The Moving Picture Weekly (1916-1917)

16 -THE MOVING PICTURE WEEKLY REMARKABLE story of a fancied pre-natal influence, by Elizabeth Burbridge, has been made linto a fine Gold Seal by Director Edwin Stevens, from a scenario by John C. Brownell. The plot is both unusual and convincing, and the manner in which the big scenes were staged would be a credit to a fivereel feature. Van Pelt, millionaire owner of tenements on the East Side, neglects the necessary rebuilding of them, while he makes handsome presents to his luxury loving wife. A disastrous fire occurs on the very day when he has been finally induced to visit the buildings. He loses his life in the flames. Rosa Castilli, a former servant of the Van Pelt's, lives in the tenements. She loses her husband and child in the fire and rushes half maddened with grief to the Van Pelt home. She forces her way to Mrs. Van Pelt's boudouir, and curses her, catching her by the throat. She is dragged away by the servants, leaving Mrs. Van Pelt in a faint. When the baby is bom, the mother is not allowed to see it. One morning, early, she makes her way to the room where the child is asleep, and sees on its cheek the mark of the fingers of a hand. The shock kills her. The child, little Leonoi-e, grows up under the care and influence of her aunt. The mark fades from her cheek, but returns at long intei-vals under the stress of anger. GOLD SEAL Three Reel Drama. Story by Elizabeth Burbridge. Scenario by John C. Brownell and production by Edwin Stevens. Tina Marshall Featured in a strong story of the very rich and the very poor. CAST. Leonore Van Pelt Tina Marshall Emilie Van Pelt Dixie Compton Rosa Castilli Sonia Marcelle Richard Travers George Mario John Worthington James Levering Leonore's Aunt Lucia Moore Volkutz Otto Van Loan Leonore meets Richard Travers, an architect, who has specialized in model tenements. She consents to his making plans for rebuilding hers. A society fop, Lawrence Algernon, is a suitor for her hand, and is favored by her aunt, who does not approve of Richard on account of his poverty. At last, her aunt persuades Leonore, suspicious, as all very rich girls are apt to be, that Richard is after her money, and prevails upon her niece to accept Algernon. When Richard calls with the contemplated plans which have taken him months to finish, the aunt sends him away with the curt message that she has changed her mind. Richard is beside himself with disappointment. Worthington just saves him from killing himself. He telephones to Leonore, railing at her for her neglect of her tenements, for her selfishness, and calling her worthless. She is seized with a terrible anger, and the mark returns. The maid who sees it, runs with the story to Algernon, who sends word that he has been called away. This brings Leonore to her senses. She visits the poor in the tenements, and forms a brotherhood club for the men workers. One of them, who suspects her identity, and hates her on account of the loss of his father and mother in the fire in which her father had lost his life, plans to be revenged on her. He meets some of his fellows and raves against the Veiled Lady, as she is called. One of them, to whom she has given work, goes to Worthington's office, and tells him that the Veiled Lady is in danger. Travers is there, and the two men go together to the meeting. Leonore is welcomed by the men, but Volkutz denounces her and says that the reason that she never shows her face is that she is the owner of the miserable kennels in which thev live. Travers and Worthington break in. Volkutz shoots at Travers, but the police, coming in at that moment, the agitators are taken into custody, while Travers cames Leonore out of danger. The next day, he goes to see her. ' She tells him that she can never marry him and takes off her veil to show him the mark. It has disappeared.