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THESE DIRTY LIES
A DARLING HILL DUET: BOOK ONE

L A COTTON
 Published by Delesty Books

THESE DIRTY LIES

Copyright © L. A. Cotton 2022
All rights reserved.

This book is a work of fiction. Names, characters, places, and events are the
product of the author’s imagination or used in a fictitious manner. Any
resemblance to actual persons or events is purely coincidental.

No part of this book may be reproduced or used in any manner without the
written permission of the publisher, except by a reviewer who may quote brief
passages for review purposes only.

Edited by Andrea M. Long

Proofread by Sisters Get Lit.erary Author Services
Cover Designed by The Pretty Little Design Co.
 CONTENTS

1. Harleigh
2. Nix
3. Harleigh
4. Nix
5. Harleigh
6. Nix
7. The Past
8. Harleigh
9. Nix
10. Harleigh
11. Nix
12. Harleigh
13. Nix
14. Harleigh
15. Nix
16. The Past
17. Harleigh
18. Nix
19. Harleigh
20. Nix
21. Harleigh
22. Nix
23. The Past
24. Harleigh
25. Nix
26. Harleigh
27. Nix
28. The Past
29. Harleigh
30. Nix
31. The Past
32. Harleigh
33. Nix
34. Harleigh
35. Nix
36. Harleigh
37. Harleigh

Playlist
Author’s Note
About the Author
Whatever our souls are made of, his and mine are the same
EMILY BRONTE
Harleigh

“HEY, I thought I’d find you up here.” Celeste joined me on the roof
terrace, choosing the egg-shaped chair. “How are you feeling?”
“Will you believe me if I say fine?” My brow quirked up, and she
chuckled.
“Nope, but I won’t tell if you won’t.”
“God, I love it up here.” A sigh escaped me.
It was the only place where I could breathe. The highest point in
the house with an incredible view of Old Darling Hill. The lights of
the town twinkled in the distance, like the stars winking above us.
“I think you’d live up here if you could.”
She wasn’t wrong.
The house on the edge of Old Darling Hill was practically palatial
with its gated access, long winding driveway, and perfectly tended
lawns. It reminded me of a small-scale White House, fronted with
pristine alabaster columns and rows and rows of symmetrical
windows. It was grand and beautiful and the epitome of the
American dream.
But it wasn’t my dream.
Instead, it was a nightmare I’d found myself trapped in. A
warped reality where I was supposed to forget about my Darling
Row upbringing.
I shut down those thoughts. It never did me any good going
back to that time of my life. Those memories.
I wasn’t that girl anymore.
My life was with my father and his wife Sabrina now and their
children: my half-sister Celeste and her brother Max. Michael was my
guardian, this mansion my prison.
“Are you ready for school on Monday?”
“I don’t think I’ll ever be ready,” I admitted.
Celeste made it easy. Too easy sometimes. I liked her a lot. She
was kind and funny and she didn’t take herself too seriously, which
was a small miracle given that she was half Michael Rowe and half
Sabrina Delacorte. But their icy cold genes had obviously skipped
their firstborn, passing Celeste and planting themselves firmly in
Max. He was barely sixteen and one of the meanest kids I’d ever
met.
And I’d gone to a school full of mean kids before being ripped
from my life and implanted here.
“DA isn’t so bad, you’ll see.”
DA: Darling Academy, my new school starting Monday.
Celeste gave me a reassuring smile. “At least I can show you
around. And I’m sure Nate will be happy to—”
“I’d rather not talk about Nate Miller.”
He’d been one of the first people to approach me at the mixer
last month with his smug smirk and cocky attitude. It was my first
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‘appearance’ at one of my father’s events. What a disaster that had
been.
“You mean you aren’t fooled by his dashing charm and riveting
conversation?” She rolled her eyes playfully. “The guy is a
douchebag.”
“Kind of? He tried to feel me up the first time we met.”
“Is that why you stabbed him with the fork?”
“I didn’t stab him… it slipped.”
“Slipped, right.” The corner of her mouth twitched. “You’re so
bad, Harleigh.”
I managed a small smile in return. It wasn’t like I went out of my
way to be bad. But these people were… so not my people. Celeste
was okay. She wasn’t driven by how much money daddy had in the
bank or who was wearing the latest designer label. She was normal.
Well, as normal as you could be when your parents were filthy rich.
“I wish you were a senior too.” I let out a heavy sigh, staring out
at the view. The Rowe estate had a natural perimeter marked by the
tree line. I’d spent weeks dreaming of escaping over the fence and
making a run for it. Of course, my father’s housekeeper and security
guy had been briefed to ‘keep an eye out for me.’
Everyone knew I was a flight risk. That one way or another, I was
determined to leave this place. But that was before… Now it was
different.
I was different.
At least, that’s what everyone thought. That's what I let everyone
believe.
They thought I’d been fixed. That the months and months of pills
and therapy and time had cured me.
“We might have a class or two together. I’m taking some AP
classes.”
 Celeste was smart, like MENSA smart. But she didn’t flaunt it. In
fact, she tried everything she could not to draw attention to the fact
she was basically a teenage genius.
“I can’t believe we have to wear a uniform,” I said.
“It isn’t so bad. At least you won’t have the headache of deciding
what to wear every morning.”
“I guess.” I got up and went to the glass balustrade, running my
fingers along the polished chrome handrail. The balmy air kissed my
skin as I tilted my face to the night sky.
For as long as I could remember I’d always loved the nighttime.
There was something beautiful about when the world went to sleep,
and darkness reigned. Even now, I felt more grounded once the sun
had set than I did at any other time of the day.
Sabrina called me a night owl, but it was more than that—the
strange affinity I had with the dark.
“It’s late. I should probably turn in before Mom comes looking for
me. You’ll be okay?”
“I’m fine. Go. I’d hate for Sabrina to catch you up here again.”
“Ignore her. We’re sisters.” Celeste shrugged. “Nothing she does
or says is going to change that. I want you here, Harleigh.”
“Thanks.” My smile didn’t reach my eyes. It never did these days.
“See you tomorrow. Good night.”
“Night.”
Celeste went inside, leaving me alone. Sometimes, I didn’t know
what I would do without her. She was the only thing that made this
—being here in this strange place—bearable. God only knows, it
wasn’t being reunited with my father. If you could even call it a
reunion. I’d barely seen the man since returning from Albany Hills a
month ago.
 I exhaled a long breath, gripping the handrail tighter. Sometimes,
I sat up here and stared out into the distance, trying to see past the
trees and the town, all the way past the reservoir right to Darling
Row, the trailer park where I’d grown up.
If this house was the epitome of the American dream, The Row
was the place dreams went to die. But it had been more to me than
this place ever would be.
It had been home.
And I knew why. It always came back to him.
With Phoenix by my side, it hadn’t felt that bad at all.
Phoenix Wilder.
My best friend. The boy who had owned a piece of my heart
since I was old enough to know what giving your heart to a boy
meant.
There was a time I’d thought he would be mine. That we’d
survive The Row, life, together. But that was the funny thing about
dreams… they either came true, or in my case, they went up in
flames.
Phoenix Wilder had been everything to me.
Until he wasn’t.
Until he’d left me when I’d needed him most.
And now he was like everything else in my life that had existed
before my father brought me here.
Gone.

“Harleigh,” Sabrina’s usual harsh greeting made me bristle, but I

swallowed the urge to bite back at her as I joined her in the kitchen.
 I’d tried it once, in the early days of being here, and she’d almost
cracked enamel, gritting her teeth at me like a caged animal.
If there was one thing Sabrina Delacorte-Rowe did not tolerate, it
was a lack of respect.
If you asked me, she needed to remove the giant stick from up
her ass. But when you had more money than sense, it gave you
license to treat people like objects apparently. Although I was pretty
sure she treated most of her expensive vases and favorite sculptures
far more delicately than she did her own children.
“Good morning,” I said flatly.
“Were you out on the roof terrace again last night?”
“I didn’t know it was a problem with me going up there.”
“It isn’t. But you really should tidy up after yourself.”
“I didn’t—”
“Harleigh.” She let out an indignant sigh, scowling at me. “You
need to try to fit in here. I know things haven’t been… easy, but you
are a part of this family now and I expect you to cooperate.”
Cooperate.
I detested that word.
A word the staff at Albany Hills loved to band around.
We need you to cooperate, Harleigh.
Do you feel like cooperating today, Miss Maguire?
You know, Harleigh, this would go an awful lot easier if you just
cooperated.
I shook off those memories: the voices, the intrusive dark
thoughts, and centered myself with a therapeutic breath. Inhale
slow and deep through my nose, hold, and exhale slowly through my
mouth.
In through the nose, out through the mouth.
In through the nose, out through the—
 “Harleigh?” Sabrina clicked her fingers and I blinked.
“S-sorry, I’m a little tired.” I yawned for effect.
“So… will you?” She glowered at me.
“Will I what?”
“Cooperate. Will you try to fit in here and cooperate, Harleigh?
Really,” she muttered, “it’s like talking to a brick wall.”
Brick wall. Nice.
Although she had a point. But I couldn’t help it. Sabrina wasn’t
interested in my diagnosis. In her eyes, it was a cry for attention.
I could see myself, staring at her, gawking. Wondering what
made her so… so cold. Was it something that happened in her past?
Were her parents as absent as mine had been? Did she grow up
desperate for attention? Craving affection? Did she—
“Harleigh.” She slammed her hand down on the counter, making
the fruit in the crystal bowl clatter.
Flinching, I forced out, “Cooperate, right. Got it.” I ran a hand
through my lifeless brown hair.
Her lips pursed, but Max’s arrival saved me from yet another one
of his mom’s tirades. “Mom,” he said, turning his attention to me.
“Weirdo.”
He made a beeline for the refrigerator, and I flipped him off
behind Sabrina’s back.
“Maximilian, I hope you’re going to refrain from using the pool as
your own personal hangout today.”
“I had three friends over, Mom. Three. You need to relax a little.”
“Yes, well.” She cleared her throat as if the idea was too
ridiculous to comprehend. “You left quite the mess. Mrs. Beaker was
out there for hours cleaning up after you.”
“I’m sixteen, Mom. A kid, remember. It’s what we do.” He shot
me a knowing smirk, and I scowled back.
 ‘Weirdo,’ Max mouthed.
‘Douchebag,’ I countered.
Sabrina’s head whipped around to me, her perfectly made up
face barely cracking. “Did you say something, Harleigh?”
“Who me? Nope.” I grabbed a banana from the fruit bowl. “I’ll
pass on breakfast. If anyone needs me, I’ll be on the roof.”
“Do us all a favor and jump,” Max called after me.
“Bite me.” I flipped him off over my shoulder, only part hoping
Sabrina wasn’t watching.
Her silence suggested she wasn’t.
By the time I reached the roof terrace, exhaustion had settled
heavy in my bones. Verbal sparring with Sabrina and Max usually did
that to me. But no one would bother me up here.
I sat in the swinging egg chair and inhaled a deep, calming
breath. It was one of the first things I’d learned in therapy. To
breathe. To ground myself in the moment. To feel the steady beat of
my heart as I inhaled and exhaled. Because if my heart was still
beating, if I was still breathing, I was still here. Alive.
And fighting.
The fingers of my left hand ran over the wrist of my right.
Circular soothing motions, feeling the jagged scar there. The
permanent reminder. My ‘battle scar’ as Celeste liked to call it. But it
didn’t feel like a trophy. Not to me.
A dark cloud swarmed into my head, blotting out the slither of
light. Breathe, I silently demanded. Breathe, Harleigh. I sucked in a
sharp breath, too fast, too greedy, and almost choked on the air
caught in my throat.
Dropping my head back against the cushion lining the rattan egg,
I closed my eyes. This didn’t feel much like living. I hated it here,
hated it with every fiber of my being. Celeste and this roof terrace
were the only good things about living in this house. If it wasn’t for
her, I wouldn’t be here.
I wouldn’t be trying to keep a promise I should never have made.
Nix

“HEY BABY.” Cherri ran her chipped pink nails up my chest and
fisted my t-shirt. “I missed you last night.” She pouted, flashing me
puppy dog eyes. But they barely touched the ice around my heart.
Cherri was a means to an end. An itch I liked to scratch
sometimes. Nothing more. But from the longing in her eyes, it was
becoming increasingly fucking obvious she hadn’t got the memo.
“Yo, Cherri,” my best friend Zane called. Cherri glanced over her
shoulder at him, arching a thin brow. “How about letting my boy
breathe, yeah?”
“How about you go fuck yourself, Zane?”
“Ouch, she has claws.”
“She bites too.” Cherri snapped her teeth together, and I
smothered a laugh. She was something else.
But Zane had a point.
She was growing clingy. Trying to put her claim on me. But I
wasn’t looking to go steady. With her or anyone else.
 Girls were a distraction. A fucking headache I didn’t want or
need.
“Back up, Cher,” I said, nudging her off me. “I’ve got shit to do.”
“Come on, Nix, don’t be like that. I came tonight for you.” There
was that pout again.
Jesus, she sure knew how to lay it on thick.
“Go find another dick to bounce on tonight, yeah?”
Anger flared in her overdone smoky eyes. I never understood
why girls felt the need to smear that shit all over their faces so
much.
“You bastard,” she fumed. “I thought we were—”
“Run along, Cher.” Zane could barely contain his laughter.
Motherfucker was colder than me.
She stormed off, shouldering the other girls circling us out of her
way.
“No pussy is worth all that aggro,” Zane said, draining his beer.
He threw it in the trash can and grabbed another from the cooler.
“I thought she knew the deal.”
He gave me a pointed look. “They all say that, Nix. Until they
catch feelings and think they can tame you into more, or even
worse, trap you.”
“Where’s Kye?” I asked, changing the subject.
“Some drama with Chloe.”
“Again?”
Kye Carter was the other third to our trio, and Chloe was his
sister. He sure had his hands full with her. The two of them fought
like cat and dog. But she was his family. His blood. And sometimes,
when you grew up in a place like The Row, it was all you had.
Not that I knew a damn thing about that. My family was Zane
and Kye. My brothers not by blood but choice. We’d had each other’s
back since we were in diapers. They were my guys, my ride or die.
They were the only two people in the world I could depend on.
“You’ve got that look again,” he said, kicking my boot.
I flipped him off, running my eyes over the party. Saturday night
down at the reservoir was always the same: full of kids from The
Row looking to cut loose and forget their shitty existences. Drugs,
alcohol, sex… it was a fucking free-for-all down here, in a place long
forgotten by the rest of Darling Hill.
“Yo, assholes.”
The sound of Kye’s voice loosened something inside of me.
“Everything good with Clo?” I asked.
“As good as it can be. She drives me in-fucking-sane. I wouldn’t
be surprised if she turns up later, drunk off her ass. What’d I miss?”
“Cherri tried to lock Nix down for the night.”
“She’s not someone you want to mess with, Wilder.” Kye lifted a
brow. “That girl is a different breed.”
“Relax. I can handle the likes of Cherri.”
“If you say so, man.” He chuckled, grabbing a beer. “So, school
Monday. You ready?”
“Ready as I’ll ever be.”
“Seniors.” Kye whistled between his teeth as he uncapped his
beer. “Part of me didn’t think we’d ever make it here.”
“Yeah.” I stared off into the distance.
The final year of high school. When you attended a school like
Darling Hill High, that was an achievement in itself. By senior year,
half the class was usually knocked up, hooked on meth, or too
hungover to show up for class.
“Did you call Coach back?”
“Nah. Do I look like the type of guy who goes to college on a full
ride?”
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reels.
Credits: Written and directed by Alfred T. Goulding.
© Century Film Corp.; 9May22; LP17866.
THREE WHO LOVED. 1931. 7 reels, sd.
Credits: Associate producer, Bertram Millhauser; director, George
Archainbaud; story, Martin Flavin; adaptation and dialogue,
Beulah Marie Dix.
© RKO Radio Pictures, Inc.; 4Jul31; LP2341.
THREE WHO PAID. 1923. 5 reels.
Credits: Director, Colin Campbell; story, George Owen Baxter;
scenario, Joseph Franklin Poland.
© William Fox (Fox Film Corp., author); 7Jan23; LP19155.
THREE WISE CLUCKS. (Rainbow Comedies) 1931. 2 reels, sd.,
b&w.
Credits: Producer, Fred Lalley; director, Wallace Fox; story, L. V.
Jefferson; film editor, Charles Craft; music director, Francis
 Gromon.
© RKO Pathe Distributing Corp.; 12Apr31; LP2164.
THREE WISE CROOKS. Released by F. B. O. 1925. 6 reels.
Credits: Director, Harmon Weight; story, John Brownell, Fred
Kennedy Myton.
© R-C Pictures Corp.; 6Sep25; LP21892.
THREE WISE FOOLS. 1923. 7 reels. From the play by Austin
Strong and Winchell Smith.
Credits: Adaptation and direction, King Vidor.
© Goldwyn Pictures Corp.; 5Jul23; LP19173.
THREE WISE GIRLS. 1931. 7 reels, sd. Adapted from the story
"Blonde Baby" by Wilson Collison.
Credits: Director, William Beaudine; adaptation, Agnes Christine
Johnston; dialogue, Robert Riskin; film editor, Jack Dennis.
© Columbia Pictures Corp.; 21Dec31; LP2715.
THREE WISE GOOFS. 1925. 2 reels.
© Standard Cinema Corp.; 4Oct25; LP21896.
THE THREE WISE GUYS. 1936. 8 reels, sd., b&w. From the story
by Damon Runyon.
Credits: Producer, Harry Rapf; director, George B. Seitz;
screenplay, Elmer Harris; film editor, Frank E. Hull; music score,
William Axt.
© Metro-Goldwyn-Mayer Corp.; 13May36; LP6366.
THE THREE WISE MEN. © 1913.
© Selig Polyscope Co. (Anthony McGuire, author); title, descr. &
35 prints, 31Jan13; LU326.
THE THREE WISE MEN. 1916. 3 reels.
Credits: Director, Colin Campbell.
 © Selig Polyscope Co. (Anthony McGuire, author); 1Apr16;
LP7999.
THE THREE WISHES. Victor. 1916. 1 reel.
Credits: Samuel Greiner; producer, Lucius Henderson.
© Universal Film Mfg. Co., Inc.; 10May16; LP8262.
THREE WOMEN. 1924. 8 reels.
Credits: Producer and director, Ernst Lubitsch.
© Warner Bros. Pictures, Inc.; 9Aug24; LP20479.
THREE WOMEN OF FRANCE. Rex. 1917. 2 reels.
Credits: Director, Ruth Ann Baldwin; story and scenario, Bess
Meredyth.
© Universal Film Mfg. Co., Inc.; 28Jun17; LP11020.
THREE WORD BRAND. 1921. 7 reels.
Credits: Screenplay and direction, Lambert Hillyer; story, Will
Reynolds.
© Wm. S. Hart Co.; 16Oct21; LP17783.
THREE'S A CROWD. Harry Langdon Corp. 1927. 6 reels.
Credits: Director, Harry Langdon; story, Arthur Ripley;
adaptation, James Langdon, Robert Eddy.
© First National Pictures, Inc.; 17Aug27; LP24303.
THREE'S A CROWD. 1933. 1 reel, sd.
Credits: Drawn by Rollin Hamilton, Larry Martin.
© The Vitaphone Corp.; 17Jan33; MP3756.
THRIFT CANVASS. 1931. Filmstrip.
© The Northwestern Mutual Life Insurance Co. (Nelson D.
Phelps and Russell P. Thierbach, authors); 2Dec31; MP3081.
THRIFT SUGGESTIONS. © 1917.
 © Annie Nathan Meyer; title, descr. & 18 prints, 16Aug17;
MU1007.
THRIFTOGRAMS FOR JUNE. 1920. © 1920.
© Minnie A. Buzbee; title, descr. & 92 prints, 28Jun20; MU1713.
THE THRIFTY JANITOR. 1913. 1 reel.
Credits: Milton Nobles.
© Thomas A. Edison, Inc.; 15Nov13; LP1596.
THE THRILL CHASER. 1923. 6 reels.
Credits: Director, Edward Sedgwick; story, Edward Sedgwick,
Raymond Schrock.
© Universal Pictures Corp.; 29Oct23; LP19549.
THRILL FLASHES. 1934. 1 reel.
© Columbia Pictures Corp.; 14Dec34; MP5174.
A THRILL FOR THELMA. (Crime Does Not Pay Series, no. 4) 1936.
2 reels, sd., b&w.
Credits: Director, Edward Cahn; story, Marty Brooks; screenplay,
Richard Goldstone.
© Metro-Goldwyn-Mayer Corp.; 6Jan36; LP6044.
THE THRILL HUNTER. 1926. 6 reels.
Credits: Director, Eugene DeRue; story, Douglas Bronston;
adaptation, Janet Crothers.
© Columbia Pictures Corp.; 19Feb26; LP22414.
THE THRILL HUNTER. 1929. 2 reels.
Credits: Director, Walter Fabian; story and continuity, Basil
Dickey.
© Universal Pictures Corp.; 20May29; LP403.
THE THRILL HUNTER. 1933. 6 reels.
 Credits: Director, George B. Seitz; screenplay, Harry O. Hoyt.
© Columbia Pictures Corp.; 18Sep33; LP4123.
THE THRILL OF A LIFETIME. Presented by Goodrich. 1938. 1 reel,
sd.
© Alexander Film Co. (Elmer Olson, author); 18May38; MP8466.
THRILL OF A LIFETIME. Presented by Adolph Zukor. 1938. 8 reels,
sd.
Credits: Producer, Fanchon; director, George Archainbaud; story,
Seena Owen, Grant Garrett; screenplay, Seena Owen, Grant
Garrett, Paul Gerard Smith; music director, Boris Morros.
© Paramount Pictures, Inc.; 21Jan38; LP7758.
THE THRILL OF YOUTH. 1932. 7 reels.
Credits: Director, Richard Thorpe; story and dialogue, Edward T.
Lowe.
© Invincible Pictures Corp.; 13Oct32; LP3332.
THRILLING MOMENTS. (News World of Sports) 1938. 903 ft., sd.
Credits: Narrator, Jack Kofoed; described by Ford Bond.
© Columbia Pictures Corp. of Calif., Ltd.; 10Jun38; MP8513.
A THRILLING RESCUE BY UNCLE MUN. 1912. 1,000 ft.
© Thomas A. Edison, Inc. (Fred E. Nankivel, author); 1Nov12;
LP92.
A THRILLING ROMANCE. Century. 1926. 2 reels.
Credits: Director, Jess Robbins; story, Page Wright.
© Universal Pictures Corp.; 30Jan26; LP22366.
THRILLS AND CHILLS. SEE Pudgy in Thrills and Chills.
THRILLS OF THE SEA. (Our World Today) 1928. 1 reel.
© Kinograms Pub. Corp.; 27Dec28; MP5691.
THRILLS WITH DAREDEVILS. 1936. 869 ft., sd.
Credits: Narrative by Jack Kofoed; described by Ford Bond.
© Columbia Pictures Corp.; 19Mar36; MP6285.
THRO' LIFE'S WINDOW. 1914. 1 reel.
Credits: Directors, Maurice Costello, Robert Gaillard.
© The Vitagraph Co. of America (William A. Tremayne, author);
24Jul14; LP3081.
THROBS AND THRILLS. 1919. 2 reels.
Credits: Director, Gilbert Pratt; story, Montgomery, Rock.
© Vitagraph Co. of America; 31Dec19; LP14597.
A THRONE AT STAKE. © 1913.
© Fidelity Film Co. (Aquilla, author); title, descr. & 24 prints,
28Aug13; LU1157.
THE THRONE OF THE GODS. 1933. 6 reels, sd.
Credits: Editor, Nathan Cy Braunstein; narrator, Lowell Thomas.
© Imperial Distributing Corp. (Lowell Thomas, author); 10Jan33;
MP4280.
THROTTLE PUSHERS. (A Sports Champion Picture) 1933. 819 ft.
Credits: Director, Jules White; explanatory remarks by Pete
Smith.
© Metro-Goldwyn-Mayer Corp.; 25Apr33; MP3994.
THROUGH A GLASS WINDOW. 1922. 5 reels.
Credits: Director, Maurice Campbell; story and adaptation, Olga
Printzlau.
© Realart Pictures Corp.; 10Apr22; LP17750.
THROUGH ANOTHER MAN'S EYES. © 1913.
Credits: Producer, Hardee Kirkland.
 © Selig Polyscope Co. (Arthur Leeds, author); title, descr. & 35
prints, 24Jul13; LU979.
THROUGH BABY'S VOICE. Laemmle. 1916. 2 reels.
Credits: Producer, George Cochrane; scenario, Calder Johnstone.
© Universal Film Mfg. Co., Inc.; 6Oct16; LP9259.
THROUGH CANADA FROM COAST TO COAST. 1917. 1 reel.
© Essanay Film Mfg. Co.; 24Dec17; MP1110.
THROUGH DANTE'S FLAMES. © 1914.
© Ramo Films, Inc. (Will S. Davis, author); title, descr. & 191
prints, 1May14; LU2615.
THROUGH DUMB LUCK. © 1912.
Credits: Screenplay, Dell Henderson.
© Biograph Co. (Dell Henderson, author); title, descr. & 136
prints, 11Oct12; LU27.
THROUGH EUROPE WITH J. D. C. General Business Films, Inc. ©
1938. Filmstrip.
© American Jewish Joint Distribution Committee; title & descr.,
18Jan38; 123 prints, 6Jan38; MU8086.
THROUGH FIRE AND FLAMES. © 1914.
© Feature Film Sales Co., Ltd. (Deutsche Biograph, author); title,
descr. & 12 prints, 8Jan14; LU1924.
THROUGH FIRE TO FAME. © 1914.
© Apex Film Co. (Vitascope Co., author); title, descr. & 49 prints,
15Apr14; LU2506.
THROUGH FIRE TO FORTUNE. © 1913.
Credits: Producer, L. B. Carleton.
© Lubin Mfg. Co. (Clay M. Greene, author); title, descr. & 262
prints, 23Dec13; LU1845.
THROUGH FLAMES TO LOVE. Imp. 1916. 2 reels.
Credits: Raymond L. Schrock; producer, Harry McRae Webster.
© Universal Film Mfg. Co., Inc.; 21Apr16; LP8133.
THROUGH HELL AND BACK AGAIN WITH THE ALLIES. SEE Over
There.
THROUGH JUNGLE WILDS. © 1925.
© Edyth Kaigh Eustace; title & 9 prints, 23Mar25; descr.,
10Apr25; MU3050.
THROUGH LIFE'S WINDOWS. © 1927. 1,032 ft.
© American Optical Co. (H. C. Ray, author); title, descr. & 13
prints, 21Sep27; MU4319.
THROUGH LIFE'S WINDOWS; the Tale of a Ray of Light. 1919.
© Worcester Film Corp. (Paul Desdemaines Hugon, author);
2May19; MU1383.
THROUGH NORMANDY TO MONT ST. MICHEL. Released by Harold
Auten. 1936. 1 reel, sd.
Credits: Music arranged and played by Lew White.
© Andre de LaVarre; 15May36; MP6530.
THROUGH SWITZERLAND AND BAVARIA WITH WILL ROGERS. ©
1927.
Credits: Producer, Carl Stearns Clancy.
© Pathe Exchange, Inc. (Will Rogers, author); title, descr. & 20
prints, 10May27; MU4015.
THROUGH THE BACK DOOR. 1921. 7 reels.
Credits: Directors, Jack Pickford, Alfred E. Green; scenario,
Marion Fairfax.
© Mary Pickford Co. (Marion Fairfax, author); 21Jun21;
LP16691.
THROUGH THE BREAKERS. Gotham. Presented by Sam Sax. 1928.
6 reels. Based on the stage play by Owen Davis.
Credits: Supervision and screenplay, Harold Shumate; director,
Joseph C. Boyle.
© Lumas Film Corp.; 18Oct28; LP25746.
THROUGH THE CENTURIES. © 1914.
© Selig Polyscope Co. (L. J. Withers, author); title, descr. & 38
prints, 16Feb14; LU2153.
THROUGH THE CLOUDS. © 1913.
© Apex Film Co. (British & Colonial Film Co., author); title, descr.
& 58 prints, 6Oct13; LU1341.
THROUGH THE DARK. Goldwyn-Cosmopolitan. 1924. 8 reels,
tinted. Based on the story "The Daughter of Mother McGinn" by
Jack Boyle.
Credits: Director, George Hill; scenario, Frances Marion.
© William Randolph Hearst; 6Jan24; LP19917.
THROUGH THE KEYHOLE. 1920. 2 reels.
Credits: Supervision, Hampton Del Ruth; director, Roy Del Ruth.
© William Fox (Fox Film Corp., author); 4Jul20; LP15341.
THROUGH THE NEIGHBOR'S WINDOW. © 1913.
© American Film Mfg. Co.; title & 42 prints, 6Oct13; descr.,
3Oct13; LU1370.
THROUGH THE PYRENEES TO LOURDES. Released by Compagnie
Générale Transatlantique. 1937. 1 reel, sd.
Credits: Script collaborator, Paul P. Devlin.
© André de LaVarre; 29Dec37; MP8022.
THROUGH THE SOLID WALL. Imp. 1916. 2 reels.
 Credits: Director, Walter Morton; story, Farleton Winchester;
scenario, E. J. Clawson.
© Universal Film Mfg. Co., Inc.; 10Oct16; LP9281.
THROUGH THE STORM. © 1922.
© Playgoers Pictures, Inc. (Horace G. Plimpton, author); title,
descr. & 72 prints, 9Aug22; LU18124.
THROUGH THE TELESCOPE. © 1913.
© Société Française des Films et Cinématographes Éclair; title,
descr. & 15 prints, 3Feb13; LU342.
THROUGH THE TEST OF FIRE. © 1913.
© Nordisk Film Co.; title, descr. & 72 prints, 31Mar13; LU522.
THROUGH THE TOILS. Presented by World Pictures. © 1919.
Credits: Director, Harry O. Hoyt.
© World Film Corp. (Koby Kohn, author); title, descr. & 232
prints, 10Jun19; LU13833.
THROUGH THE UNTRODDEN PATHS OF ASIA. © 1918.
Credits: R. Abreau.
© Harry D. Rucker (R. Abreau, author); title, descr. & 12 prints,
4Feb18; MU1133.
THROUGH THE VALLEY OF SHADOWS. 1914. 4 reels.
© Hepworth American Film Corp. (Florence Turner, author);
27Nov14; LP3886.
THROUGH THE WALL. 1916. 6 reels. Based on the story by
Cleveland Moffett.
Credits: Producer, Roland S. Sturgeon.
© The Vitagraph Co. of America (Marguerite Bertsch, author);
21Sep16; LP9164.
THROUGH THE WRONG DOOR. Presented by Samuel Goldwyn.
1919. 5 reels. Based on the novel "The Wrong Door" by Jesse
Lynch Williams.
Credits: Director, Clarence G. Badger.
© Goldwyn Pictures Corp.; 3Jul19; LP13918.
THROUGH THE YANGTZE GORGES. (Around the World with Burton
Holmes) 1930. 1 reel, sd., color, b&w.
© Metro-Goldwyn-Mayer Distributing Corp.; 21Nov30; MP2073.
THROUGH THICK AND THIN. Presented by Camera Pictures, Inc.
1926. 5 reels.
Credits: Production manager, Glenn Belt; director, Reeves
"Breezy" Eason; story and continuity, Edward J. Meagher; film
editor, Fred Burnworth.
© Lumas Film Corp.; 16Jul26; LP22916.
THROUGH TROUBLED WATERS. 1915. 3 reels.
Credits: Director, Ulysses Davis.
© Vitagraph Co. of America (Wm. McLeod Reine, author);
12Aug15; LP6095.
THROUGH TURBULENT WATERS. 1915. 4,000 ft.
Credits: Gertrude Lyon; director, Duncan McRae.
© Thomas A. Edison, Inc.; 17Jun15; LP5581.
A THROW OF THE DICE. © 1914.
© Albert Blinkhorn (Hepworth Mfg. Co., author); title, descr. &
56 prints, 7Aug14; LU3155.
THE THROWBACK. Buck Jones Productions. Presented by Carl
Laemmle. 1935. 6 reels, sd.
Credits: Director, Ray Taylor; original story, Cherry Wilson;
screenplay, Frances Guihan; film editor, Bernard Loftus.
 © Universal Pictures Corp.; 17Sep35; LP5792.
THROWING THE BULL. (Krazy Kat) © 1917.
Credits: H. E. Hancock.
© International Film Service, Inc.; title, descr. & 14 prints,
7Jun17; LU10901.
THROWING THE BULL. (World of Sports) 1933. 1 reel, sd.
© Columbia Pictures Corp.; 28Jan33; MP3801.
THROWN OFF THE THRONE. 1914. Split reel.
© Biograph Co.; 16Nov14; LP3769.
THROWN OUT OF JOINT. 1933. 2 reels, sd.
Credits: Supervision, Louis Brock; directors, Harry Sweet, Leslie
Goodwins; story, Harry Sweet, Hugh Cummings; film editor, John
Lockert.
© RKO Radio Pictures, Inc.; 12May33; LP3889.
THROWN TO THE LIONS. Red Feather. 1916. 5 reels. From a story
by Wallace Irwin.
Credits: Adapted by Norbert Lusk.
© Universal Film Mfg. Co., Inc.; 27Mar16; LP7931.
THRU DIFFERENT EYES. Presented by William Fox. 1929. 6 reels.
Credits: Produced and directed by John Blystone; story, Milton E.
Gropper, Edna Sherry; scenario, Toy Barry, Milton E. Gropper.
© Fox Film Corp.; 16Apr29; LP313.
THRU THE AGES. (Vagabond Adventure Series) The Van Beuren
Corp. 1931. 1 reel.
Credits: Supervision, Elmer Clifton.
© RKO Pathe Pictures, Inc.; 23Nov31; MP3048.
THRU THE KEYHOLE. (Star Comedy) 1920. 1 reel.
 Credits: Director, Horace Davey; story and scenario, Ben Cohen.
© Universal Film Mfg. Co., Inc.; 15Jul20; LP15358.
THRU THE MIRROR. (Walt Disney Mickey Mouse) 1936. 1 reel, sd.
© Walt Disney Productions, Ltd.; 19May36; MP6491.
THRU THICK AND THIN. © 1926.
© Pathe Exchange, Inc. (Paul Terry, author); title, descr. & 18
prints, 26Oct26; MU3631.
THRU THIN AND THICKET; or, WHO'S ZOO IN AFRICA. Masquers.
1933. 2 reels, sd.
Credits: Supervision, Louis Brock; director, Mark Sandrich; story,
Ben Holmes, Walter Weems; film editor, Sam White.
© RKO Radio Pictures, Inc.; 20Jan33; LP3721.
THRU TROPICAL FLORIDA, THE LAND OF MYSTERY AND
ROMANCE. © 1913.
© Enelco Film Co. (Scott Leslie, author); title, descr. & 14 prints,
11Jun13; MU64.
THRUSHES AND RELATIVES. 1938. 1 reel, sd.
© Erpi Classroom Films, Inc. (T. Gilbert Pearson, author);
25Jul38; MP8991.
THE THRUST OF HATE. © 1913.
© Ferdinand Wolff (Film d'Arte Italiana, author); title, descr. &
20 prints, 29Aug13; LU1173.
THUGS WITH DIRTY MUGS. (Merrie Melodies) 1939. 1 reel, sd.
Credits: Producer, Leon Schlesinger; supervision, Fred Avery;
story, Jack Miller; animation, Sid Sutherland; music director, Carl
W. Stalling.
© The Vitaphone Corp.; 6May39; MP9377.
THE THUMB. Société Cinématographies Eclipse, France. © 1913.
 © George Kleine (Société Cinématographies Eclipse, author);
title, descr. & 104 prints, 18Dec13; LU1822.
THUMB PRINTS AND DIAMONDS. 1914. 1,000 ft.
© Lubin Mfg. Co. (Harry Chandlee, author); 23Oct14; LP3595.
THUMBS DOWN. Presented by Banner Productions, Inc. 1927. 5
reels.
Credits: Director, Philip Rosen; story, Gladys E. Johnson;
continuity, Frances Guihan.
© Sterling Pictures Distributing Corp.; 5Jul27; LP24146.
THUNDER. 1929. 9 reels, sd.
Credits: Produced and directed by William Nigh; story, Byron
Morgan; continuity, Byron Morgan, Ann Price; film editor, Ben
Lewis; music score, William Axt.
© Metro-Goldwyn-Mayer Distributing Corp.; 29Jul29; LP558.
THUNDER AFLOAT. Presented by Metro-Goldwyn-Mayer. 1939. 10
reels, sd., b&w.
Credits: Producer, J. Walter Ruben; director, George B. Seitz;
story, Ralph Wheelwright, Harvey Haislip; screenplay, Wells Root,
Harvey Haislip; film editor, Frank E. Hull; music, Edward Ward,
David Snell.
© Loew's, Inc.; 15Sep39; LP9139.
THUNDER BELOW. 1932. 7 reels, sd. From the novel by Thomas
Rourke [pseud. of Daniel Joseph Clinton].
Credits: Director, Richard Wallace; screenplay, Josephine Lovett,
Sidney Buchman.
© Paramount Publix Corp.; 16Jun32; LP3093.
THUNDER IN THE CITY. Atlantic Film. 1937. 9 reels.
Credits: Producer, Alexander Esway; director, Marion Gering;
screenplay, Robert E. Sherwood, Aben Kandel, Akos Tolnay;
 editor, Arthur Hilton.
© Columbia Pictures Corp. of California, Ltd.; 2Apr37; LP7063.
THUNDER IN THE DESERT. 1938. 6 reels, sd.
Credits: Producer, A. W. Hackel; director, Sam Newfield; original
story and screenplay, George H. Plympton; film editor, S. Roy
Luby.
© Republic Pictures Corp.; 21Feb38; LP7869.
THUNDER IN THE EAST. 1935. 9 reels, sd. Adapted from "La
Bataille" by Claude Farrère.
Credits: Director, Nicolas Farkas; scenario, Nicolas Farkas,
Bernard Zimmer; dialogue, Robert Stevenson.
© United Artists Corp.; 17Apr35; LP5476.
THUNDER IN THE NIGHT. 1935. 6,092 ft., sd. Based on the play "A
Woman Lies" by Ladislaus Fodor.
Credits: Director, George Archainbaud; screenplay, Frances
Hyland, Eugene Solow; music, Samuel Kaylin.
© 20th Century-Fox Film Corp.; 20Sep35; LP5822.
THUNDER ISLAND. 1921. 5 reels.
Credits: Written and produced by Norman Dawn; scenario,
Wallace Clifton.
© Universal Film Mfg. Co., Inc.; 7Jun21; LP16662.
THUNDER MOUNTAIN. 1925. 8 reels, tinted. From the play
"Howdy Folks" by Pearl Franklin.
Credits: Director, Victor Schertzinger; scenario, Eve Unsell.
© William Fox (Fox Film Corp., author); 4Oct25; LP21954.
THUNDER MOUNTAIN. 1935. 7 reels, sd. From the novel by Zane
Grey.
 Credits: Producer, Sol Lessor; director, David Howard; screenplay,
Dan Jarrett, Don Swift.
© Atherton Productions, Inc.: 27Sep35; LP6066.
THE THUNDER OF THE SEA. © 1938. Sd., 16 mm.
© Lutheran Radio Pictures, Inc. (H. Torrey Walker, author); title,
descr. & 3,900 prints, 8Apr38; MU8302.
THUNDER OVER MEXICO. 1933. 8 reels, sd.
Credits: Director, Sergei M. Eisenstein; scenario, G. Alexandrov.
© Mexican Picture Trust; 1Nov33; LP4323.
THUNDER RIDERS. 1927. 5 reels.
Credits: Director, William Wyler; story and continuity, Basil
Dickey, Karl Krusada.
© Universal Pictures Corp.; 31Oct27; LP24620.
THUNDER TRAIL. Presented by Adolph Zukor. 1937. 6 reels, sd.
Based on the novel "Arizona Ames" by Zane Grey.
Credits: Director, Charles Barton; screenplay, Robert Yost, Stuart
Anthony.
© Paramount Pictures, Inc.; 22Oct37; LP7529.
THE THUNDERBOLT. Societa Italiana Cines, Rome. © 1913.
© George Kleine (Societa Italiana Cines, author); title, descr. &
33 prints, 20Oct13; LU1429.
THE THUNDERBOLT. First National. 1919. 5 reels.
© Attractions Dis. Corp.; 14Oct19; LP14421.
THUNDERBOLT. 1929. 8 reels.
Credits: Director, Josef von Sternberg; story and screenplay,
Jules Furthman, Charles Furthmann; dialogue, Herman J.
Mankiewicz; film editor, Helen Lewis.
© Paramount Famous Lasky Corp.; 20Jun29; LP487.
THUNDERBOLT JACK. 1921. 1 reel each. ** © Arrow Film Corp.
Credits: Director, Murdock MacQuarrie.
1. The Thunderbolt Strikes. © 25Mar21; LP16318.
2. Eight to One. © 25Mar21; LP16319.
THUNDERCLAP. Fox Film Corp. 1921. 7 reels.
Credits: Director, Richard Stanton; story, Paul H. Sloane.
© William Fox (Fox Film Corp., author); 25Aug21; LP17004.
THUNDERGATE. 1923. 6,565 ft.
Credits: Director, Joseph De Grasse; story, Sydney Herschel
Small; scenario, Perry N. Vehroff.
© Associated First National Pictures, Inc.; 17Oct23; LP19498.
THUNDERING DAWN. All Star Universal-Jewel. 1923. 7 reels.
Credits: Director, Harry Garson; story, Leonore Coffee, John
Goodrich.
© Universal Pictures Corp.; 24Sep23; LP19449.
THUNDERING FLEAS. © 1926.
© Pathe Exchange, Inc. (Hal E. Roach, author); title, descr. & 40
prints, 26May26; LU22775.
THE THUNDERING HERD. Paramount. Presented by Adolph Zukor
and Jesse L. Lasky. 1925. 7 reels. Based on the novel by Zane
Grey.
Credits: Director, William Howard; screenplay, Lucien Hubbard.
© Famous Players-Lasky Corp.; 23Feb25; LP21180.
THE THUNDERING HERD. 1933. 6 reels. From the novel by Zane
Grey.
Credits: Producer, Harold Hurley; director, Henry Hathaway;
screenplay, Jack Cunningham; continuity, Mary Flannery.
 © Paramount Productions, Inc.; 23Nov33; LP4265.
THUNDERING HOOFS. Released by F. B. O. 1924. 5 reels.
Credits: Director, Albert Rogell; story and continuity, Marion
Jackson.
© R-C Pictures Corp.; 21Sep24; LP20751.
THUNDERING LANDLORDS. © 1925.
© Pathe Exchange, Inc. (Hal E. Roach, author); title, descr. & 40
prints, 10Apr25; LU21348.
THUNDERING ROMANCE. Action Pictures, Inc. Presented by W. T.
Lackey and Lester F. Scott, Jr. © 1925.
Credits: Director, Richard Thorpe; story, Ned Nye.
© Artclass Pictures Corp.; title, descr. & 523 prints, 7Feb25;
LU21110.
THUNDERING TAXIS. (A Hal Roach Taxi Boys Comedy) 1933. 2
reels, sd., b&w.
Credits: Director, Del Lord; editor, Louis McManus.
© Metro-Goldwyn Mayer Corp.; 22May33; LP3891.
THUNDERING TENORS. Presented by Hal Roach. 1930. 2 reels,
sd., b&w.
Credits: Director, James W. Horne; dialogue, H. M. Walker;
editor, Richard Currier.
© Metro-Goldwyn-Mayer Distributing Corp.; 22Dec30; LP1831.
THUNDERING TOUPEES. (Hal Roach Comedy) Presented by Hal
Roach. 1929. 2 reels.
Credits: Story, Leo McCarey; editor, Richard Currier.
© Metro-Goldwyn-Mayer Distributing Corp.; 27Jun29; LP494.
THE THUNDERING WEST. 1939. 6 reels, sd.
 Credits: Director, Sam Nelson; original screenplay, Bennett R.
Cohen; film editor, William Lyon; music and lyrics, Bob Nolan;
music director, M. W. Stoloff.
© Columbia Pictures Corp. of California, Ltd.; 4Jan39; LP8527.
THUS SAITH THE LORD. © 1913.
© Société Française des Films & Cinématographes Éclair, Inc.
(Eclair Film Co., author); title, descr. & 62 prints, 5May13; LU727.
THY NAME IS WOMAN. 1924. 9 reels. Based on T. Glazer's
American version of the play by Karl Schoenherr.
Credits: Director, Fred Niblo; scenario, Bess Meredyth.
© Louis B. Mayer Productions; 20Feb24; LP19940.
TIBET, LAND OF ISOLATION. (A FitzPatrick Traveltalk) 1934. 1 reel,
sd.
Credits: Compiler, James A. FitzPatrick.
© Metro-Goldwyn-Mayer Corp.; 20Mar34; MP4686.
THE TICK TICK MAN. (Star Comedy) 1919. 1 reel.
Credits: Written and directed by Lyons, Moran.
© Universal Film Mfg. Co., Inc.; 4Nov19; LP14388.
THE TICKET-OF-LEAVE MAN. 1914. Based on the melodrama by
Tom Taylor.
© Biograph Co.; 20Oct14; LP3573.
TICKET OR LEAVE IT. Presented by Radio Pictures. 1935. 2 reels,
sd.
Credits: Producer, Lee Marcus; director, Alf Goulding; story,
Stanley Rauh; film editor, Roy Webb; music director, Edward
Mann.
© RKO Radio Pictures, Inc.; 4May35; LP5544.
A TICKET TO HAPPINESS. 1914. 1 reel.
 Credits: Producer, Marshall Farnum.
© Selig Polyscope Co. (Wm. Corey, author); 14Apr14; LP2620.
TICKET TO PARADISE. 1936. 7 reels.
Credits: Producer, Nat Levine; supervision, Victor Zobel; director,
Aubrey Scotto; original story, David Silverstein; screenplay, Jack
Natteford, Nathanael West.
© Republic Pictures Corp.; 10Jul36; LP6458.
TICKETS, PLEASE. 1935. 2 reels, sd.
Credits: Director, Roy Mack; story, Cyrus Wood.
© The Vitaphone Corp.; 9Nov35; LP5923.
TICKLE BILL, TRAINED FLY. 1927. 1 reel.
© Louis Hodgman Tolhurst; 28Jul27; MP4236.
TICKLISH BUSINESS. (Mermaid Talking Comedies) 1929. 20 min,
sd.
Credits: Supervision, Jack White; director, Stephen Roberts.
© Educational Film Exchanges, Inc.; 28Oct29; LP793.
TICONIUM TECHNIC. 1937. 2 reels.
© Chas. K. Peck; 1Apr37; MP7480.
TID-BITS. (A Warren Doane Brevity) 1934. 2 reels, sd.
Credits: Director, Warren Doane.
© Universal Pictures Corp.; 8Oct34; LP5010.
THE TIDAL WAVE. 1921. 5 reels. From the novel by Ethel M. Dell.
Credits: Adaptation and production, Sinclair Hill.
© Stoll Film Corp. of America; 21Feb21; LP16169.
TIDDLY-WINKS. Bluebird. 1926. 1 reel.
Credits: Director, George Summerville.
 © Universal Pictures Corp.; 13Sep26; LP23104.
A TIDE IN THE AFFAIRS OF MEN. © 1913.
© American Film Mfg. Co. (Photoplay Clearing House, author);
title & 31 prints, 6Oct13; descr., 3Oct13; LU1371.
TIDE OF EMPIRE. 1929. 8 reels, sd., b&w. Based on the novel by
Peter B. Kyne.
Credits: Director, Allan Dwan; continuity, Waldemar Young; film
editor, Blanche Sewell.
© Metro-Goldwyn-Mayer Distributing Corp.; 5Mar29; LP181.
THE TIDE RISES. 1930. 1 reel, sd.
Credits: Director, Robert C. Bruce; story, Richard Cameron.
© Paramount Publix Corp.; 13Jun30; LP1356.
THE TIDES OF BARNEGAT. 1917. 5 reels. From the story by F.
Hopkinson Smith.
Credits: Producer, Marshall Neilan; scenario, Eve Unsell.
© Jesse L. Lasky Feature Play Co.; 6Apr17; LP10527.
THE TIDES OF FATE. Presented by William A. Brady. © 1917. From
the story "Creeping Tides" by Kate Jordan. Title changed from
"Creeping Tides."
Credits: Director, Marshall Farnum.
© World Film Corp. (Kate Jordan, author); title, descr. & 188
prints, 23Aug17; LU11285.
TIDES OF PASSION. 1925. 7 reels. Adapted from "In the Garden of
Charity" by Basil King.
Credits: Director, J. Stuart Blackton; adaptation, Marian
Constance.
© The Vitagraph Co. of America; 6Apr25; LP21344.
THE TIDES OF RETRIBUTION. 1915. 3 reels.
 Credits: Director, J. Farrell MacDonald.
© Biograph Co.; 15Dec15; LP7213.
THE TIDES OF SORROW. 1914. 1 reel.
© Biograph Co.; 23Oct14; LP3596.
TIDES THAT MEET. 1915. 3 reels.
Credits: Clinton Dangerfield.
© Essanay Film Mfg. Co.; 28Sep15; LP6512.
TIDY TOREADOR. SEE Galloping Fury.
THE TIE OF THE BLOOD. © 1913.
Credits: Producer, Lem B. Parker.
© Selig Polyscope Co. (Hampton Del Ruth, author); title, descr.
& 21 prints, 7Apr13; LU575.
THE TIE THAT BINDS. 1915. 1 reel.
© Essanay Film Mfg. Co.; 20Apr15; LP5091.
THE TIE THAT BINDS. SEE
Flaming Frontiers.
Heroes of the West.
TIE THAT BULL. Educational Film Exchanges, Inc. 1927. 2 reels.
Credits: Director, Robert Kerr; story, Sig Herzig.
© Christie Film Co., Inc.; 16Jun27; LP24093.
TIE UP—AND CASH IN. Presented by the American Gas Assn.
1936. Filmstrip, sd., color.
© AudiVision, Inc.; 2Oct36; MP6928.
TIED FOR LIFE. (Mermaid Comedies) 1933. 18 min., sd.
Credits: Producer and director, Arvid E. Gillstrom; story, Dean
Ward, Vernon Dent.
 © Educational Films Corp. of America; 2Jul33; LP4024.
TIED UP. Mustang. 1927. 2 reels.
Credits: Director, Vin Moore; story, W. C. Tuttle.
© Universal Pictures Corp.; 24Jan27; LP23602.
THE TIGER. 1913. 1 reel.
Credits: Director, Frederick Thomson.
© Vitagraph Co. of America (Marguerite Bertsch, author);
13Aug13; LP1101.
TIGER. SEE Tiger True.
THE TIGER AND THE DONKEY. © 1922.
© Pathe Exchange, Inc. (Paul Terry, author); title, descr. & 18
prints, 26Jan22; MU2100.
TIGER BAIT. 1915. 1 reel.
Credits: Producer, L. W. Chaudet; story, Wallace C. Clifton.
© Selig Polyscope Co. (Wallace C. Clifton, author); 30Apr15;
LP5225.
THE TIGER COUNTESS. © 1914.
© Dansk Kinograf; title, descr. & 71 prints, 8Apr14; LU2477.
THE TIGER CUB. 1915. 1 reel.
Credits: Producer, L. W. Chaudet; story, Emma Bell.
© Selig Polyscope Co. (Emma Bell, author); 11Jun15; LP5609.
TIGER ISLAND. SEE East of Java.
TIGER LAND. 1920. 1 reel.
Credits: Written and directed by Jack Allen.
© Universal Film Mfg. Co., Inc.; 23Apr20; LP15047.
THE TIGER-LILY. 1919. 5 reels.
 Credits: Director, George L. Cox; story, Joseph Franklin Poland.
© American Film Co., Inc.; 11Jul19; LP13935.
TIGER LOVE. Paramount. Presented by Adolph Zukor and Jesse L.
Lasky. 1924. 6 reels. From "El Gato Montes" by Manuel Penella.
Credits: Director, George Melford; screenplay, Howard Hawks;
adaptation, Julie Herne.
© Famous Players-Lasky Corp.; 25Jun24; LP20334.
THE TIGER MAN. Presented by Thomas H. Ince. 1918. 5 reels.
Credits: Director, William S. Hart; supervision, Thomas H. Ince;
story, J. G. Hawks.
© William S. Hart Productions, Inc.; 1Apr18; LP12268.
TIGER ROSE. 1923. 8 reels.
Credits: Producer and director, Sidney Franklin; story, Willard
Mack, David Belasco; adaptation, Edmund Goulding.
© Warner Brothers; 22Nov23; LP19639.
TIGER ROSE. Vitaphone. 1929. 6 reels. From the play by Willard
Mack.
Credits: Director, George Fitzmaurice; screenplay, titles, and
dialogue, Harvey Thew, Gordon Rigby.
© Warner Bros. Pictures, Inc.; 3Dec29; LP882.
TIGER ROSE. Trailer. 1929. 1 reel, sd.
© The Vitaphone Corp.; 25Nov29; MP884.
TIGER SHARK. First National and Vitaphone. 1932. 8 reels. Based
on the story "Tuna" by Houston Branch.
Credits: Director, Howard Hawks; screenplay, Wells Root.
© First National Pictures, Inc.; 3Sep32; LP3228.
THE TIGER SLAYER. 1915. 1 reel.
 Credits: Producer, William Robert Daly; scenario, Emma Bell.
© Selig Polyscope Co. (Emma Bell, author); 25Sep15; LP6530.
TIGER THOMPSON. 1924. 6 reels.
Credits: Supervision, Hunt Stromberg; director, E. Reeves Eason;
story, Buckleigh Fritz Oxford; editor, Harry Marker.
© Stellar Productions, Inc.; 13Jul24; LP20415.
TIGER TRUE. 1921. 5 reels. From the novel "Tiger" by Max Brand
[pseud. of Frederick Faust].
Credits: Producer, J. P. McGowan; adaptation, George C. Hull;
editors, Frank Lawrence, Ed. Schroeder.
© Universal Film Mfg. Co., Inc.; 8Jan21; LP16004.
TIGER VALLEY. SEE The Girl from Mandalay.
THE TIGER WOMAN. 1917. For Fox Film Corp. 6 reels.
Credits: Director, J. Gordon Edwards; story, James W. Adams;
scenario, Adrian Johnson.
© William Fox (Adrian Johnson, author); 18Feb17; LP10214.
THE TIGER'S CLAW. Paramount. Presented by Jesse L. Lasky.
1923. 6 reels.
Credits: Director, Joseph Henabery; story, and scenario, Jack
Cunningham.
© Famous Players-Lasky Corp.; 13Mar23; LP18854.
THE TIGER'S CUB. 1920. 6 reels, b&w, tinted sequences.
Credits: Director, Charles Giblyn; story, George Goodchild;
scenario, Paul H. Sloane.
© William Fox (Fox Film Corp., author); 10Oct20; LP15668.
TIGERS OF THE DEEP. (Sportlight) 1931. 1 reel.
Credits: Producer, Jack Eaton.
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