Historic Films Stock Footage Archive: V-8707

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01:00:02 0	LAURA COMSTOCK AND HER BAG PUNCHING DOG - OPENS WITH THE HEAD AND SHOULDERS OF A WOMAN IN FULL DRESS AND HAT AND THE FRONT PAWS AND HEAD OF A BOXER VISIBLE BEHIND A SIGN THAT READS "MISS LAURA COMSTOCK'S BAG PUNCHING DOG." VAUDEVILLE ACT 1901 CUTS TO THE DOG SITTING ON HIS HAUNCHES ON A STAGE WITH A PAINTED BACKDROP OF A TRAIL THROUGH A FOREST. AS THE DOG STARTS TO WANDER OFFSCREEN, A LARGE PUNCHING BAG DROPS FROM ABOVE. HE LEAPS UP AND HITS THE SUSPENDED BAG WITH HIS HEAD AND BODY, CAUSING IT TO SWING. THE DOG REPEATEDLY PUNCHES THE BAG IN THIS MANNER UNTIL HE KNOCKS IT DOWN COMPLETELY, GRABS IT IN HIS MOUTH, AND SHAKES IT FROM SIDE TO SIDE IN HIS TEETH. FROM EDISON FILMS CATALOG THIS WONDERFUL DOG "MANNIE," OWNED BY THE VAUDEVILLE STAR, MISS LAURA COMSTOCK, IS A MOST LEARNED ANIMAL. HE HAS BEEN TRAINED TO PERFORM ALL SORTS OF TRICKS, AND HIS INTELLIGENCE IS, PERHAPS, MOST MARKED IN HIS LATEST AND MOST DIFFICULT FEAT, THAT OF PUNCHING THE BAG. THIS PICTURE DEPICTS HIM IN A BAG PUNCHING PERFORMANCE WHICH IS REALLY WONDERFUL. HIS HIGH JUMPS AND LIGHTNING-LIKE PUNCHES ARE REMARKABLE AND CAUSE ONE TO MARVEL AT THE AMOUNT OF PATIENCE THAT MUST BE NECESSARY TO TEACH A DOG SUCH TRICKS.
01:01:39 97.2	ENDS
01:01:41 99.2	PROFESSOR LEONIDAS AND HIS TROUPE OF DOGS AND CATS 1903 VAUDEVILLE / VARIETY ACT ANIMAL ACT A MAN SITS AT THE DINNER TABLE, WITH A ROW OF DOGS BEHIND HIM AND A BLACK DOG SITTING NEAR THE TABLE IN THE FOREGROUND. WHEN THE MASTER RINGS A BELL FOR SERVICE, A DOG ENTERS ON HER HIND LEGS DRESSED IN A SERVANT'S CAP AND APRON. AS SHE HOPS TOWARD THE TABLE, HOWEVER, A CAT JUMPS UPON THE SURFACE. THE MASTER TOSSES THE CAT OFF THE TABLE AS THE SERVING DOG EXITS. THE MAN RINGS THE BELL AGAIN BUT GETS NO RESPONSE, SO HE TAKES OFF HIS DINNER NAPKIN AND LEAVES THE STAGE. SEEING THIS, THE BLACK DOG TURNS AND JUMPS ON THE TABLE, WHERE HE PROMPTLY EATS HIS MASTER'S DINNER. THE BLACK DOG THEN GRABS THE CAT IN HIS MOUTH AND PLACES IT ON THE TABLE. AS THE MAN RETURNS TO THE TABLE, HE SEES HIS EMPTY PLATE AND THE CAT CROUCHED NEARBY. THUS BLAMING THE CAT FOR THE STOLEN DINNER, THE MAN FIRST SCOLDS THE FELINE AND THEN DRAWS A PISTOL AIMED AT THE "THIEF." WHEN THE BLACK DOG SEES THE GUN, HOWEVER, HE JUMPS ON THE TABLE BETWEEN THE PISTOL AND THE CAT, BEGGING ON HIS HIND LEGS FOR THE MASTER TO SPARE ITS LIFE. THE MAN GRABS THE DOG BY THE COLLAR, DRAGGING HIM TO THE FLOOR, AND INSTEAD SHOOTS THE UNLUCKY DOG. A LARGE DOG--PERHAPS A GREAT DANE--IN A POLICEMAN'S UNIFORM ENTERS ON HIS HIND LEGS, GRABS THE MAN BY THE SHOULDERS FROM BEHIND, AND CHASES HIM OFFSTAGE. THE OTHER DOGS FOLLOW IN AN EXCITED PACK.
01:02:35 153.2	ENDS
01:02:36 154.2	ANIMAL ACT CIRCA 1919 ( FILMED BY COMMONWEALTH PICTURES) OPENS ON A CLOSEUP OF A BABOON "PLAYING" A VIOLIN, THEN CUTS TO A MEDIUM SHOT OF THE SAME. THE BABOON WEARS A WHITE SHORT-SLEEVED SHIRT WITH A LOOSE BOW TIE AND TWEED PANTS. CUTS TO A CLOSEUP OF THE BABOON IN A CIRCULAR MASK OR IRIS EFFECT, WITHOUT THE VIOLIN BUT WITH A COLLAR AROUND HIS NECK AND A STRIPED KITTEN THAT HE PLACES ON HIS SHOULDER. ANOTHER IRIS EFFECT OPENS TO A LONG SHOT OF A STAGE WITH A PAINTED BACKDROP OF A RIVER. STANDING AT STAGE LEFT IS A WOMAN IN A SPANGLED, SLEEVELESS DRESS TO THE KNEE AND HIGH LACED BOOTS, HOLDING THE LEASH OF A DARK DONKEY. THE BABOON STANDS CENTER STAGE, NEAR A MAN IN A WHITE ANIMAL TRAINER SUIT WITH DARK PIPING AND A WHITE CAP. ON A CHAIR STAGE RIGHT SITS A BLACK AND WHITE SPOTTED DOG. A SERIES OF CUTS SHOW THE BABOON PERFORMING VARIOUS TRICKS, INCLUDING ROLLER-SKATING IN A CIRCLE AROUND THE MAN, DOING A WALKING HANDSTAND, CIRCLING THE STAGE ATOP A LARGE BALL, AND RIDING THE BALL DOWN A RAMP WITH THE KITTEN IN HIS ARMS. THE DOG THEN CREATES FIGURE-EIGHTS THROUGH THE WOMAN'S LEGS AS SHE WALKS, AND JUMPS A ROPE HELD BY THE WOMAN AND BABOON. CUTS TO THE BABOON RIDING A BICYCLE IN A CIRCLE AROUND THE MAN. CUTS TO THE BABOON LEADING THE DONKEY ONSTAGE, AND THEN TO THE DONKEY APPARENTLY PLAY-BITING AND KICKING TWO MEN. THE GAG OF THE MEN TRYING TO MOUNT THE DONKEY--ONLY TO BE BITTEN, KICKED, OR THROWN OFF--IS REPEATED, WITH ONE INTERTITLE "A 100% KICK." ENDS AFTER THE BABOON JUMPS ON ONE MAN. THE FILM APPEARS TO BE AN UNCOPYRIGHTED SPANUTH'S ORIGINAL VOD-A-VIL MOVIE GIVEN THE SIMILARITIES IN CAMERA TECHNIQUE TO IDENTIFIED SPANUTHS. THIS IS A TRUE AND AUTHENTIC RECORD OF A CLASSIC CIRCA 1910'S ANIMAL ACT FILMED ON STAGE AS IF IT WERE IN A VAUDEVILLE OR VARIETY THEATRE
01:04:06 244.2	ENDS
01:04:06 244.2	TOM TINKER'S PONY PATTER / [COMMONWEALTH PICTURES CORPORATION ; HANS A. SPANUTH, PRODUCER 1919 , ]. AUTHENTIC VAUDEVILLE / VARIETY ANIMAL ACT AS SEEN ON THE VAUDEVILLE STAGE CAMERA IRIS OPENS TO SIX PONIES WITH DECORATED HARNESSES AND PLUMED HALTERS, STANDING IN THE CENTER OF A STAGE WITH A PAINTED BACKDROP OF MOUNTAINS. CUTS TO TWO PONIES ON A SEESAW, WITH A MOUSTACHED MAN IN A WHITE UNIFORM WITH DARK PIPING AND A WHITE CAP HOLDING THEIR LEADS. A SECOND TRAINER IN A DARK SUIT CAN ALSO BE SEEN OCCASIONALLY WITH THE PONIES. INDIVIDUAL PONIES PERFORM A VARIETY OF TRICKS, INCLUDING ROLLING A SLATTED BARREL ACROSS THE STAGE WITH FRONT LEGS AND THEN WITH A NOSE, KNOCKING OVER THE BARREL, "LIMPING" ACROSS THE STAGE WITH ONE FRONT LEG HELD OFF THE GROUND, AND PUSHING THE TRAINER OVER WITH A NOSE-BUTT. CUTS TO THE SIX PONIES LINED UP AT THE BACK OF THE STAGE, WITH EACH PONY'S HEAD LYING OVER THE NECK OF THE PONY IN FRONT OF HIM. CUTS TO THE PONIES CIRCLING THE TRAINER IN A STRAIGHT RADIAL LINE AND THEN IN VARIOUS COMBINATIONS, INCLUDING THREE BY THREE, PAIRS, AND SINGLY. THE PONIES FINISH THEIR CIRCLING BY WALKING IN A STRAIGHT LINE TO THE FRONT OF THE STAGE AND THEN BOWING ON THEIR KNEES. CUTS TO A CLOSEUP OF THE SIX PONIES IN A LINE, FACING THE CAMERA, WHICH CLOSES IN AN IRIS EFFECT TO BLACK. THE FILM APPEARS TO BE AN UNCOPYRIGHTED SPANUTH'S ORIGINAL VOD-A-VIL MOVIE GIVEN THE SIMILARITIES IN TITLE GRAPHICS AND CAMERA TECHNIQUE TO IDENTIFIED SPANUTHS.
01:06:11 369.2	ENDS
01:06:13 371.2	JUMBO, THE TRAINED ELEPHANT / [COMMONWEALTH PICTURES CORPORATION ; HANS A. SPANUTH, PRODUCER, 1919]. CAMERA IRIS OPENS FROM BLACK TO A SMILING MAN STANDING IN FRONT OF AN ELEPHANT, WHO IS SEATED ON HER HAUNCHES ON A STOOL WITH HER FRONT LEGS RAISED IN THE AIR. THEY ARE APPARENTLY ON A STAGE WITH A PAINTED BACKDROP OF A FOREST. THE MAN GIVES THE ELEPHANT A TREAT, WHO THEN STANDS AS THE IRIS CLOSES. ANOTHER IRIS EFFECT OPENS ON A STAGE WITH A PAINTED BACKDROP OF A CASTLE. A MAN ENTERS, DRESSED IN A TRAINER OR RINGMASTER'S UNIFORM OF A DARK SUIT WITH SHOULDER BRAIDS AND A WHITE CAP. HE IS FOLLOWED BY JUMBO, A SMALL INDIAN ELEPHANT WITH CLIPPED TUSKS WEARING A HEADRESS OR HEADBAND. BOTH BOW TO THE CAMERA. A CIRCUS STOOL IS ROLLED ON THE STAGE AND JUMBO STEPS ONTO IT WITH HER FRONT LEGS. A PONY AND DOG ENTER THE STAGE AND CREATE A DOMINO EFFECT BEHIND THE ELEPHANT, WITH THE PONY'S FRONT LEGS ON JUMBO'S REAR AND THE DOG'S FRONT LEGS ON THE PONY'S REAR. CUTS TO THE DOG MAKING FIGURE EIGHTS AROUND JUMBO'S LEGS AS THE ELEPHANT WALKS. CUTS TO JUMBO LYING DOWN, THEN THE PONY AND DOG STAND ON EITHER SIDE OF HER WITH THEIR FRONT LEGS ON HER SIDES. CUTS TO THE PONY WALKING ACROSS THE STAGE ON ITS HIND LEGS, AND THEN BOWING WITH THE TRAINER TO THE CAMERA. CONT. CUTS TO JUMBO CLIMBING ON THE CIRCUS STOOL WITH ALL FOUR LEGS. THE TRAINER GIVES HER ONE END OF A ROPE TO HOLD WITH HER TRUNK, AND HE TWIRLS THE OTHER END AS THE DOG JUMPS THE ROPE. THE TRAINER AND THE DOG THEN JUMP THE ROPE TOGETHER AS JUMBO WATCHES. CUTS TO THE ELEPHANT SITTING ON THE STOOL AS THE TRAINER PLACES A HANDBELL ON A SMALL TABLE IN FRONT OF HER. JUMBO PICKS UP THE BELL WITH HER TRUNK AND RINGS IT. THE MAN SETS A PLATE ON THE TABLE, FROM WHICH JUMBO EATS AND THEN TOSSES ASIDE. SHE RINGS THE BELL AGAIN AND APPEARS TO DRINK FROM THE BOTTLE WHICH HER TRAINER BRINGS IN RESPONSE. A SERIES OF JUMP CUTS SHOW JUMBO CRAWLING ON THE GROUND IN A CIRCLE ON HER BACK KNEES, STANDING ON HER HIND LEGS, PERFORMING A HANDSTAND ON HER FRONT LEGS, BALANCING ON THE CIRCUS STOOL WITH VARIOUS COMBINATIONS OF TWO LEGS, AND DANCING IN PLACE WITH HER FRONT LEGS. CUTS TO A FRAME OF INTERTITLE "OH! HOW SHE DANCES." WITH HER BACK TO THE CAMERA, JUMBO SHUFFLES HER HIND LEGS IN A KIND OF DANCE. CUTS TO A CLOSEUP OF JUMBO'S OPEN MOUTH AS SHE WALKS TOWARD THE CAMERA. CLOSES WITH HER PICKING UP A SERIES OF FLAGS ON THE GROUND WITH HER TRUNK AND TOSSING THEM OVER HER BACK. SHE HOLDS THE LAST ONE--A U.S. FLAG--AS SHE TURNS IN A CIRLE, THE TRAINER BOWS, AND THE DOG EXCITEDLY JUMPS AROUND ON STAGE. REISSUED BY U.S. PERSONAL FILM CO. AT AN UNKNOWN DATE WITH THREE OTHER SPANUTH ACTS, TWO OF WHICH WERE COPYRIGHTED UNDER DIFFERENT RELEASE NUMBERS, AS "VAUDEVILLE DE-LUXE FOUR ACTS"; AMERICAN VAUDEVILLE AUTHENTIC ANIMAL ACT AS IT APPEARED ON THE CIRCA 1910'S STAGE
01:10:51 649.2	ENDS
01:10:52 650.2	1900 BURLESQUE ACT - TWO STAGE GIRLS PULL BACK STAGE CURTAIN TO REVEAL A LARGE CLAM SCALLOP SHELL - SHELL SLOWLY OPENS REVEALING A " NAKED" LADY SLEEPING WHO THEN STANDS UP - CURTAINS CLOSE
01:11:47 705.2	ENDS
01:12:01 719.2	FROM SHOW GIRL TO BURLESQUE QUEEN / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1903 OPENS ON A DRESSING ROOM SET WITH A MIRROR, DRESSING TABLE, AND CHAIR CENTER STAGE AND A FOLDED DRESSING SCREEN ON THE LEFT. A SMILING, DARK-HAIRED WOMAN ENTERS THROUGH THE DOOR ON STAGE RIGHT, UNBUTTONING A FULL-LENGTH POLKA-DOT COSTUME. AS SHE UNDRESSES, SHE FREQUENTLY LOOKS DIRECTLY AT THE CAMERA AND SMILES. SHE REMOVES HER SASH OR CUMMERBUND, THE TOP WITH ITS TRAILING SLEEVES, AND HER SKIRT, LEAVING HER CLOTHED ONLY IN A SLEEVELESS CHEMISE. SMILING DIRECTLY AT THE CAMERA, SHE MISCHIEVOUSLY SLIPS A STRAP OF THE GARMENT OFF ONE SHOULDER, THEN DUCKS BEHIND THE SCREEN. AFTER THE CHEMISE IS THROWN OVER THE TOP OF THE SCREEN, HER ARM FURTIVELY REACHES OUT FROM BEHIND THE SCREEN AND GRABS A SLIGHT GARMENT FROM THE BACK OF THE CHAIR AND SOME ITEMS FROM THE DRESSING TABLE. SHE THEN EMERGES WEARING A RISQUe9, DECORATED COSTUME WITH CAP SLEEVES AND A VERY SHORT SKIRT, GATHERED AT THE WAIST. HER LEGS APPEAR TO BE BARE. THE WOMAN BRANDISHES A SWORD, GRABBED FROM UNDER THE DISCARDED DRESS, AND STRIKES A SEDUCTIVE POSE AS THE VIEWER GLIMPSES A COSTUMED MAN ENTERING THE ROOM.
01:13:04 782.2	ENDS
01:13:14 792.2	KARINA / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1902 EARLY BURLESQUE ACT / PERFORMER ON A BARE STAGE WITH A BLACK BACKGROUND STANDS A WOMAN WITH SHORT, CURLY HAIR, WEARING A DARK DRESS WITH A SLEEVELESS TOP, LOW-CUT BODICE, MID-CALF LENGTH SKIRT, AND LAYERS OF PETTICOATS. SMILING AT THE CAMERA, SHE SEDUCTIVELY RAISES HER SKIRT TO REVEAL THE MULTIPLE WHITE PETTICOATS, AS WELL AS HER LACY, WHITE BLOOMERS TO THE KNEES, WHITE TIGHTS, AND A GARTER ON HER RIGHT THIGH. PEERING OVER HER LIFTED SKIRT, KARINA SLOWLY TURNS AROUND AND THEN LOWERS TO HER KNEES AND LEANS BACK, CIRCLING WITH HER UPPER BODY AND ARMS. STILL HOLDING UP THE SKIRT, SHE RETURNS TO STANDING. WITH HER BACK TO THE VIEWER, SHE BEND BACKWARDS AT THE WAIST SO THAT SHE LOOKS AT THE CAMERA, AND DRAMATICALLY COVERS HER FACE WITH ONE ARM. KARINA THEN STANDS BACK UP AND TURNS TO THE CAMERA. LIFTING HER SKIRT, SHE PERFORMS A "DANCE" CONSISTING OF CIRCLES, LEG LIFTS, AND TWIRLS. A WOMAN DRESSED AS A CAN-CAN DANCER STANDS IN THE CENTER OF THE STAGE AND, FOR THE FULL EXTENT OF THE FILM, SHE RAISES THE HEM OF HER DRESS AS SHE TWIRLS AROUND. FILM MISSING ORIGINAL TITLE PERFORMER IS " KARINA " EARLY STRIP TEASE FILM FROM 1902
01:13:39 817.2	ENDS
01:13:48 826.2	KISS ME / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1904. BURLSEQUE OPENS ON A STAGE SET OF A STREET WITH A SIDEWALK AND A HIGH FENCE COMPLETELY COVERED WITH FEMALE BURLESQUE TROUPE POSTERS. THE FOUR POSTERS VISIBLE ADVERTISE ACTUAL CONTEMPORARY BURLESQUERS FRED IRWIN'S MAJESTICS, ROSE SYDELL (OF HER LONDON BELLES), PHIL SHERIDAN'S NEW CITY SPORTS (WITH THE TAG LINE "AIN'T WE THREE BIRDS"), AND THE RENTZ-SANTLEY CO. ONE OF THE CENTER POSTERS--THAT FOR ROSE SYDELL--FEATURES AN ATTRACTIVE WOMAN WITH NUDE SHOULDERS. TWO WELL-DRESSED WOMEN PASS ALONG THE SIDEWALK, GLANCING DISAPPROVINGLY AT THE IMAGES COVERING THE FENCE. THEY ARE FOLLOWED BY A WOMAN AND A YOUNGER GIRL, PERHAPS HER DAUGHTER. THE LATTER PAUSES TO LOOK AT THE SYDELL POSTER; THE OLDER WOMAN, LOOKING BACK, REACTS IN HORROR AT WHAT SHE SEES AND DRAGS THE GIRL AWAY. AN OLDER BEARDED GENTLEMAN THEN STROLLS BY, ENJOYING AN EYEFUL OF THE POSTERS, AND IS ABOUT TO WALK OFF WHEN HE IS DRAWN BACK TO THE WOMAN IN THE ROSE SYDELL AD. HE JUMPS AS SHE SEEMINGLY COMES TO LIFE AND TURNS TO LOOK AT HIM SEDUCTIVELY, PURSING HER LIPS. THE MAN RUBS HIS EYES, BUT STILL THE WOMAN IN THE POSTER WATCHES HIM. HE FINALLY PUTS ON HIS EYEGLASSES AND EXAMINES THE GIRL CLOSELY. UNBEKNOWNST TO HIM, AN OLDER WOMAN ENTERS THE SCENE. SHOCKED, SHE GRABS THE MAN BY HIS EAR AND DRAGS HIM AWAY AS HE BLOWS A KISS TO THE "POSTER." FROM BIOGRAPH BULLETIN NO. 55 A HIGH BOARD FENCE IS SHOWN COVERED WITH THEATRICAL POSTERS. THE ONE IN THE CENTER SHOWS THE HEAD AND SHOULDERS OF A PRETTY GIRL. AN OLD FARMER AND HIS WIFE ARE STROLLING ALONG, THE OLD GENTLEMAN BEING A LITTLE AHEAD. HE LOOKS AT THE PICTURE OF THE GIRL AND FANCIES HE SEES THE EYES WINKING AT HIM. HE PUTS ON HIS GLASSES TO MAKE SURE THAT HE IS NOT DREAMING, WHEN THE GIRL LEANS FORWARD WITH AN EXPRESSION AS IF INVITING HIM TO HAVE A KISS. THE OLD MAN IS ABOUT TO TAKE ADVANTAGE OF HIS DELUSION WHEN HIS WIFE APPEARS ON THE SCENE, AND TAKING HIM BY THE EARS RUSHES HIM AWAY. 68 FEET. CLASS B.
01:14:57 895.2	ENDS
01:15:06 904.2	PITY THE BLIND, NO. 2 / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY , 1904 . FILMED VERSION OF A POPULAR VAUDEVILLE GAG, AS IF FROM THE AUDIENCE OF A VARIETY THEATER. A BOY, HOLDING A SIGN UNDER HIS ARM, LEADS A MAN ONTO A STAGE WITH A PAINTED BACKDROP OF A CITY STREET CORNER. WITH HIS DARK GLASSES AND CANE, THE MAN IS APPARENTLY BLIND. HE KNEELS DOWN SLIGHTLY LEFT OF CENTER STAGE AND LAYS DOWN HIS HAT AND CANE, WHILE THE BOY TURNS THE PLACARD AROUND SO THAT IT READS "PITY THE BLIND," PLACES IT AROUND THE MAN'S NECK, AND EXITS THE STAGE. A GENTLEMAN WITH A CIGAR CROSSES THE STAGE, PAUSES TO READ THE SIGN, AND DROPS SOME MONEY IN THE BLIND MAN'S HAT. HE IS FOLLOWED BY TWO WELL-DRESSED WOMEN IN FURS AND LONG COATS, WHO ALSO LEAVE COINS FOR THE BEGGAR AFTER SEARCHING THEIR PURSES. AS THEY START TO EXIT, HOWEVER, ONE OF THE WOMEN STOPS AND RAISES HER SKIRT TO ADJUST HER TIGHTS. BEHIND HER BACK, THE SUPPOSED BLIND MAN SLIDES HIS DARK GLASSES DOWN HIS NOSE AND OGLES THE WOMAN'S EXPOSED LEG. WITH THE LEGGINGS IN PLACE, THE WOMEN EXIT THE STAGE NONE THE WISER, LEAVING BEHIND A SMILING "BLIND" MAN.
01:16:03 961.2	ENDS
01:16:08 966.2	PRINCESS RAJAH DANCE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY , 1904 . PRINCESS RAJAH PERFORMS AN "ORIENTAL" OR BELLY DANCE, AND A BALANCING CHAIR ACT IN HER TEETH LIKE THAT OFTEN FOUND IN FOLK PERFORMANCES IN VARIOUS CULTURES FROM NORTHERN AFRICA TO GREECE. SHOT OUTDOORS IN A STREET SCENE AT THE ST. LOUIS EXPOSITION, THE FILM CAPTURES HER ACT IN AN EXTREME LONG SHOT. SHE WEARS A DARK, SLEEVELESS DRESS TO MID-CALF, WITH A FRINGED, LOW-CUT BODICE AND FRINGED BELT WORN AT THE WAIST, OVER MULTIPLE PETTICOATS, BLOOMERS, STOCKINGS, AND HEELED SHOES. WHILE PLAYING FINGER CYMBALS, PRINCESS RAJAH PERFORMS A VARIETY OF DANCE MOVEMENTS THAT INCLUDE SPINS, TRAVELING MOVEMENTS, SHOULDER AND HIP SHIMMIES, A FRONTAL HIP LOCK, OTHER HIP MOVEMENTS, AND PIROUETTES. SHE THEN GRABS A DECORATED CHAIR IN HER TEETH AND SWINGS IT ABOVE HER HEAD, PLAYING THE FINGER CYMBALS AND PERFORMING TRAVELING FOOT MOVEMENTS, FOLLOWED BY FLOOR WORK WITH THE CHAIR. RETURNING TO A STANDING POSITION STILL WITH THE CHAIR IN HER MOUTH, SHE PERFORMS SHIMMIES AND HIP MOVEMENTS WHILE PLAYING THE FINGER CYMBALS, THEN LOWERS THE CHAIR IN FRONT OF HER FACE AND SPINS. SHE PUTS THE CHAIR DOWN WITH A FLOURISH, MAKES A CLOSING GESTURE TO THE CAMERA, AND STARTS TO EXIT THE FRAME.
01:17:20 1038.2	ENDS
01:17:32 1050.2	TRAPEZE DISROBING ACT / THOMAS A. EDISON, INC, 1901 . CAMERA IS POSITIONED AS IF IN THE AUDIENCE AT A VAUDEVILLE OR BURLESQUE SHOW. TWO MEN WITH LONG HAIR AND BEARDS IN ROUGH CLOTHING APPEAR TO BE EATING AND TALKING IN A BOX ON THE LEFT AS A FEMALE AERIALIST SITS ON A TRAPEZE OVER THE STAGE AND ITS PAINTED BACKDROP OF TREES. FULLY DRESSED IN STREET CLOTHING, THE TRAPEZIST REMOVES HER JACKET AND HAT BEFORE PERFORMING A FLIP. SHE STANDS TO REMOVE HER SKIRT AND THEN SITS BACK DOWN ON THE BAR AS SHE TAKES OFF HER CORSET AND THROWS IT TO THE COUNTRY BUMPKINS IN THE BOX, WHO FIGHT OVER THE UNDERGARMENT. THE TRAPEZIST CONTINUES TO DISROBE, REMOVING HER SHOES, STOCKINGS, AND GARTERS, AGAIN THROWING THE LATTER TO THE MEN, AND THEN SEEMINGLY HANGS UPSIDE DOWN (WITH HER FEET ANCHORED OFF-CAMERA) AS SHE SLIPS OFF HER PETTICOAT. THUS CLAD ONLY IN TIGHTS, TRUNKS, AND A CAMISOLE, THE WOMAN PERFORMS HER TRAPEZE ACT TO THE INCREASINGLY EXCITED MEN. BURLESQUE 1901 FROM EDISON FILMS CATALOG THE SCENE IS ON THE STAGE OF A VAUDEVILLE THEATRE. A LADY DRESSED IN EVENING COSTUME IS PERFORMING ON A TRAPEZE. TWO RUBES ARE SEATED IN A BOX IN THE THEATRE. THE LADY BEGINS TO DISROBE AND HERE THE FUN COMMENCES. AS SHE REMOVES HER GARMENTS ONE BY ONE AND THROWS THEM AT OUR RURAL FRIENDS, THEY BEGIN GOING THROUGH ANTICS, WHICH TO SAY THE LEAST, ARE HIGHLY AMUSING. WHEN THE STOCKINGS COME OFF, THE CLIMAX TAKES PLACE. THE RUBES JUMP FROM THEIR SEATS AND MAKE THINGS LIVELY FOR A SHORT TIME IN THE THEATRE. CLASS A 100 FT. $15.00.
01:19:54 1192.2	ENDS
01:20:00 1198.2	ALPHONSE AND GASTON, NO. 3 / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1903 . OPENS ON A SET OF A SALOON OR TAVERN WITH A LONG BAR AND PICTURES ON THE WALL THAT INCLUDE BOXERS, A BALLERINA, AND A RECLINING FEMALE. AT THE END OF THE BAR STANDS THE BARTENDER, READING A NEWSPAPER. TWO MEN DRESSED AS THE CLOWNISH CHARACTERS OF ALPHONSE AND GASTON ENTER THE BAR. BOTH HAVE DARK, BUSHY HAIR AND BEARDS AND WEAR HATS, WITH ONE DRESSED IN A DARK JACKET AND CHECKERBOARD PANTS AND THE OTHER WEARING A PLAID JACKET, DARK TROUSERS, AND SPATS. ALPHONSE AND GASTON ORDER A BOTTLE, THEN POLITELY AND REPEATEDLY INSIST THAT THE OTHER SHOULD TAKE THE FIRST DRINK. A COWBOY DRESSED IN FRINGED CHAPS, BOOTS, A WESTERN HAT, AND A NECK KERCHIEF ENTERS THE BAR, A PISTOL IN EACH HAND, AND LAUGHS AT THE FRENCHMEN'S ANTICS. HE BEGINS SHOOTING AT THEIR FEET, FORCING THEM TO DANCE, WHILE HE AND THE BARTENDER HAVE A GOOD LAUGH. AS THE BARTENDER BEGINS TO SPRITZ THEM FROM SODA BOTTLE, ALPHONSE AND GASTON EXIT THE BAR DANCING. THE COWBOY WALKS TO THE BAR AND POURS HIMSELF THEIR DRINK AS HE AND THE BARTENDER CONTINUE TO LAUGH OVER THE INCIDENT.
01:20:57 1255.2	ENDS
01:21:02 1260.2	AS IN A LOOKING GLASS / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1903 OPENS ON A SPLIT STAGE SET OF TWO ROOMS WITH A DOOR AND WALL BETWEEN THEM. IN THE LIVING OR DINING ROOM ON THE LEFT OF THE FRAME, AN ELDERLY, BEARDED MAN SITS AT A TABLE, READING THE NEWSPAPER. IN THE BEDROOM ON THE RIGHT, A BOY IN A SUIT WITH SHORT PANTS ATTACHES A LONG STRING TO THE END OF A DRESSER DRAWER, WITH THE OTHER END HANGING FROM A HOLE IN THE WALL TO THE OTHER ROOM. AS THE BOY WORKS AND WATCHES, A WOMAN DRESSED IN A LONG-SLEEVED WHITE BLOUSE, STRIPED SKIRT TO THE KNEE, AND DARK STOCKINGS ENTERS THE MAIN ROOM WITH A PITCHER, WHICH SHE SETS ON THE TABLE IN FRONT OF THE GENTLEMAN AND THEN EXITS. THE BOY FINISHES WITH THE DRAWER, REPLACING IT IN THE BUREAU, AND THEN QUIETLY ENTERS THE OTHER ROOM UNNOTICED. HE FEEDS MORE OF THE STRING THROUGH THE HOLE IN THE WALL, ATTACHES THE LOOP AT THE END OF IT TO A LEG OF HIS GRANDFATHER'S CHAIR, AND RETREATS TO THE DOOR TO WATCH. THE WOMAN ENTERS THE BEDROOM AND POWDERS HER FACE AND FIXES HER HAIR IN THE MIRROR ABOVE THE DRESSER. SHE TRIES TO OPEN THE TOP DRAWER--THE ONE THE BOY HAS RIGGED--BUT IT APPEARS STUCK. AFTER STRUGGLING WITH IT, SHE SUCCEEDS IN YANKING IT OPEN, FALLING BACKWARDS IN THE PROCESS. AS THE DRAWER OPENS, THE ATTACHED STRING PULLS OVER THE MAN AND THE CHAIR. WHEN THE MAN SEES THE BOY JUMPING WITH DELIGHT AT THE DOOR, HE CHASES HIS GRANDSON OUT OF THE ROOM. FROM BIOGRAPH BULLETIN NO. 8 HOW TOMMY GOT A PULL ON HIS GRANDPA. 65 FEET. THIS IS A COMPANION PICTURE TO "TOMMY'S RINGING GOOD JOKE." TOMMY TIES A CORD TO HIS GRANDFATHER'S CHAIR AND FASTENS IT TO A BUREAU IN THE NEXT ROOM. THE MAID ATTEMPTS TO OPEN THE DRAWER AND UPSETS THE OLD GENTLEMAN, WITH DISASTROUS RESULTS.
01:22:09 1327.2	ENDS
01:22:22 1340.2	THE BOYS THINK THEY HAVE ONE ON FOXY GRANDPA, BUT HE FOOLS THEM / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY 1902 OPENS ON A STAGE WITH A STONE FENCE AND A PAINTED BACKDROP OF A FOREST OR GARDEN. IN FRONT OF THE FENCE IS A BENCH, ON WHICH SITS JOSEPH HART AS THE CARTOON CHARACTER OF FOXY GRANDPA, READING A NEWSPAPER OR MAGAZINE. HE SPORTS A BALD PATE WITH WHITE BUSHY HAIR ON THE SIDES, A LARGE BULBOUS NOSE, AND A POTBELLY, AND WEARS SPATS WITH A LIGHT-COLORED SUIT, VEST, AND TIE. FROM STAGE RIGHT ENTER TWO MISCHIEVOUS BOYS, "CHUB" AND "BUNT," DRESSED IN MATCHING SUITS WITH SHORT PANTS TO THE KNEE AND DARK STOCKINGS, BOOTS, AND CAPS. ONE OF THE BOYS CARRIES A BANJO. THEY STOP AND GESTURE AT FOXY GRANDPA, LAUGHING, AND HAND HIM THE BANJO WHEN HE LOOKS UP AND NOTICES THEM. AS THE BOYS LAUGH AND POKE EACH, GRANDPA BEGINS TO PLAY THE BANJO LIKE A PRO, INDUCING THE BOYS TO ENGAGE IN A BIT OF TAP OR SHUFFLE DANCING. WHEN THEY FINISH, FOXY GRANDPA TAKES THE FLOOR WHILE PROVIDING HIS OWN MUSIC ON THE BANJO. AS THE BOYS CLAP AND WATCH IN AMAZEMENT, GRANDPA TAP DANCES AND PERFORMS ADVANCED MOVEMENTS SUCH AS SPLIT KICKS. CLOSES WITH ALL THREE DANCING OFFSTAGE.
01:23:36 1414.2	ENDS
01:24:49 1487.2	CHIMMIE HICKS AT THE RACES / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1900 . FILMING OF A CHARACTER SKETCH BY THE WELL-KNOWN VAUDEVILLIAN CHARLES E. GRAPEWIN. ON A BARE STAGE BACKED BY A DARK CURTAIN, A MAN DRESSED IN A THREE-PIECE SUIT AND OVERCOAT HOLDS A RACING PROGRAM AND EXCITEDLY WATCHES A RACE SUPPOSEDLY TAKING PLACE OFFSTAGE. WITH ENTHUSIASTIC JUMPING AND OTHER DELIGHTED PANTOMIME, HE MAKES IT CLEAR HIS HORSE HAS WON THE RACE. A SECOND MAN IN A SUIT AND HAT ENTERS FROM STAGE RIGHT AND PAYS CHIMMIE HIS WINNINGS, A PORTION OF WHICH THE GAMBLER RETURNS TO THE MAN FOR ANOTHER BET. WITH THE START OF THE SECOND RACE, HE AGAIN WATCHES WITH RISING EXCITEMENT, BUT SUDDENLY HIS FACE FALLS AND HE ANGRILY THROWS HIS HAT ON THE GROUND, HAVING EVIDENTLY LOST THIS TIME. THE OTHER MAN RETURNS AND COLLECTS ALL OF CHIMMIE'S MONEY PLUS HIS POCKETWATCH. THE REPENTANT GAMBLER THEN KNEELS, SHAKES HIS ARMS TO THE HEAVENS, RIPS UP HIS PROGRAM, AND SCATTERS THE PIECES ON THE GROUND, APPARENTLY SWEARING OFF BETTING. HE RISES, PULLS ON HIS HAT, AND DEJECTEDLY BEGINS TO WALK OFFSTAGE. FROM BIOGRAPH PICTURE CATALOGUE, NOV. 1902 [MI], P. 62 48 FEET. CHARLES E. GRAPEWIN AS "CHIMMIE HICKS OF NEW YORK,"
01:24:56 1494.2	THE CHIMNEY SWEEP AND THE MILLER / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1902 FILMING OF A POPULAR VAUDEVILLE GAG. OPENS ON A STAGE WITH A PAINTED BACKDROP OF A LAKE AND FOREST. FROM OPPOSITE SIDES OF THE STAGE ENTER A CHIMNEY SWEEP, COVERED FROM HEAD TO TOE WITH BLACK SOOT AND CARRYING A FOLDING BROOM AND BLACK SACK, AND A MILLER, DRESSED COMPLETELY IN WHITE AND CARRYING A WHITE SACK. THE TWO MEN BUMP INTO EACH OTHER CENTER STAGE, WITH SOME OF THE SWEEP'S SOOT DIRTYING THE MILLER'S UNIFORM. THEY EXCHANGE ANGRY WORDS, AND THEN BEGIN HITTING EACH OTHER WITH THEIR SACKS. AS EXPECTED, BLACK SOOT FROM THE CHIMNEY SWEEP'S BAG SPOTS THE MILLER'S WHITES, AND WHITE FLOUR FROM THE MILLER'S SACK LANDS ON THE SWEEP'S DARK CLOTHING. THE BRAWL CULMINATES WITH A LARGE CLOUD OF BLACK AND WHITE IN WHICH THE MEN SEEM TO DISAPPEAR. FROM BIOGRAPH PICTURE CATALOGUE, NOV. 1902 [MI], P. 32 33 FEET. A CHIMNEY SWEEP AND A MILLER BECOME INVOLVED IN A STREET FIGHT. THE SWEEP HAS A BAG OF SOOT ON HIS BACK, AND THE MILLER A BAG OF FLOUR. THE FIGHT CAUSES A LIVELY MIXUP OF BLACK AND WHITE, WITH MOST AMUSING EFFECTS
01:25:29 1527.2	ENDS
01:25:34 1532.2	DANCING BOXING MATCH, MONTGOMERY AND STONE / WINTHROP MOVING PICTURE COMPANY, 1907 . VERY SHORT VAUDEVILLE TURN FROM THE WELL-KNOWN TEAM OF MONTGOMERY AND STONE. APPEARS TO HAVE BEEN FILMED OUTDOORS IN FRONT OF BLACK PAPER TAPED UP ON A WALL AS A BACKDROP. TWO MEN BOX IN A COMEDIC MANNER, WITH THE FILM OPENING AS ONE MAN IN A CAP PUNCHES THE OTHER AND THEN DUCKS BEHIND HIM. THE SECOND MAN SWINGS WILDLY THROUGH THE AIR, CAUSING HIM TO FALL DOWN IN AN ACROBATIC SHOULDER ROLL THAT IN TURN PROPELS HIM BACK TO A STANDING POSITION. HE TURNS AND FINDS HIS OPPONENT, THEN APPROACHES HIM SWINGING AS THE FILM ENDS ABRUPTLY. MONTGOMERY AND STONE WERE IN THE FIRST STAGE PRODUCTION OF " THE WIZARD OF OZ " 1903
01:25:43 1541.2	ENDS
01:25:44 1542.2	DOG FACTORY / THOMAS A. EDISON, INC. CREATED/PUBLISHED UNITED STATES EDISON MANUFACTURING CO., 1904. SUMMARY IN THE MIDDLE OF A STORE OR FACTORY SET SITS A MACHINE IDENTIFIED AS THE "PATENT DOG TRANSFORMATOR." ON THE WALLS BEHIND IT ARE COILS OF SAUSAGES OR HOT DOGS, LABELED WITH THE NAME OF THE DOG THEY REPRESENT POINTER, SETTER, FIGHTING BULL, BULL, TERRIER, SPANIEL, POODLE, PLAIN DOG, TRAINED DOG, BULL PUPS, BOSTON BULL, DASCHUND [SIC], MUT, AND PUG. AT THE TOP OF THE BACK WALL IS A SIGN THAT READS "DOGS MADE WHILE YOU WAIT--DOG FACTORY--DOGS MIXED TO ORDER." A BEARDED MAN IN A SUIT STANDS BY THE MACHINE LOOKING BORED, AS HIS PARTNER IN A CAP AND APRON DUSTS THE ROWS OF SAUSAGES. A TRAMP ENTERS THE STORE WITH A STRING OF THREE DOGS, WHICH HE SELLS TO THE MAN IN THE SUIT. ONE BY ONE, THE THREE DOGS ARE LOADED INTO THE TOP OF THE MACHINE, CRANKED BY THE MAN IN THE APRON, AND TRANSFORMED INTO LINKS OF SAUSAGE THAT COME OUT THE RIGHT END OF THE CONTRAPTION. THESE LINKS ARE THEN HUNG UP IN THEIR PROPER PLACES ON THE WALL PLAIN DOG, TRAINED DOG, AND BOSTON BULL. A MAN IDENTIFIED AS A DANDY WITH HIS CANE AND STRAW TOPPER ENTERS AND ORDERS A SPANIEL. THE PROCESS IS THEN REVERSED, AS THE APPROPRIATE COIL OF MEAT IS TAKEN OFF THE WALL AND PUT IN THE TOP OF THE MACHINE, RESULTING IN A DOG EXITING FROM THE LEFT END OF THE TRANSFORMATOR. THE NEXT CUSTOMER, A WOMAN, ORDERS A DACHSHUND, BUT THE DOG PROVES TOO JUMPY FOR HER AND IS CHANGED BACK TO A SAUSAGE; THE WOMAN THEN SETTLES ON A TERRIER, AND LEAVES HAPPILY WITH HER PURCHASE [END OF PART 1]. CONT. A MAN IN A SUIT ENTERS THE FACTORY AND ORDERS A TRAINED DOG. THE RESULTING CANINE DOES TRICKS SUCH AS A BACK-FLIP AT THE URGING OF THE OWNER IN THE APRON, AND THE CUSTOMER LEAVES SATISFIED. WHEN THE NEXT WOMAN REQUESTS A SMALL DOG, A STRING OF BULL PUPS ARE PRODUCED FOR HER, FROM WHICH SHE SELECTS HER FAVORITE; THE REST OF THE PUPPIES ARE TURNED BACK TO SAUSAGE. FINALLY, A "TOUGH" ENTERS THE STORE AND ORDERS A BOSTON BULL, BUT HE REJECTS THE RESULTING DOG AS NOT MEAN ENOUGH. THE FACTORY OWNERS THEN CREATE A FIGHTING BULL, WHICH COMES OUT OF THE TRANSFORMATOR BITING. IN THE RESULTING COMMOTION, WITH THE BOSTON BULL ALSO RUNNING AROUND THE STORE, THE FIGHTING BULL GRABS THE TOUGH BY THE SEAT OF HIS PANTS AND THE TWO WRESTLE. THE FACTORY OWNERS LAUGH AS THE BULL AND CUSTOMER EXIT THE SHOP, STILL FIGHTING. FROM EDISON FILMS CATALOG ON THE WALLS OF THE FACTORY A LOT OF DIFFERENT VARIETIES OF FRANKFURTERS ARE HUNG. EACH IS MARKED WITH THE BREED OF DOG IT IS MADE FROM. A COMBINED DOG AND BOLOGNA MAKING MACHINE IS SEEN IN THE FOREGROUND, AND TWO GERMANS ARE WORKING INDUSTRIOUSLY OVER IT. A TRAMP ENTERS WITH ABOUT A DOZEN DOGS OF VARIOUS TYPES, AND SELLS THEM TO THE GERMANS. THEY ARE SOON TRANSFORMED INTO SAUSAGE AND THE TRAMP DEPARTS WITH HIS CASH. A DUDE NOW ENTERS WHO WANTS TO BUY A SPANIEL. THE DOG IS QUICKLY MADE AND SOLD. A NUMBER OF CUSTOMERS FOLLOW AND ARE SUPPLIED WITH DOGS THAT SUIT THEIR FANCIES. FINALLY A TOUGH ENTERS WHO WANTS A BULL DOG. A BOSTON BULL IS PRODUCED, BUT DOES NOT SUIT HIM. HE WANTS A FIGHTING BULL. THE DOG IS MADE, AND AS HE JUMPS FROM THE MACHINE HE GRABS THE TOUGH BY THE PANTS, AND DOG AND MAN MIX UP IN A ROLLING MATCH ALL OVER THE FLOOR. THE TOUGH FINALLY RELEASES HIMSELF AND DISAPPEARS, LEAVING THE FIGHTING BULL DOG TO BE AGAIN TURNED INTO BOLOGNA.
01:39:01 2339.2	ENDS
01:39:12 2350.2	THE UNEXPEXTED SKATE - COMSDY SCENE - TWO BOYS PUT PAIR OF ROLLERSKATES ON SLEEPING TRAMP WHO WAKES UP AND SLIPS AND SLIDES ACROSS THE STAGE CIRCA 1900
01:40:01 2399.2	ENDS
01:40:07 2405.2	2 A.M. IN THE SUBWAY / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY , 1905 . OPENS ON A SET OF A SUBWAY PLATFORM, WITH TWO TRACKS ON EITHER SIDE AND STAIRS LEADING UP TO THE EXIT. A POLICEMAN STRETCHES AND WEARILY SITS ON A BOX OR CRATE, AS A UNIFORMED CONDUCTOR AWAITS A TRAIN. A SUBWAY CAR ARRIVES ON THE LEFT SIDE OF THE PLATFORM AND THE CONDUCTOR OPENS THE DOOR. A WELL-DRESSED MAN WITH A CIGAR IN HIS TEETH EXITS WITH HIS ARMS AROUND TWO WOMEN DRESSED IN LONG SKIRTS AND JACKETS, GLOVES, AND FANCY HATS. THE TRIO LAUGH AND STUMBLE ON THE PLATFORM AS IF HAVING A HILARIOUS TIME, GETTING THE ATTENTION OF THE POLICEMAN WHO ATTEMPTS TO STOP THEIR BAWDY BEHAVIOR. ANOTHER TRAIN ARRIVES ON THE RIGHT TRACK. A MAN HEADING FOR THAT CAR IN A TWEED SUIT AND BOWLER IS BRIEFLY STOPPED BY THE MERRY TRIO AND JOINS THEM IN A LAUGH. AS THIS PASSENGER BOARDS THE TRAIN, THE POLICEMAN AND CONDUCTOR DISCUSS THE TROUBLEMAKERS LEFT ON THE PLATFORM. ONE OF THE WOMEN CAUSES A SENSATION BY RAISING HER SKIRT AND REVEALING STRIPED STOCKINGS AS HER MALE COMPANION BENDS TO TIE HER BOOTLACE, WITH THE OTHER MALE TRAVELER OGLING HER OUT THE SUBWAY CAR WINDOW. CONT. SEEING THIS INAPPROPRIATE DISPLAY OF LEG, THE POLICEMAN PULLS UP THE GENT AND FORCES HIM AND THE WOMEN ON BOARD THE CAR. THE BELEAGURED OFFICER THEN SPIES A WOMAN'S STOCKINGED LEGS HANGING OUT A WINDOW, AND REBOARDS THE TRAIN. THE POLICEMAN, BOTH WOMEN, AND BOTH MEN EXIT THE SUBWAY CAR AND ARGUE MADLY ON THE PLATFORM, WITH THE MAN IN THE TWEED SUIT WAVING A PAIR OF ARTIFICIAL FEMALE LEGS THAT WERE APPARENTLY DISPLAYED IN THE WINDOW INSTEAD OF THE REAL THING
01:40:59 2457.2	ENDS
01:41:08 2466.2	A WAKE IN "HELL'S KITCHEN" / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1902 IRISH ETHNIC COMEDY TAKES PLACE ON A RATHER PLAIN ROOM SET, WITH A SINGLE RELIGIOUS PICTURE AND A COAT HANGING FROM THE PLAIN, WHITE WALLS. AN OPEN COFFIN SITS IN THE CENTER OF THE ROOM, WITH ITS LID LEANING AGAINST THE BACK WALL. AN OLDER, GREY-HAIRED WOMAN--PRESUMABLY THE WIDOW--STANDS HOLDING A BUNCH OF FLOWERS TO THE LEFT OF THE COFFIN, WAILING AND WIPING AWAY HER TEARS WITH HER APRON. ON THE OTHER SIDE OF THE COFFIN SIT TWO MALE MOURNERS IN THREE-PIECE SUITS, DRINKING BEER. AS THE TWO MEN TALK AND LIGHT A PIPE AND THE WOMAN TURNS AWAY IN HER GRIEF, THE OCCUPANT OF THE COFFIN--AN OLDER, BALDING MAN--SITS UP AND LOOKS AROUND. HE SPIES A LARGE MUG OF BEER TO THE SIDE, PICKS IT UP, DRINKS ALL OF THE ALE, AND LIES BACK DOWN. WHEN THE WOMAN PLACES HER FLOWERS IN THE COFFIN, SHE NOTICES THE EMPTY MUG AND QUESTIONS THE TWO MOURNERS. THE THREE ENGAGE IN A HEATED ARGUMENT, DURING WHICH THE "CORPSE" THROWS THE FLOWERS OUT OF THE COFFIN. SEEING THIS, THE WOMAN FALLS IN A FAINT. IN THEIR HURRY TO GET AWAY, THE TWO MEN KNOCK OVER THE COFFIN, SPILLING THE SUPPOSED DECEASED ON TOP OF THE WOMAN. FROM BIOGRAPH PICTURE CATALOGUE, NOV. 1902 [MI], P. 39 30 FEET. THIS SCENE IS LAID IN THE PARLOR OF A NEW YORK TENEMENT. TWO WATCHERS AT THE WAKE ARE SMOKING AND DRINKING, WHILE THE WIDOW IS WEEPING OVER THE COFFIN. THE ATTENTION OF THE THREE IS ATTRACTED FOR AN INSTANT, AND THE SUPPOSED CORPSE RISES UP, DRINKS ALL THE BEER IN THE PITCHER WHICH IS STANDING ON A TABLE NEARBY, AND LIES DOWN IN THE COFFIN AGAIN. THE MOURNERS RETURN, AND SEEING THAT THE BEER IS GONE, ENGAGE IN A CONTROVERSY OVER IT. DURING THE SCRAP THE CORPSE JUMPS OUT OF THE COFFIN AND TAKES PART IN THE MELEE
01:41:37 2495.2	ENDS
01:41:40 2498.2	AMETA / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1903 . TWO LARGE SQUARES OF WHITE FABRIC COMPLETELY COVER A WOMAN STANDING ON A STAGE WITH A PANELED WALL AS A BACKDROP. THE FABRIC IS SUPPORTED IN FRONT AND BACK OF HER BY SOME SORT OF FLEXIBLE POLES ALONG THE TOP EDGE. THE WOMAN BENDS THESE RODS AND PEAKS OUT FROM THE RESULTING HOLE, WITH HER HEAD AND NECK VISIBLE. SHE THEN PERFORMS WHAT APPEARS TO BE A VARIATION ON A SKIRT DANCE , WITH THE FABRIC ACTING AS A TYPE OF VOLUMINOUS COSTUME; SHE IS ACTUALLY WEARING A FULL-LENGTH DECORATED DRESS. HOLDING THE POLES IN EITHER HAND, SHE TWIRLS THE FABRIC ABOUT HER, IN BOTH A FRONT-TO-BACK AND SIDE-TO-SIDE MOTION. SHE CLOSES BY TWIRLING HERSELF SO THAT THE FABRIC FORMS AN UPWARD-MOVING SPIRAL, COMPLETELY COVERING HER UPPER BODY.
01:42:07 2525.2
01:42:15 2533.2	BETSY ROSS DANCE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY , 1903 OPENS ON A BARE STAGE WITH A PAINTED BACKDROP OF AN INTERIOR THEATER WALL AND PILLAR. FROM SCREEN RIGHT, A WOMAN TWIRLS ONSTAGE AND PERFORMS AN ENTHUSIASTIC DANCE. IT APPEARS SHE IS A WOMAN DRESSED TO LOOK LIKE A LITTLE GIRL, IN A SHORT, RUFFLED DRESS AND SASH, TIGHTS, AND BALLET SLIPPERS, WITH LONG, DARK HAIR WORN IN CURLS. HER MOVEMENTS INCLUDE SOME WITH AN APPARENT BALLET INFLUENCE, SUCH AS PIROUETTES AND WALKING ON POINTE. SHE ALSO PERFORMS VARIOUS FEET AND LEG MOVEMENTS, LEG KICKS BOTH TO THE FRONT AND SIDE, SPINS, AND TWIRLS, ALL THE WHILE FLOUNCING AND LIFTING HER SKIRT AND SMILING COQUETTISHLY. SHE ENDS BY THROWING A KISS TO THE CAMERA AS SHE TWIRLS OFFSTAGE. FROM R. SNYDER, THE VOICE OF THE CITY, 1989 THE "BETSY ROSS DANCE," FILMED IN 1903, SHOWS A YOUNG GIRL IN A FRILLY SKIRT CUT ABOVE THE KNEE. AS SHE DANCES, SHE KICKS HER LEG, SWINGS HER SKIRT, CLIMBS UP ON POINTE, LIFTS HER SKIRT AND TWIRLS AROUND. THE CAMERA CATCHES AN OCCASIONAL GLIMPSE OF A GARTER JUST ABOVE HER KNEE (P. 137).
01:43:44 2622.2	ENDS
01:43:51 2629.2	CAKE WALK / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1900 FIVE AFRICAN AMERICANS--THREE MEN AND TWO WOMEN--PERFORM A CAKEWALK, A DANCE FEATURING FANCY STRUTTING THAT WAS NAMED AFTER THE PRIZE AWARDED IN THE ORIGINAL CONTESTS. THE DANCERS WEAR RATHER FORMAL ATTIRE, WITH THE MEN IN DARK SUITS AND BLACK TIE AND THE WOMEN IN FULL-LENGTH, HIGH-COLLARED DARK DRESSES; ONE WOMAN CARRIES A SMALL AMERICAN FLAG. AS THEY STEP IN PLACE AGAINST A LIGHT BACKGROUND, THE CENTER MALE--HOLDING UP A TOP HAT AND TWIRLING A CANE--MOVES TOWARD THE CAMERA AND BRIEFLY PERFORMS SOME FANCY STEPS. AS HE MOVES BACK, THE MAN AT THE LEFT END OF THE LINE DOES A QUICK TWIRLING STEP AND LINKS ARMS WITH HIS PARTNER. THE OTHER TWO DANCERS ALSO PAIR OFF AS THE CENTER MALE LEADS THEM IN A STRUTTING MOVEMENT AROUND THE STAGE. WHEN THEY RETURN TO THE ORIGINAL LINE, ALL FIVE STEP TOWARDS THE CAMERA WITH THE CENTER MAN SLIGHTLY AHEAD OF THE OTHERS. THE FILM ENDS JUST AS THEY STOP THE CAKEWALK. AFRICAN AMERICAN VAUDEVILLE TROUPE PERFORMS CAKE WALK DANCE 1900
01:44:16 2654.2	ENDS
01:44:20 2658.2	CHARITY BALL / THOMAS A. EDISON, INC., 1897 A MAN IN FORMAL DINNER CLOTHES AND A WOMAN IN A WHITE RUFFLED DRESS WITH A FLOWER CORSAGE AND WHITE SHOES EXECUTE VARIOUS DANCE STEPS DESIGNED AS EXHIBITION DANCING. THE SET IS BARE, WITHOUT BACKDROPS OR PROPS. THE COUPLE'S FEET ARE NOT EVIDENT AT TIMES IN THE FRAME, AND THE DANCE APPEARS TO HAVE BEEN SHOT IN RELATIVELY SLOW MOTION.
01:44:54 2692.2	ENDS
01:45:03 2701.2	COMEDY CAKE WALK / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY , 1903 BLACK VAUDEVILLE 1903 FIVE AFRICAN AMERICANS--THREE MEN AND TWO WOMEN--PERFORM AN EXAGGERATED CAKEWALK IN FANCY EVENING CLOTHES. TWO OF THE MEN WEAR FORMAL BLACK TIE IN TUXEDOS WITH TAILS, WHILE THE THIRD WEARS A GRAY TUX OF SHINY MATERIAL WITH AN EXTREMELY LONG OVERCOAT AND EXAGGERATED CUFFS. ALL HAVE MATCHING TOP HATS AND CANES. THE WOMEN WEAR HIGHLY DECORATED HATS AND TIGHT-FITTING, FRILLY DRESSES OF ONLY MID-CALF LENGTH, WITH ONE HAND ON THEIR HIP PULLING UP THAT SIDE OF THE SKIRT. TWO COUPLES STEP IN TIME AGAINST A WHITE BACKGROUND AS THE THIRD, CENTER MAN PRANCES FORWARD AND EXECUTES A COMEDIC, WOBBLY-KNEED STEP. HE THEN MOVES BACK TO LEAD THE OTHERS IN THE STRUTTING AROUND THE STAGE, ALL THE TIME SPINNING AND PRANCING AMONG THEM. AS THE COUPLE TO STAGE LEFT JAUNT PAST THE CAMERA, THE WOMAN PAUSES TO HITCH UP HER STOCKING. THE MAN IN THE GRAY SUIT ON THE RIGHT TWIRLS HIS CANE AND STRUTS TOWARD THE CAMERA WITH HIS PARTNER; THEY THEN PAUSE ON OPPOSITE SIDES OF THE FRAME. THE WOMAN KISSES A HANDKERCHIEF SHE IS HOLDING IN ONE HAND AND FLIRTATIOUSLY THROWS IT ON THE GROUND. AS THE MAN SMILES KNOWINGLY AND REACHES FOR IT, HOWEVER, THE WOMAN YANKS THE FABRIC BACK TO HER ON A STRING. BOTH LAUGH AND CONTINUE STRUTTING. ALL FIVE DANCERS THEN RETURN TO A LINE AND START A FANCY STEP TOWARDS THE CAMERA. FROM BIOGRAPH PICTURE CATALOGUE [MI] 28 FEET. AMUSING CAKE WALK OF THREE MEN AND TWO WOMEN (COLORED) IN COSTUME, SHOWING THE USUAL ANTICS THAT OCCUR IN AFFAIRS OF THIS KIND THIS POSSIBLY COULD BE A GEORGEW WALKER & BURT WILLIAMS TROUPE ADA WALKER
01:45:20 2718.2	ENDS
01:45:42 2740.2	CRISSIE SHERIDAN / THOMAS A. EDISON, INC . 1897 A WOMAN IN A WHITE GOWN PERFORMS A SKIRT DANCE, USING HER ARMS TO PRODUCE CIRCLES AND OTHER PATTERNS WITHIN THE FOLDS OF HER COSTUME. HER LEGS AND FEET APPEAR TO BE BARE. EARLY VERSION OF FAN DANCE VAUDEVILLE / BURLESQUE DANCERS 1897
01:46:18 2776.2	ENDS
01:46:25 2783.2	DANCE, FRANCHONETTI SISTERS / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY , 1903 SISTER DANCING VAUDEVILLE THREE YOUNG WOMEN WITH DARK, CURLY HAIR STAND ON A STAGE WITH A BLACK BACKGROUND AND PATTERNED CARPET OR TILE UNDERFOOT. THEY WEAR TIGHTS, BALLET SHOES, AND FRILLY DRESSES TO THE KNEE WITH MULTIPLE PETTICOATS AND RUFFLED DRAWERS. THEY BEGIN BY RAISING THEIR RIGHT LEGS UP BY THEIR HEADS, AND THEN PERFORM A DANCE WITH A VARIETY OF KICKS AND LEG MOVEMENTS, THEIR HANDS EITHER IN THE AIR OR PULLING UP THEIR SKIRTS. THE SISTERS ALSO GRAB THEIR RIGHT LEGS AGAIN AND HOP IN A CIRCLE, THEN DO CARTWHEELS AND LAND ON THE FLOOR IN THE SPLITS. JUMPING BACK TO THEIR FEET, THE WOMEN TWIRL IN CIRCLES AND AROUND EACH OTHER IN CIRCLES IN WHAT APPEARS TO BE A TYPE OF PIROUETTE, WHILE HOLDING UP THEIR SKIRTS AND SHOWING THEIR BLOOMERS IN A MANNER SIMILAR TO THE CANCAN. FROM BIOGRAPH PICTURE CATALOGUE 22 FEET. THE FRENCH QUADRILLE DANCE BY A POPULAR TEAM OF VAUDEVILLE ARTISTS
01:46:49 2807.2	ENDS
01:46:54 2812.2	YOUNG AFRICAN AMERICAN BOY DANCES RAGTIME STYLE DANCE FOR CHEERING GROUP OF SPECTATORS CIRCA 1898
01:47:27 2845.2	ELLA LOLA, A LA TRILBY / THOMAS A. EDISON, INC., 1898 A YOUNG, DARK-HAIRED WOMAN PERFORMS A DANCE INSPIRED BY GEORGE DU MAURIER'S CHARACTER TRILBY, IN AN EARLY MODERN DANCE STYLE REMINISCENT OF ISADORA DUNCAN. SHE DANCES BAREFOOT WITHOUT STOCKINGS AND IS DRESSED IN A LONG, FLOWING GOWN BOUND ACROSS THE BOSOM IN GRECIAN STYLE, WITH INSIDE FRINGE AND A DRAPED CAPE HOOKED TO HER WRIST. SHE ALSO WEARS WHAT APPEARS TO BE A GARLAND HEADPIECE. HOLDING HER GOWN WITH ONE HAND THROUGHOUT, THE DANCER PERFORMS A SERIES OF KICKS AND TURNS WITH LEG KICKS FRONT AND BACK, ROCKING, AND ROUND DE JAMBE.
01:48:05 2883.2	ENDS
01:48:11 2889.2	FOUGe8RE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1899 OPENS ON A STAGE WITH A PAINTED BACKDROP OF WHAT APPEARS TO BE CLOUDS [K.R. NIVER SEES THE BACKGROUND AS ROLLING WAVES]. FROM THE LEFT OF THE FRAME ENTERS EUGENIE FOUGe8RE IN A STRUTTING TYPE OF LEG MOVEMENT, SHOT IN PROFILE BUT WITH HER FACE TURNED TOWARD THE CAMERA. SHE WEARS A DRESS WITH A DARK, LACE-PATTERNED, LOW-CUT BODICE, STRIPED SLEEVES, AND A FRILLY WHITE SKIRT TO THE KNEES; MULTIPLE DARK PETTICOATS AND WHITE BLOOMERS TO THE KNEES; STOCKINGS; HEELED SHOES; AND AN TRI-CORNER HAT WITH A FEATHER. OTHER DANCE MOVEMENTS INCLUDE A BACKWARDS SHUFFLE STEP, CLUTCHING HER BOSOM AND THEN CUPPING HER EAR AS IF LISTENING WITH A SKIPPING FOOT MOVEMENT, AND A SIDEWAYS STEP ACROSS THE STAGE. FOR MOST OF THE DANCE SHE LIFTS HER SKIRT HIGH IN A MANNER SIMILAR TO A CANCAN. SHE CLOSES BY KNEELING IN A BRIEF CURTSY WITH HER HAND TUCKED AT HER CHIN, AND THEN EXITS THE STAGE. FROM BIOGRAPH PICTURE CATALOGUE 36 FEET. THE FAMOUS PARISIAN CHANTUESE IN THE RAG-TIME CAKE-WALK "HELLO, MA BABY," WITH WHICH SHE MADE SUCH A SENSATION AT THE NEW YORK THEATRE.
01:48:49 2927.2	ENDS
01:48:55 2933.2	FOXY GRANDPA AND POLLY IN A LITTLE HILARITY / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1902 OPENS ON A STAGE WITH A STONE FENCE AND A PAINTED BACKDROP OF A FOREST OR GARDEN. HUSBAND AND WIFE TEAM OF HART AND DEMAR AS CARTOON CHARACTERS FOXY GRANDPA AND POLLY ENTER HAND-IN-HAND FROM BEHIND THE FENCE. GRANDPA HAS A BALD PATE WITH BUSHY WHITE HAIR ON THE SIDES, A BIG BULBOUS NOSE, AND A POTBELLY, DRESSED IN A LIGHT-COLORED SUIT WITH A VEST AND SPATS AND CARRYING A BOWLER IN HIS LEFT HAND. POLLY WEARS A RUFFLED, LIGHT-COLORED DRESS WITH DARK TRIM THAT GOES TO HER ANKLES, A BEDECKED BONNET, WHITE STOCKINGS, HEELED SHOES, AND A CHOKER AROUND HER NECK. BOTH ARE SMILING BROADLY AS THEY REACH CENTER STAGE AND BEGIN THEIR VAUDEVILLE-STYLE DANCE, WITH TAP, SOFT SHOE, AND OTHER SYNCHRONIZED LEG MOVEMENTS AND TWIRLS IN WHAT APPEARS TO BE A RAGTIME RHYTHM . GREAT EXAMPLE OF A CIRCA 1900 VAUDEVILLE TWO ACT JOSEPH J. HART (FOXY GRANDPA), CARRIE DEMAR (POLLY).
01:49:27 2965.2	ENDS
01:49:46 2984.2	A NYMPH OF THE WAVES / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1903 SUPERIMPOSITION OF A WOMAN DANCING OVER FOOTAGE OF CRASHING WAVES FROM THE RAPIDS OF NIAGARA FALLS. THE WOMAN WEARS A FRILLY, PERHAPS FEATHER-TRIMMED, WHITE DRESS WITH A LOW-CUT BODICE, A MATCHING FEATHERED HAT, WHITE STOCKINGS, AND WHITE BALLET SLIPPERS. SHE HOLDS UP HER SKIRT THROUGH THE ENTIRE DANCE, REVEALING HER ANKLES AND LOWER LEGS AS WELL AS A FLASH OF A GARTER ABOVE THE KNEE ON HER LEFT LEG. HER MOVEMENTS APPEAR TO BE A MIXTURE OF BALLET AND VARIETY-STYLE DANCING SUCH AS A CANCAN, INCLUDING SPINS AND TOESTEPS ON POINTE. SHE CLOSES WITH A FLOURISH OF HER SKIRT AS SHE EXECUTES A CURTSY ON POINTE WITH ONE FOOT. PERFORMER CATHRINA BARTHO. FROM BIOGRAPH PICTURE CATALOGUE 25 FEET. THIS IS A DOUBLE-PRINTING PICTURE COMBINING A VIEW OF MLLE. CATHRINA BARTHO IN HER CELEBRATED "SPEEDWAY" DANCE, WITH ONE OF THE WHIRLPOOL RAPIDS OF NIAGARA FALLS, THE RESULTING EFFECT BEING THAT THE DANCER APPEARS TO BE GLIDING OVER THE SURFACE OF THE RUSHING WATERS..
01:50:09 3007.2	ENDS
01:50:15 3013.2	A TOUGH DANCE / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1902 APACHE DANCE FROM EITHER SIDE OF A WHITE, APPARENTLY OUTDOORS, SETTING ENTER A MAN AND WOMAN, BOTH WEARING RAGGED STREET CLOTHES AND CAPS. AS THEY APPROACH CENTER STAGE, THE MAN GRABS THE WOMAN'S ARM AND PULLS HER TO HIM, THEN SLAPS HER. STILL HOLDING HER ARM, THE MAN AND HIS PARTNER COCKILY STRUT TOWARDS THE CAMERA. THE MAN GRABS THE WOMAN IN A CROUCHED, BEAR-HUG TYPE OF HOLD AND THEY PERFORM A ROUGH LITTLE DANCE THAT ALMOST SEEMS A PARODY OF A WALTZ. IN A JERKY TYPE OF JITTERBUG, THE MAN TWIRLS THE WOMAN OUT OF HIS HOLD AND BACK AGAIN, A MOVEMENT WHICH IS REPEATED OFTEN WITHIN THEIR SPINNING DANCE. THEY FINALLY FALL TO THE GROUND, STILL CLUTCHING EACH OTHER, AND ROLL AROUND. FROM K.R. NIVER, EARLY MOTION PICTURES, 1985 TWO PEOPLE IMITATE THE CELEBRATED DANCE OF THE FRENCH APACHE. AS THE FILM BEGINS, A MAN DRESSED IN ROUGH CLOTHING APPROACHES A WOMAN, ALSO DRESSED IN TATTERED GARMENTS, WHO IS STANDING NEAR THE CENTER OF CAMERA POSITION. THEY BEGIN TO ACCENTUATE THEIR SHOULDER MOVEMENTS AND, AT THE END OF THE FILM, ARE HITTING ONE ANOTHER AND ROLLING ABOUT ON THE FLOOR. THE PARTICIPANTS WERE KID FOLEY AND SAILOR LIL, WHO CLAIMED TO BE THE CHAMPION PERFORMERS OF THIS POPULAR BOWERY DANCE.
01:50:59 3057.2	ENDS
01:51:08 3066.2	DUEL SCENE, "BY RIGHT OF SWORD" / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1904 CREATED/PUBLISHED UNITED STATES AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY, 1904. SUMMARY OPENS ON A STAGE WITH A PAINTED BACKDROP OF A LAKE SURROUNDED BY FOREST. A BEARDED MAN WRAPPED IN A DARK CLOAK AND WEARING A DARK FUR SHAKO--APPARENTLY THE NOVEL'S CHARACTER OF MAJOR DEVINSKY--STANDS STAGE LEFT. BEHIND HIM, A GROUP OF THREE SOLDIERS MOVE ABOUT IMPATIENTLY, WATCHING FOR SOMEONE OFFSTAGE. ACCORDING TO MARCHMONT'S STORY, THE MEN SHOULD BE LATE 19TH CENTURY RUSSIAN SOLDIERS, BUT IN THE FILM THEY WEAR MILITARY UNIFORMS THAT SEEM FRENCH IN DESIGN INSTEAD, WITH LIGHT-COLORED BREECHES SPORTING EMBROIDERED DESIGNS, DARK BUTTONED JACKETS WITH ANOTHER COAT SLUNG OVER ONE SHOULDER, DARK FUR SHAKOS WITH PLUMES, AND SHINY BLACK BOOTS TO THE KNEE. FROM STAGE RIGHT ENTERS THE STORY'S MAIN CHARACTER OF HAMYLTON TREGETHNER, MASQUERADING AS INFANTRYMAN ALEXIS PETROVITCH IN A SIMILAR UNIFORM AND CLOAK. THE DUELERS REMOVE THEIR CLOAKS AND JACKETS, ROLL UP THEIR SHIRTSLEEVES, AND ACCEPT THEIR SWORDS FROM THE SOLDIER ACTING AS "SECOND." THE PORTION OF THE BOOK WHERE TREGETHNER TRIES TO PERSUADE DEVINSKY TO ABANDON THE DUEL IS PRESENTED ON FILM AS A PANTOMIMED DISCUSSION, THEN THE TWO OPPONENTS FACE EACH OTHER AND THE DUEL IS STARTED. DURING THE SWORDFIGHT, TREGETHNER IS BROUGHT TO HIS KNEES AT ONE POINT, BUT PREVAILS AND ENDS THE DUEL BY CUTTING DEVINSKY ON THE ARM. AS THE LOSER STORMS OFF THE STAGE, ONE OF THE SOLDIERS SALUTES THE VICTOR. RALPH STUART (HAMYLTON TREGETHNER/ALEXIS PETROVITCH).
01:52:54 3172.2	ENDS
01:53:03 3181.2	A BALLROOM TRAGEDY / AMERICAN MUTOSCOPE AND BIOGRAPH COMPANY. 1905 OPENS ON A SET OF A SITTING ROOM, APPARENTLY OFF A BALLROOM WHERE DANCERS OCCASIONALLY CAN BE GLIMPSED THROUGH A CURTAINED ENTRANCE STAGE RIGHT. NEAR THE ENTRANCE, A YOUNG COUPLE IN FORMAL ATTIRE TALK--PERHAPS ANGRILY--AS ANOTHER COUPLE EXIT THE DANCING. THE SECOND MAN INTRODUCES HIS COMPANION--A STRIKING WOMAN IN A RISQUe9 WHITE GOWN WITH A LOW-CUT BODICE AND BARE SHOULDERS--TO THE OTHER MAN AND THEN REENTERS THE DANCE HALL. THE YOUNG MAN APPARENTLY EXCUES HIS FEMALE COMPANION, WHO IS PLAINER IN COMPARISON WITH THE NEW ARRIVAL, AND INVITES THE WOMAN IN WHITE TO JOIN HIM ON A SETTEE. THE TWO TALK CLOSELY AND AFFECTIONATELY, AS THE SPURNED WOMAN RETURNS WITH A KNIFE IN HER HAND AND HIDES IN THE CURTAIN BEHIND THE SITTING COUPLE. WHEN THE TWO KISS, SHE REACHES OUT AND STABS HER RIVAL IN THE BACK. THE INJURED WOMAN JUMPS UP IN PAIN AND THEN COLLAPSES ON THE FLOOR, APPARENTLY DEAD. THE MURDERESS RUNS AWAY AS THE YOUNG MAN RUSHES TO HOLD THE FALLEN WOMAN. FROM BIOGRAPH BULLETIN NO. 55 THE SCENE SHOWS THE HALL OF A PRIVATE RESIDENCE WITH THE DANCE PROGRESSING IN THE DISTANT PARLORS. A YOUNG COUPLE ARE SEEN QUARRELLING, AND THE YOUNG MAN DISCARDS HIS FIANCEE FOR ANOTHER FAIR CHARMER. THE REJECTED GIRL GOES AWAY IN A RAGE, BUT RETURNS JUST IN TIME TO WITNESS A SCENE BETWEEN HER LOVER AND HER RIVAL. INFURIATED AT THE SIGHT SHE DRAWS A STILETTO FROM HER GOWN AND STABS THE UNFORTUNATE GIRL WHO HAS USURPED HER PLACE. 52 FEET. CLASS B.
01:53:54 3232.2	ENDS