Albert E. Smith

More a cautionary moral tale than anything else, Conscience makes use of a setting that was to become a horror movie favourite: the chamber of horrors. Persuaded to elope by her lover Eric, Eleanor Donelly defies her police officer brother to go to New York, where the young couple are married. Soon deserted by Eric and desperate for food for her baby, Eleanor tries to steal a bottle of milk. Fleeing in terror from a policeman, she takes refuge in a chamber of horrors. Coincidentally, fallen among disreputable companions, Eric has meanwhile accepted a wager daring him to spend a night in the same chamber of horrors. In the morning, seeing Eleanor in the shadows as she wakes and rises, Eric dies of fright while Eleanor goes mad.

Young Irish physician Peter Blood is exiled as a slave to Barbados, where he and his friend Jeremy are purchased by Colonel Bishop at the behest of his niece Arabella. With other slaves he captures a Spanish galleon and becomes the terror of the Caribbean privateers until offered a commission in the English Navy. He defeats the French at Port Royal, and as a reward he is named governor of Jamaica and marries Arabella.

Well-meaning but accident-prone bakery employee Larry is involved in numerous slapstick mishaps on the job. After accidentally causing the bakery owner to fall into a vat of cake batter Larry finds his job in jeopardy, but he redeems himself by foiling a robbery planned by the bakery foreman.

Through sheer bluff Rodney Marvin ( Edward Everett Horton ) gets a job on a newspaper; becomes editor Matt Hayward's ( James Corrigan ) partner; and brings about a reconciliation between Hayward and his long time enemy, Mayor Gorham ( Lloyd Ingraham ).

A bumbling sawmill employee tries to win the hand of the owner's daughter while staying out of the clutches of the mill's bullying foreman.

in this domestic drama, Jimmie’s wife Jeanne falls for Proctor Maddox, a socialist and male feminist, and wants a divorce from her husband. To avoid the scandal, Jimmie stages a fake suicide.

A harried propman backstage at a theater must put up with malfunctioning wind machines, roosters that spit nitroglycerine, and a gang planning to rob the theater's payroll.

Bears and Bad Men is a 1918 silent comedy film directed by Larry Semon[1] and featuring Stan Laurel.

Businessman John Lawson is seriously injured in an accident, his wife Ruth travels from their New England village to New York to find a job that will support them both. Ruth works in a sweatshop at first, but then makes it big on Broadway.

A traveler stays the night at a rural inn, but gets no rest as he is tormented by various spectres and mysterious happenings.

A pretty and natural picture in which the principal actors are two tiny tots who are evidently not a bit afraid of the briny deep as they splash around in the waves in very evident delight and enjoyment. The water effects are splendid and this is a beautiful subject of "Child-life." We recommend this to make a hit with any audience.

There is a burglar on the rooftop of a Manhattan office building, and he is trying to break in. Two women spot him, and one of them begins beating him with a broom as they wait for help to arrive. Soon others do appear on the scene to help, but by now the burglar has decided that he is going to put up a fight in an attempt to escape.

The uncle of John Davis, killed on the mountains, leaves a will directing that Davis and his cousin, Hawke Morgan, shall be joint guardians of his adopted daughter, Ethel, and receive each a share in a valuable gold mine, the location of which is indicated on a map left, with the will, a certain proportion going to various charities. Hawke Morgan comes out West, and determines to get rid of Davis, and so acquire not only the entire fortune but also the girl who is in love with Davis. He at once sets out to accomplish the murder of Davis, and every stage of the story is packed with exciting adventure, the hero and heroine going through amazing adventures before their final happiness is secured.

A jazz-mad Nancy Burrard is a young matron easing her boredom by flirting with married men.

Notorious pirate Joaquin Santos lives by the saying, "Dead Men Tell No Tales". He conspires with the prominent Squire Rattray to take over and plunder the Lady Jermyn, a ship carrying a considerable amount of gold, and then destroy the ship and kill its crew. Rattray, who is in love with Santos' daughter Eve, agrees to pick up the pirate, his crew and their loot on his private yacht after the deed is done. However, young George Cole, a passenger on the Lady Jermyn who is also in love with Eve, survives the attack and sets out to find her.

The Midnight Cabaret is a short 1923 American comedy starring Larry Semon and featuring Oliver Hardy.

Jimmy Aubrey lets the kids in the alley shoot arrows at him. After he grows tired of this, he treats them like satchels to get them out of his way. A policeman shows up and he is terrified; later, disguised as a policeman, he encounters Oliver Hardy, who is in brutal mode here.

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In the artist's studio, he asleep in his chair. A large old fashioned clock opens and a young lady comes out and awaking the artist, requests him to paint her picture. While the artist is executing the work a clown comes from the clock, takes in the situation and begins to make love to the lady. The artist detects him and compels him to desist his love making. He continues to paint. The clown becomes interested and asks the artist to allow him to paint the picture, and begins smearing a whitewash brush over the canvas, and a most perfect image of the young lady appears. The image then steps down from the frame, joins the young lady in the studio, and the figures, each a perfect counterpart of the other begin to dance to the great astonishment of the artist. The clown waves his hand causing the figures of the two girls to merge into one. The artist then assumes his seat and awakens in shock. The film was a Vitagraph production, but later acquired and copyrighted by the Edison Company.

A cartoonist defies reality when he draws objects that become three-dimensional after he lifts them off his sketch pad.