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- This shows the final washing of the gold on one of the richest claims in the Klondike. The coarse gold and nuggets are placed in the pan ready for weighing. During the four years the owner, Professor Lippy, has received over $5,000,000 from this claim.
- The Coney Island Jockey Club's Suburban Handicap race was won by the three-year-old bay colt Africander, with the best and most seasoned horses in training at his heels. He took the lead in the stretch, and for the final quarter of a mile flew down the track at a pace that astonished the crowd. Africander won from Herbert by a head. Hunter Raine was third. None who witnessed the race will soon forget the finish. After the race, the camera revolved to the left, bringing into view the rider of Africander, seated in floral chain, and the cheering multitudes in the grand-stand.
- "This picture shows the Columbia crossing the line, leading the Shamrock by about 1/2 mile. The Shamrock is plainly seen in the distance and she later comes up and crosses the line in the same picture."
- In this race the yachts cross the finishing line, as every one knows, under a nineteen-knot breeze. Our cameras are started while they are at a distance of about one-half mile and keep running until they cross the line. Both boats cross within twenty-feet of our camera and the effect is most stirring and interesting.
- Here we present a most remarkable view of the plucky challenger Shamrock and the defender Columbia. The yachts both pass and re-pass our camera in jockeying for the start, and we present a very close view and a most perfect photograph. The yachts finally make the start upon the firing of a gun and cross the line so close to our camera that we could have "tossed a biscuit" on the decks of either boat.
- This picture is the most dramatic of any of the series. It shows the complete maneuvers before starting and while crossing the line. The Columbia is seen putting about and executing the wonderful movement of Captain Barr to get into the Shamrock's wind. The Shamrock crosses the line a few seconds ahead of the Columbia, the Columbia having the leeward position. The boats were so close and so equally placed as to suggest one great composite single sticker, and Captain Barr cleverly comes about under the Shamrock's stern and gets across the line just a few seconds before the handicap gun, one minute and thirty-four seconds after the challenger. On going about the Columbia tacks a distance of about 300 yards from our camera and sails straight at us under a fifteen-knot breeze. The full height of the great mast and sails is over her deck. When she passes our camera she is not more than twenty-five feet away and the movements of the sailors as they scamper over the decks, pulling on the ropes and adjusting the great sails, make a most dramatic finish to the picture.
- This is the banner picture of them all and it almost defies description. The yachts crossing the line in this race follow tactics heretofore unknown in the cup races. As both boats went over the line the balloon topsails were shaken out and the spinnaker sails were set. The yachts were close to our camera when these sails were given to the winds, and the effect is most beautiful and adds one hundred per cent to the picture. Immediately the spinnakers and the balloon topsails catch the wind the yachts are seen to leap forward in the water as though propelled by steam. Our panoramic camera is here set in motion and the yachts are followed until they have almost passed out of sight.
- Here the yachts are both sailing under a twenty-knot breeze, and the effect is most beautiful as they turn the stake, the Shamrock leading by one-eight of a mile. The sailors working at the ropes make a most beautiful effect as the yachts pull about for home and begin the great struggle which ended in the awarding of the cup to Columbia.
- A fine view of the great ocean liner leaving New York Harbor under full speed, accompanied by a fleet of tugs and excursion craft. We regret that at the late hour of the day on which this picture was taken, and the murky condition of the atmosphere, prevented our getting a perfect picture photographically, but the historical significance of the subject prompts us to list the picture.
- In this most wonderful picture we show the Kronprinz Wilhelm steaming into the New York harbor, surrounded by United States Naval ships and tugs, newspaper tugs, and various pleasure craft, all of which are saluting and blowing their whistles. Our panoramic device is then set in motion, and the Royal yacht Hohenzollern is brought into view as a climax to the film.
- Major Baker, an officer of the Regular Army during the Civil War, becomes enamored of Millicent Brown, who, while she does not reciprocate his affection, esteems him very highly. He is about to propose to her when the scene is interrupted by the arrival of Col. Theodore Allison, a handsome young Colonel of the Fifth Pennsylvania Artillery. The men are friends and exchange greetings. Major Baker withdraws, and as he is leaving the room suspects that possibly the handsome Colonel is also a suitor for the band of Millicent. We next see the personages in whom we have taken an interest at a ball given at the armory of the Fifth Pennsylvania Artillery. After one of the numbers there is a dispute as to who has the right to the next dance with Millicent, Major Baker or Col. Allison. Each has the young lady a name on his card for the dance in question. The matter is settled by Allison claiming a preference because of the fact that he is the young lady's fiancé and showing to Major Baker the engagement ring on Millicent's finger. Major Baker bows stiffly and withdraws. In the next dance, a Virginia Reel, which is very prettily shown, we see the emotions that are uppermost in the breast of the Major and his growing hatred of the man who has come between him and the realization of his hopes. Suddenly into the ballroom come orderlies, dispatched from the Brigadier General to deliver messages to the various officers on the floor. The one to Allison reads, "Your regiment ordered to the front. Report immediately." A general order stops the dancing and all is confusion and haste. Millicent sees Major Barker crossing the floor on his way out of the armory, and begs him to make up with Col. Allison, as they are both going to the front and there is no knowing what may happen. As the two men face each other with the girl in between them, Major Baker deliberates a moment, then shakes his head and departs. Theodore and Millicent fondly embrace, and the young Colonel leaves for the front. Two months later we see the regiment of tailor-made soldiers of the Fifth Artillery under command of Col. Allison taking charge of Fort Loring, a key position in the mountains within the fighting zone of the Civil War. By a strange coincidence Major Baker is in command of the fort to which Col. Allison is detailed. As Baker's regiment of veterans marches from the fort they jeer and laugh at the "toy soldiers" of Allison's command. After the formal military ceremonies and just before Major Baker's departure, Col. Allison offers him his hand; instead of taking which Major Baker stiffly gives a military salute and joins his company. Time goes on and Major Baker becomes attached to a distant command at another scene of action. Orders are given for the advantage of a body of Union troops through a narrow gorge in the mountains in the vicinity of Fort Loring. Col. Allison is watching the men on the march. His eye suddenly discovers in the distance a Confederate officer ride into the head of the ravine and suddenly darts back toward the ridge of the hill. Presently a large force of Confederates rushes to cover behind the rocks on either side of the rough mountain roadway. Allison issues orders to his gunners down the line. He sees the Union men walk into the trap. There is no chance to save them before they do so, but immediately they begin to retreat and the Confederate force has driven them so that they are under the shelter of the guns commanded by him. Allison gives the order for continuous firing. We see the boys working behind the earthworks and also the effect of their shells upon the advancing enemy. For days the fight goes on. The Confederates attempt to go through but are constantly driven back by the shell fire. The fort is cut off from outside supplies by flank movements of the enemy. This fact is communicated to the General in command of the division in which Major Baker is now a prominent figure. As the dispatch bearer greets the General and the message is opened disclosing the fact that the Fifth Pennsylvania Artillery is fighting against odds without food, he turns to Major Baker and orders him to the immediate relief of the garrison. We now go back to the fort and see the men who were jeered and scoffed at because of their dudish appearance fighting against terrible odds, hungry, thirsty and haggard, but game. Their shell fire is more desultory than ten days previous, and the enemy, realizing the fact, takes a desperate chance and charges through the gorge. At the critical moment relief comes, and Major Baker's regiment rushes into the fort and repels the advancing charge. As Col. Allison staggers feebly and salutes the incoming commanding officer a thrilling and pathetic scene is presented. Baker is covered with dust and powder marks. Allison, who has been shot in the arm, is bravely replacing the colors which fell when the flag staff was struck by a shell, stands before him feebly saluting with his right hand, while the left arm hangs limply by his side. Baker presents his orders. As he does so Col. Allison topples and is about to fall, when Baker grasps him firmly about the waist. The emotions of the two men are better imagined than described. In the soul-stirring thrill of the moment Major Baker forgets his enmity. Holding Allison firmly with his left arm, he extends his right and grasps the hand he has twice refused to hold in friendship. Several months later Major Baker's regiment is passing through the city in which Millicent lives. Col. Allison has been given a furlough on account of his injuries and goes home in company with Major Baker. Millicent, while watching the returning troops, is surprised at the entrance of the two men and their changed relations.
- A documentary of the opening game of the 1905 National League baseball season, with the New York Yankees and the Boston team, playing in New York City. Featured are Yankees manager John J. McGraw and famed pitcher Christy Matthewson. The game was attended by more than 40,000 fans, making it the largest crowd in the history of the game up to that time.
- A fine picture of the Reliance passing the stakeboat three minutes ahead of Shamrock III. The view shows the boats coming in before the wind with all sails spread, and shows just how both boats looked when they crossed the line.
- In this picture a fine idea of the jockeying and start is given, showing Shamrock III. very close, the sailors running back and forth as she passes the camera. The Reliance crossed the line a few seconds after the Shamrock in this race, and a close view of her is also shown.
- Showing the Reliance rounding the outer stake, four minutes ahead of Shamrock III. Both boats are kept in picture part of the time, and after following the Reliance up for a quarter of a mile the camera is again brought to bear on the stake in time to see Shamrock III come around and follow after the Reliance.
- The start of one of the races in the 1899 America's Cup, between the New York Yacht Club entry Columbia, and the Irish challenger Shamrock of the Royal Ulster Yacht Club.
- "This picture shows the two yachts racing at 20 miles an hour, the crew manipulating the sails as they round the outer mark. Columbia leading the Shamrock by thirteen seconds."
- "This picture shows the two yachts racing at 20 miles an hour, the crew manipulating the sails as they round the outer mark, Columbia leading the Shamrock by thirteen seconds."
- The successful seventh attempt at completing the first race of the 1899 America's Cup. The first three races had been stopped due to the time limit; the next three scheduled attempts were postponed due to weather conditions.
- "This picture shows the two yachts rounding the stakeboats and jockeying for a start."
- The Shamrock is seen after its defeat in the 1899 America's Cup, along with the Erin, which served as its tow boat across the Atlantic.
- "Tis now the very witching time of night, when churchyards yawn and graves give up their dead." It is the hour when ghosts come forth and prowl, when elves and spirits of the spirit world hold merry carnival in the realms of the living. Imagine yourself at the midnight hour in an old house that has long had the reputation of being haunted, a house in which several people have attempted to sleep and have failed. You are impelled by a love of the mysterious to see if these reports are true, and have bolstered your courage up to the sticking point for the occasion. Approaching the building you are impressed by the ominous silence and gloom that envelop it. The hoot of an owl and the sudden apparition of a myriad of bats send cold chills chasing one another up and down your spinal cord. Entering a large room, your ears are assailed by unearthly noises and discordant sounds. You are about to seat yourself at a table when table and chair disappear as if by magic and you sprawl upon the floor. You see strange shapes and weird, flitting figures; you are chased from one room to another by toothless hags and dried up witches; skeletons grin at you from every nook and cranny of the building, disappearing and reappearing in a most bewildering fashion: a pretty girl comes out of the frame of an old picture, and as you are about to kiss her hand you find a donkey's head nestling snugly in your fingers. Would you be frightened? One young man about town certainly was when he saw all these strange happenings. The aforesaid young man had made a wager with some of his fellow club members that he would sleep in the old haunted house overnight. His friends, not doubting his bravery but thinking to have a little sport and at the same time make his evening interesting, engaged a professor of sleight-of-hand to take them to the haunted house and give an exhibition of his feats of magic for the benefit of the adventurous young club member. Fortunately for the picture loving public the Edison Company had an operator and his camera in the house that evening and everything that happened is now reproduced in detail as a moving picture, even to the young man's return to his club and the discovery of the trick played on him.
- A gardener is sprinkling a lawn. "Weary Willie" appears upon the scene. He seizes the hose and doubles it up so that the flow of water is checked. The gardener thinking there is something wrong examines the nozzle of the hose while "Weary Willie" releases the kink in the hose and the water gushes into the gardener's face, knocking him violently to the ground. The gardener starts after "Weary Willie," playing the hose on him as he runs. The tramp is finally captured by a policeman and marched off to the station, dripping wet. Very humorous.
- Dr. Richardson, of Dawson, riding his bicycle on his famous thousand mile trip in the Yukon.
- Mr. Bing's jealousy is aroused by the attention shown his wife by a gallant photographer, and becomes so unreasonable and destructive, that from shear necessity he is forcibly ejected from the studio. Outside the studio the porter is In a heated argument with a peddler. Mr. Binge, while raging at his ejection, finds tin door locked, seizes the porter's ladder and tries to climb through the transom. The porter and peddler come to blows, and during the ensuing "free for all" the ladder is thrown down leaving Mr. Bings in the ransom. The porter after throwing his antagonist into the street, returns to act the "Good Samaritan" and is helping Mr. Binge back to terra firma. But more excitement follows on the reappearance of the peddler. While the members of "The Ladies Art Club" are in deep study over an exceptionally attractive male model, they are driven to cover by the cyclonic entrance of Mr. Bings and the porter who are pursued by the revengeful peddler. The ladies seek the most convenient shelter. Mr. Bings seeks refuge behind the door. The muscular model with quick action seizes the peddler and hustles him out of the room while Mr. Bings deftly locks the door. The Students come out of hiding and are assured of safety by Mr. Bings who leads them to believe that it was he who disposed of the desperate peddler, whereupon, he is acclaimed and crowned a hero. Mrs. Bings, through the keyhole, sees her husband the center of admiration. Her jealousy is aroused - the door is opened - the model returns - explanations follow - and Mr. Bings is exposed as a fraud and is lead out by his wife amid the derisively shouting students.
- "Taken from the front platform of a special train run backward over this celebrated S curve. Not only are the passing trains and crowded platforms of great interest, but the view of uptown New York is an excellent one, showing acre upon acre of roofs, towers, steeples and towering apartment houses. As the 'special' slows up at 92nd street, a Harlem express dashes by, the engineer leaning out of his cab, and waving a good-bye."
- "A stirring scene; full of martial energy. No ordinary dress parade this, but a picture of soldiers men with a high purpose. They march up the platform in fours, and left wheel just in front of the camera, passing out of sight in a cloud of dust. The customary small boy is in evidence in great numbers. While the rear guard passes, the train pulls out of the station. Literally 'out of sight.'"
- "Hurrah here they come! Hot, dusty, grim and determined! Real soldiers, every inch of them! No gold lace and chalked belts and shoulder straps, but fully equipped in full marching order; blankets, guns, knapsacks and canteens. Train in background. Crowds of curious bystanders; comical looking 'dude' with a sun-umbrella strolls languidly in the foreground, and you almost hear that 'yaller dog' bark. Small boys in abundance. The column marches in fours and passes through the front of the picture. More small boys all colors. The picture is excellent in outline and full of vigorous life.
- "This picture shows the Canadian troops departing from Quebec for the war in Transvaal. The scene opens with the soldiers clad in campaign uniform, marching under the triumphal arch, cheered by thousands of spectators who are waving English flags. The troops next appear marching upon the wharf and finally embarking upon the transport Sardinia[n], which is to carry them to far away South Africa."
- "This picture shows the Canadian troops departing from Quebec for the war in Transvaal. The scene opens with the soldiers clad in campaign uniform, marching under the triumphal arch, cheered by thousands of spectators who are waving English flags. The troops next appear marching upon the wharf and finally embarking upon the transport Sardinia[n], which is to carry them to far away South Africa."
- This picture shows the famous Irish regiment marching up Fifth Avenue at 26th Street, while taking part in the Decoration Day parade. They pass platoon front, close to the camera, at a swinging gait.
- "Of the thousand and more men who left New York for the Cuban Campaign, scarcely three hundred were able to shoulder their rifles to march before the Biograph camera at Camp Wikoff. The picture shows many of the companies reduced to seven or eight men, and the whole regiment, rank and file is in a sad condition. The picture is remarkably fine in every respect."
- "Here recorded on one film is a moving picture of New York's two crack regiments. Picture starts with the 7th's band playing. Then follows the 71st men. Then comes the 7th, with its showy uniforms and equipments."
- "Imagine forty or fifty soldier boys each with a pail of water on the ground before him, sousing and spattering and scrubbing away for dear life. Soap and towels, too. Every man jack of them looks as if he were enjoying the wash immensely, and also the novelty of having his picture taken. The big fellow in the center of the picture is laughing heartily. All the figures are clearly outlined, and the whole group is true to life."
- "Taken at Tampa, Fla. Up the road from the camp comes a double file of cavalrymen, a hundred or more, each man leading another horse beside his own. The leader rides a magnificent dapple gray. They approach at a fast walk, with an occasional frisky animal prancing and pirouetting. As they pass by, the spirited action reminds one forcibly of Rosa Bonheur's celebrated 100,000 dollar painting, 'The Horse Fair.' The figures of both men and horses stand out in relief."
- Travers, a lonely old bachelor, on the eve of a holiday, when everyone is abroad on pleasure bent, goes to the club for companionship to drown old memories, but finding no congenial souls there he wanders forth to watch the people in the street. Happy lovers pass, oblivious to all save themselves. Married couples are met, joyous in their offspring's delight at the gay sights. All this but intensifies Travers's isolation, and he hastens to his bachelor apartments where he is greeted by his faithful Japanese servant. Memories still haunt him, and he decides that he will not sup alone. Directing his servant, he orders a table set for seven, with flowers and favors; then dismissing the faithful one for the night, he places before each plate a card bearing the name of a former loved one, and adds a souvenir or keepsake to remind him of the past. He dines alone, in the quiet and solitude of his chambers, and, drinks to each fair face as memory brings it to view; and as he drinks, the vision of the fair one arises before him, and, in fancy, partakes with him, until, one by one, the chairs are occupied. Each former sweetheart responds to his toast and then the lights grow dim, the shadows deepen; at the stroke of twelve the last candle flickers out; he is alone! His head sinks on his breast, and when his loyal servant arrives in the morning he finds that his beloved master is lonely no more, for his spirit has gone to join his loved ones in the shadow-land.
- "Showing the wind-up of a political discussion. Dramatis personae: A Democrat, a Republican, a Bar Maid, and a Policeman."
- A father returns to find an empty house, his loved ones fled with the man he trusted. Madness seizes him. A frantic search is made everywhere for the guilty couple, but without avail. Losing all interest in life - business and friends drift away - and the inevitable happens - the father becomes an outcast - drifts lower and lower until starvation stares him in the face, and he becomes burglar. In the meantime the guilty couple have gone the way of the transgressor. The child now a beautiful girl of eighteen, weds a man who wins her after an ardent courtship. A brief period of happiness, and she awakes to find she is a "A Bird in a gilded Cage." Fate further sports with her. A man comes into her life whom she learns to love. She agrees to an elopement. But now the strangest part of all. Her father, in concealment, overhears the plotting. He confronts the young people, and forces them to listen to him. He tells the pitiful story of how his life was wrecked, with dramatic effect, and turns the young people from their purpose. The girl tells her story, and the father finds a daughter, and the daughter a father.
- Shows a typical Bowery barbershop and the proprietor waiting for the next "victim." Two customers enter and take seats and the barber proceeds to cover them with the same apron. The operator next administers gas to each customer. He then applies a very liberal quantity of lather, with a whitewash brush, and proceeds to shave with an immense razor, which he frequently strokes on the soles of the victim's shoes. With a few vigorous strokes he removes the customer's beard and incidentally some of his hair, and after a few liberal squirts of water from an immense syringe, removes the apron and touches a spring which causes the chairs to be precipitously vacated, exhibiting the usual sign, "Next."
- Scene 1: Here comes the Bride and Groom down Pelham avenue in their touring car, stopping at the Concourse entrance, where "Deary" politely inquires the way, while "Lovey" looks sweetly on. Scene 2: Now they are whirled into Concourse Court, the main entrance to the largest Zoological Gardens in the world. Before them spreads a beautiful Italian garden. After leaving instructions with their chauffeur, they start to ascend the broad, stone steps which lead up to Baird Court. Scene 3: And here they are lost in the crowd which collects around the band stand of a Sunday afternoon, lost with the thousands of pleasure seekers that have come to wander over these 264 acres of land made beautiful by the hands of man. Scene 4: When next we see them at close range, they are standing before the largest flying bird cage in the world. Scene 5: Here the birds of the water and the birds of the air are collected from all quarters of the globe, from the great white heron to the scarlet ibis of South America, these birds are given a section of nature's own domain. Scene 6: Here is shown the California sea-lion, or bark sea-lion as it is generally called, one of the most wonderful and intellectual animals that inhabit the waters. Scene 7 shows the white polar bear, and the most showy animal of all the bear species. It is also one of the wonders of nature in its ability to live in ice cold water, often swimming in a sea of ice and defying all attacks of King Frost in the frozen north. Scene 8: While at the bear den, we have a beautiful panoramic view of our friend, Bruno, who must be a half-brother to the famous teddy bear of the children's world. Here in these wonderfully constructed dens are to be found over 23 different species of the bear, including the grizzly bear of the north and west, the everglade bear of Florida and the glacier bear of the Alps, all full of life in captivity, always playful and ready to amuse the thousands who view them; and from the glimpse we get now and then of the Bride's face, one can easily tell that she, too, is enjoying Bruno in his beautiful home. Scene 9: A short distance from the bear den may be found what is known as the "Jungle Walk," a long, shady walk through a dense forest of trees under overhanging branches. One may always trust two lovers to find a shady spot away from the maddening crowds. Scene 10: Snakes are unpleasant yet intensely interesting creatures to gaze upon; and no wonder, since their history extends back as far as the beginning and fall of man. One cannot gaze upon these reptiles without feeling both horror and intent interest. Scene 11: It is with a sigh of relief that one turns away from the serpent to that noble animal, the lion, King of the Forest. Here, again, is given a complete panoramic view of the out-door cages of lions, tigers, leopards and jaguars, among which are the finest specimens of these species of animals in captivity. Ferocious in the extreme, yet not without majestic grandeur and exquisite grace, these lords of the forest pace up and down their steel, wire-bound cages, licking their jaws in anticipation of the noonday meal which their keeper is giving them. At the extreme end of the cages Sultan, King of the Forest, is held prisoner. This royal captive is the finest and noblest animal of its kind in captivity. Scene 12: Now we have an ample view of Sultan in his royal anger and ferocious rage as he paces to and fro in the confines of his cage, emitting that deep and awful hunting growl that strikes terror and fear to the heart of the African hunter in the still watches of the night. Scene 13: Again the camera has succeeded in catching this royal monarch in his laziest mood, basking in the sunlight and drowsily yawning time away, dreaming perhaps of some far off forest glade deep in the heart of darkest Africa. Scene 14: Of all animals that take the prizes in the beauty contest for extreme ugliness, the hippopotamus stands pre-eminent in every respect both in bulk and grossness. His dainty mouth looks like a small-sized tunnel. As he opens his jaws to receive food, one has a fine view of his dental auxiliaries. He swallows a large head of cabbage with the same ease that a human being would a few grains of sugar. Scene 15: Just pause for a few moments before the outside cage of the chimpanzee. Here we catch a glimpse of pleasure on the Bride's face and amusement on that of the Groom while they view these two chimpanzees, "August" and "Baldy." Now we are presented a much closer view, and the contrast between man and monkey comes forth in bold relief. When the Bride takes "Baldy" in her arms and holds him as though he were a child, one fully realizes Darwin's theory of the missing link, which might well have been inspired by just such an example of affection and human interest as is expressed in this scene. A very humorous contrast is presented when the keeper takes "Baldy" by the hand for a walk. Not only does the little animal take the greatest pleasure in his walks with his keeper, but will sulk for a half day at a time should his keeper neglect that bit of daily attention. Scene 16: It was just as they were about to enter the bird house that the first awful separation happened in the lives of this "all too happy" pair. Intently interested in all there is to see or hear, the young Bride pauses a moment to view some animal in a nearby cage, while the Groom, unconscious of her absence from his side, passes on into the building. Suddenly the bride discovers she is all alone! Scene 17: As she hastens through the bird house in search of the missing husband a gallant who has been watching her follows. Scene 18: Meanwhile the terrified husband darts hither and thither, in quest of his dearest one. Scene 19: Rushing through the elephant house in search of her lost one, little "bridey" does not notice that "Jumbo" is fast bearing down upon her with a bale of hay in his trunk, until she is suddenly confronted by the four-footed monster. No wonder she is only too eager to find protection in the arms of our waiting gallant, who does not hesitate to improve the opportunity which has fallen his way. Scene 20: We have now before us four specimens of the finest African elephants, two of which are twins. The smaller one of the group, which appears to be a baby elephant, is no other than a dwarf elephant, and could well be called the father of the lot. Scene 21: This picture exemplifies the truth of the statement that the elephant has a wonderful intellect and can be more rapidly trained than any other animal in captivity. Scene 22: That he may be well trained to do whatsoever his keeper wills is shown by the friendly terms on which the man and beast associate with each other. Scene 23: The little scene that takes place at the telephone shows the quick perception of the elephant and his docility in the hands of a careful trainer. Scene 24: Again we catch a glimpse of the lost Bride and her gallant admirer before the cage of an exquisite specimen of the Grevy zebra, which was captured at Masilande, East Africa. Scenes 25 and 26 show large pictures of the American buffalo and give one a splendid opportunity to see what may shortly be known as an absolutely extinct animal. Scene 27 gives us a glimpse of those strange, beautiful creatures, the Nubian or three-horned giraffes. These two giraffes were brought to this country at the cost of no less than $5,500. Standing as they do nearly 15 feet in height, the strange positions they are forced to take while eating off the ground are interesting to observe. The giraffe is the most gentle member of the animal kingdom. Scene 28: Apparently oblivious of her loss the fair young Bride is enjoying the companionship of her gallant, when suddenly "hubby" appears on the scene and all said is forgotten. One fond embrace and, without so much as a "Thank you, sir," the Bride sails away on the arm of her fond husband, while the bold gallant swears that woman is false and fickle as she is fair.
- Shows a band of mischievous cowboys being chased by Indians. A number of shots are fired at the pursuing Indians by the cow punchers, and the Indians' arrows are seen landing in the water pretty close to the fleeing men.
- Views of Buffalo Bills Wild West Show.
- Artie, very much in love with Gladys, makes but little headway in his wooing, owing to his nervousness and a desire to be very gallant. Calling to escort Gladys to a ball, he rouses her wrath when he attempts an untimely embrace and steps on her skirt. "Mike the Terror" and his pal, "Barney the Bike," select the home of Gladys for action, and make preparations accordingly, including the imprisonment of the fat butler. After the ball Artie and Gladys have supper at a fashionable café, where poor Artie adds to his blunders by upsetting the soup on Gladys's ball dress. Arrived home the moonlight flooding the apartment suggests romance to Artie, and he gets busy, to the discomfort of Mike. Mike finally tires of the mushy performance and, to hasten matters, steps forth, and, under cover of his gun, forces Gladys to bestow the long-sought kiss. Artie is so delighted that he insists on Mike accepting his valuables and money, and further presents him with his fur coat and gloves. Mike and Barney make a safe get-away and hasten home to divide the spoils and enjoy the fruits of their success in love matters.