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A lost silent drama film directed by Raoul Walsh and starring Renée Adorée, Carlo Liten, Harrison Hunter, Beatrice Noyes, Florence Malone, and Jean Gauthier DeTrigny. It is based on the 1919 French novel Les Plus Fort by Georges Clemenceau.

Walsingham Van Dorn has a fancy name but no money until he inherits 40 million dollars from a pair of wealthy, but wicked, uncles.

While out West, prospector Harry Webb makes enemies of a con artist, Mark Brenton and the con's crooked lawyer, Frank Beekman. Jack goes to the city and meets singer Janice Williams in a cabaret. They become engaged, but Brenton also has designs on her. He tricks her into going to a room to meet with him, and Webb, hearing of the scheme, follows. What he finds when he gets there is Brenton on the floor, dead, and Janice holding a gun.

Hard as nails and as strong winded as a gale in March, Red Hicks may have been a bit "chesty," but he was in perfect trim. The town depended on the champion, O'Shea, the fighting Irishman, to make soft putty of the world famous pugilist, but on the day of the fight there was no O'Shea. The supposition was he did not have the price: and other domestic difficulties interfered. O'Shea's trainer, however, solved the problem and Bed Hicks found his Waterloo.

Happy in her devotion to her unfortunate sister and the promise of honest love that had come into her life, the girl was perhaps blind to true values. She became indifferent to her life and its surroundings. Accordingly she accepted the stranger and his doubtful promises. Honest love and duty were forgotten, until, caught near life's uncertain edge, she was called back by her blind sister's peril. Thus was true love separated from blind infatuation and life's lesson learned.

Boulevardier Sir Nicholas Thormonde (Lew Cody) has to choose between his mistress Suzette (Renée Adorée) and his virtuous secretary Alathea (Harriet Hammond) in wartime Paris.

The girl's lessons from the young station agent on the manipulation of the telegraph code served her in good stead. By it, hemmed in on all sides at the lonely farmhouse, she was able to save both herself and her father's money from desperate tramps, an experience which is grippingly illustrated in this Biograph melodrama.

In this film one is shown the contrast of two fathers. One father refuses to believe his son guiltless, while the other, fully realizing the weakness of his son, struggles to save him from further disgrace. In this attempt he exonerates the innocent youth, but at the same time exposes the guilt of his own son.

Bank clerk John Hart is about to marry Mary Kelly, but she insists that before that happens he must grow a mustache. The idea of that shakes him up so much that he gets distracted at work, comes up short in his accounts and gets fired. Unable to find another job, he begins to work as an extra at a nearby film studio to earn money. One day the leading man of a picture John is working on gets into an argument with the director and storms off the set. Angered, the director sees John and, deciding that he'll show his arrogant star that he can make a movie idol out of just about anybody, picks John to replace him. As it turns out, John has a real talent for acting and before he knows it he becomes a star. Unfortunately, "stardom" isn't what John thought it would be.

No doubt the old antique dealer was prejudiced against his junior clerk. After frequent shortages, the clerk's visit to the gambling house was reported by the detective and he was discharged. In truth, he had gone to find the senior clerk, who owed him money which he needed for his mother, hovering close to the edge of life. By sharp detective work, the designs of the senior clerk were frustrated.

Compelled to keep house for her father and her younger sister and brother, Martha is deprived of all the pleasures of youth. Ned, who loves her, begs her to elope with him. Martha yields, but while on the way to the minister, decides that her duty lies back home with her father. Heart-broken, Ned leaves for the city.