Arthur Bauer

In the home of the stalwart young son and his mother, the girl rescued from the sea grows strong again after her fearful exposure. Her attractiveness, so different from that of the fisher maidens, has a telling effect on the young man. He asks her, at length, to become his bride, and she accepts. But a few days before the wedding the affianced bride disappears, sailing away with a strange man from the city, who has suddenly appeared. Thinking that his sweetheart had deserted him for another, the fisherman is heartbroken for a time, but gradually the keen edge of his sorrow wears away, and he succumbs to the attractions of another girl, one who had recently come to the village with her father, and who had lived together and alone at the end of the town.

The production vindicated the new feature-length movie format by restoring several characters, plot complications, and atmosphere that had been truncated in Thanhouser’s 1910 version of less than one-sixth the length.

With younger brothers and sisters to support, Peggy takes on the task-heavy job as maid for Mrs. Stuyvesant. Peggy also manages to help the woman's children, a lovelorn daughter and a son who is the unwilling tool of spies.

The lead Florence La Badie plays dual roles. Clever editing is used for the scene where her two characters meet. La Badie, however, does appear twice within a scene via superimposition, but that's in a flashback-within-a-mirror scene. There are a couple such scenes where La Badie's reflection in the mirror reflects her reflective melancholy mood.

In this adventure the diplomatic free-lance and his brilliant aid in war, Nan Tremain, are again pitted against their relentless enemy, Pfaff.

A lonely little girl is befriended by Shep, a neighbor's collie. The girl meets an untimely death, leaving Shep behind.