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PHILADELPHIA, SATURDAY EVENING, JULY 1, 1910.
Evening Ledger Picize Scenario Contest Opens Witk Model Script of Produced Pkoto
Tke Form Your Scenario
Should Take aaSliown by
''Misfire Microbes"
fcv
V!
By WILLIAM COURTNEY
(if the Kolfe Bindlo.
Th following model script dotes the
lessons rt scenario writing whioh have
bten running in the Evening Ledger. It is
the actual working manuscript from which
Mam Figman's comedy "Mis-Fire Microbes"
was produced. In another column Mr.
Ilout explains the nature of 'the list of
characters and the scene plot, which, should
accompany every flntyhed scenario. The
synopsis was discussed, with examples, in
an earlier lesson. This is a one-reel script.
See it and understand the scenario better.
SCENE PLOT.
INTERIORS:
Artlo's living room l--s-ll-47-4M9-60-
jane's laboratory B-8-10-12.14.16-23.24-
2B-37-42.
Through mlcroseoiie 18.
Hall In Jano's houso 19-22.
Saloon No. 1 27-28-29.
Undertaker's 34-35-30.
Baloon NO. 241.
Murphy's living room BS-54-55.
EXTERIORS.
Artlo's apartment 4-48-46-B?.
Jane's house 0-7-9-11-16-18-20-21-44.
Street In front of Jano's 17.
V Saloon No. 1 26-30-82.
Undertaker's sign 31.
Undertaker's 33.
Street In front of garden 38.
Garden 39.
Saloon No. 2 40.
CAST:
Artlo the millionaire
Jano. . t sclcntlflo studont
Henrietta doctor, also scientific
Murphy Janitor
Two bartenders. Two undertakers. Baby.
SUBTITLE ARTIE HAS TWO DUTIES
IN LIFE TO GIVE HIS CANE AN
AIRING EVERY DAY AND TO KEEP
JANE SUPPLIED WITH SWEETS
AND FLOWERS. HE PROPOSES
EVERY TUESDAY AND THURSDAY
THIS IS THURSDAY.
. SCENE 1 INTERIOR OF ARTIE'S LIV
ING ROOM.
Artto Is Just preparing to leave; he
picks up his hat, stick, candy and
flowors: Just as ho gets to the door
he romombers something; goes back
to the tablo, puts all his things down
and picks up a plain jjhoto of Jane.
SCENE 2 INTERIOR IN ARTIE'S
APARTJfENT. A
w Close-up of Artie kissing Jane's
photo.
SCENE 3 INTERIOR OF ARTIE'S
APARTMENT.
Artlo sets down the photograph, picks
up his things again and exits At the
door he turns and takes one last look
at tho photograph.
SCENE 4 EXTERIOR OF ARTIE'S
APARTMENT.
Artlo enters from his apartment and
meets Murphy, the Janitor; Murphy Is
looking rather sad; Artlo Is very so
licitous to Murphy.
SUBTITLE "HOW IS YOUR GOOD
WIFE?"
Murphy answors that she Isn't very
well; Artlo Is sorry, gives Murphy
somo money, which Murphy takes re
luctantly; Artlo exits aB Murphy thanks
him profusely, saying "Sure, an' he's a
fine boy!"
SCENE B INTERIOR OF JANE'S LAB
ORATORY. This Is a room In a private house,
adapted for JanoM scientific experi
ments; there are test tubes, retorts, al
cohol lamps, Bunsen burners and glass
Jars In tho room ; there aro also a num-
s bcr of candy boxes, some probably un
opened, and a numbor of bunches of
flowers In various stages of withering;
these are tho past and forgotten gifts
of Artlo. Jane enters and brings to
the table a glass Jar full of prunes; she
dons her laboratory apron and rubber
gloves and, taking out one of the
prunes, puts It under a microscope; she
, starts to focus It.
SCENE G EXTERIOR OF JANE'S
HOUSE.
Artie enters with the candy and
.flowers; ho starts to ring the bell, but
decides to look In the window of Jane's
laboratory; he goes to the window.
SCENE 7 EXTERIOR Or JANE'S
HOUSE.
Close-up of Artie at the window ; lie
takes the flowers and candy and his
hat In one hand, taps on tho window
v wun IU3 cane, men uraws oacn out oi
) sight.
SCENE 8-r-INTERIOR OF LABORATORY.
I Jano at the microscope focusing It;
hears the tap on the window ; she looks
up, but doesn't see anybody there; she
goes back to her microscope.
SCENE 9 EXTERIOR OF JANE'S
HOUSE.
' CIosoup of Artie at the window; he
comes forward again and looks In ; sees,
Jane and smiles at her, ,
SCENE 10 INTERIOR OF LABORA
TORY. Jane looks up again from her micro
scope; sees that It Is Artie at the win
dow, and nods to him to come in; she
FRANK ORTH
Moving epirifc jn Philadelphia's first
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SCENARIO CONTEST BEGINS TODAY;
THE PRIZE $100 AND PRODUCTION
STANLEY V. MASTBAUM
President Stanley Booking Company.
"TpHE Evening Ledger Prize Scenario Contest begins today.
It willcloso in three weeks. The final dato is July 22. The
award will bo announced in the Amusement Section of August
5. Tho author of the winning scenario will receive a cash prize
of $100 in addition to the production of his script. Following
a voting competition among Evening Ledger, readers for posi
tions in tho cast, the scenario will bo filmed in tho latter part of
August under; tho direction of a film company of national repu
tation. The finished photoplay will bo shown at local theatres
early in September.
Tho scenarios submitted in the competition will be passed
on by tho following judges :
MAX KARGER. STANLEY V. MASTBAUM,
Director general of the Metro. President Stanley Booking Company.
and
THE PHOTOPLAY EDITOR OF THE EVENING LEDGER.
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MAX KARGER
Director general of the Metro.
The scenarios submitted must bo of 2-reel length; that is, they must con
tain a story which, when filmed, will take about 30 minutes to show. By seeing
any 2-reel production at a photoplay theatre you can got an idea of about tho
number of scenes and amount of material necessary. Your scenario need not
be typed, if your handwriting Js clear and legible, but it must be written on
only one side of the paper.
The most interesting conditions of the contest concern the localities to be
shown and the people represented. Tho winning scenario must deal primarily
with Philadelphia places and people. It must include scenes using the exterior
or interior of six of the following places:
An Elevated or Subway Station
Independence Square
A Railroad Station
The Navy Yard v
Girard Avenue Bridge
Fairmount Park
A Ball Park '
The Ledger Office
The City Hall
'The Postoffice
Rittenhouse Square
T.prlcrpr Central
. . -
This condition is not so difficult as' it may seem. Almost any of the
above-named spots may serve as a meeting place for your characters, though
it will improve the worth of your script if you can make the nature of the
spots shown essential to the story. The greater the number of Philadelphia
localities that you can introduce in addition to those named, the greater will
be the value of your, script in the eyes of the Judges, Provided, first
and foremost, that it has a filmable and interesting story. .Interiors and ex
teriors of other places than those named may, of course, be freely introduced.
You may treat your story from a comedy, dramatic or melodramatic angle.
In regard to characters to be employed, the Evening Ledger makes no
direct restrictions, except that the majority must be Philadelphians. Tho
Judges will look with most favor, however, on scenarios which introduce such
characteristic figures of the city's life as :
The Shop Girl
The School Boy
The Factory Worker
The Motorman or Conductor
The Clerk
The Policeman
The Baseball Player
The School Girl
The Stenographer
The Fireman
The prize-winning script will be produced in Philadelphia at the places
utilized by the author, and with an all-Philadelphia cast, selected by the votes
of the Evening Ledger readers. It will be directed, supervised, photographed
and assembled by the Metro Pictures Corporation, of New York, a company
whose nationwide reputation guarantees 'the most artistic of productions.
In addition to actual production, the Evening Ledger will give the author
of the prize-winning scenario a cash prize of $100.
The twelve 'next-best scenarios submitted will receive honorable mention
and be referred to film companies likely to look favorably on them. Any other
scenarios of distinct merit will be returned to the authors with words of com
mendation and suggestion looking to the improvement of the scripts and their
submission to a producing company. This will be, by the way, the first step in
a new service department of the Amusement Section, dealing with scenario writ
ing and aiming to give local scenario writers the benefit of criticism and to
guide them to the right producers. The rights to all unsuccessful scripts will
remain with their authors.
' More definite announcement of the conditions of the voting contest for
positions in the cast of the prize-winning scenario will be made in the Amuse
ment Section of next- Saturday.
turns toward the door of her labora
tory, waiting for his entrance
SCENE 11 EXTERIOR OF JANE'S
HOUSE "
Wide angle view Artie nods "all
right"; leaves the window and walks
in through the front door, which li
partly open.
SCENE 12 INTERIORjOF JANE'S LAB
ORATORY. Jane Is on; Artie enters; he offers
candy and flowers, but she is paying
close attention to her microscope and
waveB them away, sayirg "In a min
ute. I'm busy now; sit down." Artie
looks around7 for a place to put his
hat and stick, but finds everything
filled with her-,paraphernal!a, bo sits
on tho edge of a chair very uncom
fortably, and puts his hat and stick on
the floor besldo him; she doesn't
look at him, so he coughs to attract
her attention: sho remembers he is
there now and turns to him; he gives
her the candy and flowers very gal
lantly; she thanks him for them, sets
them down with the rest, without open
ing them; he says, "What aro you do
ing?" and points to the microscope ; she
tells him to have a look for himself ; ha
looks Into the microscope.
SCENE 13
Close-up of the bugs on the prunes
through the microscope.
SCENE 14 INTERIOR OF JANE'S IiAB
ORATORY, Close-up of Artie; he is frightened
and says, "Good heavens! What's
that?"
SCENE IB INTERIOR OF JANE'S LAB
ORATORY. ;
Artie shows the horror he feels, but
Jane only laughs at him; he asks her
what was under the microscope and
she says "It's a prune." He says, "I
know, ut what are those crawly
things?" and Jane answers;
SUBTITLE "DEADLY BACILLI ; THERE
ARE TWENTY MILLION OF THEM IN
THAT JAR, ENOUOH TO KILL ANY
PERSON EATINO OF PRUNES."
Artie shudders, (draws away ; Jane.
sUII laughs at him; she tries to pet him
to come back to the microscope, but he
runs out of the door after grabbing up
his f hat and stick, with Jane after
- him.
SCENE 16 EXTERIOR OF -JANE'S
HOUSE,
Artie enters, from the house, with his
cap and stick In Ms hand ; Jane, in her
apron and gloves, catches htm; she
Bays, "Won't you come back?" He" an
awers. "Not with those things In the
room." At Just this time Henrietta
drives up in front of the house; they
both hear her and look to sea who
It Is.
SCENE 17 STREET IN FRONT OF
JANE'S HOUSE.
Henrietta enters In a Ford ; she stops
In front of the house and gets out ; sha
waves to Jane, who is off scene, and
taking her marmoset and a cape, with
twq white rats, out the machine,
exits to the house.
SCENE 18 EXTERIOR OF JANE'S
HOUSE.
Jane and Artie are on; Henrietta
enters with her marmoset and rats;
she is Introduced to Artie and gives
him the onca over, which rather em
barrasses Artie, Jane telU her to go
Inside, that she will be In immediately ,
sha starts to go in, but Artie stops
her, saying. "For the hundredth time, t
ask; you to marry me ; this Is the last
chance that you will ever have." Jane
hesitates At nrct, then refuses ami
becomes more decisive, as he pleadti
with h$r to accept himj with a rtutl
"Nor she turns and enters the house,
leaving Artla very despondent.
SCENE 1WHALLWAY OF JANE'S
HOUSE.
Henrietta sitting on bench, JaneS
Sutr. Kit bema her and they Ik,
very Interestedly, being fellow sci
entists. (
SCENET 20 EXTERIOR OF JANE'S
HOUSE,
Close up of Artie at the door; lie Is
very despondent ; ho makes n decision,
looks Into tho door, sees that Henrietta
and Jane are mill In the hall; this glei
him the opportunity he wants; he exits
toward the window of Jano's labora
tory with a determined expression on
his fac6.
SCENE SI EXTERIOR OF JANE'S
HOUSE.
Close-up of Artlo at Uio window;
he looks In carefully to Bee that the
girls are not there, reachos In and gets
the Jar of prunes; he fondles the Jar
exultantly; starts to exit, when he
thinks that he had better let Jane
know what ho had done; he reaches In
the window again, brings out her note
book, hunts for a pencil. Anally finds
one; ho Juggles notebook, prunes and
pencil around till he gets in posttlon to
write; finishes his writing and reads
the note.
INSERT OF NOTE "Heartless female, you
have scorned the passion of a true and
noble heart, so I have decided to end It
all. What fitter means to that end can
I choose Uian the very things which have
como between me and my happiness! I
have taken your prunes. Your ever faith
ful Artie."
Artie had read the note; he puts the
note back In the window and exits.
SCENE 22 INTERIOR OF- JANE'S,
HALL.
Jans and Henrietta on; discussing
the animals ; Jane suggests they go Into
""the laboratory; both exit Into the lab
oratory. SCENE 23 INTERIOR OF LABORA
TORY. .
Jano and Henrietta enter, with the
animals; Jane prepares to make a test
on the marmoset; Jane and Henrietta
both look at the marmoset.
SCENE 24 INTERIOR OF JANE'S LAB-
ORATORY.
Close-up of the marmoset.
SCENE 25 INTERIOR OF JANE'S LAB-ORATORY,
Jane takes the stethoscope and
listens to the heart nnd lung nctlon of
tho marmoset, whllo Henrietta holds It;
they comment on Its condition and Jane
makes n note.
SCENE 26 EXTERIOR OF SALOON
NO 1
Artlo enters, hesitates In front of sa
loon door and e-citB Into the saloon; he
has the prunes under his arm
SCENE 27 INTERIOR OF SALOON
NO. 1.
Artie enters, tnkos a drink at the
.vbnr; he Is very careful of the prunes;
tlie bartender Is a little curious about
him, but Artlo won't tell him what they
are; ho guards them carefully; aB he
drinks his eyes catch sight of a wreath
hung In back of the bar.
SCENE 2S INTERIOR OF SALOON
NO. 1
Close-up of the wreath over the bar.
SCENE 29 INTERIOR OF SALOON
NO. 1.
Artie has seen the wreath and offers
to buy it; ho presents the bartender
with a large bill ; the bartender is very
gracious, gives him the wreath and
presses another drink upon him, which
Artie accepts; Artie Is now a little
drunk; he gathers the prunes in one
arm, puts the wreath oer the other
and exits a little unsteadily.
SCENE 30 EXTERIOR OF SALOON
NO 1.
Artie enters from the saloon with the
prunes and wreath, stands a little un
certainly; looking around, sees a sign
across the street.
SCENE 31
Close-up of an undertaker's sign. '
SCENE 32 EXTERIOR OF SALOON
NO 1.
Artie decides to go io the undertak
er's; starts across the street
SCENE 33 EXTERIOR OF UNDER
TAKER'S, Artie enters, looks at tho things In the
window and enters tho place,
SCENE 34 INTERIOR OF UNDER
TAKER'S. Artie enters; met by undertaker, a.
man .of mournful mien ; he asks Artie
what he can do for him, and Artie,
carefully setting down the prunes and
wreath, takes out his handkerchief,
dries his eyes and tells the undertaker
that ho is about to die, and so wishes
to bo measured for a coffin. The un
dertaker calls his auslBtnnt, a tall, slim
man, and starts measuring Artie with a
tape measure: he measures his height,
calls out the figures to his assistant,
who sets them down in a book; ho also
takes the width of Artie's shoulders;
both men are vbry solemn and the
general atmosphere of the place further
depresses Artie; his handkerchief is
much In evidence ; he sees some palms
on the wall.
SCENE 36 INTERIOR OF UNDER
TAKER'S. Close-up of tha palm on the wall.
SCENE 36 INTERIOR OF UNDER
TAKER'S. Artie signifies that he wants to buy
the palms; undertaker solemnly gives
them to htm and accepts a big bill In
payment; Artie indicates the kind of
coffin he would like to have, gives
undertaker a card with his name and
address and, taking up the prunes,
wreath and palms, exits; he still has
9 his handkerohlef in his hand and dries
his eyes with great dlffloulty.
SCENE 37 INTERIOR OF JANE'S LAB
ORATORY. ' Jane and Henrietta Btlll working
over tha animals; Jane this time has a
test tube, filled with a fluid, over the
burner, and Is watching Into a magni
fying glass; she is talking to Henri
etta, who takes notes from what Jane
says. ,
SCENE 38 STREET IN FRONT OF A
GARDEN.
Artie enters, sees the flowers and
thinks that they should be added to his
collection; he enters the garden and
- starts to pick flowers; he is still using
, his handkerchief.
SCENE 39 IN THE GARDEN.
Artie on his knees picking flowers;
he gets up, gathers everything Into his
arms and exits.
SUBTITLE THE LAST TOAST TO LIFE.
SCENE 40 EXTERIOn OF SALOON
NO. 3.
Artla enters, pauses in front of the
SOME DAY YOU MAY WRITE FOR THIS STUDIO
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If the Tnce aldo of the Triangle should hapjwn to buy
"fiKnt" Jn this trlass-roofed house where Frank Keeium
Arcadia, 4Jod.
sc nano from you one fine day, it will be rehearstd and
nose4 for "The Phantom," the film which coma to tM
saiodn and onters; he has a hard time
getting the door open, as his arms are
full of bundles.
SCENE 41 INTERIOR OF SALOON
NO. 2.
Artlo enters and seesMurphy, who Is
also rather drunk; they get together at
the bar; Artie buys Murphy a drink:
he nsks how Murphy's wife Is and
Murphy tells him that she's very bad;
Artie Is very solicitous; he forgets what
the prunes are for and gives them to
Murphy, saying,
SUBTITLE "IF YOUR WIFE IS ILL.
SHE MIGHT LIKE THIS DELICACY."
Murphy takes the prunes nnd thanks
him; as an afterthought, Artlo gives
him a few of the flowers ho has picked;
they finish their drinks and exit to
gether. SCENE 42 INTERIOR OF LABORA
TORY. Jane and Henrietta have finished
their examination of the animal and go
"back to tha table, where Jane finds the
note; she reads it, rushes to Henrietta
and shows It to her; they are both hor
rified; Jane takes off gloves and apron
and exits hurriedly, followed by Henri
etta. SCENE 43 EXTERIOR OF AnTIE'S
APARTMENT.
Artie and Murphy enter, both cry
Ing ; Murphy goes down and Artlo goes
up into tha apartment; Murphy now
has tha prunes.
SCENE 44 EXTERIOR OF JANE'S
HOUSE.
Jane and Henrietta enter from the
house and hurry to Ford, get in It,
and drive to exit
SCENE 45 INTERIOR OF ARTIE'S
ROOM.
Artie enters, pulls the couch out In
the centre of the room, a chair at tha
head of the couch, and puts candles on
It; ha lights them; ha goes Into his
bedroom, gets the spread off tha bed,,
putting this on the bottom of the
couch, with the wreaths and flowers
and palms on top of it. laying down on
tho couch; he pulls tha spread over
him and arranges the decorations on
top of the spread ; he clasps his hands,
makes, one last prayer, pulls the spread
over his face.
SCENE 46 EXTERIOR OF ARTIE'S
APARTMENT, nie.a
Jane and Henrietta enter Jn the
Ford; they Jump out quickly and exit
into the apartment; Henrietta carries
her medical case.
SCENE 47 INTERIOR OF ARTIE'S
APARTMENT.
Artie asleep on the couch; Jane and
Henrietta break Into, the room; Jane
looks wildly around for signs of Artie,
finds his hat and stick on the table and
knows that he la there; finally li dawns
upon her that Artie is on tha coucjit
everything looks as if hi were dead,
she goes Into hysterics, Henrietta has
taken hypodermic out of her case and
prepares to Inject it into Artie, when
she sees a movement under the snrend
she pulls back the spread, disclosing his
face and puts her head on hl chest
to detect any possible heart action.
SCENE 48 INTERIOR OF ARTIE'S
APARTMENT
Close-up of Artie he opens ona eye,
and sees the syrlnga and Henrietta,; ha
Is horror struck; tutrs his head, sees.
Jane, and sits up quickly
SCENE 49 INTERIOR OF ARTIE'S
APARTMENT
Artla ia just sitting up) ery sur
prised, he gets up from the couch a
little unsteadily, Henrietta realizes that
ha is Just filaln drunk, and Sticks her
nose -up in the air: Jaji b overjoy ej
to find Artla alive, ; sha rushes (o hint
And. puts her arms around him. and.
says ""Thin you didn't 4sat the pxunwV
Thi bring Artie ryaUsa o
How toPrcjiar
Character List and Ydl
' Scene Plot ,
By HARRY O. UOYT
Itmd of Metro .Scenario MasT.
As an nddendum to tho scries of I
now coming to a cloeo In the
Ledobr and. supplementing the
scenario printed herewith, It is well to tjti
a few words relative to the cast ana
sceno plot Tli pro are vital carta of eve
uelt-wrltten script In submitting cen
rlos for the contest It Is absolutely n
snry that n cast of characters nlid ft Men
plot accompany every script
In drawing up your scenario jrt yttM
cast or characters on a cage by tRetneelvaav i
or two pages, as tho case may be. Jt'tt
rarely that you will have two page of
characters, and If. you find that you have,
you can bo reasonably certain that your '
plot Is rambling and disconnected .and un
interesting. It Is Impossible to keep
large number of characters straight In the
space of 6000 feet of film. Your action
should be centred on as few people a
possible.
Perhaps tho best form for drawing u
your cast Is as follows: In tho centre of
the pago write tho word "Cast" Beneath
It drop several spaces, and at' tho left hand
margin write the name of your principal
malo character in capitals. A few" dots '
(...,) or dashes ( the
follow the name, and then give a brief
dcscrlptlqn of tho characteristics of the per
son described. It is well to designate your,
hero as the hero; for example,
JOHN JONES the hero, about 25 7ars old, tha' '
Starr. (A society Iesd, rather than a country i
leaa.
With your other characters you can fol
low tho same general plan. You will prob
ably find that John has a mother who Jm
little to do. You do not need to cast haj
Your action may very likely centre on
men with one glrL and perhaps wii
fairly strong character part for an eld
man. Cast the three men and the
Then drop a few spaces, and then, in
miaaie oi mo page, put "MINUK C
ACTERS." Cast two or three of tho mim
characters who have most to do, and pui
the others in as "maids, servants, polio
men, society people, eto." Perhaps some 01
tho maids have a little more to do tha:
others, but they do not need a separata'
cast For the sake of those who like tto
go Into detail, another method of casting
can uo suggested, case your principal
characters as nboe. When It comes to the
minor characters put everybody that ap
pears In the picture on a suparato line, and
after them put tho scenes In which they
appear. Tho director can then readily pick
out tha minor characters who are of most
Importance and he will be able to know
Just what provision to maKe ror his extra
-people who will take care of the balance
of tho cast.
When you come to the scene plot It Is
well to close up them under exteriors an
Interiors. Taking your exteriors, we will
say that sceno No. 1 Is a, park. This same'-' f
park Bcene Is shown in Scenes Nos. 3, s,
11 and 17. Write down a park, after it
dash ( ) and figure one (1). Another
dash arid figure 3. Another dash and figure
9 and so on, indicating the scenes whtah
take place in that park! If you have two
or three close-ups in a. park scene, they all
become part of tho whole scene. We w'lll
suppose that Scene No. 11 Is a wide angle
view of a park bench. John and Mary
are seated on the bench. James enters,
John Is surprised to seo him. We will jret
a close-up of John. That Is Scene No. 12..
Now we will get a close-up of Mary, who
realizes that John must be surprised to see
Jim. This Is Scene No. 13. Wo nqw com
back to the full view, which Is Seen
No. 14.
In making up your scene plot you wonM
write : , ,
A PARK BENCH 11 12 IS 14.
Such close-ups are all part of whole gen
eral location. List all -your separate loca
tions this way and then list your interior
sets in the samo fashion, 1. e.i
A HALL 5 671828 142. etc.
These instructions are brief, but abso
lutely necessary for all writers to abserai
In submitting manuscripts for the Evenino
Ledohr's competition.
f
I
sr
I would advise all scenario writers t
visit a studio as frequently as possible and
watch the pictures as they are being mads.
He will see a thousand and ona little thing
which have been passed by in this series,
because it is almost Impossible to explain
and make clear all the matters that are
each In themselves of Infinitesimal Im
portance, but which in the aggregate count
for much. It is only by coming to know
the camera thoroughly that you can write
for it thoroughly,
Many a poor script Js sold because It fit
the production needs of the company t
which It Is submitted, and the contrary
holds true.
I get many inquiries from writers asking
how they can know what tho different man
ufacturers want There are two ways of
knowing. The best is tp subscribe to soma
good trade journal which gives the synopsl
and advance notices of photoplays produced
by the various manufacturing companies.
The second way Is to watch, the screen.
See all the pictures you can. Tabulat
them If necessary. By so doing you will
realise that the program productions or
one, two and three-reel subjects. Hence,
you have a market for your one, two an
three-reel photodraraas with tha program
companies.
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