Moving Picture World (Jan-Mar 1916)

February 19, 1916 THE MOVING PICTURE WORLD 1183 with him. while in another part of the house, Betty threatens to take poison unless Percy L>lopes with ht-r. The plotters arc caught in their own net and are forced to agree to the elopement. Percy meets a masked figure outside and hurries into a waiting automobile. Eddie, Betty and Mr. Gordon hiding behind the curtains, watch the pair sneak into the auto and start off. In the auto, Percy removes his mask and is greeted with a gasp of surprise, for iustead of Mrs. Newlywed he finds Ethel. The couple realize they have been outwitted and as they have started for a preacher, decide to finish the journey. Mr. Gordon congratulates the Newlyweds on their brilliant work and thinks with pleasure of the five hundred "hard earned dollars" of Percy's that is coming to him. FLIVVER'S DILEMMA (Feb. 18). — "Love a lot and love them little" is a motto that is very dear to the heart of our merry friend Flivver, for he is discovered seated amongst the girls, where all are enjoying themselves Immensely. Unfortunately the Reverend Flivver, our hero's father, accompanied by the curate, decides to visit his son, and makes an une.\pected call at this critical moment. Alas ! the visit is too unexpected for Flivver, who is at his wit's end to know where to hide hide the girls. Three are bundled into his bedroom and hidden In the bed; two are, by an ingenious trick, transformed Into armchairs ; and the remaining one, by placing a tray on her back is made into a table. The preparations are only just completed in time, for papa is so eager to see his son he bursts into the room as Flivver is giving final instructions to the girls to keep still. Both father and curate evince a strong desire to sit — having come a long way — and Flivver has hard work to prevent them. Papa wants to see over his son's house and. of course, the first room they visit is the bedroom, and father feels the bed to see if the boy is sleeping softly, only to discover something suspicious there. Poor Flivver is at first at a loss to explain, but gets over it by saying they are wounded Germans ! Papa believes him and they again return to the first room. Flivver, fearing discovery, determines to do away with himself, and returning to confess before the deed, finds his father in one chair with three girls and the curate in the other with the others. The Reverend Flivver, to silence his son. gives him a check for jl.OOii and departs, much to the joy of all, who foresee a rollicking time in store. JOKER. LEAP AND LOOK THEREAFTER (Feb. 12). — The cast: Bill Durham (William Franey) : Mrs. Bill nurham (Gale Henry I; Dr, KilU-m (Belburn Moranti); Daisy Brown (Lillian Peacock). Produced by Allen Curtis. Bill Durham is an inveterate tobacco fiend : Mrs. Durham, his wife grows tired of airing the house which Is always full of smoke. Daisy Brown, a neighbor, tells her to obtain some antitobacco pills that can be given in secret. Mrs. Durham is struck with the idea and purchases a supply. Fearing that Bill may discover her plan, she transfers the pills into a bottle labeled poison. Returning from work. Bill reads in the paper of the third case in a week in which jealous wives have endeavored to poison their husbands. Arriving home. Bill discovers his wife putting a pill in his coffee and is convinced that he Is about to become the victim of another poison case. In a ludicrous manner he avoids drinking the coffee. Later he discovered a poison bottle and to protect his life while he investigates her motive, he buys some candy pellets and substitutes them for the pills. The next day Mrs. Durham visits the oflBce and pours the bottle of pills in the water cooler, but the janitor frustrates her plan. She purchases another bottle of pills (of which Bill is not aware), and puts them in the poison bottle. Dr. Killem is in love with Daisy Brown who lives next door to Mrs. Durham. The doctor meets Mrs. Durham on her way home and requests that she deliver a note to Daisy. In the excitement of back yard gossip Mrs. Durham forgets to deliver the note. Bill comes home and discovers the note, which is written in such a manner that Bill is led to believe that Dr. Killem is his wife's affinity. He remembers the candy pellets he has placed in the poison bottle and hits upon a scheme to frighten his wife. Mrs. Durham returns to find Bill raving mad ; he fiings the note in her face and denounces her as being false. She tries to explain, but he storms about and refuses to listen. In a traglo manner he swallows the contents of the poison bottle, believing it to be candy. The overdose effects him and he goes to bed in pain. Mrs. Durham grows worried and sends for Dr. Killem. The doctor gives Bill an antidote, but Bill, believing the doctor is giving him a fresh nnishing dose, manages to fool the physician. Later he discovers the doctor in a seemingly compromising position with Mrs. Durham. The limit is reached and he denounces them. His dramatic exposure winds up In a satisfactory explanation of the note, and he is bewildered as to the motive of his wife. In a ludicrous manner he learns of the anti-tobacco camnaign against him, and he tries to find solace in his favorite stogie, but learns that he Is the losing candidate. In the back yard he digs a hole and plants his box of stogies. On the tinj mound he places an inscription : "Here lie the evil habits of Bill Durham; tuey met their death at the hands of his loving wife." ov^r the tiny grave the husband and wife seal the future with a kiss. RED FEATHER. THE PATH OF HAPPINESS (Five PartsJan. 31). — The cast: Joan (Violet Mesereau) ; Merrill (Harry Benham) ; Grekko (Sidney Bracy) ; Doris Ingraham (Florence Crawford) ; Joan's father (Joseph Phillips) ; Barbara (Dorothy Benham) ; Little Grekko (Leiand Benham). Written by Elaine Sterne. Joan is a child of Nature and resides with her father and Grekko in the woods of Northern New York. Grekko has been living with Joan and her father ever since he was rescued some years ago from a bear trap in which he was caught. He is a cripple. Joan's father dies and Grekko vows to look after the young girl, who knows nothing of the outside world. Merrill Day is advised by his physician to seek the quiet of a secluded country place in order to recuperate his health which has been shattered by overwork. Fate ordains that he pick out that part of New York where Joan lives, and he arrives there with his widowed sister, Doris Ingraham, and her little daughtei, Barbara. In roaming through the woods one day he comes upon Joan giving vent to her grief over the death of her father, and tries to ch3er her up. But she is unaccustomed to the .■iifcjt of man and darts away. Several days later in rambling through the woods Joan comes upon the big doll which had been forgotten by the roadside by Barbara who went in search of her nurse who had wandered a short distance away. Fascinated by the plaything she takes it away with her. The less of the doll is discovered, and Merrill goes to hunt for it. Near the spot where Barbara said she left the doll, Merrill finds a rag garter. He recognizes It as belonging to Joan and goes to her cabin. He demands the toy, but Joan refuses to give it up. Grekko intervenes in behalf of his ward, and Merrill finally consents to let Joan keep the doll. He learns that she is untutored and begins to teach her to read from the primer which Barbara brought along with her. Grekko meanwhile has been harboring a hatred for Merrill ; he assumes that the latter's intentions are not good. His animosity comes to white heat one day when Merrill calls upon Joan. She is In swimming. Merrill refuses to obey the demands of Grekko to keep away from Joan and is attacked. By an artifice Merrill succeeds in overpowering Grekko and then goes In search of Joan. Months later Joan and Merrill are madly in love with each other. But when Grekko sees Merrill caressing his sister he informs Joan, who scathingly denounces the broker. By a prearranged plan with Grekko he is to fire and kill the broker when Joan is in his arms. When Joan finishes upbraiding Merrill he tells her that the other woman is his sister, and that he is in love with no other girl but Joan. Overcome with love for the man she throws herself into his arms, and it is then that she realizes what will happen to him. In order to spare his life she places herself in such a position that she receives the bullet. Grekko sees the enormity of his crime and tries to make amends, but is driven away by Merrill. Believing that he has killed Joan, Grekko leaves the country. But she received a slight wound only, and when Joan regains consciousness, the lovers come to a perfect understanding and the renewal of their love. THE SPHINX (Five Parts — Feb. 14). — The cast: Arthur Macklin (Herbert Kelcey) ; The Sphinx (Effle Shannon); Betty Mackin (Beatrice Nozes) ; Charles Macklin (Charles Compton) ; Frances Evans (Louise Huff) ; M. Valentine (William Bechtel). Written by Reynard L. Schrock. Produced by Mr. Adolphl. The Sphinx is a nickname given to a dancer, who interprets the classique. After the cares of the stage are brushed aside at night, a fastdriven limousine carries her to the Lion Head Apartments, where colored servitors wait upon her and deck her with perfume and flowers, tor the coming of "Jim," her lover. Mr. Macklin is a widower, but has a son named Charles, who is studying art under the tutelage of M. Valentine, a French painter. Charles has become attached to Frances Evans, society girl, and their affection has resulted in their engagement. One day, during a class in art at M. Valentine's studio, where Charles is studying, the Sphinx calls. The master Introduces her to Charles, but does not mention the boy's name, since he has a deep affection for the strange woman himself. The young art student falls under the spell of the Sphinx and his affection for Frances wanes. To his pleadings to receive him at her residence the dancer turns a deaf ear. A theater party, of which Charles and Frances are members, gives him his opportunity. Prominent in the performance is the sinuous dance of the Sphinx. Under a pretext he leaves his own party and trails the Sphinx to her home. When Charles appears at her apartment, she receives him with consternation. She is expecting Macklin. She is unaware that this is the son of her expected visitor, but decides that the jealous Macklin must not find another visitor there. When the latter arrives she begs Charles to conceal himself, but he agrees only when she promises to come to his studio the following day so that he may paint her portrait. The Sphinx hides Charles and when Macklin arrives hurries him into another room, while the maid allows Charles to slip unnoticed from the apartment, ignorant of the identity of her other visitor. The next day the Sphinx keeps her promise. She comes to Charles' studio, a pose is arranged, and Charles proceeds to paint. Meanwhile, Frances, unable to understand Charles' coldness, has been encouraged by the latter's sister to seek him at his studio. She calls just as Charles Is engaged upon his big picture. Charles tells Frances that she is interfering with his work and prevails upon her to leave. She goes, but suspicion leads her to peer through the keyhole of the studio. The Sphinx consents to grant oni kiss and Charles is enslaved. At this juncture Frances steals in upon them, Frances, tearing the engagement ring from her finger, runs away in tears. Charles laughs and turns to the Sphinx, who censures him for his conduct, calling him a heartless boy. Heartbroken. Frances goes to Charles' father and tells him that a worthless woman whom she does not know has ensnared the boy she loves, and that it was tor her that he forsook the theater party. When Charles returns at night he is sternly taken to task by his father, but this has no effect on Charles. Charles calls upon the Sphinx and finds that she is making preparations for a birthday party. Macklin arrives and she again hides Charles. In the course of their conversation, Macklin discovers a halfburned cigarette, and demands to know where and who the other man is. She refuses to tell, and Macklin seizes her. Her screams bring Charles from his hiding place, and father and son come face to face and each recoils. In the woman before him Charles now sees but a shameless, tempting siren, and he wildly denounces her. Macklin is roused in her defense and springs at his son and there Is a fight in which the father, striking his head on the floor, is rendered unconscious. Charles Moving Picture Theatre Owners Wishing to increase gross receipts and net profits, or desirous of securing additional ideas for the development of legitimate business, will receive information of advantage by writing for a copy of our "Motion Picture Theater Supply Catalog 'S*.*' 607 OLIVE ST. ERKER BROS. ST. 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