Picture Play Magazine (Oct-Nov 1915)

id service, and another one when he s awakened in the still hours of the ,-ht. immy had lived a life of fruitless (test against the illicit enterprise, but ir of the brothers and her weakured grandfather had kept her lips led. She had sent the note to Cabot the half-witted boy, asking him to ne to her, in order to draw him away ■>m the Stork cabin on a night when e's agent from the city was coming negotiate one of the periodical exmges of new money for old. She had 1 .red that Cabot would be drawn into • wretched business. On the same Miing, when she had so rudely [ ned him out of her cabin into the rm, she had just learned that the ■n were coming later to talk with her md father about the money, and she i been panic-stricken. Her later rush : the ford, and her rescue of Cabot om drowning, were the fortunate re:ts of her grief and remorse. The Storks had manufactured their vate currency for a number of years, :cessfully evading everything but gue suspicion. The innocent Jim had ally given the secret away by exanging bogus money he had childishly hed for the real money intrusted to 'n by Emmy. PICTURE-PLAY WEEKLY When the sheriff's investigation of the cabin of the counterfeiters was over for the day, and he had departed with his men, Emmy and Benton Cabot sat alone by the scene of the tragedy. "I'm quite a husky farmer now," remarked Cabot, "and I believe I could work my old place into something decent if I had you to help me, Emmy." Emmy blushed divinely and clapped her hands to her face. "Oh, you'd only go on laughing at me," she protested. "I don't know nothing, and I'm not fit for you, with your city clothes and ways." "The whole trouble has been," said the man miserably, "that you have never done anything but laugh at me and make game of me." The girl's eyes grew bright with tears. "Didn't I have ter laugh at you an' make fun o' yer clothes, so's you wouldn't make so much fun o' me an' my backwoods ways?" she asked pathetically. "Emmy, do you really love me?" he cried, springing to his feet. "Always did !" she sobbed, "since the very first time I set eyes on you !" And then he took her in his arms, and in a moment she was laughing again, not at him, but with him. Film Flams By Dean Bowman ^HE Fox Film Corporation's "The Regeneration" has five hundred ;nes. Anna Q. Nilsson and Rockffe F. Fellowes are the stars in the iture. It is the picture play of Owen ldare's novel, "My Mamie Rose." Whole cities have been erected by the lig Polyscope Company, in reproduc;n of biblical days, for Ella Wheeler ilcox's "Mizpah." The picture play j elaborate in every way. Owen Moore, it is said, refused a flatting offer recently to play opposite sie Janis in "The Missing Link," pre■ring to remain with the Griffith play The Balboa studios have just finished he Shrine of Happiness" for Pathe, d the entire roll of films is to be sent road to be hand-colored. Frank Griffin has now been in picture .ducing fourteen years, and he says the early days a twenty-five-foot reel was quite a stunt, and a one-hundredand-fifty-foot film was a feature. Gretchen Lederer is the star of the Victor films produced by the Universal Company. She was featured in "The Tenor," with Hobart Henley, and the release was directed by Leon Kent. Miss Irene Fenwick is the star of the Kleine studios, and will be featured more than ever under the Kleine-Edison combine. Her premier role is said to be the heroine in "The Commuters." Fred A. Turner, of the Griffith studios, has enacted a score of important parts in big features. He is eminent in "The Penitentes" in the part of a padre. In "The Desert Calls Its Own," a man-to-man "scrap" takes place on horseback, and is a thriller. Those who know the cowboy actor, Tom Mix, can imagine how thrilling it is. Ronald Bradbury is the author of 19 "Big Bill Brent," that Hobart Bosworth is filming at the Universal studios. Dorothy Donnelly, the star in the Metro's great feature, "Sealed Valley," portrays an Indian maiden, and the films were made in distant locations, some in Rome, Georgia, and others in Canada. Most of the fancy dancing seen in Balboa films is done by Margaret Landis, a Southern girl, who hopes soon to be seen in real parts. Helen is Scared. CHE doesn't know what fear is," is *^ no longer true of the heroine of Kalem's sensational Hazards of Helen Railroad Series. "The Watertank Plot," the newest episode of this series, taught her what fear is, and, what is more, the daring actress admits it. Hitherto, Helen has tackled the most dangerous feats with an air of nonchalance which plainly demonstrated the fact that she and weak nerves were Utter strangers. A few weeks ago, however, Kalem commenced work on "The Watertank Plot," a story which probably demanded more of the heroine, in the way of courage, than any of its predecessors in the series. Among the things Helen was required to do were leap from a trestle to a swiftly running stream, about sixty feet below; fight in a half-filled, railroad water tank — she came within an ace of drowning in this particular scene — and jump from the arm of the water tank to the top of a passing train. It was the latter feat which provided the Kalem actress with her first fright. In leaping, she misjudged the distance, and, instead of alighting on the center of the roof of one of the cars, struck the sloping side. But for the fact that she instinctively clutched a ventilator, Helen would have rolled to serious injury— or worse. "My heart jumped clear to my mouth when I missed my footing," the Kalem actress declared later. It seems difficult for many picture operators to get a start — but when they finally do — oh, how they go ! According to a Western physician, a man shouldn't play baseball after he is forty. And a movie actor shouldn't play juvenile leads after he is fifty!