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AUG 30 1929

Talking Picture Magazine

"Only Publication Devoted to Talking Pictures and Television"

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TALKING PICTURE MAGAZINE

"Only Publication Devoted to Talking Pictures and Television"

Vol. I. (

OCTOBER, 1929 /

No. 1

MIRACLE

HE greatest miracle for which any one can ask is to be MASTER of himself. Whatever our goal — and each of us has a goal, just as every short story, for example, has a climax towards which it flows — our own efforts will determine that culmination. And yet, we are so subject to outside influences that we follow the easier course and often-times flounder in uncertain grounds.

Whatever your interest in talking pictures — and they will dominate the amuse- ment field of the future — have the courage of your convictions and follow through. If you are a producer, listen not to those who would have you compromise or de- lay in your productions. Do you not know that 210,000 people attended Roxy's in New York in one week! If you are a writer, either professional or amateur, give your finest creative efforts to the newest of all professions. Nine out of ten playhouses on Broadway have gone "talkie" and the most reputable producers are clamoring for original stories of merit. If you are a playgoer, welcome the "talkies." No longer will you have to be a critic to obtain a front seat!

Keep faith with the "talkies"! It will bring you increased prosperity, — and hap- piness as well!!

Published monthly at 15 cents a copy. Annual subscription, $1.00; Canadian subscription, $1.25; fore,gn subscripts $1.50. Application made or entermg as second class matter, under the Act of March 3, 1879. Published monthly on the 25th of the month preceding the date Six months advance not.ee reared for change of subscribers' address. Talking P.cture Magazine, Publishers; Daniel O'Malley, Editor; D. S. Margohes, Advertising Manager VnsoloicHed manu- scripts, if not accompanied by stamped and addressed envelopes, cannot be returned, and the Editor cannot entry tnto correspondence about them Manuscripts should be addressed to The Editor, and not to individuals. All accepted contributions are paid for on acceptance, without reference to date of publication. The entire contents of this magazine are protected by copyright and must not be reprinted without permission.

Page 2

TALKING PICTURE MAGAZINE

October, 1929

TELEVISION

An Experiment Which Promises Well For the Future

~\X7'(r"^"V tne ^rst broadcasting sta- ff v VJ-1 JL j tion to organize a dra- matic group and present plays regular- ly to the radio audience, established it- self as the first station anywhere to pre- sent a drama by television, transmitting picture and voice simultaneously on sepa- rate radio channels. Those equipped with suitable receivers for vision and sound were able to see and hear the actors in the play, though miles separated them from the actual performance. Drama by radio was made possible by the recent development of a simplified and portable television transmitter or camera by Dr. E. F. W. Alexanderson, consulting en- gineer of the General Electric Company and chief consulting engineer of the Radio Corporation of America.

Martin P. Rice, manager of broadcast- ing for the General Electric Company, explained that in presenting the drama through the medium of television, WGY is co-operating with the engineers in the de- velopment of a studio technique well in advance of the time when it will be practi- cal to offer television to the public as a finished production. Such practical ap- plication affords the only reliable method of determining the future possibilities as well as the limitations of television.

"WGY was the pioneer broadcasting station in the field of radio drama," he stated, "and it is fitting that we, in co- operation with Dr. Alexanderson, should thus early investigate the adaptation of this new branch of the radio art to the drama. Three years ago scientists in many countries began a thorough investigation of television and its possibilities. Today we have shown what Dr. Alexanderson has accomplished and, in broadcasting a one act play by television, we have en- deavored to point out one of the very inter- esting applications of the new art. When television has reached that stage of de- velopment where 'sight' signals may be received as reliably as 'sound' signals are now received, we at WGY hope to be prepared to carry the image as well as the voice of the actor to thousands not here- tofore privileged to enjoy the drama."

The first play by television was broad- cast during the regular television period of the Schenectady station and a second performance was later put on the air. The play was "The Queen's Messenger," a one act drama written thirty years ago by J. Hartley Manners. The television version was the same in every respect as the stage offering, but many new prob- lems in dramatic technique were pres- ented in putting on the air a performance intended for reproduction instantaneously in homes distant from the scene of the ac- tion.

Nine months ago, Dr. Alexanderson exhibited a simplified television receiver. Television then was taken out of the laboratory and shown in the home. Voice and picture were simultaneously broadcast by WGY on different wavelengths and ob-

JACK MULHALL

servers stationed three to five miles from the transmitters saw and heard the per- formers.

The presentation of the drama by tele- vision was made possible by further de- velopments by Dr. Alexanderson, in the simplification of the transmitting appara- tus in a convenient and portable form. The transmitter may now be carried from place to place as easily as modern broadcast equipment is transported and it was indicated that the time will come when the television transmitter or camera will be set up in the radio studio, on the lecture platform, the stage or at the ban- quet table. To illustrate the portability of the outfit, WGY recently set up the the camera on the platform in the as- sembly chamber at Albany where Gov. Alfred E. Smith delivered his address ac- cepting the Democratic nomination for the presidency.

The camera, consisted of three units, a cabinet containing a 24-hole disc and a 1,000 watt lamp as a light source, and two smaller cabinets each housing a photo- electric tube with amplifier. All three cabinets were mounted on tripods, en- abling the operator to raise, lower or tilt the light source to suit the height or position of the performer.

In the presentation of "The Queen's Messenger" three cameras were used — a camera for each of the characters in the drama and a third for the introduction of "props" and other visual effects.

The actual adaptation of the television apparatus to the play was made by Mortimer Stewart, well known as the producer and director of a series of radio plays from WGY, interesting and numerous dramatic offerings from the New York stations of the National Broadcasting Company. Mr. Stewart's problem was not only the development of a technique for a new dramatic form but also the problem of apparatus which is as yet crude and admittedly inadequate. For example, at the present time only the heads of the actors can be shown, and the image in the television receiver is the red of the neon lamp, this being the only device which has the necessary simplicity.

The drama was presented in one of the studios of WGY. The director, standing between the two "character" cameras, governed the radio output by means of a small control box with two knobs. With one of these knobs he brought any one of the cameras into the circuit, depend- ing upon which character was speaking. The second knob enabled him to fade the images in and out, very much as the fade- out is used in motion pictures. In front of the director was a television receiver in which he could at all times see the image going on the air, and check the performance. In addition to the cameras there was a microphone for each actor to pick up the lines of the play. The performance went out on three wave- lengths, the picture on 379.5 meters and 21.4 meters and the voice on 31.96 meters only.

Inasmuch as only the heads of the ac- tors can be transmitted at the present stage of the development, it became neces- sary for the director to find some means other than head movements or the change of facial expression to convey action. This was accomplished by utilizing the third transmitter for hands and "props." For example, when the lady of the play offers to pour some wine for the mess- enger, the third camera picked up the image of the lady's hands with bottle and glass, as she poured the wine. Keys, a ring, a revolver and many other "props" were thus introduced to add realism to the performance and to break the mono- tony of head images only.

Because of the limited range of the camera, great pains were taken to keep the actor "framed", — that is within the small area in which the eye of the pick- up camera might find him. Each actor worked in front of a white screen, a background which gave definiteness to his features. Borders were established, within which the actor had to stand, or be lost to the camera.

Special problems in make-up were presented that the red image might have definition and clarity. Make-up techni- que of both the stage and screen were drawn upon and an effect different from either was reached. The eyes of the ac- tors accentuated to a point of exaggera- te Continued on page 12)

Mention of the Talking Picture Magazine is the best introduction to advertisers.

October, 1929

TALKING PICTURE MAGAZINE

Page 3

An Interview With Corinne Griffith

How I Felt When I First Heard My Voice Coming From the Screen

By ROLAND HAYES

npO an actress accustomed from her ^~ early teens to the daily routine of a motion picture studio, one of the most disconcerting things about a first voice test is the changed "atmosphere" of a sound stage with it impressively barracad- ed double doors and its walls padded with a sort of felt material throughout. One steps over cables, hears strange bells ring- ing for silent signals, sees people tiptoe- ing about and beholds the cameras en- cased in sound-proof boxes that look like telephone booths, where unlike silent pic- tures, everything is photographed through glass. As there is practically no ventila- tion in these boxes, since any openings would allow the sound to filter in, record- ing must stop every little while and three heavy knocks are pounded against the cameraman's door as a signal to unlock the box and come out to breathe the fresh air for a few minutes before resuming the grinding. Then there is the recorder's table with a sort of switchboard arrange- ment where he telephones strange sound- ing messages, such as "turn 'em over," when everything is in readiness for the motors to start.

Until one becomes accustomed to all of these new arrangements there is natur- ally a feeling of hyper-consciousness. When I made my first voice test I found the greatest difficulty was to talk natur- ally. The only real difference in talking for the Vitaphone from everyday manner of speech is to say one's words a little more slowly, allowing for proper timing or synchronization with action of the film and to guard one's S's so as to prevent any semblance of a lisp.

But to talk naturally is just where the difficulty comes in. In everyday life we speak with as little conscious thought of intonation, pitch or timing of the words, as we breathe. It is my contention, how- ever, that an actress should be just as natural in dialogue pictures as in silent pictures. In other words she should be herself. It would be a great mistake, I think, if we all dotted our Fs, crossed our T's and clipped our words in a stilted, trained, similar fashion. So I resolved to talk in just my own everyday ac- customed way. Imagine my astonish- ment, then, when I heard the first "play- back." I could scarcely believe my own

Mention of the

CORINNE GRIFFITH

ears. Stentorian tones thundered through the studio! Though I had talked in my usual voice it came back amplified to such an extent that I got the feeling of ad- dressing a multitude through a mega- phone about a mile away from where I was standing. This tremendous volume was for me the most surprising part when I first heard my voice coming from the screen. Of course, the voices are toned down properly in the final showing of the picture, and after a time one grows ac- customed to what to expect, but that first experience is cerainly terrifying!

It seems curious to me now, since I have come to believe so thoroughly in dialogue pictures that I have signed a new contract to make six all-talking specials for First National — two a year — for the next three years — to remember how opposed I was to them in the be- ginning. I thought they were terrible and would set the industry back about five years. Women's voices were par- ticularly annoying to me and the great possibilities of the screen, particularly in

the matter of outdoor sets and locations, seemed so limited. But that was in the beginning, when unfortunately certain pictures were released before the new sound film devices were perfected. In my abhorrence of the whole idea, I refused to recognize the great possibilities, which the future held in store. I suppose that was largely because, first, sound was put in stories just for the sake of sound, but now everything is so different — technical defects are being removed daily and the artistic principle is developing rapidly to a stage of perfection. From a bitter op- ponent I have changed to a most ardent enthusiast and believe that dialogue pic- tures, such as "The Barker," "Broadway Melody" and "In Old Arizona;" have so altered the whole aspect of this new- screen art, that the talking picture of the present is an entirely different thing from the first experiments in sound.

It is interesting to note that the great Thomas Edison's first experiments with motion pictures were with the idea of syn- chronizing sound, but the inventions deal- ing with the silent movies developed so much faster than the sound devices, that the movies took the bit in their teeth, and the silent drama kept gaining in im- portance until the talking angle was lost sight of and gradually dropped. Now the pendulum has swung and we have come back to the Great Wizard's original idea.

In the first two pictures I have made with dialogue sequences — "Saturday's Children" and "Prisoners" — I found that suiting the action to the words and vice versa, is a great help in character delineation. Instead of the old way of rather slipshod mumbling of any im- promptu lines to help the pantomime, we now say intelligent things where deft shading is as revealing in the matter of mental processes and emotions of our characters as the artist's brush in the painting of a portrait. Words help me to feel a character much more intensely; to say the things that a person really would say in a given situation, gives a much greater semblance of reality to every role, and I find all the members of my com- pany fired with a new enthuiasm and earn- estness in their work. Intelligence has at last come into its own on the screen and the greater demands which dialogue pic- tures will make upon the individual play- ers, must naturally result in greater art.

Talking Picture Magazine is the best introduction to advertisers.

Page 4

TALKING PICTURE MAGAZINE

October, 1929

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THE LAW Harry E. Auerbach

TO ICHARD MORLEY has been sen- ■"^ tenced to prison for his share in a cigar store hold-up. The day marking the beginning of the fourth month of his fifteen year sentence shows us a gang of prisoners, chained together and engaged in road building. Sledge Hammer Tom- my is alongside Richard and it is a simple matter for him to smash the iron collar around Richard's ankle. Richard is free. Under the name of Paul Leroy, he starts a fire insurance business and prospers. Wealth has not brought happiness to Paul. He is stern and grouchy and he indicates his bitterness towards society by his- attitude toward his help and as- sociates. Paul's clients are the ignorant shopkeepers in the slums who are refused policies by reputable concerns. The Artie Underwriter Company is the name under which Paul operates. A shrewd attorney and an unwillingness to settle the just claims against him, contribute to his rap- id accumulation of riches. The wealthier he becomes, the more stingy he is to his help. Such incidents as the use of in- coming envelopes for second sheets, and the numbering of cigars in his box were commonplace. His chauffeur, too, was carefully watched for his expense items, to a point where his job became unbear- able. A new set of employees at regular intervals was the rule.

Paul's attorney absconds with some $10,000. At this time May Allen becomes Paul's stenographer. While she admires his business ability, his attitude toward the poor makes her detest him. Paul goes to the east side to purchase a pair of shoes. While in the shop Sledge Ham- mer Tommy, released from jail, recog- nizes his voice. He calls on Paul the next day. Paul at first denies acquaint- anceship, but relents under pressure. Tom wants a job, not money. Tom falls in love with May. Knowing his influence over Paul, she urges him to make Leroy change his ways. Tom hesitates, but when Paul forecloses the home of May's parents, after Tom's protest, he decides on action. The Insurance examiners are notified, investigation follows the next morning and irregularities discovered. Bribes fail, and seeing that he is beaten, he calls Tom, asking him to salvage what is left. He is to turn the business over to him and disappear. Tom is to settle outside of New York and retain $50,000. Paul vanishes. When the business is set- tled, some $500,000 is left, which is turned over to Tom. Tom and May marry, and Tom, keeping his word, meets Paul. He gives Paul only $5,000, saying that he is going to return most of the money to the poor who have been robbed. Of course, Paul is furious, but he is now a fugutive from justice and he considers himself lucky to get off with his skin. He is licked and he knows it. Paul is warned to go West, else prison sentence will fol- low. Tom and May bring happiness to the defrauded poor.

STEEL William Romulus Rhys

LOCALE commences with Mardi Gras Carnival in New Orleans. Louis Beresse's bar and gambling house. Men of the underworld drift in, dragging three girls. One is Delores de Hernandez y Alvarado, prominent society girl from Spain. She was separated from brother in crowds on street. A stranger enters — Jimmy Kent, Southern gentleman and sportsman. He is C3_nical at first but then defends Dolores with aid of Remus, his negro, for whom he has come to col- lect a -'debt. There is an intense fight and Jim, Dolores and Remus emerge with honors. Jim's skill with cane-sword is mainly responsible. Jim and Dolores be- come fast friends. Aeroplane rides, races, dinners, fencing matches. Scandal caused thereby. Kent is the Southern Open Fencing Tournament Champion. He is to defend his title against DeLesseps, strong Continental Champion. Yacht par- ty— Honorable Wright Van Elson, New York sportsman. Don Jose Carranza attends Dolores. Kent makes love to Dolores. Dr. Cameron warns him that Carranza is looking for Dolores. Kent and Carranza threaten to clash.

Broadcasting of the Fencing Tourna- ment. Diplomatic corps, high naval offi- cials, society, college bo3rs. 120 piece Orchestra. Fight between Kent and De Lesseps fascinating. Kent is almost beaten but makes remarkable come-back and wins, after all forecast his defeat.

Kent's father wants him to quit his es- capades. Threatens to make cousin his heir. James has promised to leave town. Will not divulge his secret. Kent Sr. bids him to understand he does not retract his word. James leaves, sorrowfully. James Kent disappears. Leaves no clue. At the same time Manuel Ruiz, deposed president of the Republic of Libertaria, also sinks into obscurity.

Dolores is on deck homeward-bound. Kent has promised Dolores over the phone before leaving that he will see her six months thereafter in Spain, there- by breaking his appointment with her for that evening, made at the Fencing Tournament.

In Spain Carranza gets wind of this engagement and threatens to kill Kent. Kent arrives by aeroplane at Madrid. Meets his chum Lester Allen. In a cafe Don Juan Carranza, Don Jose Carranza's cousin, challenges him to duel. Kent ac- cepts. Duel by aeroplane with Kent, Allen and Remus against Don Juan Carranza, Herr Zeester, famous German war pilot, and Senor Ramonez. Kent victorious.

Kent returns to Dolores' estate. Finds her missing but letter is handed him stating she is engaged to Carranza. In the library. Carranza holds pistol and forces Kent to fight duel. Carranza is killed.

Kent leaves, but on solicitation of Al- len, who is at the estate, returns, and there is reconciliation between Jim, Dol- ores and Jim's father.

MIRIAM J. T. Trencheny

THE majestic castle of Schellenburg dominates the country. Here Sieg- fried, intolerant chief, directs the Robber- knights of Schellenburg in the harassing of travelers, rich or poor, who in their journeys, pass through the country. The Jews too, in the Ghetto, pay valuable tribute for tolerance. They are distin- guished by the long, black "Caftans" with yellow disks centered at the middle of the back. There are few girls on the streets, by orders of Siegfried. Once a year warriors are sent to the Ghetto to bring in all females past fifteen and not more than twenty-one, for inspection. Girls whose families were with means are set free — others are sacrificed.

In the Ghetto lives Abraham Ben Isaac, a rich Jew, with his daughter Miriam. The International Fair, A.D. 1250, is to be held in Buda, capital of Kingdom of Hungary. Abraham wants Miriam to marry Jacob ben Levi, rabbi of the Ghetto, to protect her during his absence. Miriam implores him to take her along.

They arrive at Buda. Miriam, under the influence of freedom, becomes still more charming. Jaroslav, Count of Tarnow, appears before Abraham. He robs Abra- ham, offering to restore same upon ob- taining Miriam as mistress. Count Jaro- slav uses his sword upon Abraham. Knight Arpad de Nagfy of Nagfalva, Marshall of the Fair, arrests Jaroslav. Arpad and Miriam fall in love at first sight. He wants her to marry him, re- gardless of their different faiths.

Miriam is known as Maria to the par- ents of her husband, — third daughter of the Noble of Schellenburg. Miriam and Arpad go to his home, where a wonder- ful reception awaits them. Miriam con- quers the heart of everyone by her kind- ness and charm.

Abraham and Rabbi Jacob pledge re- venge for Miram's desertion.

Five years pass. Little Bela is born to Miriam. Meanwhile, Tribunal of El- ders, court of the Jews in all Ghettos of Europe convenes and arrives at secret verdict as to Miriam's guilt. At this time the oligarchs of Upper Hungary, following example of Robber-knights of Krnow, pillage the travellers. Nobles organize punitive expedition to curb land barons and Knight Arpad becomes com- mander of an army. Miriam wants him to staj\ Finally she volunteers to go along. She wants to see her father, how- ever, before leaving with her husband. Miriam returns to her home. Rabbi grabs her by the throat — Abraham reads the scroll — "We, the Elders — treason, harlo- try, infidelity — and in punishment there- of." Arpad, with memories of the Cham- ber of Horrors, curse of his ancestral home, searches for his wife. He sees the Rabbi strangling his beloved. Abra- ham falls dead. The Rabbi is bound and gagged, and Miriam and Arpad ride through the Ghetto gate.

Mention of the talking Picture TAagazlne Is the best introduction to advertisers.

October, 1929

TALKING PICTURE MAGAZINE

Page 5

THE GABRIEL STONE Harvey Harmon and Jessie E. Gladish

THE time is 1804. The place— The Rappite village of Harnionie, Penn- sylvania. Elsa Schumann is bound by a promise to her dying mother to obey Father Rapp. Martha and Louis Gilman rear her. Their son, Franz, is her con- stant companion.

The Rappites move to New Harmony, Indiana. Franz and Elsa's love is awak- ened by her collapse in the wheat field, where men and women are prodded to superhuman endeavor by Father Rapp. Father Rapp is a religious fanatic, teach- ing the iminence of the second coming of Christ, strongly advocating celibacy, but not demanding it. He neither gives nor refuses his consent to Elsa's marri- age, but makes his decision known by publishing their first banns, the final banns to be published a week later. At that time, he gives a dramatic account of a vision he had the night before, when the Angel Gabriel appeared, bearing a message that Christ would come to them as soon as they became perfect in His sight. He commands them to sever all earthly relationship, and forbids further marriages. As a proof of the heavenly visitation, he points to an unfamiliar ob- ject beneath the pulpit. It is a large stone that has lain in his yard for years, now bearing the imprint of two bare feet and a scroll on which a text has been traced by the angel's sword.

The older members yield; the younger ones rebel. Franz tries to persuade Elsa to leave the community with him, but she is restrained by her promise. A stranger, Robert Frazier, appears. His mission is known only to Father Rapp. Franz and Frazier, become inseparable. When Frazier speaks of leaving, Franz decides to accompany him. Frazier arranges a meeting between Franz and Elsa. Father Rapp surprises them, imprisons them and they are tried before the council in the "Labyrinth", a place of mystery. Franz denounces Father Rapp, defies the elders and is placed in the dungeon at the fort. He is awakened by strange noises above. His cries summon Father Rapp through an underground passage and they dis- cover Johann, the watchman dying. He names "Fr-fr-f-f-f-f" as his assailant. The safe, containing the community's money, is empty.

Father Rapp accuses Franz of being responsible for the crime because of his disobedience and banishes him. The com- munists are summoned and apprised of the tragedy. Louis Gilman repudiates his son. Franz rushes to his invalid mother to say good-bye. Her husband and Father Rapp find her clinging to the gate calling for Franz. She bitterly upbraids them and blames Father Rapp. Elsa learns of the tragedy and goes in search of Franz. Frazier accompanies her to McFadden's Landing (now Mt. Vernon, Indiana) where they find Fritz, Johann's associate, drinking and gambling. They follow him, find the stolen money, have, him impris- oned and go for Father Rapp. Fritz 'con- fesses, vehemently denounces Father Rapp as a false teacher, and then hangs him- self.

Franz is a laborer on the wharf at New Orleans. A vessel from a German port brings a passenger who attracts Franz's notice. He is William Schumann, Elsa's father, whom they believed had wilfully allowed his wife to die in want.

His story is convincing and Franz takes him to Indiana.

The Rappites have moved back to Penn- sylvania. Franz and Schumann fol- low, and the family is reunited. Father Rapp is dying and expresses his doubt as to the accuracy of his interpretation of the angel's message. He tells Franz and Elsa to decide for themselves. They are married. The elder Gilmans take up their lives together and they all return to their old home at New Harmony.

THE PARTY'S ON Frederick H. Lape

Hp HE characters of this manuscript are Ted Leonard, tall, blonde, active, with a good singing voice, singer and saxophone player in the orchestra at La Favorite. Clara Mae Bassets, black, bobbed hair, dark eyes, impudent face, with a come-back for everything. Helen Lawrence, blond, blue-lavender eyes, exquisitely beautiful, and equally crooked. Ben Lawrence, owner of La Favorite, Helen's husband, — a nonentity. Vaude- ville Circuit Manager. Producer. Cheap Actor.

The scene opens at La Favorite, a roadside dance hall near Albany. Clara Mae tries to persuade Ted that there is no future for him at La Favorite. Helen resents her interest in Ted. Ted has promised in event that he does leave he will take Helen with him, and Helen holds him to his word. Clara plans to show up Helen in her true colors and to that end arranges for a good looking actor to drop in and pose as a producer, offering Helen the leading role in the new play. The scheme works, and Helen tells Ted the deal is off. Ted and Clara leave for the city to arrange their act.

An unusual opportunity is presented Clara but she will not accept without Ted. The male roles are all filled. Later, the producer calls upon Ted. "Listen to sense. What have you got, after all, but a vaudeville act? Suppose the act doesn't take? What have you got to offer the kid?" Ted succumbs and the opportunit}- is presented when Helen finds her way to his apartment. Feigning re- newed affection for her he permits Clara to assume that he and Helen are to take the act for themselves, side-tracking Clara. When Clara leaves, Ted turns on Helen in fury. "Now get out! Get out quick!"

Some six months later in a small town on the circuit. Christmas day. Ted has just arrived in company with an actor called Shorty. The Lyceum in Gerin. One of the most difficult towns to play. Crowd rough, boisterous, callous. The Frank Lyon Company, remains of a Broadway show that went on the rocks, precedes Ted's act. Clara appears on the stage and the rough reception confuses her. Ted rushes to her help, calls for his song, and together they carry through. "We'll make Broadway — and stick-to- gether!"

"You're damned right! Let's have a Christmas party!" "With no blondes." "You're damned right!"

FOLLOWING THE GLEAM Evelyn E. Jones

A LICE GRAHAM, of sunny disposi- ■l^- tion is sorely pressed for funds. Her husband and children adore her and de- pend upon her. John Graham has given

up a successful business to follow the lure of the pen, for which he has a natural tal- ent. His trivial stories do not seem to have any trouble selling, but his serious work — his first novel, — his first real creative work, continuously returns from the publishers. Worn-out and patched clothes are their lot until better days ar- rive. He did not neglect himself, physic- ally or mentally, feeling that some day he would receive the recognition his work merited. "The Flowing Tide" was good — he did not need anyone to confirm it. He was sure of his ground.

During a walk with his wife and chil- dren, Alice notices a rather pitiful sight. An old women of seventy years appears' to be alone in the world. John knows of her and her family. At one time she was engaged to a Lieutenant in the Navy. When he was lost on an ocean voyage, she took it very severely.

The Grahams take in Miss Nelson and give her the freedom of her home. One night, while John is sitting up, working upon his new novel, the house is set on fire from an overheated furnace.

"Your correspondent called yesterday at the home of Mr. John Graham, who, as you all know, is recovering from in- juries received in the Brooklyn Apartment fire of last March. At great risk, he car- ried the aged Miss Amy Nelson, bodily, from the upper floor, and both barely es- caped from the smoke-enveloped build- ing with their lives. Miss Nelson, who is the daughter of George Nelson, one of our pioneer merchants, and a descendant of the great Admiral, now makes her home in the author's family. We understand that Mr. Graham's children are to in- herit her very valuable real estate hold- ings in this city. She had the ancient deeds to this property in her room at the time of the fire and through all of that dangerous adventure, she kept the bag containing these deeds, tightly clasped in her hand.

"With his first novel 'The Flowing Tide' 011 the shelf with the best sellers, and being produced simultaneously on the Metropolitan boards and on the silver screen everywhere, the public will anxi- ously await the appearance of Mr. Graham's 'Star-Crossed Lovers', which the publishing house of Baxter Brothers is announcing today."

THE SQUIRE Mrs. John T. Taggart

OQUIRE McVEIGH is a wealthy land- ^ owner in Ireland. He is a tyrant — as hard as rock — and is despised by everyone because of his cruelties to his tenants.

It is when he is making preparations for the evictions of his poor tenants ("cotters") that his beautiful and gener- ous wife sends her charming young daughter among these poor people to distribute money and provisions. Here Kitty McVeigh meets Larry O'Toole, a young lawyer who has just been admitted to the bar. He is a member of the law firm of Kerr & Simpson of Belfast. Larry falls in love with Kitty. Their love is mutual.

The squire wants his daughter to marry one Dan O'Niel, an old friend of the family and a man about thirty years older than Kitty. Kitty hates him. She can't bear to look at him.

Her father becomes furious when he hears that young Larry O'Toole pays attention to his daughter. He insists

Mention of the Talking Picture Magazine is the best introduction to advertisers.

Page 6

TALKING PICTURE MAGAZINE

October, 1929

upon her marrying Dan O'Niel as soon as the contract of marriage can be drawn. He sends for his attorney, Mr. McGill, who meets Dan O'Niel at the home of the squire. They engage in a lengthy dis- cussion as to how much money the squire can settle on Kitty.

O'Niel is very wealthy. In fact, he is the richest man in the County of Mayo. The squire cannot see anything but mon- ey, for money is his God, and he is will- ing to sacrifice his beautiful daughter for the sake of wealth.

O'Niel is a man of many sordid heart intrigues. Larry O'Toole has been ap- pointed by his employers, Kerr & Simp- son, to take up the case of Molly McCoy, who is suing Dan O'Niel. She claims he is the father of her six-year-old boy. She wants Dan O'Niel to marry her and thus give a name to her son. The squire still resents the attentions Larry O'Toole is paying to his daughter and threatens that he will cut her off without one cent if she persists in her refusal of Dan O'Niel. When the case of Dan O'Niel and Molly McCoy comes up for trial, Larry O'Toole at last reveals to the squire the trouble O'Niel is in. The squire and his attorney are present to hear Larry O'Toole plead for his client. Larry O'Toole wins the case and the squire is overjoyed. A few days later a much- heralded dance is in full swing at the McVeigh home.

The wedding plans are enthusiastically discussed. Kitty, however, extracts a promise from her father: he must allow the "cotters" to remain in their humble homes in peace and contentment. The squire has learned his lesson and takes his medicine in manly fashion, and he cheerfully and whole-heartedly consents to his daughter's wishes.

HUMAN FLESH FOR SALE E. Guy Talbott

A HMED RUCKTI BEY comes to the human auction market in Trebi- zond to purchase another inmate for his already crowded harem. He has heard of the talented Armenian slave girl from Harput, — Novart Almonian. Egbert Tor- rance, an American, is present at the auction and endeavors to protect her from this slavery, but due to lack of sufficient funds, he is over-bid. The girl appeals to him for aid, as she is taken away, and he determines to save her, come what may. Elaine Mackay, his sweet- heart, tries to discourage him from his plans, but without success. A young Armenian is also at the scene, for Novart and he were separated from each other when a massacre took place in Harput. At the American Red Cross Vartan Ar- dzrooni tells his story. Elaine warns that the gendarmes are coming. Torrance is arrested by two Turish soldiers, but there is a struggle and the two "soldiers" make known their real identity — American Secret Service. They had attempted to arrest them as a measure of protection for their insult to the Vali at the auction. A plan is devised whereby Torrance and Ardzrooni are to go to the palace of the Bey, disguised as merchants. They take Elaine's party dresses, knowing that the Bey will want clothes for his new slave. When the Bey is about to attack Novart, Torrance pulls a pistol, but is wounded by a knife. Both men are cap- tured and tied up. An opportunity comes to escape, through bribery, and Torrance learns that Elaine has set out for the palace of the Bey. From behind a closed

door he hears Elaine's voice. They crash through, prepared to fight, but are again held powerless in the hands of a half- dozen retainers. Ahmed holds Elaine in his arms in the background while he watches the fight in the office. Vartan escapes but goes to Novart, for she needs him. The Bey now shows his true colors. He tells Torrance he will take the pretty American for his own. He will take both. In the distance can be heard the sound of cannonading. Help is soon to arrive. Meanwhile the Bey is taking Elaine in his arms, his sensuous breath fanning her face. She -grows faint and collapses.

Torrance feels one of his guards re- lax his hold. The man slumps to the floor. Vartan presses a red-bladed dag- ger into his hand. Torrance attacks Ah- med, but does not kill him. Capt. Rog- ers of the Intelligence Department, with a score of Marines, enters the room. Ahmed is made to salute the Stars and Stripes — this for his bitter epithets, earlier in the adventure. That evening the Ameri- can destroyer steams out of the harbor at Trebizond, and that night on the Black Sea a refugee missionary on board performed a double wedding ceremony.

MONEY LUST C. Steerknott

JOHN DAWSON, retired banker, lives with his only daughter Betty in his English mansion. He has a widowed sister, a Mrs. S. Burrows, to whom he is very devoted. Stanley, her son, is in love with Betty. As a condition of their mar- riage Mr. Dawson stipulates that Stanley shall go straight and not deviate from the path of honesty, no matter what the temptation, else he will not only fail to marry Betty, but will be deprived of any legacy.

Stanley is given a check for £500 so that he may not be subject to temptation. His uncle obtains for him a position in his bank, of which he is the chief share- holder, and Stanley assumes his duties. As the nephew of the head of the bank, every opportunity is given him to make good. However, the lure of card playing and drinking possess him and he is soon in difficulties. He borrows money from a money lender on his notes. His mother appeals to her brother. He calls for Stanley. He asks Stanley to compute the money owing to his creditors and the next day Stanley appears with his ac- count, among which is a note for £20,000. Count Poulette, an Austrian, is the credi- tor. The uncle turns the matter over to Scotland Yard, and by brilliant strategy they trap the scoundrel with marked cards, and with Stanley as the tool.

Stanley, upon his return, falls back into his old habits. Betty is neglected. He alters the accounts of the bank and steals £25,000. Sometime later he is called into the managers office and ac- cused with the defalcation. His uncle is notified and disowns him immediately, after settling accounts. Stanley shifts for himself. His uncle tells Betty and his sister the truth of the situation, which he has not formerly revealed.

Stanley, in need of funds, plans the theft of his uncle's bonds and cash. Be- ing familiar with the layout he has little difficulty in access. His uncle awakes but is not a match for him. He is strangled to death. The butler, hearing sounds, rushes up, and Stanley fires his pistol, killing him immediately. Stanley takes the butler's clothes for himself, and

places the butler's body into the oak chest, and makes it fast. He is about to pick up the bonds and the cash box when he sees Betty walking in her sleep, down the stair-case towards the library. She is a somnambulist. He hurriedly runs away, the cash and bonds in his hands. Back home he burns his clothes and pretends illness. When his mother is gone, he puts on the butler's uniform and makes his way to his uncle's bank. Arriving there he states his master has sent him to borrow funds. The man- ager, suspicious, detains him. Stanley is arrested, accused with robbery, for they still believe it is the butler who has commited the murder. Later, the butler's body being found, he is accused of the murder, and in court, with films taken of the tragedy, he breaks down and admits all. The night before the execution he dreams of his uncle, and dies.

THE GUILTY CUP Ira C. Isenberg

HP HE twin-brothers, Ivan and Ruddy Clemens are separated by the war. They are very devoted to each other. The absence of Ivan is a source of worriment to Ruddy's mother, and Judge Marlowe, a human, charitable and serious-minded individual, attempts a faked War Depart- ment message to save Mrs. Clemens from further anguish — and possibly death. It is of no avail and Mrs. Clemens passes away. Judge Marlowe's son has suddenly become engaged to Julia Nesbit, Ivan's sweetheart, who does not care to wait for him further. Ruddy meets her in Judge Marlowe's study and calls her to account for her actions.

Ivan returns and Ruddy calls Don Marlowe aside. He tells Don that out of fairness to Ivan, Don should absent him- self and permit Ivan to resume his friend- ship with Julia. Don and Ruddy eaves- drop and hear Ivan and Julia in con- versation. Julia reaffirms her love for Don. Don retracts his promise to leave Ivan a clear field. Ruddy draws a pistol and attempts to shoot Don, but in the struggle wounds himself slightly. Don returns to his home, in a daze, stating he has commited murder. Ruddy, upon returning, finds that Ivan has committed suicide. The wild plan forms in his mind to change their identities so that Don may be accused of Ivan's death.

Don is brought to trial with his father as presiding Judge. Don is found guilty of first degree murder, and is held for sentence. He is to die on the chair. Rud- dy feels remorseful for his falsity, and just before Don is to go to the chair, he forces his way through the prison guards to the death chamber.

"Halt!" cried Ruddy forlornly, as he came face to face with the doomed pris- oner. "This man is entirely innocent. For many months, I've been living a desperate life. My name is not Ivan, but Ruddy Clemens. I wanted to get even — I wanted to get revenge for the great wrong he committed against me. He promised me he'd help save my in- valid brother — he promised he'd give up Julia Nesbit to Ivan, her former lover, but he failed me. A promise did not mean much to him, but to me, it was murder — he killed the most precious thing a man could ever possess, and I have nothing further to live for." Instantly, he whipped his pistol from his pocket, and, a moment later, he stretched on the floor — dead.

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WILD CHERRY Jane Nelson

JACK ERLING, tall, slender and grace- ful, pulls up at the Country Club with Doris alongside, and leaves her to join his boy friends, Johnny Hines, Blinky Morgan and Skeets Allison. Jack greets his mother who is playing cards with a group of men. He wonders why it is that her friends always seem to be men. Jack and the boys pile into the car, and, after a series of adventures, reach Tumble Inn. There Jack becomes in- fatuated with Cherry Framton, one of the entertainers, and from then on a trip is made each evening to bring her home. At this time Johnny and Doris, with friends, are on a party, and marry while intoxicated, Doris, a most fashionable dresser, requires no end of money. John- ny really loves her and to obtain the necessary funds, gambles at the roulette wheel, managed by Jack's mother. He commits suicide and leaves a note for Jack, explaining his mother's connection and asking him to care for Doris. Jack consoles Doris.

Jack returns to College, making haste on his week-ends to join Cherry. His mother informs him she is to marry within a week. Sometime later, while riding with Cherry, the car skids and Cherry's head hits the windshield. Jack- urges medical attention. Cherry laughs at him, saying it has only been a slight bump.

One day Jack is startled to find that Cherry has gone. She leaves him a long letter, explaining that the injury has de- veloped seriously and that she is going blind. Jack makes every effort to find her, employing detectives, but without success.

Jack becomes a prominent attorney, having long since gone through college. There is still not a trace of Cherry, and he will marry no one else. Cherry, in the meantime, has adopted a little orphan child, Margie, and when the time arrives that Cherry is totally blind, Margie is of the greatest assistance to her. Cherry grows worse. Her Uncle Ben, to whom she has gone with Cherry, finds a busi- ness card with Jack's name on it, and as she is calling Jack, he sends for him. The doctor has said that only a sudden shock would help her blindness. Cherry is on the verge of collapse. Jack is speeding to her in his motor. A tree falls across the road and Jack's car hits it. Jack is rendered unconscious. They bring him to Cherry's room and place him upon a bed. When Cherry hears that Jack has arrived, she is shocked— and the miracle happens. Her sight is restored, and under her care and nursing Jack is brought back to health. They take Margie with them to their home and Uncle Ben is invited to join them at any time.

BROKEN FETTERS Evelyn E. Jones JQR. RALPH GORDON and his wife Grace have drifted apart in their interests. Formerly inseparable, Grace is giving all her time to society and charitable affairs, while the doctor is ab- sorbed in his profession. Grace is the president of the Womens' Club of Bright- wood, and a brilliant reception is being tendered Armand de Greymont, the fam- ous sculptor, who has just finished a marble bust of the state's most celebrated son. The work had been a commission from the club and was to be its gift

to their city, birthplace of the great scien- tist. As president of the club, Grace Gor- don becomes friendly with Greymont, who is charmed with the fair American. Grace is a skilled linguist and she con- verses with him in his own tongue. "A little affair" was within the pale of his code of honor."

Greymont presses his affection ardu- ously. Gifts — flowers, books, etc. are showered upon her. Of course society takes notice, although her husband trusts her implicitly. Dr. Gordon, absorbed in his laboratory studies, sees less and less of his wife. Ralph urges her to go to Europe with the Carltons and visit Paris, but, on the grounds that he would be left alone, she refuses. He tells her that he had planned to go to the mountains in August, with Professor Collins. The closing event of the social season is a bal masque and the opportunity is present for Greymont, as King Henry of Navarre, to tell of his love for her. She does not take him seriously.

Dr. Gordon, coming home late one evening, looks for the usual note. In- stead he finds a letter of some length which startles him. Grace has left. At the same time Greymont disappears. He calls upon his friend Chief Osborne to solve the mystery of Greymont's where- abouts, and thus prevent scandal. Grey- mont, Osborne finds, has joined his wife Marie Boilleau, famous actress.

Dr. Gordon has become famous. He is the foremost authority in electrical therapeutics of his day. Grace meanwhile has become the head of the League for the Relief of the Sufferers in the Near East. Attempting to save a three-year- old child from the path of a heavy ma- chine, she is fatally injured, although the child is saved.

Dr. Ralph Gordon, called by the Thur- ber Hospital, comes to give X-Ray treat- ment to the orphans. On the wall of one of the wards there hangs the portrait of a beautiful woman, a face well-known to the doctor. "That is the portrait of one of our former workers whom we call The Angel of the little children," Her work and interest was for them alone, and her death is a loss we cannot recover from. She literally gave her life to save that of a child of the street. We never knew much of her history. She left a note with the keys of her safety box, saying that everything was to be used for the children here. It was sufficient to endow this ward. We call it by her name, the Grace Gordon Ward. By the way, could she have belonged to your family Doctor?"

"She was my wife," said Ralph Gor- don slowly, with bowed head.

HAPPINESS Florence Workman

TIME — the days we live in. Place — the greater part of the story is enacted in America. Yet some scenes that- portray the pomp and grandeur of wealth could better unfold in the world's haunts of pleasure and power. The char- acters— three — the boy, strong and de- termined, obsessed with the quest of gold and what it buys — besides him, the girl, gentle, unspoiled and loving — between them, the specter of Gold.

The chief character in this narrative is the young man, and we see him entering a charity bazaar for a morsel to eat, hun- gry, downhearted, bitter at the role fate has cast for him. His mother had been

at death's door for six months after his birth, and when his father is falsely con- victed of the theft of funds from the local bank, in which he worked as a clerk, his mother passes away, after a stroke. It is not long before there is a second coffin and the young boy is alone.

He is picking berries when he meets Lucile. Already, they tell each other their little life dreams — his to become wealthy and powerful, hers to live each day with contentment and love — and he carries home her basket. John now drives the bus and they see each other every day. "See, John, see!" From her apron pocket she draws a circular of furniture for cottages on the installment plan. "But, Lucile, we can't get married until I make money. There is no happiness without money."

John ditches his bus to avoid a col- lision with an oncoming car. The owner of the car is a wealthy steel manufacturer and he invites John to visit him — "An appreciation, your understand." And thus John dreams of the money he is to make — heaps — rich — rich !

"There is no happiness without money" and to that end John sacrifices every- thing. Lucile is cast aside. He listens not to her prayers or pleadings. Allur- ing women are at his command, to be cast aside like worn-out apparel. He is a master in Wall Street. "The finance of the world, like mercury, fluctates at the pressure of his name. The government is his chessboard, and his unerring skill — his money — moves his men as and where he wishes. He tastes the glory and the grandeur of hobnobbing with kingship, as ambassador to the mightiest emipre in the world. Benevolence, charity, so sweet to egotism, — vast marble palaces that enshrine art, letters and science, are his gifts to mankind. Books on travel, government and poetry bear his name. The next day will see him made a Doc- tor of Law."

The grand ball room in the most pre- tentious of the summer estates of this American millionaire is filled to capacity. Beside him stands his young, beautiful and indifferent wife, flirting with their guest of honor. Lonely amidst the gaye- ty he slips away to the shore where even the fisherman's child moves from him in fear.

But it is all a dream. "Oh, Lucile, we will be married tomorrow. Where is the prospectus of cottages? And what about that wicker set?"

MARY JENNINGS "CARRIES ON" Evelyn E. Jones

MARY JENNINGS is left alone with her children upon the sudden death of her husband, John. She is with- out occupation and the house and chil- dren must be maintained. She answers an advertisement and receives a reply from the owner of a magazine stand in the financial district of New York. While taking care of the stand, which she pur- chases, Mrs. Jennings makes many friends. She is every part the lady and is recognized so, with few exceptions. The weather is often severe and her early days are ones of hardship.

One day Mary, during a celebration, extinguishes a bomb thrown by some fanatic, and as a reward for saving their building, the owners of the property give her a substantial sum. She is very thrifty, by compulsion, and with this nuc- leus she manages to put some of her sav-

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ings aside. The balance is used for the care of the children, whose wants are growing. Paul Lothrop, one-time school- mate of her Adirondack village days meets her and resumes his friendship. Lothrop is a lonely batchelor. He helps her with her investments and Mary calls upon him often. Paul too returns these calls. Paul proposes to her on one of his visits. Mary questions his choice, in view of her occupation, but he over-rules her.

The property which her husband John has left her and which he has prophesized will always be of increasing value, is suddenly a source of good fortune to Marv. ' She over-hears some men dis- cussing her real estate and learns that there will be active bidding for it. Paul helps her, and obtains an offer of $55,000. plus a new bungalow. This is an in- crease of $5,000. over their original offer. At this time he informs her that the title to her property is defective. The firm negotiating for purchase has so advised. It seems that the signature of Mrs. Gra- ham is not affixed to the deed. This is a shock to Mary. Mrs. Brown, an elderly lady whom Mary has taken into her home as housekeeper, suddenly recalls the Gra- hams, and makes the statement that Gra- ham did not have a wife at that particular time. Paul Lothrop investigates and the title is then cleared. The children take a sight-seeing tour to Washington, and this offers Mary the opportunity to fix up her new bungalow. She takes the chil- dren to her new home in her car, and they are all tremendously surprised. Jean, her daughter, announces her engagement to Charles Grainger. Grainger appears and Mary recognizes him as the youth who has befriended her in her early days on Wall Street.

It is Christmas now, and there is re- joicing on the part of all in the new home.

KISS ME, MARIETTA Everette M. Webber

MARCELINE AND HERBERT, dance and song artists, come to the parting of their ways. Marceline has received a call from the legitimate to take a feminine lead in "Discretion." Herbert Maxwell is in love with her. Her present success is due entirely to his help. Mar- celine leaves for the Worthington Pro- ductions Co., and is rehearsing the play when Herb drops in on a visit. Mar- celine attempts to get Herb a part. Her efforts are not whole-hearted; her suc- cess has gone to her head and she is in- clined to look upon Herb as a mere plug- ger. Herbert's rehearsal is not striking. His nervousness and anxiety to be with Marceline are against him. Herbert asks Marceline for an appointment that even- ing, which is refused. Marceline has al- ready made a dinner engagement with Lester Hart, one of the players in the cast. To Hart, Marceline reveals the true state of her feelings regarding Her- bert, which is not complimentary, to say the least. Hart proposes to Marceline, but is put off. On the second rehearsal Her- bert fails miserably and Carrigan, the director, definitely refuses him a part. Dismissed, he meets Marceline and Hart in the wings. He leaves Marceline. She expresses her regrets. Herbert repeats his vow to get into the limelight and to give Marceline the prominent female role.

"I hope you won't forget me " This from Hart.

"I couldn't forget a mug like yours."

Herbert leaves, telling Marceline that he loves her and will be back for her. Marceline laughs. "Poor sap," she says.

Herbert is unfortunate in his attempts to obtain a booking, even at his willing- ness to sacrifice his usual salary. He goes from one agent to another without suc- cess. He calls upon Oscar Marvel, old- time friend of his father's, but is turned down. He tells Marvel that he has a musical comedy ready to be produced, and that he wants the leading role. Marvel, knowing of his poor showing, ridicules him.

Marceline sends Herbert tickets for the opening night. The show progresses. Marceline is the only one with talent in the cast. Suddenly, Herbert perceives that something is amiss. A change of of cues has left Marceline alone on the stage. She is rapidly becoming panic- stricken. Herbert rushes to the stage, and fills the missing part. He is a trem- endous success. Marceline, inspired by him, exceeds herself. His song, KISS ME, MARIETTA, goes over with a wow. Oscar Marvel is there and they make arrangements for the production as soon as Marceline can be released. The show "Discretion" being a flop, this is easily overcome.

KISS ME, MARIETTA, with Marvel's backing, is a sensation, and the nuptials of Herbert and Marceline take place back- stage after the opening night.

THE HALF GODS PLAY E. Friendlich

ALTER CONDON is instructor in biology in a small Southern col- lege. He goes to the rescue of a young woman whom two men have attacked, but both he and the girl are beaten into insensibility. Rumor accuses him of at- tacking the girl. Citizens tar and feather him and warn him to leave, never to re- turn. Fearful of prosecution, and know- ing that his pedagogical career is ended, he renounces the social order. He joins a couple of hoboes, and works his way West with them. In Oklahoma a young, ignorant country girl, Mary Martin, is being forced into marriage, by her father, with one of his confederates. Her out- cries bring Walter and his companions to the scene. The outcome is Walter's offer to marry the girl, which is accepted. He expects to leave her at once and div- orce her later. However, being a devout Catholic, she refuses to consider this. A compromise is finally effected, providing that she shall be sent to school, and Walter agrees to pay for her tuition. In her resentment, Mary imposes the condi- tion that no news of either one should ever be sent to the other.

The tramps continue their itinerary. They arrive at a small town in California. A band of outlaws attempt to rob the local bank. Failing same they kidnap the bank- er's child in retaliation. While eluding pursuit, they come to the camp of the three tramps. Walter throws himself on the out- laws' horses. One of his companions joins him in the rescue. Both are shot — Walter seriously, — his companion fatally.

The child's father arranges for Walter's nursing, but his lower limbs are left para- lyzed and there is a chance that he will remain so for the rest of his life. The banker owns the local newspaper. He sells it to Walter, and Walter makes a pronounced success of it.

Meanwhile Mary is sent to a Catholic seminary. It is soon evident that she is about to become a mother and she leaves school. Her child lives only one day. She then goes to College and completes her course, emerging a cultured, accom- plished and beautiful young woman. She returns to her native town for consulta- tion with her priest and her guardian, as to her future. She reluctantly agrees to their suggestion that she visit, in- cognito, the town where Walter has set- tled. She cherishes the intention to re- venge herself upon him. Her sponsors hope a reconciliation can be effected. Al- though he continues to remit monthly for her schooling, there is no need for it, because the lands Mary inherited from her father, prove to be oil-bearing. Wal- ter is ignorant of that fact.

Mary comes to San Luiz where Walter is established, and introduces herself as the correspondent of a Kansas City news- paper. She is inexpressibly shocked to find him a cripple. She becomes very friendly with the banker and learns from him of Walter's admirable character, at- tainments and achievements.

Walter falls in love with her at first sight. Mary soon realizes she loves him too. Walter, unable longer to endure the torture of his hopeless love, which he has confessed to Mary, calls a conference of the banker, his wife and Mary. He lays bare his past life and his loveless marri- age. He begs them to help him solve his painful problem.

Mary then reveals that she is his wife.

A CROOK'S DETOUR J. George Brueckmann, Jr.

r]|HHE narrative originates on board an ocean liner, one hour off from Cher- bourg. Mr. Mullin, Cook's guide, is in conversation with Dr. Karis. The school teachers' and clergymens' wives have all been cared for by Mr. Mullin, and he is listening with rapt attention to the story Dr. Karis is relating.

The story concerns itself with Phil Carter, a young man of 26 years, skilful and fortunate in his chosen profession, who has attempted everything from pet- ty larceny to bandity and has covered all the confidence and badger games.

Phil Carter never carried a gun with him. This was outside his scope. One day he was at work upon a doctor's residence, in a small town, when he was discovered and covered with a pistol. Always with nerve he offers to call the cops for the physician. In some way he upsets the ash tray, and as he bends down to pick it up, his hand goes to his hip. There is a sudden shot and Phil bends over in agony. He had been reach- ing for hip handkerchief and the doctor had believed he meant to get a gun.

It took three days to bring Phil into shape, and the doctor took a strong liking to him. He was only 10 years Phil's senior, and when he had learned all about Phil's life, he urged him to stay and at- tend the medical university in town. Phil was agreeable but desired to bring his wife with him. After some hesitation up- on this responsibility, the doctor finally consented.

Phil's wife, Nanc}', is very young and captivates the heart of the physician. .It is not long before they are madly in love with each other. Two opportunities pres- ent themself to the Doctor. He can kill Phil, or run off with Nancy and marry her.

N

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He decides on the latter, and while Phil is off one week for football training, he abandons his home town and goes South with his nurse — for Nancy has acted as a receptionist and nurse for him.

Nancy, having married young, finds at last her real love. The contact with the rougher element which she would have were she to continue with Phil, is ob- noxious to her. The moonlit nights spent with the doctor — the picnics, bridge games, parties, etc. have done their work well.

From this time on Phil becomes a killer. He shoots his way through life for some three years — gun in hand, and death behind him at every turn.

The papers, one day, have the follow- ing headlines: NOTORIOUS KILLER A SUICIDE PHIL CARTER TAKES HIS OWN LIFE AWAITING HANGMAN'S NOOSE. Dr. Karis, who is narrating this story, is interrupted by a pretty woman. "Be right with you, Nancy. Be right with you." he replies to her query.

THE RED KNIFE D. McNicol

TIN the month of May, 1613 a stalwart ^~ UTAWA from upper reaches of the St. Lawrence stands on the north bank of the St. Lawrence, moodily viewing the swiftly-flowing waters. He has come to the settlement of Le Saut with no ob- jective except for a visit, and is now about to return to his people. CURE DENTS, a slim, wiry Indian who lives his life as a hanger-on and servant among the French at the settlement tells him of his "dream", — eaves dropping. He in- forms him of the need of Iron Breast (Champlain) for a guide. He mentions M'Sieu Vignan and this causes the UTAWA (turtle) to start. "Did the ONONHARA, (dream) show a red knife?"

Iron Breast, M'Sieu Vignan and the three voyageurs arrive. Turtle, eager to return to his people, consents to go along, although he does so reluctantly. En route, Vignan tries to swamp Champlain's canoe. Turtle's suspicions are aroused. Turtle sees party of Indians approaching. Their guns are ready, for they are afraid it is a war party. Vignan warns Champlain of the UTAWAS. Tells him they are treacherous, and that he fears ambush. Midnight. Vignan tries to persuade Thomas of the danger ahead and urges him to turn back. Champlain, awakened by the noise, comes up to them and or- ders Vignan to turn in. Vignan tries to explain that he is thinking of the wel- fare of the party. The Turtle and Al- gonquin are gone for ceremonious trib- utes. Vignan attempts to accuse them of desertion. Champlain cannot understand Vignan's attitude toward the expedition.

The Astrolabe, instrument of observa- tion, is lost, and Vignan leaves with Turtle, ostensibly to find it. On the way his pace is rapid and Turtle observes that he makes no effort to find the lost in- strument. Turtle is attacked and a fierce fight ensues. Turtle is stabbed fearfully and Vignan deems it wise to return to the expedition. He explains that Turtle has turned against him when they came upon strange Indians. His explanation is accepted, although Thomas speculates as to the red blood stains on his knife.

They go to Allumettes villages to pro-

cure a guide. They approach Chief Tess- ouat's village. It is learned that no one has approached the Nipissings because they were feared as witch doctors. "My Lieutenant, M'Sieu Vignan, before the last snows, journe3'ed beyond the Nipiss- ings and discovered the trail to the west- ern sea. With him and your warriors we go tomorrow to mark down the way for others to follow."

Tessouat reveals the treachery of Vig- nan, by asserting he had never left his camp night or day. Turtle staggers in, recovered from his wounds. Vignan at- tempts to flee but is caught. "I am sorry one of my people has a double tongue. By his lies he has caused me to make a long journey that has no good end. Leave him to me and I will take him back to Le Saut, where until the last great march he will live alone, and for- ever more remain an outcast from the councils of his people."

KIDNAPPED C. M. Van Curen

STORY commences with the old Zinke home in the woods. Three horsemen are seen aproaching — suddenly there is a sharp explosion and a terrific upheaval, leaving death in its trail. Old man Zinke and his wife are subjects of mystery to the townspeople. They are accused of many of the crimes committed in the vicinity. A boy of four years, nick-named Tiger, because of his spirited protest against adoption, is left before their door- step. Old man Zinke has discovered a wonderful explosive formula, and passes this on to the Tiger, when he becomes older.

The home of William McGregor, out- side the city of Philadelphia. McGregor is a railroad man whose duties take him to far-away States. During his absence, his boy (Tiger), is abducted by a jealous suitor of Elizabeth Castle, McGregor's wife, who has discarded him. Harry Sin- clair is responsible for this abduction.

In a cheap hotel in Baltimore Big Jim Summers is waiting impatiently, expect- ing funds. Since they are not forthcom- ing, he goes to Col. Harry Sinclair, at Fort Wapeton. He asks the Colonel to assign him to the regiment, and soon ar- ranges with a crooked Mexican to stage hold-ups. After many successful hold- ups, Big Jim returns to Col. Harry Sin- clair and attempts to blackmail him for the McGregor affair. Sinclair wants $5,- 000 to clear out. A duel is fought and both are killed.

Meanwhile Tiger, through knowledge of this formula, is enabled to add to his purse and help his townspeople by break- ing a logging jam. Mary Ketchum, with whom he has become very friendly, urges him to stay, but a desire to use the for- mula takes him away to McGregor's camp, finally, where the Northern Pacific Railroad is under construction. Tiger of- fers to use the formula he has brought with him to help them solve their dif- ficulties. There he has an encounter with Olsen, the Swede, and licks him decisively. He is invited by McGregor over to his home.

While on this visit, Tiger hears Mrs. McGregor sing, and recognizes the voice as that of his mother, when she sang to him as 'a child. There is a dramatic re- conciliation.

A telegram is handed to Mr. McGregor. "A bottle picked up in the Gulf of Mex- ico by the S. S. Arcadia, flying the Span-

ish flag." Message in bottle tells of Harry Sinclair abducting Junior Mc- Gregor and leaving him with a German chemist by the name of Zinke, in north- ern Pennsylvania.

Thus the identification is complete. Mary and Tiger are once more together and elaborate preparations are made for the wedding. Tiger is informed that his lands back home have proven oil-bearing and that he is now worth many millions.

THE MILLS OF THE GODS Adria J. Gray

OWARD BUCHANAN'S widow is an utterly helpless sort of person, incapable of handling the financial affairs of the family. She refuses to confide in Aileen and Gordon, her twin children, but eagerly accepts the advice and assistance of Harvey Richmond, wealthy, middle- aged bachelor, who poses as a friend of the family.

Through the assistance of Richmond, Gordon is sent to medical school. At the same time Richmond pays marked atten- tion to Aileen, who has no liking for him. Her mother, however, insists that she be particularly nice to him.

When the Easter holiday arrives, Gor- don comes home and brings with him his room-mate, Phillip Merrill, son of an eminent surgeon. Phillip and Aileen are attracted to each other at once. Mrs. Buchanan is determined that Aileen shall marry Harvey Richmond, and to that end tells Phillip they are engaged.

Gordon invites his sister to the college football games. She meets Phillip again. Her brother tells Phillip that she really does not care for Richmond. Phillip asks her to marry him. She consents. Phillip is injured in the football game. He re- ceives a minor head injury and she is not allowed to see him up to the time she returns home.

Back in her home she tells her mother of her love for Phillip. Mrs. Buchanan admits that Richmond has actually been supporting them on the strength of her promise that Aileen shall marry him. Aileen is determined to sell everything and go to work to pay him back. She writes Phillip, but shortly thereafter she receives a wire from her brother stating that Phillip has disappeared immediately after receiving his head injury. Grieved and upset by Phillip's disappearance she helps in the search for him.

After months pass, Richmond resumes his attentions to Aillen. Aileen is per- suaded by her mother to become engaged to Richmond. Her mother insists on setting a date for the wedding. Mrs. Buchanan takes her to the city to buy her trousseau.

Aileen persists in driving her own car about town, although it is unsafe, due to a traction company strike. Aileen notices an officer standing in the doorway, bear- ing a striking resemblance to Phillip. As she turns to look at him, she loses control of her car which crashes into the trolley. Phillip, for it is he, rushes over. The shock has restored his memory, for the head injur}' left him a victim of amnesia. Aileen receives an injury to her back which leaves her unable to walk. She will not marry Phillip, and Richmond will not have a cripple. Phillip goes back to college and obtains his doctor's degree. He tells Aileen he and his father have operated on two similar cases, one surviv- ing and the other having succumbed. She begs for an operation. Phillip refuses.

H

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October, 1929

Unknown to him she prevails upon his father to operate. The assistant fails to appear and Phillip takes his place. The operation is a success and their wedding is announced.

POTPOURRI Eileen Clancy

THIS manuscript has for its theme the under-world life of San Francisco. Alice and Marjorie Stanton, the latter a charming brunette of eighteen years, are in needy circumstances. Marjorie's father has passed away some three months ago, and their sheltered lives are a thing of the past. Their neighbor is Emily Dor- man. The house leased by Emily im- presses one as being of imperishable eleg- ance. There are very few boarders — for the house is run as a boarding house. There is one female boarder and three males. Ellen Barstol, a thin attractive blonde, occupies the largest and best room in the house. She is a stenographer in a wholesale house, reads goods books, attends good shows and is becoming an accomplished pianist through intensive ap- plication to that art. The boarders are Max Kotschky, a cabinet maker, Ray- mond Cassidy, a chemist with a flair for acting and Heinz, a devotee of Emily, who is permitted to call only at intervals — usually twice a week.

Raymond plays up strongly to Mar- jorie. Being rather unsophisticated for the usual girl of her age, for she has come from a small town in Arizona, she trusts him implicitly. He takes her to restaurants, theatres, night clubs, and one evening asks her to attend an Alumni dance. Marjorie, of course, is delighted. On returning, they enter a seemingly pri- vate car. It is, however, with a "for-hire" sign. Marjorie is attacked by strangers, bound and gagged. Raymond does the gagging, his identity becoming known when she bites his fingers, and he curses her for it.

Mrs. Stanton is becoming worried and Marjorie does not make her appearance by three and then four o'clock. Mrs. Stanton calls the police, first, however, dropping in at Emily's for advice.

The police arrive. Mrs. Stanton tells them the circumstances. She begs them to search the neighboring house, for she is suspicious of her newly-made friends, about whom she knows practically noth- ing.

The police send for reinforcements. Emily opens the door for them. They search carefully from room to room. Suddenly — there is a muffled sound — groaning. They pass through Ellen's and Max's room, and note the rich furs and dresses hanging in Ellen's closet, as well as the rich collection of bric-a- brac.

They look at each other significantly. The muffled sound becomes more dis- tinct. They flash the light in the closet. They call for a hatchet. Marjorie is found gagged and bound in a room 6x9. Marjorie tells her story. Raymond is arrested on charge of drug addiction. Ellen's room is found full of stolen goods. Max is responsible for the girl-trap. El- len and Max are caught at the steam- ship office. Marjorie and mother leave for home (Arizona), not, however, be- fore the public has interested themselves in. their plight, through newspaper pub- licity.

THE DEVIL'S APPRENTICE J. T. Trencheny

JOHN RUSSINA, alias The Devil's Ap- prentice is responsible for the murder of Theodore Russ, wealthy importer, and Anna Nowak, his sweetheart who has tired of him. He simulates insanity, with the connivance of Louis Taylor, male nurse, and close friend of his, and at- tracts the attention of the police by climbing to the top of the Iron Horse, undressed. He is placed in the Angel- field State Asylum, unidentified, where he plans to escape, when the time is right, with his friend Taylor.

Emery Kovach, journalist of distinc- tion, ponders about this case and has some ideas of his own. He calls upon the Chief of Police to explain his theories, but meets with ridicule. Thereafter, he gives his attention to solving the mystery 'himself. With hair dyed red and mus- tache removed, he pretends insanity, and is placed in the Asylum with John Russina. There, by means of diplomacy, he gets John's story. Kovach himself admits the responsibility for a recent rob- bery; tells John he has the money stored at the railroad terminal and in proof thereof shows checking stub, which he has carefully provided. The Devil's Ap- prentice— self-styled — in turn admits his responsibility for the murder of Theodore Russ and Anna Nowak.

John Russina tells Kovach of his plans for leaving the country at midnight. Tay- lor is to go with him. Kovach asks to go along, and Russina, upon condition that he pick up his spoils at the railroad sta- tion first, consents. They leave, after a struggle with policemen, and during the ride to meet Taylor they pick up the grips left by Kovach. They continue their motoring and Russina, upon examin- ing the contents of the grips, finds they are empty. There is a terrific fight in the cab and Kovach calls for help. A policeman comes to his aid and Taylor is intercepted by phone. Both Russina and Taylor are convicted and Kovach re- ceives the appreciation of the city for his valorous deeds.

SHE CHANGED HER MIND Charles G. Nelson

Hp HE characters in this manuscript are John Maitland, prosperous business man, Helen Fry, his companionate-mar- riage wife, and Joseph Maitland, brother of John. The time is late evening, Octo- ber, 1925 and the scene is the living room in John Maitland's Long Island residence.

John is about to leave on the Twentieth Century Limited for Chicago. Helen pro- tests his departure, particularly since her parents are expected, and she has told them that she was married in June. John gives her no attention, but goes about his business of packing, inserting a pistol into his hand bag. His new time-clock invention, which has repeatedly defied the efforts of expert Jimmie Val- entines to open without resorting to nitro glycerine, has resulted in a tremendous number of orders, and he must meet his representatives immediately. He leaves, slamming the door after him.

Helen switches off the lights, except one under lamp-shade leaving the room in semi-darkness, and she begins to un- dress, closing the door behind her. The French window opens on the balcony, and a masked man enters and goes stealthily to the safe. Helen surprises

him with apparatus and documents in his hand. She recognizes him as John's brother, Joseph. Joseph explains that he is the inventor of the time-clock invention and that it has been stolen from him by his brother. He has devised a new ap- paratus to over-come it, and thus ob- tain papers essential to him.

He tells Helen that he loves her, but that, on account of his poverty, he has refrained from telling her so. At that moment John returns and finds them em- bracing. Joseph covers him with a gun, making him drop his pistol. He then dic- tates the terms of John's surrender and John leaves.

Helen agrees to marry him if he dates the marriage license back to June, to which Joseph consents.

THROUGH THE LACQUERED DOOR

Carmea L. Resting TC' MILY ROBSON, daughter of one of -^-^ the greatest criminal lawyers in the country, is drunk at one of the society dances. Monk Steele comes to her res- cue and carries her to a window of the tea room. Monk is head of a bootleg ring, and is very much attached to Emily. Emily cannot understand his coldness to her. "Don't you love me," she asks. "Love you — I'd die for you."

Monk invites Emily to come to his antique shop — alone. She promises to do so. Loneliness — that is what Emily is fighting. Her fast, breathless pace can only be accounted for in this way. Monk fascinates her. She cannot figure him out and accordingly she pursues him. She has promised Monk she would lay off liquor. "Until next time" which is, in fact, New Year's Eve. Emily was drunk then and Monk again had come to her aid. Inside the antique shop Monk presses an electric button, which lights Oriental lanterns. Presses small stucco panel. The door opens to the ante-room and Emily beholds his lair. "Anyone can enter but none can leave this way," says Monk. "Must use the door over there."

The heavy lacquered door, with its Japanese design and jade green panel, holds Emily's attention. Dropper, relic of Monk's New York days, and now his right-hand man, enters. "At 12 o'clock," Monk informs her, "we are to have a caller."

Midnight. Emily's father, followed by Donald Davidson (whom Emily intends to marry), enter. "You see how badly I wanted to get you here, Mr. Robson. I don't want your money. I only wanted to show you and Davidson how well- guarded Emily is at the Country Club." He informs Robson that he has invited him here for a double purpose. David- son, at Monk's solicitation, takes Emily home, but not until Monk has promised Emily, upon her insistence, that he will call at her home the next day. Robson threatens to kill Monk, but Monk is not afraid. He informs Robson that he is the head of the bootleg ring — the same ring that Robson has tried every means to break up.

Monk goes on with his story. His mother has urged him never to give up trying until he got Bill Robson. This was five years ago. He tells Robson that he is the illegimate son of Ruth Sutherland — the Sutherlands of Virginia. He refers to the Big Ben Hillman affair. Robson has had him bumped off. Emily is Monk's sister. Robson is furious; re-

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peats his threat to kill Monk. Lowers his pistol and — before he can fire the dropper plugs his wrist. Monk informs him that the loud speaker above him has carried his conversation to the necessary witnesses. Robson wants to know his price — of course it is money.

"My price?" Monk drawls. "Well, it reaches back into the nineties you have mentioned — and into the future when I will be more to Emily than you can ever be. I'm going to be acknowledged as your son — I'm going to live with Emily — we're going to travel — study and I'm going to humor every hobby and whim that has always possessed me — my price is that I will be just as important in your life as you were in my mother's for one fleeting year. Now that's my price."

THE GAMBIT George Booth Baskerville

TC1 D KENNON, Phi Beta Kappa, and -W-^ representative of the Kennon Mfg. Co., pays a visit to the Warrens. Janie Warren, junior at the Oldcomes Women's College, is at home, and is, to Ed's dis- turbance, more or less indifferent towards him.

Janie is greatly worried. Her brother is being sought as responsible for the death of Sammy Seaton, aged 8, who has disappeared. She fears that Johnny, a youngster of fourteen, will be held re- sponsible, and she is so upset at a lack of solution to the mystery, that she does not know where to -turn. The thought occurs to her to solicit Ed Kennon's aid. She first tests him with respect to the Ginning Ticket Advertisement that Ed has prepared for her father, and satisfied that his mental faculties are alert, she plunges into details of the case.

The feud between the Seatons and the Warrens dates back to a card game, wherein an original and practical joker substituted a pack of pinochle cards for poker, plus the extra four cards. There is some shooting, and Janie's Uncle Jim is hurt, by gun of Squire Seaton. Since then Seaton had made it so uncomfort- able for Uncle Jim, that the latter had left the country and had not shown up since.

Sammy's hat and Johnny's bloody knife are found in the road. No trace is found of Sammy's chess men. A negro tramp is also suspected. The Squire is clamor- ing for indictments. A body is found in the river at Damopolis. A tramp is caught selling Ivory chess men at the Crossroads store. He is arrested. Janie, upon ascertaining that it is Uncle Jim, calls up the prosecutor and gives him the facts. It is then that Ed Kennon real- izes the character of Janie. He is very much in love with her.

The prosecuting attorney, Mr. Gorman, calls. Fences with Ed Kennon, believing him to be the attorney for defence. Asks for admission of guilt on part of defend- ants. Ed Kennon tries to bluff him with threats of revelations of political alliance between Seaton and Gorman. Kennon finally hits upon the solution, after noti- fication by Gorman of the finding of mulatto boy in river, and discrepancies in ginning tickets.

"The last time Sammy Seaton was seen was when Johnny Warren looked back, observing him opposite the gin-shed," he explains. "The engineer shut down about that time for five mintes, calling Mr. Ross and the ginner to help fix up the governor belt. Sammy heard the call and also was

attracted by the cessation of noise. He went over to the gin house, mounting the steps and wandering around alone in the gin room. The open press box attracted him; and, as children love to look down a well, he leaned over the side of the press, peering down into what appeared to him as a big hole. He slipped because he was frightened when the machinery started again, and fell into the press.

' The bale weighed five hundred and ninety-eight pounds; the seed, six hun- dred and fifty-four pounds, a total of twelve hundred and fifty-two pounds. But there was only twelve hundred and one pounds of seed cotton, and the gin turned out an excess weight for the seed and lint separately of fifty-one pounds. This excess, plus a few pounds of dust blown away, represents the weight of Sammy Seaton's body which was packed in the bale of cotton."

enter in with joy." The next morning a wire reaches her from the hospital stating that the doctor has met with an auto- mobile accident and was killed instantly.

Marcia gives her home to the Sisters for the care of tubercular children and finds her happiness in the strengthening and new life which she brings to these unfortunates.

A SORROWS CROWN Mrs. M. L. Chewning

<QCENE of an old, Southern planta- ^ tion. Large white house, wide ver- anda and colonial atmosphere through- out. The grounds are spacious and beautiful. A ball is in progress and the strains of music and the laughter of the younger set fill the air. A young man enters with his friend and introduces him to Marcia St. Clair.

Marcia is the only daughter of Mrs. and Col. St. Clair, and is charming and beautiful. The young man to whom she is introduced is Capt. Wallace and he falls madly in love with her. They take part in fox hunting and kindred sports whenever the opportunity presents itself. He announces to her, in the garden, that his visit will soon terminate. He must leave for Chicago.

She receives a letter shortly after his departure, in which he implores her to write "come", and which is signed "Your devoted lover, Ralph Wallace." She writes to him telling him to come to her and when he arrives his conquest is rapid. They appeal to Col. St. Clair, who, hav- ing taken a dislike to Wallace, refuses his daughter. Marcia however pleads with him. Reluctantly he gives his consent, only to retract same, when the preacher ar- rives.

This does not deter the young couple and they seek a rector of a small Episco- pal church, who, with his wife as witness, binds them to each other.

They arrive at Chicago and while his parents receive her cordially, trouble soon descends upon her. A beautiful baby boy is born to them. Very soon there- after a financial panic sweeps the country. Capt. Wallace's father commits suicide, and his wife soon follows. They are alone. Capt. Wallace takes to drink.

Marcia, unable to stand it any longer, leaves for her home. There she does social service work and makes herself invaluable to her community. Her father becomes ill and the boy is stricken with a serious illness almost at the same time. For days her boy hovers between life and death and although the doctor in attend- ance gives every effort known to science to save him, he passes away. The doctor visits her at her home and proposes to her. She tells him that her heart is with her boy. He leaves. Her father soon succumbs to his sickness, and her mother, does not long survive.

She is alone now. That night she has a dream. "This is the new Jerusalem —

THE HAWK George K. Barry

T WILLIAM MORTON acquires "The

0 Daily Argus" from Lewis Irving be- cause of the latter's failure to meet a debt of $150,000. Irving threatens re- venge. A silent partner, whose identity is not made known until the end, is also forced out. Morton is politically ambitious. He decides to use his paper as a medium for exposing and fighting Jim Butler, political czar.

Harrison Dirk society editor of "The Daily Argus", is forcing his attentions on Aimee Keeler, a staff writer.

In his campaign against Butler, Mor- ton accuses the political boss of protect- ing the Hawk, notorious head of a band of blackmailers. Subsequently, Butler threatens Morton. The Hawk also threatens the publisher. A letter signed by him is received by Morton, warning him that unless attacks and revelations cease, he will be murdered.

Dan Watson, City Editor of "The Daily Argus", is noted for enforcing the rule on all reporters, to sign their names in the assignment book. He has become a subject for jests among the staff mem- bers because of this.

Shortly after Morton receives the threat, a new reporter is added to "The Daily Argus" staff. He is Melvin O'Shaughnessy, whose thirst for booze and self-neglect is very evident. He wins Aimee Keeler's sympathy, thus arousing Kirk's jealousy. A strong friendship re- sults between Melvin and Aimee.

The fight between Morton and Butler is intense, and during its height, Morton is slain. Guilt points to Butler. During police inquiry, the threat received from the Hawk is introduced. Verbal threat of Lewis Irving is also recalled.

The darkened office of "The Daily Ar- gus" is entered one night. Morton's desk is ransacked. In the morning Dan Kelly discovers this and notifies police. As- signment book is also missing.

Police grill each member of staff as they arrive for work. All are exonerated except O'Shaughnessy, who now is well- dressed and sober. He admits he himself has ransacked Morton's desk. Aimee is shocked. O'Shaughnessy points to Dirk and reveals him as The Hawk. He is arrested for murder. Dan Kelly's strict enforcement of the assignment book rule has its effect. O'Shaughnessy presents threatening note received by Morton, and signed by the Hawk. There is a pro- nounced similarity in letter "K" on the note, with the letter "K" at the end of Dirk's name in the assignment book. An unusual upstroke betrays Dirk as the Hawk. As motive for killing, Dirk is proven to be silent partner. As society editor of "The Daily Argus", Dirk had little trouble in having access to the kind of information he needed for blackmail purposes.

O'Shaughnessy discloses his identity to Aimee. He is a United States Postal In- sector, assigned to run down the Hawk for using the mails as a medium to

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threaten human life, and also for black- mail. On train enroute to Washington, Dirk, Aimee and O'Shaughnessy meet again. Aimee and O'Shaugnessy are on their way to Washington to spend their honeymoon. Dirk is enroute to Atlanta.

WIDOW'S WEEDS F. K. Evans

FAY LORREY, for five, years a widow, has come to a sudden resolution to dispense with what she calls her Widow Weeds. She wonders if there is any truth in the saying of the Englishmen: "The only acceptable place for a widow is in the church-yard, beside her dead." She enters her auto for a beach resort, some twelve miles distant. In the dining room she recognizes many of her friends, who nod to her politely, but that is all. In particular, Dr. Wallace, bachelor and good looking, enters alone, bows and passes on. His place has been reserved at the table of Mr. and Mrs. Egbert.

Loneliness takes possession of her. .On the boardwalk, it is a repetition of the dining room. Friends greet her and pass on. A motion picture theatre looms up before her and for a while the cool dark- ness and music act as a balm. The hero- ine— happy — is in love with an aviator husband — in the end we see her in wid- ow's weeds. Fay turns to the motor for relief in fast driving.

Another car follows her. She gives it little attention. She wonders if she can make "Dead Man's Corner" without slackening speed. There is a crash — a mixture of iron and wooden splinters — and "Fay — Fay, my darling. I could not approach you in Widow's Weeds. But why the reckless driving?"

"My reason does not matter now, be- cause the Englishman was mistaken." Dr. Wallace takes her temperature, fear- ing that she has gone delirious. He clasps her in his arms. Happiness — and companionship. Dr. Wallace rushes her home for medi- cal treatment. A trained nurse is pro- vided, but Fay's injuries are not serious. Happy moments await her when she is finally released from her sick-bed.

The announcement of her betrothal opens up a new world to Fay. No longer need she complain that she travels alone. The Widow's Weeds are gone.

O'LEARY OF THE IRISH FUSILIERS A. Regnante

THE characters in this drama are Tom O'Leary, Corporal of the Irish Fusiliers, Philip O'Hare, Lieut, of the Irish Fusiliers, Nora O'Leary, Tom's sister, Rose, the dancer, Slippery Sam, Rose's accomplice and admirer, James Leland, a foreign agent and Mrs. O'Leary, Tom's mother.

The first scene takes place in a British camp in India. Arabians are charging the trenches and since they are far superior in numbers, it looks bad for the British. Tom O'Leary is detailed by headquarters to get up a relief party. He acquits himself so splendidly that he is promoted to a Corporal. Tom and Philip are pals, despite their difference in rank. The Irish Fusiliers, after a hard campaign, are given one month's leave and Tom and Philip are soon in Ireland.

Their first stop is at a cabaret. Here Tom becomes infatuated with Rose, the dancer, and when Philip makes some

Mention of the

slighting remark about her, he takes of- fense and slaps him. A fight is pre- vented by the bystanders. Tom is ar- rested, court-martialed and sent to the Royal Prison for six months. He es- capes. Meanwhile Philip has had a flirta- tion with Nora, while horseback riding, and he becomes infatuated with her. While searching for Tom the trail leads to Nora's home. Tom is hiding in the bushes. He finds Nora there. Tom is caught. Philip forgives him and states he will not press charge. Tom is to act as best man at their wedding.

The scene changes to the den of con- spirators. Philip is the inventor of a land submarine which enemy nations are plotting to steal from him. Slippery Sam engages Rose to help him. She pre- tends to fall in love with Tom. He asks her to marry him and she consents on condition that he right a wrong done Philip's former partner, who had worked on the plans. Tom believes her and ob- tains the plans. Philip, when about to submit the plans officially, discovers the theft. He pursues those whom he be- lieves implicated. He is captured. Tom meanwhile finds Rose in Slippery Sam's arms. He gets the truth from her. He immediately informs the police and Philip is rescued.

Tom is forgiven and the plans are this time forwarded on to the King and Philip achieves reknown — and Nora.

PALS Andrew R. Mayo

JACK SAUNDERS, little gamester, is observed by Bill Mayer in a street battle. From that time on these two are inseparable pals. Ned Bryan, friend of Bill's, invites the two of them to a party given by his girl friend, Marie Jackson. The party is not a great success on ac- count of the jealousy of Ned, so far as Marie is concerned. Ned embarrasses both Jack and Bill before the company, doing his best to discredit them. Jack takes a violent dislike towards him. Ned proposes to Marie, but is refused. She considers him a friend only. Ned talks of a contemplated trip to South America. At the party, Jack makes an appointment with Marie to meet her the following Tuesday evening, Marie giving a fictitious name. Bill, it seems, has an appoint- ment with her for Monday night. Neither one know they are both courting the same girl.

Jack is visited by Bert Barnett, the fellow he fought in the street fight. Both Bill and Jack take to him, and Bert tells them about a girl he has seen and with whom he has fallen in love. The girl is Marie. Her purse has fallen to the street one night, when out with Ned, and Bert has recovered it. Bert's father is extremely wealthy. Jack, waiting up for Bill, hears strange footsteps in the hall, but thinks it is merely mice, or the wind.

Marie decides to tell the boys of her double-dealing. She calls upon them. Jack is fatally shot, when a masked in- truder points his pistol through the trans- om. The intruder has aimed at Bill, but Jack has thrown himself in the way. Every effort is made to find the murderer. Bert's father engages a reknown detec- tive, Ramsey, who gets on the job of cross-examination at once. Ramsey in- terviews Ned and asks him for the secret emblem which has been stolen. Ned sets fire to the house, and there is a terrific

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hand-to-hand struggle in which Ned al- most escapes. The inmates of the room are overcome by smoke and it is only by super-human efforts that they escape. Ned perishes in the flames. Bill's head has been fractured in the fight and he dies in the hospital with all his friends in attendance. Soon after, at Bill's wish, Bert and Marie marry and leave for Florida. Ramsey receives a substantial check for his worthy efforts.

TELEVISION

(Continued from page 2) tion and the mouth and nostrils were sharply defined with strong color. The skin was softly shaded and blended in an effort to remove the shiny effect. It was found that diamonds or other bright stones could not be used on the hands for they catch the light and produce a disturbing glare in the image. Bright shiny surfaces such as polished glass cause a suffusion of light that destroys sharp- ness of image.

"The Queen's Messenger" has but two characters. The lady was played by Izetta Jewel, a former stage star and now the wife of Prof. Hugh Miller of Union College. Maurice Randall, vete- ran member of the WGY Players was cast for the messenger. Joyce Evans Rector and William J. Toniski doubled for Miss Jewel and Mr. Randall; that is, they doubled for their hands, and at the third transmitter or camera handled the various "props," cigarettes, glasses, keys, dispatch case, etc.

The visitors viewed the performance in several television receivers wire-connect- ed to the transmitters. One receiver picked up the signals from the air, get- ting an excellent image from the trans- mitter of WGY, about four miles from the studio.

The demonstration of the play by tele- vision, utilizing the new portable cameras, was witnessed by a large group of news- paper and magazine writers. Dr. Alex- anderson also exhibited recent television developments of his laboratory, including apparatus for the projection of a twelve inch image on a screen, 10 feet from the projector. This apparatus, permits the transmission of the full figures of two performers.

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June 26th, 1929.

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I know now that I have wasted a lot of time and money on courses, and critics who flatter a lot, promise more, and then forget, and I am sorry that I was not referred to you some time ago.

Cordially yours,

S (Mrs. N. M. K ).

Name given upon request to those respecting the confidence of the writer.

The above letter is indicative of over one thousand unsolicited and sincere letters of endorse- ment. The majority of our business comes from recommendation of satisfied clients.

o

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PRIZE LETTER CONTEST

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Address letters to Contest Editor, Talking Picture Magazine, 109 East 34th Street, New York.

Talking Picture Magazine

Loretta Young and

'Douglas Jairbanks, Jr. shortly to appear in "The For 'ward Pass."

15c For One Copy $1.00 By The Year

November 1929

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9

Copyright 1929

Page 2

TALKING PICTURE MAGAZINE

November, 1929

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TALKING PICTURE MAGAZINE

Vol. I. NOVEMBER, 1929 No. 2

PIONEE

by

Daniel O'M alley

OT all the uncharted plains unravel into sun-baked deserts, perilous fords, heart-breaking, impassable mountain ranges and encounters with hostile redmen. There are other feats which demand equal, if not greater courage and determination, and their frontiers are equally remote. The talking picture producers of this country deserve the warm appreciation of every citizen for their tenacity and fortitude. They have displayed a brand of courage which is not confined to battle or frontier.

* -3c- -:|c-

Time will prove their contribution to be unsurpassed. The spoken voice has always been superior to any other form of entertainment or per- suasion, and now that this is supplemented by visual transmission, we can truly say ''The voice is mightier than the pen."

* * * *

They have brought to the American public — and indeed the world — a new art, a new entertainment, which is destined to bring happiness — a new happiness — to untold millions. Who can prophesize its ultimate beneficence to the world at large! Who can deny that the peace of the world will be bonded through talking pictures, and distrust and suspicion ironed out to the last rough edge!

* * -* *

To the talking picture producers of this country, then, a toast. Silently, shunning publicity, over-coming all obstacles, you have assumed your burdens, and with true American initiative and efficiency, have brought the talk- ing pictures to its present stage of perfection. You have acquitted yourselves with flying colors, and every right-minded citizen sincerely wishes you the success you have so nobly merited. The day is not far-distant when our country will lead the world in the realm of art, — as in industry, — and the new art that you have created — talking pictures — will play its vital part in that recognition!

Published monthly at 15 cents a copy. Annual subscription, $1.00; Canadian subscription, $1 .25 ; foreign subscription, $1.50. Application entered as second class matter, under the Act of March 3, 1879. Published monthly on the 25th of the month preceding the date. Six weeks advance notice required for change of subscribers' address. Talking Picture Magazine, 109 East 34th Street, New York, Publishers ; Daniel O'Malley, Editor; D. S. Margolies, Advertising Manager. Unsolicited manuscripts, if not accompanied by stamped and addressed envelopes, cannot be returned, and the Editor cannot enter into correspondence about them. Manuscripts should be addressed to The Editor, and not to individuals. All accepted contributions are paid for on acceptance, without reference to date of publication. The entire contents of this magazine are pro- tected by copyright and must not be reprinted without permission.

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Page 4

TALKING PICTURE MAGAZINE

November, 1929

"Fa s t

Life

99

Loretta loung and Z)ouglas Fairbanks, Jr. (rejuvenators of romantic youth), together with Chester Morris, thrill Sophisticated New Yorkers in brilliant melodrama

OSH, Pat. It's a girl like you that

G< makes boys like me like girls like you." "Oh, Doug!"

"Now that we're married, we're going to knock the world for a row of garden tools. I'll build the homes and you'll decorate them. What a combination we'll make!"

Patricia and Douglas Stratton were only married a day. They had sneaked away from the gang and ran off to Evansville, where the wedding ceremony was performed by the only parson in the small town. When they re- turned they invited all their friends to their — or rather Doug's apartment to celebrate. To these two young hearts, this was their wed- ding celebration. To the guests, just another get-together party for which Doug was justly famous.

"Now what are you two doing in this lone- some corner all alone?", inquired Rodney Hall as he burst upon the unsuspecting lovy- doves. "Have you got an option on Pat?", addressing Doug. "Let's all go into the draw- ing room."

Rodney Hall had waited all evening for a chance to talk to Pat. It came as the others were indulging in liquid refreshments in the other room.

"Pat," he said, "Pat, I'm mad about you. . .simply nuts about you. . .and you've snubbed me all evening. I love you, Pat." He grabbed her in his arms. "Kiss me. . .Kiss me. . .rjlease. . .

A sudden knock at the door prevented what was be- coming a very serious situation. Rodney Hall had a few more drinks in his system than was good for him.

The newcomer was Paul Palmer, son of the governor of the state, and like Rodney and Doug was very much in love with Pat. He had seen them in Evansville the previous afternoon. He had seen them enter a hotel late at night and did not know that they were married. He questions Pat about her apparent misconduct, but Pat assures him that "I can look you in the face and say that everything was perfectly straight." Paul laughed the

Mention of the Talking Pr

The love nest is the scene of a tragedy

matter off, but he just couldn't believe that everything was "perfectly straight" despite his faith in Pat's trust- worthiness.

Complaints from the neighbors about the noise broke up the party about two a.m. Rodney and Paul took Pat home. She secretly conveyed to Doug that she would return later.

After some hours, Doug and Pat prepare to retire. Left alone in bed, Pat is frightened at seeing Rodney climbing through the window. The two lovers, in order to clear themselves of suspicion or wrong-doing, confess their secret marriage to Rod, who refuses to believe their story. After some nasty insinuations, Rod attempts to forcefully drag Pat home to her mother. The two boys scuffle. Rod pretends to become violently ill and Doug rushes for a doctor, leaving Pat alone with Rod. Rod quickly "recovers" and continues his attempts to take Pat home. "Sure I'm drunk," he snarls, "but not too drunk to understand what's going on here."

Just at this moment Doug returns, and seeing Rod's threat- ening attitude toward Pat, attacks him. They wrestle into the dark hall. The seconds seem like hours to poor Pat who is help-

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'November, 1929

TALKING PICTURE MAGAZINE

Page 5

less to stop the struggle. Rodney has taken Doug's gun. A shot is heard. Doug returns to the living room with the smoking gun in his hand. He does not seem to know what really happened. He is sure he did not fire the shot that was fatal to his friend.

"Good bye, Pat. I'll love you just as much as I did in life:

Doug is tried and condemned to die for the murder of Rodney Hall. Twice the governor granted a reprieve. He refused a third unless new evidence could be introduced to supply a just reason. None were forthcoming. Doug had but a few more hours to live. Paul Palmer came to bid him a last farewell.

"Paul," said Douglas, "after I go I want you to see that Pat is properly taken care of, will you?" "You know I will, Doug."

But Pat had different ideas. At the governor's mansion in which she had gone with Doug's father to ask for another re- prieve, she sobbed : —

"I'm a woman and my husband is to die tonight. I just want to say that — that I love him — I love him so much that if he dies tonight, I'll follow him. I love him better than anything in the world and please . . . please don't take him away from me . . . please . . . Don't take him away."

These few words struck heavily on the mind of Paul. While he hated to see his best friend go to the chair, yet it was the only hope he held of winning the love of Pat. And if Pat said she would follow7 Doug . . . she meant it. It was the end of his long hope.

Taking the prison warden, who was the Governor's brother, into one of the rooms of the executive mansion, Paul confesses that he, and not Doug, fired the shot that killed Rodney. It seems that Paul had also returned to the newlywed's apartment that night just in time to see the struggle in the hallway. He fired at Doug, hoping to hit him and have Pat for himself. But in the *— darkness, he killed the wrong man.

"Your father must never know of this. Why it would kill him. He wouldn't live the year out. It won't be jf^ Doug's blood that's on your hands, — it will be your father's. Do you get me? Your father's blood," said the warden.

"But Doug mustn't die. He's innocent." "Just leave everything to me, Paul. Leave everything to me."

The hour for the execution approached. Doug is led from his cell through the little green door and into the execution chamber. Reporters who had followed the sen- sational murder from the beginning were ready to write the last chapter of the story. But the last chapter never came. For the warden could not muster enough courage to send an innocent Boy to his death. He stopped the exe- cution and permitted Doug to escape from prison.

The governor is frantic when he hears what has hap- pened. But when the warden tells him why he could not go through with the execution, he is entirely overcome.

Paul, learning that his father had at last found out the truth, kills himself, rather than face him with his crime. "Tell the newspapers that Douglas Stratton is innocent" said the governor to the reporters who had stormed into the room.

"And tell the world we'll start life where we left off," said Doug to Pat. "I'll build the homes — and you'll furnish them."

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Page 6

TALKING PICTURE MAGAZINE

November, 1929

CURRENT COPYRIGHTS

Stories are listed in order of their receipt Recent Offerings to New York Talking Picture Producers

PORTRAIT OF A LADY By

Grace Wilson

— CHARACTERS —

Marquis de Groucy A Nobleman of the

Old Empire.

Irene, Countess de Groucy His Daughter,

Reputed to be the Most Beautiful Woman

in all France.

Mademoiselle Donon Her Chaperone.

Marquis de Pontarlais Another Noble of

Old France, and the lifelong Friend of the

Marquis de Groucy. Frederic, Viscount de Pontarlais His Son,

Betrothed to Irene, Countess de Groucy. Michel Flaubert A Rough, Uncouth,

Peasant, Known as "The Champion."

The Widow Flaubert.._ His Mother.

Francois Flaubert Another Son.

Margot Flaubert.:. His Wife.

"Madame Michel"... ..Wife of Michel

Flaubert, and the former Irene, Countess de

Groucy.

The Cure. Recently Appointed to

the District.

"Catherine" Housekeeper of the

Marquis de Pontarlais in Later Years.

Suzon Her Granddaught'er.

Viscount Frederic de Pontarlais _ Grand

Nephew of the Comte de Pontarlais. — MINOR CHARACTERS — Monseignor Montmorency, a Prince of the Church — Marshal, the Due de Lenecourt — The Due de Richelieu — The Due de Talleyrand — The Due d'Artois — Captain Beaumont, an Officer in the Mounted Carabineers — Pierre and Guiliume, Ser- vants in the Household of the Marquis de Pon- tarlais— Two Children of Francois and Margot Flaubert — Baby Girl of "Madame Michel," the Former Countess de Groucy.

— THE STORY —

I P || "US the romantic and glamourous period of II the Eighteenth Century, when Louis XVI and Marie Antoinette reigned over un- happy France.

The Marquis de Pontarlais and the Marquis de Groucy, typical noblemen of the Old Regime, are lifelong friends. They arrange a betrothal of their only children, the young Viscount Frederic de Pontarlais and the very beautiful Irene, Coun- tess de Groucy. The young people regard their betrothal, each from a different viewpoint. Frederic is restless and impatient to meet the lovely girl whom he has never seen, while Irene regards the whole matter with the utmost in- difference.

"Marry first and Love will follow" is the maxim and the custom of the time. But not in the eyes of the Countess Irene. She is deter- mined to marry for love or not at all. She also passionately espouses the cause of the peasants as against the bon ton or aristocracy, and scorns h° teachings of the Roman Catholic Church. Her father becomes anxious and determines that his daughter shall marry at once. That will doubt- less cure her of all silly and heretical notions.

i an invitation is extended to the young Vis- count Frederic to visit the beautiful home of the Marquis de Groucy, in lovely Provence.

Frederic arrives, but is received by his be- trothed with an aloofness that amounts to almost antagonism. He finds her the most alluring, as well as the most beautiful woman he has ever met, and determines to win her at all hazards. But he makes no progress with his suit.

Later, Frederic accompanies the Marquis on a little hunting trip. The former shoots a rabbit, which falls over the orecipice and lands on an inaccessible ledge. They are about to abandon

<*ir prey, as even the dogs are afraid to ven- ture, when a gigantic peasant with fiery red hair appears, followed by his dog, and recovers the rabbit. He drops it into the game bag, and •ith it a little wooden figure, carved by himself. Spurning an offer of reward, he laughs and walks away.

The hunters meet Irene in the hall when they return and tell her about the incident of the hare and the peasant. From their description Irene identifies the peasant as Michel Flaubert, known as the "Champion," for his prowess at the games. The Marquis finds the little wooden figure in the game bag, and both he and Frederic ridicule the crude workmanship. At this Irene flares up, and defends the peasant. Then Frederic declares that he will paint a picture of the Countess that will far surpass the alleged artistic efforts of "The Champion." The Marquis induces his daughter to accept the challenge.

The painting is executed in the boudoir of the Countess where they find a better light than elsewhere. It is a wonderful likeness and is re- ceived with enthusiasm by everyone save the

Countess herself, who appears quite indifferent.

While the painting was in progress, Irene is reading a book, while the Marquis scans a news- paper, where he reads of an outrage on a neigh- Doring chateau. Both he and Frederic denounce the peasants. Then' Irene hotly defends them — With such white-hot wrath, in fact, that Fred- eric suddenly realizes that "HIS GLACIER IS .^FLAMMABLE."

As Irene rises to leave the room, filled with 'most uncontrollable fury, she drops the book. Her father picks it up, and finds it to be "a pernicious book." He stamps on it, and searches the room for more. He collects a pile of her books, brands them with the tongs, and orders that they shall be sent to Marseilles and burned by the Pubjic Executioner. Irene protests in' vain, and then leaves the room. Frederic tells his host that he feels that under the circum- stances, he should abandon his suit. But the Marquis induces him to remain until he has finished the picture, at any rate, and the young man agrees.

The picture is finished but Frederic makes no Progress with his suit. He murmurs to himself, as he regards the portrait: — "Never can I give her up."

On Sunday the banns are published in the vil- lage church. Amid the crowd of villagers "The Champion" appears, and asks the Marquis to preside at the games that afternoon. He con- sents, much against his inclination. Then the Marquis announces that the marriage will take place in the private chapel at the chateau, and not in the village church. Irene receives this mandate with deadly calmness.

At the sports "The Champion" is the winner, and the Countess Irene places the usual scarf of many colors about his shoulders. r rederic has walked through the grounds during the sports, and has noted the wandering glances ot the Countess, as if she were looking for someone. He becomes exceedingly jealous, and feels that there is someone else. "Who is the man?" he wonders, unhappily. As the sports are still in progress, Frederic wanders through the Chateau, and enters his betrothed's apartment. In her bedroom he sees the portrait standing on two chairs, while on her dressing table he finds the little wooden figure. He goes to the window, and twice fancies he sees the dark outline of a man passing close to the wall. He also hears a whistle. Again he is overcome by jealousy.

Just before the betrothal banquet, Frederic meets his fiancee, and, carried away by her aazz- ig beauty, he attempts to kiss her. She par- ries his efforts with fine dignity.

While the banquet is at its height, Mile. Donon enters, terrified, and announces that a band of angry peasants are outside, and are calling loudly for "The Champion." Frederic recalls the figure he saw in the garden, and wonders. Through the windows they see crowds of peasants, with flam- ing torches. The Marquis is furious, and arm- ing his guests and posting them at different points of vantage, he and Frederic hurry to the Countess's boudoir, from the windows of which they can command the postern gate. But the door is locked, and upon knocking, there is no reply. The Marquis opens the door with a pass- key, throws it open, and there, standing in the r^v~»m stUDefied and motionless, is "THE CHAM- PION." Michel Flaubert. The Marquis raises his musket, and the Countess Irene, with a cry, throws herself in front of him, and begs Flaubert to fly. He darts away. The Marquis fires; there are patches of "The Champion's" hair floating about the room, but when the air clears he is gone. He has escaped.

Then the Countess admits that she loves Michel Flaubert and that she belongs to him. Her father orders her out of his house forever. She prepares to go. Frederic tries to induce her to stay, but the father says:

"No! She shall go!" And the Countess leaves forever.

Later the young Viscount blames himself for not having interfered and saved his betrothed, both from the peasant and from herself.

The blow of this terrible thing kills the Marquis de Groucy. The Viscount Frederic returns to his home in the Cote d'Or country, and is stricken with brain fever, from which he ultimately re- covers. He is a changed man.

—SEVEN YEARS LATER —

There is a scene in' the cottage of the Widow Flaubert. Present are the widow, her young daughter-in-law, Margot, wife of her elder son, Francois, Francois himself, their two children, and "Madame Michel." as they all call the former Countess Irene, now Michel's wife. She is sitting near a cradle, in which sleeps her baby girl. The Widow Flaubert and the rest of the family despise "Madame Michel," and the latter hates

this sneering old woman with all her heart and soul.

The new Cure knocks and is admitted by "Madame Michel." He has heard of the discord in the Flaubert family, and hopes to make peace. He notes how the family treats this high-born lady, and it makes him sad. There is a whistle in the. yard. It is Michel. His young wife jumps up, with animation, and flies to him. Strange as it may seem, she loves this man with a passionate love. They enter, and Michel takes off his muddy boots and flings them across the floor to his wife, and, patiently, she scrapes the mud off and cleans them. Then all the family retire save "Madame Michel," who converses with the Cure. He finds her a most rebellious subject, scorning religion, and scoffing the Roman Catholic Church as a "worn-out institution." But he is so kind, so gentle, so patient, that she becomes in a gentler mood; tells the Cure that Michel's mother is going to '-ive her son a sum of money, with which he will buy a house and farm, where they will live in future, nappy and content, and away from the rest ot the family, who hate her. When he finally goes she asks the Cure to pray for her and Michel and their happiness in their new home. And he promises to do so.

A fortnight later the Cure meets Michel who is in gay spirits. He has the money, and is on his way to buy their new house and farm. As the annual Fair is in progress, the Cure warns him to beware of temptation. But that very evening Michel calls on the Cure and tells him that he has gambled and lost every franc that his mother gave him. The Cure consents to accompany him to his mother, as Michel is afraid to face her alone. The mother cries, but tries to make ex- cuses for her boy. Not so, his wife, though. She berates him with fury, ending with: —

"Bah, you dirty peasants, all!"

The Cure leaves. Afterwards he wishes that he had stayed, anc! reproaches himself accord- ingly.

"Madame Michel" throws a mug at her hus- band's head, and he grapples with her. As she still struggles, he strikes her across the face. Stunned at first, the infuriated woman catches up her embroidery, and dashes out the door. Michel darts after her. There is a struggle in the yard, "'"he Cure, as he stands there sees and hears all. He is becoming alarmed, and decides to remain, as he may be needed. As he looks he sees the woman lift her right hand on high and strike the peasant upon the breast. The giant utters a cry and staggers away from her. Cursing the whole family, the infuriated woman disappears into the night.

The Cure finds that the injured man has been stabbed with a bodkin, that is used by women in embroidery work. He is carried in and placed upon a bed. The last rites of the Church are administered, and Michel passes away.

"Madame Michel" gives herself up to the police, when she hears that she has killed her husband. At the trial she is permitted to speak in her own defence. The woman's evident sorrow, and her eloquent, sorrowful, assurance that she mourns her husband, and shall always mourn him, more than anyone else in the world, and when all others have forgotten him, moves the Court in her favor, and she is acquitted of the charge of homicide, but convicted on a lesser charge. She has told the Court:

"The world is nothing to me. ... I ask no mercy! . . . Be just!"

And the sentence is: Two years' seclusion in a religious house for penitence and prayer, after which she must "abide the penance inflicted b" her spiritual director."

In the religious house the condemned woman is visited regularly bv the Cure, who "finds he- a changed woman — broken-hearted, and bow»d with contrition." Later, when she leaves the relieious house, she is permitted to take her child ■'th her and the only penance inflicted by th~ Cure is "obscuritv."

— FORTY-ONE YEARS LATER —

During the Revolution the Viscount Frederic s»rved the Monarchv and the Church with great distinction. His father is dead, and he has in- herited the title and estates. The fortunes of his house do not permit the present Comte d» Pontarlais to maintain a large menage. He has "n'v two s-rvants Catherine, a tall, gaunt wman. hollow-eyed, and with wrinkled face, and Suzon. a pretty, rosv-cheeked, bright-eyed maid who has recmtlv come from some obscure co-iv-nt. Catherine has been with her present master for almost a decade.

The M?>-auis's grand-nephew and namesake. Viscount Frederic de Pontarlais, comes to the chateau on a visit.

(Continued on page 8)

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November, 1929

TALKING PICTURE MAGAZINE

Page 7

Loretta \oung

HIRRING cameras played lullabies to Loretta Young. "Bit" play- ers were her nurses, electricians her playmates. For this young leading lady was in motion pictures at the tender age of four years. She has been on the screen continuously since that time. Except for short terms at Ramona Con- vent in Los Angeles, her schooling has all been on the sidelines of movie sets. Miss Young is a native of Salt Lake City. When she was four she moved to Hollywood with her mother and two sisters, both of whom are well known screen players now — Polly Ann Young and Sally Blane. Loretta was a child dancer, but before she learned to dance she toddled in and out of pictures. Then she became a child actress, and as she grew to young womanhood her parts became more and more important. One day Colleen Moore's director called for Polly Ann Young to play a part in "Orchids and Ermine." Polly Ann wasn't home, but Loretta volunteered to take her place. She did, and got a contract with First National Pictures, Inc., to whom she is still under contract. Later she was awarded the leading feminine role with Lon Chaney in "Laugh, Clown, Laugh," when over fifty girls had been given camera tests for the part. Her recent important roles have been in "The Girl in the Glass Cage" and "The Squall."

Page 8

TALKING PICTURE MAGAZINE

November j 1929

{Continued from page 6)

Over the man'tel in the dining room hangs a portrait of a woman, in a massive oval frame. The frame is chipped in places, and there is a black-looking hole on tne right border, and some foreign substance imbedded within it. The pic- ture is that of the Countess Irene de Groucv, painted by the Comte over forty years before. When questioned, the Count tells everyone that he purchased the picture in a curio shop FOR THE SAKE OF THE FRAME.

The young Viscount is enraptured with the pic- ture. He actually falls in love with the beauti- ful creature visualized on canvas. Over and over again he urges his uncle to reveal the identity of the Lady of the Picture, but always receives evasive answers.

While rambling about the estate one morning, Frederic comes upon a rusty old cannon, and notes that a girl is leaning over it, and watch- ing something with interest. He goes to in- vestigate and finds that the girl is Suzon. who is watching a little lamb lying asleep within the mouth of the cannon. Later Frederic tells his uncle about it, and remarks to him, as he had already done to the girl herself: —

"It is symbolic, isn't it? Symbolic of War and Peace — a little lamb sleeping peacefully in an old cannon's mouth, near a stirring scene of the Revolution."

The Count is much interested in this meeting between his nephew and Suzon. The girl had told Frederic that she took both sides of the Revolution, for her forbears took both sides — fought on both sides. "I am both peasant and aristocrat," she had said.

This meeting does not please the Count, as he fears it may lead to an escapade.

Frederic still urges his uncle to tell him more about the beautiful woman in the picture. Evasive, as usual, the Count expresses wonder as to what the black mark on the frame is. Frederic there- upon investigates and finds that it is a bullet hole, with the bullet still there. He digs it out, and both men notice that there are golden hairs attached to it. The Count knows that the hairs are from the head of "The Champion," who thus just escaped death when the Marquis de Groucy fired at him.

More than once Frederic notices the remark- able resemblance between Suzon and the Lady in the Picture. He determines to copy the pic- ture. Even Catherine tries to dissuade him. She admits that the girl in the picture is beautiful, "but she lacks beauty of soul," she added.

Later the Marquis announces that he is about to receive a visit from the new Cure. When Catherine hears this it affects her strangely, tor three days she is very ill, and Suzon tearfully tells Frederic that her grandmother lies, more dead than alive, and cannot prepare the great dinner that is about to be given. She is toid to puc a woman in the kitchen and hersell wait on table. He asks that she shall stand behind HIS cnair. He is so taken by the charm ot Suzon tnat he seizes her in his arms and kisses her. Later he reels ashamed. He has rorgotten iNdtSLESSE OBLIGE.

On the day of the dinner, when Catherine sees the cure, she is overcome with sudden weakness and leaves the room. Suzon takes her place, tout stands behind r rederic s chair. No one notices tne change in waitresses.

After amner tne question of the picture above the mantel comes up. iJuring the conversation the Count hnally admits that he painted it. r rederic is astounded. Later tne Count aamits rurtner that tne lady in the picture was his be- trothed.

While they are speaking Suzon announces that her grandmother is very ill. the Cure is called, and later tne master is called in to see the ■woman who is delirious, and is asking the master to come and forgive her for something. 1 he cure has announced tnat she is dying. Wnen the master returns he looks puzzled. Later he is called again, and this time he learns, to his utter amazement, tnat Catherine is his own once be- loved Irene, countess de Groucy. "Catherine " passes away in peace. When 1- rederic comes down in the morning and sees Suzon attired in biacK, he understands. But, when he sees tne Laoy ot the ficture also draped in black, then he is nonplussed. His uncle explains: —

"1- rederic," he says, "Catherine was my be- trothed, and 1 knew it not until last night."

Suzon is standing beneath the picture. Frederic rises impulsively, and going to her, places an arm about her protectingly. Then turning to the trio, he addresses his uncle informing him tnat ha wishes to marry Suzon. His uncle consents, and the young man asks Suzon the same ques- tion. For reply she hides her face on his breast. Placing a hand tenderly on Frederic's shoulder, the Count quotes: —

' it is all for thee

The flower grows: The rose's thorns are but for me; For thee the rose.'

Then" he orders his nephew to take down the picture; he doesn't care to see it again. Then

the Count de Pontarlais leaves the salle-a-manger, quoting softly: —

'From the old flower-fields of the soul

I pause to gather a Provence rose.' — THE END —

RAPIERS AT FIVE Gordon Robson

JOHNNY KENT, handsome, impetuous and red- headed is in a peck of trouble, as he confides to Barry McNeil, Paris correspondent of a New York newspaper. Johnny is spending a more or less studious year at Paris preparatory to embarking in his father's import business.

Johnny has been challenged to a duel. It all comes about in this way. He had started south towards the heights of Butte-aux-Cailles, when he realized that his car needed water. He stops at a charming chateau and while there meets Rae. As Johnny says: "She was the berries." He induces Rae to stroll with him and while crossing a ford he slips and Rae's lips are close to his. He kisses her once-twice, which in itself was pleasing. On the opposite shore, however, was her fiancee. Harsh words, a left hook (on the part of Johnny) and a card in return.

Monsiqur Polet sends his second, Raymond Duclos, to arrange matters. Johnny chooses the rapiers. Barry is to second Johnny. "Tomorrow at five then."

Johnny staggered to a chair. "That," he said, "is the last straw. It's bad enough to get killed, but to get up at five to do it. . . ."

Johnny has made a date with Rae for that evening. He drives up in his smart Italian road- ster. She warns him that Polet is a skilled duelist — "has already wounded two men terribly. You must go away and forget that you have met Rae."

"You have beautiful eyes" says Johnny.

Quarter of five finds Johnny and Barry at the appointed rendezvous. The two opponents ad- vance until their blades cross over the cane. There is a tense engagement. Finally Johnny lunges under the right arm of his opponent. The blade bends, then snaps, broken in two places. Barry rips Polet's shirt from collar to waist and reveals a jacket of light steel.

"So, cries Barry, "this is the way you fight!" He turns accusingly to Raymond Duclos.

"1 am greatly pained, that this should have happened. I assure you that Monsieur de Sante and 1 were unaware of Monsieur Polet's cowardly actions." There was no doubt that the young man was sincere. "And I myself shall take you both to call on Madamoiselle La Belle this even- ing," he declares.

Evening. The prettiest of pretty girls stands on her tip-toes _and puts her arms around Johnny's neck. He looks down into her dark eyes, and then —

"Well, what would you have done, Barry?"

THE FLOP Frederick H. Lape

AT Wilton College. Billy Basset loves Chris- tine Gore, daughter of a disreputable dancer. Christine is working her way through college. She is to do a toe-dance in a campus show. Billy writes a love song for her. Christine gets it into the show.

Althea Dunn,, after the Basset fortune, writes Mrs. Basset, whom Billy calls the Duchess, about Christine. Mrs. Basset arrives. Billy defies her. The Duchess threatens to cut off his money. Billy has no work. Christine secretly plans to support both of them temporarily by her toe-dancing. She is promised a job if her number in the show goes all right. She holds out against the Duchess and Althea, who give her a third degree about ruining Billy's life.

Christine promises she will marry Billy the day after the show. Billy, elated, plans a party. He stays home from the show to make one last effort to win over the Duchess before she leaves.

Christine's specialty is dancing up and down steDS. She slips, makes a ridiculous comedy flop, landing thump on the top step, and bounc- ing— thump — thump — down every step. Humili- ated, she realizes she is a failure, — that she can't load herself on Billy. But never letting on, she carries through his party with her usual gaiety. Then she disappears from Wilton. Billy searches for her frantically. He blames the Duchess. The Duchess throws the blame on Christine and tries to consoje him with Althea.

Christine meets Dick Lyon, a vaudeville actor. He thinks her flop dance great for vaudeville. Through him she gets a job. She goes to Wilton after Billv. Billy has shipped on a boat, and left a brief note for her: "Go to hell."

Christine goes into vaudeville with Dick. The act is Christine's life in miniature — her failure, her tears made grotesque — to be laughed at. They even use Billy's song for a theme. Nightly Chris- tine does her flop dance, thumping down steps to the stage.

Three years pass. Christine and Dick are in Australia. Christine has become a name in vaudeville. But she is sick of the act, — sick of life. Always searching for Billy, she has not found him. She is playing around with a rich American, a rotter, who wants her for a mistress. She is undecided.

She goes with the American to a cabaret and sees Billy, Althea, and the Duchess. Billy, still

angry at her disappearance, ignores her. Beaten at last, Christine tells the American she will go with him — after one more performance. She goes home and makes up a new song, — a song of despair — "Life is a Flop."

She sings it the next night. It is a hit. Billy, happening in at the show, sees in her act the explanation he had needed. The song goes to his heart. He comes for Christine.

THE THIRD THEME Ethel F. Keller

DONALD McLAINE is engaged to Myrna. He calls upon her while she is busy with paint- ings requested of her by prominent magazine publishers, to ask her to attend Butch's party in the penthouse apartment. Myrna tells him that her work must be done, and that she cannot go with him. Besides, her cousin is to visit her. She mentions Helen Dupree as a possible com- panion, since Helen has been very attentive to Donald.

Donald's father had built up the McLain Iron Works and since his accidental death sometime before, Donald has neglected to assume the re- sponsibility of the business and has given his time to play and love, ignoring work. He re- ceives a letter from the manager of the industry, Thornsen, but considers it as so much preaching.

The party is on, and is a tremendous success. It breaks up about 4 A. M. and Donald's click of five take to his car. He discharges his chauffeur and gets behind the wheel himself. A longing to pass Myrna's home, even though it is out of the way, possesses him, despite the ridicule of com- panions. Helen, particularly, joshes him.

A light is seen in Myrna's room. His friends subtly suggest that it is rather unusual for out- of-town cousin's to be entertained up to the hour of 4 o'clock and they prompt Donald to investigate.

A man-tousled, hatless, coatless, comes to the door. Donald misconstrues his visit and Myrna blushes. Explanations on the part of the man indicate that he is a physician called upon to attend Myrna's cousin, now revealed as her niece, due to excess of "hot dogs." He leaves with "Turn out these-cattle."

*'Oh!" she shuddered. "How could I ever have faced my sister if Baby had died! When that first terrible convulsion came, I ran right out into the street. If I hadn't met you — carrying that bag — "

Myrna, deeply offended by Donald's implica- tion, returns his ring to him.

Subsequently, Donald returns to her door and pleads for forgiveness. He states that he is on his way to the plant to assume the third theme — work. Myrna loves him, despite the misunder- standing. "D-do you think I would like — Pittsville? asks Myrna, and reconciliation follows.

THE MYSTERY OF PETERFOUNTAIN DIAMONDS

Corinne M. Arthur TTJ) ROFESSOR BARTON, a noted minerologist \r~ and party (explorers), including Jim Dawson (engineer) with four native blacks, set up camp about 500 miles N. East of the outpost Kongolo in Belgium Congo. Barton discovers a rare strata of rock from which he secures dia- monds in the rough. One very large diamond of priceless value is included in this find. In sav- ing the life of Marja, his native guide, from a wild tiger, he is crippled and together with the jungle fever he cannot be moved.

Jim Dawson, an unscrupulous man, steals the diamond and forces two of the blacks to accom- pany him back to Kongolo. Barton is left to die in the waste-lands. He afterwards boards a boat leaving the port of Dar Es Saalam under an assumed name of Bard Billings, an English aristo- crat, and arrives at Antwerp, Belgium, where he has the diamond cut and sold. He then crosses to America and invests in a palatial estate on Long Island, placing his family — wife and daughter Tessie, — in society.

Prof. Barton is rescued from the jungle, but dies in a hospital at Kongolo. He lives to see his wife and SQn John from Johannesburg, and tells them of the engineer's treachery, leaving a minute description of the diamond. Mrs. Barton and John are transported to America, after the father's death. Three years later John has a position as trusted clerk and craftsman jeweler, with Valance and Company, New York. A noted society woman, Mrs. Haldane, wears a diamond in her priceless necklace that matches the de- scription left by his father. Mrs. Haldane intro- duces him to Tessie Billings, a favorite of hers. They are mutually attracted to one another but when her father finds that her sweetheart is the son of Prof. Barton the explorer, he takes steps to break up the affair. He decides, further, to have him "bumped off" by the boot-legger gang, over which he holds absolute command. John, however, has never ceased in his efforts to trace the thief of his father's diamond, and finally, thru aid of detectives, he finds that Jim Dawson and Billings are one. A settlement is agreed between them. John starts on mission to receive money. He is waylaid by Billing's gang, and taken' to rendevezous, to be done way with in due time. John is rescued by Joe Hardy and a detective, the former a member of Billings' gang. John is rescued in a gun battle between the Federals and the gang, which takes place in the "Sound," and Billings is shot by Joe Hardy in settlement of a grudge. The affair ends for Bard Billings and Tessie remains innocent of her father's crime.

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November, 1929

TALKING PICTURE MAGAZINE

Page 9

OUND EFFECTS

TERRIFIC HEAT ON TECHNICOLOR SETS PRESENTS NEW PROBLEMS IN VENTILATION AT PICTURE STUDIOS

The making of pictures in Technicolor, which requires three times the lighting faci- lities needed for black and white pictures, has presented a new problem to studio engineers in Hollywood.

With the advent of talking pictures, the styles in stages changed, all being made sound-proof, with only a few double doors and no windows or vents in the roof.

Then came Technicolor, which increased the number of lights on each set, and the problem of ventilating the stages is one that has kept the studio experts figuring for many weeks.

On big sets, where hundreds of lights were used, it was impossible to work at all in the daytime, and even at night the actual photo- graphing of scenes had to be limited in time, so that the stage doors could be thrown open and the huge airplane fans started after the lights had been extinguished.

On one of the "Sally" sets, where Marilyn Miller is starring in the screen version of her famous stage play of that name, Fire Chief A. M. Rounder placed a thermometer in the rafters of the stage during a scene. The mer- cury blew the top out of the thermometer be- fore the scene was ended.

Technicians at the studio at once started working on a system of ventilation that will eliminate the hot air which accumulates under the roof, without interfering with sound pic- tures. Special vents in the roof of the stages have been constructed so that the air can escape without admitting the sounds of airplanes over- head, and other outside noises. At the same time a system of silent fans back of the cameras keeps the air on the stages in circulation.

The new system was tried out this week with success on the largest indoor set ever constructed. This set, also for "Sally," con- tained more than 750 huge lamps, and in test lighting before the ventilation system was in- stalled, the thermometer registered 140 degrees on the floor of the stage.

The new system will be installed on all of the eleven big sound stages at the Burbank Studios at once, as many of the pictures for the coming year will be made all or partly in Technicolor.

ALBERTINA RASCH NOW IN EAST DISCUSSES REQUIREMENTS FOR BALLET DANCING

"Health is more important than beauty for a ballet dancer," declared Albertina Rasch, who is now in New York after completing "Shooting Gallery" and a special number in "Devil May Care."

"A healthy body is always beautiful," said Madame Rasch. "To be a successful dancer requires hard work and long hours. For these requirements health is necessary. That is why, in selecting the girls for my ballets, I demand first of all perfect physical health."

When the Rasch ballet arrived in Hollywood last January to appear with "The Broadway Melody" at Grauman's Chinese Theatre, the girls startled the movie capitol, accustomed to

smaller and more delicate chorus girls. The Rasch dancers, with their muscular arms, legs and bodies looked like champion athletes rather than stage dancers.

Madame Rasch trains her girls as if they were athlgtes.

"Physical culture is the foundation for all dancing," she explained. "To have muscles which respond instantly and tirelessly to the most intricate instruction, the entire body must be well-trained."

Each day the Rasch girls go through their daily dozen, with a few extra dozen thrown in for good measure. The average height of the girls is five feet and four inches. Their average weight is one hundred and twenty-two pounds, which is far above the average weight and height of the ordinary chorus girl. There is not one ounce of excess fat on any ballet girl.

Madame Rasch plans and executes her ballets with the precision of a general. She was born in Vienna, with a Polish father and a Hun- garian mother. She started her dancing train- ing when she was seven years old, in order to develop a body, that appeared delicate.

She made her first stage appearance at the age of ten as a member of a children's chorus in the "Ballet of the Suez Canal." When she was sixteen she made her professional debut as a ballerina at the Royal Opera in Vienna.

Coming to America in 1912, she appeared as prima ballerina with the Century, the Metro- politan and the Chicago Grand Opera Com- panies. In 1925; she left the footlights to open her own school of ballet dancing in New York.

Each of the twenty-four girls in her ballet have been with Madame Rasch for three years or more.

FILM ACTORS GIVE WOMEN THE "EDGE"

Women, starting out far behind men in favor as talking picture performers, have now eclipsed their rivals.

At any rate, a group of seven noted film directors recently voted the best performances of the talkies' last year to have been given by women.

Honors went to Dorothy Mackaill in "His Captive Woman," Jeanne Eagles in "The Letter," Ruth Chatterton in "Madame X," Loretta Young in "Fast Life," and Mary Pick- ford in "Coquette."

Among men, Chester Morris in "Alibi" and "Fast Life;" Richard Barthelmess in "Weary River;" and both Edmund Lowe and Warner Baxter in "Old Arizona."

The board of noted film directors consisted of: Frank Lloyd, William A. Seiter, Clarence Badger, John Francis Dillon, Mervyn LeRoy, Alexander Korda and William Beaudine.

"Women performers have also been some- what more consistent in talking pictures than the men. Their performances are generally more significant, and in many cases that could be cited their fine work has saved some very bad story vehicles and badly-directed, staged and assembled talkies."

Lloyd, who has directed many Richard Bar- thelmess successes and several of Corinne Griffith's, declares that the talkie still handi- caps women slightly because of its developing technique.

"A star like Barthelmess has masculine nerves and patience," Lloyd explains. "He cultivates them by athletics. He is hard to fluster, or rattle. Most men are steadier on the trigger, less nervous and have more patience than women. That gave men a great advan- tage in the earlier talkies, in which the tech- nique was so clumsy. It gives them some edge over the women, even today, for everyone who is experienced in silent film pantomime is worried slightly over the necessity of speaking, while those reared on the stage are still con- scious of pantomime requirements."

"Women," supplements Mervyn LeRoy, "have what we call 'breathy' voices. The cruder microphones of a year ago made their voices sound nasal. You'll notice that this defect no longer exists. Their vocal effective- ness in talking pictures, is, today, as great as that of men."

Dillon remarks whimsically: "The results of the canvass seem to bear out the old asser- tion that women talk more than men. Talking more should make them talk better."

Alexander Korda maintains that women are more expressive when talking because; "The average man considers putting much vocal em- phasis into his speech is somehow connected with effeminacy."

"Memory and study come to the aid of the women performers," Beaudine observes. "A woman's memory is notoriously better than man's, and she is always a better student of detail."

"BROADWAY MELODY" OPENS IN OSLO, NORWAY, AND SETS NEW LONDON RECORDS

Opening at Oslo, Norway, for its first pre- sentation in continental Europe outside of Amsterdam, Holland, "The Broadway Melody" recorded still another triumph over linguistic obstacles.

According to cables the first three days show- ing of the singing-talking-dancing American film broke all Scandinavian box-office records. The Crown Prince and Princess of Norway were present at the opening, and added their word of praise to the tributes given the pic- ture by local papers. The "Melody" has now been shown outside the United States with un- paralleled success in Holland, Norway, Eng- land, Porto Rjco, Brazil and Australia. Some local subtitles were used outside of English- speaking countries, but otherwise the picture was presented exactly as it had been through- out the United States.

Another smashing triumph for the "Melody" occurred during the past week in London and vicinity when this all-talking picture played return engagements following its special run at the New Empire.

Sixty theatres have been playing "The Broadway Melody" in the London sector, and despite the terrific heat — the greatest in eigh- teen years — practically every house broke existing records. Old marks set by "Ben Hur" "The Singing Fool" were outdistanced by the new attraction, and eulogistic telegrams from local exhibitors praised the remarkable draw- ing power of a film that could set a record- breaking pace in the face of 90-degree tem- peratures. None of the sixty English houses, incidentally, possess cooling plants.

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Page 10

TALKING PICTURE MAGAZINE

November, 1929

THE SPEEDERS Henry B. Lister

A LAWYER, Vivien, whose wife Nancy has a mania for speeding, has passed a law making her customary offen'se a felony. A doctor, Chandler, whose nephew, William, is a young lawyer, is engaged to Vivien's sister. He has taken a car in collection of a debt to Chan- dler, and has induced him to drive home alone at midnight. He collides with two women joy- riders, wrecks their car, and revives them with whiskey. One is Nancy the Speeder, — the other is her sister-in-law Effie. Nan'cy drives Chan- dler's car furiously to arrive home before Vivien. She runs down a truck full of servant girls, one of whom is Bridget, Chandler's cook. She hits it up until a dark place on the road, where she stops suddenly. She and Effie escape. Chandler is arrested and says the driver was his wife.

Chandler's wife, Elaine, has written letters to her mother, Clara, inviting her to the theatre in Chandler's absence, and to an artist containing prospectus of Chandler's lectures. Bridget has exchanged them. Chandler hires the artist Whiler to paint Elaine and his mother-in-law, to keep them busy so .they will not find out about his arrest.

Marshal arrives with warrant for arrest of Elaine. Chandler tries to rescue her and is him- self arrested for resisting an officer. Chandler and Elaine are handcuffed together. Trial before Justice of Peace, Vivien' prosecuting, William de- fending. Latter states he has located the real culprit, though he has not heard her name. A detective is bringing her.

Whiler appears as an alibi witness for Elaine and produces the letter of invitation to the theatre. Chandler believes it to be true. Bridget has been paid by Chandler to keep quiet and she attempts to bribe the judge. Bridget and Whiler are arrested. Nancy arrives heavily veiled. Vivien has a word duel with her, then' compels her to remove her veil. He falls back flabber- gasted to find she is his own wife. William re- vives him. Vivien rushes out, — runs over Judge's prize pig with auto. Gets away. Next morning, ^.handler, Elaine, Nancy, Bridget and Vivien, (dis- guised) are brought into court on a chain. Vivien feigns insanity. Chandler, who is angry at him for prosecuting him, tries his reflexes with a hammer. William arrives and gives his identity away. Clara abuses judge and is put on chain for contempt. While speaking William reveals bottle of gin on hip. He is also put on chain. Vivien discovers commissions of judge and mar- shal have expired. They are both arrested for felony an'H put on chain.

In this predicament hypocrisy is abandoned, and all vote for freedom and the chain is thrown out.

FLYING SWEEPSTAKES Emil P. Roudabush

THE Clark aeroplane factory, once outstanding in the aviation industry, is on the down- grade. Tony Warick, mechanic, has been with Clark ever since he started business. He is a clean-cut, good looking youth, but his one failing is lack of spirit. He is content to go along as he has been and it would seem that even his love for Rose Clark is not sufficient in'centive to get him out of the rut.

Stanley Wood, college graduate, is mechanical engineer in charge, and the plane he is designing Tony knows to be defective. Yet why protest? He would merely be called dumb, as was the case in the past.

Stanley is a persistent suitor of Rose. Tony is informed by Rose that she may marry him. Tony is content in thinking that he can offer her more than Tony himself. However, Rose is in love with him and tries in every way to move him to action.

Tony finally reacts to this persuasion and seeks a raise in salary. Clarke does not give him serious consideration and Tony leaves to work on his own design of plane. His shortcoming i=> lack of capital and although Rose offers her own money, he refuses same.

Finally, when Tony perceives that Rose wants to be a real partner, in every sense of the word, he acquiesces and the plane is made ready for the races. Tony offers to run it under the Clarke banner, but Clarke proudly refuses.

Tony's plane is successful above all others, despite the fact that it is a crude, unpolished affair, subject to the ridicule of all who see it. Stanley Wood in particular laughs at it.

Rose sells her half-interest to her father as soon as she learns of Tony's success, for $100,000. Her father thinks the price rather steep but when he learns that it is to stay in the family he does not mind it so much. His plane has been a total failure and his new purchase will mean success to him.

Tony returns, victorious, and receives a royal reception. He is no longer "dumb". His fortunes have changed through the acquisition of a "real" partner.

HAVE YOU TALENT?

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THE BISHOP'S WARDS" Leone Grey

THE story of Donald Odell and Crystal St. Clair. Don is the nephew of Bishop Odell. Crystal and Don are both wards of the Bishop — have been since they were very small. A deep affection for each other has grown up between the young people. The story commences when Crystal is seventeen and Don nineteen years old. Crystal is a student at the St. Anns Convent. Don is taking a college course. Both spend many leisure hours at the Bishop's home. When Don s 2 1 he tells Crystal of his love and finds she loves him — has always loved him. Later he learns his mother's dying prayer was that he should become a priest. Don rebels but Crystal says it is a voice from the grave. With breaking hearts they make the sacrifice. Crystal studies nursing. Don who has graduated from one col- lege enters another to study for the Priesthood. Eventually he is ordained and by his own request is given a Church amongst the poor and lowly, who worship him. He opens club rooms for the men and boys, interesting himself in their physical and spiritual welfare. The war breaks out. Don goes to the front as Chaplain. He is carried into the Neuilly Hospital, wounded and blind. Crystal is there and helps to nurse him in his delirium. He often calls her name. He does not know she is near. Crystal disguises herself and is engaged as a French boy guide to come back to America with the blind Priest. At the pleading of his people he goes back to preaching in his old church. They come from far and near, — rich and poor, — to hear the wonderful sermons of the blind Priest.

The church is too small to hold the people so he preaches his sermons outside with beautiful nature for a back-ground. Father Don is study- ing his sermon out in the open'. His guide is reading the New Testament. It grows very dark. Then a great flash of lightening-shock restores Father Don's sight. He goes to his guide who has been shocked by the lightning and lies helpless upon the ground. Don rubs the boy's hands to start circulation. He takes off the boy's cap. In pulling the cap off he also pulls the >y's wig off and Crystal's hair falls around her. Don is overjoyed. He recognizes Crystal, clasps her in his arms and calls her name. She opens her eyes which are growing dim. She asks Don to kiss her. Bids him good-bye and dies.

THE_ MAGNATE William Bradford

A MAN, his wife and daughter keep a little store on the East Side of New York City. The owner of the store is industrious and saving. His only daughter is beautiful and ac- complished. A great chain store monopoly locates in the immediate vicinity of his shop and competition soon drives him out of business. He is compelled to close his shop and accept a position in the chain store.

He is morose and brooding and plans revenge. The head of the chain system, whom the story calls "The Magnate," has two sons whom the daughter of the shop-keeper has met by chance. She tells her father that she believes she can revenge tiis great loss. By her powers of fascina- tion and beauty, she causes the two sons to fall in love with her and they are soon at sword- points with each other.

One of the young men is rather wild, and en- gineers a fake robbery of his father's home, there- by obtaining money with which to pay his gambling debts. His brother also is drawn into the net. The daughter marries one of the sons and they go to Cuba. The other brother follows. In a card game, one of the brothers is shot. The second commits suicide. The motive of the story is revenge, and this theme predominates throughout its pages.

FROM THE BARBARA COAST C. M. Vancuren

THE principals of this narrative are Dick Foster, who lives in a small town in South- ern Pennsylvania, and Beatrice Capella, a wealthy and talented beauty of New Orleans.

Dick leaves his home an'd arriving in Frisco, meets Beatrice. Beatrice's father, a wealthy southern planter, is murdered. Dick rescues Beatrice from a noted gangster, who is owner of one of the most n'otorious gambling resorts on the Barbara Coast. Dick and Beatrice take pas- sage on a ship bound for Japan. Three days out they are shipwrecked and fortunately escape drowning by means of a raft made from wreck- age. They land four hundred miles South of Frisco, on the shores of the Pacific, where the trail of the Coast Mission Bells are tolled by the faithful old priests, to guide castaways and wayfarers to places of safety.

Dick and Beatrice are married under a syca- more tree by one of the old priests. Denton', the gangster, learns of the rescue of Beatrice, and sends out spies to capture her and Dick. Beatrice goes to Dick's old home in Pennsylvania.

Dick is abducted by Denton and shanghaied on a whaling vessel. Beatrice becomes the mother of a boy. There is no word from Dick. The boy becomes a young man' and goes to the West Coast. A man comes from the North seas with vengeance in his blood. A vigilance committee is formed. Denton's place is wiped off the Bar- bara coast. Denton is slain by Dick. Dick meets his son, who is one of the vigilance men, and makes himself known to the young man in a very dramatic meeting. Dick and Grant, his son, re- turn to the old home in Pennsylvania. The wife and mother is awakened to new life and comfort. The years of sorrow are soon forgotten in the new horr,e of love and happiness.

ANGUISHED SOULS Anna A. Ryan

,AV1D NUTTING, son of Judge Nutting, Turnerville's most distinguished citizen, is engaged to Margaret Graham, daughter of Mrs. Graham, conscious of her family tradition and prestige. Margaret, realizing Dave will ad- vance because of his father's position, is ambitious for him to succeed of himself. She persuades him to set forth to win his own way.

He goes to Chicago and becomes a newspaper reporter. His last job before promotion takes him into a sordid neighborhood. Here he has an encounter with a police officer, in order, as he thinks, to shield a girl whom he recognizes as strangely like Margaret. In the encounter the officer is killed by a blow on the temple. Dave and the girl run, but become separated. The law accuses Dave of the murder and he becomes a fugitive from justice.

Judge Nutting is torn with grief and despair over his son. He cannot believe he is guilty and in this is strongly supported by Margaret. Cir- cumstantial evidence, however, is very strong against the boy. Driven by despair and Dave's long silence, the Judge enters politics and runs for Governor. His campaign promises a land- slide victory. On the eve of election, Dave secretly comes home to tell his father he is innocent, but is unable to prove it. He tells how he remained a fugitive so that the girl, whom he took for Margaret, would not be involved. In telling his story, he mentions swollen streams and railroad bridges nearly washed out, urges his father to telephone the station agent to flag the through express, but the storm has broken the wires. The father, to test the truth of his son's story, sends him forth to flag the train, telling him if he is guiltless to return, — if not, to re- main a fugitive.

Officers have tracked Dave to his father's house and now face the Judge, demanding he turn the boy over to them or they will discredit the Judge in the coming election. The Judge fences for a time and at length, broken and dejected, submits to go himself with the Officers. As they proceed from the house, train men enter, bearing the crushed form of David. They explain he had flagged the train just in time, but a boulder loosened by rain had fallen and crushed him.

The story of Dave's return is broadcast. The girl hears it and returns to stand trial with him. She is Virginia Graham, twin sister of Margaret, who left home ten years before with a man. Her mother, in her pride, had cast her out of her life, and had counted her as dead. The circumstance of her return, with the disgrace surrounding it, brings forth the determination of the proud, older woman, who seeks to prevent her erring daughter from telling the story of how she cast a stone, to prevent the Officer from striking Dave. It was that stone which had wounded the officer's temple, and killed the man. Virginia, in her turn, arraigns her mother as a slacker in bringing her up, shirking her due responsibility as a mother. At last, the proud old lady's spirit is bent. She not only goes through the trial which follows, in which Dave is exonerated, and Virginia sentenced to six years in prison, but stands by and pleads for her.

At the end of Virginia's sentence the changed mother aids her daughter in erecting a home for other derelict women, who have served their sen- tences, until they can again establish their lives Judge Nutting becomes Governor. His household is presided over by Margaret, who is his son's wife.

THE DIFFERENCE N. Agnes Shea

GRANDFATHER is worried about Eleanor, a girl of charming disposition. He is exceed- ingly good to her and encourages her in com- panionship with Jimmy Dresser. George, 40, with a good business, good car, and a wonderful taste in choice of gifts, appears on the scene.

Grandfather tells his story. His mother, a beautiful woman had loved an older man Uncle Joe was born and Cousin Cathies mother, still later A regiment was encamped not far from her home, and a young officer, on patrol, would stop and greet the children. A friendship grew between them and officer's visits grew more fre- quent.

The regiment left. Letters from him were fre- quent Another child was born and several months thereafter, the mother left her husband with three children. A note stated simply that "her heart was slowly being eaten out." Pumor had it that she sailed for Canada where he was in command ot some Royal Expediton.

• Her husband died of a broken heart. Grandpa is the baby, brought up by caring relatives. Thus Urandpa s solicitude can be understood

Phil Brent, one of the old bunch, calls upon t-leanor. He has just returned from South Amer- ica. George has left town for a week. Eleanor announces that she and Phil are engaged The grandfather is very happy. George, it seems has renewed his friendship for his old sweetheart in Chicago.

MARGUERITE TODHUNTER

Executive Placement (Agency) for the ART TRADES

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November, 1929

TALKING PICTURE MAGAZINE

Page 11

Ralph Graves in Columbia's Sensational Air Vehicle

"FLIGHT"

Which Opened Recently^at the Geo. M. Cohan Theatre

WftT BITING motion picture plots " " has not only proved a profitable diversion for Balph Graves, but also paved the way to his present position in the firmament of film stars. His most recent achievement in scenario and story writing is Columbia's all-talking sensation of the air, "Plight," which com- menced its extended Broadway run at the George M. Cohan Theatre, Friday, September 13. Previous to that Graves wrote "The College Coquette," which was released by Columbia in August.

The story of how Graves com- menced to write motion picture plays is colorful. He had always been an ardent motion picture fan, spending his spare moments in the cinema theatre or hanging outside the gates of the old Essanay studio in Chicago to catch a glimpse of such favorites as Charlie Chaplin, Gloria Swanson, Wallace Beery and Broncho Billy Anderson.

After days of longing, Graves got his op- portunity to appear lief ore the camera through winning a popularity contest conducted by a Chicago newspaper. As a result of his victory Graves, who had played minor roles in a Chi- cago stock company was selected by Violet Mersereau as her leading man in "Men Who Have Loved Me," directed by Arthur Bertho-

LILA LEE and RALPH CRAVES in FLIGHT

A COLUMBIA PRODUCTION

let. Steadily he climbed the ladder of success until he became a screen idol with his role in D. W. Griffith's "Dream Street." The role near- ly proved his undoing for Graves got a swell head and found himself tobogganing. Soon he was out of pictures and engaged as a steel chemist by the Hughes Tool Company in Houston, Texas. He had graduated from the Case School of Applied Sciences in Cleveland and his parents were proud to feel that their boy was going to settle down in the pro- fession in which the Graves family for gen- erations had won outstanding distinction. Balph could not apply his mind to steel chemistry. His thoughts were on the screen and every spare moment was spent at a local cinema watching his favorite stars.

Graves sold his stories and was so successful at scenario writing that he decided to throw up his position in Houston and return to Hollywood, the scene of his former screen triumphs. Here he found opportunity to direct and act in pictures and in a few months was on the way to a success that excelled his former film achievements. His work in Columbia's "Submarine," with Jack Holt as his "buddy" and Frank B. Copra as the director, placed him in the front ranks of screen celebrities. It was to satisfy public demand for another film in which he and Holt would resume their rela- tions as "buddies," that Graves wrote "Flight." The plot was suggested by three sensational news events, the famous run to the wrong goal last New Year's Day in the game between the University of California and the Georgia Tech, the interest in aviation re- sulting from the trans-atlantie flight of Charles Lindbergh and his famous "We," and the routing of the rebel bandits in Nicaragua, Around these incidents Graves spun a ro- mance with a poignant love interest which provides an exceptionally fine role for Lila Lee. Frank B. Capra not only directed "Flight," but provided the dialogue for the story.

Among the outstanding screen achieve- ments of Balph Graves were roles in "A Beno Divorce," "Brunettes Prefer Gentlemen," "That Certain Thing," "Bachelor's Paradise," "Womanpower," "Blarney," "The Country Be- yond," "Christine of the Big Tops," "Alias the Deacon," "Eich Men's Sons," "A Swelled Head," "Cheer Leader," "Bitter Sweets," "Submarine," "Sideshow," "Flying Fleet'" "The Eternal Woman," "The Glad Bag Doll'" and "Song of Love." He was born in Cleve-

land Ohio.

LILA L£fc //? FLIGHT"

—A COLUMBIA PRODUCTION

SC€N£ FROM *f LIGHT"

A COLUMBIA PRODUCTION >*

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Page 12

TALKING PICTURE MAGAZINE

November, 1929

Kill The Hair Root

Don't Cry, Bess! I know a way to get rid of your superfluous hair by killing the hair roots so it will never grow again. No depilatory, but the proven method used by beauty specialists. You can use it right here in your room. It's the method of D. J. Mahler, who has taught beauty-culture for 25 years. Send three stamps for full information in plain sealed envelope.

D. J. MAHLER, Riverside Station J, Providence. R. I. HEART O'DREAMS Grace E. Hegel

JIM KERRIGAN, poorly paid violinist, writes a song HEART O'DREAMS, his pet name for Rose, his wife. He keeps it secret, intending to present it to her as a birthday gift. Jim meets with accident and is taken to nearby hospital. His wife, after a fruitless search, mourns for him as dead. Rose obtains work in another city with a Mrs. Edwards, who leaves her Five Thousand Dollars and the custody of her child, Marian, about the same age as Terry, her son, when she dies. Ten years have passed. Terry becomes known as the "Boy With The Golden Voice." .vlarian falls in love with him. Terry meets Bill Kennedy's sister, Dot. She intends to grab the first meal ticket with a punch that happens along. Dot captivates Terry. However, he hears Dct quarreling with her mother, when he calls to asK her to become his wife. He keeps away from hel and Dot vows to get even. Accuses him of break- ing engagement in Cafe where Terry is dining with his mother and Marian.

When Marian calls on her the next day she produces several cleverly forged letters. Marian' buys them for" $1,000. Bill tells all to Terry. Terry perceives sweetness of Marian. Plunges into his work and is extremely successful. Dot proves herself a martyr when she saves Terry's life at the cost of her own.

John Westover, wealthy New York publisher, has attack on street and Terry, who is nearby, rushes to his aid. They become friendly. John Westover says that he believes in reincarnation and knows that hundreds of years ago he also has composed songs, heart songs — that live.

One day Terry happens upon HEART O'- DREAMS manuscript. Confesses his love to Marian. They plan double surprise for Rose. Rose will hear HEART O'DREAMS for the first time.

John Westover coming out of the anesthetic after a serious operation, puzzles the surgeons by begging that his wife and child be brought to him. Terry arranges to bring him to his home, where he can recuperate in peace and quietness. Rose recognizes John as her husband. Terry asks his mother if she will accept a daughter as a birthday gift. Terry sings opening strains of the song and John Westover's mind clears, and the cobwebs of the past are brushed aside to make way for Jim Kerrigan.

MISADVENTURE Eleanor S. Owens

MARTHA DALZELL, beautiful, graceful, with studied manner, is introduced to John Cal- houn. Calhoun is a young attorney who has rented office space from her father and is a stranger in town. They fall in love immediately and John is successful from the start, rising to the position of Prosecuting Attorney.

John's weakness is liquor and this ultimately means his doom. A policeman is shot and John Burns is arrested along with Basil Underwood, of prominent family. Burns, who has a wife and children dependent upon him, is convicted and later, by confession of Underwood, who goes insane, is freed. This matter is a source of worriment to Calhoun. Having children of his own, his conscience bothers him and he feels that he himsejf is guilty of wrong-doing in making Burns' family suffer. He takes to drink and one night picks up a jug of lye by mistake, and shortly thereafter dies. *

There are idle rumors about Martha's part in this tragedy. Martha marries again a Gideon E. Morton, who in turn becomes ill and dies. His daughter, fearing evil play, spreads rumors of Martha's .past experience. Martha is arrested on grounds of forgery, having signed deeds at the request of her husband. Israel Matthews is run- ning for Governor and he comes to Martha's family with the request that they loan him a campaign fund of $10,000. and that when he is elected he will pardon Martha, besides returning loan. This is accepted and Martha is freed. Governor Matthews calls upon Martha and asks her to marry him.

Martha is naturally reluctant to accept, for his sake. She realizes the attitude of her neighbors, and she is considerate of Matthews. Yet this is finally over-ruled. The Inaugural Ball takes place a.t Charleston. All memories of the shadowy past for Martha are gone.

THE NEW DOCTOR Eugene Carleton

SCENE is village of Ardley, shores of Lily Lake. Awilda Mundy, beautiful in character as in person, is devoted to her little crippled sister Jenny, while her drunken father John makes things miserable. Dr. Halsey, her only friend, drops in just in time to prevent John from beating Awilda. The physician tells them he has sold his practice to a young man who is coming that day and will make his home with the Carpenters, leading family of Ardley. Upon suggestion1 that Awilda might secure work, Dr. Halsey drives her over. She meets the new doctor, Robert Coates. Robert insists upon taking her to the house and their arrival angers Mrs. Carpenter who has planned to win hjm as a husband for Haitee, her daugher.

Awilda is engaged as servant, to the delight of Joe Fargo, hirjd man, who has long loved her and for whom she cares as a brother. Mrs. Carpenter and Haitee treat Awilda shamefully and Robert, feeling that his innocent attentions are the cause, ceases his interest. But his af- fection for Jenny increases Awilda's love for him and when, after a few weeks, the new doctor has cured the child, Awilda secretly worships him. Learning from Joe that Haitee hopes to marry Robert, Awilda inveigles Robert out on the lake one night and obtains confession of his love for her. Taking advantage of their threatened dis- covery by Joe and John, as well as Haitee, all of whom meet on the lake, Awilda makes Robert promise to meet her the next day, and then hides in the bottom of the boat.

At this meeting, vows are exchanged, and they become engaged. Joe had arranged to call on Awilda and ask her to marry him. Circum- stances indicate that she is with the new doctor and Joe consults Haitee. The girl so magnifies the affair that Mr. Carpenter writtes Robert's father of the danger. With this letter the sur- geon receives another communication offering Robert a positon with a leading hospital. This presents a solution of the problem and they motor to Ardle^v to arrange for Robert's return. During the conference, Awilda overhears a remark that she will ruin Robert's career and resolves to give him up. She bids farewell to Joe, telling him of her love for Robert. He misinterprets it as an illicit affair and goes to settle with Robert. The misunderstanding is cleared, but Awilda leaves.

John is intent upon punishing Awilda's sup- posed seducer, having been informed by Joe. He waylays Robert, and Haitee accuses Awilda of the shooting. Upon her arrest, John confesses. Robert is only slightly hurt, and amid forgivings and rejoicings, Awilda is married to the new doctor on the lawn.

WIFE OR WIDOW _ Leone Grey

TT ORD CLYDE CLIFTON, preferably known as II ^Captain Clyde, is a guest at the Seymour hunting lodge, Wilsene, England. He falls in love and secretly marries Ruth Davis, a beauti- ful young girl, the governess to the Seymours' two children. Unexpectedly Captain Clyde is called home. His father is dying. He writes a note to his bride explaining his departure and places it under the door of her room, asking her to keep their marriage a secret until he returns, when he will announce it. Takes the midnight express and arrives at the private station on his father's estate. He is struck a blow on the head with a piece of lead pipe and robbed of his money and valuable papers, amongst them their marriage certificate. For a long time his life is despaired of. When he recovers from the attack, his mem- ory for months back is a blank. His bride looks for him in vain. She gives birth to a girl baby, but keeps the wish of her husband and does not tell of her marriage. She does not know that her husband is a nobleman but thinks he is a Captain of a Regiment.

She is turned out of her father's home through the machinations of a cruel step-sister. She goes to a larger town and becomes a music-teacher in a ladies seminary. She then writes to her step- sister to bring her baby. She is now able to care for it. She receives a letter from Ellen her step-sister, saying the baby is dead. Heart- broken she comes to America, makes friends, opens a studio and teaches music. Her baby is not dead but is told her mother is dead. When Marion (Ruth's daughter) is seventeen she learns that her step-aunt has deceived her and that her mother is alive. She comes to America in search of her mother, and becomes a model in the es- tablishment where her mother buys her gowns. Ruth's husband who is now a Duke, after suffer- ing years with headaches, lost memory and for- getfulness, has an operation performed on his head. A small piece of bone is removed that is pressing on the brain. He recovers his mem- ory and comes to America in search of his wife. There is a joyful family meeting. They return to their ancestral home.

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A CASE WITHOUT HONOR Joseph A. Hickey

K1LLARD WEEFER, prominent attorney, has a record of nearly one hundred per cent con- victions in his position as District Attorney. Forest Kensler, one of his closest friends, and Clark Hubbel plan the perfect crime so that Weefer may be taken down a peg or two. "I'll bet 1 can go out and commit a crime, get ar- rested and be acquitted by a jury for lack of evidence not presented by the D. A."

Judd Robbins, not interested in politics and progressing slowly in his vocation of attorney, joins them in their plans. Here is his opportunity for the master strokel Judd trails Wansky, a man of the Ghetto, and finds that he is impli cated in some illicit deal with accomplices at a country club. Wansky's dive is raided by them, and they clean out whatever they can find. Of course, Wansky cannot take recourse to the courts.

J udd sees to it that the case is given proper publicity. The newspapers are apprised of the event and play it up in headlines. The police too are kept on edge and the whole city is expectant. It is arranged that they be arrested.

The court scene. judd opposed to Weefer. Forrest came before the court first and there being no witnesses, he did not take the stand. Judd pleaded his case and Weefer fought hard. The jury retired and almost immediately, they returned with an acquittal. After a recess Clark went on trial for the same offense. The only witness was Forrest who had been acquitted only a few hours before for the same crime for which Clark was now being tried. He was smiling as he took the witness stand. He told a story of how he had planned the whole affair. His was a straight-forward tale, and before he had finished, he confessed that he committed the crime and completely exonerated Clark. He insisted that Clark had nothing to do with it. Judd let it stand for he felt that Forrest's case had been won. Weefer tried to make Forrest change his story but it availed him nothing. The jury be- lieved the story and Forrest took his seat. Hav- ing been acquitted for this crime, he could not b^ tried again for it. That was the reason he was tried first. If he lost, Judd could appeal the case but now he wanted to save Clark and his story on the stand came right from his heart and therefore he went into detail. Jury returned with verdict of acquittal. Judd was being photographed and congratulated on all sides by his fellow mem- bers of the bar.

GENTLEMAN JACK Leone Grey

DICK. DALE, a young Westerner, is manager of a large Ranch. Dick is a man of fine char- acter. He is a splendid horseman. He sets a good example to his men, who adore him. Dick falls in love with Alice Blight, a young school mistress at Beldon Glade, a village situ- ated a few miles from the Ranch. The boys from the Ranch are all in love with Alice but Dick wins and marries her. A dinner is given in honor of the occasion. Dick and Alice go East for their honey-moon. Alice makes an ideal wife. She starts an Evening School where she helps the boys to a better education. Dick and Alice enjoy three happy years of married life. Alice gives birth to a son, and then dies. He hires a woman to raise his son. Dick teaches his son his lessons for a time. But seeing the improve- ment in the men after Alice undertook to give them lessons, he builds a school house where the children of those employed on the Ranch can be educated. There is a Night School for the men and their wives who wish to attend. Dick's son Jack goes to school with the other children. Dick tells the men that as soon as his boy finishes school, he will send him to college and make a gentleman of him. To the men, then, Jack becomes "Gentleman Jack". As Jack grew to manhood his fathers health fails. One even- ing Dick was missing. Jack went in search of his father. He finds him dead on his mother's grave. Jack goes East. He is interested in en- gineering. He gets a position with a good firm, and marries a "beautiful girl named Bonnie Bel- mont. They furnish a little home on Long Island where two children are born to them. Jack's married life is perfect. He is making good in his business. The war comes. The thought of leaving his wife and children unmanned him, but his wife sensed the strain Jack was going through. She tells him, if he feels he ought to go, she will be brave and do all she can for the home and children while he is away. Jack goes to war. For a time his letters come. Then they stop. A letter comes one day from Red Cross workers enclosing a blood-stained identi- fication badge picked up in no-mans-land. They do not know if Jack is dead or has been taken prisoner. Bonnie's heart is breaking for the man she loves. At the Hospital at Neuilly, a soldier lies gassed and badly wounded. A Western Doc- tor goes through the hospital one day. He sees this particular wounded soldier and recognizes the soldier as "Gentleman Jack." He gives Jack special care and brings him back to health. The armistice has been signed. Bonnie has mourned Jack as dead. It is Christmas Eve. Bonnie is sewing near the open grate and Sister is writing a letter to Santa Claus to bring them toys. They kneel at mother's knee and pray for the father who died. A traveler stands outside the window watching the scene just pictured. Clasped in her husband's arms, their tears min- gle.

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November, 1929

TALKING PICTURE MAGAZINE

Page 13

Ch M

IS family is well known in theatrical circles. Chester Morris became a vaudeville, musical comedy and legitimate stage actor before entering the movies. He was born in the world's theatrical center, New York City, on February 16th, 1902. His education was by private tutors, in Mount Vernon High School and at the New York School of Fine Arts. Within the past few seasons he has won general recognition as one of the most hrilliantly gifted young players now before the American public. Among his most notable stage parts were the leads in George M. Cohan's "Home Towners," a title role in "Yellow" and a featured part in "Whisper- ing Friends," all in New York City. He made a notable success in his first screen role in "Alibi." Critics called his portrayal one of the finest characterizations ever screened. Watch this young man ! He is destined to win further laurels and new friends in the progress of the talking pictures.

ester orris

Page 14

TALKING PICTURE MAGAZINE

November, 1929

A MARDI GRAS ROMANCE Ralph Staley

ICHARD BANCROFT and Whitney Bumpkins, disgusted with weather conditions in their home town, decide to run down to New Orleans.

n the dining car, through a slight mishap, they make the acquaintance of Vivian Curtis, daughter of a wealthy manufacturer, and they induce her to join the party.

Arriving in New Orleans, they are met by friends and proceed to enjoy themselves in true Mardi Gras spirit.

Both Rjichard and Whitney fall in love with Vivian. On the morning after Mardi Gras they find she has checked out and left a note for each. To Whit: "Sorry I had to leave. Family con- tingency. Hope to see you in St. Louis some- time." To Dick: "1 accept your proposal. I love you. Will explain later why 1 left so sud- denly. Hope you enjoy Palm Beach. Love."

The boys go on to Palm Beach and balmy weather. They meet Vivian Curtis with a very handsome and well groomed young man'. Vivian explains to Dick that she could not stay away from him. Whitney, not knowing of their understanding, presses his suit with Vivian, unsuccessfully. Dick marries Vivian quietly, with Whitney as best man. t is arranged to keep the news from the public

■til Vivian has had an opportunity to prepare her folks for a more formal wedding, which they would no doubt desire.

Back in Chicago, Dick receives a letter from Vivian to the effect that her father has threat- ened to cut her off without a cent if she marries an insignificant Chicagoean like Dick.

"There goes your sweet romance!" This from Whit.

"The Hell it does. She says she'll come to me."

"Of course, you poor simp. What else could she do? But Dick, — you don't mean to tell me that you're going to ask her, a girl accustomed to everything that money can buy, to live with you on what you can give her. . . . You had better divorce her, Dick, and let me marry her!"

Nevertheless, Whit dispatches a message to Vivian explaining the situation and furnishing the necessary transportation funds. Vivian ar- rives and Dick and she keep home, poor but

happy.

FIGHTING A NAME Nellie Harmon

TOM PHILLUS is in an unfortunate situation. His father has been convicted of killing a neighbor and the stigma upon his name is almost a complex with him. Had Tom and his mother sufficient funds, they would undoubtedly have moved from their town; however, they were penniless and lacked even the necessities.

Tom is friendly with Nancy Arnson. He does not get along well with her brother, who is snobbish. Nancy's mother discourages their re- lations. Mr. Arnson is friendly towards Tom, going out of his way, one day, to offer assistance in going through college, upon which Tom has decided.

Tom obtains work in' a university town, at a drug store, and takmg his mother with him one day, vanishes from his home town. Only Nancy knows of his whereabouts, with the exception that she has confided i i her father so that Tom's mail can be sent to her at her father's office. Thus Mrs. Arnson is unaware of their correspondence.

Nancy decides to go to Tom's college and shortly thereafter arrives. Their friendship pro- gresses; she has grown lovely and beautiful while Tom has made a name for himself not only in medical subjects but in athletics.

Albert Arnson, Nancy's brother arrives. Be- cause of his visit, she ignores Tom. He is unaware of Albert's arrival and feels that Nancy has deliberately snubbed him. At home he is taken ilh Nancy finally calls him on' the phone and explains. Albert returns home, contemplat- ing change of college to be with Nancy. As a result of his drunkenness, he meets with a fatal accident. Tom and Nancy return home and Mr. Arnson, who is ill, expresses his wish for their immediate marriage.

He calls Tom aside. Dramatically he states that it was he and not Tom's father who had killed John Handen. Tom is loath to believe him but there is no doubt that this is the truth. Tom and Nancy are soon married. Mrs. Arnson, now that the tables are turned, approves, and Tom's father is released.

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BLIND MICE William V. F. Scott

A CLEVER woman, notorious in international crime, is released by a sympathetic French prison inspector because of her apparent illness and old age. Shortly after, the inspector is notified of the escape of a male accomplice. Some time after these incidents, Graham Foster and his bride Agnes, near New York City, are reliably advised that they are worth a million dollars through the sale of certain western prop- erties. In the same mail they are invited to the second of a series of charity balls. Graham and wife quarrel over her previous affair with stranger in Austrian uniform.

The angry husband takes to his favorite recrea- tion, boating. While on the lake a storm arises. Graham finds a beautiful woman hidden alongside one of the lockers. The fascinating woman is hurled overboard to be rescued by Graham. She tells Graham she is in love with him. He drives her to her apartment.

Miss Winters, a well-meaning, neurotic scrub woman, reaches the Foster home to find Agnes Foster in tears. She refuse to explain their cause. The foreign military officer De Lial telephones Agnes for permission to call. She leaves the house to avoid him. On' her way to the shops Agnes meets him and is forced to accept his company when a rain-storm breaks. Graham learns from a friend Davie Jamieson, that his wife has been seen in company with De Lial. While he is upbraiding her, a picture of the mysterious woman, Elva Moret, drops from his pocket. Elva Moret, mystery woman, and De Lial meet in a hotel where the woman tells him of her plans. By prearrangemen't Miss Winters, the Fosters' scrub woman appears, and under the mistaken impression that she is helping Graham and Agnes, tells Elva what has taken place in the Foster home. Incidentally she learns the truth of the matter when she tries to sneak back upon' the couple after she has been paid and dismissed in an effort to show them what an excellent sleuth she is.

A stupendous charity ball. Elva Moret, richly and fascinatingly attired, succeeds in getting Graham away to a secluded table where she plys him with certain medicinal concoctions previously prepared by De Lial, a professional chemist. De Lial has treated Agnes in a similar manner. This "medicine" is supposed to make the user highly susceptible to outside influences. After a series of exciting incidents, Elva drives Graham to a boat and they sail for France. De Lial takes Agnes to a secluded hotel, to await Elva's mani- pulation of the Foster millions.

De Lial finds out that he has been tricked by Elva. He goes into hiding while Agnes is held prisoner. Miss Winters, her brother and Davie Jamieson attempt to free Agnes, but are prevented by De Lial's guards. Jim Winters overhears De Lial's plans to escape to New York. De Lial flees, after a hot engagement.

Elva and Graham reach Paris. Under the in- fluence of the woman Graham has temporarily forgotten his wife. Elva drinks to excess. Gra- ham is dumbfounded to find her an old woman! By force of threat Elva tells him that she is a notorious criminal and that she took rejuvena- tion treatments from a Dr. Shardier just after being released from prison. Indulgence in strong drink has caused her miraculous reversion from youth to old age.

Jim Winters is deliberately run down by De Lial. Graham returns to the States, tracks De Lial and finally puts him to route. Graham and Agnes are united once more.

THE FIELDER MYSTERY Joseph Deretchin

A POLICEMAN on his beat is attracted by strange flashes of lights from an automobile. He finds a huddled figure. At the hospital it is found that the man was hit with an iron implement. A driver license in his pocket bore his name — Norman Fielder — and his address. Soon afterward a poorly clad man is apprehended, walkin^_alone in the mist of the night. He is Tom Hapland, a carpenter.

What were the motives for the crime? Two days later Stock Gorman, a fleshy, mus- tachioed rich bachelor, telephones his friend the District Attorney advising that Hapland be tried expeditiously. The Evening Standard is interested in the crime. Fielder has been chauffeur for five years at the home of the Bullocks, a wealthy banker's family, and discharged ten days before he had been assaulted. The paper obtained an interview from the sad-looking banker. The latter declared that the crime was a direct blow at him, in his divorce suit against his wife. It was this ex-chauffeur alone who could furnish substantial evidence of Mrs. Bullock's infidelity. The Evening Standard goes to the defence of the prisoner.

The Bullocks were an ill-matched couple. Without happiness in their family, Bullock found consolation in business; she sought distraction in romancing. At first she was flirting with her chauffeur, — her. equal in breeding. Later came Gorman. Fielder was jealous of his rival and refused to acquiesce in his position of a rejected paramour. Thus, when Bullock filed a divorce suit against his wife, Fielder volunteered as wit- ness against her.

Mrs. Bullock demanded that Gorman eliminate Fielder by any means. Money failing, Gorman decides to kill him. Hence his attempt at Fielder with the iron rod, in which he failed. On the tenth day after the event, Fielder regains con- sciousness and tells his story. Hopland is ex- onerated and Mrs. Bullock and Gorman are arrested, sentence following.

THE WRONG KEY Jno. A. Carlstrom

THIS story deals with the desire of Harmon, grandfather of James Harrington, to test the good faith of his attorneys, and at the same time to prove the mettle of James.

His attorneys are Bryant, and Templeton, and they prove themselves traitorous to the extreme. His grandson James stands the test. As Mr. Hallet explains :

"The twto prisoners before us have had a falling out today, yet at one time they worked in harmony. This work consisted in sending the grandfather of Mr. Harrington and the grand uncle of Miss Goodwin to an asylum that they might possess themselves of his fortune. As rogues will hang themselves if given rope enough, it was considered expedient to permit this very thing in order to see to what length they would go when the heirs became of age. By the aid of Judge Davis and Dr. Harper, the superintendent of the asylum, and both boyhood friends of Mr. Harmon, this was done without the papers being filed, which the prisoners overlooked, and yet took for granted and even believed the report that he had died when a pauper's corpse was buried."

Hallet is an attorney who, with Harmon, super- vised the strategy that entwines the two culprits, Bryant and Templeton'. The manner in which this is done is quite involved but hinges upon the will of Harmon who has supposedly died.

"The will prescribes that a family heirloom, a 'tiger's eye', must be in the possession of the heir at the time of his majority and if it was, he was to gain possession of a cottage somewhere in the Adirondack wilderness. It also prescribes that any one who has possession of the jewel-key that will open the lock of a package safe that contains a final will in case of the old man's demise prior to the boy's majority, should re- ceive ten thousand dollars for the mere opening of that package; a provision to guard against final loss of the heirloom, which fits the safe in question by means of springs so delicately ba- lanced that it is hardly possible to make a duplicate with the prongs so accurately, placed that it would unlock the safe that contains fur- ther interesting information'. The will also in- cludes a provision for the marriage to a Miss Goodwin which will carry one hundred thousand dollars with it. Regarding the provision the young man is not to be acquainted until he is of age. This provision leads Bryant to believe that the property is not all included in this will. There is another heir, a grand niece, or a grand daughter of a brother of Mr. Harmon, the testator in the case. She is educated under the same general mysterious condition as the boy and there is an heirloom clause in her will, also a 'tiger's eye', and therefore evidently two in existence."

SHADOWS OF THE PAST John H. Thomas

TIME — summer, 1916. Place — a small college town in southern Illinois. Characters — Frank Allen, a wealthy, dressy, young man, sanguine in temperament — always with an irre- sistible smile; Professor Felts, mathematics' teacher at the local college — very sympathetic to the boys: Marion, Professor Felt's daughter, timid but with lovely disposition; Paul, Marion's husband- Ralph Allen, Frank's father, wealthy mine owner; Louis Collins, Paul's chum; Fred Maguire, Frank's home-town friend; Little Elsie, daughter of Marion and Paul; Agnes, college chum of Marian. Old soldier, doctors, nurse and examiners.

Professor Felts, while reading his morning's paper, is accosted by Frank, who is in search of some one to teach him Trigonometry in one week. Professor Felts is curious to know the use Frank intends to make of such hurried knowledge. Frank tells him of his fruitless efforts to join the army because of a weak heart, but the last doctor has discovered that it was only muscular weakness and recommended that he try the navy. He passed the physical examination but was rejected in education because of his lack of Trig. With only 8 days more left to him, he is dis- couraged and starts back home to take his old job as mine superintendent. The train stops at a station and he meets Fred who recommends Professor Felts. The Professor is more sym- pathetic now but still sets a mountainous task before Frank that he might become discouraged. In the midst of his attempt, Marion appears and calls him to the phone.

Professor Felts returns, ready to introduce his daughter to Frank. He finds that Frank has already done this. Agnes drives by for Marion to join her in tennis.

Frank is successful in his efforts to enlist. A year rapidly passes; the U. S. has entered the war. Paul, with several other youths, is sent to France. He visits the Professor before leaving. Paul and Marion quarrel about Frank. The war terminates. Only one of the town's heroes return, and he is not Paul. Collins tells of Paul's heroic death. The entire town attends the funeral cere- monies!"

Three, days later Professor Felts receives a letter Trom New York. He opens it with tremb- ling hands, fearing ill news about Frank. Frank says he has just been made an officer but — "Oh, hell, the war ended." Three weeks later Frank comes to visit Professor Felts, and some time later he and Marion announce their engagement.

Several years have now passed, and as Pro- fessor Felts sits by a window and writes the fore- going story, Marion and Frank and little Elsie are coming up the driveway. They have ju«t decorated the grave of a world-war hero, — Paul.

R

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November, 1929

TALKING PICTURE MAGAZINE

Page 15

Mary Nolan

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