There is much human truth pictured by this release of the Reliance Company, and it is deep and significant. It's a picture that, true as it is, could easily be misinterpreted if it had not been well acted. Mr. Walthall very skillfully plays the burglar, outcast and lonely, who is awakened from his sleep under a tree by a child. She, with a bag of cookies, has run away from her gossiping nurse. The child makes friends with him as children will with such as have still in their hearts something child-like, something human. A child who would run from a respected millionaire might be very quick to make friends with a burglar. And this child is soon fast friends with this burglar. They talk together till the silly nurse finds them. Not long after, the burglar happens to enter the house of the child's parents. The noise of his entrance wakes the child, who fearlessly goes downstairs in her long white night dress and enters the room where the burglar has just wrapped up a rich haul of the family silver. He takes her up and while he talks to her she falls asleep in his arms, a very natural thing, and his heart prompts him to carry her up to her bed. He knows where the nursery is, he had entered that way by means of a ladder against the roof of the porch. He lays the child down. The better feelings in his heart have mastered his greed and instead of going back for the silver, he goes out by the window and disappears. This is a very commendable ending. It doesn't demand too much of the spectators and is convincing. The child's part is acted very naturally by Baby Rosanna, and this, with Henry Walthall's presentation of the humane burglar, make the picture powerful. Baby Rosanna is a very little tot indeed, not much bigger than the doll she plays with. She is a very winsome little lass, and though in this picture she is playing the part of a child half her age, this reviewer failed to notice any slip, any of an older girl's mannerisms, in her portrayal. This is more remarkable as she appears in scenes, playing nearly the whole gamut of a child's day. Her eating the porridge at the breakfast table shows wide-awake observation. It is a picture of a child just old enough to revolt against having its mother hold the spoon, yet isn't able to manipulate it well yet. The child's mother (Jane Fernley plays the part) fills a part that requires no great resources, but pictures the character very acceptably, as does the father (James Cooley). Mr. Walthall's work in this picture is noteworthy. He, as of course is well known, has already won a wide reputation as a strong player in emotional parts. This character demanded of him more self-criticism than imagination. It is in marked contrast to his impersonation of the man waiting at the railway station in "Waiting." That portrayal might be compared to a long throw and this to a very nice one. It would have been very easy to overthrow the mark in picturing this burglar. Perhaps the part is a trifle overdrawn at the moment when the child awakens from sleep, but the player makes up for this by walking the narrow edge of perfection through the library scene and the one in the child's nursery that follows it. The Reliance camera man should also be commended for good workmanship in taking many of these scenes. In the scene where the burglar appears, climbing the ladder to the roof (a scene which was particularly well laid out, by the way), there is little suggestion of daylight; it is moonlight that we see. Taken as a whole (purpose, conduct, acting, stage setting and photography) the picture is one well worthwhile. - The Moving Picture World, August 26, 1911