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^MOTION PICTU
inel I MAGAZINE
I
"Say, who is that doll going into the big house? Oh Boy! What a beauty! Get me a knockdown to her!" Thus Miles Orkney arranged for another victim. It was Hope
A?^ CoT«fOs 'S-umes.
Do You Know
the Difference
Between
Liberty
and
License?
IT S THE DESIRE FOR LIBERTY that drives a girl away from home.
It's the exchange of liberty for license that brings her back a broken butterfly. Perhaps she doesn't mean to be bad, or, perhaps, like Hope Brown, she does, but whatever the motive the result is the same and it is usually brought about by a crisis similar to Hope's.
Hope went into the dining-room where highly decorated ladies were noisily drinking and eating. The landlady entered. "Got that board money yet ?" she harshly demanded of Hope. Hope shook her head frightened. "I haven't a cent," she confessed. "Then you'll have to leave," commanded the woman. Thus put out of the only place she knew in the City, Hope stepped into the street. The night was terrifying, dark.
This is one of the breathless situations in "The Girl Who Couldn't Be Bad." It is the same tragedy that may meet your little sister or your childhood chum when they run away to the City "to live their own lives." Such a misfortune may even overtake you!
If you are restless — if you are tempted to seek your own Fate — You will want to follow Hope Brown's experiences as told in
"The Girl Who Couldn't Be Bad
)*
A six-part serial
By Henry Albert Phillips
August Motion Picture Magazine
On the News-stands July First
117
PAS
i