A young painter becomes the apprentice of an old master who is working on his final great work. Meanwhile, the young painter falls in love with his master’s niece.

Seeing Cutey play the part of a maid of all work at a college play, Alys Trevor seeks an introduction to him and they soon become good friends. She takes him with her to present him to her mother, whom she finds talking to a stranger, Lord Goodbluff. Mama does not seem very pleased to meet Cutey. Later Cutey calls at the Trevor house to see Alys and meets Goodbluff there, who soon quarrels with him. Mrs. Trevor, entering in the midst of the dispute, requests Cutey to leave the house and apologizes to Goodbluff for the young man's behavior. Then she sends a note to Cutey, telling him that her daughter is no longer free to receive his calls. By a strange occurrence, Cutey's suspicions of Goodbluff are aroused and he determines to watch him. Noticing an advertisement in the paper for a maid of all work, inserted by Mrs. Trevor, he obtains the necessary disguise and applies for the position, which he gets.

An Irish girl comes to America disguised as a boy to claim a fortune left to her brother who has died.

The most important and prolific of all American women directors of the silent era, Lois Weber entered films in 1907 at Gaumont, working alongside Alice Guy-Blaché. In the ensuing years, she and her husband Phillips Smalley acted in, directed, wrote and edited films for Gaumont, Rex and Universal. By 1914, Weber was a well-known director when she went to work for the Bosworth Company to make Hypocrites. Hypocrites is an amazingly complex film in both narrative and technique, following the parallel stories of an early Christian ascetic and a modern minister, with most actors in dual roles. Gabriel (Courteney Foote) is a medieval monk who devotes himself to completing a statue of “Truth,” only to be murdered by a mob when his work turns out to be an image of a naked woman. The contemporary Gabriel is the pastor of a large urban congregation for whom religion is a matter of appearances, not beliefs. The hypocrisy of the congregation is exposed by a series of vignettes in which the Naked Truth, literally portrayed by a nude woman, reveals their appetites for money, sex and power. Hypocrites was a shocking and controversial film whose release was held up for many months by the difficulty of distributing a film with full nudity. Weber’s sincerity and reputation allowed her to use something that in the hands of a male director would have been considered scandalous and immoral. Widely admired at the time for extraordinary use of multiple exposures and intricate editing, Hypocrites propelled Weber to the front ranks of silent directors.