You remember in that colossal production, “The Emperor of Etruria,” the Scythian slave girl who is brought in from the wilds to serve the pleasures of a pampered sybarite, and the scene where the fat eunuchs lay hands upon her? With what splendid fury she claws them and knocks their heads together! Her clothing is torn to shreds in the struggle, and you have glimpses of a lithe and sinewy body—the extent of the glimpses depending upon the censorship laws of the state in which you see the picture. The scene made a hit with the public, and many producers competed for Viola Tracy—pronounce it Vee-ola, please, with the accent on the first syllable. She displayed her magnificent fighting qualities next in “The Virgin Vamp,” and thereafter escaped dishonor by a hair’s breadth in many palpitating scenes. Of late she had acquired dignity, and was now regal on all the billboards of Angel City in “The Bride of Tutankhamen,” an alluring figure, with deep-set mysterious black eyes, and a smile fathomless as four thousand years of history. Well, here she was, stepping out of the billboards, and into the refectory of the Monastery; her Egyptian costume changed for a daring one of black velvet, fresh from Paris, and with black pearls to match. The footman drew out her chair, and she rested one hand upon it, but did not take her seat; her hostess said, “Miss Tracy, Mr. Ross”—and still she paused, smiling at Bunny, and he smiling at her. It was a striking pose, and Tommy Paley, her director, who had taught her the stunt, and watched it now from the other end of the table, suddenly called, “Camera!” Everybody laughed, and “Vee” most gaily of all—revealing two rows of white pearls, more regular than the black ones, and worth many times as much to a movie star. Annabelle Ames got along in the world without ever saying anything unkind about anybody, but that was not “Vee” Tracy’s style; she had a fighting tongue, as well as fighting fists, and her conversation gave Bunny the shock of his innocent young life. They happened first to be discussing a lady vamp, recently imported from abroad with much clashing of advertising cymbals. “She dresses in very good taste,” said Annabelle, mildly. “Oh, perfect!” said Vee. “Absolutely perfect! She selected her dog to match her face!” And then presently they were talking about that million dollar production, “The Old Oaken Bucket,” which was just then waking home memories and wringing tears from the eyes of millions of hardened sinners. Dolly Deane, who played the innocent country maiden seduced by a travelling salesman, was so charmingly simple, said Annabelle. “Oh, yes!” replied Vee. “For the chance to be that simple, she slept with her producer, and two angels, and the director and his assistant; and all five of them told her how an innocent virgin says her prayers!”