LITMIR.BIZ

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no!" cried Patsy in protest. "I'm dying to see how we look. I wouldn't have that picture sidetracked for anything."

      "And you, Beth?"

      "Really, Uncle John, the thing is not worth worrying over," replied his niece. "I am naturally indignant at being drawn into such a thing against my will, but I doubt if anyone who knows us, or whose opinion we value, will ever visit a moving picture theatre or see this film. The common people will not recognize us, of course."

      You must not think Beth de Graf was snobbish or aristocratic because of this speech, which her cousin Patsy promptly denounced as "snippy." Beth was really a lovable and sunny-tempered girl, very democratic in her tastes in spite of the fact that she was the possessor of an unusual fortune. She was out of sorts to-day, resentful of the fright she had endured that morning and in the mood to say harsh things.

      Even Patricia Doyle had been indignant, at first; but Patsy's judgment was clearer than her cousin's and her nature more responsive. She quickly saw the humorous side of their adventure and could enjoy the recollection of her momentary fear.

      These two girls were spending the winter months in the glorious climate of Southern California, chaperoned by their uncle and guardian, John Merrick. They had recently established themselves at a cosy hotel in Hollywood, which is a typical California village, yet a suburb of the great city of Los Angeles. A third niece, older and now married – Louise Merrick Weldon – lived on a ranch between Los Angeles and San Diego, which was one reason why Uncle John and his wards had located in this pleasant neighborhood.

      To observe this trio – the simple, complacent little man and his two young nieces – no stranger would suspect them to be other than ordinary tourists, bent on escaping the severe Eastern winter; but in New York the name of John Merrick was spoken with awe in financial circles, where his many millions made him an important figure. He had practically retired from active business and his large investments were managed by his brother-in-law, Major Gregory Doyle, who was Miss Patsy's father and sole surviving parent. All of Mr. Merrick's present interest in life centered in his three nieces, and because Louise was happily married and had now an establishment of her own – including a rather new but very remarkable baby – Uncle John was drawn closer to the two younger nieces and devoted himself wholly to their welfare.

      The girls had not been rich when their fairy godfather first found them. Indeed, each of them had been energetically earning, or preparing to earn, a livelihood. Now, when their uncle's generosity had made them wealthy, they almost regretted those former busy days of poverty, being obliged to discover new interests in life in order to keep themselves occupied and contented. All three were open-handed and open-hearted, sympathetic to the unfortunate and eager to assist those who needed money, as many a poor girl and worthy young fellow could testify. In all their charities they were strongly supported by Mr. Merrick, whose enormous income permitted him to indulge in many benevolences. None gave ostentatiously, for they were simple, kindly folk who gave for the pure joy of giving and begrudged all knowledge of their acts to anyone outside their own little circle.

      There is no doubt that John Merrick was eccentric. It is generally conceded that a rich man may indulge in eccentricities, provided he maintains a useful position in society, and Mr. Merrick's peculiarities only served to render him the more interesting to those who knew him best. He did astonishing things in a most matter-of-fact way and acted more on impulse than on calm reflection; so it is not to be wondered at that the queer little man's nieces had imbibed some of his queerness. Being by nature lively and aggressive young women, whose eager interest in life would not permit them to be idle, they encountered many interesting experiences.

      They had just come from a long visit to Louise at the ranch and after conferring gravely together had decided to hide themselves in Hollywood, where they might spend a quiet and happy winter in wandering over the hills, in boating or bathing in the ocean or motoring over the hundreds of miles of splendid boulevards of this section.

      Singularly enough, their choice of a retreat was also the choice of a score or more of motion picture makers, who had discovered Hollywood before them and were utilizing the brilliant sunshine and clear atmosphere in the production of their films, which were supplied to picture theatres throughout the United States and Europe. Appreciating the value of such a monster industry, the authorities permitted the cameras to be set up on the public streets or wherever there was an appropriate scene to serve for a background to the photo-plays. It was no unusual sight to see troops of cowboys and Indians racing through the pretty village or to find the cameraman busy before the imposing residence of a millionaire or the vine-covered bungalow of a more modest citizen. No one seemed to resent such action, for Californians admire the motion picture as enthusiastically as do the inhabitants of the Eastern states, so the girls' "adventure" was really a common incident.

      CHAPTER II

      AN OBJECT LESSON

      It was the following afternoon when Uncle John captured his casual acquaintance, Mr. Otis Werner, in the office of the hotel and dragged the motion picture man away to his rooms to be introduced to his nieces.

      "Here, my dears, is Mr. Werner," he began, as he threw open the door of their apartment and escorted his companion in. "He is one of those picture makers, you'll remember, and – and – "

      He paused abruptly, for Beth was staring at Mr. Werner with a frown on her usually placid features, while Patsy was giggling hysterically. Mr. Werner, a twinkle of amusement in his eye, bowed with exaggerated deference.

      "Dear me!" said Uncle John. "Is – is anything wrong!"

      "No; it's all right, Uncle," declared Patsy, striving to control a fresh convulsion of laughter. "Only – this is the same dreadful manager who dragged us into his picture yesterday."

      "I beg your pardon," said Mr. Werner; "I'm not a manager; I'm merely what is called in our profession a 'producer,' or a 'stage director.'"

      "Well, you're the man, anyhow," asserted Patsy. "So what have you to say for yourself, sir?"

      "If you were annoyed, I humbly apologize," he returned. "Perhaps I was unintentionally rude to frighten you in that way, but my excuse lies in our subservience to the demands of our art. We seldom hesitate at anything which tends to give our pictures the semblance of reality."

      "Art, did you say, Mr. Werner?" It was Beth who asked this and there was a bit of a sneer in her tone.

      "It is really art – art of the highest character," he replied warmly. "Do you question it, Miss – Miss – "

      "Miss de Graf. I suppose, to be fair, I must admit that the photography is art; but the subjects of your pictures, I have observed, are far from artistic. Such a picture, for instance, as you made yesterday can have little value to anyone."

      "Little value! Why, Miss de Graf, you astonish me," he exclaimed. "I consider that picture of the falling wall one of my greatest triumphs – and I've been making pictures for years. Aside from its realism, its emotional nature – 'thrills,' we call it – this picture conveys a vivid lesson that ought to prove of great benefit to humanity."

      Beth was looking at him curiously now. Patsy was serious and very attentive. As Uncle John asked his visitor to be seated his voice betrayed the interest he felt in the conversation.

      "Of course we saw only a bit of the picture," said Patsy Doyle. "What was it all about, Mr. Werner?"

      "We try," said he, slowly and impressively, as if in love with his theme, "to give to our pictures an educational value, as well as to render them entertaining. Some of them contain a high moral lesson; others, a warning; many, an incentive to live purer and nobler lives. All of our plots are conceived with far more thought than you may suppose. Underlying many of our romances and tragedies are moral injunctions which are involuntarily absorbed by the observers, yet of so subtle a nature that they are not suspected. We cannot preach except by suggestion, for people go to our picture shows to be amused. If we hurled righteousness at them they would soon desert us, and we would be obliged to close up shop."

      "I must confess that this is, to me, a most novel presentation of the subject," said Beth, more graciously. "Personally, I care little for your pictures; but I can understand how travel scenes and scientific

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