rom members of the two households. Besides, what
an excellent way of keeping the money in the family. However _The Fatal
Murder_ is a dud; _Rosie_ and _Ruth_ are not the right shape; and film
acting, with the necessary pep, is not a thing you can just acquire by
wishing so.

What is wanted, says the voluble young hustler in the firm, who
alone seems to know anything of the business, is real actresses as
distinguished from members of the directors' families, and above all a
good vampire. A vampire is the very immoral and under-dressed type of
woman that wrecks hearts and homes, and without which no film with a
high moral purpose is conceivable. You must have shadows to throw up the
light. And on this principle all the uplift and moral instruction of
that potent instrument of grace, the cinematograph, is based--a fact
which will not have escaped the notice of cinema-goers.

When _Rita Sismondi_ appears in an evil Futurist black-and-white gown by
Viola you can tell at once she is the goods. But naturally _Abe's_ first
thought is, "What will _Rosie_ say?" His second, shared by _Mawruss_:
"Hang _Rosie_! We shall both like this lady." Finances are not
flourishing, but the crooked manager of the very unbusinesslike bank
that is financing the P. and P. Film Co. harbours designs on the virtue
of _Rita_, who has this commodity in a measure unusual with film
vampires (or usual, I forget which), and is just a slightly adventurous
prude out for a good time. He accordingly advances more money for _The
Guilty Dollar_ on condition that _Rita_ be engaged, and yet more money
on condition that she be not fired by any machinations of jealous wives.

_Rosie_, indeed, says a good deal when she turns up at a rehearsal and
finds the vampire clad in the third of a gown hazardously suspended
on her gracious shoulders by bead straps, and _Mawruss_ and _Abe_
demonstrating how in their opinion the kissing scenes should be
conducted so as to make a really notable production. However, the
vampire's film vices make the success of the company, and her private
virtues bring all to a happy ending.

The story need hardly concern us. It is not plausible, which matters
nothing at all. Mr. YORKE and Mr. LEONARD are the essential outfit, and
it seems to me they are better than ever. One simply _has_ to laugh,
louder and oftener than is seemly for a self-respecting Englishman. No
doubt their authors, Messrs. GLASS and GOODMAN, give them plenty of good
thin