seized
her by the wrist. "If you utter a sound,
I will have you arrested for having
stolen goods in your possession!"

Cowed, Cozette sat down again. Jerry,
returning to his table, saw Jack and stared
at him in astonishment. Then Jack,
pointing to the pendant on Cozette's
throat, said: "You are the thief!"

"It's a lie!" said Jerry, cringing.

But Cozette knew from his manner
that it was the truth. White with rage,
she denounced him for bringing her into
such a situation. Slipping off the necklace
and rings, she handed them to Jack, who
in turn gave them to Jerry with instruc-
tions to return them to their proper own-
ers. "You can say that I returned them
if you are too much of a coward to con-
fess," said he. Then, turning to Cozette,
"I will see this young lady to her home."

Out in the sunshine at the farm Bar-
bara's cheeks soon grew round and rosy
again. But she still asked for Jerry and
Jack could not find it in his heart to tell
her that Jerry's marriage to Laurel had
been announced to take place within two
days.

Jack puzzled his brain for some plan
whereby to carry out his intentions re-
garding Jerry. He was determined to
make him realize his cowardice, but noth-
ing occurred to him until he chanced to
read in a newspaper the announcement of
a farewell dinner which was being given
to-4he- bridegroom elect, by his masculine
friends, that very evening. This bit of
news set Jack's inventive brain to buzzing,
and on the night of the dinner he planned
to impersonate Jerry's valet, and call for
him and spirit him away.

The scheme worked beautifully; Jerry
was too much under the influence of
liquor to recognize the deception and
readily entered a taxicab which Jack had
provided.

Virginia

Chester,

Movie Star,

Recommends

Lash-Brow-Ine

Lash
Brow-lne
tsed an
dorsed by
favorite beauties

and screen

WINDOWS OF THE SOUL"

EYES — the most important feature of the face, should possess
charm, beauty and soulful expression. Your eyes may be dark,

blue, grey or brown, in all cases, however, the eyes that possess that fascinating
charm are shaded by long, thick, silky lashes and beautiful well-shaped eyebrows.

If your eyebrows and lashes are short, thin and uneven you can greatly
assist Nature in improving these defects by simply applying a little

nightly. This well-known preparation nourishes in a natural manner the eyebrows
and lashes, making them long, thick and lustrous, thus giving sparkling, soulful
expression to the eyes and great added beauty to the face.

Lash-Brow-ine, which has been used successfully by thousands, is guaranteed abso-
lutely harmless. It has passed Professor Allyn's Westfield-McClure test for purity.

Two Sizes, 50c and $1

Clip coupon below and
mail to us, with price,
and we will send you the
Lash-Brow-ine and May-
bell Beauty Booklet pre-
paid under plain cover.

Satisfaction Assured
or Price Refunded

Remit by coin, currency. U.
S. stamps or money order.

Avoid disppointment
with inferior imitations.
Send your order direct to

Maybell Laboratories

4008-30 Indiana Ave., CHICAGO

MAYBELL LABORATORIES, 4008-30 Indiana Ave., CHICAGO

Enclose find [ ] (50c) [ ] ($1.00) (check size desired) for one box of Lash-Brow-ine and May-
bell Beauty Booklet.

§ Name

§1 Address

>y//av/W/^/^/^^^^^

WHO IS THE GREATEST-K
VAMPIRE of the SCREEN?

Can you guess? Wouldn't you like to have her favorite portrait?
- We have it. And YOU may have it
—size 7x11, mounted in a heavy folder
— for 10c. Yes, and 11 other rich
photos of the big-crest and best beloved
Movie Stars-all for $1.00. Here they
are: Theda Bara (two poses), Alice
Joyce, Doujjrkis Knirbanks, Marguerite
Clark, Pearl White, Olga Petrova,

i, Clara Kimball Y.-mjcr, Mary Pickford.
*&*■ Anita Stewart . William Farnum. Norma
^km Talmadtre, Francis X. Bushman, and
many others. 10c each or a set of 12
for SI. That's right, check off your
_^j| 12 NOW and send with currency, V. S.
I stamps or money order to S. BRAM.
Dept. A81, 126 West 46th St., N. T,
TMH Se]u/ stamp for ,rVw-,y.

SHORTHAND
IN 30 DAYS

Boyd Syllabic System— written with only nine char-
acters. No "positions"— no "ruled lines"— no "shad-
ing"—no "word-signs" — no "cold notes." Speedy,

practical system that can be learned in 30 days of home study,
utilizing- spare time. For full descriptive matter, free, address

Chicago Correspondence Schools, 558 Unity Bldg., Chicago, 11L

IPrice-To Introduce

To prove to you that our blue-
white MEXICAN DIAMOND exactly
resembles the finest genuine
South African Gem, with same
dazzling.rainbow-hued brillian-
cy ((Guaranteed ), we will send you
this beautiful, high-grade, 12. kt.
gold-filled Tiff. Ring set with
1-kt. gem, regular catalog price

$4.98, for One-Half Yrit*. $2.50.

Same gem inGent'sHeavyTooth
Belcher Ring, catalog price, S6. 26,
for $3.10. Wonderful, dazzling"
rainbow bri lliancy. Guaranteed 20
Tears. Send SI. 00 and we will ship C.O.D. for Free Examina-
tion. Money back if not pleased. Act quick. State size.
Offerlimited. Only one toncustomer. Cataiogfree. Agents Wanted.
MEXCIAN DIAMOND IMPORTING CO., Department C. B.. Us Cruces. NEW MEXICO

(Exclusive Controllers of the Genuine Mexican Diamond)

Only $2.50

E A BANKER

Prepare by mail for this high profession, in which there
are great opportunities. Six months' term. Diploma
awarded. Send for free book. "How to Become a
Banker." EDGAR G. ALCORN, President

AMERICAN SCHOOL, OF BANKING

457 E.St State Street COLUMBUS. OHIO

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

128

Photoplay Magazine — Advertising Section

What One Dollar
Will Bring You

More than a thousand pictures
of photoplayers and illustrations
of their work and pastime.

Scores of interesting articles about the
people you see on the screen.

Splendidly written short stories, some of which
you will see acted at your moving picture theater.

The truth, and nothing but the truth, about
motion pictures, the stars, and the industry.

You have read this issue of Photoplay so there
is no necessity for telling you that it is one of the
most surperbly illustrated, the best written and
the most attractively printed magazine pub-
lished today — and alone in its field of motion pictures.

Slip a dollar bill in an
envelope addressed to

PHOTOPLAY MAGAZINE

Dept. 7-G, 350 North Clark St. ■

CHICAGO

and receive the March issue
and five issues thereafter.

PHOTOPLAY MAGAZINE

Dept. 7-G, 350 North Clark Street, CHICAGO

Gentlemen : I enclose herewith $1.00 for which you will kindly enter my
subscription for Photoplay Magazine for six months, effective with the March,
1918, issue.

Send to.

Street Address-

City.

L- -

.State.

(February)

The Good-for-Nothing

(Continued)

When Jerry came to his senses the fol-
lowing morning, he was lying on a pile of
hay in a barn. He awoke to find himself
at the mercy of Jack, who sat, half in
shadow, with a shot-gun across his knees.

A shot-gun is a great persuader. By
means of it Jack succeeded in getting
Jerry to write a letter to Laurel, stating
that he intended to remain away indefi-
nitely. Thus was all investigation stopped,
and the parents of the humiliated Laurel
were obliged to announce a postponement
of their daughter's wedding. Of course,
every one knew then that there would be
no wedding at all.

So, guarded constantly by a husky farm-
hand carrying a shot-gun, Jerry started
in to learn what it really meant to be a
man. He was obliged to rise at daybreak,
feed the stock and clean the stalls; he
did the hard work of a farmhand every
day from daylight until sundown. And
he grew brown and sturdy under the new
regime, he accomplished an enormous ap-
petite, and little by little the old demoral-
izing tastes left him and he gained a new
aspect on life. He surprised Jack one day
by coming to him and telling him that his
ideas on certain subjects had changed and
that he was ready to take the blame of his
own wrong doing.

"Would you want to go back to the old
life?" asked Jack. "To a loveless mar-
riage for money?"

Jerry thought a minute and then de-
cided to confess.

"I am going back, but not to the old
life. I am going to ask the little girl who
really is my wife to forgive me."

And of course he was forgiven.

And of course Jack married Marion.

Branded by Cupid

(Continued from page 73)

"But I must tell you," wailed Olive.
"It's been a load on my conscience.
Every day has been a living lie. It is
I who am unworthy."

"Well, get it off your chest," says Tim,
lookin' white around the gills. "But re-
member I didn't ask for it."

"I'll confess if it kills me," wept Olive.
"It's this', Tim. The first time I met
you I told you I was nineteen years old.
It wasn't true. I'm really twenty-seven."

That was more than even I could
stand. Stufnn' my hat in my mouth I
silently, like the Arabs, beat it. Before
I went though, I saw them fadin' into
a clinch.

That's why I say that everybody, both
man and woman, is naturally darned fool,
but when they start to be fools together
they get beyond the bounds of reason.

Oh, I forgot. Did they get married,
you ask. I hate to spoil a romance,
but they didn't. Just before the fatal
event Olive discovered that Tim always
sleeps with his boots on and uses his
saddle for a pillow. When she digested
that bit of information it gave her pause,
so to speak. She now admits that baths
and haberdashery ain't such bad things
in a man's life after all.

Tim now uses the kitchen cabinet as a
dresser.

Every advertisement in PHOTOPLAY MAGAZINT3 Is (ru tr«nteed.

Photoplay Magazine — Advertising Section

129

Beating Them To It

(Continued from page 2q)
I figured out that if they on how we're getting along. By the way

"I'll tell you
didn't get the script from me, they'd keep
on trying, and in the end they'd probably
get what they were after from someone
else. So I thought I might as well put an
end to their efforts, once and for all. As
soon as I gave them the script, they were
satisfied. Began work on their production
at once. I hear it's nearly done. They only
put this Parker girl down here to get the
exact dope on when we would be ready."

"Percy!" I gasped, "are you mad?
What good does all this do us? You gave
them a copy of the script, didn't you?
What's the use of all this talk about your
motives?"

Percy gave me a queer look, and then
he sat back in his chair and began to
laugh. It was just a low chuckle at first,
but in a few moments he became almost
hysterical. I saw that he was highly
nervous and began to suspect that some-
thing had affected his mind. His manner
did not seem entirely rational.

"For God's sake, Percy," I said, "if
there's anything to this that I dont under-
stand, explain it to me. What are you
laughing about?"

He pulled himself together then, and be-
gan to speak. I listened, spellbound.

"I gave them the script they're work-
ing on," he exclaimed, "but it wasn't the
one we're doing here. It was a version of
The Noble Sinner I'd been fixing up for
the past three months. Wont they be sur-
prised when they open up, expecting to
crab our picture, only to find they've done
something entirely different."

I fell back into my chair, absolutely
dumbfounded. I could scarcely grasp the
whole thing, at once. The joke on the
Metagraph seemed too colossal. I could
hardly believe it.

"Percy!" I almost shouted. "Is it true
—really true?"

He nodded solemnly.

"But," I objected, "why hasn't this
Parker girl put them wise?"

"She doesn't know anything about what
they're doing. She's only here to report

-would you mind letting me post that
letter now?"

"But — what for?" I asked.

"Don't you see? If we release on the
1st, and they don't know about it, they
will never show their picture at all, for
they will know they've been stung."

"Well," I asked. "What difference does
it make, if they don't show it?"

"A lot, to me," Percy said, without bat-
ting an eyelash. "I happen to own the
dramatic rights of The Noble Sinner.
Bought them from the author last year,
before the book made anything of a hit.
I want the Metagraph people to make
that production, because I mean to make
them pay me royalties on it. Do you get
me?"

"Percy," I said, reaching for his hand,
"you aren't a camera man — you're a
financier. I take off my hat to you.
Here's the letter. Post it by all means.
I want to see Jerome Kurtz's face, when
he takes a look at our picture, the open-
ing night."

I turned to Bancroft as I finished my
story. He was grinning broadly.

"You're excused," he said. "After what's
happened you've got a right to laugh your
head off. And who was the thief you
shook hands with?"

"Why," I replied, "Percy Malone, of
course. The Chief has just given him a
fifty percent raise in salary."

"Good boy," Bancroft exclaimed. "And
what about the thousand he got from the
Metagraph?"

"Why, he's keeping it as advance
royalty on his picture, The Noble Sinner.
Jerome won't dare tell the truth about
it. And once the film is shown, Percy's
got a perfectly good claim for royalties,
because he happens to own the dramatic
rights. So there you are."

"Say," Bancroft remarked, as he called
the waiter, "you better keep your eye on
that camera man. First thing you know,
he'll own the whole works. Let's have a
drink."

Heavens! What a Wonderful Blonde

(Continued from page 102)

the conclusion that musical comedy pre-
sented more opportunities and I eagerly
accepted an offer to understudy one of
the stars in 'Chin Chin.' I had already
refused to consider a chance in the Fol-
lies. It didn't appeal to me.

"Before I had progressed very far,
however. I began having trouble with
my voice, a sort of laryngitis, and I
had to give up musical comedy.

"Between times I had posed for Mr.
Leone Bracker, the illustrator; Mr. Hiller
and others, so it wasn't very long before
the film people discovered me. Mr. Wil-
liam Fox offered me a splendid oppor-
tunity last March and I accepted it. I
have been told that I have 'made good,'
but I feel that there is a great deal of
hard work in store before I can be re-
garded as a sure enough star. Why, for
instance, I can't ride a horse, and for
the next week Tom Mix is going to give
me daily riding lessons, so I can play
with him in a big Western feature."

Miss Pettit made her debut in "The
Derelict," a William Fox production
starring Stuart Holmes, the well known
wrecker of screen homes. She also sup-
ported him in "The Broadway Sport,"
and then William Farnum arrived from
the West and she played with him in
"The Doctor." Miss Pettit was then
transferred to the West Coast studio of
the Fox company. Here her first play
was "This Is the Life," with George
Walsh, and then she played in "Responsi-
bility" with Enid Markey, after which
she was switched to the Tom Mix com-
pany.

And now the Princess Wanda, once of
Seattle and New York, to say nothing
of Scranton, lives in a little bungalow
in one of the little bungalow courts for
which Hollywood is famous and when
she sings in the evening, the night watch-
man at the gate of Mr. Griffith's Baby-
lon, across the way, lights his pipe, tilts
back his chair and shuts his eyes.

Every advertisement in PHOTOrLAY MAGAZINE is guaranteed.

Sanford's Premium

Writing Fluid and

Sanford's Fountain

Pen Ink

Society of

New York and Paris

Society and Stage Beauties of
Paris and New York have used

X. BAZIN

Powder (for removing objectionable
hair) for the past 50 years. Approved
by physicians, hospitals and dermatol-
ogists.

We have sold over one million bottles
of X. BAZIN Powder to the women of
America. Time and extensive use has
proven X. BAZIN Powder safe and
certain in its action. Try it.

SOcand $1.00

Refuse cheap, dangerous substitutes

If your druggist does not keep
X. BAZIN, send direct to us.

HALL & RUCKEL

231 Washington Street, NEW YORK.N. Y.

Yoeur Movie Star Po%:ra

WE were the first to produce postcard
photos and photographs of the
movie stars and today are the
largest direct-to-you distributors. Our
personal acquaintance with the screen fa-
vorites enables us to offer you exclusive and
recent poses at lowest prices. Send a quarter
for eighteen of your own choice or fifty cents
- — for forty or a dollar for a hundred. Billie
1 0 Burke, Mary Pickford, Clara Kimball
IO Young. Francis X. Bushman, Theda Bara,
and over 50J others that you know.
■OF Actual photographs in attractive poses,
QP" size 8x10, of all Feature Stars, at 50
/f)C cents. Get 3 beautiful photos of your
*■'***' favorite in different views and poses.
Special at $1.00 for 3. Send a stamp for sample
card and our list, sent free with all orders. Stills
of well known stars 10 for SI. Send the names
your favorites* we may have them.

FILM PORTRAIT CO., 127 A, lsl Place, Brooklyn, N.

100

(or

VETERINARY COURSE AT HOME

Taught in simplest English dur-
ing spare time. Diploma granted.
Cost within reach of all. Satis-
faction guaranteed. Have been
teaching by correspondence
twenty years. Graduates assisted
in many ways. Every person in-
terested in stock should take it.
Write for catalogue 170171?
and full particulars r IV 1.1.

LONDON VET. CORRESPONDENCE SCHOOL

Depl. 24

London, Ontario. Can.

T3°

Photoplay Magazine— Advertising Section

do You Need
More

Do you want to learn
of a way to get the
money you need — an
agreeable, dicnified.
ure wayPThen write
?u at once and re-
ceive full information
of the World's Star
Way — that has brought money, freedom and
independence to thousands of women.

More Than 1 5,000 Helped
In all sections of tlie country, women have built up
Steady income producing businesses. Married and un-
married women young;, middle-aged and elderly —
women with families and without — areallsuccessfully
and profitably engaged under our directions. They s'-ll —

World's Star

Hosiery and KIsanKnit
Underwear

in their locality to friends and neighbors. It's surpris-
ing bow easy it is to get customers and bow the busi-
ness grows. Buyers become permanent customers and
boosters. World's Star quality and values bold them.

An Opportunity Is Offered

you to become a World's Star money-maker. Our Sales Instruc-
tor shows exactly how Co proceed. Previous expel ienc° is rot
needed. You aro hound to succeed. But you must make the
start— write and iret particulars. As the established local repre-
ss,itntiv,. of the l„r*est mills of their kind in the world, you will
have recognized standing in your community.

Write today for our free catalog.
It tells the whole story.

DEPT. 430 — ~ BAY CITY. MICH.

We ha re been in business here for 23 ye< i ri

Infantile
Paralysis

caused the deformity of foot
and leg shown in this pic-
ture. Treatment at the
McLain Sanitarium resulted
as shown below. The boy-
is Marl en Ohman. His
mother writes:

'All our friends think it simply wonderful that Marlen's foot
and le? are perfectly straight, and that he has such zood use of
it. How thankful I am that I learned of your Sanitarium and
its wonderful results before it was too late. I wish every mother
who has a crippled child could know of your Sanitarium and its
treat work— and be persuaded to take her child there."
MRS. CHARLES OHMAN,

Box 216. Demine, New Mexico
Write Mrs. Ohman or the Sanitarium.

For Crippled Children

The McLain Sanitarium isa thoroueh-
Iy equipped private Institution devoted
exclusively to the treatment of Club
Feet. Infantile Paralysis, Spinal Dis-
eases and Deformities, Wry Neck,
Hip Disease, Diseases of the Joints,
especially as found in children and
young: adults. Our book, "Deformities
and Paralysis" — also "Book of Ref-
erences," sent free.

Toe McLain Orthopedic Sanitarium

804 Aubert Ave. :: St. Louis, Mo.

LEARN
MUSICA H< ME

MUSIC LESSONS FREE

Become most popular person in your setl
Learn to Play ey Note:— Piano, Organ,
Violin, Banjo, Mandolin, Trombone, Flute,
Guitar, Ukelele, Saxophone, Clarinet. Piccolo,
Comet, Harp, 'Cello, ortosing. Special Limi-
ted offer of free weekly lessons. Youpayonly
for music and postage, only 12 J -2 cents a
week. Noextra3. Beginners or advanced pupils,
"•'■■ery thing illustrated, plain, simple, systematic.
ae lectures each week. 19 years success.
WKITE POSTAL TOO/IY for Free Booklet. Over
| 200,000 successful pupils all over the country.
U. S. SCHOOL OF MUSIC
562 Brun.wlck Bldg., New York

Ernest, Tasmania, Australia. — Enid
Bennett, Margery Bennett, Sylvia Bremer
and Louise Lovely are the only Australian
girls of prominence in the films that we can
think of right now. Ethel Clayton is 27.

Questions and Answers

{Continued from page 106)

Betty, Winfilld, Kan.— No, Charley
Chaplin is not related to the Answer Man.
We never could save a cent. Theda Bara
is 27 and wholly unmarried. Billie Burke is
31. We just did escape the draft. You see
one must be twenty-one to become a draftee.

E. C, New London, Conn. — Screen
players work at various hours— in the day-
light studios from nine in the morning till
the light gets bad usually; in the electric
studios sometimes day and night. Yes, we
like Girl Scouts, and other girls too. No
record of Bliss Chevelier's plays.

Glory, Minneapolis, Minn. — Sid Smith
of the Sennett Company was born in Eiri-
bault, Minn. That is, if he is the same Sid-
ney C. Smith who was with Selig for a hall'
dozen years and we presume that he is.

C. K., Portsmouth, O. — We have no
record of the company you mention.

S. W., East Brisbane, Queensland, Aus-
tralia.— It will be regarded as perfectly
recherche if you write to Antonio Moreno
for a photograph. Meantime we'll try to
see what we can do about your request.
Hope the strike is over by this time, so you
can get your Photoplay.

Jill, Pottsville, Pa. — We don't know
how he used to pronounce it but now it's
Cor do'ba. When the stage stars forsake
the footlights for the camera they always
put the accent on the dough. "Close up''
rhymes with "dose up." Neither verb nor
adjective, but noun. Your friend of "Little
Miss Optimist" is not mentioned in the cast.
Do you mean that you actually met us
once? Judging from the description we
must have had our spectacles off. Write
again and tell us some more.

D. M. Pittsburgh, Pa. — You must have
been mistaken. Tom Forman is with the
Coast Artillery and at present is stationed
at Long Beach, California, guarding a ship
building plant. Mother Maurice is with
Vitagraph still. Bill Desmond is sure Irish
and Louise Huff's husband is Edgar Jones.

Pearl Patriot, Plainfield, N. J. — Yep;
we've noticed that nearly all of the famous
women of history have had red hair — at
some time or other. Pathe decided to ex-
tend "The Fatal Ring" beyond fifteen
episodes. Henry Gsell came from the stage.

Glory, Minneapolis, Minn. — Pearl
White has been married and divorced, we.
understand. Marguerite Clark has been
neither. Willard Mack was married to
Marjorie Rambeau. She was just ahead of
Pauline Frederick. Syd Chaplin did not play
in any of Charley's pictures. Charley ex-
pects to make about eight pictures during the
coming year.

M. G. M., Chinook, Mont. — We quite
agree with you and you are going to see
lots of pictures of new movie players in the
near future.

Austral, Victoria, Australia. — There are
numerous agencies which deal in scenarios
but it is rather difficult to publish such
information in this department. Have you
tried submitting synopsis of your scenarios
to some of the big producing companies?

Every advertisement in rilOTOPLAY MAGAZINE is guaranteed.

L. G., Ardmore, Pa.— Bobby Connelly was
the boy in "The Law Decides." Eugene
O'Brien will undoubtedly send you a photo-
graph. Address him at The Rovalton, New-
York City.

Buddy, Mount Vernon, N. Y. — You are
some picker, kid. Olive Thomas is married
to Jack Pickford but she'll be glad to send
you a daguerrotype of herself if vou write
her at Culver City, Cal.

A. L. H., Washington, D. C— Gladys
Brockwell played opposite William Farnum
in "The End of the Trail " Write Wallace
Reid direct for a photo.

G. V. W., New York City. — Bertram
Grassby was the young fellah who played
Hallem in "To Honor and Obey."

Grace, Hamilton, Ont., Canada. — Leon
Bary played the p~rt you refer to in "The
Double Cross." Cladys Smith was the r'ght
name of Mary Pickford, but now it's Mrs.
Owen Moore.

Georgette, Cheyenne, Wyo. — Theda Bara
is her right name. Miss Bara was recently
allowed to change her name from Theodosia
Goodman by order of a New York court.
She will be allowed to have 28 candles in
her birthday cake on July 20th next.

E. C, Philadelphia, Pa. — The cliffs in
"When a Man Sees Red" are within a short
distance from Los Angeles. It was Dustin
in "North of 53" not William. Both are
married.

Minerva, Pasadena, Cal. — George Ber-
anger was the hired assassin in Doug Fair-
banks' "Flirting with Fate." He is now in
the Canadian aviation corps. Dorcas
Mathews was Enid Markey's maid in "The
Captive God." Jack Gilbert was the man in
love with Margery Wilson in "The Sin Ye
Do." Douglas MacLean occupied a similar
position with respect to Frances Nelson in
"Love's Crucible." Frank Bennett has been
with Famous Plavers in New York recently.
Here's the "In Slumberland" cast : Eileen
McCree, Thelma Salter; Nora McCree, Lnura
Sears; Patrick McCree, Jack Livinsston;
Peter Kennedy, J. P. Lockney; Flynn. Walter
Perrv.

H. T., Santa Barbara, . Cal— Arthur
Maude is not related to Cyril Maude,
although it has been erroneously stated in
this department that he is a nephew. Cyril
Maude is now playing "Grumpy" in Australia
and Arthur Maude is in vaudeville.

K. A., Henrietta, Tex. — Victor Suther-
land played with Miss Pearson in "Daredevil
Kate." Write him care Fox, Ft. Lee, N. J.
Same for the Lee kiddies.

S. F., Bridgeport, Conn. — Jack Holt
played opposite Mary Pickford in "The
Little American" and also Hepburn in "The
Call of the East" with Hayakawa. Seena
Owen has never played in a photoplay oppo-
site her husband George Walsh.

A. W., Pearl River, N. Y. — If Francis
Bushman and Max Figman are related, they
are keeping it from Max. Max is back on
the stage slaying the leading role in "Nothing
But the Truth." (That'd be a good name for
this department wouldn't it?) Miss LaBadie
died after the December issue went to press,
so her death was not recorded in that num-
ber of Photoplay. Write to Mutual for that
information about "The Gentle Intruder."

Photoplay Magazine — Advertising Section

I31

Questions and Answers

(Continued)

M. L., Red Bank, N. J.— Glayds Brock-
well played in "The End of the Trail" but
not in "Daredevil Kate." Joseph Maddern
directed local photoplays for the F. F.
Proctor circuit.

Doris Dobbins, Chicago. — The "girl on
the outside" with talent and photographic
possibilities has a chance to make good in
Cinemania and the qualifications you enum-
erate sound like the real thing. For a
sixteener you can write some letter. Sorry
to have made you wait so long for en
answer but everybody seems to be writing
these days in spite of the increase in postage
rates. Glad to hear from you again. Rock-
cliffe Fellowes is still with World.

Happy Jack, Wellington, New Zealand.
— Yes, they are now considering bestowing
the V. C. on us. Heretofore we have been
decorated only with the Double Cross.
Clara Kimball Young would certainly write
vou.

Florence M., New Orleans. — Have we a
Liberty Bond? Well, just what do you
mean. If you mean what we think you
mean — why no, we are not divorced. Myrtle
Stedman's husband is Marshall Stedimn.
Charles Eyton is studio manager of the
Morosco Photoplay Co. Always pleased to
hear from you.

J. M., Indianapolis, Ind. — Be charitable.
Mr. Kerrigan has since denied that he made
the statement credited to him.

B. J., Marion, O. — If you have a photo-
play which you think would do for Billie
Burke, mail it to Artcraft, 729 Seventh Ave.,
New York City.

Evangeline, Toronto, Canada. — Alice
May played the wife of Judge Roberts in
"Bitter Truth" with Virginia Pearson. Glad
vou like us so well.

Nina, Wichita, Kan. — So you want to
know "where the film stars live, whether
they are married and number in the family
and the ages of each?" You perfectly funny
child ; of course we'll tell you. Just have a
little patience. And give this message also to
Ruth.

Helen L., Jersey City, N. J. — June
Elvidge is five, nine and Irene Castle is two
inches shorter than you are. Pauline
Frederick has brown hair. Descriptions
mean little and photographs not much more
in sizing up movie timber. A girl who takes
a stunning photograph may look like a last
year's birds nest on a strip of celluloid.

R. K., Pueblo, Colo. — Juanita Hansen is
20 years old and you can reach her by mail
at Universal City, Cal. She is now playing in
Bluebirds.

A. H., Omak, Wash. — Jack Richardson is
with Triangle and Alice Hollister was last
with Famous. Tammany Young and Stan-
ley Walpole seem to be inactive, filmatically
speaking.

R. D., Chicago. — By all means send the
poem to Miss Pickford. She will appreciate
it very much. You will find her just as
sweet as you visualize her.

John, Easthampton, Mass. — Joseph
Moore is a brother of Owen and both were
born in Ireland. Joe is now a soldier at the
training pmp at American Lake, Washing-
ton. Mollie King is 18 and free. She weighs
115.

10c a Day! |

You can have your choice of over 2,000 musical
instruments for one week's trial in your own home.
Then, if you decide to purchase, you can pay the Hi

rock-bottom price at the rate of a few cents a day. jl'

If you do not want the instrument, send it back.
The trial won't cost you a penny. |j J

But first mail the coupon below for our new 194
page catalog illustrating every known musical instru- \

ment. You will be astonished at the low prices.

We Offer— |j

— the best instruments that can be made. jj]|

— rock bottom manufacturer's prices.

— one week's trial at our expense. S 1

— triple silver-plated cornet for only 10c a day.

— your choice of over 2,000 instruments.

WuRUlZER

200 years of instrument making
Wurlitzer has supplied the I'nited States (I

Government with Trumpets for 55 years g{>

The name "Wtnl itzer" stamped on musical instruments has
stood for the highest quality for nearly two centuries. We are
manufacturers or importers of every known musical instrument,
every one sold to you at direct-from-the-manufacturers price.

Play It a Week— At Our Expense

Try out the instrument of your choice in your own way before

you decide to buy. Compare it with other instruments. Test it. m i

Use it just as if it were your own. Then after one week's trial g 1

—either pay a little each month or send it back. m •

Send the Coupon /Sj|™E£

J_^ > East 4th St., Cincinnati, Ohio

Just put your name and address / Somh w^h eAJeej ™ca*°

On the COUpOn nOW and get OUr * I94"aKeca"alog absolutely ftee" Also

b:~ _»... ~ j. 1 _ l_ lii f tell me about your special oiler direct

Ig, neW Catalog ahSOlutely f from the manufacturer.

free. Please state what in- /
strument you are interested in *

and we'll send you the big 194- f Name

page book free and prepaid, y

The Rudolph Wurlitzer Co. / Address

Dent. 1532 /

E. 4th St., Cincinnati, Ohio t
S. Wabash Ave., Chicago w

illllllllilliiliiilllllllllllllllllllllllllllllllllllllllllllllllllllllllllll/ *««••«*»«■««**» VN^eofinstrumeut-here) '

The Book of 1000 Economies

Every housewife should send for the big money-sav-
ing Larkin Catalog. By buying your Foods, Soaps
and other home supplies from Larkin Co., you save
the Middleman's expense. This saving is given to
you in the form of beautiful and useful Premiums.

Laundry Soap 3 \c per bar

By taking your Premium-value in the form of a double
quantity of Products, ycu get Scouring Powder 1 lb., 5c:
Gloss Starch 3 lbs., 17 %; Vanilla Extract 2 oz., 17 V2;
Table Salt 5 lbs., 5c and 600 other Household supplies at
equally low prices. All goods of the highest quality.
Get our Catalog today. Everything clearly explained, in-
cluding our famous money-back guarantee.

Send Coupon or Postal to nearest address

L&t~Ic£tZ C&+ BUFFALO CHICAGO PEORIA

Please send me Catalog No. 78.

Name .

Address .

G.P. 364.

REMEMBER —

Every advertisement in PHOTOPLAY is guaranteed,
not only by the advertiser, but by the publisher.

When you write to advertisers please mention that
you saw the advertisement in PHOTOPLAY.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

132

Photoplay Magazine — Advertising Section

He is going over
the top! and he
needs a smoke
to cheer him up!

Americans, our fighting men in
France need tobacco. They are
giving their lives to defend you.
Do your part to make them com-
fortable during the dreary hours
in the trenches.

Twenty-five cents provides
enough tobacco to make one of
our gallant defenders happy for a
week. $1.00 sends a month's supply.

Prominent magazines and news-
papers stand back of this move-
ment. The War and Navy De-
partments endorse it.

A War Souvenir for You

In each package is enclosed a
post card addressed to the donor.
If these come back they will be
war souvenirs much treasured.

Mail Coupon Today

"OUR BOYS IN FRANCE
TOBACCO FUND"

25 W. 44th St.

New York

Gentlemen:— I want to do my part to
cheer up the American soldiers who are
fighting my battle in France. If tobacco
will do it— I'm for tobacco.

(Check below how you desire to contribute1

I send you herewith , my

contribution toward the purchase of to-
bacco for American soldiers. This does
not obligate me to contribute more.

I enclose $1.00. I will adopt a soldier
and send you $1.00 a month to supply
him with 'smokes" for the duration
of the war.

Name

Address

Questions and Answers

I Continued)

Maggie, Norfolk, Va. — It « rather pro-
voking, isn't it? But how are we going to
change it? If these girls insist on calling
themselves "Beatrice Beautiful" and "Helen
Handsome," why who knows how soon, as
you suggest, we will be afflicted with "War-
ren Winsomes" and "Percy Prettiboys?" Al-
len Holubar is his name and he's a pretty
nice fellah — no bad habits, good to his wife
and child, etc. Yes, his wife is Dorothy Phil-
lips, but she allows him to get letters from
his admirers of the sensible sex. (Now they'll
all say they knew all the time we were a
woman !)

J. B., Chicago Heights, III. — Most of
the male stars have attended some college
or other and quite a few of the old timers
have a diploma from Keeley.

Marion, Trenton, N. J. — We can no
more tell you why boys do such things as
write to girls they don't know than we can
tell you why a girl will read in this depart-
ment that Francis Bushman is not married
to Beverly Bayne, and then sits down and
writes us if Beverly is the wife of Francis.
Horatius wasn't the only guy that had a few
guesses coming, or was it Horatio? We're
kinda weak on medieval history.

M. G. H., Df.s Moines, Ia— Harold Lock-
wood is married and not divorced. Gail
Kane has never been married or divorced.
Ditto Douglas McLean. Cast of "Other
People's Money": The Girl, Gladys Hulette;
Her Sweetheart, Frannie Rannholz ; Her
Father, J. H. Gilmour; The Crook, Yale
Benner; His Wife, Kathryn Adams.

E. B., Minneapolis. — Emily Stevens has
been on the stage all her life. She was born
in New York City and is a niece of Mrs.
Fiske. Her last stage success was "The Un-
chastened Woman." She is considered a very
finished player on both stage and screen.

Silver Sands, New York City. — Joseph
Girard played Dr. Reynolds, the "Voice on
the Wire." Thanks dreadfully for the
symbols of your affection, so to speak.

Blossom, Sydney, Australia. — Mary
Miles Minter is five feet two inches tall and
weighs no pounds. Bessie Love is five one
and a half, and Jean Sothern five one. Oh,
yes, Bessie weighs ioo and Jean tips the beam
at five pounds more.

Polo Admirer, Nashville, Tenn. — Eddie
Polo is 36, married and eats a light break-
fast, followed by a middling lunch and a
rather heavy dinner. He likes to dance, and
since "The Gray Ghost" has played in "The
Bull's Eye" another serial. Once upon a time
he was a circus performer. Write him again
about that two-bits you sent him for a
photograph. Maybe he's been paid since.
Grace Cunard is not playing right now. Tom
Forman and Ernest Shields are guarding the
shipyards at Long Beach, California, in the
Coast Artillery.

Daniel, Montreal, Canada. — Of those
you mention, Eugene Strong seems to be
about the only one now active. He is sup-
porting Blanche Bates in "The Border
Legion," by Zane Gray. You needn't apolo-
gize for criticising our criticisms as we do not
regard ourselves as wholly infallible.

Rita, LaGrande, Ore. — So you think we
have Solomon "backed off the boards."
Granted. Solomon is dead. But if you think
it's flattery to call us a woman — well, we'll
forgive you because we know you mean it in
a complimentary way. Roy Stewart is not
related to Anita, or even to Stuart Holmes.
Ruth Stonehouse is married, but her hubby
is off to war. Jack Mulhall is also married,
but George Fisher isn't.

A. Cornstalk, Wellington, New Zea-
land.— Elmer Clifton is 25 years and mar-
ried. Francis Ford has a young son. Edna
Mayo is unmarried. So is Eugene O'Brien.
Rena Rogers was Lillian in "Where Are My
Children." In private life she is Mrs. Frank
Dorzage.

X. F., Macon, Ga. — Gee, what a fawncy
writer ! Francis X. was born in Norfolk, Va.
But you'll have to write to the county clerk
to ascertain the date. Address, 1476 Broad-
way, New York care Metro.

J. H. L., Chicago. — Theodore Roberts was
Bishop Cauchon in "Joan" and Winter Hall
was Dr. McLean in "The Primrose Ring."
Different men entirely.

Brown Eyes, Carlisle, Ky. — Rhea
Mitchell is now with Paralta; Alice Brady
with Select; Louise Lovely, Universal, and
William Russell, American. Better fall right
out of love with John Bowers and give
somebody else a chance. He aint eligible.

M. P., Toronto, Canada. — Gretchen Le-
derer was the girl in "The Phantom Thief."
She has been in pictures for several years.
We have no record of the girl you mention
as having played in "Tale of Two Cities."
If she did, it wasn't a prominent part. That
was a photo of Mr. and Mrs. Bushman.

W. N, Leavenworth, Kan. — Halkett in
"The Girl Philippa" was Frank Morgan.
Jack Barrymore is still in the pictures and
also on the stage. "Rudy" Cameron played
opposite Anita Stewart in "Clover's Rebel-
lion."

Bhly, Washington, D. C. — Mahlon
Hamilton played with Miss Clark in "Molly-
Make-Believe." Lyster Chambers with
Louise Huff in "Marse Covington," Sylvia
Bremer with Charley Ray in "The Pinch
Hitter." Can't tell why you don't see Dus-
tin Farnum any more. He's still hanging
around on the screen. Don't know when
Clara Kimball Young is going to have "a
decent play." She don't ask our advice any
more. Mae Murray's newest play, "The
Eternal Columbine," whatever that means.
Kate in "Kennedy Square" was Muriel
Ostriche. Anna Little is Wallie Reid's lead-
ing woman at present.

W. F., Port Pirie, South Australia. —
You are quite some film fan, William. Zoe
Rae is a year older than Baby Marie Osborn.
Edith and Mabel Taliaferro are sisters, but
Neal Hart is not related to Bill. Helen
Holmes is almost an Australian, as she mar-
ried J. P. McGowan, who is an Antipodean,
as the high brows say.

Lottie, Charleston, S. C. — It's a pretty
big order Lottie, but here it is : Cast of "The
Circus Man:" Richard Jenison, James Neill;
Frank, his son, Hubert Whitehead; David,
his grandson, Jode Mullally; Isaac Perry,
Billy Elmer; Thomas Braddock, Theodore
Roberts; Mary Braddock, Mabel Van Buren;
Christine Braddock, Florence Dagmar; Ernie
Cronk, Raymond Hatton; Dick Cronk,
Howard Hickman; Colonel Grand, Fred
Montague. Cast of "Samson": Maurice
Brachard, William Farnum; Mme. Brachard,
Maude Gilbert; Marquis d'Andolin, Edgar
Davenport; Marquise d'Andolin, Agnes
Everett; Max d'Andolin, Harry Spingler;
Jerome Govain, Charles Guthrie; M. Dever-
eaux, George de Carlton; Elise Vernette,
Carey Leigh; M. Fontenoy, Elmer Peterson;
Baron Hatzfeldt, Edward Kyle.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

>tions and Answers

ntinued)

B. R . Lenora, Kan. — Walker Whiteside
and Valentine Grant had the leading roles in
"The Melting Pot."

Oh Boy. Ocden. Utah. — Cincinnati is fa-
mous for being the birthplace of Marguerite
Clark as well as Theda Bara. L. C. Shum-
way was Jose in "Behind the Lines." Lois
Weber has produced "K" with Mildred Har-
ris featured.

Simple, Elizabeth ton. Tenn. — Who is
the greatest movie actor and the greatest
actress in the world ? We haven't got room
here to print the list. Crane Wilbur is mar-
ried and his birth date is Nov. 17. 1880. This
would make him of draft age.

F. P., Tulsa, Okla— Don't know Billy
Vernon. We have a "Brownie" Vernon and
a Bobby Vernon, however, and we can guar-
antee them "just as good."

D. M. W.. LaRve. Tex.— "Sir" is right.
You were probably mistaken as the young
lady you mention has never had any connec-
tion with this magazine. Betty Scott is the
present better half of Earle Foxe. Sorry' for
the delay.

Kiddo, Birmingham, Ala. — Henry Wal-
thall's favorite car is manufactured in De-
troit, his last picture is "Hum Drum Brown''
and his favorite poem a little thing entitled
"The Dav It Rained."

A. M. D., Kalamazoo. Mich. — Must con-
fess we never heard of Hy Russell. Sorry.

Red Circle, Batavia, East Indies. — My,
see who's here ! Quite a trip for that li'l o!e
letter. Ruth Roknd is Mrs. Lionel Kent in
private life and you can reach her by ad-
dressing her at Los Angeles. "The Red
Circle" was filmed in America and her latest
picture was "The Neglected Wife." This,
however, was made before she was married.
Yes, sometimes the phyers drop in to see us,
but we have the telephone girl take their
weapons before they pass in.

Helen, New York City. — Doris Kelly of
"Younz America" fame is not in pictur
believe.

Henry-, Buffalo. X. Y. — We can't give
you any information. Hank, that would aid
you in becoming a movie star. Stew bad !

R . Toronto, Canada. — You may address
Mr. Griffith at just Lo~ Anjreles and Earle
Foxe, c?re Pathe. New York City. It is not
likely that the former will seriously consider
a photograph sent him for purposes of em-
ployment seeking.

Fred, Denver, Colo. — Actresses do not
paint their lips black — merely rouge them
but red photoeraphs black. The darkening
around the eyes is for the purpose of accen-
tuating the lights in the eyes. If most of
the players %vent into a scene au naturel, as
it were, they would look like — well most
anything you can think of. Makeup is as
necessary under the artificial lights and even
the sun, as it is on the staee and did you
ever see anyone on the stage without make-
up? If you did, you can see the point.

J. D.. Swarthmore. Pa. — Pauline Fred-
erick is five three and a half tall and she is
very friendly towards her admirers, so don't
hesitate to write her.

Compare It With a Diamond

Solid Gold
Mountings

Flat Belcher Ring

No. 1. Solid gold mounHng.

■ *.h flit

wide band. Almost a carat.

guaranteed genuine Tifnite

Gem. Price S12.o"J; only %3_'M

-rival, balance
month. Can be rettn-Ded at our
expease within 10 days.

Ladles' Ring

K*. 2. Solid gold mounting.
J'asa i-uaj ar-teed ger .

- almost a carat in size.
Price «12 oo: only $3.50 upon
arrival. I^alanee C3 per month.
Can be relumed at our expense
within 10 oays.

Tooth Eelcher Ring

Bri d gold^ six-prom
g. Guarantee

carat ir, size. Price

r. arrival. Ual-
inteKI'J per •-

i at oar expense within
10 days.

To quickly introduce into every locality our beautiful
TIFNITE GEMS, we will absolutely and positively send
them out FREE and on trial for 10 days' wear. In appear-
ance and t -. these wonderful gems are so much like a diamond
that even an expert can hardly tell the difference. But only 10.000 will be
shipped on this plan. To take advantage of it. you must act quickly.

Send the coupon NOW! Send no money. Tell us which ring; you pre-
fer. We'll send it at once. After you see the beautiful, dazzling gem and
the handsome solid gold mounting — after you have carefully made an ex-
amination and decided that you have a wonderful bargain and wai
keep it, you can pay for it in such small easy payments that you'll hardly
miss the money. If you can tellaTlFNITE GEM from a genuine diarr
orif, forany reason at all, you do not wish to keep it, return it at our expense.

Remarkable
New Discovery

The closest thing to a diamond ever

discovered. In appearance a TIFNITE and
a diamond are alike as two peas. TIFNITE
GEMS have the wonderful pure white color
of diamonds of the first water, the dazzling
fixe, brilliancy, cut and polish. Stand em
diamond test — fire, acid and diamond file. Mountings are exclusively [
fashioned in latest designs — and guaranteed solid gold.

ffm i*

How to Order Rings

of bei
actiyi

"igot size ring, ct

... . - ... r . . v .
■

.---

C._J M_ |Unn«v Just send coupon. Send no

kJCllU llU lYlUIlCy reference, no money; no obliga-
tion to you in anyway! You run no risk. The coupon brings
you any of the exquisitely beautiful rings shown and described <
here for 10 days' wear free. Be sure to enclose strip of *
paper showing exact finger measurement as explained.

MAIL THIS COUPON I-s?

Ktrnd now and get a TIFNITE GEM on this liberal offer. \S *-*r
it for 10 days on trial. Every one set :.n latest -- - - t

gold moantir.f- I e - 'hen wL'^her yon want to keep it *
or not. bend for yours now— today — eure. Send no moi^ , /

THE TIFNITE GEM COMPANY /

Rand McNally Bldg., Dept. 296, CHICAGO, ILL. g

THE TIFNITE GEM CO.

' Rkob McNallj B.<k. DepL 296. thic^o, ttj.
- - ■£ No oa :

• r- ,■

#*
|

balance . j per month. li n<--t

satisfactory. I ■"■M return ss.r e

TYPEWRITERS

FACTORY
REBUILT

Movie Fan. New York City. — Gale
Henry is a woman and her risht name is
Mrs. Bruno Becker. Jack Pickford's first
name is Jack.

Save You
From $25 to $75

Up-to-date Machines of Standard Makes

thoroughly rebuilt, trade- marked and i

guaranteed the eame as new. __ Emcientl

eervice through Branch Stores in leading

cities. Send for latest booklet.

AMERICAN WRITING MACHINE CO., bu339 Broadway, N.Y.

$Q50 A Month
,«w^^a«««» Buys a
"™ VitibUWriting

L. C. SMITH

r-.^r. '-" rl L-c ■"": C = ----/ -'_-

lator — two-cok/r ribbon — Bali

— evpr-y

FhrO
Day** Fr«* Trial. FuDj guar-
■bbbA, Qafai z £-'-- ayecM
pri^ seat fr»e.
fc. SMITH, 851-231 ■. 5th Are.. Chicago

"Don't Shout" fl

' ' I bear you. I can beaj
dow as well as anybody.
'How? WA the MORLEY
PHONE. I've a pair in my ears
now, but they are invisible. I
would not know 1 had them in.

mvself, only that I hear all right.

"The MORLEY PHONE for the

DiAF

the ears what
glasses are to the eyes. In-
risible, comfortable, v.
less and harmless. Aiyose
can adjust ii*' (her 100,000 sold. Write for booklet aid trrfrwhlr
THE MORLEY CO.. Dept 789, Perry Bldg.. Philau

Wrestling Book FREE

Every advertisement in Photoplay is guaranteed
not only by the advertiser, but by the publisher

Frank Gotch and Farmer Burns

Qvlckly i«»~«d by mail -
of **-/-
iLiearn row to defend rooraelf. Handle bis men
|WREFTLJNO|with ease. Send for fr.. book. State yoar.se.
" HEALTH! Firmer B.-.. 1532 Hi BMC, Om««. Hm^.

When ynu write to advertisers please mention PHOTOPLAY MAGAZINE.

*34

Photoplay Magazine — Advertising Section

o4n

Inn
C/¥urdock.

"Uutcast"
"The beautiful Adventure"
"Please Help Emily"

"My^Sife"
"The Impostor'
"The leeches t Girl"

Charles Frohman'5 sta;
vSuccesses in pictul

Cndapted iromthe most popular
plajy-s steuied by the master"
producer of the American stage-
played by the most talented
of his stars —.supported by the,
<(nal Frohman all-star edits

<^jJc the <lJ¥ a n ci^e r~*
of your favorite "tt^atre
y>shen you can jee them

PBODUCED by EMPIR.E ALL STAR CORPORATION
OISTHHSUTED by MUTUAL FiLP-1 CORPORATION

- r

'alia.
Kjanderjon

■

1 ':>

The lounaNvay-'

™

Tell

"The Unrore^eea"

"Her Sifter"
"The Girl <stf the Jud^e"

Erery advertisement in PHOTOPLAY MAGAZINE Is guaranteed.

•-•

Purity, convenience, and
real, cleansing refreshment
are combined in the white,
oval, floating cake of

FAIRY SOAP

For toilet and bath
use, Fairy Soap is "first
choice," where fine
quality is desired at
an inexpensive price;
. TH E H K p ■ j p q » m i^ ^^i^iiYi

V.*--:o:-:-:-r-:-!-:->:s.:-> --:v - - ■.-.*. * «* M. M m. mm M^ J » * m. «.»:*:<-»m««««':->:<*»>:>

! UiXU.J i- -

'Have you a little Fairy in your fiome? "

tmtm i wi— w— iy

§C>>1£^^-^

W. F. HALL PRINTING COMPANY, CHICAGO

Y'OO

r-a.

^Rq most famous skin treatment
ever formulated

The first time you use this treatment you will realize
the change it is going to make in your skin! Use it
persistently and, gradually but surely, you will gain the
charm of "a skin you love to touch."

Use once a day — either night or morning. Lather your
wash cloth well with Woodbury's Facial Soap and warm
water. Apply it to your face and distribute the lather
thoroughly. Now, with the tips of your fingers work
this cleansing, antiseptic lather into your skin, always
with an upward and outward motion. Rinse with warm
water, then with cold — the colder the better.

Finish by rubbing your face with a piece of ice.
Always be particular to dry the skin well.

If your skin is thin and sensitive, substitute a dash of
ice water for the application of the ice itself.

A 25c cake of Woodbury's Facial Soap is sufficient
for a month or six weeks of this treatment. Tear off the

cake shown here and put it in your purse as a reminder
to get Woodbury's today and begin tonight to get its
benefits for your skin. For sale by dealers every-
where throughout the United States and Canada.

Send for this booklet and sample cake

We have given only one treatment here. The many Woodbury
treatments for the various troubles of the skin are all given in the
booklet, "ASkinYouLove toTouch." This booklet is wrapped about
every cake of Woodbury's Facial Soap. For
5c we will send you this booklet and a cake
of Woodbury's Facial Soap large enough
for a week of any Woodbury treatment.
For 12c we will send you in addition to
the Soap, samples of Woodbury's Facial
Cream and Powder. Write today! Address
The Andrew Jergens Co., 502 Spring Grove
Ave., Cincinnati, Ohio.

VP\e-TOTO\JCH

I i Tyoc/binrj- '&

If you lite in Canada, address
The Andrew Jergens Co., Ltd.,
502 Sherbrooke St., Perth, Ont.

Woodbury's Facial Soap

$
&

,**

^JQOPBURKS

WORLD'S LEADING MOVING PICTURE M,

' <L

Ew7i"!*S

Notice to Reader: *

S Bwujsbqm. Po3ttuanter Ouer»i. I

., ifaj . bsnij

anditwiiib ,
•alloraatthi

HvifcfW C«*ti*

VIRGINIA PEARSON PAINTED BY HASKELL COFFIN

Jacts ancC fallacies ofJMotwn ^Pictures

100 <pfiotoqmpfis! (personalities/ JArt (portraits! 'Reviews! \News>.

rrW/QrimtG* (Ironi. \£,n Wnr\tnr„

Millions of
Feet Never
Have a
Corn

. ' w-

Needless
Deformity

THIS is to people who still suffer painful and unsightly corns. It is to say that joyful hours
need not be wrecked in this way. And pretty feet need never be made ugly. Millions of
people know this, and corns are a banished nuisance. You can prove it by a moment's effort.
And from that hour you'll say good-bye to corns.

Not in These Ways

But you can't do that by paring. That's
a risky operation, and it never ends a corn.
You cannot do it by old-time treatments, harsh
and inefficient. They are too uncertain. Sore-
ness too often follows.

You need not do it in a mussy way. Or
in any way that affects the healthy tissue.
No scientist will recommend
such methods.

A thin adhesive strip holds all in place and
makes the wrapping comfortable.

Blue-jay is applied in a jiffy. Then you
forget the corn. The bit of wax gently under-
mines the corn. Within two days the whole
corn can be removed. Some old tough corns
require a second application — about one corn
in ten. But the results are certain. No corn
can resist this method.

fr.

Stops Pain
Instantly

The One
Right Way

A well-known chemist, after
studying corns for some 25
years, invented Blue-jay. He
selected Bauer G&, Black, who are world-famed
makers of surgical dressings, to carry his
method out.

It comes in an ideal form. A pad protects
the corn while the method acts, so the pain
stops instantly. The wonderful wax which
ends the corn is centered on the corn alone.

ue-jay

For Corns

Ends Corns
Completely

25c Packages at Druggists

Prove This
Tonight

Prove these facts, if you
have a corn, before another
day. It will mean perpetual
freedom. After that, at the
first sign of a corn, you will
place a Blue-jay on it. And that will mean
its finish, before it even starts to hurt.

Every month, millions of corns are being
ended this way. And the time must come
when this will be the universal method.

Don't wait longer. Watch the results on
one corn. Then you will laugh at corns.

BAUER & BLACK, Makers of Surgical Dressings, etc., Chicago and New York

The Oliver Typewriter ^ ^

ITT

A $2,000,000

GUARANTEE

That This $49 Typewriter Was $100

The Sales Policy Alone Is Changed, Not the Machine

The Oliver Nine — the latest and best model — will be sent direct from the factory to you
upon approval. Five days' free trial. No money down. No salesmen to influence
you. Be your own salesman and save $51. Over a year to pay. Mail the coupon now.

This is the time when patriotic American industries
must encourage intelligent economy by eliminating waste.
New economic adjustments are inevitable.

The entire facilities of the company are devoted ex-
clusively to the production and distribution of Oliver
Typewriters.

Price Cut In Two

By eliminating these terrific and
mounting expenses, we reduced the
price of the Oliver Nine from the
standard level of $100 to $49. This
means that you save $51 per machine.
This is not philanthropy on our part.
While our plan saves you much, it
also saves for us.

There was nothing more wasteful in
the whole realm of business than our
old ways of selling typewriters. Who
wants to continue them ? Wouldn't
you rather pocket 50 per cent for
yourself ?

The Identical Model

The Oliver Typewriter Company
gives this guarantee: The Oliver Nine we now sell
direct is the exact machine — our latest and best model
— which until March 1st was $100.

This announcement deals only with a change in sales
policy.

The Oliver Typewriter Company is at the height of its
success. With its huge financial resources it determined
to place the typewriter industry on a different basis.
This, you admit, is in harmony with the economic trend.

A World Favorite

This Oliver Nine is a twenty-year development. It is the finest,
the costliest, the most successful model that we have ever built.

More than that, it is the best typewriter, in fifty ways, that any-
body ever turned out. If any typewriter in the world is worth
$100, it is this Oliver Nine.

It is the same commercial machine purchased by the United
States Steel Corporation, the National City Bank of New York,
Montgomery Ward & Co., the National Biscuit Company, the
Pennsylvania Railroad and other leading businesses. Over
600,600 have been sold.

This Coupon Is Worth $51

Simplified Selling

OVER 6 0 0,000 SOLD

Our new plan is extremely simple. It makes it possible for the
consumer to deal direct with the producer.

You may order from this advertisement by using the coupon
below., We don't ask a penny down on deposit.

When the typewriter arrives, put it to every test — use it as you
would your own. If you decide to keep it, you have more than a year to
pay for it. Our terms are $3 per month. You are under no obligation
to keep it. We will even refund transportation charges if you return it.

Or if you wish additional information! mail coupon for our
proposition in detail. We immediately send you our de luxe
catalog and all information which you would formerly obtain
from a typewriter salesman.

10 Cents a Day

In makin j our terms of $3 a month

- — the equivalent of 10 cents a day — it

is now possible for everyone to own a

typewriter. To own it for 50 percent

less than any other standard machine.

Regardless of price, do not spend
one cent upon any typewriter — whether
new, second hand or rebuilt — do not
even rent a machine until you have in-
vestigated thoroughly our proposition.

Remember, we offer here one of the
most durable, one of the greatest, one
of the most successful typewriters ever
built. If anyone ever builds a better,
it will be 01i*r.

Don't Pay $100

Why now pay the extra tax of $51

when you may obtain a brand new

Oliver Nine — a world favorite — for

$49 ? Cut out the wasteful methods and order direct from this

advertisement. Or send for our remarkable book entitled, "The

High Cost of Typewriters — The Reason and the Remedy."

You will not be placed under the slightest obligation.

Canadian Price $62.65

THE OLIVER TYPEWRITER COMPANY

1473 Oliver Typewriter Bldg., CHICAGO, ILL.

NOTE CAREFULLY— This coupon will bring you
the Oliver Nine (or free trial or further informa-
tion. Check carefully which you wish.

MAIL

TODAY

THE OLIVER TYPEWRITER CO.

1473 Oliver Typewriter Bldg., Chicago, III. ^^^BP*^

□ Ship me a newOliver Nine for fivr days' free inspection. If I keep it,
I will pay $49 at the rate of $3 per month. The title to remain in you
until fully pa'd for.

My shipping pointis

This does not place me under any obligation to buy. If I choose to return
the Oliver I will ship it back at your expense at the end of five days.

□ Do not send a machine until I order it. Mail me your book — " The
High Cost of Typewriters — The Reason and the Remedy," your
de luxe catalogs and further information.

Name.

Street Address

C»y State .

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Mellin's Food

If your baby's present diet is not allowing him
to make the progress he should, it is time to give
him Mellin's Food and cow's milk. This will be
the means of your having a happy, robust, well-
developed little boy.

Write today for a copy of our helpful book,

"The Care and Feeding of Infants," and

a Free Sample Bottle of Mellin's Food.

Mellin's Food Company Boston, Mass
^^

IKS

idvertisement in PHOTOPLAY MAGAZINE is guaranteed.

REG. U. S. PAT. OFF.

THE WORLD'S LEADING MOVING PICTURE PUBLICATION

PHOTOPLAY MAGAZINE

"The National Movie Publication"

|\| f ' "P-24 " James R- Quirk> Editor |M 1 "p- 2.4 "

v -r ■■ ■ :. ■ .■ i I'.i.i ''■■: i «i ■■■:■ » i. i. ,, i

VOL. XIII

Contents

No. 4

MARCH, 1918

Cover Design— Virginia Pearson

From the Pastel Portrait by W. Haskell Coffin

Rotogravure Art Portraits: Olive Thomas

Edna Goodrich
Jewell Carmen

Mrs. DeWolf Hopper and Baby
Marjorie Rambeau
Mildred Harris

Don't Murmur— Kick! Editorial 15

Virginia from Kentucky Cameron Pike 16

Miss Pearson is on the Cover, too.

On "Active Duty" with the Actor-Soldiers K. Owen 20

The Boys who left the Camera for the Colors.

A New Temple of Motion Pictures 22

The California Theatre in San Francisco.

Griffith, Maker of Battle Scenes, sees Real War

Harry C. Carr 23

The Great Director's Impressions are given for the First Time.

Who Said Nazimova was Temperamental? 29

Anyway, they'll Never Say it Again.

Charles Spencer Chaplin— and a Pretty Good Director, too 30

Pictorial Proof of it.

I Love You (Fiction) Felix Baird 32

An Absorbing Romance from the Photoplay.

(Contents continued on next page)

"«l I'iiHI'll'HI... nhllllNHHiM .Nil f-.'. Ihll Nl.llillll'..

Published monthly by the Photoplay Publishing Co., 350 N. Clark St., Chicago, 111.

Edwin M. Colvin, Pres. James R. Quirk, Vice Pres. Robert M. Eastman, Sec.-Treas.

Alfred A. Cohn I Managing I Los Angeles

Randolph Bartlett f Editors J New York

Yearly Subscription: $2.00 in the United States, its dependencies, Mexico and Cuba;

""!.50 Canada; $3 00 to foreign countries. Remittances should be made by check, or postal

• express money order.

Caution— Do not subscribe through persons unknown to you.

Entered at the Postoffice at Chicago, 111. . as Set ond-class mail matter.

Next Month

What Makes 'Em Cry?

How many times have you sat in
a darkened temple of pictures and
watched with wonderment as a player
by very force of her own emotions
carried you quite out of your every-
day self into emotional realms quite
unknown? How can emotions be por-
trayed so realistically, you have asked.
The player seems to be actually living
the part. Seven full pages of the April
issue of Photoplay are devoted to this
subject. On these pages will be found
some very remarkable photographs of
moving pictures in the making.

Bobby Harron

For months the Editor of Photoplay
has been bombarded with letters re-
questing an interview with Robert
Harron, who became a national favor-
ite with "The Birth of a Nation."
Bobby started in as an office boy in
the old Biograph days, and is as un-
spoiled now as he was then. The
charm of his personality is put into
words by Elizabeth Peltret in the April
issue. Bobby told her all about his
wonderful experiences in Europe while
Mr. Griffith was filming the scenes of
his new war play.

Contents — Continued

Grand Crossing Impressions

Jackie Saunders Comes Up to Sec PHOTOPLAY.

Bessie Barriscale's Nemesis

Or, Confessions of a Movie Star.

Shooting the Music
How They Do It.

Once Upon a Time

Players you Used to See and would Like to See Again.

Viola Dana and her Director (Photograph)

Delight Evans 36

Elizabeth Feltret 37

Frederic Arnold Kummer

Illustrated by Charles I). Mitchell.

The Rejected One I Fiction)

The Best Studio Story Yet.

Pity the Poor Studio Children

Work is Play to the Baby-Stars.

"Oh Mickey!" (Photograph)

Photoplay Writing John Emerson and Anita Loos

The Second of a Great Series.

Face Value (Fiction)

Fictionized Version of the Film.

Close-Ups

Timely Comment and Editorial Observation.

Facts and Fallacies of the Films

44
45

52
53

Jerome Shorey 55

R. W. Baremore

Exposing the "Fakes" and Explaining How they Do It.

Our Mary's First Leading Man

Edward Earle Reminisces.

John Dolber

Randolph Bartlett
Delight Evans

Illustrated by R. F. James.

Sally Starr (Photograph)
The Shadow Stage

Reviews of the Latest Photoplays.

The Climb of Clematis Clancy

"Josh Stuff".

Stars of the Screen and their Stars in the Sky Ellen Woods

Horoscopes of George Beban and Constance Talmadge.

Brenon, the Man Randolph Bartlett

The Truth about Herbert Brenon.

Triangle's Spring Fashion Show

The Gown of Destiny, and Other Gowns.

Plays and Players Cal York

What they've Been Doing, and What they are Going to Do.

Douglas Fairbanks' Own Page

He Tells You Something about His Correspondence.

The Hoyden (Fiction) Frances Denton

Retold from the Picture of the Same Name.

Why Do They Do It?

Film Critics Point Out Inconsistencies in Pictures.

Questions and Answers

The Answer Man

68
69

Next Month

Filming O. Hairy

Are you an 0. Henry fan? This
unique genius enriched American litera-
ture with a vast number of short
stories, containing hundreds of unfor-
gettable iharacters. These have been
done into pictures, and a lavishly illus-
trated article will introduce the O.
ry people as the camera sees them.

Fame Through a Knothole

Three years ago a little girl stood
with her eye to a knothole in the fence
surrounding the Edison studio in New-
York. She watched with wide-eyed
wonder as the director put his. players
through scene after scene. Xow she's
a star in the LTniversal Company. Her
name? Ruth Clifford. There's a de-
lightful personality sketch of the little
lady in the April issue.

The Girl on the Cover

It's Elsie Fer-
guson. Haskell
Coffin, the cele-
brated cover
painter, has made
a beautiful like-
for the April
cover.

Elsie Ferguson
was a chorus girl,
once upon a time, l^
Now she is not
merely one of the greatest of stage
favorites, but has won distinction in
moving pictures, and also is the wife
of one of New York's most prominent
bankers. Miss Harriette Underhill will
tell of "The Rise of Elsie Fersuson"
in the April issue.

Photoplay Writing

The third article of the Emerson-
Loos series on the art of photoplay
writing will be a very important one.
It will deal with the construction of
the "synopsis.'' Unless you can build
a synopsis right, you can get no
further.

Farrar's New Home

Right in the heart of New York,
Geraldine Farrar has builded for her-
self a beautiful apartment home.
Wouldn't you like to wander through
the beautiful rooms, and have the
prima donna-film star point out her
treasures and her ideas of home-mak-
ing? The Editor thought you would,
so in the April issue you will be ac-
corded this rare privilege by courtesy
of Miss Farrar.

The First Prize Winner

"Real Folks," the story that won the
Si. oso.oo prize in the Photoplay
MAGAziXE-Triangle Film Corporation
contest, is given in the April issue ir
fiction form.

Photoplay Magazine — Advertising Section

A BRIGHT, clean, sanitary home is sure to be a
happy one. Any housewife can easily keep her
home in this condition by devoting a little attention
to her furniture, woodwork, floors and linoleum. All they need
is an occasional application of Johnson's Prepared Wax. This
cleans, polishes and protects the finish, adding years to its life and beauty.

JOHNSON'S

~Z/q uj'c/ and '/>as/o

PREPARED WAX

Johnson's Prepared Wax imparts a high, dry, glasslike polish
of great beauty and durability. It covers up mars and small surface
scratches — preserves the varnish — and prevents checking and cracking.

Johnson's Prepared Wax contains no oil whatever, conse-
quently it does not gather or hold the dust and it never be-
comes soft or sticky in the hottest weather or from the heat of the body

Johnson's Prepared Wax is now made in liquid form as well as
paste. The Liquid Wax polishes instantly with verylittlerubbing. You can go
over a roomful of furniture a good sized floor, or automobile, in half an hour.

Quarts— $1.40 Pints— .75 " Half-pints— .50

S. C. JOHNSON & SON, Dept. PP3 Racine, Wis.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Pay *100 to *150 Month

SEND
COUPON
UliLOW

U. S. GOVERNMENT WANTS
Railway Mail Clerks — City Mail Car-
riers— Postoflice Clerks— Clerks
at Washington, D. C.
HUNDREDS MEN AND _^^" Franklin Institute
WOMEN WANTED ^^^ Depl.H96. Rochester. K.Y.
Common education sum* ^^^ This coupon, filled out as directed,
cient. Send coupon ^^^ entitles the sender to (1) free sam-
SHS-* ">«^P'J examination Qu.,tior,.: © a free
didatoa ^^^^ copy of our book, Government Positions and

free. _^r^^ How to Get Them;" (3) free list of positions now
open ; and (4) to consideration for Free Coaching
for the examination here checked.

■ COUPON

. .Railway Mall Clerk I $900 to SI 800] . .Customs Positions [S80O to SI 500 J
..Postoflice Clerk [S800 to S1200] . .Internal Revenue LS700 to S18001
..Poslothce Carrier [S800 to S1200] . .Stenographer [31100 to S1500]
..Rural Mail Carrier IS500 to SI200J. .Clerk in thi Departments
..Bookkeeper [S1000 to SI800] at Washington [$1100 to SI 500]

Name .

Address L196

^— Use this before you lo»a it. Write plainly.——

MAKE *.8°5 TO $302? A WEEK
IN YOUR OWN HOME

AN&

LEARN

new system of Personal
Culture. Earn $18 to $30 a week
at home. Our method of in-
struction makes you an expert
— in scientific care of Face and
Scalp, Facial Massage, Elec-
trolysis, Scalp Treatment,
Shampooing, Manicuring,
Marcel Waving, etc. Short
term courses in any branchif de-
sired. Write now for Free facts.
Marinello Company

Dept. 3. Mailers Bldg., Chicago

POSSESS THE BEAUTY
YOU DESIRE

Learn Studio

Photograph lj

also Motion Picture and Commercial
Photography. Studio portraits that sell
for $30 per dozen cont $4.15 to produce.
Earn S25 to SIOO a Week. Basil; learned
in three months. Experts train you. Day
or evening classes. Write for free book.
N. Y. INSTITUTE OF PHOTOGRAPHY
Dept. 33. 141 W. 36th St., New York

A I VirMIT SCHOOLS— EiL 20 Year*
/\JLi V 1 lull H Tbe-Aduwwledlid AutlurKr an

Each department a laree school in
itself. Academic, Technical and
Practical Training. Students' School
Theatre and Stock Co. Afford New
York Appearances. Write (or cata-
logue, mentioning study desired.

Thc-aduwwlediid Aatfwrtrjr M

DRAMATIC

STACE
PHOTO-PLAY

AND
DANCE ARTS

A. T. IRWIN, Secretary
225 West 57th Street, near Broadway, New York

ow paid

$100 for

one drawing

You can become an artist, il-

''histnitor or cartoonist even if you

now have no talent. Earn S25 to S100 rz

a week. Write for Free Out tit ahj

offer atl'l beautiful new book,

"HOB TO BECOME AN ARTIST." Address,

WashingtonSchoolofArl. 1123 H. Sl.,N.W.,Washinglon.D.C.

Every advertisement in Photoplay
is guaranteed", not only by the
advertiser, but by the publisher

CLASSIFIED ADVERTISING

uia

p n iv.

Rate

15 cents

per

word

JTJTJ

nnn.hnaan

All Advertisements

have equal display and
same good opportuni-
ties for big results.

U"U UUUU Lf'U UU'UU'UUULiUUUU UUU'U

JVLQ

fflOTOgbAY

iiTLriiijinnn

p.nr

This Section Pays.

83% of the advertisers
using this section during
the past year have re-
peated their copy.

Rate
15 cents

FORMS FOR MAY ISSUE CLOSE MARCH FIRST

AGENTS AND SALESMEN

LOOSE LEAF BOOKS

RESPONSIBLE WOMAN" WANTED. UNUSUAL

opportunity for someone of refinement to utilize spare

time Introducing Priscllla Fabrics, Hosiery, Cutsets. Etc.

!'il Samples Furnished. Pltzcharles Company,

2IIU Filzeliarles Huilding, Tien'oii, N. .1.

\i;i:\TS. $1.00 COMMISSION EVERT CALL.
Greatest household money saver ever invented. Samples
free. Ovee Mfg. Co., 18b' Oreo Bldg.. Louisville. Ky.
AGENTS— 500% I'KOFIT; FREE SAMPLES; GOLD
6ign letters for store and office windows; anyone can
put on. Metallic Letter Co., 414 N. Clark St.,
Chicago.

AGENTS. $60 WEEKLY. WONDERFUL WINTER
automobile fuel reduces operating expenses half. Outllt
free. L. Ballwey. Dept. 18 6. Louisville, Ky.

TELL THE READERS OF PHOTOPLAY WHAT
you have of interest to them. You can reach them
at a very small cost through an advertisement in Un-
classified section. 83% of the advertisers using this
section during the past year have repealed. The section
is rend nod In mil'- ii-miIi-.

RU'slNESg OPPORTUNITIES

BUILD" A $5000 BUSINESS IN TWO YEARS. LET

us start you in the collection business. No capita!

needed: big field. We teach secrets of collecting money;

refer business to you. Write today for Free Pointers

and new plan. American Collection Service, 62:2 state
.. Ihtrrnt, Mich.

FOR RENT

FOR RENT— 700 SEAT MODERN CHICAGO THE-
atre; highest class patronage: located best part North
Side. Present out of town lessee cannot give proper at-
tention. Reasonable terms and rental.
MARK LEVY & BROTHER. Marquette Bldg.. Chicago.

GAMES AND ENTERTAINMENTS

PLAYS. VAUDEVILLE SKETCHES, MONOLOGUES,
Dialogues, Speakers, Minstrel Material, Jokes, Recita-
tions. Tableaux, Drills. Entertainments. Make Up
Goods. Large Catalog Free.

T. S. Denison & Co., Dept. 76, Chicago.

HELP WANTED

THOUSANDS GOVERNMENT WAR POSITIONS
open to men and women, 18 or over. $100 month.
Rapid increase. Short hours. Pleasant work. Vaca-
tions with pay. Pull unnecessary. Examinations every-
where. Common education sufficient. List positions free.
Write immediately. Franklin Institute, Dept. L. 211,
Rochester, N. Y.

A WAR JOB FOR YOU! CIVIL SERVICE NEEDS
thousands. Men — women. Fine salaries; paid vaca-
tions; promotion. No "pull" needed. Free informa-
tion, money back guarantee and special offer to citizens
over 18. Ask for book "QN" and name position wanted.
Washington Civil Service School, 2023 Harden Bldg.,
Wa. hingtun. D. C.

FOREMEN, SHOPMEN. AND OFFICEMEN
Wanted to work spare time as special representative of
large well-known mail-order house, selling Watches,
Diamonds, and Jewelry on CTedit. Liberal commissions
and exclusive sales rights granted. No investment or
deposit required for outfit or samples. Write at once
for details. Address S. D. Miller. Dept. 32, Agency
Division, Miller Bldg., Detroit, Mich.

RAILROAD TRAFFIC INSPECTORS WANTED .
$125 a month and expenses to start; short hours; travel:
three months' home study under guarantee : we arrange
for position. No age limit. Ask for Booklet L-6.
Frontier Prep. School. Buffalo. N. Y.

FIVE BRIGHT. CAPABLE LADIES TO TRAVEL.
demonstrate and sell dealers. *7n.00 to $150 00 rer
month. Railroad fare paid. Goodrich Drug Company.

Dept. 59. Omaha. Neb.

GOVERNMENT PAYS $900 TO $1,800 YEARLY. PRE-
rare for coming "exams" under former Civil Service
Examiner. New Book Fi-ee. Write Patterson Civil Service
School. Box .1017. Rochester. N. Y.

EDUCATION AND INSTRUCTION

HUNDREDS OF PEOPLE MAKE BIG MONEY

writing Photoplays, Stories, etc Wiry don't you? Write

us for free details. Bookmart Co., Dept. 8, Auburn.
N. Y.

A GENUINE LEATHER COVER. LOOSE LEAK
Memo Book, 50 sheets paper. Your name stamped in
gold on cover. Postpaid 50 cts. Loose Leaf Book Co..
Dept. 3. Bex 6. Sta. L., N. Y. Cay.

MOTION PICTURE BUSINESS

BIG PROFITS NIGHTLY. SMALL CAPITAL
starts you. No experience needed. Our machines ar»
used and endorsed by Government institutions. Cata-
log Free. Capital Merchandise Co., 510 Franklin
Bldg.. Chicago.

OLD COINS AND STAMPS

CASH PAID FOR OLD MONEY OF ALL KINDS:
$5.d0 for certain eagle cents; $7.00 for certain 18o3
quarters, etc. Send 4c. Get Large Illustrated Coin Cir-
cular. May mean your large profit. Send now. Numia-
matic Bank, Dept, 75. Fort Worth, Texas.

$? TO $500 EACH PAID FOR HUNDREDS OF
coins dated before 1910. Send 10 cents for New Illus-
trated Coin Value Book, 4x7 . Showing guaranteed
prices. It may mean your fortune. Get posted. Clarke
Coin Company, Box 127, Le Roy, N. Y.

STAMPS SENT ON APPROVAL 70% DISCOUNT.
Reference required. J. Emory Renoll. Dept. C. 21,
Hanover, "Pa.

PATENTS

WANTED IDEAS, WRITE FOR LIST OF PATENT
Buyers and Inventions Wanted. $1,000,000 in prizes
offered for inventions. Send sketch for free opinion as
to patentability. Our tour books sent free. Victor .1.
Evans & Co., Patent Attys.. 763 Ninth. Washington.
P. C.

INVENT SOMETHING. YOUR IDEAS MAY BRING
wealth. Send Postal for Free book. Tells what to
invent and how to obtain a patent through our credit
system. Talbert & Talbert, 4724 Talbert Building.
Washington, D. C.

SONGWRITERS

SONGWRITERS' "MANUAL & GUIDE" SENT
Free. This valuable booklet contains the real facta.
We revise poems, compose and arrange music, secure
copyright and facilitate free publication or outright sale.
Start right. Send us some of your work today for free
examination. Knickerbocker Studios, 166 Gaiety Build-
ing. N. Y. City.

WRITE THE WORDS FOR A SONG. WE WRITE
music and guarantee publisher's acceptance. Submit
poems on war, love or nny subject. Chester Music Co..
1039 Wilson Ave., Suite 112, Chicago.

MANUSCRIPTS TYPEWRITTEN

SCENARIOS. MANUSCRIPTS TYPED TEN CENTS
page including carbon. Spelling corrected. Seven years'
experience. Marjorie Jones, 322 Monadnock Block.
Chicago.

TELEGRAPHY

TELEGRAPHY— BOTH MORSE AND WIRELESS,
also Station Agency, taught quickly. Tremendous de-
mand— much greater than supply — Permanent Positions
Secured. Big Salaries — recently raised. Ideal Working
Conditions — short hours, vacations with pay, sick and
death benefits, etc. — prevailing. Great Opportunities
for Advancement. Women Operators also greatly desired
by Railways and Western Union. Tuition reasonable.
Cheap hving expenses — can be earned. Oldest and larg-
est school — established 4 3 years. Endorsed by railway.
Western Union and Marconi Telegraph Officials. Large
illustrated catalogues free. Correspondence courses also.
Write today. Enroll immediately. Dodge's Institute.
Peoria St., Valparaiso. Indiana.

TYPEWRITERS. SUPPLIES. ETC.

SAVE DOLLARS ON RIBBONS! RIBNSAVER
makes dried, pale ribbon like new for one cent. 50c
postpaid. Order yours today. Ribnsaver Company. Box
1T5-M, Chicago. ^^^

COPy THIS SKETCH

and let mo see what you can do with
it. Cartoonists and Illustrators earn
from $20 to $125or more per wet-k. My
practical system of personal individ-
ual lessons I. y mail will develop your
talent Fifteen years' succesaiul wo, k
f ornewspapers and magazinesqnalines
me to teach you . Send me your sketch
of Uncle Sam with 6c in stamps and I
will send you a test lesson piste, also
collection of drawings showing possi-
bilities for YOU.

THE LANDON SCHOOL

of Illustrating and Cartooning

1507 Schofleld Building CLEVELAND, 0.

DO YOU LIKE TO DRAW?

CARTOONISTS ARE WELL PAID

ill not give vouanv grand prize if vou

answer this ad. Nor will we claim

to make you rich in a week. But if

you are anxious to develop your

talent with a successful cartoonist,

SO you can make money, send a copy

of this picture, wit'i 6c in stamps for

portfolio of cartoonsand sample lesson

plate, and let us explain.

The W. L. Evans School of Cartooning

650 Leader Bids-. Cleveland, O.

Learn at Home to
Write Short Stories

Vou can leara how to write short stones, photoplays,
and nowap.iper articles rit-ht in your home. JacK London
saiO SO. fie haa endorsed this curse of traln.nfr. |J.1«S
yeari > asmallincomo for a eo<d fiort story writer. personal
instruction. Bdanuscripts carefully edited.

Write for Free Book gSS |S5 SEXJS&SftS.

to at home: Special offer
Wayne. TnoV

Bay about leamlnsr how to writ© at home. £
now being mace. No obligations. JU rite today.
Hoosier Institute, ghort.Sloo^gjt^jDg^tiSg^Ft,

Short -Story Writing

A course of 40 lessons in the history, form,
structure, and writing; of the Short-Slory,
taught by Dr. J. Berg Esenwein, for year.
Editor of I.lppinratt's. Over one hundred
Home Study Courses under Professors in
Harvard. Broiin, Cornel! and leading
colleges. ISO-page catalog free, mite today.
The HomeCorrespondence School
Dr. Esenwein Dept. 95 SPRINGFIELD. MASS.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

Course in

Here's a thorough, complete,
simplified High School Course

that you can complete in two years. A
liberal education, of incalculable value,
by spare time study, at home. Course
prepared by leading professors in Uni-
versities and Academies.

Meets Entrance Requirements
of Colleges and Universities

The High School Course fits you for
Harvard, Yale, Princeton and other in-
stitutions of highest standing. Helps
you to win in business and social life.
Spend the hours you would otherwise
waste, in profitable study of this fas-
cinating course.

"Knowledge is POWER"

The man who knows is the leader.
Knowledge gives you assurance, turns
your natural ability into actual power.

This course gives you the key to
success and power.

Don'tStop
Growing

TOU

,rCanMateUp\
\/ot Lost Time!

Men and women who were
denied a high school train-
[ ing can "catch up" by tak-
ing thisBimplitied course
at home. Hundreds
have profited by
this remarkable
opportunity.

Keepongo-
ing! Train
your brain!
Broaden
your mental
vision ! Make
the most out
of your life
before too
late. "Cash in" on your natural ability.

Choice of 20 Courses

We have helped 50,000 men and
women to win ! Let us help you, too.

Complete prospectus of any course,
together with a valuable book, mailed
free — no obligation. Send the coupon
this very hour. The American School
of Correspondence was chartered as
an educational institution in 1897.

MAIL NOW " '

American School
Of Correspondence, Chicago. U.S.A.

Dept. P-1533. Gentlemen: Please send me
booklet and tell me how I can fit myself for trie
position marked X.

High School Course .
. . .Electrical Engineer
. . Telephone Engineer .
. . . Architect
...Draftsman

Building Contractor
. . . Structural Engineer

Mechanical Engineer
. . .Civil Enqineer
. . Steam Engineer

. .Shop Superintendent

. .Lawyer

. Business Manager

. .Auditor

. .Certified Public Accn't

. Stenographer

. Bookkeeper

. Fire Ins. Adjuster
Sanitary Engineer
Automobile Engineer

Name.

Address .

One of the Joys
of Living

The Good -Night Dish of Puffed Grains

Consider how much Puffed Wheat and Puffed Rice have added to children's joys.
Morning, noon and night— and all day long — they are the delights of millions.

These are grain bubbles — whole grains puffed to eight times normal size.
They are thin and airy, crisp and fragile. A fearful heat has given them a taste
like toasted nut meats.

Puffed Grains alone — served like other cereals — make breakfast an occasion.
Mixed with fruit they form a delightful blend.

In bowls of milk they are toasted bubbles, ready to crush at a touch. No dairy
dish was ever half so tempting.

At other times they are food confections. They are used like nut meats in
candy making or as garnish on ice cream. Salted or buttered — like peanuts
or popcorn — they are after-school delights.

They are ready-toasted wafers for your soups.

They are ideal foods, because every food cell is exploded. Every granule is
fitted to digest. They do not tax the stomach, and every atom feeds.

Let them take the place of foods that are less complete, less easy to digest, less
inviting. Use all three kinds, for each has its own delights.

Puffed Corn Puffed
Wheat Puffs Rice

Each 15c Except in Far West

All are prepared by Prof. Anderson's process. The grains are sealed in
guns, then rolled for an hour in a fearful heat.

When all the moisture is changed to steam, the guns are shot and the steam
explodes. A hundred million explosions occur in every kernel — one for every
food cell.

By no other process are whole grains so fitted for food as by this.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Hoiv to get this

beautiful picture

for framing

THIS painting by
Paul Stahr, the well-
known illustrator, is his
interpretation of "A
Skin You Love to
Touch." It has been
beautifully reproduced
from the original water
color painting. Size
15 x 19 inches. Made
expressly for framing.
No printed matter on
it. Send for your pic-
ture today. Read offer
below.

JcQz boJouck,

painted by*
Paul Stahr,

You too can have the charm of

"A Shin You hove to Touch'

SOFT, smooth skin, the clear glowing
complexion that everyone admires —
th?s3 you, too, can have.

Whatever the condition that is keep-
ing your skin from being as attractive
as it should be, it can be changed. In a
much shorter time than you would im-
agine, your skin will respond to the
proper care and treatment.

Why your skin can be changed

Your skin changes continually. Every
day it is being renewed. Old skin dies-
new forms. This is your opportunity, for
as this new skin forms, you can keep it
fresh, soft and clear as Nature intended.

Is your skin dull, lifeless, colorless?
Begin today to make it clear and glow-
ing. If you are troubled by an oily skin

— a shiny nose— begin today to correct it.
Learn just what is the proper treat-
ment for your particular trouble, and
use it persistently every night before
retiring. In the Woodbury booklet, "A
Skin You Love to Touch," you will find
simple instructions for treating your
own and many other conditions of the
skin. Within ten days or two weeks you
will notice a decided improvement.

How to get these treatments

The Woodbury booklet of skin treat-
ments is wrapped around every cake of
Woodbury's Facial Soap. For a month
or six weeks of any Woodbury treat-
ment a 25c cake will be sufficient. Wood-
bury's Facial Soap is on sale at drug
stores and toilet goods counters through-

out the United States and Canada. Get
a cake today and begin your treatment.

This picture with sample cake of soap,

samples of cream and powder, with

book of treatments for 15c

For 15c we will send you a cake of Woodbury's
Facial Soap — large enough for a week's treatment
—with the booklet, "A Skin You Love to Touch."
and samples of Woodbury's Facial Cream and
Facial Powder. In addition to the samples and
booklet, we will send you a reproduction in full
colors cf the beautiful painting shown above made
expressly for framing. This picture will be very
popular ; secure your copy at once. Write today to
The Andrew Jergens Co., 503 Spring Grove Ave.,
Cincinnati, Ohio.

If you live in Canada, address The Andrew
Jergens Co.. Ltd.. 503 Sherhrnnke Street. Perth,
Ont/irio.

A special treatment
for an oily skin and
thinv nose is among
the famous treatments

Jirrn in the Wood-

bur'i booklet you get

with the soap. Secure

a ca': ' todtm and tke

booklet that goes

with it .

For enlarged pores ,
try the treatment ptveff
in the booklet "A Skin
Foa /,<"-<■ to Totteh,"
With >><>>< Woodbury's
Fatml Soap uou will
get one of these intcr-
klc '

Every advertisement in PHOTOPLAY MAGAZINE iB cuaranteed.

J \_ and 0eTto{fj)&Fpcr Jr.

Mrs. DeWolf Hoppers preference is for mother roles. Her screen wor\
has been done as Elda Furry, Elda Millar, and lately, as Hedda Hopper.

o~r,^}

Olive Thomas, sprightly Ziegfeld Follies' queen, Edna Goodrich won fame as a stage beauty,
now Triangle star and Mrs. Jack, Pic\ford. T^ow she is immortalizing it on the screen.

Joiildred Karri

Marjorie Kambeau, famous beauty and brilliant
actress. Her screen career has hardly begun.

'aijoriej^mveau

Mildred Harris, erstwhile starlet for Lois V/eber,
plays with Fairbanks in his "Modern Mus\eteer."

The old "Fine Arts" studio gave Jewell Carmen her chance. She was
featured opposite 'William Farnum and then William Fox had a new star.

<
<

WAWA'A^AWAAMA^

g^AWAA'AA^A A 'A A' AW AWAWA AWgf gf

THE WORLD'S LEADING MOVING PICTURE MAGAZINE

PHOTOPLAY

VOL. XIII

MARCH, 1918

NO. 4

Won't Murmur — KICK!

TJ7HE]\[ you see a bad picture — \ic\.

I/I/ Don't just tell your friends. Tell the man who got your money.

* * Hunt for the owner or manager of the theatre, and tell him that you
feel you have both been cheated. Tell him the man that sold him the picture
cheated him, and that he, in turn, cheated you.

Don't just say this to the man who ta\es the tickets at the door; dont just
tell the girl in the box office. It is nothing in their young lives. They get their
pay every Saturday night, whatever you thin\ of the pictures. They will just
label you "Grouch" and let it go at that.

But if you tell the -man who runs the place, that he isnt going to get any
more of your money if he shows that kind of pictures, you re going to receive a
respectful and attentive hearing.

Dont be afraid of hurting his feelings. He wants to know what you thin\.
He doesn't want to show pictures that you dont want. He's a business man. If
you bought a package of raisins from your grocer, and found they were mouldy,
you wouldn't murmur your woe to your next door neighbor. You'd go bac\ to
the grocer, and get your money bac\. And he would send the raisins to the
wholesaler, and the wholesaler would send them to the packer, and everybody
would be set right. If you didn't, the packer would go on putting up his raisins
in an improper manner.

And another thing — when you see a picture that is deliberately bad, remem-
ber the name of the producer. Put him on your blac\ list, and if he repeats the
offence, boycott him. If the picture is openly filthy, don't even give him a second
chance. Tell the manager of the theatre that you will not enter his house again
so long as he shows pictures made by this man, or firm.

You, little girl, paying your dimcand'war'tax to see a picture, are the boss of
this huge industry. But nobody can be boss by going around sulking because
things are not the way they want them. Tou have to spea\ out loud — k}c\ And
also you must be fair. If your \ic\ is the result of a nasty disposition, or a mean
prejudice, or stupidity, it will have no effect, because there won't be many like it.
But when you kjc\ in a righteous cause, there will be a lot more of the same kind,
and the result will be felt clear into the studio where the picture was made.

Dont be afraid to boost, when you are pleased. It ma\es your \ic\ that
much more effective. But whether you boost or not, \ic\ when you feel you have
a kjc\ coming, and land it where it will do most good — with the man who got
your money.

wyyyyyyyyyyYvVyyyyyww

WMYYYWW^^

lrginia
from
Kentucky

By Cameron Pike

Virginia Pearson's
husband is Sheldon
Lewis, one of the best
actors of bad men in
pictures

Haskell Coffin worked
for three hours mak-
ing the painting which
adorns the cover, the
while the two of them
conversed upon every
topic under the sun.

Miss Pearson can cook,
but doesn't, to any great
extent. She doesn't
have time. She makes
so much ' ' dough ' ' in her
work that when she
doss so at home it is
only from force of
habit.

ift

I HAD told W. Haskell Coffin that Miss Virginia Pearson
would be at his studio at 11:30 a. m. to pose for her
portrait, which he was to paint for the cover of Photo-
play Magazine.

"That doesn't give me much time to work before lunch,"
he complained.

"I'm sorry," I moaned, "but Miss Pearson said that was
the best time for her."

"Well, if she's on time it will be all right," he growled,
looking more like Woodrow Wilson than ever.

"Oh, she'll be on time," I assured him, looking surrep-
titiously at my watch and discovering that it was then

At 11:45 Mr. Coffin interrupted the flow of camouflage
conversation, which I was pouring out to obscure his
knowledge of the flight of time.

"It's nearly my lunch time," he erupted, with a noise like
that of a hungry man.

How the next fifteen minutes passed I never will know.
Mr. Coffin is more accustomed to having people wait for
him, than waiting for them, but as the bells in the Madison
Square melodiously informed the artist that it was his

lunch time, there was a gentle tap on the door. Miss Pear-
son had arrived, and I introduced them, covering the
situation with a remark that as Miss Pearson traveled in
a limousine she naturally. could not make as good time as
we common folk who ride in the subway.

But Mr. Coffin never heard me. He had stopped chew-
ing up his pastels in rage, and had started furiously block-
ing out lines on his easel. I supposed he was going to rush
the job through and get away to that lunch. I could not
bear to remain as a witness to the crayon carnage, and
subtracted myself from the studio. Later I learned that
the artist worked without a pause until three o'clock, the
while the two of them conversed upon every topic under
the sun from doughnuts to reincarnation, forgetting all
about lunch.

The answer: Virginia Pearson is a beauty of the type
that will make any artist forget anything except that he
desires above everything to express upon canvas her all-
conquering charm. She broke an engagement with me, too,
but gosh hang it, I can't help liking her just the same.
So if the things I say about her seem a little choppy, put
it down to this, that one can only see her momentarily and

Photoplay Magazine

The general impression she imparts is that of a typical
American girl, possessing boundless health and independence.

on the fly. I never was permitted Mr. Coffin's privilege
of three uninterrupted hours of conversation.

Miss Pearson was born in Louisville, Kentucky, and
so, of course, her parents called her Virginia.

At one time she aspired to be a painter, and when she
was fifteen years old some of her drawings were bought
by Kentucky newspapers, but she became impatient and
abandoned that form of art.

Her principal hobby is hats. She usually owns about
twenty, that being all the room she has for them in her
home. She gives away old ones to less fortunate young
women, to make room for new ones.

Her hair is dark brown, almost copper-colored; her
eyes dark blue, though men who look into them intently
soon forget their color.

She is twenty-nine years old. and doesn't care who
knows it, because she is not among those who believe that
actresses are popular on account of creating an impression
that they are merely in their teens.

She can cook, but doesn't, to any great extent. She
doesn't have time. She makes so much "dough" in her
work that when she does so at home it is onlv from force of
habit.

\i one time she had a fad of making tiny silhouettes of
her friends out of black court plaster, and wearing them
as "beauty patches."

She lives in a country home in New Jersey in summer,
and on Riverside Drive, near Grant's Tomb, in winter.

She is almost convinced that there is some truth in

the theory of the reincarnation of souls,
but hasn t quite decided how much.

A policeman once mistook her for an
"extra girl" when she was working on
location, and tried to think up some
excuse for arresting her because she
spoke slurringly of Miss Virginia Pear-
son, who happened to be one of the
cop's favorite screen actresses. When
her limousine arrived to take her away,
the policeman nearly died of heart
failure.

Her husband is Sheldon Lewis, one
of the best actors of bad men in pic-
turedom. They are very fond of each
other

Among the names the Fox publicity
department has given her are "film
beauty," "the beautiful Dixie photo-
player," "the beautiful William Fox
star," "the modern Cleopatra of the
movies," "screen heretic," "the statu-
esque William Fox star," "the screen's,
most versatile beauty."

She likes to philosophize about ab-
stract things, one of her most quoted
remarks being, "Many people regard
repentance as humiliation; in the right
spirit it can be the most exalted
graciousness."

The most remarkable gown she ever
wore was made of a single piece of cerise
silk, richly flowered and jeweled, with-
out a button or a hook and eye. It had
to be wound around her. sewn on, and
ripped off when she was through wear-
ing it. It took two hours and three
maids to put it on and an hour and two
maids to take it off.

She sends autographed photographs
to all persons who write for them and
enclose stamps or coin to cover the ex-
pense. Her average is nearly a thou-
sand a week. She does not employ a
secretary to autograph her pictures.

She likes character parts better than mere heroines,
though she says it is much harder to portray grief than joy
on the screen.

She is not fond of outdoor sports though she likes to be
photographed in hunting costumes and such, because she
looks well in them. Aside from her strenuous work in pic-
tures, about all the exercise she takes is getting in and out
of her automobile.

When she wants a rest she usually goes to Atlantic City.
Her first theatrical engagement was under the manage-
ment of Henry W. Savage. The play was a failure but
Miss Pearson was a success.

She thinks most of the talk about immoral films is silly,
and that pictures which reveal deplorable phases of life
are no more objectionable than accounts of similar inci-
dents in daily newspapers.

Her mother was Mary Alice Calloway, a member of an
old and distinguished Kentucky family which helped blaze
the trail of civilization with Daniel Boone. Her father.
Joseph Pearson, had many artists and writers among his
ancestors. Both parents were born in Louisville.

She does not like farm life, though the Fox publicity de-
partment once sent out a story to the contrary, because
they happened to have a picture of her raking hay.

After graduating from high school. Miss Pearson worked
in a library, but she always wanted to go on the stage, and
finally did. She had no early struggles, almost everything
coming easy for her from the start.

Virginia from Kentucky

It is not easy to get good photographs of Miss Pearson,
because while she is a splendid subject, her mind is so
active that it is hard for her to sit still for a time exposure.

Her greatest stage success was as the vampire in "A
Fool There Was" with Robert Hilliard, in which role an-
other Fox star, Theda Bara, made her first screen hit.

She has the only known chauffeur that is not happy
when he has nothing to do.

She plays the piano extremely well and has an excellent
singing voice, but she has no ambition to appear publicly
as a musical artist.

Like scores of other stars, her first picture engagement
was with the Vitagraph company. She went into pictures
because she did not want to be idle one summer between
stage engagements. She never returned to the stage. And
never will.

She once painted a portrait of Charlotte Walker. The
Metropolitan Museum of Art has never tried to buy it.

Her Fox pictures are: "Daredevil Kate," "A Tortured
Heart," "Blazing Love," "Hypocrisy," "The War Bride's
Secret," "Bitter Truth," "Sister Against Sister," "Royal
Romance," "Wrath of Love," "When False Tongues
Speak," "Thou Shalt Not Steal," "All for a Husband."

After she is through with costumes she uses in playing
the parts of poor girls, she gives the clothes to the Women's
Rescue Home and the Professional Women's League, to be
donated to needy persons. She does not make donations
to persons who send begging letters, believing that it is
unwise to give things to people when you cannot know their
circumstances.

She insists that she has made butter in summer at her

country place but never has been able to prove it to the
satisfaction of incredulous persons.

She has had requests for information as to how to get
into the movies from persons varying' from men of seventy-
one to mothers offering their infants in the cause of art.

She thinks the most ridiculous effects on the screen are
those where players imagine they are impersonating a
character merely by making up, and not by thinking them-
selves into the role.

She regards footwear as more important to the well-
dressed woman than gowns themselves.

The fantastic and incorrect stories which have been
written about her would fill an entire shelf in the New York
Public Library, but never will.

She is seldom to be found in the Times Square district
of New York unless on specific business or going to the
theatre, which latter she does not often do, because she
works so hard she prefers to stay home in the evening,
and have her husband read to her.

She does not ordinarily keep engagements, or if she does
she is almost certain to be half an hour late. In this she
is not unlike most other actresses. And authoresses. And
tditoresses.

She does not knit. Unlike most women, she says she
cannot think while she is doing it. So she buys Liberty
Bonds and gives money to war charities instead.

She is five feet seven and one-half inches tall, and weighs
one hundred and forty-five pounds.

The general impression she imparts is that of a typical
American girl, possessing boundless health and independ-
ence.

Left, Mrs. Moore, mother of

Owen; right, Mother Pick-

ford.

SMary, Mary, quite contrary,
You seem so glad, you know.
" 'Tts plain enough, kind sir,'

she said;
"I lore my Mothers so!"

On "Active Duty" with

By K. Owen

LONG before Uncle Sam dipped into the European mess, a company of
volunteer soldiers was organized in Hollywood, the capital of the West-
ern fdm empire. Nearly all of the troopers were connected with the
picture studios, actors, extra men, grips, electricians, cameramen, etc." They
were known as the Seventeenth Company of the California Coast Artillery
Corps.

When war against Germany was declared and there seemed a good chance
of getting some real fighting to do, the company was swamped with applica-
tions. And they were federalized and sent to Fort MacArthur at Los Angeles
Harbor and from there were despatched to Long Beach, Cal., for active duty,
guarding the water front and the shipbuilding plants where submarines are
being constructed for the navy.

The company is commanded by a former Lasky player, Captain Ted
Duncan. Walter Long, the famous Griffith and Lasky heavy who played
the chief villains in "The Birth of a Nation," "Intolerance," "The Little
American" and other famous photoplays, is first lieutenant. Two of the
sergeants are Tom Forman, one of the best juvenile leads in the films and for
three years a Lasky favorite, and Ernie Shields, former Universal leading
man.

Among the privates in the company who joined when war was declared

is James Harrison, erstwhile American and Fine Arts juvenile and later in

Christie Comedies. Jimmie will be remembered for his portrayal of the

ukulele playing fellah in "Madam Bo Peep," the last of the Fine Arts

pictures.

There have been so
many inquiries about the
boys now with the colors
that Photoplay asked its
staff photographer, Ray-
mond Stagg, to visit the
camp at Long Beach and
"get" the boys.

Sergeant Tom Forman looks 'em
over. From his inscrutable coun-
tenance it's hard telling whether
it's an auto load of alien enemies
he's giving the once over, or a
load of visiting film actresses.

When there is nothing else to do, Lieutenant Walter Long takes some of his reformed actors out
and shows them how to dig trenches. That's the Lieutenant with the map. At his right is Ser-
geant Tom Forman, at his left Sergeant Ernie Shields. Private Jimmie Harrison is the busy little
fellow with the spade in the foreground.

the Actor -Soldiers

Center: "Signal Drill" in quarters. Sergaant Forman has just misread a signal and his

partner, Private Harrison has lost a trick. Lieut. Long is seeing to it that the drill is

properly conducted according to the Articles of War and the Hoyle book of tactics.

Below: Sergeant Shields beginning a "fade out" in his mosquito proof apartment.

"You wouldn't believe it"
says Jimmie, "but this is just
as much fun as playing a
ukulele if you have a good
washboard and warm water.

The New California Theatre,
corner Market and Fourth
Streets, San Francisco. Con-
crete and steel - constructed
throughout, it is absolutely
fireproof.

The auditorium and the
stage, showing the orna-
mental plaster worlc which
decorates the proscenium
arch. The lighting, which
is indirect, provides for
four different colors: amber,
white, red and blue. There
are guide lights set in the
floor along the aisles, for
the convenience of patrons
in reaching their seats
when the lights are dim.

Griffith, Maker of Battle Scenes,
Sees Real War % Harry c. can

Says Mr. Griffith; "Viewed as a

drama, the war is in some ways

disappointing. As an engine it is

terrif

"I found myself saying, 'Why
this is old stuff. I have put
that scene on myself so many
times.

IT was in the ruins of the Court of Belshazzar. A de-
cayed and very tough looking lion who once graced the
Imperial throne of Babylon looked down with a dizzy
smile. One of the beast's majestic hoofs had been
chipped off and some graceless iconoclast, with no respect
for art, royalty, or lions, had thrust the decapitated mem-
ber in the lion's mouth. And you know that none of us
could look our best with an amputated foot in our mouth.

And the lion saw — what he saw.

In the middle of Belshazzar's court stood a small stage
and at the edge of the stage stood a tall man with a straw-
sombrero punched full of holes. There was never another
hat like this in motion pictures. David Wark Griffith,
maker of canned wars and mimic battles, having looked
upon a real war at very close range and having been in the
midst of a very real battle, is back on the job again — mak-
ing another war picture in the midst of the studio where
■'Intolerance" was filmed.

Of all the interesting events of this great war, not the
least interesting was the visit of Griffith to the front line
trenches.

I have met many men who have seen the great battles of
Europe face to face and I have never
been able to get anything satisfactory
out of them. I went to Europe as a
newspaper correspondent myself and
saw one of the greatest battles of the
war; and I never could get anything
out of myself.

For months I have been waiting
anxiously to hear what Griffith, maker
of battles, would have to say.

The question that naturally rises in
every one's mind is this: "Was the real
thing like the battles of his imagin-
ing?" And that question is naturally
followed by another, "Now that Grif-
fith has seen a real war, what use will
he make of the material?"

"By rare good luck I was able
to get into the front line trenches.
It was exactly as I had imagined
wars in many particulars. I sa"ju
many troop trains moving a-way
to the front; I saw many wives
parting from their husbands, I
saw 'woundedmen returning to their
families — all these things were so
exactly as we had been putting them
on in the pictures that I found my-
self wondering ivho "was staging
the scene. "

I asked him and he threw up his hands and laughed.

"There was a man once," he said, "who contended

that fiction was a good deal stranger than fact and a

darned sight more interesting. He had some grounds

for his contention."

And then he went on to explain. "Viewed as a
drama, the war is in some ways disappointing. As an
engine it is terrific.

"I found myself saying to my inner consciousness all
the time, 'Why this is old stuff. I have put that scene
on myself so many times. Why didn't they get some-
thing new?' Do you catch what I mean?

"It was exactly as I had imagined wars in many,
particulars. I saw, for instance, many troop trains mov-
ing away to the front. I saw wives parting from hus-
bands they were never to see again. I saw wounded
men returning to their families. I saw women coming
away from the government offices, stunned with grief,
a little paper in their hands to tell that the worst had
happened.

"All these things were so exactly as we had been
putting them on in the pictures for years and years that
I found myself sometimes absently
wondering who was staging the scene.
Everything happened just as I would
have put it on myself — in fact I have
put on such scenes time and time
again.

"By rare good luck I was able to get
into the front line trenches. This
honor was never before accorded to
any American motion picture man.

"The Misses Gish, Robert Harron
and the others of my company were
permitted to go to one of the ruined
French villages and we made the
greater part of the picture there that
I am now finishing here in the studio.
"The conditions under which these

Photoplay Magazine

girls worked were exceedingly dangerous. The town was under shell fire all
the time. We all feel that, as we shared their dangers, we would like to give
the proceeds to alleviating the hardships of those who were left behind and
have to face it through to the end. The entire proceeds of this picture will go
to some war charity — probably for the benefits of the mine sweepers whose
lives are sacrificed to make the seas safe for the rest of us to travel.''

I asked Griffith what the battle looked like when he got into the front line
trenches. He looked at me narrowly.

"You saw a battle; what did it look like?" he countered.

"It looked like a meadow with two ditches in it and some white puffs of
smoke and no signs of human life anywhere."

Griffith laughed. "It looked something like that to me," he said.

"I said that many of the scenes of the war made me think of our own motion
pictures; but not the battles — not the battles.

"A modern war is neither romantic nor picturesque. The courier who

>"X,

Dorothy Gish, with her sister
Lillian, worked in a ruined French
village which was always under
fire. The house before which
she stands is over 500 years old.

Griffith is here shown going over the plans for a set which he drew "Over There. He
real war scenes. "Billy" Bitzer, camera wizard, was with Griffith during his stay in Europe

Griffith, Maker of Battle Scenes, Sees Real War

-5

dashed up on a foam-covered charger now uses a desk telephone in a dug out.
Sheridan wouldn't bother to dash in from Winchester twenty miles away.
He would sit in front of a huge map at Winchester and rally his troops by
telling two draftsmen how to arrange the figures on the scale map while a
man in a corner at the phone exchange with a phone head piece would send
out the orders over the wire.

"Every one is hidden away in ditches. As you look out across Xo Man's
Land, there is literally nothing that meets the eye but an aching desolation
of nothingness — of torn trees, ruined barbed wire fence and shell holes.

"At first you are horribly disappointed. There is nothing but filth and
dirt and the most soul sickening smells. The soldiers are standing some-
times almost up to their hips in ice cold mud. The dash and thrill of wars
of other days is no longer there.

"It is too colossal to be dramatic. Xo one can describe it. You might
as well try to describe the ocean or the milky way. The war correspondents

Photoplay Magazine

of today are staggered almost into silence. A very great
writer could describe Waterloo. Many fine writers wit-
nessed the charge of Pickett's army at Gettysburg and left
wonderful descriptions. But who could describe the ad-
vance of Haig? No one saw it. No one saw a thousandth
part of it.

"Back somewhere in the rear there was a quiet Scotch-
man with a desk telephone and a war map who knew
what was going on. No one else did.

"A curious thing that everybody remarks who has seen
a modern war is that the closer you get to the front, the
less you know what is going on.

"I know a war correspondent who was with the Aus-
trians when they retreated before the Russians in the
Carpathian Mountains in the spring of 191 5. I asked
him to tell me just what the rout of a modern army looked
like. My friend looked sheepish and finally told me he

would kill me if I ever told but— 'The truth is,' he said,
T didn't know they were retreating until I got back to
London three months afterward and read about it in the
files of a newspaper.'

"The most interesting and dramatic place in a modern
battle is four or five miles back of the line. Back there
you get something of the stir and thrill of the movie
battle. Artillery is moving, ambulances come tearing
down the roads with the dying screaming as they take
their last ride. Streams of prisoners are marching in tat-
ters and dejection back to the bases; wounded soldiers are
making their own way. Motorcycle messengers go tearing
to and fro. Strange engines of war covered with camou-
flage are trundling by on their way to some threatened
point.

Griffith, Maker of Battle Scenes, Sees Real War

Griffith directing Mrs.
Josephine Crowell, the
"Catherine de Med-
ici" of "Intolerance."

"It is back there that you begin to catch the meaning
of this terrific machinery of battle.

"You begin to realize that, after all, you are face to
face with a drama more thrilling than any human mind
could conjure up.

"The drama that is in modern machinery is not at first
realized. The world of art used to bewail the passing of
the picturesque old phases of life and the coming in of
machinery. It took a Pennell to see the wonderful artis-
tic possibilities of machinery.

"Just so it finally comes to you that the real drama of
this war lies in the ingulfment of human soldiers in these
terrible war monsters men have built in work shops.

"Promoters often boast of having made motion pic-
tures for which the settings and actors cost a million dol-
lars. The settings of the picture I took cost several bil-
lion dollars.

"When you see the picture you will see what I mean.
I thought in my mimic war pictures I was somewhat prod-
igal for instance in the use of cannon. In my picture made
at the French front, I made one scene showing thirty-six
big guns standing almost wheel to wheel firing as fast as
the gunners could load and fire.

"I think I will be able to make good the claim that I
will use the most expensive stage settings that ever have
been or ever will be used in the making of a picture."

Photoplay Magazine

4^-. k-

-vsq

i\%* f-j

Lillian Gish in
another scene
from the new
Griffith photo-
play.

" ■

'■>

a better idea than as though they had seen a real battle.
Although Griffith speaks of it lightly, he had a very
narrow escape from being killed in the battle that he
saw. In fact it may be said to have been a little pri-
vate battle of his own.

A British officer had been detailed to take him into
the trenches. He had a new pair of boots and was un-
willing to drag those gorgeous foot coverings into the
filthy muck of the trenches. When Griffith insisted upon
going into the front line, the officer started to walk along
the top of the trench. Griffith had no choice but to fol-
low him. It happened that the Britisher was carrying
a map case that was very shin}'. It caught the gleam of
the sun and the other end of that gleam evidentia-
ry ., hit a German artilleryman in the eye. At any
Jl rate, there came the peculiar whining howl that
tells you that a shell is on its way.
There was a good marksman at
the breech of that distant .77. The
shell struck not a dozen yards
\ away and threw up a shower of
mud. It happened to be a "dud"
and did not explode. Otherwise
there would have been no Grif-
fith left to tell the story.

They both made a dive into
the trench. It was one of the
old Hindenburg trenches that
(Continued on page 119)

"These ruins are more im-
pressive,— to me at least, than
anything I saw in wcr-torn
France and Belgium," said
D. W. Griffith as the man
with the camera pressed the
button. The plaster elephants
are the only ones left of the
many who looked down on
the orgies of Belshazzar's
court in "Intolerance.".

Griffith -~\

smiled and
declined to
state h i s
plans f 0 r
the use of
this war
material.
This first
picture is
for chari-
ty," h e
said. "Aft-
er that, I
will go on
making Artcraft
pictures."

Motion picture
people are looking
for another spectacle from
him. "Intolerance" proved
to be a big hit in London and
Paris and has practically paid for itself over
there, without counting the receipts on this
side. In the older culture of Europe, the
story of Babylon was better understood and
better appreciated.

In fact, it was "Intolerance" that got Griffith the rare boon of
a pass to the front line trenches. His previous spectacle also
made a great sensation abroad. "The Birth of a Nation" hap-
pened to go in London for the first time when the Battle of Loos
was in progress.

It translated the war for the Londoner into terms that the
human mind could comprehend. As I have said before, no one
can comprehend a modern battle any more than any human mind
can comprehend the real significance of a billion dollars.

You can look at a dollar and dimly realize what a billion of
them mean. So they needed an epitomized battle to make them
comprehend the conflict in which their husbands and sons were
dying. They found this in "The Birth of a Nation." It gave
them a better idea of a battle than any one could tell; in fact

■S/i

Who Said Nazimova was Temperamental?

Director George D. Baker is
trying to convince Mr. and
Mrs. Charles Bryant that the
scenario of the Metro picture
"Revelation" is a corker.
Mrs. Bryant's opinion is es-
pecially important, as she is
Nazimova, who is the star of
the picture.

Somehow or other, Nazimova
acquired an undeserved repu-
tation as a "temperamental"
star. The Metro studio folk
have been rather astonished
to find she is less tigress than
kitten. On this occasion she
essayed to make a movie of
her director George D. Baker,
(the gentleman with the sore
finger) and her husband,
Charles F. Bryant, the tall
person with the pleased grin,
but did not notice that she
had the camera aimed at the
N. G. sign on the slate. But
then, after all —

• Well, let's break
the ice" said Char-
lie and it was done
-the beginning
of his first scene for
bis first picture,
' The Floorwalker,"
under Mutual's
ifo-'O.ooo contract.

arles

encer

Chapli

EVERYBODY knows about Charlie Chaplin, the world's
greatest screen comedian, but only those who have been
closely associated with the funny fellow, know him as
a director. For two years and a half Chaplin has been
directing all of his own pictures and they have made him the
highest salaried person in the world. The accompanying snap-
shots were "shot" by Fred Goodwins, for a long time a member
of Chaplin's organization, both as a player and a writer.

Doping out a gag
for "The Floorwalker."
Charlie is the one wit'i
the elevated "dogs"
while his double sit-
ting alongside is Llovd
Bacon.

And a Pretty Good Director Too

Charlie giving an imi-
tation of a friendtelling
a story. He has since
discarded the fluffy
hair dress. Leo White,
once the French count,
in the foreground.

-*:■

It was during the filming of "The Vagabond" out on
location. Charlie was " stumped " on a piece of
business so he got out the trusty fiddle and doped it out.

And Alfred seems to ha\ e
done it to Charlie's satis-
faction. "That's fine,"
he says.

stick

"Nov
out your
tongue, Al-
fred."

pmKtr* mmvw\<^^

At the end of a perfect play.

UT you will come back to me soon; you promise?"
"Soon, sweetheart. For this picture will make
us both famous — you, the Passion Flower, and I

the man who put you on
canvas. And when that time comes
I will come back and take you
away with me — to live in a palace,

maybe, on the Grand Canal

Kiss me again, Felice."

They were in a garden, under-
neath the blue Italian sky. The
soft air was heavy with fragrance,
for there was a riot of blossoms
everywhere. Felice, the daughter
of a florist, had been born, literally,
among the flowers. Perhaps that
was why she was so much like a
flower herself in her velvet peas-
ant's bodice, with a white puff of

I Love You

NARRATED by permission from the
photoplay of the same name by
Catherine Carr; produced by Triangle.
Cast as given in the picture.
Cast

Felice Alma Rubens

Ravello John Lince

Jules Mar don Francis McDonald

Armande De Gautier. . .Wheeler Oakman

Prince Del Chinay Frederick Vroom

Princess Del Chinay Lillian Langdon

Boy Peaches Jackson

Love You

A romance of a lovely girl of Italy,
'whom they called "The Passion Flower"

By Felix Baird

lawn for a yoke, outlining her creamy neck.
Her great dark eyes were raised to her
lover's face. They held implicit faith and
confidence, but were shadowed with the pain
of parting.

For Jules Mardon, the young artist
who had chanced to stop at her father's
house while on a rambling pilgrimage
through Italy, was the Prince of her
dreams. She knew the moment she saw
him why she had held aloof from all
the village peasant love-making. Jules
had accepted her father's hospitably,
had chanced to see Felice — and had
stayed. He had been struck with the
beauty of the girl and had asked per-
mission to paint her.

Ah, that had been a wonderful sum-
mer! For Jules was not only an artist
with brush and canvas, but in the ways
of love as well. He had painted Felice
as "The Passion Flower," and by the
time the picture was finished the world
held little for Felice besides his smile.

Now that the picture was done, Jules
must take it to Paris. He knew that it
was the achievement of his life. In the
eyes of the girl on the canvas was a
depth of longing, a hint of deep waters
faintly stirred; in the curve of her mouth
and the freshness of her oval face were
innocence and youth. The picture was
a living, vibrant thing. The artist in
Mardon thrilled in response to his own
creating. It had been a pleasant as well
as profitable summer. Xow for Paris —
and the laurel wreath of Fame.

In the days that followed Felice wan-
dered about the garden alone, living over the scenes of the
past. Here was the wall on which she had leaned, where
the rough stone had bruised the soft flesh of her arm and
Jules had kissed the pain away.
Here was the bench on which they
sat when first his lips had touched
her hair. Here was her casement
window from which she had
reached soft arms out to him in
the darkness, her father asleep.
.... She would try to be pa-
tient, but the waiting was long.

The days passed and Jules did
not come. Well, perhaps wealth
and fame had not come to him so
quickly as he had hoped. She still
believed. But — perhaps it would
be well to say her prayers more
Jj faithfully. In her happiness, she

I Love You

had grown neglectful, she knew. And as the days length-
ened into weeks and the weeks into months Felice spent long
hours before the Virgin's little shrine. Every day she cut
fresh flowers and placed them before the little holy image
in the niche in the garden wall.

Poor Felice! She was only a peasant girl in spite of her
beauty. She could not read and there was no one to tell
her that "The Passion Flower" had won the grand prize at
the Paris Exposition, and that Jules Mardon, the gifted
young artist, was the lion of the hour with riches and favors
showered upon him. To him Felice was but a pretty peas-
ant girl whom he had immortalized on canvas. But only
on canvas — not in his heart. For there were scores of
pretty peasant girls — and if one had to remember all one's
pleasant summer love-making, it would be like remember-
ing all one's pleasant summer days. As for marriage, that
was something to be taken seriously. For Jules Mardon
there were many pretty beckoning hands, hands that never
need know no burden heavier than the jewels on their fin-
gers. He could pick and choose. There was plenty of
time.

So Felice burned candles before the Virgin's shrine, and
offered gifts of flowers, and knelt beside her bed into the
small hours of the morning, praying that her lover might
return. But after a while news came to her, in that dim
vague way in which news travels to the most obscure parts
of the world, and she learned that Jules had become rich
and famous. Then her heart broke, for she knew he had
deceived her; that he never intended to return.

The peasant lads besieged her with
their homage, but she hardly heard them.
She would study herself in her little mir-
ror. Jules had raved about her beauty

In the eyes of the girl on the canvas was

a depth of longing, a hint of deep waters

faintly stirred ; in the freshness of her face

were innocence and youth.

— he had cared nothing about her heart. Very well, she
would make her beauty serve her. Never again would she
trust a man, never again let one enter into the sanctuary
of her love. She would make them her playthings as she,
herself, had been a toy. Once more she sang about her
work — but there were no tender cadences to the song.

Among the many thousands who gazed with delight upon
"The Passion Flower" was a young Frenchman, Armand
De Gautier, a wealthy patron of the arts and a man of
serious purpose. Never had he seen such a face, so pure
and yet with such a wealth of latent fire. He bought the
painting and had it hung on the wall of his study. Each
morning the girl of the canvas greeted him with the same
enchanting freshness of lips and the same deep, haunting
eyes. Each night she came to him in his dreams. De Gau-
tier realized at last that he had fallen in love with the
original of the painting, a girl he had never seen. He told
himself that he would find her, and if she were all that the
picture promised, he would make her his wife. Accordingly
he met Mardon, and obtained from him the address of his
model. It took Mardon some time to find it, for he had
forgotten Felice's name.

De Gautier went to the little old Italian village. It was
easy enough to locate the old florist, and De Gautier came
upon him pottering with his flowers, while Felice sat in
her favorite seat on the edge of the garden wall.

De Gautier held his breath. She was more beautiful, by
far, than the picture. And innocent, too, he knew, as he
had always dreamed of innocence but had never known it,
in his gay world of Paris.

The old florist was pleased to meet a
man with the same hobby as his own —
rare flowers. Over their pipes and a jug

Photoplay Magazine

of wine the two men became fast friends, with Felice
hovering nearby, a picture of artlessness. But she was
not so innocent as she seemed. She did not love Gautier,

girl

but she did not intend to let that make any
difference. And when the day came that he
led her to the old stone seat — where Mardon
had first kissed her — she knew what was com-
ing.

"Felice, my little Felice," he whispered. "I love you.
I want you to be my wife. I fell in love with your picture
— and I had to find you. And when I had found you,
you were so much sweeter, dearer — Felice, will you marry
me?"

She looked up at him in round-eyed innocence. "You
are rich?" she breathed. ' You can take me away from
here— give me beautiful things?"

A shade passed over his face. "Yes, I can give you
everything your heart desires. But I love you, Felice.
Don't you — can't you love me?"

She lowered her eyes. "I — I don't know what love
is."

His arms closed around her. every doubt removed: she
had spoken so because of her innocence; she gauged life
as did a little child. "You will love me," he promised.
"My little Felice!"

So there was a gay little peasant's wedding in the old
Italian town. And afterward De Gautier took his wife
away to a palace in Venice, a palace such as Mardon had

promised her. He did not take her to his home for two rea-
sons: He realized that his peasant wife, with all her sweet-
ness and beauty, would be sadly handicapped beside the

cultured women of his world;
and he was so proud of her that
he wished her to take that
world by storm. So they lived
in seclusion for a while, and
patiently and lovingly De Gau-
tier taught her the ways and
speech of people of his own sta-
tion in life.

To his surprise and gratifica-
tion, Felice proved an apt and
diligent pupil. In fact her zeal
for her own advancement out-
did his. Her fallow virgin mind
absorbed learning, and in one
short year, De Gautier saw,
with inexpressible pride, the
last trace of the peasant
disappear.

Now he was ready to intro-
duce Felice to society. His op-
portunity came when they re-
ceived invitations to a ball,
given by an Italian nobleman.
De Gautier conceived the idea
that his wife should go in the
simplest of dresses, and with-
out ornament of any kind. The
exquisite simplicity of her ap-
pearance contrasted with the
jewels and rich costumes of the
other women, made her beauty
shine like a pearl in the
midst of tawdry ornaments.
The next day she was the
toast of the town and
proclaimed the reigning
beauty. All of which add-
ed to De Gautier's pride
in her.

But through it all Felice re-
mained cold. She ensnared
men's hearts by her very cold-
ness. Sometimes her husbcmd
wondered, a little wistfully,
if this snow woman of his would
ever live up to the promise
in her eyes. For he was obliged
to acknowledge the fact that
so far Felice had not learned the meaning of love, as
he knew it. Perhaps — with the coming of her child —

For there was to be a child. De Gautier's cup of joy
ran over, and Felice looked forward eagerly to the time
when she would have something that would love her for
herself alone. For the lesson she had learned from Jules
Mardon had been a bitter one. She could not believe that
there were men in the world who would value — not her
beauty less, but herself more. She had no measure, as
yet. of the quality of her husband's love.

Back to France De Gautier took his bride, now a grande
dame who had once been a peasant girl. There in the
old home of his forefathers, a beautiful country estate,
his son was born.

The little boy grew strong and handsome and was a
delight to look upon. He had the great dark eyes of his
mother, but his handsome, highbred features showed that
the blood of aristocrats was in his veins. He was adored
by both his parents, and this common bond brought Felice
very close to her husband. Almost her love was his with-
out reserve.

"Felice, my little Felice," he whispered; "I love

you. I want you to be my wife. Felice, — will

you marry me?"

I Love You

3.5

It so happeneed that Jules Mardon was asked to loan his
famous painting to a charitable bazaar. Never dreaming
that Felice, the peasant girl who had been his model, was
now the wife of De Gautier, Jules called upon him one
afternoon to ask permission to make use of the painting
for sweet charity's sake. De Gautier received him and
listened courteously to his request. "Upon one condition
I will loan you the painting," said De Gautier, "that is,
of course, with my wife's permission. The condition is
that you paint Madame De Gautier and our little son,
as the Madonna and Child."

Noting a slight hesitation on the part of Mardon, De
Gautier touched a bell and summoned a servant. "Will
you ask Madame to step into my study for a minute?"
Then, to Mardon, with a smile, "You will soon see how I
have honored you."

Felice entered the room, and De Gautier, pride in his
accents, presented her to Mardon.

In her happiness, she had grown neglectful; and

as the days lengthened into wesks and the weeks

into months Felice spent long hours before the

Virgin's little shrine.

The artist looked up and was almost be-
reft of words, so great was his astonishment.
Could it be possible that this regal, stately
woman was the little gauche Felice? She
was a thousand-fold more beautiful than
when he painted her so long ago, a passion
flower beside the old garden wall. It all came

back to him: the moonlit nights, the scent of orange and
jasmine blossoms, the little peasant girl looking up at him
with great dark eyes of adoration. What a fool he had
been! He had held this priceless jewel in his hands, and
had thrown it away. Why, the woman was a queen! A
flame swept over him; from the dead ashes of the old
romance leaped a consuming fire. He had been first with

her; he would be last He became aware that De

Gautier was waiting for his answer.

"I will be most humbly proud to be permitted to paint
Madame as the Madonna," and Mardon bowed over her
hand. "A thousand thanks for the loan of the picture.
I will begin work on Madame's picture at once."

Felice never knew how she got to her own apartment
without betraying the tumult that was rending her. She '
could have cried out in horror when she heard her hus-
band's proposition. She had never wanted to see Jules
Mardon; this was playing right into his hands. She did
not wish her husband to know that there had been any-
thing between them; she must endure, passively, being
near him, having him talk to her, touch her!

A new thought struck her. She was safe now — no
word from him would evermore disturb one beat of
her heart — but if she could make him love her again?
There had been the old look in his
eyes — Her little hands clenched. She
would play with him, and in the end he
should know the agony of disappointed
love — as she had known it.
He should suffer as she had
suffered. She sat late into
the night thinking, plan-
ning.

Shortly afterward, when
the painting of the picture
was well begun, De Gautier
was called away on busi-
ness. Seizing the opportu-
nity, Mardon asked that he
might dine with her, alone.
Felice, with pretended re-
luctance, consented.

She gave orders that din-
ner should be served in her
private sitting room, and
she selected the choicest
fruits, flowers and wines.
She spent hours over her
toilet, and when she en-
"> tered, to await the

coming of Jules,
she knew she had
never looked more
.' lovely. She sat down,
jj and while listen-
ing for his footsteps,
the clanging of the vil-
lage church bell, a dis-
cordant note, came to
her ears. For a minute
she wondered what the
disturbance was about,
then turning to greet
Jules, forgot the occur-
rence,
j As a cat plays with a
1 mouse, Felice played
with Mardon during
dinner. The climax came
when he clasped her in
his arms and declared
(Continued on page

120)

Grand Crossing^ Impressions

m i, -\

'mm -

Delight <Evans

IT was Awful,
The Day She Came.
It

Half-snowed,
Discouraged Itself, and
Rained Instead.
It Isn't

So Pleasant in Chicago
On a Day like That.
And then She Came.
Not

That Jackie Saunders
Came to Chicago
On Purpose; none
Of Them do. Only, when
You Live in Los Angeles, and
You Want to Get to New York.
Chicago Is a Convenient Place
To Lunch. Besides,

Enough

To be Called That ; but Now-
Why, Folks,
She Has
Blue Eyes —

The Kind that Poets Mean;
And her Nose
Is the First
Real Tip-tilted One
I've Ever Seen ; and
Her Teeth Gleam White
When she Laughs; — but
She's Not a Vampire —
And when she Came Up
To see Photoplay, she sat down
In a Swivel Chair, before
A Big Desk, that Didn't
Match her Eyes
At All; and
She looked at me, and
She said : "I Can't
Talk about Myself,
Wry Well";
And For Once I Knew
I'd Heard the Truth
About That;
And she's Married,
And Happy —
(I Know;
II is Hard} ;

You Have

To Change Trains.

Besides, —

There's "Photo-
play."

And Now, I Wish

I Hadn't Met Her.
Then I could Call
her

Jackie.

Only, she

Looks Like

A Jacqueline.

Before, I never
Thought

Anyone was Pretty

Chicago, the Grand Crossing ; the
transfer-point for players on their flirtings
from coast to coast.

Chicago, a Place where they change
trains and, in the sad mad scramble of
luggage and lunch between, run up to
see "PHOTOPLAY."

But

She has the First Real Laugh
I've ever Heard —
Only It's a Giggle —
And she still
Blushes, when you Say-
Something Nice; and I Said
A Whole Lot.
She Wore

Blue — Jacqueline Blue
It Used to Be
Something Else ; but
It's Jacqueline, Now. —
And she Looked
At the Papers and Things.
On the Desk, and
She Looked Away —
Right Then,
I Knew

She was One of These
Essentially Feminine Women —
You Know —
One of the Helpless Sort ;
The Kind

That Look Up at One, through
Lowered Lashes, and then
Look Slowlv Down.
The Kind

That Sometimes Stumble, and
Often Mispronounce Words.
They

Duck their Heads
When They Shake Hands
Jackie Saunders
Was Like That.
I Loved her. —
One Meets
So Few

Of these Old-fashioned Girls
Nowadays.
I Was
Watching her Eyes,

And not Hearing
Half she S?id, when
I Heard a Shriek.

Had Shrieked It.

•'Did

You See That Mouse?" I

Asked her.

"A Mouse? Why," she Smiled;

Play With

A Dozen White Mice

In My Latest Picture."

More and

More,

Every Day,

I Realize

That G. B. S. Said Something —

You Never

Can . Tell.
And then I Remembered
All I'd Heard
About Jackie Saunders —
Driving her Own Car. and
Winning Cups —
Well, and

I Stopped Watching her Eyes and Began
To Listen
To What she Said.
"I was Wishing
It Would Snow," she Sighed;
"I Love Snow.
Long Beach, of course,
Is Awfully Nice — there's
One Hotel, and
A Beautiful Ocean —
But

I'd Like to Work

In Los Angeles Half the Year, and
In New York
The Other Half.
And I Want

To Do Worth-while Things—
I'm Studying

Hard — Music, and languau- -
Just Now, while I can.
I'll do
"Joy" Pictures —

Boy Parts

And Oh,—

I Do Love

Every Bit of It!"

And Now. Miss

Saunders,
I Want to Tell you
Something.
Please,
When

You've Seen
One of Your Own

Pictures.
Don't

Go Home and Cry.
And Don't
Go Without your

Dinner.
You Said

That in your Latest Picture
•'Jackie the Hoyden."
You're
A Boy, and
You Wear Knickers —
Why, — Jac — Miss Saunders.
That's Nothing
To Crv About !

JUU

Bessie

Barriscale's

Nemesis

She loves Potatoes and Pastry;
but she doesn't eat 'em because

By Elizabeth Peltret

"Sato, why do you tempt me?

You know I can't eat that

pastry."

'.'.'.'.'.'I'l'i'i'mrrrr

"We're going to move into a
house that has ten great, big
rooms," she said, "so that we can
have space enough to really turn
around and breathe in."

Perhaps that is the most notice-
able characteristic Bessie Barriscale
has — restlessness. She must be do-
ing something all the time. Keep-
ing still is, she says, for her almost
an impossibility. Her hobby is her
automobile; her favorite pastime,
speeding down a long, smooth road
when the weather is fine and she
doesn't particularly care where she
is going. She is five feet, two inches
tall, has very fair skin and — one
notices with a little sense, of sur-
prise— brown eyes. Mr. Hickman's
eyes are also brown, while their boy
has eyes of blue.

"Really our baby doesn't look
much like either of us," she said,
"though if you look closely, you
can see that he has eyes shaped like
mine, and my fair skin, and that
the back of his head is like his fa-
ther's and he has his father's funny
legs."

THE Hickmans — Howard, Bessie
Barriscale, and their little boy —
live in a six-room bungalow in
Hollywood that Bessie Barriscale
calls the doll's house. Being great be-
lievers in the power of mind over matter,
they have a number of Maxfield Parrish
landscapes around to give the suggestion
of great distances, and the ceiling of her
bedroom is sky blue, possibly for the same
reason, but "Bess" — (everyone calls her Bess
—is too restless to be satisfied with suggesti

Friend husband was not in the room
at the time she made this remark which
was, perhaps, just as well. Later, how-
ever, he came in dressed up as a pirate —
well, anyway, "do you want your boy to
be an actor?" she was asked.

"Why certainly," she answered

promptly, "if he should want to be. I've

been on the stage since I was five years

old and I know that stage children are given

more care — more gentle consideration — than

any other children in the world."

usual, when someone spied the Gerry man
out front. It was just before the moment
when Little Eva fans into the river and the
manager dared not await any longer than
was absolutely necessary to substitute me.
I've often wondered what the audience
thought when Eva came out of the river a
head taller and several years older than
she was when she went into it."

Bessie Barriscale met Howard Hickman
when they were playing in stock at the
Bush Temple theater in Chicago. He was
the villain of the company and perhaps this
lent him an added fascination, for she
fell in love with him almost at first sight.
Her mother, however, disapproved, not of
Mr. Hickman, but of Bess getting married
at all just at that period.

"She thought I was too young; that it
would ruin my career — oh dozens of things.
She was utterly heartbroken over the
whole affair. There being nothing else to
do, we eloped. Poor Mother! For her,
it was like the end of the world!

"We are very happy together," she went
on, "and I think much of this is due to the
sacrifices we have made in order not to be
separated. Frequently, we have accepted
engagements where we could be together
when we could have made twice as much
money and had very much better parts,
if we had bsen willing to work separately."

This was the chief reason that they
"went over" to the pictures. At present,

The Howard Hickmans have signed the
Food Pledge. Here it is in the window.

Like so many others, Bessie Barriscale
and her husband "went over" to
the movies so they could be together.

Miss Barriscale's first appearance
was with James H. Hearne in "Shore
Acres." "I never think of him without
at the same time thinking of peanut
brittle," she said. "He must have
kept me constantly fed up on peanut
brittle. I have the same vagueness of
impression about Margaret Anglin,
with whom I worked the following
season. All I remember about her is
her way of saying, 'Oh, DON'T do
that, Little Girl!'"

Bess has played everything from
Little Eva, in "Uncle Tom's Cabin" to the
children of Shakespeare with Louis James.

"The last time I played Little Eva,"
she said, "I was a great deal too old for the
part. The company had taken me with them on
tour in case the little girl playing Eva should be
removed by the Gerry society. One night, the
performance commenced and was going along as

We've been told so many times that these screen stars are the

hardest working- girls of all. And yet, every day we receive

pictures like this one of Bessie Barriscale at home.

both are at the Paralta studio, but even were they at
different studios, they could still have their evenings
together. Then, too, they are free from the necessity of
long separations from their boy. "We have a real
home," said Miss Barriscale.

Her first picture play was "The Rose of the Rancho,"
made at the Lasky. studio by Cecil de Mille and it was
one of Lasky 's first offerings.

"I wasn't a bit nervous," she said. "Perhaps because
I had played the part so many times — 18 weeks — in
stock at the Belasco theater (Los Angeles).

"The first day at the studio is rather hazy — dream-
like— in my memory. The things that impressed me
most about the studio were the click of the camera —
which bothered me a great deal for awhile — and the
men in evening dress for a scene, wearing yellow
shirts. Later I put on a white dress for one of my
scenes, and the director made me change it, explain-
ing that white wouldn't photograph white as well as
yellow would. It was a long time before I got used
to that. Whenever we used yellow linen in the place
of white, I went through the scene with a strong feel-
ing that something was wrong. It made me feel very
awkward."

From Lasky's Miss Barriscale went to Culver City
where she stayed for two years. Some of her most suc-
cessful Ince pictures were "The Re-
ward," "The Cup of Life," "A
Corner in Colleens," "Bullets and
Brown Eyes," "The Payment," and
"The Golden Claw." For Paralta
she has made "Rose of Paradise,"
"Madam Who?" and "Within the
Cup." In this last picture, she had

''We have a real
home," said Miss
Barriscale. And
Mr.' and Mrs.
Howard Hickman
evidently think
there's no place
like it.

4<>

a pan which required her to do some
"vamping."

Now "Bess" is a good actress
but she has never been very
strong for the rag-and-the-
bonc and the-hank-of-hair
stuff. However, on this
occasion, she was vamp-
ing all over the set, and
enjoying herself very
much, when she heard
Robert brunton, the gen-
era! manager, remark to his

Photoplay Magazine

Occasionally she must have a potato.

can go about three weeks

ithout a potato," she said,

and then I absolutely must

have one if it adds three

pounds. Not that I ever

noticed it adding three

pounds, but it might.

However, I must take

the chance. The other

day my husband thought

that he'd be good to me—"

"For a change?" suggested

Left: Miss Barriscale as "Bawbs o' the Blue Ridge.'' Oval: a scene from "The Devil." Right: as the kitchen wench in "Borrowed Plumage."

wife, who was visiting on the lot:

"As a vampire, Bess looks like a naughty child that
ought to be spanked."

"You have nothing on me," said Bess. "I can't imagine
myself as a vampire either."

To look at her, no one would suspect Bessie Barriscale
of having a trouble in .the world — and she hasn't. But
she has something just as bad. She is afraid that she will
have a trouble in the world, and the trouble in question
is adipose tissue, as the experts call it. As a matter of
fact, she doesn't seem to be in any particular danger.
She not only doesn't have to lace, but she doesn't even
wear a corset — only a little elastic girdle. (Such a thing
may be said, may it not? in an "intimate" interview?)
Any way, she isn't taking any chances. She has a regular
beauty parlor arranged in her own home, including electric
bath, electric massage, physician's chair, and everything
that a beauty parlor naturally would contain Also, she
never eats anything she really likes on the theory that it
will be likely to add a pound or two of the aforementioned
adipose tissue. There is only one exception to this rule.

Howard Hickman, poking his head in at the door.

"For a change," his wife went on, quite as if he hadn't
interrupted her, "so he brought me a big box of chocolate
creams. I keep them on the sideboard so I can sit here
and look at them!

"This is all because I remember myself as I saw me first
on the screen," she went on. "It was three years ago, and
I haven't gotten over the shock yet. To this day, I can't
bear to look at one of my own pictures! I had been very
excited over the idea of seeing myself — I expected to have
a sort of curious yet pleasant sensation. I did have a
curious sensation, but as for pleasant — I was a little late
reaching the projection room and it happened that I walked
right in on a close-up of myself. I didn't wait for any
more. Instead, I made the finest emotional exit of my
entire career! Once outside, I leaned against the side of
the building and had a good cry. As I cried. I repeated
over and over to myself, 'I'm not that fat!' "

Bessie Barriscale was the original Luana in "The Bird
of Paradise." The play was written especially for her and
was first put on at the Belasco theater in Los Angeles.

QLi)t Jfan'£ draper

FROM Billy West's imitations; from Wm. Brady's idea of Russia; from Theda Bara in "Cleopatra" gowns;
from News Weeklies of Shriners' Parades; from Fox's Made-in-America Russian Vamps; from movie
ball-rooms; from actress managers; from "Chats"; from Violet Mersereau's joy-plays; from anybody's
joy-plays; from picture posters; from the sorrows of Alice Joyce; from Dustin Farnum in "The Spy"; from
missing a Bill Farnum picture; from silent prima-donnas; from screen coincidence; from George Walsh's smile;
from "The Last Raid of the Zeppelins"; from Actionized photoplays; from antiquated ingenues ; .from "The Mas-
ter of Screen-Craft"; from decorated captions; from Winifred Kingston's kisses; from Sm. Goldfish's reforms
of the industry: from Kathleen Clifford in anything but boys' clothes; from Clara Young's light comedies; from
sweet villains; from sweet leading men; from the continued absence of Blanche Sweet; from advice to the screen-
lorn; from most war-plays; from believing that "Sirens of the Sea" is an uplift effort; from uplift efforts; from
News-weekly inserts in "super-films"; from "super-features." "super-films," and other soup; from fifth-reel grabs;
from Broadway, Santa Barbara, and from Africa, Fort Lee; from Eileen Percy's tears; from Vivian Martin's poor
girls; from ticket-tax dodgers; from film-racing operators; from photoplays with a mission; from Julia Sanderson
as a country-girl; from Marguerite Clark with her hair straight back; from missing "Mickey" — when it comes:
from more Selznick corporations; from sprocket-scarred films; from morality camouflage — from all these evils,
kind Providence, deliver us!

Shooting the Music

BEING a veracious account of the proceedings by
which Joseph O'Sullivan, Mutual's music master,
paints tune poems to accompany the presentation
of the pictures in the theatres.

Mr. Joseph O'Sullivan is a slight and picturesque per-
son with a lot of hair and some temperament. He came
out of Louisville, Ky., some years ago and broke into
opera as a composer and expert in incidental music. Cap-
tured for the movies, he is now devoting his genius to the
musical crazy-quilt business which is known as "cueing
motion pictures."

Which means that a "cue sheet" offering hints of themes
and motifs is made by the motion picture distributor for
distribution to the theatre orchestras. These cue sheets
determine largely what you hear from the pit along with
what you see on the screen. There is presumed to be a
close artistic relation and Mr. O'Sullivan is the artist.

The O'Sullivan method of extracting the musical es-
sences of a motion picture and converting them into printed
directions for "playing the picture" are highly technical,
scientific, modern, and all that.

The usual conception of a music cue-writer is a taper-
fingered young person tickling the piano as the picture
rolls by, dictating notes to a self-effacing stenographer.

Nothing of the sort. O'Sullivan works out his music
cues without even looking at a piano. It is as systematic
as the compilation of a railroad time-table and at least
twice as accurate. The first step in this operation is to
"can the picture," this being shop talk for the operation
of dictating the plot and action of the picture, in the order
of its happening and at the rate of soeed with which it
happens, to the wax record of a recording phonograph.

The musical Mr. O'Sullivan sits in the projection room,
dictates his notes, then goes to his desk, listens to him-
self talk on the record and jots down the musical selections
which seem to fit the case. For example, the music and
each thematic change of the music must keep step with

Mr. O'Sullivan sits in the pro
jection room and dictates hi
notes as he watches the picture

the action on the screen and start and end at the proper
times. This is worked out by a timing adjustment of the
recording phonograph, which enables the cue sheet writer
to tell at just how many minutes and seconds of elapsed
time the comedian fell down-stairs on. the screen, or at
just what point the leading lady flows into the arms of
our hero on the iris fade-out at the finish.

And this is how Mr. O'Sullivan's dope-sheet reads, how-
ever unintelligible it may sound to the uninitiated:

O'Sullivan, reading rapidly from screen caption — "Say,
young fellow, I'm Nick Fowler from Hohokus and I want
to see Mr. Blunt." — This is the big rube talking to the
office-boy.

Scene in studio at twenty-two and a half. The kid starts
a crap game with two pickaninnies. (Use an allegretto
giocoso here; sure, that's the dope.)

Back to the office — twenty-three and three quarters —
Kid and two coons. "Oh you little Joe! Seben come
eleben!" The dinge gets the six bits all right. Kid reg-
isters disgust — bellicoso; back to allegretto giocoso.

Back to the office at twenty-seven. Trixie Friganza
getting impatient. Lots of movement here — popular stuff,
what? Con moto, I guess. The rube bumps into Trixie.
She says, "Out of the way, you "boob!" Kid returns at
twenty-eight.

Time now twenty-nine. Subtitle: "Palter, the Loonie's
butler, who hourly awaits," etc. Scene shows a horse-
faced butler nosing from behind portieres. Mysterioso
andante here — sumpin's going to happen anyhow —

Our hero is led in to a den of cutthroats who mistake
him for one of them.

Time sixty and a half. Lord Cheesel enters — they're all

excited — here you go
now — agitato, agitato!

Then comes the fight.
Biff — bang! Furiorio-
rioso agitato!

And then — here
comes the bride.
Give 'em "The End
of a Perfect Day" to
the finish.

When Louise Huff was a Lubin ingenue, Edgar
Jones was her leading man. Today, Louise Huff
is a Lasky star, and Edgar Jones a Universal
director. But he's still her
leading man.

ONCE UPON A
TIME

We loved Gene Gauntier in the good old "Kalem" days
for her genuine ability; we loved her more for her shy little
smile. But we loved her most because she was Irish. Miss
Gauntier is here pictured with the members of her com-
pany just before they sailed for Ireland, where they made
three-reel features. Sidney Olcott, Miss Gauntier's director,
stands at her right; her husband and leading man, Jack
Clark, right of Mr. Olcott. Miss Gauntier has been re-
tired for several years; Mr. Olcott is still a director.

In 19 1 2, Kalem sent a company to the Holyland, to film
Biblical subjects. Helen Lindroth was one of the players.
This snapshot was taken in their "Studio" at Jerusalem.
Miss Lindroth is well-remembered as a character actress;
her latest appearance was made with Famous Players.

In those days, when a star bought a new
car it was good for a story. This was an
"exclusive" picture for PHOTOPLAY of Mae
Hotely and her new electric. The p. a.
wrote: "Miss Hotely honestly has three
automobiles — a huge seven-passenger, a
five-passenger, and her favorite, the new
electric. It is upholstered in mauve, and — "
Miss Hotely's Lubin comedies were among
the most popular of their time.

fit

Remember when every other
good picture bore the "Liberty
Bell" stamp? "Pop" Lubin, a
picture-pioneer, is now back
in the optical business.

■

How they did make up in those days! And now Marshall

Neilan, the famous Lasky director, and Miss Pauline Bush

— I Mrs. Allan D wan ) — will have a chance to see themselves

as others used to see them.

1913! Only five years ago. But five mighty, rac-
ing years; five years which have broadened more out-
looks, disrupted more theories, and changed more
minds than any other period in the history of time.

There were movies, in 1913. You went to a "nick-
elshow"; you passed one hour in the dark, stuffy
silence; you stared ahead of you at a queer patch of
black-and-white that quivered and shivered and stum-
bled and shook; you heard the great emotions cut out
of that patch and fingered on a black-and-white key-
board until they screeched in agony. But, as you
watched, you sometimes caught a glimpse of the light
in a pair of pictured eyes; of the terror in them, or
the grief. And for one short hour, you were in the
land of pictured dreams.

A scene from "The Telegrapher's Peril." (Lubin.) But we remember

when we would have been only too glad to get a chance to see Ormi

Hawley. With Earle Metcalfe, Lubin had a team which was extremely

popular. Miss Hawley recently appeared in "Runaway Romany."

-^ ^*>mf

"Sophie Clutts"! If you ever saw her, in those Essanay

western comedies, the recollection will bring a smile even

now. Margaret Joslin isn't acting now; but we wish

she was.

Edwin August may not

have been the first matinee

idol; but his smile was much admired once upon a

time. Of late Mr. August has been a director.

Incidentally Miss Dana's director is her husband- or perhaps it would be better to say that incidentally, Miss Dana's husband is her director.
Anyhow Director John Collins is her director at the Metro picture plant in Hollywood. But after they l°ave the studio- but whit's the
use of butting into private affairs. All parties concerned agree that they are an ideal cou<->le— on and off — and that's official. But you'd

never think they'd been married three years, would you?

"I've been down here at least a dozen times,'' he said. "Mr. Brockton, the head of your scenario department, won't see me.

The Rejected One

In this case one man's loss was everybody's gain, and certainly no one could blame McKay

IVE me a chance!" the man
opposite me exclaimed, his
face twitching. "For God's
sake give me a chance."
I glanced from the manuscript I
had been reading to the young fellow
who had so unceremoniously burst into my office. His
unwarranted intrusion annoyed me. It is not my habit to
listen to the complaints of disgruntled authors. The
scenario department is supposed to take care of all such
unwelcome visitors. I made a mental note to find out by
what means this eager-faced young man had managed to
force his way into my sanctum.

He supplied the information himself.

"I've been down here at least a dozen times." he said.

By Frederic Arnold Kummer

ILLUSTRATED BY
CHARLES D. MITCHELL

"Mr. Brockton, the head of your sce-
nario department, won't see me. His
secretary says that he is either out,
or in conference, or down in the pro-
jecting room. I've sat in the outer
office until I've worn the varnish off
half the chairs, and no one pays the least attention to
me. Not only here, but at most of the other studios as
well. This morning I got desoerate. I told the boy at the
desk I had an appointment with you and walked right by
him into your private office. Your name on the door told
me where it was. I want a chance."

"What do you mean by a chance?" I asked. His nerv-
ous manner, his lack of self-control as evidenced by the
twitching of his mouth, the high strained key in which he

Photoplay Magazine

spoke, the quick nervous clasping and unclasping of his
hands, did not prejudice me in his favor. A man has got
to keep his "front," both mental and physical, in this
diamond-cut-diamond game of the movies. Keep it, indeed,
when his pockets are as empty as his heart is of hope.
There is no room for failure in the film business. "What
do you mean by chance?" I repeated.

"A chance to make good writing for the screen," he
replied.

I took a closer look at him. He was not over twenty-
five, pale, slender, very nervous. He had not, however,
been drinking. His eyes were too clear for that. His
clothes were of good quality and well cut, but decidedly
threadbare. His linen, thoroughly clean, gave evidences
of having been laundered at home. The soles of his shoes
were paper-thin, but the uppers shone with defiant bright-
ness. Clearly he was making heroic efforts to keep up
appearances, sartorially at least, and I wondered the more
at the break in his self-control. The man began to inter-
est me.

"Chance?" I said. "You've got as much chance as
anybody else. Write your stuff and send it in. We want
short synopsis, not scenarios. Our scenario department
will give you an answer inside of a week. We employ a
competent staff of readers."

The young man smiled. It was not an agreeable smile.

"I've been submitting material to your company, and
others, for two years," he replied, "and I've still to sell
my first story."

"Then your material isn't what we want," I told him,
wondering why the unsuccessful writer always blames the
picture companies when his Work is turned down. Some .
of the material that comes in to us — most of it, in fact —
would make a cigar store Indian laugh. And the indigna-
tion of the writers, when their stories are returned, is gen-
erally in inverse proportion to their merit. One fellow,
I remember — or was it a woman — threatened to bring
suit against us for two hundred thousand dollars for not im-
mediately accepting a masterpiece she sent in called "The
Bandit's Revenge," and forwarding her a check by return
mail. It was some scenario, believe me. Twenty thousand
feet of film wouldn't have done it justice. This young fel-
low, however, did not look like that kind.

His smile suddenly turned to a disagreeable frown.

"If my stuff isn't what the picture companies want,"
he said, "why do they steal it?"

I shrugged my shoulders. Apparently he was like all
the rest.

"That's what they all say," I returned.

"I know. I've been in the writing game long enough to
understand that more than one person may have the same
idea. There aren't any new plots, and I haven't any copy-
right on the old ones. I know all that. But what I'm
telling you is true, just the same. In at least three cases
stories that I have submitted and had returned to me with
the usual regrets have appeared on the screen within a few
months, under another title. I won't name the companies,
because I'm not looking for any libel suits, and I'm giving
it to you straight, just the same. No — your company
wasn't one of them."

"Why don't you sue for damages?" I asked him.

He gave an unp^asant laugh.

"Swell chance I'd have, with ten dollars in the bank,
bucking a ten million dollar concern. And besides, how
could I prove anything? You know it's a cinch to steal
any story ever written, by changing it just enough to
get by. It's done every day in the year. I know a man
who used to be a reader at one of the big coast studios.
He has put me wise. Do you know what he did? Any-
thing that came along with a well-known name attached to
it — there were mighty few, he tells me, for the big fellows
don't submit stuff that way — he'd pass along without even
bothering to read it. The other stuff he'd read, make a

brief synopsis of the plot, and return. The plots, situa-
tions, ideas he got in that way were card-indexed in the
company's files. Nothing was accepted, except the big-
name stuff. The open boast of the office was, 'Why pay
for anything you can steal?' When one of the staff writers
of the company, working on salary, wanted an idea, or
half a dozen of them, he'd go to the files and get them.
Everything was on hand. It was just like mixing a drink—
a novel angle of the triangle here, a new comedy situation
there, a unique gun play and an original love scene, he'd
grab them all, shake them up in his hat, and turn out a
corking five-reeler in two days. And why shouldn't he,
with five thousand brains working for him? I've seen
situations of mine, stuck in the middle of a picture like
currants in a bun, but how could I prove the staff writer
didn't think of them himself? I'd have about as much
chance as an ice-cream meringue in the middle of hell.
And the worst of it is, you can't protect yourself. You
can't copyright a scenario. . Of course you can go to the
trouble of writing your story out in narrative form, have it
printed, bound, and issue it as a book. You can copyright
a book, but it costs a lot of money, and wouldn't do any
good. They'd steal your idea just the same, if they wanted
to, and take a chance on proving it wasn't new. So what's
the use?" He sat back in his chair with a groan of dejec-
tion. "I guess I'm down and out. I gave up my job on
the paper two years ago to write for the screen and I've
still got to make my first sale. My stuff's all right. 1
know that. But I can't get a chance. If it wasn't for an
occasional magazine story, I guess I'd starve. My wife
advises me to have patience and keep at it, but I'm
through. I'm rejected, all right. Rejected! I told her
that last night. The poor kid hasn't had a decent dress
for twelve months — lucky to have something to eat, I
guess, but she's game. What do you think she said? Go
back to the newspaper job? Not a bit of it. Said if you
don't see your opportunity, make one. Get that? Make
one! Then she quoted the Bib'e to me. Fact. Something
about the stone the builders rejected becoming the corner
of the arch. So I came down here to see if there isn't
some way I can get a chance."

"What can / do for you?" I asked, in a kinder voice.
The excited way in which my caller rattled on showed me
plainly that his nerves were almost at the breaking point.
"I don't select the company's pictures. I merely put
them on."

"You have a lot to say about it," he returned. "I've
found that out. The other night I was talking to a man
who knows Peter Fleming. Writes a lot of stuff for you,
he says. Well, he tells me Fleming won't bother with any
twenty dollar a week readers. Takes his stuff in synopsis
form right to Brockton, or Mr. Goldheimer, or you. Won't
you look over this one of mine?" He drew a thin type-
written manuscript from his pocket and offered it to me.

I shook my head.

"Mr. Fleming's material is of unusual quality," I said.
"His name and reputation as a dramatist and writer of
fiction justify us in modifying our* rules in this particular
case. But you can see how impossible it would be for me
to do it in yours. If I made an exception in your favor,
I'd have fifty like you on my hands every day, and that
wouldn't leave me time for anything else. Now if you
were as well-known as Mr. Fleming is — "

"In other words," he interrupted harshly, "the best
you can do is to tell me to go and get a reputation."

"That's about the size of it," I said, and turned to my
work. I had just an hour in which to go over an impor-
tant scenario, and I'd already wasted a quarter of it on
this young man and his troubles.

He rose, scribbled something on a bit of paper, and laid
it on the desk.

"Here's the title of my story," he said, "and my name
and address. I'll hand the thing in at the scenario depart-

We had begun work on the interiors, and everything was going along
smoothly when one day the chief walked into the studio and handed me a letter.

}} ... ■■;,

4»

Photoplay Magazine

merit, same as usual. If you want to get one of the best
pictures that ever came into your office, ask your readers
to give this one special attention. In fact, it wouldn't
take you half an Hour to read it yourself." He mack-
a movement as though to lay the manuscript before
me.

"Nothing doing," I laughed. "Give it to Mr. Brockton's
secretary, Miss Bradley. Tell her I said would Mr. Baker
please give it the once over. He's the best reader we have.
That s about all I can do for you. More, in fact, than I
ought to do. Baker has troubles of his own. I don't like
lo add to them."

He thanked me with a quick smile and went out. I
glanced at. the bit of paper-he had given me, with his name
and title of his story on it, and slipped it into a pigeonhole
of my desk. Then I forgot all about it.

A few days later the Chief came into my office and
handed me a manuscript.

"Here's that story Fleming's just done for Betty
Mason," he said. "Look it over, will you? We'll need
something for her in about a week."

"Fleming's stuff generally makes a hit with me," I said.
"I'll take a look at it tonight. The Verdict, eh? Not a
bad title." Without glancing through it I laid the script
on my desk and went out.

We were working on location that day, and it was late
when I returned to the studio. The manuscript lay where
I had left it, and I placed it in my portfolio and went up
to town.

I stopped in at the club for a cocktail, and by chance
met Fleming at the bar.

"Just taking home a script of yours," I said. "Called
The Verdict. Not a bad title."

"I'm not stuck on it," he replied. "See if you can't hit
on a better one."

I said I would try. All my friends think I'm a shark
when it comes to titles. I've named dozens of pictures that
I had nothing whatever to do with, just to help out some
friend. Consequently I rather pride myself on my abilities
in that direction.

I went over the synopsis carefully that night, and found
it all that I had hoped, and more. The situations were
novel, the plot ingenious, with a unique twist, the whole
thing so brilliantly worked out that I longed to work on it.
Fleming had outdone himself. And somehow the only
title that I could see for the picture was The Man of Her
Dreams. I didn't originate it. It came right out of the
synopsis itself. One of the paragraphs began, "Frances
meets the man of her dreams." I decided then and there
to discard Fleming's original title of The Verdict and use
the one I had selected. I frequently did this, on my own
account, but in this case I was especially authorized by
Fleming himself, to make the change, so I gave the matter
no further thought. I scrawled the title over the outside
cover, scratching out The Verdict, and the next morning
reported to the Chief.

"That Fleming story is all right," I said. "The very
thing for Mason. I'll have Nelson put it in scenario form
at once."

"Go ahead," he replied. "We need it to follow The
Refugee," and a few moments later I had turned the
synopsis over to George Nelson, our crack scenario writer,
with instructions to have it read for production the follow-
ing week. George is a wonder. He once turned out the
complete working scenario of a five-reel picture, with over
three hundred and fifty scenes, in four days, which is going
some.

We had begun work on the interiors, and everything
was ffoing a'ong smoothly, when one day the Chief walked
into the studio and handed me a letter.

'What do you make of that?" he said, shoving it into
mv hand.

I stopped the scene I was rehearsing and glanced at the
letter. It was from Fleming, and he protested violently
against the change I had made in his title.

"The Verdict," he wrote, "wasn t much of a title, I'll
admit, but The Man of Her Dreams is punk. Better find
something more suitable."

I handed the letter back to the Chief, not at all pleased
by Fleming's caustic criticisms of my selection.

"I think The Man of Her Dreams is a corking title,
myself," I said, "but if Fleming doesn't want it. it's nothing
in my life. I was trying to help him out. Let him think
up his own titles after this."

The Chief went away and I heard nothing more about
the matter of the title for another week. Then one day a
boy came out to me on location with another letter from
Fleming, who, it seems, was off in the country some-
where with a party of friends.

"I suggest calling the picture either The Missing Wit-
ness, or Not Guilty" he wrote. "Either would suit it
admirably." At the bottom of the letter the Chief had
written in pencil — "How do these strike you?"

By this time I had begun to think that Peter Fleming
was losing his mind. The story he'd sent in was a delight-
ful love story, with plenty of strong situations, and all that,
but nothing whatever about it to suggest the titles he had
sent in. That night, when I returned to the studio, I went
in to see the Chief and told him so.

"The Verdict was a pretty bum title," I said, "although
it might apply well enough to the final decision made by
the girl when she accepts the hero. But when it comes to
The Missing Witness, and Not Guilty, I threw up my
hands. You'd better write Fleming and ask him where
he gets all this courtroom stuff. There's none of it in the
picture. And tell him to answer quick, because we'll finish
shooting our final scenes this week."

That ended the matter, so far as I was concerned, and I
went ahead and finished the picture. On the very day
that I had arranged to run it off for titling, Fleming called
me up from the city and said he wanted to see me. It
appears he'd been away on a cruise, or something, and
had just received the Chief's letter. I told him to come
right down, take a look at the picture, and decide on the
title after he had seen it. He said he'd come and I went
in to tell the Chief.

There wasn't anyone in the projecting room but Flem-
ing, Brockton and myself. When the opening scenes were
run off, I noticed that Fleming was very quiet. Once he
turned to me as though about to speak, but he didn't say
anything. When the first reel was over, he spoke.

"Changed the first part a lot, haven't you?" he asked.

I told him we'd made a few changes, but nothing very
important, and he turned to the screen again to look at
the second reel. He was as silent as the grave until it was
over, and then he got up and shouted something at me in
a way that almost bowled me over.

"Say!" he cried. "Where in hell did you get this pic-
ture, anyway? / never wrote it!"

"You never wrote it?" I gasped, staring at him.

"Certainly not! This isn't The Verdict. You've got it
mixed up with something else."

We adjourned to my office at once, and I had George
Nelson, who had prepared the scenario, bring me in Flem-
ing's original manuscript, the synopsis from which Nelson
had done his work. I handed it to Fleming.

"Here's the original," I said. "Your name's on it. If
there has been a mistake, it isn't ours."

"That's my cover all right," Fleming said, glancing at
it. "but" — he quickly turned over the pages — "the story
inside isn't mine at all. I never saw it before. What I
want to know is, what have you done with my script of
The Verdict — the script that I mailed you in this iden-
tical cover? Someone has stolen it, and I shall hold the

The Rejected One

Jn IHfraoriara

company responsible." He was working himself up into
a fine iury, so I thought it best to smooth him down.

"I give it up," I said, "but I'll have a thorough search
made. In all my experience I never knew sucn a thing
to happen before. How are we going to recognize the
manuscript, though, whti we find it, if it's been acciden-
tally placed in another cover?"

"Easily enough," said Fleming, with scorn. "I always
place my name at the head of my manuscripts, as well as
on the outside cover. The gentleman who wrote this" —
he tore the manuscript of the picture from its cover and
threw it on my desk — "evidently doesn't. I'm not so
sure the thing was an accident." a

I sent for Brockton and we had a hurried search
made. At last, at the
very bottom of the ^^^LmA—Mt
manuscripts on Baker's
desk, we discovered
Fleming's synopsis,
minus a cover, and still
unread. I handed it to
the irate author, and he
put it in its binding at
once.

"I'm going to have a
talk with Mr. Goldhei-
mer personally," he an-
nounced. "Someone
has been trading on my
reputation." Then he
went out.

When I thought of
that splendid picture
down in the projecting
room I felt that the
author of it, whoever he
was, had small reason
to worry about Peter
Fleming's reputation.
That picture didn't re-
quire anybody's name
on it, to make it a suc-
cess. But just the
same I realized that we
would have to find out
who wrote it, before we
dared release it, because
it wasn't our property,
in spite of the fact that
we had invested some
eighteen thousand dol-
lars in it, and until we
secured a definite con-
tract with the author,
giving us the right to
exhibit the picture,
our eighteen thousand
wasn't worth a plugged
nickel. I knew that
Goldheimer would want
some exp!anation of the
queer state of affairs,
too, so I sat down and
began to think things
out. It was some mixup.

Fleming had mailed his manuscript to Goldheimer per-
sonally. Goldheimer had opened it, and without read-
ing it, had at once handed it to me. I had received it in
the morning, and left it on my desk until night. Then I
had taken it home. It had not been out of my possession
until the moment I handed it to George Nelson, to pre-
pare the scenario, the next day. The thins; seemed inex-
plicable. No one could enter my office, unless — I paused

The Screen Butler.

The Movie Minister.

The Heavy-Mustached Villain.

Midday Moonlight.

Ostermoor Make-Ups.

Francis X. Bushman's Sport-Shirts.

Crane Wilbur's

J. Warren Kerrigan's " "

Sport-Shirts.

Painted Back-Grounds.

Screen Orphan-Asylums.

The Man Who Keeps His Hat On While

Talking to a Lady.
French Maids from County Cork.
The Fight at the Finish.
Nick-of-Time Rescues.

in my train of thought. Something slowly came back to
me. I reached up, and took from one of the pigeonholes
of my desk a slip of paper. On it was written. The Man
of Her Dreams, by Gilbert McKay.

I began to understand a part of the mystery, at least.
The title, which 1 had barely glanced at when the young
man handed the slip to me, had fixed itself firmly in my
sub-conscious mind, but my conscious or waking mind
had completely forgotten it. Consequently,
when I ran across the same phrase in Mr.
McKay's synopsis, it instantly suggested to me
the title I had pre-
vious^ read. All that
was clear enough. But
how had McKay's
manuscript gotten in-
kJS ^ A> side of Fleming's cover?

That I could not under-
stand. Clearly, how-
ever, the best way to
find out was to talk to
McKay, so I sent him a
letter, asking him to
come down and see me
the following morning.

McKay arrived the
next day, looking paler
and more nervous than
ever. He also seemed
a bit frightened, as
though he thought I
might be going to order
his arrest, or something
of the sort. I laid the
original synopsis of The
Man of Her Dreams
before him.

"Mr. McKay," I
said, "you wrote this,
didn't you?"
He nodded.
"We have made a
picture of it," I went
on, "under the impres-
sion that it was one of
Peter Fleming's works.
In fact, it was con-
tained in a cover bear-
ing his name."

"You've really made
it?" he cried, his face
lighting up. "You've
made the picture? How
did it come out?" He
was completely ignor-
ing the latter part of
my question.

"It came out very
well," I said. "What I
want to know is how it
came in — in Mr. Flem-
ing's cover?"

McKay ooked at me
for a few moments,
then burst into a nerv-
ous laugh which threatened to become hysterical.

"You remember that day I came down here with this

manuscript, and you told me to hand it to the scenario

department?"

"Yes," I said. "I remember it very well. What of it?"

"Well — I did what you told me. I gave the script to

Miss Bradley, and told her you wanted Mr. Baker to

(Continued on page 113)

Monroe Salisbury with
three little Geisha girls
in "The Door Between."

Pity the Poor Studio

Annie Seymour is

raising her little

brother Buddy to

be a soldier.

Little Mary Sunshine would
rather take pictures than play
in them. But it's a safe bet
she 11 never be a camera-man.

Isn't it a shame that children
have to work so hard in moving
pictures? Here are pictured a few
of the tragedies of childhood.

TIME was when the big day of
the year was the arrival of the
circus. Little Johnny would rush
to the circus lot without breakfast,
to win the privilege of lugging
heavy buckets of water to the
elephants. But the circus is pass-
ing away. Now the boy — and the
girl as well — has found a place
where there is just as much fun in
the spare hours; and he gets paid
for having a good time. If this be
child labor, in the name of bound-
less joy let's have more of it.

Children

"Oh Mickey, is that the way I look?" exclaimed Mary as she saw herself
for the first tkne on the celluloid in her nsw character of Amarilly in
"Amarilly of Clothesline Alley." The masculine person of course is
Director Mickey Neilan who will be among those present in the armysoon.

IN considering the Art of the Motion Picture it is nec-
essary to keep in mind its extreme youth as compared
with the hoary age of other forms of modern liter-
ature.

Modern drama, for instance, found its beginnings in the
Miracle Plays of the Middle Ages and only after cen-
turies of development reached constructive perfection in
the work of Henrik Ibsen. The modern novel required the
labor of thousands from Richardson and Fielding to George
Eliot and Thackeray to attain its highest form. The
short story was chanted by troubadours centuries before
the nations of Europe learned to read, yet never reached
its highest state until infused with the genius of de
Maupassant and Poe.

The motion picture as a form of literature is about ten
years of age, so it is hardly just or reasonable to expect
from this infant, however lusty it may be, the same de-
gree of technical perfection attained by its ancient brethren
in art. The movie technique is indeed suf-
fering greatly from growing pains, but
growing it is, getting stronger and more
self-reliant every day, and approaching
nearer and nearer the happy state where
it may discard all props borrowed from
the novel, the short story or the play, and
stand squarely on its own feet as a dis-
tinct and separate entity in the world of
Art.

And with this technical growth has come
an ever widening field from which the sub-
ject matter of the motion picture may be
drawn. In the beginning of the photoplay
production it was thought necessary to
keep the players constantly in violent action. One of the
pioneer directors (who long since has passed out of the
game) used to instruct his people to keep constantly on
the move, his pet injunction being, "Step lively! Step
lively! Don't die on your feet — we aint takin' portraits!"
And for a long time photoplays were confined to the type
of melodrama in which a chase, a race with a railroad train,
or some such thrilling incident was considered positively
necessary to success.

Gradually, however, the field widened, and little by lit-
tle other types of stories were put forward and met with
success on the screen, until nearly every subject used in

the novel or drama was also being used successfully in the
motion picture. But — the stage still claimed for itself a
monopoly of one thing. It said, through the mouth of
none less than George Bernard Shaw, that the movies
could rival the stage in every way but one, they could
never deliver with proper force or meaning the spoken
word, that brilliancy of dialogue and literary quality in
the expression of thought could never be realized in the
motion picture play. At that time the ideal photoplay
was conceived to be the one that was nearest in form to
pantomime — but David Griffith was already experimenting .
with something new — the literary sub-title. And the sub-
title has stolen the last thing the stage held back.

We believe that the recognition of the great importance
and value of the sub-title has provided an endless fund
of material for writers of the motion picture. It has ad-
mitted them to the rich field of high comedy, poetic fan-
tasy and satire, and made it possible for authors who
pride themselves on literary niceties to
find a fitting medium of expression in the
motion picture play. In fact the great G.
B. S. himself may live to see his own
name flashed on the screen as the author
of a photo play, in which not one whit
of his brilliance and satirical wit shall be
lacking.

And as the field of material widens the
amateur also will find more srope for his
efforts. No longer is the "punch" abso-
lutely required; conflict need not be a
physical clash of two railroad trains or
indeed a physical clash at all, and the
deep-dyed, melodramatic villain may be
entirely eliminated. Conflict there must be, but it can
grow out of the clash of minds, prejudices, manners, social
conditions, et cetera, et cetera, and take any one of a variety
of forms from tragedy to burlesque.

But, however broad the field may become, stories can
always be divided into two leading types — the story of
pure plot, and the story of plot growing out of theme. The
play of pure plot interests us in a detached way — we are
merely the spectators, while in the drama of theme we
invariably feel a certain personal interest, because every
theme of any value deals with a question that touches in
one way or another the lives of all of us, and thus we

become, in a way, part actors in what we are witnessing.

We would suggest to tne amateur that he try to get a
theme for his story, because the story of pure plot (such
as the Sherlock Ho.mes stories, or the plays, "Arizona" and

The Thirteenth Chair) requires a master technician — an
artist who is completely in control of his medium, — and
this, of course, an amateur seldom is. Themes, on the
other hand, are great human truths that may be
revealed to any of us, master and novice alike.

To define and point the difference- -A pure plot (one
without a theme) is a series of incidents.
one growing out of another, and produc-
ing a conflict which after a period of
suspense reaches a climax, followed by a
denouement and finish. To be really
worth while, such a story must be a mas-
terpiece of technical form. On the other
hand a play of theme is one in which the
writer starts with a basic idea, and from
this idea or theme grow the incident, the
conflict and the climax. For instance,
in "The Doll's House," Ibsen started with
the basic thought that women have out-
grown their ages-old position as parasites
and playthings of men, and on this
theme is built the whole superstructure of the play.

New themes are very hard to get and when an amateur
happens upon one he is pretty sure of a market for it —
whether his development be good or not. Let him try
the story of involved plot after he has ceased to be a
novice.

The very best school for instruction in photoplay writing
is the picture theatre itself. It is well to see plenty of
pictures — good and bad — one can learn almost as much

Photoplay Magazine

from the bad ones as from the good, for there are a few
rules that every good story ougnt to live up to — and by
applying these to the picture we happen to be witnessing,
we may learn by comparison what to strive for and what
to try to avoid in our own work. In the first place let us
ask ourselves, "What is the author trying to 'get over' to
us — a plot growing out of a theme, or is he trying to
amuse, interest or thrill us with a plot pure and simple?"
If the former, let us apply this test — "Is the author
sticking to his theme? Is his conflict growing logically
out of it or is he wandering about and
forgetting all about it? Are his charac-
ters acting true to themselves as they
were established in the beginning? Has
he at the finish reached the point for
which he started?"

If the picture is of the second type we
might ask, "Is the story developing logic-
ally? Has the author constructed a
unified, coherent plot, or is he wandering
off on unrelated side issues? Does the
story gradually gain in interest, reaching
its highest point at the climax? And,
again, are the characters behaving like
regular human beings?"
The seeing of many pictures is also of great benefit in
learning what type of play the various companies are pro-
ducing, and hence the type of story each requires. By
doing this one may overcome many mistakes, such as a
budding author recently made in sending a script entitled
"The Tomb of Tears" to Douglas Fairbanks. If your
script calls for a Lady Macbeth type don't send it to Mary
Pickford — or if the leading part resembles Little Eva, save
yourself the cost of giving it a round trip to Theda Bara.

This service flag tells the story — 271 Universal employees have joined the colors. President Carl Laemmle is proud of that record.

FACE VALUE

Joan looked as if she could be trusted
and it rwas so, in spite of appearances

By Jerome Shorey

BERTRAM!"
Mrs. Van
Twiller was
more than
astonished — she was
flabbergasted, though
she never would have •
used the word. "You
can't seriously mean
that we should take
this young person
into our home."

"That is just what
I do mean, mother,"
the heir to the Van
Twiller millions re-
plied. "Come now,
let's do something
for somebody e^e for
a change. We all
live the most selfish
existence, not be-
cause we're really
selfish, but because
we never think. Well,

here's a chance. Oh I know it isn't done' and all that sort
of thing. But I guess the Van Twillers don't have to ask
anyone's permission, if they take a notion to do something
out of the ordinary. Why mother, we might even make it
fashionable."

"But, my dear boy, it isn't safe just to pick up a girl
like that, and bring her into our
home. You don't know what she is.
You wouldn't want her associating
with your sister."

"It might do Margaret a lot of
good — wake her up and give her
something to think about. And be-
sides, you can't look into Joan's eyes,
and believe anything wrong of her.
I'm willing to take her at her face
value."

Mrs. Van Twiller began to recog-
nize in her son the same qualities
that had made his father the ru'er
of his household. He had not often
asserted himself. He had submitted,
more or less gracefully, to petticoat
rule. Yet, of late, he had shown that
he was not entirely contented with
the butterfly existence that con-
stituted their daily and monthly
round. He made no open protest,
but began declining invitations with
no excuse except that he was not in-
terested. He went for long rides
through the country alone. He
passed his evenings at clubs. Sev-
eral matrimonial plans that his

Joan never knew where she came from before she was Mrs. Murphy's slave. And
as soon as she was big enough to carry a bundle she began delivering laundry.

mother suggested tactfully, aroused nothing but his laugh-
ter. He could not take them seriously. So his mother,
who really loved him and was willing to humor his every
whim, could not find it in her heart to deny this, the first
earnest desire he had expressed in a long time. After all,
it was only a whim, she decided, and he would soon tire
of it, and the girl could be packed
off, cared for properly of course, but
vanished from the life of the Van
Twillers. So she consented, and said
she would do all she could to make
of the bedraggled waif as presentable
a person as possible.

Meanwhile, the subject of this
family council was enjoying a won-
derful dream. She knew it was a
dream. Nothing like this could
really happen to Joan Darby. She
plucked idly at the silken comforter
on the bed, prodded the soft, deep
pillows, and rolled luxurious^ about
on the cushiony couch. She knew
that she would wake up, any minute,
find herself back in Mrs. Murphy's
home laundry, and feel the heavy
hand of Mrs. Murphy herself.

Joan never knew where she came
from before she was Mrs. Murphy's
private slave. It was her earliest
recollection, first playing around in
the hot, steaming rooms, careful not
to get in the way. Then, as soon as
she was big enough to carry a bundle
of laundry, she began working, de-

Face Value

ARRATED by permission from
the story by Robert Z. Leonard
and Mae Murray. Produced by
Bluebird with the following cast:

Joan Darby Mae Murray

Mrs. Van Twiller. . Clarissa Selwynne
Margaret Van Twiller

Florence Carpenter

Bertram Van Twiller

Wheeler Oakman

Louie Patrick Maquire

Casson Ferguson

Photoplay Magazine

livering the wash and collecting the money for it. This
introduced her to street life, and she learned to fight her
own way in the world. Everybody she knew had to fight.
K\en when they did not have to, they fought from sheer
force of habit. There were, for example, the Louie Patrick
Maquire and Jake Schugle gangs. Louie and Jake had
nothing against each other in particular, but each, by rea-
son of being a bully, had organized a private gang, and
one of their principal interests in life was finding excuses
for fights — on the streets, in saloons, at dances, everywhere.
Joan, one day, discovered that fighting was a business, too.
She read in a newspaper of the thousands of dollars that
were taken in at a big prize fight. An idea dawned in her
mind.

Joan, considerably off her usual beat, noticed in the
window of a store, a gown that attracted her fancy. To
own that dress immediately became her one and only ambi-
tion. Here was a way. If fighting was a business, she
would go into business. There were enough fighters around
to provide principals without difficulty. But she would pro-
mote no common bout. It would be a championship affair
— the championship of the neighborhood, to
be fought out between Louie and Jake.

The gang leaders approved the idea.
They were both friends of Joan, and she
soon arranged the details. It was to be
staged in an empty shack, and
the promoter and the pugilists
would split the receipts 50-50.
The word was passed around, and
the principals began training.
Mrs. Murphy groaning over her
tubs, was about the only person
in the neighborhood who knew
nothing about it. And Joan was
anxious she should not know. She
wanted this money for herself.

The great day finally arrived.
Joan posted herself at the entrance
to the shack, with two tomato
cans on a packing box for a box
office. One can was labeled "For
me," the other "For Louie and
Jake." When the admissions were
paid, she put half in one can and
half in the other. At last the
crowd had arrived, and the fight
began. But the fight was of no
interest to Joan. She wanted to
learn whether or not she had
enough money to buy her gown.
She counted her half, and discov-
ered, to her dismay, that it would
take the contents of both tins to
buy the coveted dress. And she
had to have the dress. So she

did not wait to learn the outcome of the battle. She quietly
appropriated the gross receipts, and departed, to let the
future take care of itself.

Of course Mrs. Murphy, whose scent for money was
keener than that of a bloodhound for his quarry, discovered
that Joan had suddenly acquired much wealth. There was
but one explanation — Joan was a thief. So Mrs. Murphy
took the money from her upon the curious principle that,
since it did not belong to Joan, she herself was entitled to
it without further investigation. In vain did Joan explain
and plead, and finally storm. Mrs. Murphy had the money,
and that was the end of it. So Joan, who had harbored a
germ of rebellion for months, rushed out of the place and
never returned.

For weeks she lived in the most precarious manner, but
at last managed to get a position as cashier in a restaurant,
and believed herself in a fair way to achieve independence.

Then Louie dropped in one day, recognized her, and trouble
began again. It had not occurred to Joan that she had
stolen from Louie and Jake — she had just taken money to
buy a gown. Of course, she felt that she had played a
mean trick on the fighters, but she failed to realize, until
Louie explained it quite carefully and in detail, that she
could be sent to jail for this.

Louie had no intention of sending her to jail. He needed
her for a certain scheme he had on hand. He had gradu-
ated from gangster to thief, and outlined to Joan a scheme
he had hatched for a holdup. But Louie lacked the tech-
nique for successful crime, and the thing ended disastrously.
He managed to escape, but Joan was caught. The judge
believed her story, but said he thought the best thing he
could do was send her to a reform school for a few years.

So, a few days later, Joan found
herself on a train, headed for one

Joan was not so "impossible" as a member of the fashionable household, as Mrs. Van Twiller

of the proprieties and she soon learned to talk as

of those institutions she had heard about, and which, she
knew, were far worse than any tyranny she had undergone
from Mrs. Murphy. It was not the disgrace she objected
to. Disgrace meant nothing to her, because she had no
relative or friend whom she would be afraid to face. It
was the confinement that appalled her. Anything but
that. She was desperate.

As the train was crossing a low trestle she went out
on the platform, glanced for an instant at the stream be-
low, and not caring much whether she drowned or not,
plunged into the water. She had learned to swim at the
settlement house baths, but her fall almost knocked her
breath away. So by the time she reached the bank of
the stream, she was exhausted, and lay there almost un-
conscious.

It was at this moment that Bertram Van Twiller, riding
aimlessly along, entered her adventurous career. She was

Face Value

still unable to talk, and Van Twiller decided that the best
thing to do was take her home. As she revived sufficiently
to look up into his eyes, and smile her thanks, Van Twiller
received a little tingling shock that was as pleasing as it
was hard to explain. He automatically ceased to be bored
with existence. He had no definite plan in his mind, but
he decided that it would be very interesting to play fairy
prince to the waif, whoever she might be, so he turned
her over to his mother, and requested that she be given
every care. He asked no questions, and Joan offered no
explanations. She simply said that she was running away
from Mrs. Murphy, and had no relatives. She was weak
from her adventure, weary from the exciting events, and

contented just to lie in the
wonderful bed, in the wonder-
ful room, and let the dream
dream itself out.

After two days of this, Mrs.

Van Twiller became uneasy,

and asked Bertram what he

proposed to do

with Joan. When

he said he proposed

to adopt her, and

jk^S. make her one of

had feared she would prove. She had a keen sense
they talked.

the family, it started the debate which ended with Mrs.
Van Twiller consenting, as was inevitable from the outset.
And Bertram broke the news to Joan.

"Where do you want to go when you leave here?" he
asked.

"Oh, I dunno. It don't make much difference," Joan
replied listless'y. She refused to face the future until the
future faced her first.

"You have no home — no friends?"

"Not a one."

"Then how would you like to stay here?"

"Stay here?" Joan exclaimed. "Aw, quit yer kiddin'."

"I'm not kidding. I've talked it over with Mother, and
she has agreed."

"Pinch me and wake me up," Joan sighed. "I can't
stand it any longer."

"You're awake," Bertram laughed. "And you'll stay."

"Will I stay?" And Joan sank back into the pillows.
Then a sudden thought came to her. "Wait a minute.
What're you doin' all this fer me fer? What kind of a
place is this?"

Bertram laughed, but the question made him unexpect-
edly happy.

"Don t be afraid," he said. "We've been a very selfish
lot, my family and I, but we're going to try to reform,
and we've decided to start with you. It's just that you've
— well you've kind of made a hit with us, and we want
you."

"It sounds foney," Joan observed, shaking her head.
"It don't sound like the kind of things that happen to me,
but I'll take a chance."

"That's right," Bertram said, pressed her hand, and left
the room.

Picking up the morning paper he read an account of the
suicide of a girl who was being taken to a reform school.
The name was Joan Darby. The train had been stopped
as soon as possible, after she jumped, but by the time the
searchers had returned, Joan had disappeared. It was
taken for granted that she had drowned. Bertram said
nothing to his mother. The newspaper story exonerated
her from any criminal charge. She had just been an un-
willing tool of Louie Maquire, it said. More than that,
Bertram did not care.

Joan was not so "impossible" as a member of the fash-
ionable household as Mrs. Van Twiller had feared she
would prove. It is not the thoroughbred that is quickest
to adapt itself to new conditions, but the mangy cur which
has had to hunt and fight for every meal. Joan, thanks
to the vigilant school authorities, had learned to read and
write. When she was surrounded by the denizens of the
slums, of course, she soon learned to talk as they talked.
But she had a keen sense of the proprieties, and in con-
versation with the Van Twillers, whenever she lapsed into
her old slang, it made her intensely uncomfortable. So her
lapses became less and less frequent.

And besides, she was pretty. That was very evident
now, though even in her forlorn condition she had not been
unlovely. But dressed in some of Margaret's half-aban-
doned clothes, she was a new and radiant being. Bertram
noticed it, naturally, and Mrs. Van Twiller noticed that
he did not spend so many evenings away from home as
formerly. At first the thought dismayed her, but she
resolutely refused to face it, until finally Bertram insisted
that Joan should be introduced to society, formally.

"Bertram, it's absolutely unheard of," his mother pro-
tested.

"All right," he replied cheerfully. "All the better. Let's
be original. Mother, what in the world is the use of having
achieved the position we occupy if we can't do what we
like? One would almost think, from the way you talk, that
we were afraid of doing something that might get us looked
down upon. Well, it's impossible. Where the Van Twillers
sit, they can't be looked down upon, because there's no-
body any higher up to do the looking. If we can't run
things a bit now and then, there's no use of being boss."

His mother was not convinced, but she did not know
what to reply. Besides, Bertram's remark showed that
he had a real sense of the family position after all. He
might take an interest in this little waif, but feeling as
he did that the Van Twillers were at the apex of society,
there was no danger that he would so far forget himself
as to — and there Mrs. Van Twiller struck. She refused
to admit that, in any event, there was only danger of
Bertram doing anything that any other Van Twiller would
not do. What she did not realize was that Bertram did
not give a nickel for all the dignity and social position
which his family had acquired in several generations of
weaHh and prestige. But he understood his mother per-
fectly, and he knew that while he might be able to get his
way either by stubborn insistence or by appealing to her

5«

Photoplay Magazine

generosity, the quickest and easiest way was to appeal to
her sense of pride. The queen could do no wrong. She
was queen. He showed her that to do as he suggested
was merely to prove her authority. And she fell for it.

So Mrs. Van Twiller let it be known here and there,
that there had come to live with them a young woman from
a western city, the daughter of a friend and former busi-
ness associate of the late Mr. Van Twiller, an orphan. And
people were accustomed to accepting what Mrs. Van
Twiller said and asking no questions. One did not cross-
examine a queen. Joan was introduced to a few friends,
first at little informal teas, then at theatre parties, then
at small dinner-dances. And always she
charmed everyone. In fact Mrs. Van Twiller
discovered that so far from being a burden,
this pretty little waif was actually an
asset. She brightened everything.
She lent a certain air of vivacity to
functions which, it must be
admitted, occasionally were
rather dull.

And as for Joan —
she had long ago de-
cided that this was no
dream. It lasted
too long. Besides,
one could not
dream things
that one did not
know something
about before. She
had had only the
vaguest idea of
how the fashion-
able world lived,
and now here she
was a part of it.
And there was
something else
too, that she had
not known. She
did not even yet
quite know what
it was, but it had
something to do
with the way
Bertram looked
at her in quiet
moments as they
sat on the broad
verandah, or
rode together
through sun-
kissed lanes. Or if she did know what it was, she dared
not call it by name. Sometimes it was a happy feeling,
but sometimes, in the middle of the night, she would awake
and think about it. Then the years she had passed with
Mrs. Murphy would pass in review, and she knew that it
was silly to think of any such thing as Bertram's eyes.
But as soon as she believed it silly she was unhappy, and
wanted to run away. So while Joan was always radiant
when others were around her, there was a presentiment
that insisted upon returning and clutching her heart when
she was alone with herself.

At length it was decided that Joan should make her
formal debut at a great Charity Ball, the big event of the
season. She was now entirely at her ease in any circum-
stances. Her youth and beauty already had attracted
widespread attention, and more than one eager swain had
shown symptoms of more than passing admiration. Mrs.
Van Twiller, still more or less fearing for Bertram, con-
cluded that the best thing was to offer every opportunity
tor Joan to be captured by someone else. So she took a

personal interest in preparing Joan for the occasion.
Her pains were well rewarded. At the Charity Ball
there was a constant buzz of inquiry and gossip.

"Who is she?" "Joan Darby." "Where did she come
from?" "Oh, she's a protege of Mrs. Van Twiller." "You
don't say "so." "A beauty, isn't she?" "They say Bertram
Wan Twiller is quite smitten already." "I'm not in the
least surprised." And so on.

But there was one guest at the ball who did not need
to be told who Joan Darby was. He seemed to be a
stranger to everyone. He did not dance, but just strolled
about, his apparent boredom belied by the darting glances

he shot in every di-
rection ■ — especially
toward the women
who wore the finest
jewels. He glanced
toward where Joan
was sitting beside a
highly decorated dow-
ager, whose bosom
looked like the show
window of a Fifth
Avenue jewelry store.
He stopped short,
and stared openly.
Joan did not see him.
and a moment later
left the dowager and
went out upon a bal-
cony. Then the
stranger went on
with his nonchal-
ant stroll, and, as
he passed the dow-
ager's chair, with
a quick movement,
removed a garish
necklace of big
diamonds, and
slipped it into his
pocket. It was a
neat bit of work.
Then he followed
Joan out upon the
balcony. She was
alone.

"Here," he called,
in a whisper. "Here,
Joan, take this hand-

Don't make a fuj of sparks. pfl gct

noise. It you squeal , , , ,,

I'll tell all your fine em 3gam laten ,

friends about you." "Louie! ' she

gasped.

"Sh! Don't make a noise. And if you squeal, I'll tell
all your fine friends* about the time you pinched the re-
ceipts of the fight."

In a daze, Joan took the necklace in her hand, and
slipped it into the bosom of her gown. Louie went back
into the ball room. He had not been out of it ten seconds.
Just as he returned, there was a scream from the dowager.
She had discovered her loss. Immediately there was a
commotion. The private detectives, who are always pres-
ent to guard against just such things, blocked the doors.
No one would be permitted to leave. In the turmoil,
Bertram hunted for Joan. His eyes had not been off her,
most of the evening. He knew she had been sitting be-
side the dowager. He remembered her past, her associa-
tion with criminals, which he had always supposed had
been involuntary. But what if it had not been entirely
innocent on her part? Or worse, what if she had wanted
to go straight, but had inherited a criminal taint? He
(Continued on page 117)

Goldfish Just before the merry Yuletide, Mr.
c* j Samuel Goldfish emitted a piercing

*» e ' scream, like unto the sound of a
man wounded nigh unto death. Mr. Goldfish,
be it known, is the president of Goldwyn,
which concern, a year ago, announced that it
was going to spend a million or two otherwise
idle dollars in bringing pictures up to par. Most
of the Goldwyn pictures released thus far have
failed to cause any vast commotion in the in-
dustry. Whereupon Mr. Goldfish, conversing
shrilly through his chapeau, emits this gem:

"The motion picture industry is in a danger-
ous condition^ Disaster is very close indeed."

But to whom is disaster close ? Who feels
the hot breath of the pursuing wolf? Mr. Gold-
fish seems to know about it, but other produc-
ers insist that they are doing quite nicely,
thanks. Mr. Goldfish, however, insists that his
company is getting more than its share of some-
thing or other — he doesn't specify what — and
this places him in the position of a Noble Soul.
He is not satisfied to get more than his share.
He wants others to get more than their share.
Eventually, it would appear, if Mr Goldfish
were heeded, everybody in the business would
get more than their share, and Mr Goldfish,
being a natural genius, would doubtless evolve
the means by which the assembled parts can be
greater than the whole.

How Much Does One of the things which

Mary Garden Get? jrks Mr Goldfish fa the
* high salaries paid to

stars. In its naive way, this is as fascinating a
remark as we ever encountered. In December,
1916, or thereabouts, Mary Garden, a veteran
opera singer, refused an offer of $100,000 to
appear in a production of "Thais." She liked
the producer, but it wasn't enough money. In
view of Mr. Goldfish's disapproval of high sal-
aries, it might be pertinent to ask how much
more than $100,000 he paid Mary Garden?
And how much he paid Maxine Elliott? To
say nothing of Jane Cowl and Madge Kennedy
— all virtually unknown previously to picture
fans. Which leads to another of the gems
from this highly jeweled gentleman:

"The joke of it is that there aren't twelve
stars in pictures that really draw money to the
box office."

Each of the readers of PHOTOPLAY can give
Mr. Goldfish his own list of stars whom he will-
ingly pays to see on the screen. Here is one
that will serve for Mr. Goldfish's enlightenment:
Charlie Chaplin, Mary Pickford, Douglas Fair-
banks, Norma Talmadge, William S. Hart,
Theda Bara, Marguerite Clark, Blanche Sweet,
Pearl White, the Drews, Ethel Clayton, Mary

Miles Minter, Petrova, Earle Williams — have
we named twelve yet? And of course there
are all the expensive Goldwyn stars as well.
At least there is Mae Marsh and Mabel Nor-
mand, the former used to draw well, before she
joined Goldwyn. Mr. Goldfish can tell whether
she does now, in the kind of productions they
have been requiring her to act in. No, Mr.
Goldfish, the trouble isn't that salaries are too
high, but that not all producers are adepts in
selecting the persons to whom they should be
paid.

Why Pictures Thrive In England, burdened

in War Time as **" *s wlt^ tne war>

the effects of which

this country has hardly begun to feel, moving
pictures, so far from suffering, are actually in-
creasing in popularity. This is not mere talk of
men in the business, trying to keep up their
courage, but an official report. The annual
attendance at moving picture theatres in the
British Isles, according to the latest statistics, is
1,075,000,000, or an average of one visit every
two weeks by each person. Yet the British are
not as enthusiastic fans as Americans, for while
picture theatres there average one house to
about nine thousand population, in America the
average is one to every five thousand. There is
a good reason, too, why the moving picture
should increase, rather than decrease, its hold
upon the public in time of war. First of all
there is the fact that it brings home speedily and
vividly, war conditions, through the news week-
lies. Then too, it is cheap. But socially, its
position is still more important. There is some-
thing traditionally garish about the brilliantly
lighted theatre of the spoken drama. To go
there is, in a measure, in the nature of an "occa-
sion," a festivity. The moving picture house has
become almost a part of the home, it has crept
into the family life. So it is the first thought of
the war-weary folks at home, who must have
some recreation, and yet cannot endure the
thought of any entertainment that carries a
suggestion of ostentation.

Reaping the That low, moaning sound, which
Whirlwind. *s wafted westward across the
continent from New York, is the
wail of the theatrical managers. They say "it
is a rotten theatrical season." The truth is it is
a "rotten theatrical condition." For years the
New York public has been gouged. With a
few unimportant exceptions, the box offices of
theatres will sell nothing but gallery seats. To
get good seats it is necessary to go to one of

Photoplay Magazine

the "brokers" and pay 50 cents commission.
If the play is a hit the broker whose proud
boast is that the firm does not speculate, will
tell you that they have no seats either, but can
get them "at a price." This means an extra
charge of from 50 cents to $5. At the Biltmore
hotel, a broker recently asked $18.00 for two
seats that were marked $2.50 each. So exten-
sive has this custom become, that the public
has been educated to believe that if it can buy
seats in any other way, the play is not worth
seeing. With the war tax added, a seat that is
advertised to cost $2, costs $3.20 to $8.00. This
year the public is not paying fancy prices, and
the Broadway shows are playing to the worst
business in years. Nothing so bad is to be
found in the records of the theatrical business.
And as between paying 60 cents for a high
class picture show at, say the Strand or Rialto,
and paying $3.20 for the display of spinal col-
umns at, say the Winter Garden, the public is
flocking to the cheaper and, in the vast majority
of instances, better entertainment. Until the
managers come to their senses and throw over-
board the speculator gouge, conditions are not
likely to improve. The picture industry owes
these gentlemen a vote of thanks.

Putting the What would you give to see

Story in History, an authentic moving picture
or Napoleon s Old Guard as
he reviewed it on that historic occasion in Egypt,
before the Pyramids? Think it over, and you
will realize what it is going to mean to your
grandchildren, that the United States govern-
ment has decided to keep a motion picture
record of America's participation in this war.
Cameramen, drafted into the national army,
have been ordered to report to a special depart-
ment, and scenes at the various parts of the
country where troops are being assembled, are
being made. Scenes in the trenches will be
made also, and battle scenes so far as possible.
This is certainly putting the story in history for
generations now unborn.

*«

The Silliest of "Whatever you do, don't say
All Traditions. tnat ^m married," a handsome
young "juvenile" actor said to
a writer who was preparing an interview for
publication. But the other day we received a
letter from one of our favorite correspondents
asking for information about another actor re-
marking: "I don't care whether he's married or
not, or whether he has seven children. I want
to know something about his career, his person-
ality, his private likes and dislikes. It isn't
sentiment — it's just a natural curiosity about an
artist whose work I admire intensely."

And a certain young leading woman whom
we met recently, told us that nearly half of the
hundreds of letters she receives, mention her

baby, the arrival of which she not only did not
conceal, but proclaimed. And when there was
an unfounded rumor that she was about to sepa-
rate from her husband, she received a flood of
letters pleading with her not to— her screen
friends wanted to think of her as happy in a
domestic life. Yet she plays romantic roles.

An actor or actress who thinks he or she is
admired because of the romantic, silly ideas of
schoolgirls and boys, is a victim of egotism — of
the lowest kind of conceit. Does anyone love
Mary Pickford the less because the whole world
knows she is Mrs. Owen Moore? Or is there
less admiration for Elliott Dexter and Marie
Doro because the fact that they are married and
happy is common knowledge?

This stupid tradition is one of the things that
frequently makes us tired, but the reconciling
thought is, that it is seldom encountered except
in the ranks of mediocrity.

Take off the Whenever anyone connected

Babv Clothes with the business of producing

y ' moving pictures issues a state-

ment of principles, or makes any general remarks
about conditions, he invariably prefaces his out-
givings with the observation, llO{ course, pic-
tures are only in their infancy."

It is high time that this apologetic attitude
ceased. It is demoralizing within the ranks and
fools nobody outside.

The pictures are not in their infancy. They
are grown up. They are established. In the
hands of the masters of the craft they are often
as near to perfection as the best written drama.
They have commanded the respect of the most
intelligent critics of art. In fact, the truth is
that they command a great deal more respect
outside of the ranks of producers than they do
among the producers themselves.

If we must have an infant in the house, we
would be nearer the truth if we said that the
average manufacturer of pictures is still in his
infancy. He has been absorbed too much with
the financial problems. He has devoted most
of his attention to the problems of distribution.
He has been satisfied, in too many instances, to
turn out pictures pretty much like the last ones
he turned out, because these sold at a profit,
and why tinker with a good thing?

It does not follow that the pictures them-
selves— the art of visualizing drama — must still
be spoon-fed. Classics can be produced, and
are produced. Films are being created today
that will be permanent additions to screen
literature, as the writings of Shaw, Galsworthy
and Hauptmann are permanent additions to
the published drama. The mere fact that ever
greater results are to be expected does not
class the photo-drama as an infant.

The moving picture is an adult male, husky,
deep-chested, two-fisted, virile, masterful, in-
telligent, and, most of all, ambitious. He may
not be old enough to vote, but — he's no baby.

Facts and Fallacies
of the Films

By R. W. Baremore

NT.il

It's easy to see that this is not a faked scene or one taken in the studio. Real
buildings, withThe Los Angeles Tribune Bldg. in the back ground, could not be sets.
This scene from " A Leap for Life ' ' was a real leap. The car actually did it three
times before the director was satisfied. Only Helen Holmes was not in the car.

ASKED to describe an octopus used in a
picture and which wages a mad fight
with a diver, a photographer testified
in a New York court recently that it
was an out and out fake. In the court records
it is described as being made of rubber, thirty-
two feet long with a body big enough to conceal
men inside of it, whose duty it was to operate the
rubber arms which were fastened to the body
with wire springs. This home made octopus
thrashed about in the water madly and was such
a fine example of the real thing that few knew
it was a make believe until the facts
were brought out at the trial of an action
between two film concerns. A subma-
rine used in the same picture was made
of painted canvas and supported on a
barge, but the octopus is probably the
best example of faking that has ever
been introduced into a

It was well done and for that reason is

photodrama.
excusable.

But it was when the "movies" were in their infancy that
the faked picture was continually fostered on the public.
The good old days have gone forever. It's a hard job to
fool the patrons of the present day motion picture thea-
tres. They are skeptical and have acquired the "show me"
attitude. So much so in fact that many real thrills are
produced that are branded as fakes pure and simple.

Not so long ago the producer found that it was easy to
fool his audience, just as Barnum had before him. Like-
wise it was much less expensive, so, when he wanted to
present a railroad wreck he used miniature trains in the
studio. It must be admitted that these were worked in a
clever manner and produced quite a realistic effect. At
least they were effective enough not to be discovered for
what they really were until they had been used again and
again, then some one didn't do it very carefully and the
secret was out. What the producer did not reckon with
was the fact that constant attendance at the "movies" was
educating the fan in the art of picture making.
With this education came skepticism and they
still are skeptical, especially Mrs. Fan.

Recently while in one of the most popular
motion picture theatres in the country a man
chanced to sit near a couple who imagined

A rubber octopus, thirty-two feet long with a body big enough to co

they "knew pictures." The photodrama was one produced
by a well known company. In the telling of the story it
became necessary to show a railroad wreck, in fact two
fast moving trains met in a head-on collision. Now these
people who thought they were well informed on the sub-
ject remarked that it was truly marvelous how the picture
people could "fake" such a scene. As a matter of fact it
was real in every particular. Two real trains were used,
they were actually wrecked and the cost was something
like ten thousand dollars. This amount was spent to pro-
vide a real thrill, it was fully worth it but the Fan must
needs have even more education before such things will be
fully appreciated.

Nothing is faked nowadays unless it be something that
can be produced just as accurately as the real thing. This,
by the way, can very often be done at
a great saving to the manufacturer. As

nceal men inside of it, is one of the best examples of faking ever introduced.

the octopus already mentioned or, for instance, a small
model of a building can be fired and burned in such a way
as to give the appearance of the genuine, providing no
other object is shown in the same scene that will destroy
the illusion. This should not be termed a "fake," as it
requires as much care and attention to detail as would the
filming of a real structure. It does simplify matters. No
location need be hunted up and no real and expensive
building has to be destroyed. Another instance of a legiti-
mate "fake" was shown in the picturiza-
tion of a famous novel. A river
and dock were revealed for ^^^-
a short "flash," just Ion?
enough to impress it
upon the

minds of the
audience. This
scene was painted
on canvas, the
player acting before
the drop. Not one per-
son in any ordinary gath-
ering would think this
scene unreal, unless they
happened to be an expert.
This sort of delusion, that
even the most skeptical will
not question, gets over because
of its simplicity.
How are the "fakes" done?
Consider the burning building inci-
dent mentioned. A small miniature
is constructed by the studio carpen-
ter, in exact duplicate of a larger
building shown in other scenes. This model
is perhaps less than four feet in height. It is
placed on a platform and the camera focused in much the
same manner as when a close-up is taken, thus giving the
doll house the appearance of the larger one. When this
is set on fire it gives exactly the same effect as the real
thing, but great care must be taken to have all other objects
in the scene in precise proportion. If trees are shown, they
must be in exact proportion to the size of the house, for
otherwise the deception can be seen plainly. This stunt
has been worked so successfully in a picture that a promi-
nent director thought it was real until told otherwise
and not being fully convinced until a photograph of
the model, taken before it was burned, was shown
to him. Surely such a fake as this is perfectly
proper.

A very good example of "fake and fact" pictures
are shown in the accompanying illustrations of
the railroad wrecks, which is perfectly apparent,
but even at that you would have been pretty well

fooled had you seen the fake wreck on the
screen. In this picture you would have seen
first many flashes of a real train, to make the
impression, then, when it came time for the wreck, the
miniature trains would be brought into play. They were
pulled across the scene by invisible wires and the smash-up
accomplished by means of a quick jerk. Perhaps you may
not believe it, but this produced a mighty lifelike effect.
Of course the small trains were exact duplicates of the real
ones shown previously.

On the other hand,
look at the' real thing.
Would it be possible to
fake this? Isn't that

Here's the house that Jack — (the car-
penter) —built and that was burned up
in a picture so that it looked like a
regular house and not a miniature.

No fake about this. An engine
bumps a trolley car. They made
you think people were in the
car by showing you many flashes
of the occupants just previous
to this scene.

Photoplay Magazine

This thrilling "rescue"
is not faked. Ella Hall
and Bob Leonard in
"The Master Key."
The rope was about to
break and that made
it even more so.

The smash-up of two real trains, locomotives
and all, to put the punch in a Vitagraph
feature. Nobody could make you believe
that this was other than the real thing.

real grass, real hills in the background and real smoke and steam
escaping from the engines? Not much doubt of it and you have
seen long stretches of film showing both the exterior and interior
of the same train. Then again the wreck is
photographed in detail, not in a few feet of film,
with many close-ups. Many such scenes are
obtained from the news weeklies and are of
actual wrecks, others are staged specially at great
expense. Still the fans are skeptical.

A laughable fake is the ocean scene filmed in
the studio tank. Perhaps you think it is not
possible to produce ocean waves lashing the rock
bound coast, inside a building. This has been done often and it
is really quite simple. Just get a dozen husky men, stand them
in the water out of range of the camera, supply each with a board.
If you want a wild ocean just tell them to move the boards up and
down as fast as they can, but if a more calm looking body of water
is needed the men can work more easily. Not so long ago mo-

(Continued on page 113)

This is how they used to put
it over on the old-time film
fans. It shows the thrilling
wreck of the Toyland Limited
.ind looked fairly realistic en
the screen.

The sight of George Walsh, Fox star, climbing
blithely to the twentieth story of a New York
building, made thousands of Gothamites pause
on their way to work one morning. He did
it for a scene in "The Pride of New York."

Our Mary's First Leading Man

With such an auspicious beginning, Edward Earie was bound to succeed.

By John Dolber

[

,ERHAPS you have heard of an old melodrama called
'The Silver King.' No? Well, it's not surprising.
Things grow old, die, and pass away quicker in the
theatrical world than anywhere else."
looked at this Ancient Mariner and grinned. From
his words you would have thought he wore chin whiskers
and could speak of Abraham Lincoln from personal knowl-
edge. The fact is that he was a young, boyish chap, slim
and eager-eyed. Tt was Edward Earle, who thus calmly
adopted the role of a Thespic Rip Van Winkle. He grinned
at my grin and went on with the yarn.

"It was while I was playing in 'The Silver King' in
Toronto, years ago, that I first met the girl referred to in
the company at that time as
'that little Smith girl.' For
years I carried about in my
trunk with me a photograph
of her in the ragged costume
she wore in the play. She had
a shawl, her toes poked out of
her shoes and she carried a
bundle of papers. The auto-
graph in round childish letters
said 'Yours truly, Gladys
Smith.' It was not until sev-
eral years later, when, looking
at a Biograph picture, that I
realized that 'that little Smith
girl' was Mary Pickford.

"During the run of 'The Sil-
ver King' 'the little Smith girl'

Director Graham Baker explaining the set to Edward Earle and

Miss Agnes Ayres, who is playing opposite Mr. Earle in his series

of "polite" comedies, for Vitagraph.

annexed a whole family of kittens which she kept in her
dressing room during performances. She often caused con-
sternation to the stage director by bringing them out dur-
ing rehearsals, and in a tragic moment would precipitate
them upon the keys of the piano where they would scram-
ble up and down until corralled by a property hand and
taken back to the Smith dressing room.

"It was also at this time that 'the little Smith girl'
seeking to avenge herself upon her mother for some neces-
sary chiding she had received from this thoughtful par-
ent, took her best ring and buried it out in one of the
Toronto gardens, announcing the fact of its disappearance
to her mother, thereby securing, as she thought, a suffi-
cient revenge.1'

Having started life as Mary
Pickford 's leading man would
seem a sufficiently auspicious
beginning for any young actor,
but then, of course, it didn't
bring Edward Earle the atten-
tion in those days that it would
today. He was fourteen and
Mary Pickford eight. Still,
the course of true love ran
quite smoothly for him. his
true love being the stage.
"Blessed," remarked a philos-
opher of old, "is the nation
whose annals are vacant," re-
ferring, of course, to annals of
wars and vicissitudes. There

Photoplay Magazine

Mr. Earle's success did not just happen,
and unearth it.

He had to get out

have been no wars or vicissitudes in the annals of
Mr. Earle. I said something of the kind, com-
menting that he must have found success rather
easy of attainment.

"Easy!" he almost shouted. "Easy! Why,
I've had to fight for everything 1 ever had."

"Do you remember Alice in Wonderland? How
she ran and ran until she couldn't go any fur-
ther and when she dropped by the wayside she
discovered that she was just where she started
from? 'Why,' she exclaimed, 'I've run so fast
and I haven't gotten anywhere at all!' 'No in-
deed,' they answered, 'if you want to get any-
where you'll have to run twice as fast!'

"It is so with us. We work and work and work,
and if we stop for breath we discover that we are
just where we were when we started. If we wish
to advance we have to work twice as hard, so I
have worked twice as hard and I have been re-
warded bv a fair amount of success "

Eair amount indeed! Mr. Earle has at-
tained, in four years, a very enviable posi-
tion. He breezed into the New York film
colony four years ago and said, "I'm
here." That's all but it was enough. Im-
mediately the Edison Company took ad-
vantage of the fact. He was a success from
the start, for not only did he screen well,
but they learned that he could skate and
dance — not just well, but wonderfully —
and besides he could do anything else
that they wanted him to do — fight, swim,
row, fence, drive a car, and has added to
the list of his accomplishments, aviation.

So you see Mr. Earle's success did not
just happen. It didn't even come knock-
ing at his door. He had to get out and
unearth it.

From the Edison, he went to the Metro,
but his greatest success has been with the
Vitagraph Company where he is now work-
ing. This is because his director had per-
ception enough to know that Earle's great-
est asset was not his clothes nor his ap-
pearance nor his histrionic ability but his
keen sense of humor. He is about to be
launched in a series of comedies. Wesley
Ruggles, who directed "For France,"
Earle's biggest success, has been drafted
and the polite comedies in which Earle and
Agnes Ayres are starred, are directed by
Graham Baker.

But while Mr. Earle bears no battle
scars from his career, lengthy for so young
a man, he has collected a lot of interest-
ing anecdotes about stars with whom he
has played. He says that his most en-
joyable stage experience was with De Wolf
Hopper.

Edward Earle is essentially a leading man, net a villain. Consequently
he needs expert direction in this gun-man scene they ere about to
shoot. But he'd better throw away his cigarette before he starts in;
it's a good prop, but rather out of place in a big scene like this.

Our Mary's First Leading Man

"Few stars I
have known are
so well loved by
their compa-
nies," said Earle.
'We all called him
Wolfie, though he
seldom barked or
growled, and I
never knew him
to bite. He was
a wonderful en-
tertainer and
thoughtful for the
comfort of each
member of his
company. Many,
many nights after nh,er"l'"le Smith girl" — (Mary

, 1 r Fickrord I — would brine her kittens

t h e performance out during rehearsal an| in a tragic

we W O U 1 d • S 1 t moment precipitate them upon the

around the StOVe piarib keys.

in the lobby of a small town hotel listening to the wonder-
ful stories Wolfie could tell. It was a remarkable fact that
he never repeated himself.

"Sleeping late was one of the things he liked best to do.
He always had a note put on his door, 'Please do not dis-.
turb,' and would make an appearance only in time for the
performance or to catch the train. One morning, however,
getting down to breakfast at 10 o'clock, I was startled to
find Mr. Hopper, his breakfast already finished and he
reading a newspaper. With a proud smile he anounced he
had been up since 6 o'clock, adding the explanation that a
little child in the next room had waked him at that hour
with the repeated inquiry of its parents, 'Is beakust 'eddy?'

"Now, do it like this, Mr. Earle," says Director Baker. " If I did it

like that I'd be a director, not an actor, " said Mr. Earle, while Agnes

Ayres looked on.

That was the pass word among the members of the Hop-
per Company for several weeks following.

"I passed several Christmases with Hopper on the road.
One that comes particularly to mind was celebrated on a
private car between Cheyenne and Denver. Getting into
Cheyenne I had been delegated to go out and get a Christ-
mas tree. So before the evening performance I sought a
grocery store, bought an eight-foot tree and all the ready-
to-eat groceries available, and marched down Cheyenne's
main street to the train with the tree over my shoulder.
Mr. Hopper bought out the five-and-ten store, and after the
performance that night we had a wonderful celebration."

David Belasco has no more devout admirer than this
same Mr. Earle.

"There is another example of the necessity of work to
success," he said. "I suppose many people think that all Mr.
Belasco does is order other people around, and sit back and
enjoy the results. Nothing could be further from the
truth. He is indefatigable. For two years I was in a Be-
lasco Company. I recall a Belasco rehearsal which began
on the afternoon of a balmy fall day and ended twenty-four
hours later in one of the most awful blizzards I have seen."

But while Mr. Earle is an entertaining story teller, that
is not the thing one likes most about him. If you must
know, you who are acquainted with him only from seeing
his shadow on the screen, it is this — that he confines all
his acting to this same silversheet. He is at once a pleasant
young chap, with whom any one would be glad to sit
around for an hour and swap yarns, for he's just as good
a listener as he is a talker.

Kai.W!.Kl&S*3

TT TT TTTT~

»n i i li

5^^i=^^

tii iiti i±ii ~ "iiri mi hit itm jfm T

mm ~ ^ ^fr-S^^BJ-^?-*— '■-— 7-y -..-.,, — : __ , , , r - i i , i i i i i i i ■ i i i-rzn

Photo by Stasrg

They were just admiring the mirror effect when the photograoher came along and "shot" it with his camera. The girl who
is doin^ the Lorelei in the foreground is Sally Starr, a new Universal "find" who is now playing opposite Herbert Rawlin-
son. The smiling Herbert may be noticed as the piece de resistance in the looking glass, while seated alongside the
camera is Elmer Clifton, once the "Rhapsode" of "Intolerance" and now a full fledged Megaphoniac (meaning director).

Th e ShadowStage

A Department

Photoplay

Review

Billie Burke is more of
an artist than ever be-
fore in "The Land of
Promise' ' ( Paramount).
Mary Alden is fine too.

Randolph

Bartlett

SHORTLY before O. Henry died he conceived the idea
of writing a series of stories in which the essential
romance of various cities would be portrayed. The
first, and I believe the only one he wrote, related an
adventure in a dull little southern city — I have forgotten
even the name of the place — where a patient little woman
was trying to make a living by writing, while her brutal
husband stole her money and disgraced her by his drunken-
ness. The story breathed with the veritable pathos of
exquisite dignity. And the final "O. Henry twist" was, "I
wonder what's happening
in Buffalo."

This is the duty of art in
democracy — to prove that
democracy is capable of
producing art themes. It
was the spiritual force be-
hind O. Henry's virtuosity
of style. It is the secret
of Dickens' immortality.
Whereas the romancer of
democracy will weave his
fantastic web in an en-
deavor to place a halo
around the life of common
folk, the true artist will
prove that the common
folk need no halo to make
their lives interesting and
dramatic.

So we come to this year
of epoch-making events,
when heroes are springing
to life in every office and
home we enter. The pano-
plied knights of Malory
and Froissart are thin, wa-
tery creatures beside the
soldiers of today. The
odds encountered daily in
Flanders make the adven-
tures of these armored crea-
tures mere nursery games for children. And so our modern
knights have had their praises sung. The epic bard must
raise his voice in their service, or admit he has no talent

for singing. So this vast chorus resounds daily in our ears,
causing us perhaps to forget that there are other heroes, not
entitled to the full choir, and yet who should not remain
unsung. Democracy calls upon all, not merely upon those
who can and will fight with the weapons of the battle-field.
The noblest passage in America's noblest poem, "The
Commemoration Ode," begins,

Life may be given in many ways,
And loyalty to Truth be sealed
As bravely in the closet as the field.

And another poet wrote,
"They also serve who only
stand and wait." We know
these things well. We feel
them, but not often do we
realize the heroic stature of
men who are living this
truth. Earl Derr Biggers
realized it, however, and
wrote a story caTled "Each
to His Gifts," which has
been vitalized by the cam-
era, under the title, "The
Gown of Destiny."

THE GOWN OF DES-
TINY—TRIANGLE

Andre Leriche is a de-
signer of fashionable gowns
for an American modiste.
He is a slender little man,
French by birth and in-
stinct, but, more or less
consciously, a physical
coward. At length, unable
to endure the spoken and
implied scorn he encounters
daily, he offers his services
to the French consul, and,
elated, tells everyone he
meets that he is going to
He is rejected, however, as

'Alias Mrs. Jessop" — Metro — Emily Stevens does the finest acting
in the shadow symphonies this season.

light for his beloved France.

physically unfit, and his soaring spirit is crushed. Still

determined to win the respect of the world, he decides he

7«>

Photoplay Magazine

Fox's "Les Miserables" is a worthy revival; and William Farnum is pow-
erful and convincing as Jean Valjean.

"The Gown of Destiny", a Triangle offering by Earle Derr Biggers, is
one of the greatest pictures given to the screen.

Clara Kimball Young in "Shirley Kaye" (Select) has not much time
to pose, and for once lives happily ever after.

will do so by designing the most wonderful gown that has
ever been seen. The remainder of the story is of the events
set in motion by the gown.

First of all, the splendid creation saves one of the models
in the establishment from dismissal, as she wears it for
display. Then it wins back for the woman who buys it,
the wandering affections of her husband, who, in com-
memoration of their wedding anniversary, sends three
ambulances to France. The buyer passes it on to her
clothes-poor niece, who suddenly shines in new glory for a
young Englishman, visiting in California. He loves her,
but decides he must redeem himself from the taint of
being a slacker, before he can claim her love. He goes to
France, and in a raid drives the Germans from the little
town of Pont au Cresson, whose mayor was about to be
shot as a scapegoat. The mayor finds the young officer,
to -thank him, and says:

"I had two sons. One has been killed. The other is in
America — perhaps you met him there — Henri Leriche.
But wherever he is, I know he is doing his duty for his
country."

In the modiste's establishment, the little designer of
gowns reads the newspaper account of the capture of his
native village, and sighs.

"To have had something to do with that — that would
have been magnificent," he sighs.

And the little model quietly kisses his hair, and sighs
in sympathy.

That is all. There is no cheap and tawdry romance to
tickle the syrup-sippers. It is big, too big to be subordi-
nated to any personal marriage or non-marriage. It is life
— the life of the many millions of Americans who will
remain in America, doing unimportant things, while impor-
tant things are being done in Europe. It is the life of the
book-keeper, the stenographer, the bill-poster, the chauf-
feur, the kitchen maid, the postman, the trolley conductor,
the elevator operator. It is the human epitome of the
stone thrown into the pond, sending ever-widening ripples
to lap, who can say what shore?

And more than that. Here we have a tremendous expo-
sition of the spiritual force of any work sincerely done.
Andre's gown was no mere thing of silk and satin. It was
a symbol of truth and earnestness of purpose. It glowed
with the immortal fire of genius, for what is genius but a
passionate need to impart to the world some of the fire
that otherwise must consume the breast in which it burns?
Whenever such a creation is born, whether it be fathered
by painter, poet, novelist, musician — or manufacturer of
kitchen tables — the world is enriched infinitely beyond the
mere fact in itself, enriched beyond its own knowledge.

Therefore "The Gown of Destiny" is one of the greatest
pictures given to the screen.

LES MISERABLES— Fox

"Les Miserables" — and let's get together on the correct
pronunciation, lay-meez-air-ahbl ', all syllables accentuated
equally — is the world's greatest novel. And, curiously
enough, it is a perfect scenario, as it stands. The only
prob'em confronting the producer of a picture based upon
the Hugo masterpiece, is to select the incidents which will
best tell the story within the limits of an evenings enter-
tainment. It has been impossible to make an adequate
speaking play from the book, because the stage drama
moves too slowly. But it is no coincidence that the Fox
production of this epic follows almost exactly the lines of
the Pathe production, made several years ago. The inci-
dents used by the Pathe scenarioist are the logical ones,
almost the inevitable ones. It would, doubtless, be a grave
injustice to say that the Fox scenarioist did his work after
studying the older picture. The Fox sequence is as
follows:

The Shadow Stage

Jean's theft of the loaf of bread; his conviction; his
imprisonment (both productions using a stone quarry in-
stead of the galleys); his release; the incident of the
bishop's candlesticks; the theft of a coin from a boy;
Jean's rehabilitation as head of a big factory; the befriend-
ing of Fantine; the pursuit by Javert; Jean's voluntary
revelation of his past to save another man who has been
arrested for his robbery of the boy; his escape and adop-
tion of Cosette; the treachery of the Thernardiers; the
romance of Marius and Cosette; Jean's rescue of Javert
from the revolutionists; Jean's escape with Marius, carry-
ing him through the sewers; Javert giving Jean his free-
dom ; the abandonment of Jean by Marius and Cosette, and
the final reconciliation.

It is a tremendous story to tell in an evening. The Fox
picture is in ten reels, and while it covers all of these points,
it leaves the impression of a calm and unhurried creation.
Yet there is more "meat" in any one of the incidents men-
tioned than in most five-reel productions, more humanity ;
more emotion, and, because it is the undiluted work of a
great genius, actually more plot. The growth of a great
soul in the heart of a hopeless brute is here epitomized,
not in platitudes nor even in mere poetical phrases, but in
splendid deeds and magnificent renunciations.

William Farnum as Jean Valjean is powerful and con-
vincing. Not only as the ruthless bear, but, as his soul
awakens, as the man whose last thought is of himself, he
compels you to say, "He lives. He is." His smooth, un-
furrowed cheeks, when Jean reaches the close of his long
and troubled life, slightly offend the keen sense of the
perfect fitness of things, but this is soon forgotten in his
masterly impersonation. Hardy Kirkland has the com-
panion role, the stern, relentless Javert, the embodiment of
duty and cruelly consistent justice. He is no less impres-
sive than Farnum himself, though not called upon for such
a variety of expressions. He is the portentous diapason,
rumbling his menace throughout the story. The scores of
minor roles are all well taken. There is no false note. For
this thanks is due to the director, Frank Lloyd.

It is a worthy revival. It is a picture that anyone can
enjoy at least once a year. It should never go upon the
shelf. It is a lost soul indeed that does not feel itself
bathed in pure light with the final scene, when Jean, taking
leave of life, sees in a vision the form of the gentle Bishop,
who bought his soul for God.

LES MISERABLES— Pathe

Nor would it be fair to leave the subject without refer-
ence to the Pathe treatment of the same theme. Done
years ago in France, one of the first ten-reel pictures ever
made, directed by Albert Capellani, it labored under cer-
tain handicaps. Camera methods have been improved, the
close-up and the fade-out have been developed, and the
refinements of production multiplied. Yet the picture is
still a fine piece of work. It has lately been cut to seven
reels, and as a result the plot jumps here and there. But
the photography is beautiful, and the spirit of the story
retained. Jean is played by Henry Kraus (French, despite
his name) and in certain respects his impersonation is
better than that of Mr. Farnum. He is taller, huger, more
of a brute in the earlier scenes. But he is not more of a
saint at the close. Much of the acting is melodramatic to
the American sense, but the French actor is always intense,
inclined toward exaggeration rather than repose. To any-
one wanting to be advised as to which of these productions
he should see, I would say without hesitation, "Both."

ALIAS MRS. JESSOP— Metro

Polish up the insignia of the award of merit, Class A,
and present it, suitably engraved, to Miss Emily Stevens,

Boys and girls will enjoy the Jack Pickford-Paramount "Tom Sawyer,'
but only men and women will truly understand.

With that consummate artist, Sessue Hayakawa in "The Secret Game"
(Paramount) appears delightful Florence Vidor.

Eflr"

f**

mil

/ 1 '

\k '

«4

I jg

In Metro's "Square Deceiver," Pauline Curley is a lovely foil to Harold
Lockwood.

Photoplay Magazine

" Empty Pockets " (Brenon) is a swift-moving story excellently acted.
Bert Lytell makes his first appearance since "The Lone Wolf."

'My Unmarried Wife," (Bluebird) is a charming story, delightfully
done. Carmel Myers is as sweet as she sounds.

Biy .«: a

— —

pc^fi'.i

£.ytJALM W """

wr* r ^

% %

lor that she has done the finest piece of acting in the vari-
ous shadow symphonies of the season. In "Alias Mrs.
Jessop" she plays the role — banal in its conception — or
rather the two roles, of cousins who are identical in appear-
ance but as black is to white in character. The wicked
cousin uses the good cousin's name in certain escapades,
disgraces her, and marries Anthony Jessop. She behaves
scandalously, and events so transpire that the good cousin
is called upon to impersonate her, in the absence of her
husband. Of course, the good cousin reaps the romantic
reward of virtue in the final close-up and fade-out. It is
as cheap and cheesy a story as it has always been. It is a
constant mystery to me why producers continue to pay
royalties on new versions of this ancient and mouldy fable.
To this yarn, Miss Stevens brings all her splendid artistry.
She has more technique in her little finger than most
screen stars have in their entire anatomy. And that she
should shine in so dull a plot is the highest praise I can
offer. In certain scenes, by clever photography, she is
shown in conversation with her other self, and here the
study of her art is fascinating. She knows the psychology
of gown and gesture and facial expression. She calls to her
aid none of the obvious helps in such circumstances, but
makes the opposites distinct by sheer subtlety of acting.
The whole thing suggests Caruso singing "Only a Bird in a
Gilded Cage."

THE SECRET GAME— Paramount

Out on the Pacific Coast, where the Lasky studio is
located, they don't believe it is kosher for an American girl
to marry a Japanese gentleman. So the Lasky scenario
department has to cudgel its brains for plots which will
not offend the American demand for a matrimonial ending
to the pictures in which that consummate artist, Sessue
Hayakawa, appears. In "The Secret Game," the Japanese
star plays the part of an emissary of the Mikado, sent to
discover why news is leaking from the office of a certain
American quartermaster. Nara-Nara, the oriental detec-
tive, discovers the German intrigue, though it leads to his
own death, and a converted spyess marries the quartermas-
ter. Hayakawa, given any humanly possible situation, is
as subtle as the diplomats of his native land. He chal-
lenges the intelligence, without eluding the casual spectator.
Florence Vidor, as the feminine tool of the German spy
system, is delightful. Raymond Hatton has a queer and
interesting bit, as "Mrs. Harris," the supposed housekeeper
of the chief conspirator. It is an interesting film, timely,
and done in the best Lasky manner by Director William C.
DeMille.

TOM SAWYER— Paramount

Nearly two decades removed from my last previous read-
ing of Mark Twain's classic of American boy life, "Tom
Sawyer," the Jack Pickford-Paramount reintroduction of
this ioo per cent boy was a happiness not easily described.
The incident of the whitewashing of the fence, the love
affair with the new girl in town, the fight with the "model
boy," the clandestine friendship with Huck Finn the dis-
reputable, the first smoke, the pirate adventure, the attend-
ance at his own funeral — to mention the incidents alone
is to revive memories of pleasures that come once in a
lifetime. If Hood had been blessed with the privilege of
seeing such a picture, he might not have written his plaint
that he was farther from heaven than when he was a boy,
because he had learned that the tops of the fir trees did
not touch the sky. The tops of my fir trees touched the
sky again as I watched this picture. Boys and girls will
enjoy it, but only men and women will truly understand.

'Red, White and Blue Blood" (Metro) is a production worthy of the
Bushman- Bayne popularity. It is a splendid story, well directed.

(Continued on page 104)

I NEVER thought it would
come to this.
Of course, I always
knew I was different. There
has ever existed in me the su-
preme knowledge that I am
not of the common horde.
But I never guessed that I
was quite so different as 1
am.

When Henry proposed to
me, I accepted; and I am
now Henry's wife. But I
have always impressed upon
him the great sacrifice I
made for him then, and the
great sacrifices I have made
for him every day since then.
That I, the daughter of Lush-
ington's only Dramatic Ar-
tiste, and the grand-daughter
of the late Silas Clem, Lush-
ington's first Dramatic Art-
iste, who founded the great
Art of Dramatics in Lush-
ington, — I say that I, Stella Clem, should
have cast to the four winds my great
Dramatic possibilities and opportunities,
and married a Shoe-clerk! It is unbe-
lievable.

But it is true.

Thus it is that I write my Story for
other sufferers of my sex to read and
profit by. Thus it is that I bare my in-
most soul-recesses to a scornful world.

It was not because of Henry. Henry
was a good husband. When he stayed
out nights, he always came back about
noon of the following day — almost al-
ways. Whenever I begged him for
money, he invariably replied that if I
wanted some I might earn it by taking
in washing as my mother and my mother's
mother did before me. And Henry used
to let me play the Victrola every Friday
night. No, it was not, decidedly not,
because of Henry.

Looking back, I find that I really
don't know why it was. But, after
all, I am inclined to the belief that it
happened because I chanced — or
chanced because I happened upon an
old Fifth Reader over which I used
to nod. The peach-juice and the ink-
blots and the battered edges of it all,
recalled to me my dear old School-days,
the happy days when Henry delighted
in such simple pleasures as chewing
chalk and breaking his slates over my
head. Henry was always so playful.

Well, when all those happy memo-
ries came surging and crowding and
rushing back to me, I simply could
not restrain myself — I put my apron
to my eyes, and wept, and wept. Then
I searched in the cellar for a mirror,
and looking into it saw the great,
round, bitter salty tears chasing and rac-
ing and coursing down my cheeks; and
the thought flashed over me:

"What a Movie Actress I would make!"

And, then and there, I was a changed
woman.

When I had in some measure recovered
my naturally sunny disposition, I remem-
bered my dear old Father, even now, per-
haps, reciting "The Bells" to my mother,
while that dear old soul kept time to the
rhythmical cadence on her wash-board. I
thought of my dear old Grandfather,
who used to recite that same dear old

The
Climb of Clematis Clancv

oA Sad Tale

By Delight Evans

selection to Grandmother, as she listened
between the regular chopping of her busy
axe. I even thought of my dear old — of
myself, soon to thrill and move and sway
the hearts of countless movie-fans all over
the country. And the thought thrilled
me. There was something thrilling
about it.

And now I will tell you how nearly I
reached the realization of my desire.

First of all, I decided, with — I do really
believe — quite admirable foresight and in-
sight, that I must change my name. Not
for worlds would I give Henry's family
an opportunity to point to me and say,
"That girl married Our Henry." No — a
thousand No's. I would Be Myself; and
to myself and myself only would any of
the credit fall.

I was really determined about it.

And I decided upon "Clematis Clancy."
"Clematis" — because of a tender and, I
fear, almost childish sentiment for my
paternal cognomen; and "Clancy," be-
cause it would rhyme so nicely with
"fancy" and "dancy" in those dear little
limericks which the fans write.

I felt that I was faring forth upon a
Career with more assets than many of
these silly little school-girls could think of
in a week. I had chosen my name, and
thus saved the director the trouble. And
I was young, but not too young. And al-
though I am inclined to be more bru-

nette than blonde, still I was
quite determined not to risk
my reputation in one of those
Vampire parts. So much
good may be accomplished by
the tender, sweet little films;
and because I am blessed
with a lovable, cheery dispo-
sition, I knew I should suc-
ceed. I couldn't be a Vam-
pire if I tried.

And before I write another
word, I must give my advice
to Girls About to Enter the
Movies. Girls, do not listen
to the advice which these so-
called Stars of the Silent
Drama give to you. Do you
know, Girls, that they dis-
courage you, and only dis-
courage you, because — and
heed this — because, Girls,
they are Afraid of You? It
is true — they are afraid of
you, all you Girls from All
Over the Country who are About to En-
ter the Movies.

Listen to this advice from one who
knows; from one who has trod the hard
path of disillusionment and heart-ache;
from one who wishes you well: There is
no chance for you. The Field is Over-
crowded. There are thousands on every
waiting list. Stay at Home, Girls, and
marry some worthy man, even as I did.
Above all, Girls, remain deaf and dumb
to the Call of the Screen.

Now I feel that I have discharged my
duty to the Girls of America; and may
therefore proceed with my own narrative.
There are so many different ways to
Enter a Studio, it is sometimes most per-
plexing to the novice. But although Get-
ting In requires a certain amount of cour-
age, most people have no trouble at all in
Getting Out.

But Persistency Wins. I have al-
ways known that. Why, I shall never
forget how I overcame Henry's innate
bashfulness and finally brought him to
the proposing stage. But of course, in
a studio it is different— that is, the
methods are different, but they arrive
at the same conclusion. If I had not
remembered this, I should never have
become Clematis Clancy.

The Studio which I selected was one
of the very best. It is in a new red
brick building — at least it looked new,
but it may have been painted, you
know. I opened a door and walked in.
It was a queer, deserted sort of place,
and looked like £n office building — that
is, it looked as I imagine an office build-
ing would look. When I saw a stairs
leading up to somewhere else, I took
them.

As there was nobody around, they
paid no attention to me. I roamed up
and down, and came to another door.
This one was marked "No Admittance.
Visitors Absolutely Prohibited." I was
not a visitor, of course; so the rule had
nothing to do with me. I opened the
door, and came upon a large floor.

There were all sorts of people standing
around; and in the midst of a conglom-
eration of scenery and furniture, cam-
eras and lights, they were Taking a Pic-
ture. You know, I said afterward that it

was perfectly remarkable that I should

have known it. Think of it — I had never
been inside a Studio before; yet the min-
ute I saw one, I knew what it was. To
this instinct of mine I may attribute
much of my success.

They were making a comedy. There
were oddly-dressed people who fell down
and got up whenever a fat man told them
to; there were other people who acted
just as dear Father used to act when he
recited "The Bells"; and among the
scenery there was a tub and wash-board,
which reminded me so of Home, I had to
bite my lip to keep back the tears.

I stood around. There was really noth-
ing else to do. Then, so suddenly that it
made me jump, someone screamed:

"Sara! Sara!! SARA!!!"

And everybody stopped standing around,
and began to look for Sara. They wanted
her for the new picture they were mak-
ing, it seemed — this comedy. So I wasn't
at all interested.

The fat man paced the floor, muttering
to himself. "Sara — where is the woman?
I gotta have Sara."

Another man went up to him, and
talked. Then he began to pace.

I was debating whether I had better
stay, when the fat man spied me. "Hey,"
he screamed. "You. Comere."

I went. Again I say — to that instinct
which bade me be persistent in spite of all ;
to that something which urged me to obey
the fat man, I attribute all of my success.

I went. And the fat man looked at me,

Photoplay Magazine

and summoned three men, who looked at
me. I must say, though it be to my dis-
credit, I never once thought of popr
Henry.

"She can do it," said the fat man.

"You're crazy — whasmatter? — Bill's lost
his head," said everybody.

"Comeon," said Bill to me. "You've
gotta take Sara's part in my new comedy.
Comeon. You'll do as you are for the
first scene."

I followed him into the scene, which I
learned is called a set. There, I estab-
lished my reputation.

I was about to remove my hat, which I
myself had trimmed from a picture in
"The Wife's Helper," when Bill grabbed
me by the arm and shoved me into the
set.

"You're all right as y'are. You enter —
now listen — you enter through the right
window, and sit down by that table and
pick up a book. Then your husband
comes in, sees you sitting there, beats
you up. He sends you back to the wash-
tub— and we fade-out on you wringing-
out clothes. Come on, now; go through
it."

Of course, if I had had time to think,
I never should have submitted. If I
couldn't be an Ingenue, I certainly
wouldn't be a slap-stick comedienne. But
one of the things Henry taught me, was
always to do as you are told. So I en-
tered through the right window.

I needed scarcely any direction for that.

It was all so natural — you know, Henry
used to lock me out many times, just 10
see me climb in through the window.
Henry was always so fun-loving.

The director — Bill — was very hard to
please when it came to sitting down and
reading a book. He said I acted as
though I had never sat down and read a
book before. But the rest was easy.

The man who played my husband was a
large man — larger even than Henry. But
he was a very good actor, and made it
seem quite like old times.

When I went through the wash-tub
scene, I looked into the foamy suds, and
all the memories of my past and my
mothers past and my grandmother's past,
came back to me. And there was no
heredity-and-environment struggle, either;
for Henry had not been an advocate of
Electric Washing Machines for Women.

And before I knew it, I was weeping
into the tub just as I used to do; and the
director was crying, "Great! Keep it up,
and we'll give you a contract. Your ex-
pression's got it all over Sara's. Keep it
up — There. Thatsall."

This — only this and nothing more, is the
Story of Clematis Clancy. Now that I
am a famous comedienne, and drawing my
little old $500, I don't look at ingenues.
It was hard at first, all of it; I didn't like
the monotony. But the pretty babies who
do nothing but pout, and the Vampires
who do nothing at all, don't know what it
means to be a Natural Actress.

STARS OF THE SCREEN

and
THEIR STARS IN THE SKY

By Ellen Woods

Nativity of George Beban, Born
December 13th.

FROM the position of the plan-
ets at Mr. Beban's birth, I
should say that he would have
made an excellent judge in a juve-
nile court, for I have never before
cast up a figure that indicated such
humane qualities towards children.
Intuitively he would grasp the
truth and would do the right thing at the right time. In his
stage or picture work he should, therefore, be best in stories
where he comes to the rescue of abused or helpless children..
If Mr. Beban should ever engage in original authorship, I
would advise him, from the positions of the planets at his
birth, to furnish plots and let someone else elaborate on them
under his direction. In such case, I am sure his stories would
be successful and that he would display his deep sympathy and
sense of justice for the rising generation. He should not be
connected in any financial way with theatres, summer resorts,
or any other places of amusement, nor with real estate, other
than to draw a salary. He should stake nothing on. any games
of chance, and should not think that every one he meets is as
innocent as he. The latter part of life with Mr. Beban will be
more pleasant than the first part, both financially and mentally.
He should have many acquaintances but few friends, and
they should be highly educated. He should not try to
run two things at once. The two or double runs all
through his life. Los Angeles is the most fortunate place on
earth for Mr. Beban according to the rules laid down by the
father of astrology, Ptolemy.

Nativity of Miss Constance Tal-

madge, Born April 19th.
""THE configuration of the plan-
*■ ets and the zodiacal sign on
the eastern horizon at this birth,
produce a timid, bashful, but
cheerful disposition, very refined
in thought and action — one who
will look on the bright side of life
in the face of all troubles. She is
truth and honor personified. With a searching mind, this soul
is always on the lookout for sympathy, and will attach itself
to a new fancy as fast as the preceding one loses its attrac-
tions. Miss Talmadge is discreet, independent, and open-
minded; will be clever in business matters and fit to command
if the position or object is provided for her, but will be too
timid to push herself forward and ask for it, but she will always
have relatives to select her career for her. Therefore, I would
say that she is born very fortunate. Travels will "be long and for-
tunate for her unless the travels are connected with the church.
At least one of the long journeys will make the native famous.
This native will never know the want of a friend in life, espe-
cially among artists and literati. Short journeys will be profit-
able— journeys from fifty to sixty miles, and she would have
no trouble if she wished to start a mail order business on a
large scale. Marriage should not occur until the age 01" thirty-
three years, I mean the real love marriage, the one that will
ride the worst storm and come through without a mar Miss
Talmadge will have many offers, but she should not accept any
until the year mentioned. Things to avoid: water journeys and
the care of children. >

BRENON— the MAN

Facts and impressions gathered from actual knowledge of the man and his work

By Randolph Bartlett

AMONG moving-picture folk there is no subject so
productive of extensive conversation as Herbert
Brenon. And there is none so productive of
diverse opinions, most of them, however, taking
the form of emotional outbursts. For instance, one day
I met a man at Forty-third and Broadway, and Brenon's
name being mentioned, he launched into a furious tirade of
abuse ; going one block down the street I . met another
friend, and, just as a test, mentioned Brenon again, and
he delivered himself of a paean of praise
Both men were intelligent, both stand
high in the world of pictures, both
had known Brenon for several
years, and both had been asso-
ciated with him. So it goes.
Among the opinions of Brenon
I have heard expressed from
time to time, here are a few
samples:

That he is an egotist.

That he is a genius.

That he is insane.

That he is a martinet.

That he is a dreamer.

In fact, you will hear al-
most everything, except that
you will be unable to find a
man or woman who will stake
his reputation for good judg-
ment upon a statement that
Brenon doesn't make good
pictures.

The explanation of this vast
difference of opinion is extremely ^
simple. It is that the majority of '
people form their opinions by
judging a man in terms of other
men, and Brenon, without regard to "^1
his ability, is so essentially different, ^B
so fundamentally an individual and not ^
a type, that he has to be studied to be un-
derstood. And few people take the pains to
study him. He is, in the best meaning of the
word, eccentric — away from the cen-
ter. He does not twirl with the tee- HH1™™
totum. He does not move with the
crowd. The crowd doesn't espe-
cially interest him. And that sort
of a man is always doing one of two
things at the same time: He is
going at a terrific speed in the direc-
tion half the people think he should

go, and thereby winning their plau- ■■■■■■■■■■■
dits; and he is going, at the same
rate of speed, in the opposite direction to that in which the
other half think he should go, and thereby winning their
condemnation. It would be much easier to stand in the
center of the teetotum, and move with the crowd. But
Brenon was never built to do easy things. So he is mis-
understood equally by his friends and his enemies.

Now, if I may intrude a personal note to establish my
right to speak with authority about this unusual person-
ality, I have worked for Brenon and with Brenon, I have
fought for him and with him, I have wrangled with him
and agreed with him, I have seen him at work and at play,

Herbert Brenon is so essentially different, so funda-
mentally an individual and not a type, that he must

be studied to be understood He does not

move with the crowd, even though it is the easiest
way. But Brenon was never built to do easy things.

I have seen him enraged and happy, perturbed and serene, now.

so ill he could scarcely walk and so well he seemed able to
hurdle the moon. But I have never seen him when he did
not have an inner faith in his own destiny. This is egoism.
Few people distinguish clearly between egoism and con-
ceit. Egoism says "I can and will"; conceit says "I am
and could." Egoism is active; conceit is static. Egoism is
fecund; conceit is sterile. The egoist believes that he is
the center of a great world of ideas, which he can employ
to his purpose. The conceited man believes he is the great
idea at the center of a world, which the world
could use to its purpose if it were sufficiently
intelligent. Fully eighty per cent of the
men and women of the picture world
are conceited — they are the medi-
ocrities and the failures. Not more
than twenty per cent are egoists
-they are the successes.

Herbert Brenon was not a
success until he found his call-
ing in the making of pictures.
He was getting along, but not
a dominant figure. Born in
1880, in Dublin, he passed his
early years in London, and was
educated at St. Paul's and
King's College. He came to
America when he was sixteen,
and found a position as office boy
for Joseph Veon, a theatrical pro-
ducer. To eke out his earnings he
obtained employment evenings, as
a super. Later he was call boy at
$1 Daly's. By gradual steps he became
an actor. He played in vaudeville.
■3g He bought a moving picture theatre,
ar He went to Universal, first as an actor,
jf and then, as the force of his ideas be-
Jw came apparent to the management, di-
W rected a number of pictures. Every now
and then a reminder of these days crops up
in a reissue, the wily exhibitor discovering the
now famous Brenon in the film, and featuring
him in electrics in front of his house, in some weird

and curious relic of the past. He

™HH5535 then made his first great spectacle —
"Neptune's Daughter," with An-
nette Kellermann as the star. The
observant William Fox soon drafted
Brenon into his service, and the
result was a series of features
that attracted widespread attention.

Theda Bara scored her first great

■■■■■■■■■■■ successes. Then Fox accepted his
plan for a great spectacle, with An-
nette Kellermann as the star.

At this time there was a friendship between Fox and
Brenon which neither fully understood, because there could
not possibly be two men of greater contrast. It was a
friendship almost emotional in its intensity, for the very
reason that it seemed a contradiction to exist at all. But
Fox recognized Brenon's imaginative powers, and Brenon
appreciated the opportunities Fox gave him. Each was a
supreme egoist in his own field — Brenon as the creator, Fox
as the business man. The story of the shattering of this
friendship has never been fairly told. It shall be told

Photoplay Magazine

Brenon went to Jamaica, with an army of players, an
expensive star, a shipload of supplies, and a belief that he
had carte blanche. He had made a certain general estimate
of probable expense, but soon it was apparent that this
would be far below the actual cost of the picture. The
tropics present unexpected problems. There was trouble
in keeping the film in condition. A marsh had to be filled
in. And Brenon never was an economical producer. This
was the natural result of his egoism. If he believed that
a certain thing would be an improvement in the
picture, that thing was ordered done. He be-
lieved the results would justify the expense. Back
in New York, Fox, free from the Brenon magnet-
ism, and not able to see the results, found a tor-
rent of money flowing, where he had had in mind
only a good sized stream. This offended his busi-
ness egoism. And a business egoism has just as
much right to existence as a creative egoism. So
Fox sent to Jamaica J. Gordon Edwards, with
instructions to take charge of the Brenon produc-
tion, with a view to reducing the cost. If Fox
had had the slightest bowing acquaintance with
Brenon's egoism, he never would have done it.
It is almost inconceivable that he did not foresee
what happened immediately upon Edwards' ar-
rival in Jamaica.

Brenon simply called a strike. And so com-
plete is the loyalty which Brenon inspires in the
men and women who work for him that, with one
solitary exception, every individual in the Fox
employ on the big production stood by Brenon.
For twenty-four hours the Kingston-New York
cable was strained to capacity with Brenon-Fox-
Edwards messages. But Brenon had the key to
the situation. Even if the mechanics and actors
had consented to return to work, it was Brenon's
story, and no one but he had any idea of what to
do with it. Edwards was called off.

Still, so deeply imbedded were the roots of this
friendship, that the slightest touch of mutual
understanding would have brought these two
egoists together. But while Brenon believed that

Brenon coaching George Le Guerre for a

scene in "The Passing of the Third

Floor Back." The rhythm of the music

keeps the tempo of the scene even.

Fox had been brought over, Fox's ego was
suffering all the tortures of humiliation, and
he merely temporized. So when Brenon re-
turned to New York with his completed picture, Fox
retaliated in an entirely human but intensely cruel way.
He ordered Brenon's name removed from all advertising
material, and instructed that he should not be mentioned
in connection with "A Daughter of the Gods" as author of
the story or director of the spectacle. This resulted imme-
diately in a series of law suits which never have been
carried to a decision, both sides since having almost for-
gotten them in matters of vastly greater importance.

After this experience, it was obvious to Herbert Brenon
that he could not reap the full harvest of his ideas until
he was the supreme power in his own business. So he
organized his own company, joined the Lewis
J. Selznick alliance, and
produced "War
Brides." Al-
though the phi-
losophyofthis
k picture is so
easily
misun-
derstood

—the Man

Sir Johnston Forbes- Robertson came to America to film "The
Passing of the Third Floor Back," under Brenon's direction.

by unthinking people that it has been found necessary to
withdraw it from circulation for the duration of the war,
it proved at once that Brenon was one of the most power-
ful figures in the creative branch of the industry. Since
then he has repeated with "The Fall of the Romanoffs,"
and tossed off two whirlwind melodramas, "The Lone
Wolf" and "Empty Pockets." Meanwhile he has still fur-
ther established his independence as a producer. When
future chroniclers relate the steps in the Brenon career, one
of the most important will be discovered in his acquisition
of his present business manager, Alexander J. Beyfuss, a
young man from California, who combines with financial
acumen a high appreciation of the Brenon genius.

I have said that Brenon inspires loyalty in his subordi-
nates. There is no mystery in this, for Brenon offers the
same loyalty that he expects. In his studio force there are
several heads of departments who have been with him for
years, in various corporations — George Fitch, technical
director; George Edwardes-Hall, scenario writer and re-
search expert; Roy Hunt, cameraman; Miss Minola De
Pass, private secretary; Thomas Tomaine, chief carpenter.
As no man is a hero to his valet, few directors are heroes
in the property room. To learn whether these executives

were loyal to Brenon through selfish interest, or
because they believed in him, I asked two of them
to explain the chief elements in Brenon's success,
from their own viewpoints.

"Mr. Brenon's power lies in his untiring indus-
try, concentration, and capacity for taking infinite
pains," said Hall. "He has an exceptional knowl-
edge of dramatic construction. But perhaps his
greatest strength lies in his ability to impress his
inherent emotionalism upon players, so that even
those who through long stage careers have been
unknown, become, under his direction, sterling
artists."

Fitch, on the other hand, attributes Brenon's
success to his talent for leadership. "Even back
in the old stock company
days," he says, "he was always
the moving spirit in every en-
terprise. His strength of
will in seeing that his or-
ders were carried out, made him a
factor to be reckoned with. On
one occasion, the man who was
supplying the funds for the com-
pany was also
desirous of
being an
actor. His
work was W '

Herbert Brenon believes that the photodrama is an art,
should be respected as an art, and should be created
in surroundings as free as possible from the unlovely.
He insists that his studio be respected, be regarded as
a studio, and not as a carpenter shop.

^JW«IH>

Photoplay Magazine

so poor that Brenon dismissed him — fired his own em-
ployer. He was only a young man at the time, but even
then he was just a natural 'boss.' "

You will often hear that Brenon "has a lot of freak
ideas." As a sample, they will mention the fact that he
has a musical accompaniment for every scene. As the
music does not show on the film, many regard this as "high-
brow" and therefore foolish. The fact of the matter is
that it is for an intensely practical purpose. Of greater
importance than the emotional aid that the music gives
the player, is the fact that the rhythm of the music keeps
the tempo of the scene even, and it is impossible for the

nature. It is the reason most parents spank their children.
It is not because they want to, nor (oh, eternal fabrica-
tion!) because they think it will do the child any good.
^They just can't help it. But where stupidity is not the
cause of the error, Brenon's patience is monumental. When
a noted player, such as Nazimova, or Sir Johnston Forbes-
Robertson, confronts the camera for the first time they
have a lot to learn. And Brenon will go through the alpha-
bet with them indefinitely. I tremble to think what would
happen if they were stupid in learning.

The gentler side of the Brenon character is seen in his
relations with his family. It is something deeper than the

actor to get out of
step.

Perhaps it is freak-
ish also that Brenon
insists that his studio
be respected, be regarded as a
studio, and not as a carpenter shop.
He does not permit any unneces-
sary sound when his scenes are be-
ing played. He does not like to see
men going about in shirt-sleeves,
unless the weather demands it. His
messenger boy is garbed in a neat
page's uniform. This is not osten-
tation. It is all tributary to the
Brenon belief, that the photodrama
is an art, should be respected as an
art, and should be created in sur-
roundings as free as possible from
the unlovely and unpicturesque.

The one thing that Brenon can-
not endure is stupidity. It enrages
him just as a red rag does a bull. I
have seen him patiently explaining
a scene to an actress, and coaching
her with the most explicit attention
to detail. Then, either in a fit of stage
fright, or sheer dullness, she would re-
peatedly do the thing he told her not to
do. After about the third offence he will fly
into a terrific rage. He cannot help it. It
comes as suddenly as if he were leaping from a chair
which harbored an unwarned tack. And it is over as
quickly. I have watched him at times, with such an attack
inevitable, and wondered what would happen if I said,
"Look out Herbert, you're going to explode in a minute."
The result would probably be that I instead of the actress
would get the full effect of the explosion.

The same thing will happen to any highly sensitized

Above: Brenon dictating to his private secretary, Miss Minola De Pass.
Below, with his neice, Miss Eileen Brenon, who is in his publicity department.

mere clannishness of
the Celt. Perhaps this
is because it is a rather
remark able family.
His mother is his most
valued adviser in matters pertain-
ing to art. She herself is a writer
of no small talent, with various
plays and stories to her credit. In
the course of important production
work, she is his almost constant
companion. A brother, Algernon
St. John Brenon, at the time of his
death two years ago, was regarded
as the most brilliant musical critic
in America. One of his daughters,
Miss Eileen Brenon, is in her uncle's
publicity department, and counts it
one of her golden days when she
gets a story printed about "Uncle
Bertie." Her sister has appeared
in several of the Brenon produc-
tions. And, youngest of this ener-
getic clan, Cyril Brenon, Herbert's
son, is already an actor. As the
street gamin in "Empty Pockets" he
displays already a keen sense of humor.
This is the man Brenon as I know
him. These things are not in any sense
an interview, written from carefully pre-
pared notes, or rehashed from a press agent's
adulatory outgivings. They are facts and impres-
sions gathered from actual knowledge of the man and his
work. Of his ideas and his ideals, his spiritual side, his
hopes and his ambitions, I could write at great length. But
why? After all, when we know a man, we know more than
his principles — we know his individuality. And whatever
the stars hold for Herbert Brenon in the future, he is at
least and forever that — an individual.

f\NCE upon a time the studios and stars
inhabiting the jar-off West Coast looked
to Paris and New York for their fashions.
No-w, to use the vernacular, they dope 'em
out for themselves. Each of the big studios
has its own gown designer and modiste es-
tablishment, and Miss Peggy Hamilton is
the designer for Triangle. All the gowns
displayed herewith were made from Miss
Hamilton's plans and specifications and un-
der her supervision, with the exception of the
Gown of Destiny a Hickson model, worn
by Alma Rubens in the photoplay of that
name.

To left and right: Two poses of Miss
Rubens wearing the Gown of Destiny.
The gown exploits the bustle frock, which is
the first real silhouette America has ever in-
troduced. Fashioned of rose and silver bro-
cade; trimmed with crystal and bugles, with
shoulder-straps of rhinestones — and worn by
Alma Rubens! Is it that the Gown becomes
the girl, or the girl becomes the Gown ? At
any rate, you don't have to be a critic to
remark that " The Gown cf Destiny " —
( Triangle) — is bound — just bound to succeed

This wrap was made from
a court gown worn by
Clara Morris in 1875.
Pink, brocaded satin with
green plush leaves woven
into the material, it is
incd in old rose. Posed
by Alice Crawford.

The "Lillian Gail." Of
white chiffon, — draped
with a solid embroidery
of pearls and white sequins,
over old rose and Georg-
ette. The train is of panne-
velvet and sequins. Posed
by Draxy Harlon of Tri-
angle.

The "Model La Reine." Satin bod-
ice is draped with hand-embroidered
net of pearls and sequins. A strap of
ermine from the left shoulder crossing
to the right at the waist, adds the
military touch. Posed by Josephine
Sedgwick of Triangle.

Both ermine and seal are used in this
"Model Le Fautel." Orchid chiffon
lines the sleeves; orchid satin, the
train. And there is a black ostrich
fan, orchid-tipped. Posed by Kathleen
Emerson.

Tic

ays an

ayers

Facts and Near-Facts About the Great and Near-Great of Filmland

% CAL YORK

Miss Anita Stewart, whose continued absence

from the screen has left a place that no one

else can fill.

C\PTAIN ROBERT WARWICK was
called to Washington soon after he
received his ranking at the Plattsburg
training camp, and by this time he is
probably very busy somewhere in France.
As he speaks French fluently, he will be
of unusual value to the American forces.
Captain Warwick, as an actor, appre-
ciated publicity. He is singularly modest,
however, about his services for his coun-
try. He entered the Plattsburg camp
without any blare of trumpets, and when

his former press agent asked him to have
a photograph made in uniform he declared
that he would not capitalize patriotism for
publicity. "This uniforms means more to
me than anything else I ever owned," he
said, "and I'm not going to go bragging
about it until I have done something in
it to brag about." Which is one way of
looking at it, of course, though it is no
reflection upon the viewpoint of the man
who wants his friends to see him in his
regimentals. It's just how you feel about
it.

GOOD news for Allison-Lockwood fans.
May Allison is coming back and
will again co-star with Harold Lockwood
in Metro Pictures.

Miss Allison has been off the screen
for about six months devoting her time
to getting her voice in shape to fulfill a
London Musical Comedy engagement.
Maybe you didn't know that Miss Allison
was gifted with a wonderful voice, and
has been tempted time and time again by
the producers of musical comedies.

However, because of the difficulties of
obtaining pass-ports as well as other con-
ditions arising from the war, she has can-
celled her London engagement and de-
cided to return to the screen.

IF there's anything we like more than
another thing, it's Russian vamps. Bet-
ter still — near-Russian vamps. Why. one
has only to whisper "Russian vamp" to
us, and we shiver in icy anticipation,
in warm sweet delight, at the so-pleasant
prospect. For near-Russian vamps — next

to Russian vamps and Billy West and
the crown prince, — are the funniest things
in our little lives. Think, then — contem-
plate upon our infinite distress at the
pleasure denied us:

When we heard of Hedda Nova; of her
first appearance in Odessa. Russia; of her
subsequent appearances in a Berlin con-
vent and a Russian ballet: lately as a
Yitagraph star — we fairly shook with joy.
Another near-Russian vamp, this time
from Brooklyn; another cloying name to
paw, to exult over in these calamitous
columns. We had it all doped out. And
it was beautiful. Then, came disillusion-
ment, grief and heartache. Our barbed-
wire witticisms, our stinging sarcasms —
merely a waste of time and a wearing-
out of typewriter ribbon. For Hedda
Nova, Vitagraph's Russian vamp, was born
in Odessa; danced in Russian ballet; came
to America; was discovered — a real-
Russian vamp! We are too wise to as-
say any very clever remarks.

MARSHALL NEILAN will continue to
direct Miss Pickford for Artcraft.
He was drafted, but rejected because of
poor eyesight. '

EDWIN THANHOUSER. one of the
pioneers of the moving picture in-
dustry in this country, retires this month
from all his activities. The Thanhouser
Film Corporation will continue, however,
and in the near future will probably en-
gage once more in active production. The
last picture from the New Rochelle plant
was the last picture in which Miss Flor-
ence La Badie appeared before her death.
"A Man Without a Country." While

Fay Tincher always used to be original, with her stripes and all. Now she's counting stitches
just like all the rest of them, between scenes for her new comedies at her new studio.

Captain Robert Warwick. Now filling an
important engagement " Over There.

Plays and Players

the Thanhouser pictures have not been
the greatest pacemakers in the industry,
there is this to be said of them. Edwin
Thanhouser never permitted a scene
to be photographed, that was touched
with the slightest taint of sensuality or
suggestiveness. The rules governing
conditions at his studio were further
proof of the innate cleanness of the
man. He made a success of his career,
and retires with the highest respect of
all who know him, in the studio as well
as in the business world.

AFTERNOON motor calls and pink
teas are quite the thing at Fort
Lee. Nowadays when a director can't
find his star, he goes out and hunts for
her in one of the neighboring studios.
If he can't find her there, he begins a
systematic search of all the studios in
Fort Lee. Generally he'll find her after
a while, having tea with a group of
fellow-players, whose directors are also
hunting. Alice Neilsen, Fannie Ward,
and the Dolly sisters have all been
found at different times at the Gold-
wyn plant and have been dragged forci-
bly back to work by their respective
directors. (The director doesn't really
drag his star back to work, you under-
stand; he wouldn't dare.) But they
should have some sort of a system
about it; make Monday "Goldwyn" day:
Tuesday "Pathe" day; and so on. This
would save time; and insure the pictures
keeping up to release date.

ERIC CAMPBELL, well-known as the
"big fellow" in the Chaplin comedies,
was killed in an automobile collision in
Los Angeles, in December. Jean Croby,
an actress, and Harold Schneider, a
scenario writer, who were in Campbell's
car, were injured; and the driver of the
other car suffered a broken leg. He as-
sisted however, in extricating Campbell's

Viola Dana is now an official member of the
Los Angeles Photoplay Colony. She has been
photographed with Charlie Chaplin and you
know that is a sort of initiation rite. Charlie
registers glee, and no wonder. In a similar
position we would do likewise.

body, which was buried under his ma-
chine. Campbell leaves a wife in San
Francisco.

MONTAGU LOVE and Madge Evans
are studio chums, at the World's Ft.
Lee workshop. One day Madge was re-
quired to play an emotional scene, dis-
playing great grief over the parting of
her picture parents. Before the scene
was photographed she went to one side,
buried her face in her hands, and soon her
whole little body was shaking with sobs.

The late Eric Campbell with Charles Chaplin and Edna Purviance in a scene from
"The Adventurer."

Mary Pickford and her wee niece, Mary
Pickford Rupp, who has just learned to walk.
The baby calls her aunt "Nanna," and
shares the opinion of the wide, wide world
in that she believes Mary is a little bit
of all right.

She acted the role to perfection. "What
did you think about to make yourself
cry like that?" Love asked. "I thought
how awful it would be if I had to go
back to school," replied little Madge,
wiping away the last of the tears.

CRANE WILBUR— melancholy eyes,
wavy hair, and all — has been filling
a stock engagement in Oakland, Cali-
fornia. He has received an offer from a
north-western picture company; but it
is not yet known that he will accept.

SL. ROTHAPFEL is the manager of
• the New York Rialto. He is the
manager of the New York Rialto because
he believes in the psychological effect in

moving pictures. Every program in his
theatre is a remarkable combination of
music and picture — and sometimes he
even chooses his musical selections first
and then chooses a picture to suit the
music. He supervises the color schemes
used throughout his programs. He be-
lieved in psychology even in a photoplay
theatre and his success is
proof that a photoplay theatre
is one of the places where
psychology is most needed.

IRVING CUMMINGS has
1 been retained by Metro to
play opposite Nazimova in
her second Metro photoplay.
Cummings supports Ethel
Barrymore in "An American
Widow."

NATALIE TALMADGE,
sister of Norma and Con-
stance, plays with Fatty Ar-
buckle in "A Country Hero."
The young lady is also Ar-
buckle's private secretary. She
will entertain her sister Con-
stance when the Select star
comes to Long Beach, Cali-
fornia, for a few weeks" rest.

THEY had to have tea from
a samovar at the Metro
studio, when they were making
"The Legion of Death," a
Russian picture, so they put
it up to Danny Hogan. the
Pete Props of the organiza-
tion. He was warned to burn
nothing in the contraption but charcoal.
But darned if he could light the charcoal,
even with coal oil. The coal oil would
burn off and the charcoal remain dull and
defiant. At last someone was found who
understood that the charcoal had to be
put on a hot fire and started, after which
it would 'tend to everything for itself.
"An' if yez go to all thot throuble for
tav," said Hogan. "sure and phwat wud
yez do to get somethin' t' dhrink?" And
while we're on the subject of Hogan,
here's another: He went to the bunga-
low where Edith Storey is living, on busi-
ness, one day, and noticed a sun dial in
the front yard. "An" phwat is thot?" he
demanded. Miss Storey
explained how the dingus
on top told the time with
its shadow. "An' will
yez listen t' thot!" Hogan
exclaimed. "Sure, phwat'll
they be invintin' next?"

HERE is another in-
vention which its
originators claim will give
that long-sought stereo-
scopic effect, and will
have a field of action
nearly, twice as wide as
the ordinary picture. It
is the work of a Kansas
City inventor. Of course
it will "revolutionize the
industrv" as usual.

Photoplay Magazine

Senator has joined the Balboa company.
Ex-Senator's nieces are very, very rare;
so be sure to watch out for Miss Eloise
Lorimer. of Chicago. She came with
her Mamma to Long Beach, sometime
ago; and she just loved the movies, and
decided she'd like to act in them. So
she's doing atmosphere now.

Chorus :
with his
debut ii
children

" Doesn't he look just like his Dad?" Douglas Fairbanks, Jr.,
cousins, the daughters of John Fairbanks, made his screen
i "A Modern Musketeer." The money earned by the
will be given to the Fairbanks Chapter of the Red Cross.

in ' Hulda from Holland.'" And now he's
with Edison. He plays a Belgian in a
forthcoming Edison feature. "The Un-
believer," taken from a story by the lady-
author with the names, Mary Raymond
Shipman Andrews. Harold has also vol-
unteered his services to Uncle Sam and
has been appointed mascot of Company G,
305th Infantry. His orders
are to report every day in
uniform. He is just five, and
is madly in love with Mary
Pickford.

WILFRED LUCAS has
been engaged by Blue-
bird to direct Monroe Salis-
bury and Ruth Clifford. Mr.
Lucas, who is one of the best
actors on the screen, will be
particularly remembered for
his work in "Acquitted."

C"DNA PURVIANCE paid
*— ' a visit to New York re-
cently. Of course the beauti-
ful blonde spent most of her
time in the shops and being
photographed and interviewed
and everything. She forgot
to say she likes New York
but prefers California.

LJARRY EDWARDS.
* *■ chiefly conspicuous as an
ex-member of the "Only Their
Husbands'" club, for Louise
Glaum, is a Triangle-Key-
stone director now. His first
comedy will be a story about two artists,
and gives Alatia Marton the role of a model
but not a model wife. Miss Marton is one
of the prettiest of Photoplay's "Beautv
and Brains'' girls. Louise Glaum, by the
v ay. is now making her first Paralta Pic-

CHARLES MURRAY put one over on
Charles Chaplin at a Los Angeles Red
Cross benefit recently. Charles sent his
famous derby to be auctioned off to the
highest bidder, adding he would start
the bidding with one hundred dollars.

Well, Murray put up the hat and called ture, which contains not a single vamp
cut, "Charles Chaplin bids one hundred
dollars for this hat, — first, second, and
last times. This hat goes to Charlie
Chaplin for one hundred dollars." So
C. C. is out one hundred dollars; but he
still has that hat.

AROLD HOLLACHER won a name

WHAT do you think?
Another celeb, has
come in. The really-truly
niece of a reallv-truly ex-

AGNES AYRES— she's a Yitagraph
■**■ leading woman — did her bit recently
in a slightly different way. Her brother
is a sergeant in the National Army and
is stationed at Yaphank. Agnes" paid
him a visit and during the course of it
was introduced to the camp cook, who
for himself opposite Mary Pickford told her that the boys were well and happy

but craved one thing they
didn't have — cake. So
what did Agnes do but
give him a recipe and
show him how to mix the
ingredients? Now they're
eating her kind of cake
at camp.

APPLE-PIE was the
cause of a press-
agent's down-fall. Man-
Garden's press-agent isn't.
any more. It all hap-
pened when Mary and her
company went down to
Florida for scenes in
"Thais." The P. A. had
to acquaint the local press
with the lady's arrival:
but Mary had done
nothing to warrant a
story — nothing at all.
But the story had to be.
So the P. A. thought up

Maurice Tourneur, now directing "The Blue Bird" for Artcraft, with two of his

assistants. They are Tula Bell, who plays "Tyltyl." and Robin McDougall,

who will enact "Mytyl."

Plays and Players

a beautiful one; he told the hotel chef tal of his car was being sent to him in a but when I came out of the hospital they
that Mary Garden loved apple-pie, and cigar box, having been gathered up from said I made a very nice speech.''

that she wanted a nice large one for
breakfast. The pie was baked; the rep-
resentatives of every paper came down
to see Miss Garden eat it; and the guests
of the hotel smiled to themselves and
said: "Fake, fake — she'll never eat that

the bottom of a New Jersey embankment
over which his jewel of a chauffeur had
driven it at a time when Mr. Miller
thought the machine was sleeping peace-
fully in its garage.

ALMA RUBENS says she isn't mar-
ried, isn't engaged, doesn't want to
be married, and won't be married. Alma
isn't saying this as a hint to any special
admirer, but in reply to numerous mys-

pie; you can't believe anything you read A SCURVY trick has been played upon terious congratulations she has been re-
in the newspapers."' But Mary Garden •** Constance Talmadge. Her first ceiving of late upon having entered double-
ate that pie. She made good — she ate Select picture, "Scandal," was shown at harness,
every bit of it. For breakfast. One a benefit performance at Greenwich, Con-
apple-pie, for breakfast. Well, and the necticut, and she was present, with the /^ AIL KANE, whose removal from the
story ends — "You can't change nature; distinct understanding, promise, and guar- >-* American studios at Santa Barbara

but you can change press-agents.''
who is Mary's press-agent now?

JOHN EMERSON and
Anita Loos have left the
Douglas Fairbanks company,
and will probably produce
independently. Mr. Emer-
son, as director, and Miss
Loos, as scenario writer,
have created for Fairbanks
the semi-satirical comedies,
such as "Reaching For the
Moon," "Down to Earth,"
"His Picture in the Papers,"
"In Again, Out Again," and
others of a like hilarious
character. They have found
their partnership very pro-
lific and productive of high
class comedy results.

IN California, one of Bessie
Love's favorite indoor
sports was roller-skating.
When she went east to be-
come a Pathe star, she
looked forward to skating on
ice. Soon after she arrived
in New York, she was in-
troduced to an ice rink. She
gazed pensively at the gyra-
tions of the boys and girls
for a while, and then de-
cided not' to try it. "It
looks kind of different." she
said, "and if I ever fell on
that hard water my picture
would be delayed quite some
time." So Bessie didn't
skate.

But antee, that she would not be called upon was lately chronicled in these pages, to-
to make a speech. In the course of the gether with the reasons why, has signed

with Pathe. Her first film
for the French company has
not yet been announced.

THEDA BARA and Mrs.
0. H. P. Belmont dis-
agree. On the little matter
of the suffrage pickets —
Mrs. Belmont approves and
Theda Bara doesn't. But
just wait until Mrs. 0. H. P.
Belmont hears about it.

MADAME OLGA PE-
TROVA has received a
remarkable letter from a for-
mer hospital worker behind
the French lines. The writer
of it, who has just returned
from the battle-fields of
Europe, where she was in
the services of the American
Ambulance Hospital, as-
cribes her courage and forti-
tude under harrowing cir-
cumstances to the inspiration
she received from Madame's
screen work. "So it was
you, not I, Madame." she
writes, "who did your bit
Somewhere in France." Pe-
trova considers this the
greatest tribute she has ever
had; and she has had some.

MARIE DRESSLER says :
"I like'the movies bet-
ter than the stage. In the
movies work is a la carte
and the pay table d'hote."
Miss Dressler's other gift to
the world was Charles Chap-
lin. At least she says he ac-
quired fame in that Key-
stone she made.

^^■*» .** w^ •**■ *» ~Z^ ** *«# *d. 2r '** **fc -T v •#- ,£. JT ^ -m

WHEN Edith Storey
started for Los An-
geles from New York, she
entrusted a white poodle to
the mercies of the baggage
car crew. When she reached
the City of the Angels she
demanded a white poodle,
but the best they could do
was a dark grey one. The
animal seemed to recognize
the star however, and upon
careful examination its iden-
tity was established. "Car

camouflage," Miss Storey sniffed, as she evening she was lured out of the box Signal Company. Helen Holmes is tired
gingerly led her live stock to the waiting where she was seated by somebody who f of dodging locomotives and wants to go

"You had a whole page of mothers in your magazine recendy. Don't you
think the old Dads are entitled to some attention? Here's mine." Thus
Harold "Lonesome Luke" Lloyd delivers himself. Harold is a bachelor,
and he and Dad do each other's cooking, meaning that Dad usually does
it, while Harold specializes in the heavy looking on and eating. While the
latter washes the dishes, Harold tries out comedy ideas. If Dad laughs and
breaks a dish, the idea goes into the next Rolin comedy. If not, not.

DOUGLAS FAIRBANKS
is on the lookout for
South American stories. He's
going to take his company
down there for three or four
pictures.

MRS. and Mr. J. P. Mc-
Gowan have left the

taxi.

CHARLES MILLER, Norma Talmadge's
director, went around bragging what
a perfect chauffeur he had found, until
exactly three o'clock the morning of De-
cember 11. At that moment a telephone

call from the New York police depart- her. when she told the crool tale,
ment informed him that all that was mor- "I think I said 'Bla bla blooey blooey,'

said he wanted to introduce her to some- | in for the more thoughtful stuff, to the
body. And then all of a sudden she extent of five or six reels. Their plans,
found herself facing a crowded house, beyond that, are not definitely known,
with someone holding her by the arm so
that she could not escape, and telling the
audience that she would say a few words.
"What did you say," a friend asked

HAMILTON REVELLE will be Mary
Garden's permanent leading man.
That is if Mary Garden doesn't change
her mind.

(Continued on page 02)

DOUGLAS
FAIRBANKS'

Own

PAGE

"I want to assure
every film enthu-
siast that there is
not a star who
doesn't delight in
reading a well
written letter."
— Douglas Fairbanks.

IF I may be permitted, I am going to crave the indul-
gence of Photoplay's readers and talk a little about
myself and my job — chiefly my job.

The film player has one problem with him all the
time, no matter what measure of success he has won, he
never knows for sure whether his current production is
going to "get over." Even when the returns start coming
in from the big centers showing that it is a success from
the box office viewpoint, he doesn't know whether he has
augmented his popularity or lost a few notches in stand-
ing. So he, or she, relies largely on "fan mail" — the letters
from unknown admirers, or critics, for the verdict on the
photoplay. When "fan mail" and box office returns coin-
cide, it is a pretty fair indication of a success.

These letters which daily
swamp the personal offices of the
stars are more often the guide of
the producing player, than the
opinions of those in charge of the
picture's dissemination — the box
office people. A particular play
can reap a big harvest of dollars
but if the public as a rule didn't
fancy it, the star's popularity is
so much less, so the word from
the ultimate consumer is eagerly-
awaited. Perhaps if the public realized
this more — that the player really seeks its
opinion — the mail of the stars would be
more than swamped.

Just as a few instances of the inability
to tell how a picture is going to pan out.
we will take first one of my earliest film
plays, "The Half Breed." We, who had
a hand in its making, regarded it as a
"knockout" — another highly technical
term, synonomous with a big hit. But
the public, again using the more ex-
pressive vernacular, couldn't see it.
Then we did "Reggie Mixes in,"
an altogether different type of
play. It didn't look good at all
and we dreaded the coming of
the verdict. But it was a tre-
mendous success. We were be-
ginning to get an idea as to what
the public wanted to see me in.

But really that's all we've
ever had — just an idea after
two and a half years of it. Even
now we get fooled occasionally. Take
as an instance, "The Man From
Painted Post." It was made in a hurry,
without the aid of a worked out scenario-
just made up as we went along — yet accord
ing to the financial boys, it's probably the best money
maker of all those I've done for Artcraft. And the verdict
of the "fan mail" has been generally favorable.

There is a less agreeable phase of the mail proposition
though. It is more pronounced around Christmas time
than at any other season. It's the letters from people
who want something. It's pretty hard to refuse things,
particularly to the youngsters who write in the innocent
belief that their's is the only such request. Yet if I were
to comply with every request that was made of me around
the holidays, I would have had nothing left with which
to pay my income tax, and I want to state right here that
this little old tax is going to make a lot of well known
stars do a lot of Hooverizing for the next year. But I
haven't heard any of them complaining.

One of the most amusing letters I received just before
Christmas was from a Chicago boy. Here it is:

"Dear Mr. Douglas Fairbanks:

"Seeing that you own a cor-
poration of your own I thought
you could do this favor for me.
I wondered if you could send me
a suit of steel armor with a hel-
met and a double edged sword
like in King Arthur's time.
Please do not send me card board
armor with silver gilt painted
over it and a rubber sword. I
wear a twelve year old suit so
you will know how to pick out a twelve
year old size suit of armor. I want it
because at school I take care of the steps
going up to the door to keep the children
from raising rough house and when I
tell the big boys not to make so much
noise they hit me but if you send the
suit of steel I can just pull out my
sword and scare them and make
them mind. Please send it for you
are my favorite motion picture
actor."

He also asked for two six
shooters and said I shouldn't
worry about him handling the
guns as he has a .22 rifle and "can
handle a gun as good as any-
body."

There were other letters from
various parts of the country re-
questing automobiles and in
some instances the favorite ma-
chine of the writer was stip-
ulated. But these letters form
only a small part of the star's
daily mail.

As to the oft repeated
query which seems to be a
source of continual annoy-
ance to the Answer Man, I want to assure every film en-
thusiast that there is not a star who doesn't delight in
reading a well written letter of intelligent criticism.

They both looked at me, and Mr. Foster

gave a little nod. "With her curls clipped

and her hair combed that way she'd defy

detection," he said.

THE HOYDEN

The story of a girl -who wanted to be a boy — and when her rwish came true, wanted to be a girl again!

By Frances Denton

I USED to think there'd been an awful mixup in Heaven
— or wherever it was that the babies came from, be-
cause I was surely intended to be a boy. I always
wanted to be a boy so hard that if wishing had had any-
thing to do with it, I would have grown into one. I always
hated girls — starched-up 'fraid cats, and I had just as much
muscle and could throw just as straight and hard as any of
the gang. They used to be glad to let me play with 'em, for
I was a star pitcher and could steal as many bases as the
next one. But the male sex, in my Aunt Mary's calcula-
tions, didn't exist. She couldn't see one of them through
binoculars. And I know now that the way I used to act
just naturally made my dear Aunt Mary gray long before
her time.

She was awfully touchy. The time I put a saddle on
Blossom, our brindle calf, and tried to ride him around the
yard and he got away from me and rushed right into the
house and through the parlor, you'd have thought the end
of the world had come. She was having tea and cake with
a lot of maiden lady friends of hers, and of course we did
break a few cups and things and muss things up, but I
didn't know the calf was going to bolt through the parlor.
And I didn't think it was the square thing for Aunt Mary
to take my clothes away, and lock me in my room without
my supper. I hadn't intended to upset her old tea party.
I'm writing this in the past tense because now. of course.

I realize that I must have been a good deal of a trial to my
aunt. In fact, as I look back, I don't really understand why
I wanted to do the things I did. I'm sure I wouldn't now.
I feel so much older, though it's only been a year —

I'll have to go back to the calf, to get started. After
Aunt Mary sent me to bed that day I stuck my head out
of the window and whistled for the gang. They came and
stood below, and I told them the fix I was in. Then Red
Jenkins went home and sneaked a suit of his brother's
clothes and threw them up to me. I had them on and
had shinned down the tree that was just outside my win-
dow, and was at the bat, over in the vacant lot, before you
could say Jack Robinson.

It was my Jonah day, all right. For with my first
swipe at the ball it sailed through our side yard and went
smash through our parlor window. And Aunt Mary think-
ing I was still in bed!

The gang saw Aunt Mary coming and beat it. I didn't;
T never was a quitter. She took me by the ear and led me
toward the house, but she didn't seem to be as mad as
you'd expect, under the circumstances, and she didn't
scold, only seemed to be thinking hard. And if she didn't
lead me right into the parlor and there sat Mr. Bruce Fos-
ter, who is a nice middle-aged gentleman who has a law
office in our town.

I felt like a nickel. Red's brother's trousers were too long

Photoplay Magazine

evening, in my honor, and that Paul would help me dress
for dinner. I was willing to make a good-sized bet with
him that Paul wouldn't. But when I got upstairs I had
an awful time to get rid of him. I told him that I was
used to waiting on myself, that he'd only be in the way,
but it wasn't until I threatened to throw the water pitcher
at him that I convinced him. Then I locked the door.

Thai night I was given the seat of honor at the table.
There were several kinds of wine, but I managed to spill
mine under the edge of the table each time, without at-
tracting attention. Everybody got pretty well warmed up
and then one of the guests began to tell a story.

I tried desperately to attract Mr. Foster's attention, but
he was too interested, the brute! I stood it as long as I
could, then I ducked. They never noticed me; they were
too busy. If Aunt Mary had known what she was letting
me in for, she would have gasped with horror. Then I
heard them talking, from the head of the stairs, when they
noticed my absence. They were saying to each other that
they were to blame; I was only a young boy, and all that
sort of thing. Two of them insisted on coming upstairs
and apologizing to me, but Foster, who had come to his
senses, persuaded them not to.

I sat on the edge of the bed, thinking. I began to see
that my pathway, as a deceiver, wasn't going to be exactly
padded with roses. One thing I'd have to do — when I
knew Paul a little better I'd have to take him into my con-
fidence. It was the only way.

Next morning I was wakened by Paul at
my door, carrying hot water and a shaving
set! He said he'd noticed that there was none
in my trunk, and he wanted to come in and
shave me. Finally I managed to get rid of
him. I carried the shaving set into my bath-
room, and then I sat down on the floor and
howled. It was too funny.

When I got downstairs,
everyone had finished
breakfast. The butler told
me mine was ready for me
in the dining room, though.
It was sure nice, this din-
ing in state alone and be-
ing waited on, hand and
foot. I was as hungry as a
bear, and al-
though I heard
voices, it
wasn't until I
was through
eating that I
paid any atten-
tion to them;
then I realized
that the dining
room door was
open a little
and I could hear
what was going
on in the library.

There was a
visitor with
Uncle and they
were talking
about the fac-
tory. The night
before I had
heard a remark
or two which in-
dicated that Un-
cle was having
trouble with his Then Uncle took a big

men. Evidently it to me, with " I want

the caller was arguing from the men's standpoint, for pretty
soon Uncle flew into a fury and lifted his voice until he
could have been heard across the street. He wouldn't
budge an inch, not an inch, nor give those cut-throat em-
ployees of his an extra cent! And so on and so forth, with
lots of emphasis in the proper places.

I heard him call his visitor Trippet, and I knew this
Trippet was foreman of Uncle's factory, so I crept to the
door and watched him as he went out. Why, he was young!
— and the handsomest man I'd ever laid my eyes on. I
went to the window and watched him clear down the walk
as far as I could see him. I made up my mind I was going
to meet him — and not as a boy! But how? All of a sud-
den I was sick of the whole game. I didn't care a snap for
Uncle's money. I wanted to be a girl, a girl!

That afternoon I was in the library eating candy, wait-
ing for Uncle to come in and go riding. He came and saw
the candy. He nearly had a fit, snatching the box from
me and throwing it into the grate fire. "Do you think for
a minute I'm going to have a candy-eating milksop around
me?" he howled. And growl, snort, sniff, bang! Then he
took a big black cigar out of a case in his pocket, and
handed it to me with, "I want to see how much of a man
you are, Jack. Smoke this and I'll let you have your pick
of any horse in my stable."

Well, I had to be game, whether I wanted to or not. I
tried for about five minutes to light the thing, and then I
said, "There's something wrong with it, Uncle; it won't

light. Or else these
matches are no good."

He took it. "Why you
haven't cut off the end,
you young jackanapes.
Here, bite it off."

black cigar out of his pocket and handed
to see how much of a man you are Jack!"

The Hoyden

for me and I'd turned them up about a foot at the bottom.
There was an open place on one leg where a patch had
been, but wasn't. I stood digging my toe into the carpet
and getting redder and redder. Of course, I thought Aunt
Mary had brought me in that way to punish me.

Mr. Foster took off his glasses and rubbed them, and
put them on and took them off again. He seemed to be a
little excited. "Miss Tolliver," he said to Aunt Mary, "I
believe I see a way out of our difficulty. Miss Joyce cer-
tainly looks the part of a boy to the life. I don't believe
anyone, not knowing her, could tell the difference. We
will send her to Mr. Bolton as his nephew."

"Oh, no," said Aunt Mary, flushing a little. "I —
couldn't bring myself to practice such deception."

Mr. Foster put his glasses on, crooked. "It's a splendid
opportunity," he said eagerly. "All that vast wealth —
Miss Joyce has always — er — seemed to favor the society of
boys and has been with them so much that she knows their
mannerisms and — er — her part will come quite natural to
her. It seems to me as if a special Providence had willed
it so. Undoubtedly she could carry it off to perfection."

I looked from one to the other of
them. What on earth were they
talking about?

"Go wash your face and hands,
Joyce, dear," said Aunt Mary.
"And — leave the boy's clothes on
and comb your hair straight back."

When I came back they both
looked at me, and Mr. Foster gave
a little nod. "With her curls
clipped and her hair combed that
way she'd defy detection," he
said. "Very well, I'll write Mr.
Bolton that she's — that he's com-
ing. Good afternoon, Miss Tolli-

ver.

The Hoyden

NARRATED by permission from the
photoplay of the same name by Lee
Arthur. Produced by Balboa with the
following cast:

"Has he got bats in his belfry?"
I asked Aunt Mary. "Or what's
the big idear?"

Aunt Mary pulled me to her and
put her arm around me. "I ought

to punish you for using such slang, but under the circum-
stances probably, it's best that you talk that way, — well,
naturally. Oh, dear; I wish I were sure that I am doing
right."

Then she explained. It seemed that I had a rich uncle
by the name of Lester Bolton, my mother's brother. He
owned a factory in a big city, a long way from Dyersville;
and he hated women, wouldn't have one of them around
him, not even a servant. I gathered that Nunky was getting
along in years and that his gout and indigestion and gen-
eral disposition was making him feel dissatisfied with life.
A'so that he was beginning to realize that he couldn't
hold onto his coin for ever, and so he was looking up the
records to see if he couldn't find some sort of a satisfac-
tory male heir. He hadn't been what you might call
chummy with his relations and he didn't know whether he
had any heirs, but he'd set Mr. Foster, who was an old
schoolmate of his, to finding out.

I was an heir, all right, but the trouble was that heirs of
my sex were taboo. There wasn't any use trying to get
Uncle Lester to abandon his prejudice; it couldn't be done.
So after seeing me in Red's brother's clothes, Mr. Foster
had an inspiration: I was to go to my uncle as his nephew,
and that as such, he might grow fond enough of me to
forgive me when he did discover the deception.

When I learned that I was really to pass for a boy, and
act like one without being scolded for it afterward, I was
so happy that I turned three handsprings, right in a row.
I hugged Aunt Mary until her switch came loose and I was
going to chase out and tell the gang, when she stopped me :

"Remember, no one but us must know of this. I — am

Joyce Tolliver Jackie Saunders

Mary Tolliver Mollie McConnell

Lester Bolton Daniel Gilfeather

Paul, the valet Bruce Smith

Bruce Foster Gordon Sacksville

Guy Trippet Arthur Shirley

Bolton's secretary. ... Charles Lightfoot
Corenne Ruth Lackaye

not sure but what I could be held responsible under the
law; at any rate discovery would be a serious matter for
all of us. I would not consent to it except that I think
your uncle most unjust in his attitude toward women. It
is his intention, I understand, if he finds he has no male
heirs, to endow a home for aged bachelors."

I went upstairs and dressed for dinner according to my
sex. Afterward, Aunt Mary and I sat in the library and
she told me something more about Uncle Lester. It seems
she was engaged to him when she was a girl, and her folks
objected to her marrying him because he was so wild and
dissipated. He insisted upon her eloping with him and this
she refused to do. In the meantime my dad, Aunt Mary's
brother, who, I guess, was always held up to Uncle Les as
a good example, married his sister — Uncle's sister. This so
enraged Uncle Lester that he left for parts unknown. He
never forgave his sister for marrying into the family that
was denied him, and he never saw Dad or my mother
again. Incidentally, he cut out his reckless ways and
buckled down to work, with the result that now he never
need to worry about the high cost of living. And I was to
be his heir. Whoopee!

I think maybe I take after my
uncle.

The next day Mr. Foster and I
started. I had on a brand-new suit
of tweeds, with a hat to match and
a pink-striped shirt. I was some
dude. The rest of the camouflage
was contained in a trunk and suit-
case, which went with us.

Before we entered my uncle's
home, Mr. Foster stopped and gave
me final instructions. "Always re-
move your hat when you go into a
private house, Jack;" — Jack was
my new name — -"take as long steps
as you can, and when you meet your
uncle, be sure to shake hands with
him."

Uncle Lester never even looked at
me but rushed up to Mr. Foster and
began to pump his arm up and down and talk about old
times. I stood on one foot and then on the other. I put
my hands in my pockets and took them out again. I
began to wish I was appearing in my proper character. I
realized I didn't know half as much about boys' ways as I
had thought. Then Mr. Foster remembered me.

"Here's the boy, Les," he beamed. "This is your
nephew, Jack Tolliver."

At the word Tolliver an expression came over my uncle's
face like when you bite on a sour pickle with the mumps.
I mean, when you have the mumps, not the pickle. "How
do, Jack," he said shortly.

I advanced and held out my hand. I guess I must have
a rather winning smile, for the old boy suddenly forgot
his grouch and grabbed me and kissed me. Then he pulled
me to his knee and in a few minutes we'd started to be
pals. He asked me about my school and what I was study-
ing, and then he pushed a button and summoned a tall man
with a solemn face and told him to send for all the
servants.

They came filing in, one by one, every last one of them
men. Even the cook. They stood in a row, like pallbear-
ers at a funeral, and they looked just about as cheerful.
Uncle Lester introduced me and I shook hands all around.
The gloom deepened; I got desperate. So I started at the
first one, Paul Daudet, Uncle's valet, and I breezed around
him for a few minutes and told him my best joke. He
doubled up and went purple, then the rest of them laughed,
and in a few minutes the place had quite a human nat-
ural air.

Uncle told me that he had invited in a few friends that

Photoplay Magazine

I did. It tasted like asafoetida. Then at last the thin<j
burned and 1 took a big puff.

It almost strangled me. Uncle pounded me on the back
nnd said, "Fine. You'll be a man, if you keep on. Now
another."

I took another puff. Then Paul came and told Uncle it
was time he dressed, and Uncle left the room. It was a
good thing he did.

I felt my way to a chair. There was
a green haze over everything and I
thought I was going to die and didn't
much care. The cigar dropped to the
floor. Never again!

Then I heard Uncle's step on the
stairs. I rallied a
little; I wanted that
horse. I got the
shears out of the li-
brary table drawer
and cut most of the
cigar off and threw
it in the cuspidor,
and lighted the bit
that remained.

I was just in
time. Uncle pound-
ed me on the back
again and said I was
a credit to him;
that I could have
any horse I wanted.
I made mental note
of the fact that I
must have Paul get
me some liniment
and sew pads inside
my coat. I
was black
and blue all
over my
back, from
Uncle's good
will.

While we
were out we
passed the
factory just
as the day's
work was
over. And
out came
Guy Trip-
pet. He was
more gor-
geous even
than I had
thought. I pulled rein
and dropped behind to
get a better look at
him. Uncle said, "if
you are interested in
the factory. Jack, I will
take you through it
some day." Interested
in the factory!

That night I asked
Paul about him when
he came up to lay out my dinner clothes. He said that
Guy was one of the finest ever, and that Corenne, Paul's
wife, was as fond of him as if he were her own son. I
couldn't stand it any longer. I said, "Paul. I'm not a boy
at all; I'm a girl — and I've simply gone dippy over Guy
Trippet. Can't you fix it up so I can meet him

Guy came up to me, and asked me
forgive him. I could; we're going

some night at your home, in my proper character?"
Almost I had to revive him with smelling salts. At first
he was all for going to Uncle Lester and telling him the
truth; said it would be worth his place to keep my secret.
Hut I begged and pleaded and coaxed. But it wasn't until
I cried that he weakened. His wife, Corenne, kept a little
hair dressing shop and lived in the rear. He said he would

tell her and let her arrange it.
I threw my arms around his
neck and kissed him.

Next morning Uncle called
Paul and me into the library
and told us he'd received a
telegram which would take
him away for several weeks,
and that he was leaving me in
Paul's care. I could see a
look of relief on Paul's old
face. It was post-
poning the day of
reckoning. As for
me, I could have
shouted. Fate was
just pouring her
sugar plums right
into my hands.
That afternoon
Paul took me
to his wife's
shop, and we
all had a long
heart -to-heart
talk. Corenne
said: "I have
been expecting
my niece, and
told Guy that
I wanted him
to meet her.
If it wasn't
for that, I
could pretend
that you were
her—" Just
then a messen-
ger boy came
in with a tele-
gram a n d — I
know it sounds
fishy, but it's
from her niece
couldn't come.
"Oh, please, please, Corenne.
let me be the niece," I said,
dancing around, and so it
was all settled. Guy was
coming to supper with us
that night.

Uncle had left me a blank
check book, and I blessed
him fervently for his
thoughtfulness. I filled one
out and gave it to Corenne
and told her to go out and
buy me everything I would
need as a girl. There was a
wig right in her shop that
was a perfect match for my hair. You see, I'd cut off my
curls when I'd turned myself into a boy.

Corenne was French and she had good taste, and she got
me some dreams of things. When I looked into the mirror.
I felt as if I'd never fully appreciated myself before.
(Continued on page Q4)

was
she

aid

could ever

in a whisper if I

to have a double wedding.

T'HIS is YOUR Department. Jump right in with your contribution.
What have you seen, in the past month, which was stupid, unlife-
like, ridiculous or merely incongruous? Do not generalize; confine your
remarks to specific instances of impossibility in pictures you have seen.
Your observation will be listed among the indictments of carelessness on
the part of the actor, author or director.

No, Not the Captain, Her Fairy Godmother

IN a recent showing of "This Is the Life," with George
Walsh, Wanda Petit is taken by force off a ship before it
reaches port. The next day she is seen with an entirely
new dress on. Are we expected to believe that the captain
had anticipated her needs in the matter of wardrobe?

Lester Kroll, N. Y. C.

A Knock and a Boost

HER DOUBLE LIFE," featuring Theda Bara, con-
tained more than one absurd situation. Fancy
going to a dressmaking establishment to pick out nurses for
the front. They don't do it in this part of the world. Then
Theda has an "eye-rolling" interview with Stuart Holmes
while wounded soldiers are carried in. Is it likely a nurse
would neglect her duty in that manner? No, not even for
Stuart!

I think this new page in Photoplay is a most attractive
addition to a first rate magazine. If my humble opinion
may be added — I think we are in need of more homely,
natural, every-day-life pictures and not so many of the
villain-still-pursued-her kind.

Elsie Pearce, Wellington, New Zealand.

Samson Stuff

IN "The Cold Deck," Bill Hart after confessing the stage
hold-up is jailed behind some good steel bars about one
and one-half inches in diameter and when he decides to
escape he proceeds with bare hands to dislodge them.

C. M. Foster, Cleveland, O.

In Dry Virginia

IN "The Adventures of Carol" (World) Beppo, the
Italian, takes Madge Evans to sunny Virginia. You see
him enter a bar room and get a drink of liquor. Virginia
is a dry state and bar rooms and booze are nix.

Harry Austin, Jersey City, N. J.

Brady Educates Rasputin

THE other day I saw the World-Brady production of
"Rasputin, the Black Monk." I was very much sur-
prised to see "Rasputin" write. History tells us that Ras-
putin could not write.

R. B. G., Racine, Wis.

Referred to the Interstate Commerce Commission

IN "An Even Break," with Olive Thomas, a scene was
shown of the manufacturing plant with a Santa Fe
switch-engine switching some cars. The plant was located
in a small town supposedly a night's speedy auto ride from
New York City, and every one knows that the Santa Fe
doesn't extend east of Chicago.

R. S. A., Wichita, Kansas.

// They'd Only Pin 'Em Up for a Change

WHY do the ingenues always wear their hair hanging
around their faces? I don't object to curls but I think
they can be arranged very prettily without allowing them to
hang. Vivian Martin in "Giving Becky a Chance," wore
her hair about her face through the entire play. She
didn't look over twelve but she was supposed to be at least
eighteen in the picture. It certainly made her part less
convincing.

Aline Haynes, Kansas City, Mo.

Perhaps He Gave Them His Pedigree

IN "The Fighting Trail," Vitagraph's new serial, during
the first episode we see the Hero arrive at the hotel,
register, and then go upstairs to his room. He is presently
followed by the Villain who, likewise, begins to put his
name in the register. Then we see the words "An hour
later," and the very next scene shows Mr. Villain, Esq.,
just putting the finishing touches to his signature. That
man certainly must have had some name to have taken an
hour to write it!

Observer, Orange, N. J.

A Reel Celebration

LASKY must have some
particular aversion to
quotation marks. I
counted thirty-one cap-
tions (all quotations) in
"Each to His Kind" and
nary a quotation mark.
Perhaps Lasky is trying
to be original.

I saw Alice Brady in
"A Self-Made Widow,"
and I was a bit puzzled
over some mistakes made
therein. Our hero (John
Bowers) was seen taking
a walk on his wedding
morn, dressed for the
ceremony which was to
take place at noon, in his
evening clothes. Now in New York when a man is seen
in evening dress in the morning, it usually means that
the party the night before Was both long and merry.
Besides evening dress at a noon wedding isn't committed
in the best circles! Later in the picture our hero made
his will and had it signed by one witness.

Marian Stoutenburgh, New York City.

A Southerner Protests

WHY is it that so few pictures of the south ever ring
true? Except "The Birth of a .Nation" I have never
seen a true representation. No wonder the people of the
north think the south is a vast expanse of wilderness, plan-
Kit ion homes, log cabins, and people with the habits and
speech of negroes.

Having read of the splendidly carried out atmosphere
of the south in "They're Off" I hoped to see at last a picture
of the real south. But disappointment was in store for
me. The hero wrote with an old fashioned quill; little
coons played on the lawn of an aristocrat's country estate,
and an elderly gentleman and scholar used dialect that is
never heard except among the lower classes of white people
and negroes.

Why not have less of the log cabin stuff and more of
the beautiful homes of our pretty southern cities. There
are a few you know.

Anne Dunning, New York City.

Surfing in Antony's Time

IS Pharon, the astrologer in "Cleopatra," an ardent surf
bather or does he go lifesaving at Coney in summer, or
did he take Cleo surfing in the Nile? When Cleo pulls the
first spell-bind, Pharon turns and shows a dandy tan as
produced by the regulation two-piece costume. I do not
read hieroglyphics well, but I don't think city ordinances
ran to the modern rig for male bathers in Antony's time.

B. Gaskin, N. Y. C.

Photoplay Magazine

J
-

If f

lk=p

. .

You Ought t a Know ,

I AM a great admirer of William Hart but would like to
know how Mr. Hart and his director think the observing
public can assimilate the following. In "The Narrow
Trail" Mr. Hart holds up bar rooms and dance halls full
of people all of whom pack guns — and beer bottles handy.
Being familiar with the Barbary Coast resorts in their
palmy days I know a man can't get out alive after
being attacked by proprietor, bouncers, hangers on, all at
once. The writer has seen great husky Swedish loggers
sent to the hospital for weeks, in fights that lasted thirty
seconds, and Mr. Hart so easily vanquishes the same single-
handed with only slight scratches.

This line of stuff may get by in the East, but never in
the West. It's absurd —

J. Van Ess, San Francisco, Cal.

Mickey! Is It Possible?

EVERYONE who knows anything about motion pictures
at all knows that Marshall Neilan is one of the most
careful and thorough directors in the business. Conse-
quently it is still a mystery to me why he ever allowed the
school children in "Rebecca of Sunnybrook Farm" to
salute the flag with their left hands! Horrors! I wouldn't
have thought it of you, Mickey. And why, oh why did
Eugene O'Brien have to change his clothes between the
circus parade and the performance? Some lightning
change work, believe me!

"Observant," Glendale, Cal.

Some Stunt , And It Requires Practice

WHY can't we all know how to do this trick? In
"Bab's Diary" Marguerite Clark is taken from a
bath tub of water her dainty gown and hair dripping. In a
few minutes she is carried out, her dress all dry and fluffy
and her hair as soft and wavy as ever. How is it done?
Mrs. R. V. Miller, Salt Lake City, Utah.

Here's Two on Mae

AVERY lovely picture is "Sunshine Alley," a Goldwyn
release, with Mae Marsh. Yet in the scene where she
goes into the garden to find the bullfinch, she has no hat on,
but when she finds the bird, and enters the house her hat
is on her head. Where did she get it?

In one scene she goes out in a pouring rain, to find her
brother, who has stolen the money. When she enters the
room where he is she is drenched, but when she leaves
there, and goes across the street, and remember it is still
pouring, she enters her house absolutely dry! Her brother
tomes in a few moments after, and he too is not a bit
wet! Why and how do they do it?

Elsa R. Long, Baltimore, Md.

Herbert, How About It?

CAMERA men, dark room men, and amateur photog-
raphers— what do you think of this?

In "The Lone Wolf," an excellent photoplay, possessing
power and punch, there is involved a valuable drawing of
an anti-submarine device, which has been photographed
on a small piece of film. The Lone Wolf, in the course
of his business as a cheerful burglar, obtains possession
of this, and conceals it in a novel manner. He extracts a
cigarette from his case, slits the paper with a knife, re-
moves the tobacco and substitutes for it the film, which he
rolls up tightly for that purpose. Then he seals the whole
by moistening the edge of the cigarette paper with his
;ongue.

It would be practically impossible to refill a cigarette
with tobacco after it had been cut in this way. How about
filling it with a rolled strip of elastic celluloid film? Could
you do it?

Donald F. Rose, Bryn Athyn, Pa,

Who Could Remember Orders with M. M. M. Around?

IN "The Call to Arms," Mary Miles Minter discovers the
plot of the border ruffians to rob the jail of ammunition.
She goes to the armory, seizes a bugle (from where, God
knows) and blows the call to arms. The soldiers rush forth
and line up against the prison walls. Good dramatically,
but, oh! what military tactics. Then a detachment hides in
the bushes near the jail, and when the bandits arrive they
rush from their concealment, exposing themselves need-
lessly. When the bandits are either killed or captured
they march back to town, and when they see M. M. M.
they break ranks (no word of command is given), form
round the heroine, and give three cheers. Very pretty!
But not according to military stratagem or discipline.
Laurence Cohen, New York City.

So Thoughtful of "Doug"

IN "The Man from Painted Post," we see Doug Fair-
banks suddenly turn on the approaching "Bull Mad-
den." cattle rustler, and shoot his hat off. The hat falls
to the ground and a bullet hole through the crown is
clearly visible. "Bull" wears the same hat earlier in the
picture and the same bullet hole can be plainly seen, from
which we conclude that someone else had taken a pop at
the hat of this bad man and Doug, not wishing to do fur-
ther iniurv to the lid. shot through the same hole.

"C. M.," Syracuse, N. Y.

Photoplay Magazine — Advertising Section

Discard your cuticle scissors.
Try this Jicw way of 'manicur-
ing and see how easily yon can
haze lovely, ivell-kept ?iails.

Qhe new way to manicure

without cutting the cuticle

"Cuticle cutting is dangerous!''
''Under no circumstances should scissors
or knife touch the cuticle." "Trim-
ming the cuticle is ruinous," say doctors
and skin specialists everywhere.

For years women struggled with cut,
mutilated cuticle — cuticle that grew dry
and rough, that created hangnails and
made their hands so unattractive.

It was to meet this great need for a
harm/ess cuticle remover that the Cutex
formula was prepared.

With Cutex, you completely do away
with cuticle cutting or trimming. The
moment you use it, you will be enthusi-
astic about the way it softens the surplus
cuticle — the way uneven, ragged edges
and hangnails vanish!

How

to manicure
new way

the

Send for the complete Manicure Set
offered below and have your first Cutex
manicure. In the package you will find
orange stick and absorbent cotton. Wrap
a little cotton around the end of the stick
and dip it into the bottle. Then carefully

This complete Manicure
Set for 15c
Tear out the coupon now and
mail it to us with 15c and we
will send you this complete
Midget Manicure Set, which
will give you at least
six "manicures."
(,et it today.

work around the base of the nail, gently
pushing back the cuticle. Almost at once
you will be able to wipe away the dead
surplus cuticle. Rinse the fingers in
clear water.

After your first Cutex manicure, exam-
ine your nails. When you see how smooth
the use of Cutex leaves the skin around
the base of the nails — how free it is from
ragged edges and rough places that make
hangnails, you will wonder how you ever
got along without it. Try it today. See
for yourself!

Cutex, the cuticle remover, comes in
30c, 60c, and $1.25 bottles. Cutex Nail
White is 30c. Cutex Nail Polish in cake,
paste, powder, liquid or stick form is also
30c. Cutex Cuticle Comfort for sore or
tender cuticle is 30c. If your store is not
yet supplied, order direct from us. Address

NORTHAM WARREN

DEPT. 703

9 West Broadway New York City

If you live in Canada, send ISc for your set to
MacLean, Benn &f Nelson, Ltd. , Dept. 703, 489 St,
Paul St. West, Montreal, and get Canadian prices.

Cutex A'
gives J

quick, waterproof
/iuish you want.

MAIL COUPON WITH 15 CENTS TODAY

NORTHAM WARREN

Dept. 703, 9 West Broadway, N. Y. City

Street.

City State.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

VIRGINIA PEARSON has two
brooches which she prizes highly not
only lor their intrinsic vaiue but lor their
psychic powers as well. One brooch has
been in her lamily lor three hundred
years. She has always worn it when act-
ing in the spoken or silent drama. The
other was given her by Bert Reiss, the
celebrated psychic. You know — Bert
Reiss. No? Neither do we. It came
from Italy and is over two hundred years
old. Miss Pearson is a firm believer in
the powers of these brooches. She says
that from the day she got them she felt
their strong influence. "Immediately that
the least thing goes wrong," she says,
"I seek consolation in my brooches. I
simply concentrate and everything comes
out all right."

NAOMI CHILDERS is coming back.
A Chicago concern has engaged Miss
Childers as leading lady for their next
production. The Grecian Girl, who first
won recognition with Vitagraph, has been
absent for almost a year.

" A MBASSADOR GERARD HONORS
/"* MARY PICKFORD," is the cap-
tion under which they tell about his visit
to Mary's studio. James Neill conducted
the introductory ceremony between the
two celebs. And Ambassador Gerard
visited the Fox Studio, too. And what do
you think — it happened that Gladys
Brockwell was in the midst of scene-
shooting for her latest picture which deals
with the international situation. The Ex-
Ambassador to Germany was exceedingly
interested because when he was in Berlin
he had lived just what Miss Brockwell
and her company were acting out. Coin-
cidences like this do happen — and espe-
cially at the Fox studios.

BELLE BRUCE, who used to be with
Vitagraph and more lately with
Metro, is now Mrs. C. C. Pettijohn, wife
of the general manager of the American
Exhibitors' Association. The ceremony
was performed at the home of Miss Rose
Tapley, in East Orange, N. J. Miss
Bruce is leaving the screen and will in
the future live in Indianapolis, Indiana.

AN agreement has been reached between
the Charles Frohman Estate and
the Metro Pictures Corporation whereby
Miss Ethel Barrymore, star for both, will
combine her work on screen and stage.
She is appearing on the legit, in New
York; but during her leisure hours reads
manuscripts of new screen productions and
passes on their merits, deciding upon the
equally interesting program of photo-
play activities to follow her other work.

GEORGE ARLISS won the first lap
in his suit to compel Herbert Brenon
to pay him $22,500 for services tentatively
contracted for, but never employed.
Brenon claims that the contract to star
Arliss in a production of "Faust" was
never completed, as it lacked ratification
by Lewis J. Selznick, then treasurer of
the Brenon company, who held the veto
power. Notwithstanding that Arliss never

Photoplay Magazine
Plays and Players

(Continued from page 83)

did a day's work for Brenon, a jury
awarded him all he asked, but Brenon
will appeal the case. Arliss' recent stage
ventures have been notoriously unsuc-
cesslul, and it is understood that a close
examination of the Arliss drawing power,
irrespective of the fact that he is a
great artist, convinced the producers that
$22,500 was more than he was worth for
one picture.

WHEELER OAKMAN, recently with
Bluebird, will play opposite Edith
Storey for Metro, for the following year.

FANNIE WARD'S daughter, who has
been attending school in England, was
married recently. Miss Ward is making
photoplays for Pathe of such w. k. stage
successes as "Innocent" and "The Yellow
Ticket."

EDNA MAY, who made a picture, "Sal-
vation Joan," for Vitagraph and gave
the proceeds to charity, it is rumored
will return to the stage. Her banker
husband, Oscar Lewisohn, died recently.
It is just as likely that Miss May will
come to the screen if she returns to pub-
lic life; she was more successful in the
films than in her return to the stage in a
benefit performance.

SIDNEY DREW's son and Mrs. Sidney
Drew's brother are both enlisted un-
der the colors. S. Rankin Drew is now
in France; while Hartley McVey has re-
ceived his commission as a lieutenant in
the aviation section of the army.

IT is reported that Billy West has com-
posed a set of waltzes. The specula-
tion intrudes — from whom did Mr. West,
who borrowed Charlie Chaplin's make-up,
borrow his tunes, if any?

MARGUERITE SNOW will appear in
a Wharton serial, opposite King
Baggot.

VITAGRAPH has won another round
in its battle to retain the services of
Anita Stewart. Meanwhile, Miss Stewart
is in a condition neighboring upon col-
lapse, at Hot Springs, Virginia. She has
not been in communication with her
friends for many weeks, and it is learned
that her failure to establish at once her
case for freedom from her contract, has
been a serious shock, and has resulted in
an illness which may make it impossible
for her to return to work, whatever the
final outcome of the litigation, for many
months to come. As the case now stands,
the Vitagraph suit to retain Miss Stewart
must go to trial, unless the star gives in.
the courts having granted a permanent in-
junction "pendente lite," which is the
legal phrase for "Show me."

DRAFTED cameramen probably will
not be called upon to shoot anything
but scenes. The government has decided
to keep a film record of America's par-
ticipation in -the war, and the cameramen
are being relieved from camp duty and
assigned to this new task.

COLLEEN MOORE, a Griffith discov-
ery, plays "Little Orphant Annie in
the Selig photoplay of that name.

KATHERINE MacDONALD no
longer will be referred to as Mary
MacLaren's sister. She has come to the
lront so rapidly that she has quite put
her sister out ot the limeiight. Miss Mac-
Donald, soon after finishing "The Spirit
of '17" opposite Jack Picklord, appeared
with Charles Ray. Now she is leading
lady for "Doug" Fairbanks.

AFTER a six months' vacation, Kath-
lyn Williams is back under the
lights. She has one of the principal parts
in the new C. B. de Mille production,
"The Whispering Chorus." Others in the
cast are Raymond Hatton, Elliott Dexter
and most of the Lasky stock company.
It will be the first photoplay made by
Mr. de Mille in which there will be no
star — the story will come first. It is by
Perley Poore Sheehan.

DONALD CRISP, first known to fame
as the "Bull McGee" of "The Es-
cape" and later a successful director, is
among the newlyweds of the Hollywood
film colony. The bride was Miss Marie
Starke, who met the director several
months before when she was engaged to
play a minor part in one of his George
Beban photoplays.

FROM out the West comes the story of
another romance in which one of the
leading roles was played by Anita King,
once of Paramount and now of Balboa.
The other principal was Major McKnight,
formerly a member of the California state
legislature and now an officer in the Na-
tional Army. The ceremony occurred in
San Francisco.

ONE of the few remaining stage celeb-
rities, Fred Stone of the once famous
team of Montgomery and Stone has been
captured for the movies. The Lasky
Famous-Player Company was the lucky
concern and early in the summer Fred will
hie himself to Hollywood for his film de-
but. Being a son of the West and an
expert in all outdoor stunts, it is pretty
safe to assume that we will soon have a
new type of Western film hero.

THE California film capital has also been
more or less exercised over the gov-
ernment's handling of "The Spirit of '76,"
or rather, its handling of the producer
of that alleged patriotic picture, one
Robert Goldstein. The latter was arrested
and thrown into jail by the federal au-
thorities the night his film was placed on
exhibition in Los Angeles on a charge of
violating the espionage act. The picture
is alleged by the government to have been
made as pro-German propaganda.

JULIAN ELTINGE has deferred his re-
turn to the flickers for a few months
to take advantage of a nice vaudeville
offer. He is said to be pullling down the
biggest salary ever handed a male star on
the two-a-dav.

Photoplay Magazine — Advertising Section

esinpl

cleanses and improves the skin

There are three excellent reasons why Resinol Soap appeals
so strongly to the woman who wishes to preserve or restore the
fresh, youthful charm of her complexion.

First, it is a decidedly pleasing toilet soap, giving a refresh-
ing, creamy and unusually cleansing lather, in either hard or
soft water.

Then, its ingredients are pure and wholesome. Resinol Soap
has no trace of the harsh, drying qualities which make so many
soaps unsuitable for the skin and hair.

But best of all, it contains the soothing Resinol medication
which physicians have prescribed for years for skin and scalp
affections — just enough of it to help nature clear the complexion,
and keep the skin soft and velvety.

Try Resinol Soap a week and
you will know why you will want
it all the year round.

It is excellent, too, as a sham-
poo, a dentifrice, for the bath, and
for a baby's delicate skin.

The regular use of Resinol Soap
reduces the tendency to chapping,
and protects delicate skins from
the havoc of winter's wind and
cold. It is sold by all druggists
and dealers in toilet goods.

For a guest room size trial cake, free,
write to Dept. 42-B, Resinol Chemical Co.,
Baltimore, Md.

When you mite to advertisers please mention PHOTOPLAY MAGAZINE.

ALTHOUGH it was Marguerite Clark's
acting in "Prunella," the fanciful
Granville Barker play, which so attracted
Adolph Zukor's attention that he engaged
her for the screen, "Prunella" was thought
not available for moving picture purposes.
The translation of the most idyllic ideas
to the silversheet, however, has been so
successful, that Miss Clark is now mak-
ing a picture from the play that started
her on the road to her present position.

TWO weddings took place at Universal
City .in December. One was that of
Myrtle Gonzales and Capt. Allan Watt,
U. S. A., recently assistant director at the
Laemmle plant. He it was who made the
trip around the world with Homer Croy,
taking pictures for Universal, just after
the outbreak of the war. The other wed-
ding was that of Gladys Tennyson and
Chester Bennett, location manager at Uni-
versal City. Owing to a similarity of
names, the Universal's eastern press
bureau temporarily confused the bride-
groom with the actor, Chester Barnett,

Guy came. Corenne introduced me as
her niece and he never took his eyes off
me once during the meal, except occa-
sionally to look at his spoon and fork to
guide them right. I don't believe he had
any idea what he was eating. It was
love at first sight with him, just as it
was with me. And I had wanted to be
a boy!

I suppose some people will think it is
dreadful for me to talk about my love
affair in this bare-faced manner, but I
can't see why. If love is the most beau-
tiful thing in the world, as the wise books
say, it surely isn't anything to be ashamed
of. And I wasn't ashamed to be in love
with Guy; I was proud of it.

Every night after dinner I would slip
away to Corenne's and change my tweeds
for fluffy ruffles, and every night Guy
came to see me. It was like living in a
story-book or a dream.

I forgot to say that all this time poor
Guy was having troubles of his own. The
men in the shop were determined to
strike; he was having hard work to keep
peace until Uncle came home. He'd
promised the men he'd make one more
effort to get Uncle to meet their terms.

One afternoon Guy and I took a walk
and came to a poor section of the city.
Guy told me that here many of the factory
hand?, of whom he had charge, lived. The
streets were thronged with ragged chil-
dren and there were signs of poverty
everywhere. As we passed a house, a
woman came out and called Guy. One
of Uncle's hands lived there and he was
sick. There were several little children
in the room and their faces were pinched
and pale.

It made m£ sick at heart. I made Guy
go out and get food and I watched those
babies eat until it seemed they must
burst their little hides. Then I gave the
woman some money and told her I would

Photoplay Magazine
Plays and Players

(Continued J

who has been constantly in the east, re-
cently appearing in productions with
Gladys Hulette and Bessie Love, and is
already married. The matter was
straightened out before any harm was
done.

WALLACE REID is in New York.
from which city he has been absent
for six years, all spent in Pacific Coast
moving picture studios. His first move
was to jump into a taxi and visit his
mother, whom he has not seen since he
left Gotham. His next was to rubber at
the high buildings. And his next to tell
the gang at the Astor of his experience
in Baltimore where he sold Red Cross
memberships. He was seated out in the
street, trying to keep warm by thinking
of California. The buying of member-
ships flagged. Then someone told the
crowd that Mr. Reid would take out one
membership for each one taken by any of
those present. The rush that followed
cost Mr. Reid $187 in subscriptions, his
handkerchief, and his watch, the latter

having been neatly nipped by a pick-
pocket in the way of collecting souvenirs.
The handkerchief was grabbed from him
by an admiring damozel, and another de-
mure southern girl asked him for his vest.

CTHEL CLAYTON'S contract with the
A—1 World Film Corporation expires in
March, and it was reported about the first
of the year that she would not renew it,
but would sign a contract with Para-
mount. Another concurrent rumor was
that she would be directed by her hus-
band, Joseph Kaufman, when she joined
Paramount. Nobody would give the
rumor final confirmation, but a lot of
people who should know looked wise and
said there might be something in it.

CLAIRE WHITNEY and John Sunder-
land played sweethearts during the
screening of "Shirley Kaye" and then
went and married. Mr. Sunderland is in
the British aviation corps, and was in New
York on leave. Shortly after the wedding
he left' for the Flanders front.

The Hoyden

(Continued from page 88)

come again. I thought of the servants in
Uncle's home, the horse he had given me
to ride. No wonder his men wanted to
strike! I said to Guy: "Isn't there any-
thing you can do?"

He shook his head. "I'm afraid there
will be worse sights than this, before long.
Mr. Bolton is a very stubborn man, and
he declares he will shut down his factory

"Mr. Bolton is — " I began, then
stopped. Uncle had been good to me; he
was fond of me. Maybe if I talked with
him I could get him to do something. It
was worth a try when he came home.

We stopped at Corenne's as usual.
There was to be a charity ball the next
night, given by the workmen, and Guy
and I were going. I had a bundle of lin-
gerie that I wanted to run fresh ribbons
in, for the occasion. I ran upstairs to
get my boys' clothes, as soon as Guy
went, all filled with pleasant anticipations.
Heavens! If I could only have looked
ahead and seen what was coming!

Paul went home with me, as usual, and
when we got there Nuncky had arrived
and was walking up and down the library,
giving a good imitation of a bear with a
bad attack of indigestion. The butler
whispered to us that he was furious at
finding me out so late, when he came
home. We didn't need to be told. So
Paul and I took off our shoes and tried
to tiptoe upstairs. My luck held, as
usual. I dropped a shoe and it hit a big
vase in the hall, and smashed it all to
pieces. Uncle came running out, and
spied us. I was so scared I dropped my
bundle, and Paul had presence of mind
enough to step quickly in front of it, so
Uncle wouldn't see. But he was so
scared, himself, that he couldn't talk.

Then I thought "There's no time like
the present," and so I said, "Uncle, what
kept me so late was that I was in a poor
section of the city, where the people who

work for you live. No; they don't live,
Uncle; they starve and suffer. Wont you
give your men the wages they want, so
they can feed their babies?"

Well, if Uncle was mad before, you
should have seen him now. I thought for
a minute he'd have a stroke. When he
could speak, he shouted: "I forbid you
to ever mention the subject again. And
don't you go around prying into business
that don't concern you. I don't need
any of your help — yet."

Next morning I learned something new.
I was eating my breakfast when a man
called to see Uncle, a black, greasy look-
ing fellow. They went into the library
and shut the door, but I listened at the
keyhole. I wasn't a bit ashamed; I felt
that it was time I was taking a hand in
things, and I was going to find out what
was going on. And I discovered that the
fellow was a detective whom Uncle had
hired to watch Guy.

I went back to my coffee and finished
my breakfast. The man went away, and
Uncle, too. Then I took a fashion maga-
zine that Corenne had given me and sat
down in the library. Pretty soon I heard
voices. Heavens! Uncle was coming
back and Guy was with him. I just man-
aged to get away in time and I reached
my room and sat down on the edge of the
bed, panting for breath. Then, up came
one of the servants to say that Uncle
wanted me in the library — to meet Guy,
of course!

Was there ever such a pickle! Poor,
innocent Guy, so in love with Corenne's
little niece — and suppose I burst in upon
him in my suit of tweeds and golf stock-
ings! I told the servant I couldn't come
down; I was feeling very ill.

But it didn't work. Pretty soon I heard
steps on the stairs and voices. Uncle was
bringing Guy up to my room! I heard
him say, "The young cub is bashful; I'm

Photoplay Magazine — Advertising Section

RIGHT in the face of extreme rising costs in diamonds we make tnis announcement. Send for our
free diamond book. Find out about this rare opportunity among hundreds of others. You may still have full carat stones
at $97.50, three-quarter carats at $72.00 and one-quarter carats at $20.00. Every stone guaranteed in writing.
Every price 35% under ordinary retail prices because we import direct from diamond cutters and are satisfied with
small profits on a great volume of sales. Don't fail to send the coupon today for our Diamond Book. It's FREE.

RIOt

% ct. diamond.
Comp. $12.00

R102

H ct. diamond.
Comp $21.25

R104
Vz ct. diamond.
Comp. $48.75

RIOS

diamond.
Comp. $71.25

% ct.

R106

1 ct. diamond.
Comp. $101.25

R120

Japanese signet. 1 fine
diamond. Raised letters.
Complete $15. OO

R124

Festoon lavalliere. Five
fine diamonds - $17.50

RIM

Ladies' diamond
cluster ring. Has
appearance of a
three carat dia-
mond. Fine blue
white stones.
Complete

$50.00

R113

Young Man's Favorite.
M ct. diamond $74.50

Basch Money Back
Guarantee We issu,e l

>«mma m»i,\/\/ money back
guarantee with every diamond. This'
iron clad protecting money back contract makes
loss or disappointment impossible. It is a legal
contract in writing to refund in cash full price
less 10 per cent should you, for any reason, wish

I to return the diamond any time within a year.
Also allows you full price in exchange at any time.
Furthermore, it guarantees exact carat weight,
qualitv and value of the diamond. "See that

I your diamond is Basch guaranteed."

FREE Examination

Just select any diamond from

j this ad or from our catalog, and we will
forward for your free examination, entirely on
at our expense and

R11S

Solid gold birthstone
tiffany. Any month.
Special - - $1.88

R109

Plain Belcher JJ ct. dia-
mond. Comp. $37. OO

R11S

Gentlemen's
Cluster.
Has appearance
of a 5 carat dia-
mond. All fine
blue white dia-
monds.
Complete -
- - $6S.OO

R123

French Ivory
Handled Knife.
Has nail file and
knife blade. Name
inlaid in gold.
Special - $1.00

without obligating
you to buy unless you
are fully convinced
that it is the very
best value you can
secure for the money.

We refer you to

the Union Bank of
Chicago, the pub-
lishers of this mag-
azine. Dun and
Bradstreet's Mercan-
tile Agencies, any ex-
press company and to
many satisfied pat-
rons in your town
whose names we
shall be glad to give
you on request.

for this

Fountain Pen

This pen is a lever self-
filler, guaranteed non-
leakable. Barrel and cap
are pure Para Rubber.
Your name inlaid in gold
FREE! Pen is 14k solid
gold Iridium tipped. Full
size 6K in. long. We guar-
antee free repairs for 2
years. Special fac- $1 QQ
tory price to you vl_

Write for 1918 De Luxe Diamond Book

We will forward you, postpaid, a copy of this valuable book upon receipt

Dept. S-3520

L. BASCH & CO.

Ctate and Quincy Streets CHICAGO, U. S. A.

L. BASCH & CO.

f DeptS-3520 — State and Quincy
f Streets — Chicago, U. S. A.

Please mail me FREE, without
obligating me, Basch 1918 DE LUXE
DIAMOND BOOK.

Address.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

determined you shall meet him." 1 rushed
wildly into the bathroom and began to
soap my lace and lather it with a snaving
brush. Uncle came in, and I stepped out,
my lace a mountain of lather.

It was some disguise, all right. I ac-
knowledged Uncle s introduction in a
voice muffled with soapsuds, and Glory
Be! Guy didn't recognize me. He was
so worried about the factory and things
that his mind was distracted. My poor
boy! How I ached to let him know who
I was and comfort him.

Well, there was no settlement of the
strike situation, and as I watched, out of
the window, Guy walked away, his shoul-
ders were bowed with the weight of his
failure. I felt awfully worried and un-
easy.

The next night we went to the ball, but
Guy was too busy to do much dancing.
He told me a secret strike had been de-
clared. There was tension everywhere.
People weren't dancing; they were gath-
ering in little groups and talking. Pretty
soon a man came for Guy and he left me
for a minute. I looked up, and I saw
Paul. I wondered what he was doing
there. He caught my eye and beckoned
to me. I went to him. "I have come to
take you home," he said in a whisper.
"Your Uncle has had a sort of a stroke
and is calling for you."

I ran, without waiting for my things.
I realized then that I liked my crusty
old Uncle a whole lot. "Is it the strike?"
I asked breathlessly. "Has he found
anything out?"

"A man brought him some news," an-
swered Paul, "and he fell to the floor. I
don't know what it was about."

I knew. That darned detective!

As we went out a girl brushed against
me, and looked insolently into my face.
I recognized her as one Paul had told me
he'd been obliged to discharge, some time
before, but I didn't give her particular
attention, I was in too great a hurry. As
we went along I saw her standing on a
street corner. If I'd stopped to think,
I'd have known she was following me,
but everything then paled into insignifi-
cance beside the fact that Uncle was
calling for me. As we went through the
big iron gate my dress caught. I jerked
it free and a piece of it was left hanging.

For just a second I wondered what Guy
would think when he came back and found
me gone. Then I knew he'd go to Co-
renne; — and she would tell him I was sick
or something. But I'd have to see him
in the morning and square myself. To tell
the truth, I was so rattled I couldn't think
connectedly about anything.

When I got my dress changed and went
to him, he put his arms around my neck
and kissed me, and then went right off
into a natural sleep. The doctor, who was
still there, said he thought everything
would be all right, now.

I slept late the next morning and when
I went to Uncle's room, Paul told me he
had got up and dressed and gone in his
car to the factory, sick as he was! Said
he would show the strikers who was boss !
He would close the factory down. "But
the excitement mav kill him." I said.

Photoplay Magazine
The Hoyden

I Continued}

"Why did you let him go?" Paul shrugged
his shoulders eloquently. Who could stop
Uncle when he had made up his mind?
So I grabbed my hat and coat and hur-
ried to Corenne s shop. Corenne told me
Guy had come hunting me the night be-
fore, and she'd told him I got tired of
waiting for him to come back, and didn't
feel well, and had gone home.

Pretty soon Guy came in, panting with
excitement. The first thing he said was:
"I've just come from' the factory. Mr.
Bolton was there and somebody has be-
trayed us. I had hard work to make the
men let Bolton go. He has found out
that a secret strike has been ordered and
has closed the factory down. The men
are wild with rage."

We talked a little while and then we
heard a sound, like a lot of people run-
ning. Guy went to the window. "It's
the strikers," he said. "I thought I had
quieted them. I wonder what's gone
wrong?"

The leader of the mob was a girl. Guy
opened the door and called: "What do
you want, Tetine?"

She flourished something that she held
in her hand. "We want the girl who wore
this dress last night. She is the one who
betrayed us. I followed her to Bolton's
home."

She had the bit of cloth that had been
torn from my dress by the iron gate.

Instantly there was . Bedlam. A big
fellow thrust a whip into Guy's hands.
"You said you'd horsewhip the person
who betrayed us. There she is ; keep your
word."

The puzzlement in Guy's face began
to turn to black anger. I threw my arms
around his neck. "I did not betray them,"
I cried. "I did not! I am Lester Bolton's
niece, that's why this girl saw me go to
his house. But I did not betray them."

He tried to pull my arms away, but I
clung to him, pleading. He threw me to
the floor and the strikers around us jeered
and laughed. One of the men thrust the
whip into his hand, saying. "Keep your
word." Guy, my Guy, raised the whip to
strike me. I looked up into his eyes and
it fell from his hand. Then the man who
had spoken picked it up and raised it high
in the air. It would have fallen on me, but
Guy ran between us and received the
blow. Then he picked me up and fought
his way through the crowd with me and
set me down outside of the door.

I started to run as he held the others
back. Then I saw him go down as a stone
struck him in the head. And I was run-
ning for my life with all the howling mob
after me.

I reached the edge of the wall that sur-
rounded Uncle's place, and I saw that I
never could make the gate. So I made
one desperate leap and scrambled to the
top of the wall. Then a stone hit me.
and I fell, thank Heaven, inside. After
that nothing bothered me any more.

When I came to I was in my own bed
with my head bandaged and a physician
and Paul bending over me. They told
me I had barely escaped with my life, as
my Uncle, not knowing who I was. re-
fused to let me be carried inside. But

fortunately Paul had arrived in time to
save me from being delivered to the
strikers. Good old Paul, again. Now
my uncle was pacing the floor of his
library and had telegraphed to Mr. Foster
to come and get me. I asked weakly, to
see him.

Paul went away and came back, saying
that he would not see me. I shut my
eyes and turned over on my pillow. So
the jig was up. I had lost everything.

That night when I was sleeping, I
dreamed that Uncle came into my room
and kissed me. I woke with a start and
thought I heard stealthy footsteps going
down the stairs. In the morning I won-
dered if I had really been dreaming.

Next morning I got up and dressed my-
self. I was pretty shaky, but I kneu
Aunt Mary was coming and I wasn't
going to subject her to the ordeal of stay-
ing in that house a minute longer than
necessary.

I had Paul pack my grip. My trunk
could go later. I was sitting by the win-
dow when a taxi drew up. Mr. Foster
got out and went in. I began to put on
my hat and coat, slowly. It didn't seem
to me that I could go away without seeing
Guy again, but I had written to him,
and it was all that I could do.

As I went down stairs all the servants
were lined up to say goodbye to me.
Some of them were wiping their eyes.
Anyway, I still had some friends, even if
they were humble.

Mr. Foster was in the hall. He took
my arm and led me toward the library
door. Uncle saw me coming and turned
his back. I started to go away. Then
Uncle came to me and put his arms
around me, saying. "You are not going
away; you are going to stay with me."

But I had been hurt too much. I shook
my head. "No. I'll go with Aunt Mary."
Then Uncle, like the big child he was,
began to plead. I looked at him and
wondered how bad he really wanted me.
So I said, "I'll stay under these condi-
tions: Make up your quarrel with Aunt
Mary and telephone Guy Trippet that you
will give the men what they want."

I never thought he'd swallow such a
bitter pill as that, but he did. He called
Foster, shook hands with him, and told
him to bring Aunt Mary in. Then he got
Guy on the wire — and the strike was
ended. It was hard — he swallowed a
couple of times, but it was good for him.

Aunt Mary came in. When I saw her
sweet face, and her white hair, I ran
to her and hugged her until she could
hardly breathe. Then I reached out my
hand to Uncle and he came over and took
her hand. And I saw by the look in the
eyes of each of them that they still cared,
after all these years.

We were having a regular family party
when Guy arrived, with a bunch of his
men behind him. Uncle told him he could
thank me for ending the strike. Guy came
up to me, with his eyes downcast, and his
hat in his hand. He asked me in a whis-
per if I could ever forgive him.

I could. We're going to have a double
wedding. And say, it's great to be a girl
again.

Photoplay Magazine — Advertising Section

^/%otf> Sfamous <J?CoVie Stars

reep their/fair J3eaupfhl

LILLIAN WALKJER

"It keeps my hair looking Its best, and is so
easy to use."

GAIL KANE

"1 rind WaTMNS MULSIFIED COCOANUT OlL

indispensible."

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Painted by
tieysa McMeva

This Qractous Face

is one to carefully regard. It is the San-Tox trade mark and
it symbols San-Tox Purity on many fragrant and charming
San-Tox Toilet Preparations, and on many, many other-than-
toilet San-Tox Preparations, too. On every packet of San-
Tox blue you will see it; and on every San-Tox druggist's
window. jj)ok for it carefully. You can trust it and the par-
ticular San-Tox Purity Preparations you have need of. And
there are 125 San-Tox Preparations — equally pure.

SAN-TOX FOR PURITY
De Pree Chicago

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

questions n mam

AND 1 Kfcw

ANSWERS «fc»

1 1

VOU do not have to be a subscriber to Photoplay Magazine
-** to get questions answered in this Department. It is only
required that vou avoid questions which would call for unduly
long answers, such as synopses of plays, or casts of more than
one play* Do not ask questions touching religion,

scenario writing or studio employment. Studio addresses
will not be given in this Department, because a complete list
of them is printed elsewhere in the magazine each month.
Write on only one side of the paper. Sign your full name
and address; only initials will be published if requested. If
you desire a personal reply, enclose self- addressed, stamped
envelope. Write to Questions and Answers, Photoplay
Magazine, Chicago.

'4J-

tti^sd

Elsie, Washington, D. C. — Nothing fool-
ish about those questions. Mabel's "Mickey"
was turned over to Triangle when Mack
Sennett withdrew from that concern and Tri-
angle in turn disposed of it to an independ-
ent distributor. It will be distributed, gen-
erally this spring. The song which 'Poleon
sang in "The Barrier" and which was used
as the musical theme for the production was
"The Song of the North," which you should
be able to purchase at any music store.

D. C, Harrisburg, Pa. — Yes, it was easy
to guess the identity of the drawing you
enclosed. That is, we know for sure that it
was intended as a picture of either Mary
Pickford or Charlie Chaplin. If you aren't
an artist you're nothing. Zasu Pitts is the
right name of the girl who played Becky in
"The Little Princess."

D. H., Chicago. — Of course if your aunt
lived eight months in Los Angeles and
was introduced to Mrs. J. Warren Kerrigan
"and also held the baby in her arms," why
that settles the matter. But perhaps it was
Mrs. Wallace Kerrigan and J. Warren's baby
niece that she met. Did you ever think of
that? And did you ever consider the ad-
visability of putting sufficient postage on
your letters so that the recipient doesn't
have to pay it? We thank you.

I. B., St. Joseph, Mo. — "Is it true that
the movies will be no more after quite a time
because enough stories cannot be gotten for
them?" Just a moment till we gaze into our
crystal ball. Ah, the answer is "No." If
the photoplay industry was to die because of
the lack of suitable stories, the funeral serv-
ices would have been held some time ago.

H. W., Decatur, III. — We will have new
pictures of Geraldine Farrar's boudoir, with
other views of her new abode, in our April
issue. She's five feet three and weighs 135
when she's feeling well. That is, she feels
best when she weighs 135.

B. T., Havana, Cuba. — Francis MacDon-
ald is now with Triangle and two of his
best roles recently are in "I Love You" with
Alma Rubens and in "Real Folks," Photo-
play Magazine's first prize story.

L. H., Chicago. — We are perfectly willing
to give "Doug" more space, but if he spends
all his time writing for Photoplay, you
won't see much of him on the screen. We're
more than willing.

Little Nell, Memphis, Tenn. — My, what
a relief to get a letter from a girl who wants
to be an authoress or a politician ! Billie
Burke never lived in Memphis. Theda Bara,
Earle Williams and Warren Kerrigan (our
Chicago friend to the contrary notwith-
standing) are not married. Fay Tincher was
the girl in "The Love Pirate." William
Hinckley was Martha's lover in "Martha's
Vindication."

All letters sent to this de-
partment which do not con-
tain the full name and address
of the sender, will be disre-
garded. Please do not violate
this rule.

Ima Pest, Brooklyn, N. Y. — We are
compelled to stick to it that Miss Pickford
has been married for about seven years, de-
spite your assurance to the contrary. Audrey
Berry seems to be off the screen at present.
The younger sister of Norma Talmadge in
"The Battle Cry of Peace" was Lucille
Hammil.

Curious, Minneapolis. — Ann Little's lat-
est is "Nan of Music Mountain," with Wal-
lie Reid. Frank Borzage is not related to
Herbert Rawlinson. Herb is 32.

G. C. J., Cleveland, O. — No offense taken.
It is indeed a compliment to be regarded as
"witty enough to be a woman."

Allison, Truro, N. S., Canada. — William
Hinckley, who played opposite Marguerite
Clark in "The Amazons," is not working at
present, owing to poor health. He is in
Hollywood, Cal. Miss Clark and Mr. Reid
will be glad to get letters of appreciation
from vou.

Sally, Somerville, Mass. — Most stars
read the interesting letters which are sent
them by admirers, but it's only the most in-
teresting ones that get personally to a star
whose mail averages several hundred letters
a day. Mr. Lockwood is married and has
been for ten years. Pauline Curley is not
related to him. How would we meet our
favorite actor? Just drop him a note and
tell him to call.

H«t Admirer, Winnipeg, Canada. — That
was a trained horse in "The Cold Deck"
and it wasn't killed by that fall. Mr. Hart's
hair is dark brown and his eyes are blue.

Ibon, Havana, Cuba. — Sorry to dispute
your word, but Myrtle Gonzalez is not a
Cuban but a Californian of Spanish descent
on one side of the house. She recently mar-
ried Captain Allen Watt, of the National
Army. Billie Ritchie is still in the movies,
with Lehrmann's Sunshine Comedies. Neva
is probably trying to figure out what to
write you.

M. W., Nashville, Tenn. — Emmy Weh-
len's leading man in "The Pretenders" was
Paul Gordon. J. W. Johnston played oppo-
site Mable Taliaferro in "God's Half Acre"
and Raymond McKee in "The Sunbeam."
William Worthington, Jr., was the little boy
with Ella Hall in "Polly Redhead." Vivian
Rich was William Farnum's leading woman
in "The Price of Silence." Kathlyn Williams
played in "The Rosary" and Wheeler Oak-
man, now Edith Storey's leading man,
played oposite. Don't hesitate to write at
any time. We're here to tell you what you
want to know if you want to know anything
that we know.

Voyageur, Melbourne, Australia. — Just
drop a line to Miss Mae Murray, Universal
City, Cal., and she'll send you a photograph.
Mabel Normand is not married.

Rigal, Modesto, Cal. — Enjoyed your
Kayseebee very much, but pardon us for de-
clining to enter any controversy. We've
only one life to live and if we must give it
up, the U. S. has the first call. Wonder if
it wouldn't do some of our stars good to live
in your town a .while, that is, of course, if
the name of a town has any effect on its
inhabitants. We have a few candidates to
start the migration.

Jack, New York City. — Sorry, old top,
but we're not running an exchange bureau.

lOO

Photoplay Magazine — Advertising Section

A Noted Film Favor'
ite who appreciates the
knit'to-shape feature of

FASHIONED HOSE

She wears them be
cause they fit so nice'
ly and give so much
comfort.

Being shaped in the
knitting without seams
makes Burson Hose
more satisfactory in
every way. They're
dependable — no seams
to split open; comfort'
able because they're
perfectly smooth; snug'
fitting because they're
so well shaped.

Made in Art Silk, Mercerized, Lisle
and Cotton

Sold at Leading Stores

Booklet sent upon request

BURSON
KNITTING
COMPANY

83 Park Street
Rockford, Illinois

Questions and Answers

(Continued)

H., Roslindale, Mass.— It's much easier F. M., Primchar, Ia
right now for a boy of 18 to break into
the army than into the movies. But if you
decide for the latter, the nearest center of
activity is New York City. Maurice Cos-
tello seems to have vanished from the screen.
His last appearance was about two years
ago in "The Crimson Stain," a serial.

You're right; both
Hobart Bosworth and Waller Long were
Prussians in "The Little American." "Stella
Maris," adapted from William J. Locke's
novel of that name, is Mary Pickford's lat-
est release. So far as we know none of
those you mention charge for their pictures.

Three Belles, Milledgeville, Ga. — The
only "hint" we can give you is to become
the three most beautiful girls in the world.
Then your ambitions will be realized. But
don't forget to keep the wrinkles out of
your thinking works at the sajne time.

E. W., New York City. — The only way
to get in is to see the employment directors
at the studios. If they like your looks they'll
ask for photographs and if they like the
photos, they'll make a film test of you and
if they like the test, they're likely to give
you a job. But see them yourself.

Maud, Canton, III. — Nina Byron is 17
and a native of New Zealand. Never be-
lieve a divorce rumor till you see in the
papers that a suit has been filed. Even then
it may be a mistake. Enjoyed your criticism
of the players and the magazine, to say
nothing of the personal bouquet. T'anks
terribly.

E. B., Waveland, Ind. — Helen Holmes
has been with the Signal Company which
suspended operations at the completion of
"The Lost Express." But the suspension
was probably only a temporary affair. James
Cruze is with Lasky. Francis Ford with
Metro-Yorke and Grace Cunard is "at
liberty."

Maurice, Quebec, Canada. — Not ac-
quainted with "Every Girl's Dream" so
can't give you the cast. But we can guess
the dream — to be a movie queen. That
right? Doris Grey isn't married. Corinne
Griffith hasn't confided her age to us.

. Moreno Admirer, Sheffield, Ia. — No, he
isn't married. He is five feet ten tall and has
brown hair and ditto eyes. Write as much
and as often as you like.

Beryl, Lincoln, Neb. — Charlie Chaplin
has his own company and he is not mar-
ried. Perhaps you have an exaggerated idea
of our forbearance. You just ought to see
us lose our temper "when the boy doesn't
put enough — chocolate in our ice cream soda.

E. A., Philadelphia. — Milton Sills' latest
was "Souls Adrift." We have instructed the
editor to have an interview with Milton in
the immediate future.

R. P., Batavta, III. — No, thank hevings,
we don't know everything about them.
Vivian Rich is still in pictures and May
Allison is about to come back, we are told.
May is not married.

H. L., Pittsburgh, Pa. — Mae Murray
played in the Follies in 1015 and 1014 and
Ann Pennington was in the same gang. Yes,
she took a very prominent part so you win
the parfaits. Congratulations.

Mexican, San Antonio, Tex. — Gladys

Hulette has no other name. Write Mollie

King and Pearl White, care Pathe, Jersey
City, N. J.

B. T., Muskecon, Mich. — Frank Keenan
is under contract to Pathe so it is a pretty
safe bet that you'll be seeing him back on
the screen soon.

R. L., Brooklyn, N. Y— Pearl White's
hair is still red. June Caprice has light hair
and blue eyes. Mary Pickford's eyes are
hazel. No we haven't blue eyes and curly
hair; wrong again.

J. M. L., Roanoke, Va.— Victor Slim
Potel is with Sunshine Comedies, Holly-
wood; W. E. Lawrence can be reached at
Lasky's. Tom Chatterton, Orrin Johnson
and Billy Quirk are not permanently asso-
ciated with any company at present. Our
usual love to the Bushman Club.

H. C, Ephraim, Utah. — Because of war
conditions there is little activity in foreign
studios. The Itala in Italy, the Great North-
ern in Denmark and the Ideal in London
are three of the leading foreign companies.

Marguerite, Montreal, Canada. — Julian
Eltinge's right name is William Dalton; he
is not married and his age is somewhere
around 34. Seena Owen is not playing at
present. She is in her early twenties. Sorry
you were neglected in the past.

Lucy, Pen Argyl, Pa. — For the lovva
Mike, don't ask us why certain things were
or weren't done in any serial. Even a mind
reader couldn't tell you because there is no
way he could find out. If you don't get
this send a three cent stamp for diagram.
Frank Andrews was Pauline Frederick's first
husband, but he was not Frank Andrews,
the actor.

W. R. U., 2nd., Toronto, Canada. —
Vernon Steele is nearly six feet long, has a
nice disposition, is good to dumb animals and
loves flowers. He was last in "Bab's Matinee
Idol." Walliei Reid was in "The Little
Country Mouse" with Blanche Sweet. Write
again ; your chirography is so easy to decode.

L. V. N., Brooklyn, N. Y. — Mary Pick-
ford was not one of those in the Hollywood
Studio Club picture. Jack Pickford and
Olive Thomas were married on October 25,
1016.

Skyrocket, Northampton, Mass. — Wil-
liam Hinckley has played in "The Children
in the House," "The Three Brothers," "The
LUy and the Rose," "The Amazons" and
other photoplays. As he is very ill, it is
doubtful if photographs may be obtained.

Spizzerinktum, Independence, Mo. — So
you think Wallie is wonderful because he
comes from Missouri? Well, we never
thought of that. Missouri is a dandy place
to come away from, isn't it? Doug is from
Denver but his parents went through Mis-
souri to get there. Personally we never
cared for Missouri in our early days be-
cause we could never remember whether
St. Louis or Kansas City was the capital of
the state. Harrison Ford isn't telling his
age, except to the exemption board.

Silver Spurs, St. Paul, Minn. — Yours
is probably an incurable case but it's pretty
hard to remain true to one screen favorite
when he insists on playing each time with
a different company. We're going to have
an interview with him some day but it
won't be a six pager. Last with Emily
Stevens in "Outwitted."

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

IOI

Just leave pure, snow-white Pompeian
NIGHT Cream with its delicate perfume
on your face as you fall asleep. Then in
the morning see how soft and smooth is
your skin! But you must be faithful — every night — for time
and weather are daily stealing beauty and youth from your face.

Jars, 40c and 80c at the stores

Mary Pickford Art Panel

Is anybody in your family troubled with Dan-
druff ? If so, don't let the matter^be neglected,
as Dandruff often causes the hair to fall out.
Our new product, Pompeian HAIR Mas-
sage, has already won thousands of friends
all over the country because it has stopped
their Dandruff. It is a liquid (not a cream)
and is not oily or sticky Delightful to use.
60c and $1.10 bottles at the stores.

No advertising on front

Miss Pickford, the world's most popular woman,
has again honored Pompeian by posing exclu-
sively for the 1918 panel. Size 7% x28 inches.
Daintily colored. Please clip the coupon for
panel and sample of Pompeian NIGHT Cream.

THE POMPEIAN MFG. COMPANY, Cleveland, Ohio

Pompeian MASSAGE Cream

is an entirely different cream. It's
pink. It is rubbed in and out of the
s!;in, cleansing the pores and bring-
ing the glow of health to tired, sallow
cheeks. Especially good for oily skins.
55c, SOc, and $1.05 at the stores.

Everyman's Pledge

America shall win this war!

THEREFORE, I will work,
I will save, I will sacrifice, I
will endure, I will fight —
cheerfully, and to my utmost
— as if the whole issue of the
struggle depended on me alone.

■ ••••■••■ail Cut off, sign, and senrf"1"

(Stamps accepted, coin preferred)

The Pompeian Mfg. Co.

2131 Superior Ave., Cleveland, Ohio

Gentlemen: I enclose 10c for a 1918 Mary Pickford
Art Panel and a sample of Pompeian NIGHT Cream.

i u 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 m i m 1 1 infJB^^grri 1 1 1 1 1 1 1 1 1 i i i i i 1 1 1 1 n

c ii v State .

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

I()2

Photoplay Magazine — Advertising Section

Do You Need
More Money

to help your husband

to help your children

to help yourself?

Then join the vast army of World's Star Money
Makers

Xhe World's St-ar Army is made up of happy, pros*
petousL contented women. They enjoy steady in-
comes from an ng-eeable, di unified business- n busi-
ness admirably suit'd to their needs. Anions them
are married and unmarried women — young, middle
aged and elderly — women with families and wi bout
—some devofcim.' pnrt time, many tl eir entire atten-
tion. All are profitably engaged under our direction.

More Than 15000 Helped

During our 23 years in business selling the output
of our immense mills, direct to the consumer
through local representatives, we have shown thou-
sands of women the way to get the needed money —
to meet the increased cost of living— to help support
the family, to educate t »te children, etc. Von. too,
can free yourself from worries and hHve mone^ com-
ingiu. Write usntonceand receive full information.

Nearly everyone knows the names of our products.

World's Star

Hosiery atl&Kl&W&fif

Underwear

Unsurpassed quality and exceptional value keep
up the demand for these goodj wherever introduced.
This makes it easy 10 get anl keep customers and
to build up a permanent business.

Your Success Assured

necessary. Our most successful
no experience whatever. We tell
ed. We help you get started and

No previous experience i;
representatives began with
you plainly just how to proei
.show you how to continue making money.

Make the Start

The opportunity is he - .
Don't dela,y. Write immediately for full particulars

It remains simply for you to grasp it.
ately for full particulars.
fret Catalog tctls the whole story. Send for it.

Dept. 431 ^ ^Bay City, Mich.
We have been here in this business 23 years

Questions and Answers

(Continued)

Gertie, Calgary, Canada. — If you mean
"The Marked Woman," the leading roles
were played by Barbara Tennant and W. J.
Bailey; if "The Masked Woman," the chief
parts were played by Gretchen Lederer and
Lloyd Whitlock.

G. M., Panama, R. P. — Charles Ray is
married and his wife is not of the screen.
We don't know the Silent Menace, but we
bet we know his nationality. Theda Bara
will send you a picture if you write her.

A. E. P., Westville, N. S., Canada. —
Grace Darmond is now with Vitagraph. She
was born in Toronto. Mary Miles Minter
is with Mutual at Santa Barbara, Cal.

A. B. R., Leola, S. D. — Bryant Washburn
is married and his wife was once on the
screen under her maiden name, Mabel For-
rest. He is now with Pathe, Glendalc, Cal.
Hazel Daly is now with Selig and can be
reached care of that company in Chicago.

L. M., Philadelphia. — We understand
that Miss Farrar does not make a practice
of sending out her photographs. She is no
longer with Lasky.

Patricia, Quebec, Canada. — Knowledge
of English is not a requisite. If you have
the ideas you can get by as a scenario
writer but of course you must know enough
of the language to get your stuff over. You
seem qualified in that respect.

Allen, Hartford, Conn. — Eileen Percy is
the girl who played with Fairbanks in
"Down to Earth" and "Painted Post." She
is a native of Ireland and seventeen years
old. Charles Ray never played with Sir
Herbert Tree.

F. A. F., Hartford, Conn. — Carl Ullman
and Melbourne MacDowell were the fighters
in "The Flame of the Yukon." Kenneth Har-
lan was the guy "wot won out" in that pro-
duction.

Douglas, Toronto, Can. — Irene Castle is
five feet six inches tall. Eileen Percy, five
feet four. Elton is Douglas Fairbanks' in
between name. His birthday is May 23rd.
We'll do our durndest to get that picture.

S. S., New York City. — We are glad you
came again even though it is the third time.
We hope it won't be three and out. All right,
here goes: Samuel D. S. would like to cor-
respond with some young men. He promises
to answer all letters sent him. There, we've
done it.

G. B., Albury, N. S. W.— "The Ameri-
cano" was made more than a year agD. No
cast for "Nicholas Nickleby." Bessie Love
was the shero in "The Good-Bad Man."
Loretta Blake opposite Douglas Fairbanks in
"His Picture in the Papers." Marjorie Wil-
son in "Double Trouble." Marshall Neilan
with Mary Pickford in "A Girl of Yester-
day." David Powell with Mary in "The
Dawn of a Tomorrow." You are wrong.
Doug has blue eyes and brown hair. The
cast of "The Governor's Lady" follows:
Daniel Slade, James Neill ; Mary Slade, Edith
Wynn Mithison; Robert Hayes, Tom For-
man; Senator Strickland, Theodore Roberts;
Kalherine Strickland, May Allison. It is
necessary for the screen folk to furnish all
ordinary wearing apparel which means every-
thing but costume-play finishings. Mary
Pickford has been married seven years and
Douglas Fairbanks about eleven. Edna
Hunter was Rita in "The Common Law"
and Arthur Hoops played opposite Olga
Petrova in "Playing with Fire."

F. V. B. Jr., New York City. — Mary Miles
Minter will be sixteen on April Fools Day
of 1018. 1515 Santa Barbara Street is her
address. Enjoyed the jokes. Especially the
one about the two feet. How under the sun
did you guess that we had two? Some in-
tuition you possess.

J. W., Lees, Eng. — Your letter was a real
treat. Fannie Ward isn't a product of your
own beloved country, though she lived in
England for many years. Her daughter is
on your side of the pond now. Miss Ward
is forty-four or five.

L. O. T., Rockford, III. — It would be
great to come out and visit you at camp,
but we can't get away. Who'd answer for
the Answer Man if we skipped?

Edmund, San Antonio, Texas. — You
ought to be glad just to have Charles Chap-
lin alive and with us without bothering us
monthly about his religion. We'd like to
tell you if we knew, but couldn't if we did,
so what's the use in worrying.

A. K., Pittsfield, Mass. — You flatter us
by saying you hate to bother our brains.
Perhaps you are taking a little too much
for granted. It is possible that we haven't
any. All the stars when appearing before
the camera use makeup. It has to be did.
Can't give you the names of all those epi-
sodes. Here are some : One, "The Seven
Pearls;" two, "The Air Peril;" five, "Between
Fire and Water;" six, "The Abandoned
Mine;" seven, "The False Pearl;" eight, "The
Man Trap;" nine, "The Warning on the
Wire;" ten, "The Hold-Up;" eleven, "The
Gems of Jeopardy;" twelve, "Buried Alive;"
thirteen, "Over the Falls;" fourteen, "The
Tower of Death." "The Fatal Ring:" Epi-
sode one, "The Violet Diamond;" eight, "The
Switch in the Safe;" eleven, "The Short
Circuit;" twelve, "The Desperate Chance;"
fourteen, "The Painted Safe;" fifteen, "The
Dagger Duel;" sixteen, "The Double Dis-
guise;" seventeen, "The Death Weight;"
eighteen, "The Subterfuge;" nineteen, "The
Crystal Maze." And so people come up to
you every day and ask you if you are an
actress. My, my, how very thrilling. People
come up to us and say, "Poor old man, he
must be ninety." You just come along for
information any time„ we'll be glad to have
you.

Tiddle-de- winks, Charleston, S. C. —
Editorially speaking we are me. Olive Tell
doesn't tell how old she is.. She is not mar-
ried. Don't know about that Charleston
company with Edna Mayo. Is Charleston
seeking one of those expensive places in the
sun?

Minky, Fort Dodge, Ia. — The price of
film rental depends almost entirely on how
soon your theater receives it after release.
The pictures you mention are no more ex-
pensive than other high-class pictures.

G. L., Great Falls, Mont. — Better ask
Artcraft Corp. just how far Mary had to
jump — we never exaggerate.

L. B., Independence, Ore. — That was
Creighton Hale opposite Marguerite Clark
in "Snow White." Florence Vidor was Ses-
sue Hayakawa's leading lady in "Hashimura
Togo." Elliott Dexter played with Blanche
Sweet in "Public Opinion." Dorothy Dal-
ton's hero in "Wild Winship's Widow" was
Joe King. We are glad you like us; few
people do.

(Continued on page 123)

Every advertisement in THOTOl'LAY MAGAZINE is guaranteed.

Photoplay Magazine— Advertising Section

103

How I Saved $50 on My Clothes This

Season

By Marion Louise Taylor

YESTERDAY after lunch I had just
slipped into my new blue one-piece
dress and was getting ready to go
downtown when the door bell rang
and who should it be but Janet Burson.
Janet used to live next door, but they moved
to a little place in the country last summer
and I hadn't seen her in nearly six months.

Maybe it was because we used to go on all
our clothes-buying expeditions together, but,
anyway the first thing Janet exclaimed as
she stood in the door was : "Oh ! Marion, tell
me, where in the world did you get that stun-
ning dress?"

"I'll give you three guesses," I said, and
I'll admit I fairly bubbled with joy when she
named the three most exclusive and expen-
sive shops in town.

"Wrong — every time," I announced, "I
made it all myself !"

"But, Marion!" she fairly, gasped, "made
it yourself — how — when — where did you ever
learn? You never used to sew a stitch !"

"I know I didn't," I answered quite as
readily, "but I made this dress, just the same,
and not only this, but so many other things
that I have more clothes than I have ever had
before and — if you please, in our safe deposit
box is a $50 Liberty Bond bought with what I
saved from my clothes allowance this season."

"Well, tell me this minute how you did it."

So I went to the closet and came back with
an armful of dainty things that fairly made
Janet stare in wide-eyed astonishment.

"To begin with," I said, "this dress I have
on is an exact reproduction of an exclusive
model I saw in a shop window marked $35.

It cost me exactly $10.50 for the materials
and I think they are really of better quality.
Here's a little crepe de chine petticoat that
would have cost at least $6 in any shop. I
paid for the materials just $2.90. And here's
a tailored dress that Jack says is the prettiest
thing I ever wore. I copied it from a fashion
magazine, and materials, braid and everything
cost exactly $1 1. Sister bought one downtown
that is not nearly so nice and she paid $28
for it.

uryy

HEN I made two house dresses, four
aprons, a taffeta petticoat and lin-
gerie that I saved altogether more
than $10 on. Beside, I've made three school
dresses for Betty and all her little undergar-
ments. Oh, Jack wouldn't believe I could do
it, but when I bought that Liberty Bond with
what I'd saved on clothes in three months,
he said, 'Marion, you're a wonder. You've
never had such clothes — and to have them
for less than you ever spent before. Well,
I guess I'll quit worrying about the high cost
'of living.' "

"But you haven't told me yet," insisted
Janet, "where you learned."

"Well, then, listen and you shall hear.
About four months ago I read in a magazine
about an institute of domestic arts and
sciences that had developed a wonderful new
plan of teaching dressmaking and millinery
by which you could learn right at home in
le'isure time. That was a new idea to me but
I began to think how much it would mean if
I could make my own clothes, so I wrote to
them. They sent me the most interesting book
that told all about their courses, explained
just exactly how you could learn every step
in dressmaking or millinery even though you
had had no experience whatever. Possibly
even then I might have doubted if they had
not told me about the success of so many other
women and sent me copies of their letters.
Why, think, Janet, more than 9000 women
and girls have already learned to make their
own clothes by this new plan. Among them
are more than 4000 home women, 700 dress-
makers, 300 teachers and hundreds of busi-
ness women, girls at school or college, girls
employed in offices, stores and factories. You
see it doesn't make the slightest difference
where you live. There are members of the
Institute in the big cities, in small towns and
in the country, on ranches in the far west,
even in China, in Australia, in South Africa,
all learning with the same success as if they
were together in a class room. Isn't it won-
derful ?

ELL, I joined the Institute, and
when my first lessons came I saw
at once why it is so easy to learn.
Every step is explained so clearly that even
little Betty could understand it. And there
are hundreds and hundreds of actual photo
graphs that show just exactly what to do.
Once I began studying, it was so fascinating
that I wanted to spend every spare minute
on my lessons. You see, the delightful pari
of it is that almost at once you start making
actual garments — in the fourth lesson I made
this waist !

"I didn't think about it at first, but after a
bit I realized that in learning to make my
own clothes I was also learning something
that I could turn to profit if I ever wanted to,
or if — by any chance — I should ever be left
to make my own way. Since then I have
found that hundreds of women and girls
have taken up dressmaking or millinery as a
business — as a result of these courses. Many
of them have opened shops of their own and
have splendid incomes.

"I've nearly completed my dressmaking
course now, and I'm going to take up mil-
linery next. I can make my own hats then
for a fourth of what they cost in a shop — "

BUT Janet broke in right there, "Marion,
this is the most wonderful thing I ever
heard of. Tell me where to write, so I
can find out all about it myself."

So I told her that if she would send to the
Woman's Institute of Domestic Arts and
Sciences, Dept. 17-C, Scranton, Pa., and
would tell them whether she was most inter-
ested in home dressmaking or professional
dressmaking or millinery, they would send
her without cost or obligation handsome book-
lets telling all about the Institute and its.
methods.

I happen to know that the cost of clothes
is going to be even higher next year than it
is this, so that if you, my dear reader, would
like to know more about how you can easily
have more and prettier clothes this springy
and save at
least $50 as I
did, I suggest
that you, too.
write prompt-
ly or, better
yet, send the
coupon below
which I have
arranged for
your conven-
ience.

WOMAN'S INSTITUTE, Inc., Dept. 17-C, Scranton, Pa.

Please send me one of your booklets and tell me how I can learn the subject marked below

[] Home Dressmaking
1 Professional Dressmaking

[] Millinery

LI Teaching Sewing

(Please specify whether Mrs. or Miss)

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

104

Lift Corns out
with Fiegers

A few drops of Freezone

loosen corns or calluses

so they peel off

Photoplay Magazine — Advertising Section

The Shadow Stage

(Continued from page 72)

Apply a few drops of Freezone
upon a tender, aching corn or a
callus. The soreness stops and
shortly the entire corn or callus
loosens and can be lifted off with-
out a twinge of pain.

Freezone removes hard corns,
s, also corns between
and hardened calluses.

soft con
the toes
Freezone does not irritate the sur-
rounding skin. You feel no pain
when applying it or afterward.

Women ! Keep a tiny bottle of
Freezone on your dresser and
never let a corn ache twice.

Please Try Freezone

Small bottles can be had at any drug
store in the United States or Canada.

The Edward Wesley Co., Cincinnati, O.

BEAUTIFUL NAILS

are Nature's own jewels for the hands. With
N AILUX vou can keep a permanent luster on your
nails, a brilliant polish that defies soap and water.
\f \ WW W TTf <* nail food, keeps the
1 w f\lLi KJ S\ nails from getting brittle
One application and your nails will have all the
exquisite finish of Mother-o-Pearl for one week.
Introductory Offer "S^&Z&'XS™?'}^

our special combination list of guaranteed toilet specialties for

25c. Only one to a family. Semi 26c now before offer is withdrawn.

Money Refunded if Dissatisfied

HERMO CO., 544 East 63rd Street, CHICAGO

Every advertisement in Photoplay is guaranteed
not only by the advertiser, but by the publisher

A MODERN MUSKETEER— Artcraft

Draft the dictionary, order the thesau-
rus into intensive training, mobilize the
superlatives and equip the book of
similes for the first line trenches — "A
Modern Musketeer" has arrived. Here
is Douglas the Fairbanks at his most
Douglasish and eke at his Fairbanksest.
Here is the breaker of all speed records in
the speediest of all forms of entertain-
ment making all his past performances
look like the funeral march of a colony
of paralyzed snails. Here is Briareus
threshing about with every one of his
hundred arms at once. D'Artagnan, for-
sooth! Fairbanks makes the Dumas
swashbuckler seem a popinjay, a milksop,
a wearer of wrist watches in times of .
peace, a devotee of the sleeve handker-
chief, a nursery playmate, an eater of
prune whip, a drinker of pink lemonade,
a person susceptible to hay fever, a
wearer of corn plasters, an habitue of
five o'clock teas, a reader of "Polyanna."
Ned Thacker was born to the tune of a
Kansas cyclone, and absorbed the mes-
sage of the elemental Donnybrook into
his small person. From that moment his
energies consumed him with a desire for '
adequate expression. There was not suf-
ficient elbow room in the Kansas town,
so Thacker headed west. On the rim of
the Grand Canyon he found his proper
battlefield. Even his dynamic soul con-
templated with awe that vast chasm, so
that he could barely gasp, "Gosh, what a
gully!" Here, up and down the mile-
deep ditch he fought with a nest of out-
laws to win The Girl. He bathes in hair-
breadth escapes as a lady daintily points
her immaculate, pink digits at the finger-
bowl, and with no greater disaster. There
is nothing left but for Doug to scale the
bare face of El Capitan in the Yosemite,
and he will have trampled the entire
geography of this hemisphere under his
never-slips. Here and there in the rush
of it, one catches glimpses of a support-
ing cast, in particular Frank Campeau,
Tully Marshall and Marjorie Daw. But
it is hard to remember just what they
did. Undoubtedly their performances de-
serve highest praise; the point of the
stiletto is like a needle, but it is not much
of a weapon with a few tons of shells
being dumped in your back yard every
few minutes.

BETTY TAKES A HAND— Triangle

"The voice with the smile wins," is
one of the most popular mottoes of mod-
ern business life. It is equally true that
the picture with the smile wins. "Betty
Takes a Hand" is a picture full of smiles.
The story, by Katherine Kavanaugh, won
the second prize in the scenario contest
conducted by Photoplay for Triangle,
and is the first of the prize winners to
be produced. The plot is known to
readers of this compendium of cinematic
knowledge, as it appeared in fiction form
last month. One fact concerning the
drama is especially worth noting, as it is
unique — this is a comedy, not a farce,
and yet it has a dramatic motive. Betty
Marshall believes her father is poor be-

cause he has been def.auded by relatives
and a former mining partner in con-
spiracy. She sets out to even things up.
Yet there is no villain in the tale. Even
when the spectator is most anxious that
Betty should get the better of the man
who owns the millions that she believes
should belong to her father, he feels no
rancor against the millionaire. For this
man. too, has a smile. Even when the
society dame refuses to take Betty on a
yachting cruise for fear her own daughter
will be outshone, there is no bitterness,
since this autocratic lady also has a
smile. Still the drama remains, strong
and insistent. Betty meets the man she
thinks ruined her father, but she is not
vindictive. She smiles, and sacrifices her
comfort to his when they are marooned in
the hills. It is all charming, wholesome,
free from daggers of steel or thought.
And on top of it all comes a little O.
Henry twist of plot at the end that sends
everyone away loving every character in
the story. Olive Thomas as Betty is
sparkling as champagne and nonintoxi-
cating as spring water. George Hernandez
as the supposed villain is picturesque as
always. Charles Gunn is more than a
mere leading man; his comedy supple-
ments that of Miss Thomas delightfully.

TOTO COMEDIES— Pathe

Toto is like the filet of sole you get
at the restaurant — he looks as if he's
boneless, but you know he isn't. This
lively person with the reversible knee-
joints, after two years of hilarity at the
New York Hippodrome, was procured by
Pathe for picture farces. His first two
creations have just been divulged — "The
Movie Dummy" and "The Junk Man."
In the former, Toto — the man's real name
is Novello — takes the place of the dummy
which is used to double for the villain in
explosions and such, in moving pictures,
and is handled roughly, to say the least.
He flops about like a sack of excelsior,
but he gets in his little digs now and
then as well. In "The Junk Man" he is
a more purposeful hero, and skips nimbly
through numerous acrobatic stunts. The
success of these comedies lies in the fact
that Toto is a new figure on the screen,
with talents widely differing from those
of Chaplin, Arbuckle, Lloyd, Semon, et al.
He is no imitator.

BASHFUL — Pathe

Harold Lloyd will soon be better
known under his own name than under
that of Lonesome Luke, if he does many
pictures like "Bashful." Here all the es-
sential fun of "Baby Mine" is condensed
to a single reel. Bebe Daniels grows
prettier every day.

EMPTY POCKETS— Brenon

Be not misled by the title. "Empty
Pockets" is not a story of the poor, nor
yet of the impoverished rich. It is a
description of the condition in which a
certain dead man's garments were found.
"Copper Colored Hair" would have been
a better title. There were three younc

Every advertisement in PHOTOPLAT MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

105

Elsie Fcrgt£softt "Whotn wohj ■■ ■

the most beautiful and appealing
woman on the staget say- ' ' f have
used Pond's t 'old Cream and I find it
,1 most delightful cleansing

and thoroughly ejficm

The two creams your skin needs

Rub Pond' s Colli Cream on one hand; rub Pond's Vanishing Cream on the other. Learn
just when each should be used ; how each one benefits the skin as the other cannot.

Every woman who really understands
how to make her skin lovely has
found that she needs two creams —
an oil cream (cold cream) for cleans-
ing and massage, and a greaseless,
vanishing cream, to protect the skin
from roughness and chapping; to
keep it smooth and delicately radiant.

Pond's Cold Cream is an oil cream, for
cleansing and massage only. Unless a cold
cream is easy to work into the pores and free
from all grit, it does not thoroughly cleanse
and benefit the skin. The moment you use
Pond's Cold Cream you will be delighted with
its smoothness and perfect consistency. Try
it tonight.

Vanishing Cream — the cream
women had wanted for years

Pond's Vanishing Cream is wholly differ-
ent from any other cream you have ever used.
For years women had only oil creams, which
were so unsuited for daytime use. No mat-
ter how thoroughly one wiped them off, the
oil in these creams <would leave the face shiny

The chemists of the famous Pond's Extract
Company, after months of study and experi-
ment, found the ideal formula for an abso-
lutely greaseless and protective cream in the
product now known as Pond's Vanishing
Cream.

Use Pond's Vanishing Cream freely, with-
out fear of any disagreeableoiliness, whenever
you want your skin to look especially lovely.

You will find it wonderful also for chapped
skin. Just before going out, soften your skin
with a slight application. Women say they
never would have believed anything could
keep their skin so perfectly smooth, soft
and delicately colored all winter as Pond's
Vanishing Cream does.

If your skin has already become rough or
reddened, bathe it liberally with Vanishing
Cream tonight and allow the skin to absorb
it. Almost at once the redness and painful-
ness will disappear and your skin will soon
take on its normal pliancy.

Neither Pond's Vanishing Cream nor
Pond's Cold Cream will cause the growth
of hair or down.

Sample tubes of both creams, free!

Tear out the coupon and mail it today for a
free sample tube of both Pond's Vanishing
Cream and Pond's Cold Cream. Or send
8c and we will send you tubes of each cream
large enough to last two weeks. Address
Pond's Extract Co., 135 Hudson Street,
New York City. - ^

Mail Coupon For Free Samples Today !

POND'S EXTRACT CO.

135 Hudson St., New York City

Please send me free the items checked :

Free sampie tube of Pond's Vanishing Cream
Ftee sample tube of Pond's Cold Cream

Instead of the free samples, I desire the items checked
below, for which I enclose the required amount:
A 4c sample tube of Pond's Vanishing Cream
A 4c sample tube of Pond's Cold Cream
(enough to last two weeks)

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

iu6

Photoplay Magazine — Advertising Section

The Shadow Stage

( Continued)

FACE pow /j/;r.

The followers of Fashion's dic-
tates prefer Freeman's because of
its exquisite quality. Freeman's
does not rub oif.

Try a box of your favorite tint —
at any toilet counter — or send 4
cents in stamps for miniature box.

The Freeman Perfume Co.
Depl. 101 Cincinnati, Ohio

Our Special

Low Prices

— or Diamonds are distinctive in
J beauty and brilliancy. A Genuine
I Diamond is always a safe invest-
Iment. With stores in leading
I cities, and our extensive Mail
I Order House, our large purchasing
I power puts us in position to make
prices which are impossible for
| small concerns to meet.

The Handsome
Solid Gold La Valliere

No. 925, here shown, is our big lead-
er. Four beautiful, perfect-cut
Genuine Diamonds,
(OC Terms: $5 Down,
3>fcO $2.50 a Month

I0FTIS

■■BROS&CO..^

Send for Free Catalog

There are over 2.000 illustrations of
Diamonds, Watches, Jewelry, etc.
Whatever you select will be sent all
shipping charges prepaid. You see
and examine the article right in
your own hands. If satisfied , pay
one-fifth of purchase price and keep
it; balance divided into eight equal
amounts, payable monthly. Our
Catalog shows all the new watches
—15, 17, 19, 21. 23 Jewels, adjusted.
Guaranteed by the factory and fur-
ther guaranteed by us. Watches
that pass railroad inspection as
low as S2.50 a month. Every article
in our Catalog is specially selected
and priced direct to you.

National Credit Jewelers

0EPT.LS02 108 N. STATE ST.
CHICAGO. ILL.

Stores in Leading Cities

WURLITZER ..•'

• • • 9 Suppliers of U. S. Army ^^•^

lO (Pabay

buys this superb triple silver-plated Lyric Cornet.
So..t to you on free trial. I lay on it a week before
you decide to buy. Test it in every way rietit in
your own home. Handsome carrying case free on
special offer.

\Vriff»TftdnVfor 00r b!* 176 -page book
¥» 1 11X. M. Uliaj of allmusical instruments.
T-ke your choice of any musical instrument-
no. v. S Id direct to you at the rock-bottom prices.

THE RUDOLPH WURLITJER COMPANY Dept. 1S33

East 4tn Street, Cincinnati, Ohio

South Wabash Avenue,
Chicago, III,

women with copper-colored hair who
might have wished the death of the man
in question. So it sets you guessing, this
swift-moving story, beginning with the
discovery of the body, and then going
back and relating the events in sequence,
leading to the man's death. In the dead
man's clenched fist were found a few
strands of copper-colored hair. Was it
the rich girl, the poor girl, the cabaret
girl, or the cast-off mistress? I'm not
going to tell you. for guessing is half the
pleasure in watching this latest lightning
melodrama from the workshop of Herbert
Brenon. It is the nth degree of speed.
Yet it does not run so fast as to cloud the
fact that there is a lot of excellent acting.
Barbara Castleton, Ketty Galanta, Peggy
Betts and Suzanne Willa form a quartette
of interesting young women such as are
seldom found in a single picture. Bert
Lytell is present again, his first appear-
ance since "The -Lone Wolf," pleasing as
before. The story is better in its screen
form than as originally written by Rupert
Hughes, because it moves more swiftly,
and is much more mysterious. And that
is saying a lot.

THE SEVEN SWANS— Paramount

Did you ever see a troop of fairies
dance on a moonbeam? No? Then your
education has been neglected. They per-
form this feat in "The Seven Swans," the
annual Christmas offering of the crown
princess of all fairies — Marguerite Clark.
The moonbeam in question is not just an
ordinary every night happen along moon-
beam either. It is kissing the delicate tip
of Marguerite's pert little nose, and sud-
denly, along its gleaming path, a score or
more of the good little folk appear, no
bigger than the thumbs of the littlest girl
in the audience. And they tell Mar-
guerite what has become of her seven
brothers, and how she can rescue them.
And then there are the seven swans them-
selves, who swim up a stream until they
come to the place where Marguerite is
waiting, and recognize her. and flop, flop,
flop up the bank, and are just as glad as
glad to see her. Real swans, they are, and
if you want to know who inspired these
usually stupid birds to do such a wonder-
ful piece of acting you'll have to ask J.
Searle Dawley, the director, who, I sus-
pect (but don't ever say I said it, for I
wouldn't want him to come after me with
all his magic tricks) is himself the King
of the Fairies in disguise as a moving-
picture director. There'? a lot of other
things you'll like in this pretty fable.
There's Dick Barthelmess, that youngster
who is displaying such remarkable versa-
tility. He is Prince Charming for the
Charming Marguerite. "The Seven
Swans" is a worthy companion to last
vear's "Snow White." It is a marvel of
beauty and screen magic.

MRS. DANE'S DEFENCE— Paramount

Much was to be exDected of "Mrs.
Dane's Defence." with Pauline Frederick
as Henry Arthur Jones' lovelv but men-
dacious heroine-vampire. While Miss
Frederick lends to the character a charm
and sympathy not common among

actresses who have played the part on
the stage, the picture is so badly con-
structed that much of this value is lost.
The entire success of the original play
lay in the long dialogue between Mrs.
Dane and the clever lawyer. It would
have seemed obvious that the thing to do
was make this the core of the picture,
fading in the hunted woman's replies.
Instead, the scene is ended before it is
well begun, and it leaves the impression
that Mrs. Dane was a rather stupid liar.
Perhaps this will not be felt by the thou-
sands who are unfamiliar with the drama,
for the picture will be seen by hundreds
where the play is known to dozens. Miss
Frederick again triumphs over circum-
stances.

OH, DOCTOR!— Paramount

Roscoe Arbuckle's "Oh, Doctor!" is an
adventure among thieves and race-track
gamblers. It lacks the "pep" of the ro-
bust Roscoe's eastern frolics, such as his
Coney Island melange. Xor is there the
embellishment of beauty which comedy
requires to elevate it to the realms of
art — as the well-known Tired Business
Man knows. "A Country Hero," from
the same cachinnation factory, is quite
original among the ■ farcettes of pictures.
It begins with a series of typical athletic
mishaps, staged in a village garage, and
then developes into a melodrama, the
only difference between it and a common
thriller being in the manner of telling the
story. It is a curiosity — a farce with a
story.

NAN OF MUSIC MOUNTAIN --
Paramoun'

All the thrills of western gun-feuds are
to be found in "Nan of Music Mountain."
made from Frank H. Spearman's story,
with a triumvirate of stars, Wallace Reid,
Ann Little and Theodore Roberts, under
the direction of The De Mille. It is
"Lorna Doone" transplanted into the
Sierre Madres, and Lorna Doone is a
good story. The title part fits Miss Little
like one of her riding habits, and this
girl knows both how to ride and how to
dress. What a relief not to find the
desperadoes wearing the hair pants
affected by most of the western movie
plainsmen! Harry C. Carr of Los An-
geles, California, is my authority for the
statement that in all his desert wander-
ings— and he has been as far from town
as Calabasas — he has never seen a cow-
boy with any self-respect wear hair pants.
Apparently he has registered this idea
upon De Mille. "Nan of Music Moun-
tain" contains a lot of shootin' and ridin'
and apparently quite a bit of killin',
though they don't chalk up the score, and
is as good a wild west picture as you
could want to see.

AN AMERICAN WIDOW— Metro

Here is the Ethel Barrymore of
"Cousin Kate" days. In "An American
Widow," they who admired this aristo-
crat of the stage for her beauty, will be
delighted; they who have found her more

Krcry adrTtlsement in PHOTOI'I.AY MAGAZTXE is guaranteed.

Photoplay Magazine — Advertising Section

107

«>^Jl

Does the Mirror Reveal the Silver
in Your Hair ?

AND is the look of age which it brings gradually shutting you out from
-**• those activities where youth is supreme ? You should not permit it.
This is the era of opportunity for the mature woman who retains the look
of youth. Her experience and ripened judgment are demanded every-
where. Just as many other women have, you, too, can retain your youthful
look by properly caring for your hair.

HAIR COLOR RESTORER

(Guaranteed)

will bring back all its youthful color and beauty. Not by dyeing it, because
Q-ban is not a dye; but through the simple, harmless way in which it
renews the natural color — and holds it as long as you wish.

Q-ban won't stain the scalp, rub or wash off and the hair
can be washed or waved as usual. Q-ban is a delightful toilet .r**5^ £^»

necessity for every woman who understands the value of a youth-
ful appearance. Easily applied by simply combing or brushing
through the hair. Tones the scalp and keeps it healthy.

Sold by good druggists everywhere on Money -Back.
guarantee — price 75c.

Q-ban Hair Tonic

is an antiseptic, hygienic hair dressing- as necessary to the proper care oi
the hair as a dentifrice to the teeth. Should be used daily by children
and adults. Removes dandruff, keepsthe hair soft and promotes it?
growth. Knsures a healthy scalp. Your druggist also has Q-Ban
Liquid Shampoo, Q-Ban Toilet Soap and Q-Ban Odorless Depilatory.

HESSTG-ELLIS DRUG CO., Memphis, Tenn.

! :

MAGAZINE.

io8

Photoplay Magazine — Advektising Section

The

Start a

Cook Book

of Your Own

ORDS

LIBRARY PASTE

Sticks instantly.

Goes farther than

other paste.

Sold everywhere

Also

Sanford's Premium

Writing Fluid and

Sanford's Fountain

Pen Ink

The Shadow Stage

Economy-
Prize Styles

My beautiful new Spring
Style Book will easily cut your
clothes expense one -half. I
gave prizes to the most famous
designers for economy styles.
These were judged by a com-
mittee of seventeen fashion ex-
perts. You will be surprised to
see the most stunning fashions
imaginable at lower prices than
even former season.
Suits — Coats— Dresses — Waists I

Skirts — Hats — Shoes — Lingerie
— Underwear — Chi'dren's Wear
—Also 300 Kinds of Piece Goods

USE YOUR CREDIT
PAY LITTLE BY LITTLE

I never want my custom-
erstopayin advanceforclothes.
1 send all selections prepaid on
approval. I urge you to return
them if not satisfactory. If you
are pleased, pay a small part of
the bill as you can best spare
the money. The cost may be
spread over many months.

Ask for My Style Book
Before It Is Too Late

Last season I had to dis-
appoint 100,000 women who
asked too late. A postal card
will bring it to you free now. I
can't promise it later. I know
you will enjoy having it, so
please ask while 1 have books.

Sample Bargain. Beauti-
ful silk Rajah dress shown
here. Long shawl collar and
broad belt of silk taffeta.
Georgette vestee. Patch pock-
ets. Bustle effect skirt. Sizes:
14 to 44. Colors: navy blue,
rose, tan and gray. 1001 other
bargains in my Style Book.

fe#E!!!L- $10.98
MARTHA LANE ADAM*

3506 Mosprat Street, Chicago

$|00

IwitiH

Order

$2.00

Monthly

VETERINARY COURSE AT HOME

Taught in simplest English dur-
ing Bpare time. Diploma granted.
Cost within reach of all- Satis-
faction guaranteed. Have been
teaching by correspondence
twenty years. Graduates assisted
En many ways. Every person in-
terested in stock should take it.
Writ
and full particulars

LONDON VET. CORRESPONDENCE SCHOOL

Dept. - 1 London, Ontario, Can-

( Continued)

mature art of greater value than her
ingenue essays, will likewise be gratified.
Miss Barrymore has never been more
lovely, in her own distinguished manner,
and her impersonation of the role flashes
with brilliant comedy instinct. The
story was made from the Kennett Cham-
bers play by Albert Shelby LeVino on
one of LeVino's best days. It is sheer
comedy — as sheer as Georgette crepe —
and the fable should not be dissected for
too close examination. A young widow
wants to marry an earl, but finds that a
codicil of the will of the late unlamented
provides that if her second husband is a
foreigner, the most of the estate will go
to another relative. But it says nothing
about the third husband. So they ar-
range a formal marriage (name only) to
an American who is paid $50,000 for his
trouble, with a divorce to be arranged
immediately. And so on. It is not an
unfamiliar idea, but the story never has
been told so well as in this production.
The cast is inimitable. Charles Dickson,
as the good-humored fixer, Irving Cum-
mings as the obliging American, H. Dudley
Hawley as the earl, Ernest Stallard as a
scheming lawyer, Alfred Keppler as the
hungry relative, Arthur Lewis as a backer
of the earl, and Pearl Browne as a stage
lady who aids in the intrigue — there is
not the least flaw in any of the character-
izations. And throughout it all Ethel
Barrymore is regal.

THE CINDERELLA MAN— Goldwyn

Not all the ability of Director George
Loane Tucker could make a story out of
"The Cinderella Man." One of the first
requisites of a story is that you don't
know how it is going to end, or, guessing
that, how it is to be brought about. After
the first reel you know Mae Marsh is
going to marry Tom Moore, her other
suitor having been unmistakably planted
as a fortune-hunter. And you know that
George Fawcett is going to give them
both his blessing, and that the old uncle
is going to relent, 'or die, or something
equally pleasant, and that they will live
happily ever after. So you have nothing
to do but notice how many cute things
Mae Marsh can do with her hands and
mouth, which occupation, albeit fascinat-
ing for a few thousand feet, palls at
length, and one is bored long before the
final hug-and-kiss. The production is
lavish — so lavish that at four o'clock in
the afternoon they dress the characters
in full "soup and fish." They simply
can't wait to show off their clothes.

THE STRUGGLE EVERLASTING—
Harry Rapf

Allegory is something, and realism is
something else again, and never can you
make these twain twin. "The Struggle
Everlasting," made for Harry Rapf by
Director James Kirkwood from Edwin
Milton Royle's drama, tries to establish
a certain philosophy of life by dodging
back and forth between the two utter-
most poles of narrative method. And
what is the philosophy? Simply that

Mind, Soul and Body are forever tugging
in different directions. Body, in the per-
son of a woman, enslaves men and de-
grades herself. Mind, at first fascinated
by Body, later stands aloof and watches
events coldly. Soul eventually redeems
Body, who typifies her salvation by being
shot accidentally as she tries to save a
girl from the Slimy Thing. As philoso-
phy it is pure bunk. It is a revelation of
forces without relation to the Individual
upon whom these forces react. We must
also believe that Soul is superior to all
conditions and temptations. And Mind —
what becomes of Mind in Mr. Royle's
whirligig? We leave him, the dominant
function, humanly speaking, back some-
where about the middle of the second reel
from the last.

But if it is bunk philosophy, it is beau-
tiful photodramaturgy, if one may think
of the separate scenes separately, and not
as parts of a hodge-podge whole. Flor-
ence Reed as Body, has never been so
brilliant. Intelligence and magnetism
leap from, every shadow she casts upon
the silversheet. Milton Sills as Mind
plays with incisive exactness, a very
rapier of character study. And Irving
Cummings almost humanizes an impos-
sibly supernatural role, in which he is
supposed to act, physically, as a man, but
disseminate the aura of a god. Scenically
the picture is gorgeous, in both its splen-
did vistas of crag and sea, and its in-
terior trappings. It is not yet too late
to rip out the Royle bromides, and with
exactly the same scenes, make a beauti-
ful and dramatic photo-novel. Mr. Rapf
deserves high praise for his sincerity and
courage in attempting such a work, but
had he consulted with any mere tyro in
metaphysics, he would have done it dif-
ferently.

THE DEVIL STONE— Artcraft

Out of the maze of history and fable
comes Geraldine Farrar, in a modern ro-
mance that reminds us that she is a great
actress, "The Devil Stone," directed by
Cecil De Mille, and with the inevitable
Wallace Reid on hand just before the
"Next Week" slide shows up. But Wallie
plays a very second fiddle this time. It
is Geraldine's ownest own picture, with
honorable mention for Tully Marshall. A
fisher maiden of Brittany finds a jewel,
cast up by the storm, worth a fortune.
An American miser, owner of the fisher-
ies, sees and covets it. He tempts the
girl with improved conditions for the fish-
ermen, with wealth for her family, and
she marries him. In America she finds
herself starved amid plenty — no love, no
finery, almost no food, in the home of
this cuimudgeon of great wealth. She
meets his manager, a young man, and the
old man hits upon the idea of divorcing
her, using his manager as corespondent,
and getting the jewel without the encum-
brance of a wife. There is tragedy,
mystery — and a fine denouement. Miss
Farrar has not equalled her work in this
picture since her "Carmen" and "Maria
Rosa." She is strong, subdued, convinc-
ing. Tully Marshall, as the husband, is

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

109

iuicJc

of^JjeMnniinuq

BEDTIME stories over, tumble - time all
through — good-night to Johnnie and Dollie.

7:30 by the clock.

"What shall we do? That's it! And it will
be good because they show Paramount and Art-
craft pictures. But hurry — we don't want to
miss a minute of it."

* * *

You don't know exactly how it all comes about.
And what's more you don't care. But before you
realize it those vexatious big little things, that
were so important at a quarter to six aren't of
any importance at all.

You slip out of yourself. And your mind is
all dressed up in a pinafore or knickerbockers.
You're headed hot-foot back to the Land-of-
Beginning-Again. The Land where things are
what they ought to be — the land of Fancy-Free,
of Youth — the wonderful land of motion pictures. •

You sit there for two hours that tick off faster

than anything you ever believed possible — ab-
sorbed and lost in love and adventure, romance
and fun — feasting your eyes on gorgeous spec-
tacles that whirl you off into strange worlds.

And you agree that Paramount and Artcraft
luotion pictures are good company to keep as you
go back to Johnnie and Dollie, wiser in the wis-
dom of the Land-of-Beginning-Again — with a
mind even more ready for understanding their
problems and a surer, closer comradeship with
these keepers of your hearts.

* * *

Of course, you'll remember Paramount and
Artcraft as the better motion pictures — better
in everything that makes a picture worth while:

foremost in their stars

foremost in tlieir direction and mounting

foremost in their literary and dramatic standards

And you'll remember the theatre, too, where
you see them.

Qkeraft

Three Ways to Know p«^nSfc$

Motion Pictures:

''"rt these trade-
in arks or 11 a m e s
Sashed on the screen
inside the theatre.

ii)ii> By seeing these
yjiic trade-marks or
names in the adver-
tisements of your lo-
cal theatres.

twin By seeing tliese
'-"-"-'trade-marks or
names on the front
of the theatre or in
the lobby.

FAMOUS PLAYERS -LASKY CORPORATION

^r^'-.v"-' .-V-'- • •

FOREMOST STARS, SUPERBLY DIRECTED, IN CLEAN MOTION PICTURES"

When you write to advertisers plcr.se mention PHOTOPLAY MAGAZINE.

Photoplay Magazine — Advertising Section

Mary T. Goldman's Hair
Color Restorer will restore
the original color in from
4 to 8 days. This pure,
colorless liquid, as clear as
water, is one of the great
discoveries of modern chem-
istry. It leaves the hair
clean, soft and fluffy. You
can wash it and curl it as
usual.

Because it isn't crude,
repulsive dye, but harmless
and mild restorer.

I^air- (9olorl?estorer

Send for free trial bottle with
free special comb and use it as
directed on one lock of hair.
Say in your letter whether your
hair is naturally black, dark Trial
brown, medium brown or light Bottle
brown. If possible, enclose a *"ree
lock in your letter.

When you want the full-size
bottle you can get it direct from
us if you prefer not to buy of
your druggist.

MARY T. GOLDMAN

592 Goldman Building, St. Paul, Minn.
Established 50 Years

The Shadow Stage

(Continued)

»*~^

fiiftifops-j

?S end. for

lONlatUREBOTTLE

You have never seen anything
like this before

The most concentrated and exquisite perfume
ever made. Produced without alcohol. A
single drop lasts days. Bottles like picture,
with long glass stopper, Rose or Lilac, $1.50;
Lily of the Valley or Violet, $1.75.
Send 20c silver or stamps for miniature bottle.

ffowerBfops

The above also comes in less concentrated
(usual perfume) form at $1.00 an ounce at
druggists or by mail, with two new extra
odors, "Mon Amour" and "Garden Queen, "
which arc very tine. Send $1.00 for souvenir
box, five 25c bottles same size as picture,)
different odors. Send stamps or currency, o
EXACT SIZE OF BOTTLE PAUL RIEGER, 248 First St, San FranciscoO

likewise in his supreme form. The tale
has charm, mystery and drama, who
could ask more?

RED, WHITE AND BLUE BLOOD—

Metro

There are people who think that a re-
viewer likes to write "roasts." And, if
the truth must be known, there are crit-
ics who do like to write "roasts" because
in this way they believe they establish
their own superiority. Recently I have
taken occasion to criticize adversely the
acting of Francis X. Bushman, and I
will hereby prove that it was not for
either of the reasons stated above. I en-
joyed "Red, White and Blue Blood," be-
cause in it Mr. Bushman reveals himself
as the artist I have always believed he
could be if he laid aside certain manner-
isms— if he would forego a tendency to
pause and pose. It is not easy to tell, in
such instances, whether the player or the
director is at fault. In "Red, White and
Blue Blood," Mr. Bushman acts. He
imparts a clean cut idea of the character
of the role he is playing by showing the
man in constant action. And.he inspires
Miss Beverly Bayne to a charming artis-
try such as she has not displayed of late,
as well. And, that no one who may de-
serve credit may be overlooked, the; di-
rector was Charles J. Brabin, the scena-
rio author Miss June Mathis. It is a
charming story, told with much humor, of
the conquest of the heart of a frivolous
girl by a man who started out to teach her
a lesson, and ended by falling in love with
her. The titles are delicious. Two sam-
ples: "Old Patrick Spaulding was as
good a golfer as his tailor could make
him;" "It's sometimes hard to tell who's
the spider and who's the fly." Jack Ray-
mond makes his bit-part, a weazelly
valet, a minute gem. This production is
worthy of the Bushman-Bayne popular-
ity.

THE PRIDE OF NEW YORK— Fox

George Walsh, the nimble, is more him-
self, and less reminiscent of anyone else,
in "The Pride of New York," than in
any of his previous efforts. It is a melo-
drama with much comedy. It shows war
as the great democratizing element in
society, the patriotic son of a contractor's
foreman finding his mate in the unspoiled
daughter of wealth. It begins in New
York and finishes, after a sanguinary bat-
tle, behind the firing line in France. R. A.
Walsh, the star's brother, loves to do bat-
tle scenes, and they are probably as near
the real thing as anything fiction pictures
offer. Regina Quinn, who plays the so-
ciety girl in the Red Cross service, is a
delightful acquisition to the screen. This
is said to be her first picture. It cer-
tainly will not be her last.

THE LAND OF PROMISE —
Paramount

Perhaps you didn't know that Billie
Burke can emote. Neither did I. But
she does it in "The Land of Promise,"
and does it rather well. Used to the re-

finements of an English home, a girl is
forced by circumstances to go to North-
west Canada, where her brother has a
farm. She does her best to adapt herself
to circumstances, but her sister-in-law
makes life miserable, and she marries Tom
Meighan in desperation — one of those
"name only" bargains. The husband falls
in love, but keeps his bargain for a year.
Then he ruthlessly breaks it. In these
passages Meighan is magnificent, domi-
nant, the primal male. The censors in
squeamish states will, perhaps, find it too
frank an exposition of life. But how the
little wife, who believed herself miserable,
found her land of promise a land of ful-
fillment is a pretty denouement. Miss
Burke is less Burkish but more of an ar-
tist than in most of her sentimental, com-
edy essays. J. W. Johnston gives a fine
study of the brother, torn between love
of wife and love of sister. Mary Alden,
as the embittered farmer's wife, renews
the belief that she is a great actress.

THE SQUARE DECEIVER — Metro

In its numerous disguises, the story
of Cinderella is always popular. The
scorned, neglected and scolded little girl
who marries the fairy prince in the end,
is always loved. The latest reincarnation
of this fable is "The Square Deceiver,"
in which Harold Lockwood is starred.
Pauline Curley plays the part of the poor
relation of a family of social climbers.
Their chief desire in life is to be recog-
nized by the aristocratic Van Dykes.
Lockwood is The Van Dyke. He falls in
love with the poor relation girl, and dis-
guised as a chauffeur, woos and wins her.
The story is then made slightly banal by
developing the fact that the poor girl is
an heiress after all. But the humor of the
situation is not lost. Each deceives the
other about finances, and the cruel rela-
tives receive their deserts in the end. Mr.
Lockwood is happier than he has been for
some time. It is a fine, clean bath, after
the turgid "Paradise Garden," which was
anything but heavenly. And Pauline Cur-
ley is a demure and lovely foil.

SHIRLEY KAYE— Select

"Shirley Kaye" calls upon Clara Kim-
ball Young for rather more vivacity than
she has displayed in the last year or more.
I still regard the pictures which she played
in before she became so famous, as much
better than those she has done since. She
worked harder, and posed less. In "Shir-
ley Kaye" she has not much time to pose.
She plays the part of a girl who wages
a fight upon a railway man to compel him
to leave her father in his titular position
as head of the road. The mere fact that
the father was not fitted for a big execu-
tive job is ignored. His daughter saves
him his title and salary, and one visions
his future as devoted principally to golf.
And this time. Clara lives happily ever
after.

THE HONEYMOON— Select

Constance Talmadge will one day be
famous as a comedienne. At present she

Every advertisement in PHOTOPLAY MAGAZINE is piaranteed.

Photoplay Magazine — Advertising Section

III

"I Got the Job!"

"I'm to be Manager of my Department starting Monday. The boss said he
had been watching all the men. When he found I had been studying at home
with the International Correspondence Schools he knew I had the right stuff in
me — that I was bound to make good. Now we can move over to that hous© on
Oakland Avenue and you can have a maid and take things easy. I tell you,
Nell, taking that course with the I. C. S. was the best thing I ever did."

men, past those whose only quali-
fication is long service.

The first step these men took was to
mark and mail this coupon. Make your
start the same way — and make it right now.

- — — — — —TEAR OUT HERE— ■""■"■ —

INTERNATIONAL CORRESPONDENCE SCHOOLS

BOX 6482, SCRANTON, PA.

Explain, without obligating me, how I can qualify for the position, or in the
subject, before which I mark X.

D ADVERTISING

3 ELECTRICAL ENGINEER

D MECHANICAL ENGINEER

Q SALESMANSHIP

□ Electrician

Q Mechanical Draftsman

□ Traffic Management

□ Electric Wiring

□ Machine Designer

D BUSINESS (Complete)

_J Electric Lighting

Q Machine Shop Practice

□ Commercial Law

□ Electric Car Running

□ Boilermaker or Designer

□ Certified Public Accountant

3 Heavy Electric Traction

L. Patternmaker

D Higher Accounting

3 Electrical Draftsman

QToolmaker

D Railway Accountant

I] Electric Machine Designer

□ Foundry Work

D BOOKKEEPER

3 Telegraph Engineer

D Blacksmith

D Stenographer and Typist

^Telephone Work

□ Sheet Metal Worker

DCood English

D ARCHITECT

□ steam engineer

D Window Trimmer

3 Architectural Draftsman

□ Stationary Fireman

DShow-Card Writer

D Contractor and Builder

□ MARINE ENGINEER

□ Sign Painter
UUVIL SERVICE

J Building Foreman

□ GAS ENGINE OPERATING

I] Concrete Builder

□ Refrigeration Engineer

D Railway Mail Clerk

3 PLUMBER & STEAM FITTER

□ CIVIL ENGINEER

DMail Carrier

□ Heating fit Ventilation

□ Surveying and Mapping

□ CARTOONIST

3 Plumbing Inspector

□ R. R. Constructing

□ Illustrator

J Foreman Plumber

□ Bridge Engineer

□ Perspective Drawing

3 CHEMIST

□ Structural Draftsman

D Carpet Designer

3 Analytical Chemist

□ Structural Engineer

□ Wallpaper Designer

J MINE FOREMANORENGINEER

□ Municipal Engineer

□ Bookcover Designer

J Coal Mining

□ NAVIGATION □ Spanish

a TEACHER

Z! Metal Mining

□ Motor Roat Runn'ff □ French

D Common School Subjects

3 Metallurgist or Prospector

□ AGRICULTURE □ German

DHigh School Subjects

3 Assayer

□ Fruit Growing □ Italian

D Mathematics

3 TEXTILE OVERSEER ORSUPT.

□ Vegetable Growing

□ AUTOMOBILE OPERATING

3 Cotton Manufacturing

□ Live Stock & Dairying

□ Automobile Repairing

3 Woolen Manufacturing

□ POULTRY RAISER

M^m<»

Occupation

nnH Fmplnypr

SJtT^Pt nnri Nn

City

StatP

When you writs to advertisers please mention PHOTOPLAY MAGAZINE.

I 12

Photoplay Magazine — Advertising Section

%s^^^5^/r^^iBi^

Send 20c for attrac-
tive week-end box
containing a minia-
ture each of Jap
Rose Soap, Talcum
Powder, Cold Cream
and Toilet Water.

J. S. KIRK & CO.
722 E. Austin Ave-
Chicago, U. S. A.

Wry t l'< *fe h

- — *i- j*

Opal Jars
50c

" Even Better Than
I Get in Paris"

Anna Held wrote thisof Madga Cream
— the cream so popular with critical women
of the stage— the cream that has withstood
all compotinn for over 15 years. Because—
it is made from beneficial oils, perfumed
like a flower; guaranteed free from animal
fats or injurious chemicals.

Sold by druggists or department stores, or
direct, postpaid, with a "Money back if you
don't like it" guarantee.

F. C. KEELING & CO.

Rockford, III., Agents

Also Spanish, French, Italian, German, bv the

LANGUAGE-PHONE METHOD
And Rosenthal's Practical Linguist ry

The living voice of a native professor pronounces
the foreign language over and over, until you know-
it. Family and friends can use it. Our Records
fit all machines. Writ- for Military circular. Book
let and Free Trial Offer, ^asy payments.

The Lancnage Phone Method

940 Putnam Bids. 2 W. 45th Street. N. Y.

Cultivate Your
Natural Beauty

YOU can have a youthful appearance, clear
complexion, magnetic eyes, pretty eyebrows
and lashes, graceful neck and chin; luxuriant
hair; atti active hands, comfortable feet.
You can remove wrinkles, lines, pimples, blackheads;
strengthens lggingfacial musclcs;huvecomfortable
feet, all thru following the simple .directions of
Si(sau>ia Cot-roft's
Physical Cu/ncre
for Face, Neck,
Scalp and F,::t.

Thousands have
done so. No drugs,
no apparatus, no
inconvenience.no
waste of time, no
big expense — and
quick results.
Send postal for
latest free Book-
let containing
many beauty
hints and all
about the wonder-
ful work accom-
plished by the . --__

Grace Mildred Culture Course

Dept. 17. 624 S. Michigan Ave., Chicago, 111.

iA Division ofS I

SAVE 25; to 60

on slightly -used

GRAFLEX-KODAKS

Cameras and Lenses of every descrintion.
Equal to new. Save money. Writ-- now for

Free Bargain Book and Catalog

listing hundreds of money-savin? bargains in
slightly used and new cameras and supplies.
Alt goods sold on 10 days* Free Trial. Money
back if not satisfied. You take no chances
dealing with us. We have been in the photo-
graphic business over 16 yrs. Write now.

CENTRAL CAMERA CO.
Dept. 23, 124 S. Wabash Ave., CHICAGO

The Shadow Stage

(Continued)

is very young, she lacks finesse, she has
not the perfection of spontaneity which
comedy demands. But she is vivacious
and pretty, and she smiles as if she feels
smiley all over. "The Honeymoon." like
her first picture after she arrived at star-
dom, "Scandal," is one of those "married
but not convinced" tales. The jealous
bride quarrels with her husband at the
altar because she thinks he is flirting with
a bridesmaid. His later actions confirm
her suspicions, albeit unjustly, that he is
a philanderer. There is a hasty divorce,
mostly by mail and telegraph, permissible
only in farces like this, and a remarriage.
Earle Foxe plays the husband. Charles
Giblyn directed. It is an amusing affair.
but not nearly so good as future comedies
will be in which this charming young
woman appears, when she gains a little
more poise.

WAGES NO OBJECT— Metro

There is no good reason for selecting
"Wages No Object" as the Drew comedy
to be commented upon this month, but
it happens to be the one I saw last. Like
Lowell, "I know not if I am as other
men," but all any exhibitor needs to do
to get the price of admission plus the
war tax from me, is stick a Drew one-
sheet in front of his emporium — and I'm
a tough bird when it comes to giving up
money to see pictures. But these Drews
are so human, that in watching their
comedies I have all the sensation of
sneaking around to the next-door-neigh-
bors' house and peeking in.

THE ETERNAL TEMPTRESS—
Paramount

Lina Cavalieri is not new to the screen,
but until now the pictures in which she
has appeared have been of foreign origin,
and mostly rather old-fashioned. "The
Eternal Temptress" is her first American-
made production, and it is distinctly for-
eign in flavor. There is the same mechani-
cal plot, without the close alliance with
life conditions which is more and more
demanded by American audiences. For
axample, the entire situation hangs upon
the hypothesis that a message of vast in-
ternational importance will be left lying
about in the office of an ambassador, with
no more consideration than a picture post
card, for any sneak thief to purloin. This
is the worst inconsistency. The Cavalieri
beauty is not sufficient to carry this fable.
Xor is the unique fact that two popular
leading men, Alan Hale and Elliott Dexter,
are the villains of the piece, the former
as the spy. the latter as the weak Ameri-
can. The photography is remarkable.

I LOVE YOU— TRIANGLE

In pastoral surroundings, a beautiful
peasant girl dreams of a lover who, she
feels, one day will come. An artist ar-
rives, finds her an ideal model, plays at
love with her. and Reaves her, unhappy.
Another man sees in the painting, the soul
of the girl, finds her, marries her, and
they are happy. The artist then tries to
(Continued on page 114)

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

read it. He did. I got it back in four
days, with a letter saying that it was
'commonplace and trite.' It was refused,
of course.

"I determined to submit it to some-
one else, but before doing so I made
up my mind to come down and see you.
I thought I might in some way induce
you to look the thing over. It was a for-
lorn hope, but I was desperate. Before
I came I re-typed the first page of my
script, leaving off the title, and my name.
I had some sort of a vague idea that I
would leave it on your desk, when you
weren't looking, and that you might read
it without knowing what it was. So I
came.

"I wasn't taking any chances on be-
ing turned down by the boy at the desk,
so I just nodded to him the way I did
before, said something about an appoint-
ment, and walked down the corridor.
When I got to your door, I came in.
The room was empty. I thought at first
that I would drop my synopsis on your
desk and beat it. I went over to the
desk to carry out this plan, when I saw
lying before me Mr. Fleming's script.
I knew you would read it, because it had
his name on it, and you wouldn't read
mine, because my name meant nothing
to you. Then I remembered that my
wife had said to me. 'if you don't see
your opportunity, make one!' So just
took the cover from Mr. Fleming's script
and put it on my own. I took his, with-
out any cover and handed it to Miss
Bradley, for reading. She didn't even
glance at it. I've been wondering ever
since what happened to it."

"Nothing happened to it," I said.
"Mr. Baker had not yet had time to
read it. I gave it back to Mr. Fleming
yesterday."

"I hope I haven't caused him any
trouble," McKay said, then began to
laugh. "Gee," he said. "Wouldn't it
have been funny, if Mr. Baker had re-
fused his script?"

I did not answer this question. In-
stead, I tried my best to look very se-
vere.

Photoplay Magazine — Advertising Section

The Rejected One

(Continued from page 4g)

"What you have done, Mr. McKay,"
I said, "is equivalent to obtaining money
under false pretenses. You took advan-
tage of Mr. Fleming's name and reputa-
tion"—

"Oh, come now," he interrupted. "You
produced the picture because you liked
it, didn't you, and not because Fleming's
name was on the cover? You wouldn't
have produced it, if it had been punk.
All the good Fleming's name did me was
to get you to read my script, and that
was a blessing, not a hardship to you,
for you get one of the best pictures your
company has ever put out?"

"Are you ready to sign a contract with
us for that picture on the usual terms?"
I asked, getting down to business.

"Am I ready? Say, I'm so ready that
if I don't sign it soon, and telephone the
good news to my wife, I think I'll have
heart failure right here on the spot.
Am I ready? Is a cat ready for a bowl
of cream? Bring on your contract."

I saw that we would have no trouble
with our new contributor on the busi-
ness end of the deal.

"Now that you are here," I said, "why
not come down to the projecting room
and take a look at your picture."

He glanced at the clock on my desk.

"Before I do that," he said, "I must
telephone the wife. She — she's not feel-
ing very well. And I — I'd like to get a
bit of breakfast — haven't had any yet,
and I — I wonder if you could let me have
a dollar on account?"

I handed him a five dollar bill.

"There ought to be about five hundred
coming to you today," I said, "in ad-
vance royalties. I suppose from what
you say it will come in very handy."

He looked at me for a moment so
gravely that I wondered whether what
I'd said had hurt his feelings.

"Handy," he said. "Let me tell you
something. Last week Mrs. McKay pre-
sented me with a son and heir. I
pawned everything in the flat to pay the
nurse and the doctor. Tomorrow I was
going back to my old job, for the boy's
sake. That's how handy it comes in."

Facts and Fallacies of the Films

(Continued from page 64)

tion picture audiences would go wild over
a scene produced in this manner. Now
they would hardly be deceived by it. So
it isn't considered good taste in the best
of studios. They just pray for rough
water and take scenes on the good old
ocean, but not necessarily too far from
shore.

Have you ever seen an automobile go
over a cliff with people in it? Probably
you thought it was faked. It wasn't with
the slight exception that the camera was
stopped just before the plunge to allow
dummies to be substituted for the real
players. Even the lives of motion pic-
ture actors are quite valuable, although
you may have seen some that you thought
such a fate entirely too good for. Auto-
mobiles are not so highly thought of.
Many good cars have been smashed to
produce a punch. In the olden days they

produced the same effect by using toy
autos worked like the train wreck.

If one but reads of the narrow escapes
from death and serious injury that befall
so many well known stars of the screen,
it is quite possible to realize that very
little is faked nowadays. Even the
famous Mary Pickford had a close call
recently. The fact of the matter is,
movie fakes have been buried along with
the old circus side show and Doc Cook's
discovery of the North Pole. When next
you see a motion picture try to remember
this and do not look for fakes. Appre-
ciate the wonderful advances that have
been made in this business which now
ranks fifth among the great industries of
our country and of which President Wil-
son said that it would do more than any
other one thing to bring order out of
chaos in Russia and help us win the war.

nntar-proof^
Lomplexiony

-,-

"3gyp» '^

ROUGHNESS is the advance
k agent of wrinkles.

Wind and weather, chaps and
roughness — these are the allied
plagues, the causes and effects of
winter-time skin trials. Unless pre-
vented or counteracted they toughen
the skin, encourage the formation
of tiny lines that soon develop into
wrinkles.

Do not wait for the lines to appear
— keep them away with D. & R. Per-
fect Cold Cream. A gentle, softening,
soothing rub with D. & R. Perfect
Cold Cream once or twice a day is
cold weather preparedness of the
right kind— skin protection you will
be thankful for later on.

|DAGGETT*RAMSDELLS

PERFECT COLD CREAM

Be sure it is D. & R. Perfect Cold
Cream— "The Kind that Keeps" —
the kind that supplies just what the
tissues require in winter; the kind
that softens, that satisfies, that sus-
tains, that shields the skin. Used by
American women in increasing num-
bers for more than twenty-five years,
D. & R. Perfect Cold Cream is a safe
reliance when buying toilet creams
— a dependable product for daily use
in every season, askin-reviving toilet
delight, acknowledged aid to skin
health, to beauty, to a coveted com-
plexion. The cream for every per-
son— a size for every purse.

Put a tube in the soldier's kit.
A comfort in the camp or trench.

POUDRE AMOURETTE — supreme
among face powders, companion in quality
and perfection to D. & R. Perfect Cold
Cream. Pure, perfectly blended, dainty
and distinctive, the final exquisite touch
on dress occasions. Flesh, white, bru-
nette, 50c at your dealer's or from us.

TRY BOTH FREE

Trial samples of Perfect Cold Cream and
Poudre Amourette sent free on request.

Get a Free Sample
For Your Husband

Write for a sample of the latest "Perfect"
product made only by Daggett & Ramsdell—
a shaving cream in which we have scientifically
incorporated D. &. R. Perfect Cold Cream.
The first time your husband tries this "Perfect"
Shaving- Cream he will say, "Well, that's the
best shave I ever had." He will be as enthu-
siastic over "Perfect" Shaving Cream as you
are over Perfect Cold Cream. Surprise him
with a sample.

DAGGETT & RAMSDELL

DEPARTMENT 236
D. & R. Building, NEW YORK

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

ii4

Photoplay Magazine — Advertising Section

Fine — for
Breakfast

A bowl of hot or cold, half
cream, half milk, and a package of
N. B. C. Graham Crackers
make the finest breakfast food
anyone can ask for. Crisp,
tender, flaky — of a nut-like
flavor that is irresistible,
Graham Crackers offer the
utmost in real nourishment.
No cooking — always ready
to serve. Slightly sweetened
— they save sugar.

NATIONAL BISCUIT
COMPANY

tfet

Uneeda Biscuit

N.B.C

AM CRACKERS

revive in the woman's heart the emotion
she felt for him before. The husband be-
lieves his wife unfaithful and turns her
away. The wife has been 'exposed to
contagion from the black plague, and she
returns to the artist, yielding her lips to
him, and then telling him it is the kiss of
death. The husband is later convinced
that his wife's soul is what he had be-
lieved from the moment he saw her por-
trait. This is "I Love You." It is a
passionate story, with Alma Rubens in
the central role. There is almost a
breathless ecstasy in some of her scenes.
The story is unfolded in a dramatic man-
ner, with a crashing crescendo at the close.
It reminds the musician of a Beethoven
overture. The curious thing about the
title is that it has never been used before.
It would fit hundreds of stories as well as
it does this one.

UNKNOWN 274— Fox

"Unknown 274" is the orphanage desig-
nation for the girl whose misadventures
form the story of the photoplay of that
name. The plot is as full of holes as a
barrel of doughnuts. The child is taken
to the orphanage when she is precisely the
age of Kittens Reichert, and is surely old
enough to know her own name. Also, she
has been living in the town with a woman
who lived across the hall from her in New
York, before the mysterious accident to
her father, and she also would have known

The Shadow Stage

(Continued from page 112)

the child's name, and told others. It is
slipshod story-telling. Then, there is the
injustice to orphanages, against which
Photoplay has protested, and will con-
tinue to protest. The managers of these
institutions as conceived by many picture
producers, are not recognizable as human
beings. June Caprice labors under all
these difficulties heroically. The stars of
the production are Kittens Reichert, who
is getting to be quite a big girl, and a bril-
liant collie dog. The Fox scenario depart-
ment can do good work when somebody
cracks the whip, but a few stories like this
will durn nigh ruin June Caprice.

BECAUSE OF THE WOMAN—
Triangle

Usually when an innocent youth accepts
the blame for something, he comes back
in the fifth reel and marries the girl. In
"Because of the Woman," he comes back,
but there is another girl on hand. This
story is told at rather too great length,
and yet, from the time Belle Bennett ar-
rives upon the screen, half way through
the tale, everything is so lively that the
drama does not bor,e. This young woman
has a twinkle all her own.

SADIE GOES TO HEAVEN— Ess-nay

When it comes to producing pictures of
child life, George K. Spoor of Essanay —
or whoever he hires" to do it — can give

everyone in the business ten laps head
start, and win in a walk. Of course, the
advantage he possesses in that adorable
child, Mary McAlister. must be taken into
consideration. Her latest, "Sadie Goes to
Heaven," is one of the best of the produc-
tions in which she has appeared. She has
a dog, as usual — not Bobo, this time, but
a long-suffering nondescript. The two find
their way into a wealthy mansion, where
the servants believe they have been sent
by a freakish mistress. It is heaven while
it lasts, but Mary refuses to stay when the
mistress says she must choose between her
newfound luxury and her dog. But you
don't care. She's just as happy back
home, even if you're not quite sure about
how her new clothes will look in a few
days. Director W. S. Van Dyke has done
a gemlike piece of work in this story.

HIS ROBE OF HONOR— Paralta

Henry B. Walthall emerges from private
life in the Paralta production. "His Robe
of Honor." The role is that of a crafty
and unscrupulous lawyer, for sale to the
highest bidder. His interest in a finer type
of young woman than he has previously
known, awakens a desire to arrive at a
position of respectability, and so, charac-
teristically, he "fixes" a jury for a political
boss as the purchase price of an appoint-
ment to the supreme court, with the prom-
ise of election to the long term later. But
having won the honor, he refuses to sully

Photoplay Magazine — Advertising Section

I I

A Substantial
Breakfast Food

If you prefer oatmeal as your
morning cereal, you are bound to like
N. B. C. Oatmeal Crackers as
an alternate breakfast food.
Served with milk, they are
delicious. You will find N.
B. C. Oatmeal Crackers ap-
petizing and satisfying, and
sweet enough without more
sugar. On cold, frosty morn-
ings, serve them with a bowl
of rich hot milk.

NATIONAL BISCUIT
COMPANY

@s/

Uneeda Biscuit

N.B.C. OATMEAL CRACKERS

it, though he is on the verge at one crisis.
It is a clean story, told with a keen regard
for decency in passages where the sensa-
tion mongers would have found oppor-
tunity to introduce a sordid strain. But,
most interesting of all, it is a big role for
Walthall, whose capacity for suggesting
dynamic mentality is unique. The hand
of Robert Brunton, production manager,
is manifest in the external beauties. A
few genuine antiques from the storehouse
of melodrama are introduced by the direc-
tor, as in the closing scene, where a young
woman speaks to her uncle in behalf of
the man she loves, but looks at neither
one, gazing into the camera instead. That
is not being done this century. Still, these
few lapses cannot spoil such a generally
"excellent picture as "His Robe of Honor."

MY UNMARRIED WIFE — Bluebird

We once heard a man express his ad-
miration for Carmel Meyers by saying
that she was the "candy kid." She is truly
just as sweet as she sounds in "My Un-
married Wife," a Bluebird production
made from Frank Adams' charming story,
"Molly and I." It speaks well for Molly
or for Carmel that as soon as Kenneth
Harlan found out she was his unmarried
wife he hastened to make the tie perma-
nent. Molly, whose surname is Cunning-
ham when the story opens, witnessed an
accident that robbed Philip Smith (Ken-
neth Harlan) of his sight. Now as Molly

The Shadow Stage

(Continued)

must marry to inherit a fortune, and as
the time was up, she decided to marry
Philip. The ceremony took place just be-
fore the bridegroom was sent abroad for
treatment. Philip recovered his sight but
love remained blind, and so it happened
that Philip could not see that Molly was
breaking her heart for him. This gave
Miss Meyers an opportunity to pose as an
Italian girl and wear most becoming ear-
rings and kerchiefs and every thing, be-
fore she finally declared her hand, which
happened to be the left one with a wedding
ring on it. It is delightfully done.

THE VOLUNTEER— World

Madge Evans is the star in a new
World-Brady picture called "The Volun-
teer" and it is something to be the star in
a cast which includes Kitty Gordon, Ethel
Clayton. June Elvidge, Evelyn Greeley,
Carlyle Blackwell, Montague Love and
Harley Knoles — oh yes and William A.
Brady himself.

It happens like this. Madge Evans,
who remains Madge Evans in the story,
has a father who is called away to war
and a mother who offers her services as a
nurse, so little Madge is sent to her Quaker
grandfather and grandmother. But before
she goes she bids good-bye to all of the
notables in the studio at Fort Lee. This
is where all of the actors and actresses and
managers and directors, whose names ap-
pear just to the north of this sentence,

come in. One of the most pleasing fea-
tures of the picture is the acting of Henry
Hull. So far as we know this is his first
appearance on the screen and he is indeed
an acquisition. He appeared as the Quaker
uncle of little Madge, who volunteered to
fight for his country and thereby forever
cut himself off from his pacifist people.

THE AUCTION BLOCK— Goldwyn

"The Auction Block" is full of stum-
bling blocks before it finally settles down
to tell the real story. The picture is taken
from the Rex Beach novel. As a matter
of fact, there is not one story there, but
a dozen and the original text is closely
adhered to in the scenario. There is
lamentable dearth of continuity in the
"getaway" and it almost looks as if some
of the entrees are going to be left at the
post, but Larry Trimble is an adept at get-
ting big fields away and he finally had all
of the characters introduced and working
nicely with each other. Rudbye De.Remer
was chosen by Mr. Beach to play the role
of Lorelei because she was so beautiful.
She was not expected to act, but this did
not prevent her from doing so. Miss De
Remer forgot that she was a beauty and
played the part simply, naturally and de-
lightfully. The whole cast was excellent.

RUNAWAY ROMANY— Pathe

Marion Davies, one of the prettiest of
musical comedy stars, makes her debut in

Photoplay Magazine — Advertising Section

Fannie Ward,

Famous

Photoplay

Star,

Recommends

Lash-Brow- Ine

Lash- Brow -Ine

used

and endorsed

by favorite

beauties of

the stage and screen

"Windows of the Soul"

EYES — the most important feature of the face, should possess
charm, beauty and soulful expression. Your eyes may be dark,

blue, grey or brown, in .all cases, however, the eyes that possess that fascinating
charm are shaded by long, thick, silky lashes and beautiful well-shaped eyebrows.

If your eyebrows and lashes are short, thin and uneven you can greatly
assist Nature in improving these defects by simply applying a little

Lash-Brow-ine, which has been used successfully by thousands, is guaranteed abso-
lutely harmless. It has passed Professor Allyn's Westfield-McClure test for purity.

Two Sizes, 50c and $1

Clip coupon below and
mail to us, with price,
and we will send you the
Lash-Brow-ine and May-
bell Beauty Booklet pre-
paid under plain cover.

Satisfaction Assured
or Price Refunded

Remit by coin, currency.U
S. stamps or money order.

Avoid disppointment
with inferior imitations.
Send your order direct to

Maybell Laboratories

4008-30 Indiana Ave., CHICAGO

MAYBELL LABORATORIES, 4008-30 Indiana Ave., CHICAGO

Enclose find f ] (50c) [ ] ($1.00) (check size desired) for one box of Lash-Brow-ine and May-
bell Beauty Booklet.

Name

j) Address

<4»

IPrice-To Introduce

To prove to you that our blue-
white MEXICAN DIAMOND exactly
resembles the finest genuine
South African Gem, with same
dazzling.rainbow-hued brillian-
cy (Gnaranteedji we will send you
this beaut iful.hiuh-grade. 12. kt.
gold-filled Tiff. Ring set with
1-kt. gem, regular catalog price

84.98, for On?-llnir Price, $2.ftO.

Same gem in Gent's Heavy Tooth
Belcher King, catalogprice.S6. 26,
for $3.10. Wonderful, dazzling'
rainbow brilliancy. Guaranteed 20
Years, Send SI. 00 and we will ship O.O.D. for Free Examina-
tion. Money back if not pleased. Act quick. State size.
Offer limited. Only one to a customer. Catalogfree. AgentsWanfed.
MEXCIAN DIAMOND IMPORTING CO., Department C. B., Las Crucns. NEW MEXICO
(Exclusive Controllers of the Genuine Mexican Diamond)

E A BANKER

Prepare by mail for this hitch profession, in which there
are great opportunities. Six months' term. Diploma
awarded. Send for free book. "How to Become a
Banker." EDGAR G. ALCORN. President

AMERICAN SCHOOL OF BANKING

457 Ea.l State Street COLUMBUS. OHIO

Only $2.50

Rider Agents Wanted

Everywhere to ride *■* and exhihif-.E^ — - - T

Everywhere to ride *■* and exhibit^:
the new Ranger"Motorbike"com-
pletely equipped with electric light
and horn, carrier, Btaod. tool tank,
coaster-brake, mud guards and
anti-skid tires. Choice of 44 other
styles, colors and sizes in the fa*
mous "Ranger" line of bicycles.

DELIVERED FREE on approval
and30 DAYS TRIAL. Send for big
free catalog and particulars of our
Factory-direct-to-Rider marvelous
offers and terms.

TIDCC Lamps, Horns, Wheels,
I II1I.O Sundries, and parts for
all bicycles— at half usual prices.

SEND NO MONEY but tell us
exactly what you need. Do not buy until you
get our prices, terms and the big FREE catalog.
Mr Af\ CYCLE COMPANY

Dept. P40 CHICAGO

High power air rifle for *-S

selling 6 boxes Mentho-Nova

Salve at 25c. U. S. COMPANY, Dept. 78. Greenville, Pa.

The Shadow Stage

(Continued)

pictures in "Runaway Romany," one of
the most beautiful productions that has
ever come out of the Pathe shop. It is
notable for its ocular charm and for this
remarkable supporting cast — Joseph Kil-
gour, Pedro de Cordoba, Matt Moore,
Ormi Hawley. Gladden James, Boyce
Coombe, and W. W. Bitner, directed by
George Lederer. That is an array of tal-
ent which would make any picture worth
seeing regardless of the story. Which is
a good thing. The plot and scenario are
blamed to Miss Davies herself. You can
tell by looking at her that she is too pretty
to be a successful author. It is the stone
age tale of the lost heiress with the straw-
berry mark on her left shoulder. But
Miss Davies is sufficiently attractive, and
her cast sufficiently brilliant, to carry any-
thing.

THE GIRL BY THE ROADSIDE—
Bluebird

A screen version of Varich Vanardys'
novel "The Girl by the Roadside," has
been used by Bluebird to present Violet
Mersereau in a particularly pleasing role,
that of Judith Ralston. Miss Mersereau
seems especially designed by nature to ap-
pear in white riding breeches and little
shiny boots, and if she had to be deposited
by the roadside by a fractious mount,
everyone should be thankful that she did
it in front of a camera. Miss Mersereau
overacts, but not enough to spoil the gen-
eral results.

IN THE BALANCE— Vitagraph

Truth compels one to say that — "In the
Balance," a Vitagraph picture is not so
satisfactory if one has read the story from
which it was taken as it might be if one
had not done so. E. Phillips Oppenheim,
whose book, "The Hillman," furnishes the
theme for the Vitagraph picture, probably
would not recognize his brain children as
they appeared on the screen; but then,
there are plenty of people who will meet
John Strangeway for the first time in the
person of Earle Williams and who will
welcome Grace Darmond as Louise Mau-
rel. Robert Gaillard was perfectly cast as
Stephen Strangeway, the misogynist, and
Denton Vane was fairly satisfactory as
Prince of Seyre. Miriam Miles also deco-
rates the cast. Probably the greatest fault
which one could find with the picture was
that — unless one knew the story it was not
at all times easy to follow the characters
in their sudden and seemingly unpremedi-
tated jumps from place to place. But
then the fact remains that Earle Williams
and Grace Darmond are the two handsom-
est Vitagraph stars and one could not look
at them and feel the lack of just ordinary
things like continuity or coherency. It is
to cavil.

THE HEART OF A LION— Fox

A Fox picture called "The Heart of a
Lion" introduces William Farnum in the
stellar role, assisted very nicely by Mary
Martin and William Courtleigh. Jr. The
photo drama was made from Ralph Con-
nor's novel, "The Doctor." There is no

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

i r

The Shadow Stage

(Continued)

denying William Farnum's charm, and
somehow we liked him better as the sim-
ple-hearted Barney Kemper than we have
in some other more pretentious roles.
Mary Martin is sweet and pretty as Mar-
garet Danford, the ministering angel, and
young Courtleigh seemed more at home
as the scapegrace student than he did as
the young divine. Walter Law cannot
escape. He is the villain as usual, and
two small parts are extremely well done by
Wanda Petit and Rita Bori.

OVER THE HILL— Pathe

The best story in which Gladys Hulette
has projected her unique charm upon the
screen in a long time, is "Over the Hill.'"
The pampered son of an owner of a syn-
dicate of newspapers, is sent to a small
town to make a man of himself. The
business manager of the paper is sincere
and hard-working. The son of the owner
tries to double-cross the manager, and
would succeed only that a young girl steps
in and burns an entire edition of the
paper. It is a clever story, with no hint
of the outcome until ■ the end.

Face Value

{Continued from page 58)

recalled stories he had read about shop-
lifters, wealthy women who could well
afford to pay a dozen times over for what-
ever they wanted, but could not resist the
temptation to steal. What if she was one
of these unfortunates? It came to him
like a blow. He could not believe it, but
he must know.

He found Joan still standing on the bal-
cony. So — she was trying to hide. Ber-
tram became convinced against his will.

"Joan!" he exclaimed. "Tell me it isn't
true. Tell me you didn't take the neck-
lace."

She had not recovered from the shock
of Louie's sudden appearance and his
threat. Mechanically, and without a word,
she reached into her bosom and drew out
the necklace. She handed it to him and
hung her head. She was too bewildered
to explain. She could not frame the
words. And she was in mortal terror of
Louie. Bertram took the necklace, stared
at her, horrified, and, turning on his heel,
went back to the ball room. Pretending
to be merely moving about among the
others, he went to the place where the
dowager had been sitting, leaned down,
and when he stood up he held the neck-
lace in his hand.

"Here it is," he shouted. "It was on
the floor 'all the time." .

There was a general laugh of relief, and
the incident was forgotten.

But the activity of the detectives had
revealed the presence of the uninvited
stranger. Louie was wanted for several
other little affairs in which he had been
more successful. One of the detectives
recognized him, and, taking him by the
arm, warned him not to make any dis-
turbance, but to come along quietly.
Louie, slippery as ever, pretended to sur-
render, and walked away with the sleuth.
But as they left the ball room, with a
quick movement he sent his captor

aim©

The Large -Size Quaker Oats

The large Quaker Oats package — which costs 30 cents — contains 6200 calories
of nutriment. That same nutrition, on the average, costs in other foods as follows :

In Meat, $2.40
In Eggs, $3.00

In Whitefish, $3.50
In Chicken, $6.00

So that one package, used in place of meat or
eggs, saves at least $2. Used in place of average
mixed diet, it saves about $1.

You can serve eight breakfasts of Quakers Oats for
the cost of one meat breakfast of the same food
value. You can serve five dishes for the cost of one egg.

Round Steak Costs 8 Times as Much

Yet the oat is our premier food. It is the vim-food
and the food for growth. It contains the needed ele-
ments. It is rich in minerals. And, to mark this
supremacy, Nature endows oats with a most
delightful flavor.

Make Quaker Oats your full breakfast. Foods
that cost many times as much cannot compare with
oats.

And mix Quaker Oats with your flour foods. They
add a delightful flavor, and they conserve our wheat.

Eggs Cost 10 Times as Much

The Extra-Flavory Flakes

You get oat flavor at its best when you ask for Quaker Oats. These flakes are made from
queen grains only —just the big, rich, luscious oats. We get but ten pounds from a bushel.

This flavor has made Quaker Oats, the world over, the favorite oat food. It is due to
yourself that you get it, for it costs no extra price.

72c and 30c per package in United States and Canada, except in far West and South,
where high freights may prohibit

Quaker Oats Bread

Jps Quaker Oats (uncooked), _' teaspoons salt, Y2 cup sugar, 2 cups
boiling water, 1 cake yeast, % cup lukewarm water, 5 cups flour. Mix to-
gether Quaker Oats, salt and sugar. Pour over two cups of boiling water. Let stand until lukewarm. Then add
yeast which has been dissolved in *4 cup lukewarm water: then add 5 cups of flour. Kneul slightly, set in a warm
place, let rise until light (about 2 hours). Knead thoroughly, form into two loaves and put in pans. Let rise
again and bake about 50 minutes. If dry yeast is used, a sponge should be made at night with the liquid,
the yeast, and a part of the white flour. This recipe makes two loaves.

When you write to advertisers please mention rilOTOPLAY MACAZIXE.

Photoplay Magazine — Advertising Section

KING
BAGGOT

the'story'of \\\ €tp%T\\\\ \\\ \\

//// ///THE IMPERIAL GERMANIIcOVERNMEIMT'

Everybody has heard of the Imperial German Gov-
ernment's Spy Army in America.

Everybody is familiar with what Chief Flynn has
accomplished in checking Enemy Spy Plots.

Everybody is interested in the startling revelations
of the Secret War Peril existing in our midst.

Everybody wants to see these facts in pictures.

Shown weekly at all principal theatres.

EMPRESS

Instantaneous

Hair Color
Restorer

Worth its weight
in gold to anyone
whose social, profess-
ional or Business
Success depends on
1 looking young. One
appl ication restores
Gray or Faded Hair
to its natural color
immediately. Makes the hair soft and
fluffy. Covers up the tracks of age.
Defies detection. Easily applied. No
after washing. Constantly used for
20 years, by Hair DresserB and re-
fined people everywhere. Passed by
the New York City Board of Health. If
your dealer hasn't it, order by mail,
$1.25 in plain wrapper. If you have
* used it, we will send PHPr1
ugh for one application r* fvfcjfc*
(state color desired). . , * *^

Empress Instantaneous Hair Remover

removes unsightly hair. Sold with money
guarantee. Large bottle 50c of your
; or by mail of

EMPRESS MANUFACTURING CO.

36 West 20th St., Dept. 43, New York

(Established since 1898

DELATONE

BEAUTY specialists recommend
DEL-A-TONE for quick, safe
and sure removal of hair from
arms, neck or face. At druggists;
or mailed to your address for $1 .00.

SHEFFIELD PHARMACAL CO.

339 S. Wabash Ave. Chicago, til.

Dcpt. GA

"(@/d Mown"

THE MASTER CANOE

PICTURE your best girl reclining
on comfortable cushions, fingers
trailing in the cool waters and dia-
mond spray splashing behind. This
is the life! What a satisfaction it
is to skim along in an Old Town
"Sponson Model," the safest canoe in
the world I The air chamber on
either side prevents capsizing and
makes it positively unsinkable. The
Old Town "Sponson" is the ideal
canoe for family use. Write for
View Book.

OLD TOWN CANOE CO.
763 Main St. Old Town, Maine

Canoeing at Mary Lyon School

Face Value

(Continued)

sprawling, dashed down the stairs, and in
an instant was speeding off in a borrowed
automobile.

Meanwhile he had discovered that Joan
was living with the Van Twillers. He had
seen Bertram return the necklace, and
realized that he would not have done so if
he had not been anxious to protect Joan.
Well, the necklace was out of his reach,
but there might be a possibility of doing
a little something by way of blackmail.
So he drove to the Van Twiller home, and,
hiding in a corner, waited for Joan.

Joan, sick at heart, also had hurried
away from the ball room, and arrived
home soon after Louie. She started for
her room, but Louie confronted her.

"So — you had to squeal after all, eh?"
he sneered.

"I didn't squeal, Louie. I just gave the
necklace back. . I didn't say where I got
it. They think it was I who stole it. And
I don't suppose they'd believe anything
else, now."

"Oh yes they will. Gee, kid, but you
look great. You could make a guy believe
anything in that make-up."

Joan turned from him in disgust.

"Nix on that high-brow stuff," Louie
snarled. "Come back to earth. I got to
have some coin. And you're going to give
it to me — or get it for me. I don't care
how you get it, but you've got to turn
the trick. If you don't — there's still a
reform school sentence calling for you"

"Louie! You wouldn't do that. You
wouldn't!" Joan exclaimed.

"Now look here, kid. The cops are hot
on my trail. I've got to make a getaway.
That bunch of sparks would have done it,
but you lost them for me. Now you ewe
it to me to make good. Understand?"

"I'll undertake to pay Miss Darby's
debt," came a voice from the stairs.

Bertram had returned home, and. hear-
ing the voices in the hall, hao entered by
another door. He had listened to enough
of the conversation to learn the truth. He
was down the stairs in two bounds, and
the slippery Louie soon discovered that he
was in the hands of no weakling. It mat-
tered not to Bertram, however, whether
or not Louie was arrested. He had some-
thing else oil his mind, and could not
waste any time with the thief. So he sat-
isfied himself with opening the door and
giving Louie a running start down the
steps. But the police had found the stolen
automobile, and were waiting, so Louie
had left the frying pan only to jump into
the fire.

Within the Van Twiller mansion, Ber-
tram had found it necessary to put his
arm around Joan to keep her from falling.
She was weak and dizzy from the peril
through which she had passed, and from
the relief at having the truth revealed to
Bertram. But she gradually recovered,
and smiled up at him. Then a terrible
thought came to her.

"What if Louie should tell?" she ex-
claimed. "I'm a fugitive from justice."

"There isn't much danger of my wife
being sent to a reform school," Bertram
replied, with a happy laugh.

"Your wife?" Joan cried. "You're not
married? —Oh. I understand." and she
buried her blushes on his shoulder.

Every advertisement in PHOTOPLAY MAGAZINE i3 guaranteed.

Photoplay Magazine — Advertising Section

119

Griffith, Maker of Battle
Scenes, Sees Real War

(Continued from page 28)

lish. Hardly had they taken refuge be-
fore the storm began.

Griffith crouched down behind a cement
pillar that had been part of the old Ger-
man fortifications. Then it began. Shrap-
nel and explosive shell came like a terrific
storm around them. The noise was be-
yond all human description. Every shell
that came near threw up torrents of mud
and slime.

In the middle of it, a British officer ap-
peared on the scene and looked with
astonishment at this lone civilian crouch-
ing down behind a hunk of cement while
the shells rained all around him.

'"What are you doing here?" he de-
manded.

"I'm trying to keep out of sight," said
Griffith.

The officer was standing at the window
of a shell proof that faced the other way.
"I shall have to arrest you," he said
sternly.

"Oh thank you; pray do," said Griffith
gratefully seeing a chance to get into the
shell proof. As the British officer would
have been obliged to come around in plain
sight of the German to "pinch" the in-
truder, he evidently thought better of it
and closed the aperture.

Griffith had to stay there, squatting in
the mud until night came and the shelling
stopped. The British officers said after-
ward that they had never seen a fiercer
artillery display than this little private
battle between Griffith and the German
artillery.

Since he has come home, he is the
adored of all the war veterans in Los An-
geles. And already there are scores of
men who have done their bit and are home
again from the war.

A natty young Italian aviator with a
war badge and a soldier from the French
Foreign Legion form the first line
trenches of his board of consultation.

As one snap shot photograph gives a
better idea of the trenches than all the
words in the dictionary can possibly tell,
it will not be surprising if the most ac-
curate and comprehensive idea of this war
will be given to the generations to come,
not by the pages of written books but in
the motion picture films that will be left
by David Wark Griffith.

The banging of those German guns will
be crystallized in a message that millions
will see. It is not the man who describes
what actually happens who best tells his-
tory. It is the genius who symbolizes it
for us; who puts it into doses we can take
without mentally choking.

Rag-Time Advertising

An electric sign over a theatre on
Broadway, which was playing an O.
Henry picture and an Ivan shocker: "O
HENRY ENLIGHTEN THY DAUGH-
TER."

A sign in front of a theatre in the
Loop, Chicago: The Folly of Sin and
Fatty Arbuckle.

And another on the same street:
Should She Obey— Fatty Arbuckle?

No. IStZ—Silit of
good quality serge.
No. 5S2Z— Dress
good quality serge.

No. 3SlZ—Coat of
good quality serge.

No. 5S3Z— Dress of

fine taffeta.

Fifth Avenue Fashions at Money Saving Prices

In These Days of National Economy, Buy Your New Spring Outfit

Direct from the Manufacturer at Wholesale Prices

plus a small amount to cover the cost of handling single sales
CCORES of attractive and fashionable Spring garments, in all the desirable
materials, are shown in our new Free Spring Catalog. The illustrations are photo-
graphs taken from life showing the very styles that critical New York women are
now buying at our FIFTH AVENUE Retail Salesrooms.

By dealing direct with the manufacturer you get the same exclusive Styles,
Workmanship and Fabrics as are shown in the smart Fifth Avenue stores, but you save
at least $5 — an important item in these days of necessary economy.

Our beautiful New Catalog is yours for the asking Send for it TODA Y.

Suits SI0.95IO $30
Coats S5.75 toI35
Dresses $5.75 to S25

Waists, Skirts
Shoes

Conservative as

novelty

forallages.

W/WU LTO/M

■ ■ GARA^E/^T CO.

Manufacturers of Coats Suits € Dresses.

Send Postcard for FREE Catalog TODAY to

Z3, 307 FIFTH AVE., N. Y.

Mail Order
Department

Satisfaction

Guaranteed

or Money

Refunded.

We prepay all
mail and ex-
press charges

THERE S OflL¥ *>!«£
WAY TO SECURE
A SATIN SKIN

APPLY SATIN SKIN CREAW1,
THEN SATIN SKIN POWDER.

$4350 A Month
^^J^^~ Buys a
VisibleWriting

L. C. SMITH

Perfect machines only of stand-
ard size with keyboard of
standard universal arranjje-
ment— has Backspacer — Tabu-
lator — two-color ribbon — Ball
Bearing construction— every
operating convenience. Five
Days' Free Trial. Fully guar-
anteed. Catalog and special

■•— - price sent free.

H. A.SMITH. 851-231 N. Wells St., Chicago. III.

DEAFNESS IS MISERY

I know because I was Deaf and had Head
Noises for over 30 years. My invisible
Anti-septic Ear Drums restored my hearing
and stopped Head Noises, and will doit for
you. They are Tiny Megaphones. Cannot
be seen when worn. Easy to put in. easy to
take out. Are "Unseen Comforts." Inex-
pensive. Write for Booklet and my sworn
statement of how I recovered my hearing.

A. O. Leonard, Suite 223, 150 5th Ave., N. Y. City

Your Cards
Ctr cu 1 ars

_ Newspaper
Book, Labels, Programs, TicKets

With an Excelsior Press. In-
creases receipts, cuts expenses.
Easy to use, printed rules sent,
if^ Bny does good work. Small out-
%gT lay, paysfor itself in short time.
Will last for years. Write fac-
tory for catalog of presses, type,
outfit, samples. It will pay you.
THE PRESS CO. D-43. Menden. Conn.

When you write to advertisers please mention PHOTOPLAY MAGAZINE.

120

Photoplay Magazine — Advertising Section

5»~ r^ * •% ^.K mult <»**» *i

g TALCUM POWDER Z^

For Baby's Tender Skiii

This pure rose scented Powder is best.
^Soothing, Antiseptic and Absorbent.^ '
^ Physi&MiWfecorttmefta it.

I Love You

1 nal Htf « Send 20c 'or an attractive Week-End I
ridl Ulier Package containing four 1AP ROSE I
ttiniarnrps consisting of one each of Talcum Pow- |
J der. Soap, Cold Cream and Toilet Water. •

I JAMES 5. KIRK & CO.,664£.AutioAvc.,Cuica<o,UU|

Terms as low as
$1.00 down and
$1.50permonth. Mando-
lin or Guitar eent on ap-
proval. Liberal allowance
on old fnstrumentain ex-
change for the "Gibson".
Get our new Fre© Book—
11^ pages, 111 illustra-
tions. Valuable infor-
mation for player and
teacher. Explaina won-
derful new violin con-
struction with carved and graduated
Top ami Iiai-k and Stradivariua Areh-
| ink. AIbo FREE treatise on "How
to Practice."

Teach and Sell the Gibson
Make $1,800 to $5,000 a

YearorMore |;fe°ndfcfo5S5S

nities for Mandolin and Guitar teach-
ers— t'i the r sex, in every locality, for
private and class instruction and
of "Gibsons." We have permanent
teaching: and business opportunity
now open for either sex. Other
positions pending. Write promptly.
A. C. liroekmeyer, St. Louis, Mo.,
Teacher and Director, writes: "Will
do SlO.OdO business in 1917; did
$7,000 in 1916. Wm. Place, Jr .Provi-
dence, K. I., Star Soloist for Victor.
unqualifiedly endorses the"Cibson."

Do Business on Out* Capital

Become our agent. We help sell. Agents' territory protected.
Stock furnished. We pay the advertising. You make the profit.
You pay for the goods when sold; return g.-ods not sold. Try
our "Still Hunt." FREE to those interested our new $1.00 book
— ■■■— — ■•— ^— — — — « "The Organisation. Direction and
Gibson Mandolin-Guitar Co., \ Maintenance of the Mandolin
463 Parsons St. Kalamazoo, \ Orchestra, "by America's most
Mich.. U.S. A. Gentlemen: With- % successful director, Wm.Place
out obligation send me free book \ Jr. Write now for Catalog,
complete Catalog, free treatise, \ Treatise, How You Can
also information about the Wm. » Qualify to Teach and Sell,"
Place, Jr., book and instrument * all free. Don't wait; ACT
checked. If teacher check hereQ * NOW, fill out the coupon.

□ Mandolin DMando-bass

□ Mandola DGuitar GUITAR CO.

463 Parsons St.,

\ Kalamazoo, Mich. ,
Address * U. S. A.

^Be^ure^otihavechecketUnstnrmf^

\GIBS0N-MAND0LIN

D Mando-cello O Harp-guitar
Name *

■iJnviaiSie <• /f

MET

■/A

UJML

?r CAP-SHAPE
SELF-ADJUSTING

All shades to blend with your hair:
Light brown, medium brown, dark
brown, drab, auburn, blond or black

AT PROMINENT Department

HYMAN & OPPENHEIM

Sot* Manufacturer*
103- 107 K. 16th Si. Dept 102 N

•wj-sy

What $1 Will Bring YOU

More than a thousand pictures of photoplayers and
illustrations of their work and pastime.

Scores of interesting articles about the people you see on
the screen. Splendidly written short stories, some of which
you will see acted at your moving picture theater.

The truth, and nothing but the truth, about motion pictures,
the stars, and the industry.

You have read this issue of Photoplay, so there is no neces-
sity for telling you that it is one of the most superbly illustrated,
the best written and the most attractively printed magazine
published today — and alone in its field of motion pictures.

PHOTOPLAY MAGAZINE

Dept. 7-H, 350 N. Clark Street, CHICAGO ;

Gentlemen : I enclose herewith $1.00 for which ;
you will kindly enter my subscription for Photo- ;
play Magazine for six months, effective with ■
the April, 1918, issue. I

Stud to.

Street Address

City .

State ( March ) Jj

Slip a dollar bill in an
envelope addressed to

PHOTOPLAY

MAGAZINE

Dept. 7-H
350 N. Clark St., CHICAGO

and receive the April issue
and five issues thereafter.

(Continued from page 33 )

his love for her. She pushed him from
her. looked full into his face, and laughed
at him. Bewildered and angry, Mardon
attempted to grasp her. She broke away
from him and drew from her hair a sharp
little stiletto.

"Come an inch nearer and I'll let this
find your lying heart,'- she cried.

Jules drew away from her in horror.
She turned on him and poured forth
in a torrent all the bitterness of her long
years of waiting, all the humiliation, all
the suffering she had endured through him
and his desertion of her. Maddened, Jules
sprang upon her and snatched the dagger
from her. There was a knock at the door.
Startled, Felice tried to regain her poise
and frantically snatched at her rumpled
hair. The boy's nurse entered and in a
frightened voice exclaimed that the vil-
lagers were crying that the plague was
upon them. 'And Madame, the boy is
ill." she cried. "I am afrajd; so afraid.
He has the fever and is calling for you."

''Go back to him quickly," ordered
Felice. "I will follow."

The nurse hurried away, and without
even a glance at Mardon, Felice started
after her. He stopped her.

"If the boy has the plague he will die.
and you with him. That is needless sacri-
fice. You cannot help. Come with me
and I will save you."

"My place is by my child," she an-
swered. "Do not dare try to stop me!"

"You shall not go, Felice, my beautiful
Felice! Come away from this stricken
place. We will love each other as we did
long ago."

She struck at him fiercely. He caught
her arms. She struggled and tried to cry
lor help, but he placed his hand over her
mouth and smothered her voice.

Beside his, her strength was nothing.
Then there burst forth the loud pealing
of the bell again, and now Felice could
hear the cries of the terror-stricken peas-
ants fleeing from the place. With one
last, desperate, ineffectual effort to release
herself, she fainted.

Mardon threw a robe over her, and lift-
ing her in his arms, carried her from the
place into a trap which was waiting and
drove away.

When Felice came to her senses, she
was lying on a rude cot in a deserted peas-
ant's cottage. Jules Mardon was pacing
the floor, his clothing disarranged, his face
drawn with terror of the pestilence. Turn-
ing, he saw that Felice's eyes were open.
and he tried to force some home-brewed
brandy, which stood on a table, between
her lips. With a moan, she pretended un-
consciousness again. Jules lifted the
brandy bottle to his lips and drank.

Soon the strong, raw liquor began to
dull his senses. Through half closed eye-
lids. Felice watched him. It was not long
before he was sleeping in drunken obliv-
ion. Like a shadow, she stole from the
cot and made her way home.

At last she reached the bedside of her
child, worn to the point of exhaustion.
Lifting the little fevered body in her arms,
she covered it with kisses. A hand upon
her shoulder rudely jerked her back, and
the child's body slipped from her hold and
went limp.

Every advertisement In rHOTOi'I.AY MAGAZINE is guaranteed

Photoplay Magazine — Advertising Section

121

I Love You

(Continued)

"He is dead!" moaned the nurse. Felice
tottered to her feet and met the accusing
eyes of her husband.

"How dare you profane your child with
your touch! To your knees!"

He forced her down, down, before Mar-
don's unfinished painting. Seizing a
palette knife, De Gautier cut the canvas
to ribbons. "Go back to your lover," he
cried hoarsely to Felice, "you who would
leave your child to die ! Never let me see
your face again."

Incoherent, bewildered, Felice dragged
herself from her husband's house, her
brain seething with a million emotions.
Her revenge had proved a boomerang
which had destroyed her. "But not yet,"
she whispered. "Not yet! He shall pay."

She went back to where Jules Mardon
lay. She shook him, called his name.
Presently he stirred, and recognizing her,
opened wide his arms. She did not re-
pulse him; instead, her lips met his. Jules
was wide awake now with joy of what
he believed was her surrender. Then her
wild laughter rang out, peal on peal. "At
last we are even! You shall die as my
boy has died, as I will die. I carry the
plague upon my lips!"

She ran from the hut and on and on
through the night, until she was in the
mountains. She saw a light in the dis-
tance, and made one last effort to reach it,
but sank unconscious to the ground. There
the kindly priest of a little mountain
church found her. He took her in and
nursed her through the fever. Listening
to her ravings, he learned her secrets and
sent word to the priest of De Gautier's
village.

The world wondered at the disappear-
ance of the great artist, Mardon. It never
knew that he lay in a nameless, unidenti-
fied grave, with dozens of other victims

of the great plague.

******

Long weeks after Felice was physically
well, her mind wandered. Her husband
had come to see her, but she did not
know him. She still had the obsession
that she was stricken with the plague, and
that her boy was dead.

De Gautier sent to Paris for a famous
physician. With the child, who had at last
recovered his strength, they went to the
little church one evening, when Felice was
kneeling, as was her wont, before the altar.
Gently De Gautier set his little son on the
ground and whispered to him to go up
and kiss his mother. The little fellow
stole to the side of the kneeling woman
and softly slipped his arms about her
neck. She looked at him gently, but with
no sign of recognition. Then the baby
lips were pressed to hers, and a long con-
vulsive shudder crept over her as an ar-
row of remembrance pierced the cloud
which hung over her tortured brain. Her
eyes flooded with tears as she clasped the
little figure in her arms and turned to
greet her husband.

"Felice, will you forgive me?" he
pleaded, on his knees before her.

"I have nothing to forgive," she an-
swered. "I love you."

And the light of perfect love illumined
her face and shone from the depths of
her great eyes.

Big Money for Typists!

Let me save you more than Vi on a $100 UNDERWOOD

Read what Woman's Council of
National Defense savs:

Washington, Oct. 23— Dr. Anna Howard
Shaw, of Woman's Council of National
Defense urges America's girls to take up
typewriting in defense of their country.

"The Committee urges that all who
are untrained immediately undergo in-
struction in exactly the same spirit
that has moved them to attend classes
in nursing, that is, the spirit of help-
fulness."

You May

RENT

APPLYING RENT

PURCHASE PRICE

FOR CASH OR
ON EASY
PAYMENT'

Positions Open Everywhere

What I Will Do

What I send you— Ten Days' Free Trial

I will send you a genuine No. 4 Visible Writing- Under-
wood, exactly as illustrated, with Back Spacer, Tabu-
lator, Stencil Attachment, 2-Color Ribbon, Waterproof
Cover, and Special Touch Typewriting Instruction
Book, which will teach you to operate a simple Under- ■
wood in one day. I save you more than Vz the manu-
facturer's price. 1 will allow you Ten Days' Free Trial
so that you can see, try and use the machine all you
want before keeping.

No Other Institution Like Mine

I am the largest typewriter rebuilder in the
world, handling only Underwoods, obtaining all
machines and parts from the Underwood Com-
pany. I give a written FIVE-YEAR GUAR-
ANTEE WITH EACH MACHINE. 200,009
customers use my machines.
Mail Coupon Below — Write today and I will
Bend you prices, terms, rental, monthly pay-
ment or Agency Plan No 53. Mail coupon below.
E. W. S. Shipman, Pres.,

TYPEWRITER EMPORIUM
34-36 Lake St.. Chicago

Mr.E. W.S. Shipman, President, Typewriter
Emporium, 34-36 Lake St., Chicago

Send me at once your complete plan No. 53 for
Rental, Partial Payment and saving of over
Jfi manufacturer's price on Underwood Type-
writers.

St. or R.R. No.

City.

TYPEWRITER EMPORIUM

Established Quarter of a Century

NEW MONITOR

S ELF-
HEATING

IRON

OUTFIT OFFER

$30 to$50a week actually being made AGENTS
now by men and women. The or- « at a >j_|>p»

iginal— the best— the lowest priced. WANTED
Nickle plated— looks good— makes SEND FOR FREE
good — sells fast — guaranteed. No
experience needed. Women do
as well as men. Exclusive terri-
tory. Work all or spare time.
Mrs. Nixon, Vt., sold 8 first half
day. Evans, N, O.. sold 2doz.
one Saturday. Liberal terms.
Prompt Service. Write today.
MONITOR SAO IRON COMPANY
933 WAYNE ST.. BIG PRAIRIE.

SHORTHAND
IN 30 DAYS

Boyd Syllabic System— written with only ninechar-
acters. No "positions"— no "ruled lines"— no "shad-
ing"—no "word-signs" — no "cold notes." Speedy,

practical system that can be learned in 30 dava of homo study,
utilizing spare time. For full descriptive matter, free, address

Chicago Correspondence Schools, 558 Unity Bldg., Chicago, III.

MUSIC

TAUGHT

In Your Home

FREE

By the Oldest and Most Reliable School of Music
in America — Established 1895

Piano, Organ, Violin, Mandolin, Guitar, Banjo, Etc

Beginners or advanced players. One lesson weekly. Illus-
trations make everything plain. Only expense about 2c
per day to rover cost of postage and music used. Write
for Free booklet which explains everything in full.
American School of Music, 68 Lakeside Bldg ., Chicago

SHHBB

Every advertisement in PHOTOPLAY MAGAZINE is ffUftrftntAAri.

122

Photoplay Magazine — Advertising Section

Advance

r^XON'T take chances. A ticklish throat is a danger signal.
"■-^ Smith Brothers' will keep your throat clear and ward off
colds. S. B. Cough Drops are pure. No drugs. Just enough
charcoal to sweeten the stomach and aid digestion.

SMITH BROTHERS of Poughkeepsie

The

Birthright

of Every

Woman

The attractive-
ness of Venus is
in that form di-
B^ vine— a perfect
^5B B^^^ bust anci figure —
which has become fa-
mous throughout the ages. A book has just
been prepared which tells how women may
secure the beauty of figure development hith-
erto unknown to them. This book is sent free
because it also tells about the
Kathryn Murray Method of

Form Development
by which any woman, young or middle-aged,

may obtain %vonderf:il results. This method is simplicity it-
self. It does not comprise the use of massage, foolish
plasters, electricity, medicines, etc.
It acts in a perfectly natural way —
securing the development desired
in a comparatively short time.

This Book Free

"The Crowning- Glory of Woinan-
h'jol." Send for it ami learn
h.jw to add style and attractive-
ness to your figure — develop your
chest— possess beautifully round-
ed shouliers. Book tella you how J
to do it in a charminKlv natural
and simple manner. Write for
it today.

Kathryn Murray, Inc.

SUITE358-B Garland Bldg., Chicago

&■ "II.

Hair under the arms is a needless
annoyance. You can remove it
in the most agreeable, "womanly"
way by using El Rado, a sanitary,
colorless lotion.

El Rado is easily applied to the face,
neck or arms, with a piece of absorbent
cotton. Entirely harmless, and does not
stimulate or coarsen later hair growth.

Ask for Qpfl*8^ at any toilet goods
counter. Two sizes, 50c and
$1.00. Money-back guarantee.

If you prefer, we will fill your order by
mail, if you write enclosing stamps or coin.

PILGRIM MFG. CO.. Depl. P, 112 E. 19th St., New York

Canadian Address, 132 St. Paul West, Montreal

WITHOUT
EXPENSE

For over thirty years
Larkin Co. has led the
merchandisingworldin
values given direct to
the consumer. By buy-
ing your home supplies
from Larkin Co. you
save the middleman's expense
and this saving is given to you
in the form of beautiful and
serviceable Premiums.

BIG CATALOG FREE

Send for this interesting
book. See the hundreds
of useful home furnish-
ings you can get as
Premiums by this eco-
nomical method of Fac-
tory-to-Family dealing.

A handsome Mahogany Sewing
Table like this would cost you
about $18 in stores. We give
it to you as a Premium with
purchases of Larkin Products.

LAUNDRY SOAP 3Hc PER BAR

Table Salt, 5 lbs., 5c ; Corn Starch, 1 lb., 7%c
— are examples of the prices of Larkin Pro-
ducts when you take your premium-value in
the form of extra products.

GET OUR CATALOG TODAY
Send Coupon or postal to nearest address.

Laricla C&~ Buffalo Chicago Peoria

Please send mt Catalog No. 78

Mail

Coupon

Today

Name
Address. . .
C. P. 365

STUDIO DIRECTORY

For the convenience of our readers who
run;, li.sir.- the addresses of aim
panics we give the principal ones below.
The Bret is the business office; (s) indi-
cates a studio; in some cases both are
at one address.

Ambbican Film Mfg. Co., 0227 Broad-
way. Chicago; Santa Barbara, Cal. (s).

Artcraft Pictures Corp., 729 Seventh
Ave., New York City; Vine and Selma,
Hollywood, Cal. (s).

Balboa Amusement Producing Co..
Long Beach, CaL (s).

Bbenon, Herbert, Prod., 729 Seventh
Ave., \. V. C.; Hudson Heights, N. J.

Christie Film Corp., Sunset Blvd. and
Gower St.. Los Angeles, Cal.

Edison, Thomas. Inc., 2826 Decatur
Ave. New York City. (s).

Empire All-Star Corporation 220 8

State St.. Chicago; Myrtle Ave., Glendale,

I.. I. (SI.

Essanat Film Mfg. Co., 1.333 Argyle
St., ( hicago. (s).

Famous Players Film Co., 485 Fifth
Aye., New York City; 128 W. 56th St..
New iork City. (s).

Fox Film Corp., 130 W. 40th St.. New
York City; 14oi Western Ave., Los Angeles

(S) ; Fort Lee. N. .1. (8).

Frohman Amusement Corp., ho Amity
St.. Flushing, L. I.; 18 E. 4l>t St.. New
York City.

GAUMONT Co.. 110 YV. Fortieth St.. New
York -City: Flushing, x. y. (8) . Jackson-
ville, Fla. (s).

Goldwtn Film Corp., 10 E. 42nd St.
New York City; Ft. Lee, X. J. (s).

IIorslev Studio, Main and Washing-
ton. Los Angeles,

Thomas Ince Studio. Culver City, Cal.

Kale.m Co., 235 \v. 23d St., New York
City; 2.11 \v. 19th St.. New York City (s) ?
142.> Fleming St.. Hollywood, Cal
rallyrand Ave.. Jacksonville. Fla
Glendale, Cal. (s).

Keystone Film Co.. 1712 Allesandro
St., Los Angeles.

Kleine, George. 106 X. State St.. Chi-
cago.

La sky Feat i re Flay Co., 485 Fifth
Ave.. New York City ; C2S4 Selma Ave.,
Hollywood. Cal. (si.

Metro Pictures Corp.. 1470 Broadway,
New Y'ork City ; Kolfe Photoplay Co and
Columbia Pictures Corp.. 3 W.Glst St
New York City (s) ; Popular Plavs and
Players, Fort Lie. X. ,i. (S) : Quality
Pictures Corp.. Metro office; Y'orke Film
Co., Hollywood. Cal. (s).

Morosco Photoplay Co.. 222 YV 4°d
St.. New York City: 201 Occidental Blvd.,
Los Angeles, Cal. (si.

Moss. B. S., 720 Seventh Ave.. Xew
York City.

Mutual Film Corp., Consumers Bldg.,
Chicago.

Paralta Play Int.. 720 Seventh Ave..
Xew York city: 5300 Melrose Ave.. Los
Angeles, Cal. (si.

Pathe Exchange, 2."> w. 45th St.. New
York City; Jersey City. X. J. (s).

Powell. Frank. Production Co., Times
Bldg., Xew York City.

Rothacker Film Mfg. Co., 1339 Diver-
sey Parkway, Chicago, 111. (s).

Select Pictures Corp., 720 Seventh
Ave.. Xew York City.

Selig Polyscope Co.. Garland Bldg..
Chicago; Western and Irving Park Blvd.,
Chicago is, : 3800 Mission Itoad. Los An-
geles. Cal. (si.

Selznick, Lewis J.. Enterprises Inc,
729 Seventh Ave.. Xew York City.

Signal Film Corp., 4500 Pasadena
Ave.. Los Angeles, Cal. (s).

Talmadge. Constance, 729 Seventh
Ave.. X. Y. C.

Talmadge, Norma, 720 Seventh Ave.,
X. Y. C. : 31S East 48th St., X. Y. C.
(s).

Thanhouser Film Corp., Xew Ro-
chelle, X. Y". (st : Jacksonville. Fla. (s(.

Triangle Compant, 1457 Broadway, Xew
York City; Culver City. Cal. (s).

Universal Film Mpg. Co., lOOO Broad-
way, Xew York City : Universal City,
Cal. : Coyetsville, X. J. (s>.

Vitagraph Company of America, E.
1.1th St. and Locust Ave., Brcoklvn. X.
Y. : Hollywood. Cal.

Yogue Comedy Co.. Gower St. and
Santa Monica Blvd., Hollywood, Cal.

Whahton. Inc., Ithaca. X. Y.

World Film Corp.. 130 W. 40th St..
New York City: Fort Lee. X. J. (si.

Every advertisement in PHOTOPLAY MAGAZINE is guarameed.

Photoplay Magazine — Advertising Section

123

Questions and Answers

(Continued from page 102)
Dick, St. Louis, Mo. — You are deadly
crazy in love with Olga Petrova are you,
and would like to have her address so you
may write her? Well here it is, but be-
ware— 807 E. 175th Street, New York City.
You don't like angels, that's why you like
Olga Petrova? Mme. Petrova will be flat-
tered. Why nickname her "Ski" then? Skies
and angels and stars go together.

R. A., Eugene, Ore. — William S. Hart is
his honest-to-goodness name. He's forty-
three and admits it. "The Silent Man" is
the picture you asked about. Dorothy Dal-
ton is her own name off stage and on.

R. T., West End, X. J.— William and Con-
stance Collier are not related. Hardie is
Miss Collier's real surname. Collier has be-
longed to William for the last forty-nine
years. "The Hidden Hand" is the Pathe
serial you have reference to.

J. F., Schnectadv, X. Y. — September 25,
iqi6, is the release date of "Circumstantial
Evidence." Emily Stevens and Frank Mills
were the featured players in that production.
The name of the baby was not- given in the
cast.

D. M., Pittsburgh, Pa. — We are glad you
like our department better than any others
with the exception of the art section. Those
pictures are too much competition. We give
up in their flavor. Conway Tearle in "Seven
Sisters," Rupert Julian in "The Pretty Sis-
ter of Jose," Clifford Bruce opposite Mabel
Taliaferro in "The Barricade." William Sto-
well with Dorothy Phillips in "The Rescue."
Billy Sherwood was the "lucky man" in
"The Jury of Fate." John Cumberland, the
luck or unluck — y husband in "Baby Mine."
Herbert Heyes was the hero in "The Out-
sider." Alma Rubens played with Doug
Fairbanks in "The Americano" and Dorothea
Abril with Wallie Reid in "The Hostage."
Thank you for the biography suggestion.
We patient, cheerful and witty?— thank you.

O. J. D., Pascoag, R. I. — Juanita Hansen
is not married. Address her at Universal
•City, Cal.

Movie ' Enthusiast, Santa Rosa, Cal. —
You are wrong. "Broadway Arizona" is
neither a paramount nor a Fox production.
It was made by Triangle. The cast : Fritzi
Carlyle, Olive Thomas; John Keyes, George
Chesebro; Uncle Isaacs Horn, George Her-
nandex; Jack Boggs, Jack Curtis; Press
Agent, Dana Ong; Old Producer, Thomas
Guise; Indian Squaw, Leola Mae; Doctor,
Robert Dunbar.

V. D., Philadelphia. Pa. — The deep-
dyed villain in "The Man from Painted Post"
was Frank Campeau. Mr. Campeau hails
from the city that was built by, with and
for speed— Detroit, Mich. Doug is five feet
ten inches tall and weighs one hundred and
sixty.

B. E. S., Hastings, Mich. — Pauline Fred-
erick, Theda Bara, Mary Pickford or Alice
Joyce never lived in your town. True
Boardman is with American Co. now. He
was born in 1885. That was Xigel Barrie in
"Bab's Diary." Jack Pickford is twenty-one
and has a wife. She's Olive Thomas.

Dago, Fremont, Neb. — In "Zaza" the
title role was played by Pauline Frederick.
Robert Warwick is at Plattsburg. He has
been commissioned Captain. You are sure
are you that you want a "Beauty and
Brains" contest for men and think it would
be creat fun? Do you know any beautiful
men ?

Compare It With a Diamond

Solid Gold
Mountings

Flat Belcher Ring

No. 1. Solid gold mounting
Eik'ht claw design with flat
wide band. Almost a carat.

guaranteed genuine Tifnite
em. Price $12.50; only $3.50
upon arrival, balance $3 per
month. Can be returned at our
expense within 10 days.

Ladies' Ring

No. 2. Solid gold mounting.
Has a guaranteed genuine Tif-
nite Gem almost a carat in size.
Price $12 50: on!v $3 50 upon
arrival. Balance $3 per month.
Can be returned at our expense
within 10 days

Tooth Belcher Ring

No-. 3. Solid gold six-prong
tooth mounting. Guaranteed
genuine Tifnite Gem almost a
carat in size. Price $12 fill.
only $3.50 upon arrival. Bal-
ance $3.00 per month. Can be
returned at our expense within
10 days.

Send the coupon NOW! Send no money. Tell us which ring you pre-
fer. We'll send it at once. After you see the beautiful, dazzling gem and
the handsome solid gold mounting — after you have carefully made an ex-
amination and decided that you have a wonderful bargain and want tc
keep it, you can pay for it in such small easy payments that you'll hardly
miss the money. If you can tell a TIFNITE GEM from a genuine diamond,
or if, for any reason at all, you do not wish to keep it, return it at our expense.

Remarkable
New Discovery

The closest thing to a diamond ever

How to Order Rings

irHrialidiJioln

Send No MonPV Just send coupon. Send no

•J^***-* A^V lYlVSllCJr reference, no money; no obliga-
tion to you in any way ! You run no risk. The coupon brings
you any of the exquisitely beautiful rings shown and described .
here for 10 days' wear free. Be sure to enclose strip of •
paper showing exact finger measurement as explained. i

MAIL THIS COUPON 5WP"?'

Send now and get a TIFNITE GEM on this liberal offer. Wear /
it for 10 days on. trial. Every one set in latest style solid *
gold mountings. Decide then whether you want to keep it •
or not. Send for yours now—today — sure. Send no money. / Name

THE TIFNITE GEM COMPANY /

Rand McNally Bldg., Dept. 301, CHICAGO, ILL. /

THE TIFNITE GEM CO

/ Rand McNally Bldg., Depl. 301, Chicago, 111

/ Send me Ring No on 10 days' ap

• proval. fin ordering ring, he sure to en
« close size as described above. ) If satisfac
' tory, 1 agree to pay S3. 50 upon arrival; and
balance at rate of $3.00 per month. If not
satisfactory. I will return same within ten days
at your expense.

Ge»r Movie Star (

Postcard

5 were the first to produce postcard

photos and photographs of the

movie stars and today are the

gest direct-to-you distributors Our

al acquaintance with the screen fa-

enabl

i.i l.i

stpr:

I cho

Send :

' fifty cents

for

25c

eighteen

fii!" forty Or U dollar mi ■ nunurtu. Dime

Burke, Mary Pickford, Clara Kimball
Young, Francis X. Bushman, Theda Bara,
and over 50'J others that you know.
Actual photographs in attractiv
size 8x10, of all Feature Star
cents. Get 3 beautiful photos

dlfle

ent

Special at $1.00 for 3. Send a stamp for sample
card and our list, sent free with all orders. Stills
of well known stars 10 tor $1. Send the
your favorites, we may have them.

FILM PORTRAIT CO., 127A, 1st Place, Brooklyn

at SO

Reduce Your Flesh

Exactly where desired by wearing

Dr. Walter's

Famous Medicated

Reducing Rubber Garments

Cover the entire body or
any part. Endorsed by
leading physicians. Send
for illustrated Booklet.
Dr. Jeanne P. H. Walter
Inventor and Patentee
Bus! Reducer, Price $5 Billings Bldg. (4th Floor)
Chin Reducer, Price $2 S.E. Cor.34lhSl„ Slh Ave., New York

RFMF1WRPR Every advertisement in PHOTOPLAY is guaranteed, not only by the advertiser
IVLlllLlTlDLlY but by the publisher. When you write to advertisers please mention PHOTOPLAY!

Wpen you write to advertisers please mention PIIOTOPLAT MAGAZINE.

124

Photoplay Magazine — Advertising Section

Fashion Dictates
Transparent Sleeves

Sleeveless gown, sheer sleeves
and hosiery. This requires the re-
moval of unsightly hair horn under
arm, face, neck, and body.

X.BAZIN

Depilatory Powder

Removes objectionable hair, and frees you
from embarrassment. Bazin's has been used
for over 75 years by women on the stage and
in private life, by leading surgeons and hos-
pitals. Bazin's is harmless, it is quickly
applied and works effectively and safely.
Cutting aggravates a hair-growth. Bazin's
retards it — ask any barber, doctor, or
dermatologist. 50 cents and $ 1 .00 at drug
and department stores.

If your dealer hasn't Bazin 's,
send us 50c for large bottle.

HALL & RUCKEL

231 Washington St. . NEW YORK

"Don't Shout"

"I hear you. I can heat
now as well as anybody.
'How*? With the MORLEY
PHONE. I've a pair in my ears
now, but they are invisible.
would not know 1 had them in,

myself, only that I hear all right
The MORLEY PHONE for the

ears w

to the
jlasses are to the eyes.
visible, comfortable, weight-
less and harmless. Anyone
can adjust it." Over 100,000 sold. Write for booklet and testimonials.
THE MORLEY CO., Dept. 789, Perry BIdg., Phila.

PARKER'S
HAIR BALSAM

A toilet preparation of merit.
Helps to eradicate dandruff.

For Restoring Color and Beauty
to Gray and Faded Hair.

50c. and $1.00 at druggists.

Questions and Answers

(Continued)

O. Ma, Canton, Pa. — Believe you are
right about Mary Anderson and Antonio
Moreno not appearing together in that pro-
duction. Thank you for calling our atten-
tion to. the mistake. Belle Bruce was last
with Metro.

Monsieur, Montreal, Quebec. — We trans-
lated your French greeting and thank you for
the good wishes you sent. Grace Cunard
says she was born in Paris. Max Linder re-
turned to France in the fall. The American
climate did not agree with him.

K. D., Lake Bluff, III. — Sorry, but we
can't help the romance along that you have
planned. Ethel Clayton already has a hus-
band of whom she is very fond and we have
a slight suspicion that John Bowers is mar-
ried. It is not likely that Virginia Pearson
will become Mrs. Irving Cummings; firstly
because the title Mrs. Sheldon Lewis is much
more to her liking and secondly because Ruth
Sinclaire (Mrs. Irving Cummings) might
object.

L. M. R., Reno, Nevada. — Conway Tearle
is the handsome man you have reference to
in "The Judgment House." He appeared
opposite Mary Pickford in "Stella Maris."
Just at present he is on the legitimate stage —
Ethel Barrymore's leading man in "The Lady
of the Camellias."

O. P., Jacksonville, Fla. — We'll speak to
Mr. Zukor and Mr. Lasky and Mr. Laemmle
and Mr. Fox and Mr. Rowland and all the
others about moving their studios from
Hollywood to Jacksonville. We'll tell them
what you say about the Florida climate.
Moving studios across the country should be
an easy matter and would be something en-
tirely new in the film world.

Patty, Los Angeles, Cal. — Welcome to
our midst Patty. Found somewhere in Los
Angeles a girl of twenty who has no desire
to become a screen star. We're at your serv-
ice and are more than glad to tell you that
Olga Petrova is still making pictures at 807 E.
175th St., New York City, and that "The
Studio Girl," with Constance Talmadge, is
soon to be released. Write again.

L. M., Atlanta, Georgia. — Joe, Mary,
Matt, Tom and Owen Moore. Quite sure
you aren't their sister, but you might ask
them if they lost a sister in the wilds of
Georgia some ten years back.

P. B. W., Wellington, N. Z. — Oh yes, we
have automobile trucks and street cars and
telephones and one or two skyscrapers in
Chicago. Why, in New York they even have
a river. What hast thou in Wellington?

H. T. T., Augusta, Maine. — Grace Dar-
mond is at the western Vitagraph studio. She
is Earle Williams' leading man at the present
time. Harry Morey and Alice Joyce are
Vitagraphers though they are no longer play-
ing opposite one another.

"U-ann-sir-this 1," Green Bay, Wis. —
Some nom you have. You had one of your
"Why-Do-They-Do-Its" accepted? That is
the supreme test. We are quite, quite sure
you have a most brilliant literary future.
George Chesebro in "Broadway Arizona" and
Vernon Steele opposite Marguerite Clark in
"Little Lady Eileen."

M. D., Nacogdoches, Texas.— Address
Grace Cunard and Ruth Clifford at Universal
City, Cal. Julian Eltinge at the Lambs Club,
N. Y. C. Bessie Love in care of Pathe, Jer-
sey City and Elsie Ferguson in care of Art-
craft, N. Y. Miss Ferguson is married.
Charlie's mustache isn't a permanent fixture.
Address Virginia Corbin in care of Fox's
western studio. Eugene O'Brien was Adam
Ladd in "Rebecca of Sunnybrook Farm."

L. C, Montreal, Can.— Pearl White is her
name, we're sure. Address Olive Thomas at
Culver City, Cal., and tuck an International
Coupon worth twenty-five cents in the letter
if you want her to send a photo.

G. M., Lexington, Ky. — Marguerite Clark
has been showering her radiance about this
earth for thirty-one years. She is four feet
eleven inches tall and has brown hair and
eyes. Address her in care of Famous Players.

Van, Neward, N. J.— Not Mary Miller,
but Gladys Smith. The "Old Folks at Home"
cast follows : John Coburn, Sir Herbert Tree ;
Mrs. Coburn, Josephine Crowell; Steve Co-
burn, Elmef Clifton ; Marjorie, Mildred Har-
ris; Lucia Medina, Lucille Younge; Stanley,
W. E. Lawrence; The Judge, Spottiswoode
Aitken.

M. M., Knoxville, Tenn. — Dick Barthle-
mess was born in 1895. He has to his credit
juvenile leads in the following photoplay pro-
ductions : "War Brides," "The Valentine
Girl," "The Eternal Sin," "Moral Code,"
"Soul of a Magdalen," "Streets of Illusion,"
"Bab's Burglar" and "For Valor."

A. V., Cape Glnardean, Mo. — Billie Burke
isn't the fifth wife of Flo. Ziegfeld. He is in
his early forties and is the man who invented
the "Follies." Chester Barnett is not the hus-
band of Pearl White. Crane Wilbur married
Mrs. Williams in the late fall of 1016. He's
twenty-eight. Francelia Billington is twenty-
two and happily unmarried. Jack Pickford,
if he became a member of "Only Their Hus-
band's Club," would register under the name
of Mr. Olive Thomas. Ashton Dearholt was
Frank in "The Masked Heart."

P. A. R., Neponset, III. — Mary Miles
Minter is single, Billie Rhodes is divorced and
your Crane Wilbur question is answered else-
where.

N. N., East Orange, N. J. — Mary Pickford
is living in Hollywood. That lil old place is
a suburb of Los Angeles. Lottie and Jack
Smith, though no one knows them by any
name but Pick^prd. "Doug" is thirty-five.

H. P., Monmouth, Maine. — We'd do any-
thing for anyone from the Pine Tree State,
so here is all the info you asked for : Florence
Marten with Marguerite Clark in "Miss
George Washington." Douglas Fairbanks is
five feet ten inches tall and weighs one hun-
dred and sixty. Edward Earle is five feet
eleven and one-half inches tall and weighs
just one hundred and fifty-nine and one-half.

A Murdock and Lockwood Admirer,
Wissota, Wis. — Ann Murdock was born in
iSqo in New York. She has hazel eyes and
red hair and is five feet four inches tall. You
might try and see if she sends her photo upon
request. Harold Lockwood's wife is a non-
professional.

Lavender, Sydney, N. S. Wales.— We do Camille, Canton, Mass.— Tom Forman is

not know the present whereabouts of Marie no longer the husband of Ruth King and

Newton. Helen and Dolores Costello aren't Blanche Sweet never has been married. Tom

in pictures. They are attending an eastern undoubtedly would have been a star in his

school. own right ere this if he hadn't gone to war.

Every advertisement in PHOTOPLAY MAGAZINE is guaranteed.

Photoplay Magazine — Advertising Section

125

-4

■<
-4
-4

-4

<
-4
•<

-4
■<

-4.
-<
-4

-4

J,A,AAAAAiJ,iA,AA.AAAlAAAAAAAAAAAlAAAAAATr

NANCE O'NEIL

in big emotional scene in

" The Fall of the Romanoffs '

Herbert Brenon Film Corp.

Itigrt&m's

MfflCw&ed

Ck&atn

Try this sure way to give your complex-
ion the clear, colorful beauty you want
so much. Get a jar of Ingram's Milk-
weed Cream tonight and use it a few minutes each day.

Just " any " cream that merely softens and cleanses will not bring
the beauty for which you long. Every complexion needs a cream
that has, in addition, a distinct therapeutic quality. It is this
healing and corrective quality that makes Ingram's Milkweed
Cream most desirable for your complexion. That is why it is
important for you to insist on Ingram's Milkweed Cream.
Use it steadily, a few days will often show great improvement. As you
pass your druggist's stop in and ask for Ingram's Milkweed Cream.

Beauty

Buy It in Either 50c or $1.00 Size

Hudson Heights, N. J., Nov. 7, 1917

F. F. INGRAM CO. :

All the world's a stage, sings the great
bard, Shakespeare. So it behooves all
women to care for their complexions. But
m photoplay work the most scientific care
is necessary. Ingram's Milkweed Cream
has just the proper qualities. It is cleans-
ing, softening, and, what is ofevengreater
importance, it is distinctly healthful to
the delicate tissues of the skin, keeping
them in good condition. So it enjoys a
permanent place on my dressing table.

$UUnt> V *-*-

JL.

i bfay

Jar

Inat&m's

fX£.o/a

iouvcrainc

FACE POWDER

A complexion powder espec-
ially distinguished by the fact
that it stays on. Furthermore
a powder of unexcelled deli-
cacy of texture and refinement
of perfume. Four tints— White,
Pink, Flesh and Brunette— 50c.

Ingram's

Atoi/ye

"Just to show a proper glow" use
a touch of Ingram's Rouge on the
cheeks. A safe preparation for
delicately heightening the natural
color. Thecoloringmatterisnotab-
sorbed by the skin. Delicately per-
fumed. Solid cake. Three shades
—Light, Medium and Dark,— 50c.

Send us 10c in stamps for
our Guest Room Package
containing Ingram's Face
Powder and Rouge in novel
purse packets, and Milk-
weed Cream, Zodenta Tooth
Powder and Perfume in
Guest Room sizes. (73)

FREDERICK F. INGRAM CO.

Established 1885

Windsor, Canada 1 02 Tenth St., Detroit, Mich., U. S. A.

V.fcen you write to advertisers please mention PHOTOPLAY MAGAZINE.

126

Photoplay Magazine — Advertising Section

I't.y advertisement in PHOTOPLAY MAGAZINE is guaranteed.

des

Ri?

M I"

Old Dutch saves
work, worry, time
and money in the
kitchen. Cleans
all utensils quick-
ly, thoroughly,
hygienically.

I L

At the Front

these morsels yield
joy in trench or
battle field, they
please these fighters
sturdy, true— their
goodness will appeal
to you

LIFE SAYERs

THE CANDY MINT WITH THE HOLE

4£vA

*J)\

y i

tf /C*

'^K^^

"\r

T7 * "D1 A ri A merica Shall Win This War! Therefore, I will work, I will save, I will sacrifice, I will endure, I will

XjVery mail S Jr ledg e fight — cheei f ully, and to my utmost — as if the whole issue of the struggle depended upon me alone.

mm*

isHi

rTduimtJSnW

' ! ■'■■■ ;'

."' Mill , ,

ilMlllllii

PuJffl

mini
awn

Sill

HHH111

fiWHHS

r^W3WPifJM™IHl

j$ppj§jjjf!l

MHliiliillH

biliWjjkviigLi

'HIH^^HBil

i|^^^|

BiH

^^^H

••' ■ ' 1

•;•:■...;■ jAv.'1'; ..■!''! /

fflBr

Internet Archive Audio

Featured

Top

Images

Featured

Top

Software

Featured

Top

Books

Featured

Top

Video

Featured

Top

Mobile Apps

Browser Extensions

Archive-It Subscription

Save Page Now

Full text of "Photoplay (Oct 1917 - Mar 1918)"

See other formats