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- Grandfather gets a pair of magic spectacles, which he claims to possess the miraculous power of showing the tastes and inclinations of the person who puts them on. There are present at the time a large family gathering, father, mother, sons and daughters, and grandchildren, and each member of the party in turn puts on the spectacles. Then we see on the curtain all that is passing in the mind of the wearer clearly portrayed in each eye, just as if we were looking through opera glasses.
- An unscrupulous and greedy capitalist speculator decides to corner the wheat market for his own profit, establishing complete control over the markets.
- Mary is sewing outside her cabin door, as the villain in our story enters and makes a proposal of marriage. He meets with a stern refusal and sneaks off, vowing vengeance. Mary enters the cabin and is setting the table as hero No. 1 enters and asks her father for her hand. The old man nods assent, but Mary, upon being consulted, refuses. The old man upbraids her, pleads with her, but she is resolute. A little later another suitor, hero No. 2 we shall call him, comes in and is joyously received by the girl. The father standing by, notices the reception. The truth dawns upon him, and he orders Mary from the house. The last named is evidently not as much infatuated with Mary as she is with him, and realizing that he has tired of her, the girl determines to commit suicide. She starts for the river, and is just about to end it all when hero No. 1 steps from behind a tree, thwarts her plan and asks what has driven her to such a step. Mary refuses to tell, wanders off and, coming to the dancing hall, she sees the second hero through a window dancing and flirting with different girls. She calls him away, pleads with him to marry her. This the young man refuses to do, and he is about to cast her aside when hero No. 1 appears and at the point of his gun forces the other to swear he will marry Mary. Hero No. 2 now returns to his cabin, sits, down in deep thought. The villain enters, taunts him of the girl, and in the fight which ensues the hero is stabbed. The murderer tears off the blood stained part of his sleeve and throws it out of the window, where it is found by a Chinaman who is passing. Then observing the approach of the first hero, the villain sees a chance of fastening the crime on him, slinks through another door, proceeds at once to the camp where he tells of the crime. A crowd at once returns to the cabin, where they pounce upon the hero and take him before a judge. Evidence is overwhelmingly against the accused and a verdict of guilty is speedily reached and all hands start for an immediate execution, when the Chinaman, noticing the torn sleeve of the villain, stops the proceeding, fits the piece he found on the villain's shirt and the tables are turned. Mary steps forward, embraces the exonerated man and they are married by the judge, who but a short time before had sentenced the bridegroom to death.
- A man rents an apartment and furnishes it in remarkable fashion.
- Outside Cleopatra's palace a youth and maiden are observed. They are evidently very much in love with each other. While conversing, the gates open, Cleopatra and Mark Antony come forth, accompanied by soldiers, dancing girls. Etc. He bids farewell to Cleopatra and, accompanied by a bodyguard, starts on his journey. The youth takes no further notice of his sweetheart, but gazes fascinated at Cleopatra, who, after waving farewell to Antony, re-enters the palace. The youth continues to gaze after Cleopatra, pushes his affianced aside, falls to his knees and kisses the step where Cleopatra stood. He then goes into the grounds, underneath her bedchamber, writes on a scroll of his ardent love, wraps the paper around his arrow and shoots it through the window. Inside the chamber Cleopatra and her servants are startled, take the arrow and read the note. Looking outside, nobody can be seen. Shortly afterward Cleopatra goes outside to the bathing pool, poises on the brink, when, looking toward a clump of bushes, she spies the lovesick youth. He is brought out and Cleopatra imperiously demands what his presence means. He is not abashed, but kneels and tells of his love. Cleopatra orders her attendants away, takes the youth and leads him off. When alone he again reiterates his love. Cleopatra orders her servants to bring wine, fruit, perfumes, etc. Dancing girls appear, execute a few manoeuvres, then leave. Cleopatra then rises and dances before the youth. A servant enters, delivers a message to the mistress, then departs. Cleopatra hands a goblet to the young man, who drinks its contents, then falls dead. Cleopatra bows over his body a moment, then springs up and sits on the throne as Mark Antony comes down the steps. He salutes and embraces Cleopatra, observes the corpse and demands an explanation. Cleopatra carelessly replies: "Just another slave l was experimenting on with poison."
- The story, while not biographical, is founded on incidents in his life, showing his devotion for his sick wife, Virginia. Desperate from his utter helplessness to ameliorate his dying wife's suffering, owing to extreme destitution, he is in a frenzy of grief, when a raven is seen to perch on a bust of Pallas above the door of their cold, cheerless apartment. An inspiration! He sets to work, and that masterpiece. "The Raven," is the fruit. During his work he has divested himself of his coat, putting it over his wife to protect her from the cold. The poem finished, he rushes coatless and hatless to the publisher, where he meets with scant attention. One editor, however, thinks the work possesses some merit and offers ten dollars for it. Ten dollars for the greatest jewel in the diadem of fame - think of it! Poe thinks of the comforts, meager though they needs must be, for his poor wife and accepts the offer. Hastening to the store, he procures food, a heavy comfortable for the cot, and medicine, and with much lighter heart returns home. Spreading the quilt tenderly over Virginia, he takes her hand and gazes fondly into her sightless eyes, but the cold, unresponsive hand tells him the awful truth. "My God, she is dead!" and he falls prostrate across the cot.
- Mme. Ducordon geht ins Casino Des Tourelles, um den neuesten Modetanz auf der Bühne zu erleben: den 'Bous Bous Mée'. Dieser Tanz mit dem erotisierenden Hüftschwung ist wie eine Droge, wer ihn einmal intus hat, kann nicht mehr von ihm lassen. Mme Ducordon tanzt auf der Straße weiter und gibt am Abend eine Gesellschaft, bei der sie mit ihrer Tanzlust alle Gäste ansteckt.
- A gang of thieves lure a man out of his home so that they can rob it and threaten his wife and children. The family barricade themselves in an interior room, but the criminals are well-equipped for breaking in. When the father finds out what is happening, he must race against time to get back home.
- Miss Louise Leroque was one of those charming young ladies, born, as if through an error of destiny, into a family of clerks, and after she married John Kendrick, she suffered an incessant yearning for all those delicacies and luxuries she felt were her due. John was a bighearted, indulgent husband whose every thought was for his wife's happiness, and while Louise was a devoted wife, still there was the strain of selfishness ever apparent, for she who studies her glass neglects her heart. She yearned for ostentation, and poor John was in no position to appease this desire. However, an occasion presents itself when they can at least bask in the radiance of the social limelight, in an invitation to attend a reception tendered a foreign prince. John is in the height of elation, hut Louise meets him with that time-honored remark, "I've nothing to wear." Well, he feels the strength of her argument, so goes and pawns his watch and chain to procure her a gown fitting for the occasion. The gown emphasizes the absence of jewel ornamentation, so they visit their friend and neighbor, who lends them a handsome necklace. At the reception she makes quite a stir and is presented to the prince, who becomes decidedly attentive. Arriving home after the affair, Louise rehearses the incidents of the event, when suddenly she stands petrified with horror. "My God! The necklace is gone." High and low they search, and even back to the ballroom, but without result, for we have seen it stolen from her neck by a sneak thief while she is talking with the prince. Unable to find the necklace, they swear to give their fingers to the bone, their life's blood until it is paid for. But then there is the humiliation of not returning the jewels, so they hunt for a duplicate. At the jeweler's they find one, in appearance an exact copy, but the price is $20,000. Twenty thousand dollars to ones in their condition meant a large fortune. However, John borrows money on his salary, gets loans from his various friends and is granted a large advance by his employer, giving notes for same: in fact, mortgaging his very life as the result of vanity. With the money he purchases the duplicate and gives it to their friend, who is unaware of the substitution. Meanwhile, the thief has taken the necklace to a pawnshop and finds it is a worthless imitation, and so throws it into the rubbish heap. Five years later we find the couple toiling, toiling, but still in bondage; after night in the endeavor to make a little extra above his ordinary salary. Ten years we find them, still hounded by the note collectors, aged and broken in health, yet determined. Twenty years, and the last penny on the necklace is paid, but at the expense of their bodily strength. Having cleared up his debt with his employer, he is discharged, being too feeble to do the work. As a last resort they write to their friend, confessing the substitution of the jewels, and their plight as a result, begging that she give them some slight assistance. Their friend, of course, is amazed, she cognizant of the worthlessness of her property, so hastens to give Louise back the jewels, arriving only in time to put them about her neck when she sinks back dead. John, poor fellow, is found sitting in a chair at the head of the bed, also dead. They had received vanity's reward.
- On a fine winter morning, an aristocratic couple of city dwellers decide to have a picnic in the great outdoors, however, everything seems to go wrong, all at once.
- The persecution of the children of Israel by the Egyptians. Now there arose up a new king in Egypt. And he said unto his people. Behold, the people of the children of Israel are more and mightier than we. Let us set over them taskmasters to afflict them with their burdens. (Exodus, chapter I.) The first scenes show the Egyptian court and King Pharaoh commanding the slave drivers to beat the Hebrew toilers who show signs of rebellion. Pharaoh notices this and, calling his scribes, orders that a decree be published that every man-child born to the Hebrews be killed. The parchment is prepared and is read in Pharaohs court in the presence of Pharaohs daughter, who hears and pleads in vain for his clemency. Pharaohs Decree: Every male child that is born to the Hebrews shall be cast into the river. The Egyptians ruthlessly proceed to carry out the decree and seize the male children from the arms of the Hebrew mothers. Here we are shown the interior of a Hebrew dwelling. The child Moses is in a cradle and his mother is bending over him, utterly unconscious of the cruel edict of King Pharaoh. The sister of Moses is shown attending to household duties and she takes a pitcher and goes to the well to draw water. There she learns of the slaughter of the innocents and hastens back and tells the mother of the cruel scenes she has witnessed. They decide to hide the child Moses by the river, and the cradle or ark is covered and carried between them to a marsh, where they plaster the outside with soft mud to keep out the water, and placing the child therein, his sister remains nearby to watch what will become of him. And the daughter of Pharaoh came down to wash herself at the river; and her maidens walked along by the rivers edge; and when she saw the ark among the flags she sent her maid to fetch it. And when she had opened it she saw the child; and, behold, the babe wept, and she had compassion on him. Pharaohs daughter fondles and pets the crying child and decides that she will keep him for her own. The sister of Moses approaches and suggests that she call a nurse of the Hebrew women and she, of course, called the childs mother. And Pharaohs daughter said unto her, Take this child away and nurse it for me and I will give thee thy wages. And the woman took the child and nursed it. Pharaoh is informed of his daughters caprice and demands to see the child. He orders it away, but his daughter embraces him and pleads so hard for the life of the child that he consents and gives it his protection and blessing. A fitting ending is a picture of the mother and sister of Moses again fondling their own and giving thanks to God for their unexpected good fortune. The first reel of this series ended with the child Moses being adopted by Pharaohs daughter. The Hebrews are still under bondage, and we see them laboring in the brick fields, beaten by the taskmasters, as they build those gigantic specimens of Egyptian architecture, many of which stand to this day. Moses has been reared and educated in the Egyptian court, and is now in the prime of life, but he does not forget that he is of Hebrew blood, and, as he watches his brethren in their slavery, his blood boils at the outrages and he looks toward Heaven and cries, How long, oh Lord, how long? A number of Hebrews are digging clay, which is filled into baskets. The load is too heavy for one of the laborers, and the taskmaster beats him unmercifully. Moses sees this and kills the taskmaster. T The other Hebrew slaves, horrified at the enormity of the act, run away, and Moses, afraid of the consequences, hastily buries the body in the clay pit. Two days after this, Moses seeks to separate two of his brethren who are quarreling, and one of them says: Wilt thou kill me as thou didst the Egyptian? Moses is terrified when he knows that his crime is known, and decides to flee from the country. He seeks refuge in the home of a Hebrew laborer and bargains for a suit of the laborers garments, with which he disguises himself; he also purchases provisions and a water bottle, and departs. Moses is seen crossing the desert. Tired and dusty, he rests and drinks from his water flask. Still toiling on through the arid desert, he reaches an eminence and looks hack to see if he is being followed, and, seeing no one, he gives thanks for his deliverance. Moses has at last reached the land of Midian. He discovers a well and refreshes and rests himself. While he is resting seven daughters of Jethro, a Midianite, come to the well to draw water for their sheep and cattle. Other herdsmen also come to the well and ungallantly drive away the maidens, but Moses comes to their aid, and draws the water for them. The home of Jethro, the priest of Midian, father of the seven maidens. They enter and tell of the encounter at the well, and how they were aided by a Hebrew traveler. He says the man must be his guest, and hastens to the well and greets Moses and invites him to the shelter of his house, which offer is accepted. Moses enters the home of the priest of Midian, where he is effusively greeted by the whole household, and we see him seated and enjoying a meal with the family. (And Moses was content to dwell with the manand he gave Moses his daughter, Zipporah, to wife.) (Forty years later). Moses is now a shepherd, and, while tending his flocks in the land of Midian. The voice of God speaks to him out of a burning bush and commands him to return to Egypt and deliver his brethren out of the bondage of the Egyptians. Moses bids farewell to Jethro, his father-in-law, and, with his family, journeys to Egypt. On the way he meets Aaron, who had been, commanded by the Lord to meet Moses, and together they arrive at the Egyptian court. The court of Pharaoh, a young man, the elder Pharaoh having died while Moses was in Midian. The officials announce the new arrivals, and Moses and Aaron are ushered in and demand, in the name of the Lord, that the Children of Israel be set free. The Egyptian king refuses, and Moses tells him that if he does not consent the wrath of God will come on all the Egyptians. Moses prays to the Lord for advice, and is commanded to work a miracle before the Egyptian monarch to convince him that it is the Lord, the God of the Israelites, who demands the deliverance of His people. Moses and Aaron appear before Pharaoh again. Aaron casts his rod upon the ground and it becomes a serpent. Pharaoh is amazed, but he still refuses to free the Children of Israel. Pharaohs continued refusal brings upon Egypt the ten plagues. Moses finds Pharaoh near the rivers edge and again asks that his people be allowed to go free. When Pharaoh denies again. Aaron smites the water of the river with his rod and the waters are turned into blood. Again Moses appears before Pharaoh and again Pharaoh refuses his request. As God had commanded, Moses stretches his hand toward heaven and immediately a great storm of hail and lightning, such as they had never seen, descends on Egypt, killing man and beast and striking terror to the heart of Pharaoh. Pharaohs heart was again hardened and he still refuses to free the Hebrew children. Again Moses stretches his hand toward heaven, and a thick darkness, a darkness that might be felt, covered the land for three days, so that no one was able to rise from his place. The last and most terrible plague visited on Egypt for Pharaohs continued refusal is the death of all the Egyptian first born. The Feast of the Passover is instituted at this time. Moses directing all the Hebrew people to observe the Feast by killing and preparing a lamb. Moses commands the Children of Israel to sprinkle the door posts on both sides and on top with the blood of the lamb and on every house where they are to eat the Feast of the Passover, and to prepare the Feast. The Feast of the Passover is observed, according to the instructions of Moses, by every Jewish family in Egypt, the Feast consisting of roast lamb with unleavened bread and herbs. The same night that the Feast of the Passover is being observed by the Israelites, the Angel of Death passes over the land of Egypt in the last plague, the death of the first born. The Angel of Death enters every Egyptian home where there is no blood on the doorposts, and the first born of every Egyptian family is slain, from the first born in Pharaohs household to the first born of the captive in the dungeons. The Angel of Death, however, passes by every Jewish home, as God had promised to Moses that where He saw the blood on the doorposts He would pass them over and the plague should not be upon them. In Pharaohs palace Pharaoh and his court are feasting, when the Angel of Death enters and Pharaohs own first born is slain. Pharaoh is overcome with grief at this terrible visitation and sends for Moses and Aaron immediately. The death of his first born softens the heart of Pharaoh and when Moses and Aaron now appear before him he commands them to take the Children of Israel and to depart out of the land of Egypt. Moses and Aaron give the command to the Hebrew people, who immediately gather together their possessions and prepare to leave the land of their bondage with reverent and thankful hearts. With Moses and Aaron as leaders, the Israelites begin their exodus from Egypt, the land of the Pharaohs, where they had been slaves for so many years.
- In ancient Athens, four young lovers escape into the woods. Meanwhile, tradesmen rehearse a play. All of them suffer from the shenanigans of mischievous fairies.
- A king exacts vengeance upon his faithless mistress and her lover.
- Mrs. Jones is a member of the Ladies' Temperance League, and has invited the sisters of the League to a luncheon at the Jones domicile. She receives a note to the effect that they will accept the invitation upon condition that Mr. Jones is not in evidence, as his views on temperance and theirs do not concur. This intelligence is most felicitous to Jones and he prepares to "beat it." Another note, however, arrives and this is from the caterer, who informs Mrs. Jones that owing to a strike of the Waiters' Union, he is unable to furnish service. Here is trouble. "What is to be done? Ah, I have it. Hubby dear, shall act." And so Mrs. Jones broaches the subject to him. He is indignant. "What, I, the Hon. Edward Everett Jones, play the waiter." But Mrs. Jones cooingly persuades and Jones at last weakens, or rather appears to, for he has suddenly conceived sport in the situation. The maid is dispatched to the costumer's for the waiter's outfit, and Jones, when rigged out, looks the typical garcon. Mrs. Jones is delighted. The door-bell rings and the Amazonian annihilators of Demon Rum arrive. They are ladies with curdled dispositions and complexions of chow-chow. They take their places at the table and set in to have a perfectly lovely time by feeling as miserable as possible. They eat as if it were a duty, not a pleasure. The luncheon is served until it comes to the coffee, when Jones works his dire design. In all the cups, excepting that of his wife, he pours a generous dose of Rum. This the old girls drink with keen relish and ask for more. This time Jones serves them pure unadulterated Rum - in other words, Rum Straight. Those giddy old ladies thaw out and Mrs. Jones is amazed, she, of course, ignorant of the cause of their unseemly conduct. Jones and the maid are in high glee. One old lady so far forgets herself as to try to kiss Jones. This arouses the ire of Mrs. J. who ejects the bunch, and then falls weeping into the arms of Mr. Jones.
- Set in an early cinema house, this comic short illustrates the problems with the gals' hats obscuring the movie patron's line of vision.
- In this hand-colored short, a magician and his assistant do a series of magic tricks, including making potted plants appear, among others. Melies played the magician, and the actor Manuel played his assistant.
- While caring for his sick daughter, a doctor is called away to the sickbed of a neighbor. He finds the neighbor gravely ill, and ignores his wife's pleas to come home and care for his own daughter, who has taken a turn for the worse.
- A romantic tragedy of early Rome, the story woven around the life of the Empress Faustina, the mother of Nero. She was a corrupt and voluptuous queen, who knew no law but to break it, obeyed no will except her own, and at the period of her life when occur the scenes of our present picture, she was thirty-five years of age, and madly infatuated with a handsome Roman soldier, Flavian Gato. He was a general in the Queen's service, and our opening scene shows Faustina in her magnificent pleasure craft, drifting down the Tiber to meet her lover upon his return from the wars. Flavian has prepared a feast for the Empress, and we are present at the revels, a faithful reproduction of life in Rome nearly two thousand years ago. After Faustina's departure, Flavian regales his Roman friends with a description of his battles. A slave girl, Naodamia, enters with a flagon of wine, and Flavian sees her for the first time; he becomes enamored of the girl's beauty and innocence, dismisses his followers, and orders the girl to entertain him. The impetuous Roman is used to having his own way with both men and women, and when Naodamia pleads to be gone, the infatuated soldier madly declares his love. "No, no, my lord, you cannot and must not love me, for see I am a Christian," and she holds up a cross, the emblem of her faith, before his astonished eyes. It is well known throughout Rome that the Empress hates Christians and never fails to destroy them wherever found. Flavian does not betray the girl's confidence by denouncing her, but bids her go. Cupid, however, played the same pranks in these times as he does today. Flavian cannot dismiss the girl from his mind. They meet again, but she is adamant: "Become a Christian; believe in the true God and His Holy Sacrament of Marriage and I will become thy wife as well as thy slave; coerce me and I will destroy my body, that my soul can live purer hereafter." Flavian listens to her pleadings and consents to accept her faith. Mantua, a jester and confidant of Faustina, overhears the compact, and rushing into the Queen's retiring room, gleefully tells of the interview. The Queen accompanies him to a rest hall within Flavian's grounds, and there she sees her lover holding the Christian girl in his arms. Mad with jealous fury, she is about to order their arrest, when Mantua makes a discovery, it is a small, white wooden cross, that has become unfastened from Naodamia's girdle and fallen to the ground. "See, your Majesty, she is lion food, for she is a hated Christian!" The Queen laughs with savage joy at the vengeful project this information offers. "But stop! He, too, must be compromised. He is strong with the Senators. I must know that he, too, belongs to the cursed sect." Disguised, she follows the Christians to an underworld church beneath the streets of Rome and accompanied by her soldiers she arrests Flavian and Naodamia at the Christian altar. Flavian pleads to be allowed to marry the slave girl. The Empress feigns consent and offers Flavian a glass of wine to show that she forgives him, but the wine is drugged, and as the soldier falls unconscious at her feet she proceeds to put into execution a plan of vengeance that only such a mind as hers could have conceived. She calls the populace together at the circus maximus and when the crowd has assembled she announces her program, sports of the arena, then twenty Christians fed to the lions. Amongst the martyrs waits Naodamia, a note left by Faustina for Flavian reads, "When you awake from the drug I gave you the Christian slave you dared to love will be no more. Come to the lion's feast if you dare." The horror-stricken Flavian awakes, reads, and rushing to his stables secures a steed and gallops madly to the circus, pushes his way through the gaping crowd to Faustina's side. We have seen the poor girl dragged to the lion's barred door, seen her kneel in supplication. Flavian looks over the box rail and finds he is too late to save the woman he loves, and maddened by her awful fate, draws his sword and before her attendants can prevent he has revenged Naodamia. As the guards of the Empress clutch at his robe he leaps to the arena below and finds death beside his lost love.
- The old bogey woman is an avowed enemy of all the children, for she has the power to change them into various vegetables, which she stores up in her cellar. One day while passing through the wood she comes upon two youngsters at play and immediately transforms them into a head of cabbage and a carrot, respectively. As she is carrying her burden home, a brother of the children, who has seen the transformation, hastens to give the alarm. The poor parents are distracted and give up hope of ever seeing their children again, but the little brother is visited by a fairy queen who gives him a wand and bids him go forth in search of the little ones. The youngster starts out and in his travels meets with many obstacles but they are soon overcome under the power of the magic wand. Finally coming to a fountain he takes some of the magic waters which he takes with him to the home of the bogey woman. Entering the place he sees a large heap of vegetables on which he sprinkles some of the water. Immediately there is a great transformation and a lot of romping children appear before him. The old bogey woman rushes in, but a few drops of water cause her to vanish into smoke and all the youngsters are liberated and return to their joyful parents.
- This subject portrays in a vivid manner the operations of a puppet in his efforts to see the sights. Many very entertaining and novel productions of magic.
- White Elk, a Sioux brave, visits a friendly tribe, and when landing at the river bank sees a young squaw, Arrow Head, for whom he immediately conceives an infatuation. He helps her fill a jug, which she carries away with her, while he stands looking after her in rapt admiration. Her lover, Spotted Tail, greets her upon her return, but when White Elk enters and constantly glances tenderly toward Arrow Head, Spotted Tail shows anger. The Sioux brave gives the squaw a necklace, which Spotted Tall takes from her neck and stamps on when his rival departs. He follows White Elk and is about to stab him when a shot is fired by Arrow Head, who has followed both. At this White Elk turns and struggles with Spotted Tail. The Sioux brave succeeds in forcing down the arm of his victim until the knife enters his breast, and then he and Arrow Head go away. With his last breath Spotted Tail calls his friends to him and tells of events. They swear to be revenged and trace White Elk. Next follows a canoe chase in which White Elk wins out, but an arrow hits him and he is captured. They torture him to reveal where Arrow Head is, but to no avail. They tie him to stakes in the water and leave him to death when the tide rises, but Arrow Head comes to his rescue and with him in a canoe paddles away.
- This picture has for its theme the power of triumphant love and depicts the transformation worked in the nature of a man by his love for a young girl. At the time of the opening of our story they were both living in the same little Western mining camp. The man, Morgan, a big hulking miner, young, but crude and savage, disliked by all his fellow workmen on account of his sullen temper and vicious tongue; the girl, Nance, a timid, gentle slip of a young girl, just budding into womanhood. Scene I: The Girl Fills a Mother's Place. In one of the little cabins that dot the hillside back of the camp lives an elderly miner named Martin and his two motherless daughters. Nance, a young girl of eighteen, and Millie, a chubby, mischievous little miss of seven. Martin is busy getting some wood ready for Nance's use before he starts to his day's work at the mine. Millie comes around the corner of the cabin and wants to help daddy hold the wood. Martin remonstrates with her, telling her a splinter may hurt her, but she persists and grabs the stick he is splitting. Down comes the stick, driving a splinter into little Millie's finger. Hearing her cry of pain, Nance rushes from the house and attempts to console her. It is now time for Martin to start to his work at the mine. Getting his dinner pail, which Nance has filled for him, he leaves his two daughters together. Nance comforts the weeping Millie and giving her their pet bunny for a companion, starts for water. But little Millie is unwilling to be left alone, and after a minute inspection of her injured finger starts after Nance. Scene II: The Man Is Rejected for His Cruelty to Little Sister. A short distance from the cabin a little mountain stream of delicious sparkling water comes tumbling down from the snow-capped mountain above. Here Nance comes with her two buckets. At her back appears young Morgan, one of the mine workers, a rough, hulking man, young but gruff and rude, with frowning eyes and sullen face. Morgan is madly in love with Nance and devours her with his eves. Seizing her two hands roughly, he tells her of his love. She listens with panting bosom, for her heart has gone out to the rough miner. Just then little Millie, who has followed Nance, comes up and halts, frightened at the man, Morgan. Impatient at this unwelcome intrusion, Morgan grasps her roughly by the arm and with a curse tells her to get out of here. Millie flees in terror. Morgan laughs and again turns to Nance. But all her motherly tenderness for little sister is aroused at his cruelty and with trembling lips and gleaming eyes she orders him away. Scene III: The Man Determines to Quit the Mine. Scene IV: The Man Leaves Buena Vista. Scene V: Death of the Father. On Monday morning of the next week Nance is busy with her week's washing in front of the little cabin. Millie is trying to help sister all she can. Nance's face is sad and worn. She is still thinking of Morgan's departure. At the sound of approaching voices she stops work. Around the corner of the house come four miners carrying the mangled form of her father. There has been an accident at the new shaft and he has been mortally hurt. At his request they lay him on the ground. Gasping for breath, he slowly dictates a short letter to his sister in a distant camp, asking her to care for his two daughters. He bids them a last farewell. Now he attempts to kiss little Millie. But the effort is too much for his fast-ebbing strength and he falls back lifeless. Weeping convulsively, Nance and Millie threw themselves across the lifeless body, while the miners stand with bowed heads. Scene VI: The Last Farewell to Father's Grave. Scene VII: The Girl's Face Follows the Wandering Man. Meanwhile Morgan's restless wanderings have taken him back into the mountains far away from Buena Vista Camp. He has found a small streak of ore dirt and setting up his rude tent by the side of a solitary little mountain stream is busy washing out the gold, an occasional nugget of fair size rewarding him for his restless industry. As he is working here, slowly there appears seated on the bank above him a vision of Nance just as he saw her the day he surprised her at that other little stream hack behind Buena Vista Camp. Scene VIII: On the Road to Luck Strike Camp. Down a long stretch of barren, lonely road come Nance and Millie. Millie is lagging behind, tired and worn out from the long walk. Nance tries to cheer her: then, seeing how near asleep she is, stops, lifts her up and staggering under the increased weight, trudges on. Now they have reached a little clump of wood. Nance, seeing Millie is asleep, sets down her bundles and carries Millie into the shade. Scene IX: Love's Transformation. In the shelter of a small clump of bushes Nance has left little Millie asleep while she has taken their pail and set out to find some water. Morgan, pushing back the bushes, finds Millie asleep. A wave of newly discovered tenderness creeps over him. Dropping to his knees beside her he lifts her gently into his strong arms and cradles her against his bosom. Through the bushes at the back appears Nance's tear-stained face. She approaches and touches Morgan timidly. At sight of her the love leaps into his eyes, but he cautions her to be quiet or they will wake Millie. Nance drops down beside him, her happy face hidden in his shoulder, and Morgan with his arm about her looks out, with a face out of which triumphant love has driven all the brutality and sullenness and substituted in their place a strange new strength and gentleness.
- Mistletoe has ever been the emblem of good luck and from time immemorial the branch of mistletoe has been the hope of the fair sex. In this series of views the spell is broken and in quick succession one catastrophe follows another to the utmost consternation of the peddler and his many patrons, who lose all faith in the proverbial advantages of the plant. Many very amusing scenes are created, bound to please everybody.
- A drowsy pipe-smoker attempts to nap, only to be tormented relentlessly by the mischievous Princess Nicotine and her fairy companion.