The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1914-08-15
stairs" suggested Helen, who hated to
stand in a crowd
A RUSH FOR SEATS.

stairs" suggested Helen, who hated to
stand in a crowd
A RUSH FOR SEATS.
ooh, We'll get seats when this pic
lures over What's it all about, any
way? One of those three reelers?"
rs that man her husband?" Helen
had been trying to make out the story.
And whose child is that"
The film ended abruptly on a scene
in which the older man signs a paper,
and the woman falls on her knees be-
fore him.
AS the picture flashed off there was
general stir, and dozen or more
people came up the aisle. But those
standing ahead made a rush for the
best seats.
eff they'd only have the seats re-
served" complained Helen, as they
had to go far down in front. I'D think
everybody would be willing to pay a
little money to avoid this scramble"
"Miranda's Beau, a Comedy" was
the next picture, roaring slap-stick
farce, at which Warren laughed and
which put the house in an uproar
Then came AN Artists Find" The
first picture showed an attic studio. a
sick wife and the artist, who has re-
ceived an order for small picture.
Having no money to buy the canvas
he starts out to pawn his overcoat.
ooh, this is taken in Paris" whis-
pered Helen, as the artist passed a
street cafe On his way to the pawn
shop. Its in the Latin Quarter, too
don't you remember that corner?"
eagerly. Dear, l think we've been in
that very cafe
"Oh, you can't tell-all those street
places look alike"
Having pawned his overcoat, the ar
fist stops at a curio shop, where he
selects from pile of old canvases one
of the desired size. He takes it home,
washes off the landscape daub, and
finds underneath a Madonna by an old
painter. But threadbare as was this
story, the street scenes and settings
were real and the parts well acted.
Dear, we're SO near, it hurts my
eyes. Can't we get farther back now?
Look, there are some seats back there
across the aisle"
Warren, who hated to crawl out over
people, grumblingly gathered up his
stick, hat and overcoat.
A FEUD STORY.
The next was Kentucky feud story,
lively. She hated the constant shooting
emphasized by the banging of the ket-
tle-drum.
you're too blamed critical COM
mented Warren. Those Western
plants have to do something with their
companies"
But this isn't a Western picture.''
1T isn't Ell? That's a California
ranch, and those Kentucky Moonshin-
ers are the cowboys that used to swag-
ger around with fur breeches and six
shooters. Now they've switched over
to rifles, rusty frock coats, illicit dis
tilleries and feuds.' Wonder how
they'll work in the horses. Must have
been a pretty hard blow to those West
ern chaps when the public got tired Of
watching 'em ride
They did work in the horses, in a
thrilling ambush scene, and Helen
clutched Warren's arm as a horse was
shot down with his rider.
"Oh, that's brutal! 1t oughtn't to be
allowed" in an indignant whisper.
How DARE they shoot horses just to
| make pictures?'
"Now just simmer down-that's a
trick horse"
The opening scene of the next film
| was laid in an office, with an impress
sive array of typewriters, letter files
| and safes. The plot then broadened
out
Dear, he's rather good. He's very
natural, don't you Think" as the man