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Dir: Edward Dillon

Anita Gray is the spoiled daughter of a millionaire. Returning home from a party, her car breaks down and she is picked up by a stranger, who sells her his car for a diamond bracelet. The car has been stolen and the police arrest her, but she escapes and takes refuge on a freighter bound for China. She has no money and has to work her way there. Her father learns of her destination and hires Hamlin to bring her safely home. Meanwhile, she has taken a job as a croupier at the dice table in a casino. Datto recognizes her and kidnaps her for ransom. But Hamlin is looking for her.

Dir: Edward Dillon

A visual fragment from the archive: The thematic resonance of The Antics of Ann perfectly mirrors the editorial trajectory of our deep dive.

Ann Wharton, a rambunctious young student at the prestigious Bredwell Academy, is in trouble after a spoonful of cereal she flung at a classmate hits Mrs. Bredwell in the face. As she is being reprimanded in Mrs. Bredwell's office, a misunderstanding results in a member of the football team arriving at the office with Ann's clothes--she had left them behind when she changed into a football uniform so she could play football with the team--and Mrs. Bredwell writes to Ann's father notifying him that Ann is being expelled. She intercepts the letter, but her troubles are far from over.

Dir: Edward Dillon

Dodo Warren, an ingenuous young bride, decides to take her three rejected suitors - Bobo Brown, Tommy Belden, and Dr. Elliott - along with her and her husband Herb on their honeymoon. Herb's protests fall on deaf ears, and soon all five are comfortably ensconced in a Florida resort. Herb finds Dodo in what appears to be a compromising position with Dr. Elliott, but her heartfelt explanation convinces him of her innocence. A year later, Dodo tries to rescue Angie Martin, who has quarreled with her fiancé Bobo and therefore plans to attend a party with George Haywood. After calling Dr. Elliott, Dodo asks Bobo to accompany her to the party, which Angie fails to attend, and later that evening, the well-meaning young wife is locked into Haywood's apartment. Following a new round of explanations, Dodo promises never to look at another man again.

Dir: Edward Dillon

A visual fragment from the archive: The thematic resonance of Our Little Wife perfectly mirrors the editorial trajectory of our deep dive.

While vacationing with his father Edward at a Palm Beach hotel, George Welston becomes smitten with Eve Pendleton, the daughter of Edward's business rival Judson. After George prevents Pendleton from getting an option on a deal by racing in his car with his father's $100,000 deposit, Pendleton favors Eve's other suitor, Arthur Trask, whose gentlemanly manner conceals his intent to rob Eve and her wealthy friends. When George sees Trask climb into Eve's window, he follows and is apprehended by a detective, who reluctantly releases George in response to Eve's pleas. Later, Trask binds, gags and robs society belle Marian Trevor. After Trask's dropped cigarette starts a fire, George rescues Marian, who upon reviving, accuses him of theft, arson and abduction. George's father puts up $100,000 needed for an important deal for George's bail, then George chases Trask, who has stolen the $600,000 which Pendleton put up for the same deal. After a fight, George apprehends Trask and races to court before the bail money is forfeited. Pendleton and Welston become partners, while George and Eve marry.

Dir: Edward Dillon

Agatha Kent inherits a southern mansion from her maiden aunt, Agatha. When she advertises for boarders, Burton Forbes, who is blind and alone in the world, recalls his visits to Aunt Agatha as a boy and rents a room. Assuming the roles of her aunt and an Irish maid, young Agatha looks after her guest, who is distressed over a broken engagement. His gratitude for her kindness ripens into love, which she reciprocates, unaware that his sight has returned. A lucky turn on the stock market results in the restoration of Burton's fortune, and when his former fiancée asks to resume their engagement, he rejects her for Agatha.

Dir: Edward Dillon

A visual fragment from the archive: The thematic resonance of Help! Help! Police! perfectly mirrors the editorial trajectory of our deep dive.

Dr. Arbutus Budd is a New York physician specializing in "beauty". His business is successful but he is still plagued by money problems. One day he gets an idea--he obtains the coat-of-arms of a long-forgotten Italian noble family, the Bolognias, and uses it as his logo on his line of beauty products. As luck would have it, the crest is recognized in Italy, and before long an emissary is sent to the US to bring back "The Baron". Budd is overjoyed, as he believes that he is about to inherit the Bolognia family fortune. However, it turns out that all he inherits is something he wasn't counting on--a blood feud with a local bandit.

Dir: Edward Dillon

Traveling on a Pullman train are two strangers who, except for a difference in hair color, bear a striking resemblance to each other. Horace Barney, the heir to a fortune, is on his way to a mental sanitarium, accompanied by his unscrupulous guardian Maurice Claypool and Claypool's accomplices, Dr. Wallace and Thomas Farrel. Jack Trevor, an automobile salesman, is substituted for Barney when the train crashes and Barney is killed. When Trevor awakens from his unconscious state, he finds himself in a mansion and addressed as Barney. He falls in love with Helen Townsend, Barney's cousin who is next in line for the inheritance. Trevor realizes the fraud and sets out to save the estate for Helen. Claypool, who wants to marry Helen, tries to declare Trevor insane and commit him to an institution. A series of fights, chases, and misunderstandings ensue, but Trevor finally forces a confession from Claypool and wins both Helen and the fortune.

Dir: Edward Dillon

A visual fragment from the archive: The thematic resonance of A Heart to Let perfectly mirrors the editorial trajectory of our deep dive.

Through the death of a relative, New York sweatshop worker Lizzie Holt is transformed into Miss Elizabeth Holt, heiress. Elizabeth soon tires, however, of the shallowness of society life and occupies herself by working in a settlement house on the lower East Side. There she falls in love with John Russell, an idealist who despises the rich, and to escape his scorn, she identifies herself as Miss Holt's secretary. John's efforts to close up ward boss Ted Phelan's gambling house next door prove successful when the place is raided, but when several of Elizabeth's acquaintances on a "slumming party" seek her aid in escaping arrest, John discovers her true identity. He is about to change his mind about marrying her, when Elizabeth convinces him that her love and her character are true, and the two are united.

Dir: Edward Dillon

New York police sergeant Jim Dark is determined that his daughter, Jenny, will be shielded from any knowledge of evil. Consequently, she lives in a dream world, imagining herself to be a descendant of Saint Jeanne d'Arc, but has a loyal friend in reporter Pep Mullins. Her school friend, Adele, also raised by overly protective parents, is ejected from her home when she becomes inebriated after spending an evening with a disreputable young man. Later, Jenny falls into the hands of a crooked Frenchman, posing as a wounded veteran, who absconds with $250,000 intended for war orphans. Jim tracks the criminal to a rendezvous with his daughter and rescues her with the aid of Pep, who makes Jenny his wife.

Dir: Edward Dillon

"The Frisky Mrs. Johnson" is a 1920 silent film comedy starring Billie Burke. It was produced by Famous Players-Lasky and distributed through Paramount Pictures. It is based on a 1903 Broadway stage play by Clyde Fitch. On the stage Burke's part was played by Amelia Bingham. Burke's next-to-last silent film, it is a lost film.