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forcibly against his nose. He seems to cry out; and is observed to make a dance step or two, vigorously. The newcomer is a ruddy-faced, active, keen-looking man, apparently of Irish ancestry. Next he is observed to laugh immoderately; he kicks over the stove; he claps the artist (who is vainly striving to grasp his hand) vehemently upon the back. Then he goes through a pantomime which to the sufficiently intelligent spectator reveals that he has acquired large sums of money by trading pot-metal hatchets and razors to the Indians of the Cordillera Mountains for gold dust. He draws a roll of money as large as a small loaf of bread from his pocket, and waves it above his head, while at the same time he makes pantomime of drinking from a glass. The artist hurriedly secures his hat, and the two leave the studio together.
The Writing on the Sands SCENE — The Beach at Nice. A woman, beautiful, still young, exquisitely clothed, complacent, poised, reclines near the water, idly scrawling letters in the sand with the staff of her silken parasol. The beauty of her face is audacious; her languid pose is one that you feel to be impermanent -- you wait, expectant, for her to spring or glide or crawl, like a panther that has unaccountably become stock-still. She idly scrawls in the sand; and the word that she always writes is “ Isabel.” A man sits a few yards away. You can see that they are companions, even if no longer comrades. His face is dark and smooth, and almost inscrutable — but not quite. The two speak little together. The man also scratches on the sand with his 'cane. And tne word that he writes is “Anchuria.” And then he looks out where the Mediterranean and the sky intermingle, with death in his gaze.
The Wilderness and Thou
SCENE The Borders of a Gentleman's Estate in a Tropical Land. An old Indian, with a mahoganycoloured face, is trimming the grass on a grave by a mangrove swamp. Presently he rises to his feet and walks slowly toward a grove that is shaded by the gathering, brief twilight. In the edge of the grove stand a man who is stalwart, with a kind and courteous air, and a woman of a serene and clear-cut loveli
When the old Indian comes up to them the man drops money in his hand. The grave-tender, with the stolid pride of his race, takes it as his due, and goes his
way. The two in the edge of the grove
tumn back along the dim pathway, and walk close, close — for, after all, what is the world at its best but a little round field of the moving pictures with two walking together in it?