Universal Weekly (November 23, 1912)

20 THE UNIVERSAL WEEKLY STORIES OF THE FILMS UNIVERSAL BISON COMPANY, under direction of Mr. F. E. Montgomery Mona Darkfeather leading woman Charles Bartlett leading man William Bertram character man William Foster camera man [Continued from page 18] thinking Paul will never return. After three months’ absence, Paul is sum- moned home by the death of his mother. Zema is terror-stricken for his safety, fearing her brother would kill him before she could confess the truth, which she then does. Beatrice, who is in the sick room, enters just then, and in order to spare her the humiliation of discovering the truth, Paul takes the guilt upon him- self and promises to marry Zema. That night, Zema steals away, leaving a note, telling Paul that he is free and that she is going far away. One year later, while he. is crossing the mountains, Paul finds Zema dying, and she begs him to take her child and care for it. He takes the child and goes further West. Twenty years later, little Minna, grown to a beautiful girl, is sent by Paul to the East to finish her music. While travel- ing, there is a train accident, and Minna and a young doctor are the only two survivors. They fall in love with each other and he suggests that they go back to his father’s house and be married, so that they can proceed East together. Minna consents, and sends Paul a letter telling him of the affair. She thinks Paul is her father, as he has never breathed a word of her real parentage. She mentions the name of the doctor as Warren. Paul knows the young man is her own brother and starts immediately for the Warren home, first sending a telegram to warn them of his discovery. The wedding is about to be consummated when Jack learns the truth. In shame and disgrace he staggers from the room, taking a revolver with hii. The next day, Paul arrives. Beatrice, dressed in black, greets him and asks him to for- give her for misjudging him. The pic- ture ends with the lone figure of Minna going away over the hills, settling Fate’s debt for her mother’s transgression. IN THE LONG RUN. (Nestor Western Drama, Nov. 20th.) A happy little family, consisting of Jim Dowlan, his wife and mother, just finish their meal, and Jim rides away to town on business. No sooner has he gone, than “One-Shot Bill” rides up, and seeing the two women alone, forces them to give him food and water, after which, he sets out for town. Arriving there, he is recognized by the sheriff, but be- fore they can capture him, Bill has made his escape. Fleeing from the posse, Bill remembers the two timid women in the shack where he had demanded food, so hurries there and commands them to hide him. As he hears the hus- band returning, Bill pushes his wife in the closet in front of him, informing the mother, if she values her daughter’s life not to reveal his hiding place. Jim enters, but can get no satisfaction from the mother, but looking in the mirror on the opposite wall, he sees Bill as he opens the closet door to threaten her, and realizes his wife’s danger should he make a false move. As he is trying to decide what would be the best to do, he hears the sheriff and his posse, approach- ing. They enter the shack, but Jim is forced to declare he knows nothing of Bill. When the sheriff departs, Jim steps out on the pretext of joining his party, but really to tell of the desperado’s hid- (Continued on page 22)