First, fair warning: I am a great fan of Charley Chase and quite likely to enjoy any movie in which he gets to perform. That said, he's pretty good in this one as a slightly fey shoe clerk who develops a yen for a married woman and slips a note into her shoe -- which her husband finds, of course. The usual complications ensue.
Although Chase and Raymond Griffith would attempt to stand out from their Keystone co-stars as relatively normal people, usually the young lovers, at this stage Charley is still learning the craft and borrowing liberally from other, better known performers' bag of tricks. He runs through the detailed hand movements typical of Ford Sterling. His choice in hats and emphatic gestures mark him as gay, giving the audience a chance to snicker. He would develop this in his sound characters as "the fig", more of a slightly nervous, browbeaten older man.
For the rest of it, story is what dominates, helped by the great Keystone editing. The Keystone men fall into their standard roles -- Charles Murray as a porter, Chester Conklin as a Walrus type, and the Kops add to the mayhem. The whole thing is business as usual and decent enough by the contemporary standards without any of Sennett's big names around. For me, it's Charley that makes it more interesting than that, and I can't be sure if it's him or me.