Motion Picture Classic (Jan-Aug 1919)

\SSIC igations’ tlial lia\ cn’t yet seen ])rint?’’ ack Holt shook his head sadly. “My ter two-thirds is a non-professional. Ice she hates her pictures to appear where. I’ve tried to steal them, but a poor actor when it comes to playcrook at home. The pictures of our e girl, Imogene, are just as carefully rded as the white elephant in India, i see, Imogene’s seven now, goes to 3oI, and is a very important young son around the Holt home — but I t see how I could get her pictures. I’d love to sneak them away — just ihow it could be done.’’ ^diicli all goes to prove that Jack t is not playing leads at home, doesn’t Perhaps tlrat is why he is unspoiled free from vanity, too. PI is home is a very happy one, but it is distinctly irate from his profession — just a e castle where he is free to smoke a r old pipe and lay aside the clawimer which particularly suits him on screen for a velvet jacket — that is ; to contain a .surprise for Imogene ne of its pockets. r The Poor Little t^ich Star {Coiilinned froiii payc -Vl) t which confidential juncture John e for her for luncheon. Viola aded her mole-skin collar, tilted her ady tip-tilted violet hat, tijitoed to the r on her absurdly dainty feet, gave icstatic sejueal, and — we were oft' . . . n Broadway in the midday sunshine, ing about the war . . . about peace . about plans and schemes and fus and projects . . . forgetting, as have a way of doing, that we are sient here . . . forgetting the ancient onition, “(')ne shall be taken, the |r left” . . . forgetting, too, perhaps, it we must all cling to, now, all reiber, all hold on to . . . this is not . . . and There, the Divine Over re, there shall be no partings, no s . . , P “’Ception Shoals” ! {Continued from potje 46) itsage to you . . . Smoot must have |aged to steal it somehow.’’ jlien we went back to the lighthouse. I searched for Dad everywhere, and le, by the lamps that alone of all :gs in the world he loved, w'e found . dead. .So he never knew my happi. the happiness of real love : overcomes all narrowness and petti •j hurt me to find him dead. I had ijted to bring .sun.shine into his emjred heart. Rut perha])S it was Kr so. After it was all over. I packed ahings and went aboard the Drift'd. <is we steamed away, the light of iltion Shoals shone thru the evening •js. “With all its bitterness and trag;i’ I said to P'hilip, “I love it, because jl.ve me you.” Dear little Eve,” he whispered. ^Sixty-seven ) Plan of Photoplaj?’ Indorsed Ijy ilie I^remost Producers, Stars, Directors'^ ' *■' I ^ jg, ^AIT a moment — do you apprcci.'ite tlie full signifi | ^ w cance of that .statement? Do you realize what it means to win such euthu.siastic, whole-hearted indorsement from the leading figures in the motion picture industry today? Certainlv’, tiie men and women who stand at the top of their profession would not be willing to lend their names to ancthing less than the Palmer Plan of Photoplay Writing— the only plan of photoplay instruction that is big enough and broad enough to merit their support! The Palmer Plan is not a mere hook nor a “school” nor a tedious corresijondence course. It is a definite, clean-cut plan of photoplay tcchniciue prepared by a man ze/m /;<;.? written and sold hundreds of successful photoplays. For Frederick I’ahner is one of the nujst prolific scenario authors in .\mcrica — the man wdio in 9 months wrote 52 scenarios for “L'nix ersal.” ^ The Palmer Plan brings the studio home to you it (Iocs not waste time on ^dtirioiis ^jfcneialities. It gets down to iietl-ifiek ami reveals ilie slory-stniclurc around which ALlsiueesstul |dioii*pl:iys arc hnilt. In language so clear and simple that anyone can nmlerstaml — it lays hare the “little tricks f)t' tlie traile”— show.^ yon wliai to use ami what to avoid — how to huihl up leiist.' simations and powerful climaxes — ht»w to twatlvc photoplays that 'viii. It tells yon tlie things >t*u must know to put your stotics over. 'Hie Palmer Plan is tiie firsl plan of photoplay instiuction ihat shows you l\v ilircid twainplr how to write your stories in the actionlanguage of the screen. It train.s you to think in action — shf)\v.s you how to latt^ynur stories into proper, acceptable form. It is compact, complete and aut}u»riiativ'0. It is concise, thorough ami easil\ mastered. If you want to know about the famine in photoplays — and the falmlous prices i)rodncers arc willing to jiay for the rigiit malertal send today for our ttew’ illustrated booklet, ‘'The Secret of Successful Photoplay Writing.” Shows the big demand for 1 ’aimer-trained writers — shows how you, loo, can tmd success in this highly p. fascinating licld. Send for your copy at once CECIL B. de MILLE J)irectoi’-G(’noral Fu mous Players Laslc\ / Corporation, says: “If a writer can give us a now stor.v, wo arc ready and willlJig to pay for it and pay well ... I am heartily In sympatiiy wtlli the I’aliner Plan and will always Iw ithid to have Frederick I'nliner cull iny atteidion to stories tliat sUidfiits of the l^almcr Plan CToato.'* DOUGLAS FAIRBANKS through Ins Scenario Editor. RUTH S. AITjEX, says: “IJko every other screen scar. I am ulwa.\a looking I’ov now veI\h’los. and any time That Frederick I^alniev llnds a meritorious story among tlio ciforts of sttidenta of the Palmer Flan, 1 shall be fciad to give it a hearing.’* FRANCES MARION ‘ I'aniDUs $r)0.ui)u-a-.vear scenario writer for -r' Mary Pickford. t*ay.s: “There is alw'a^« a market for clever new stories; ajid there is no reason why dearbra iiied men and women cannot write and sell pliotoplay.s. if tlicy put into practice the adviw contained in the Palmer Plan.** ‘{'yfte SECRET q/‘ SUCTESSrUl FliIO'roPI,AY WKITING Don’t delay — write Today! PALMER PHOTOPLAY CORPORATION ^ 41 I. W. Heilman Bldg. Los Angeles, Cal. 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