To anybody not used to scenarios this looks a large order.
Eighteen years seems difficult to put on the screen. In
reality this is exactly where the trained movie man sees
his chance. Here he can put in anything and everything
that he likes, bringing in, in a slightly mediaeval form,
all his favourite movie scenes.

   Thus, for example, here we have first the good old midnight
cabaret supper scene—thinly disguised as the court of
the King of Sardinia. To turn a cabaret into a court the
movie men merely exchange their Fifth Avenue evening
dress for short coats and knee breeches, heavily wadded
and quilted, and wear large wigs. Quilted pants and wigs
register courtiers, the courtiers of anybody—Charlemagne,
Queen Elizabeth, Peter the Great, Louis Quatorze, anybody
and everybody who ever had courtiers. Just as men with
bare legs mean Romans, men in pea-jackets mean detectives,
and young men drunk in evening dress Harvard graduates.

   The ladies at the court of Sardinia wear huge paper frills
round their necks. Otherwise it is the cabaret scene with
the familiar little tables, and the ukaleles going like
mad in one corner, and black sarsaparilla being poured
foaming into the glasses.

   In this scene Columbus moves up and down, twirling his
little globe and looking appealingly in their faces. All
laugh at him. His part is just the same as that of the
poor little girl trying to sell up-state violets in the
midnight cabaret.

   The Court of Sardinia fades and the film shows Columbus
vainly soliciting financial aid from Lorenzo the
Magnificent.

   Stop one minute, please.

   LORENZO THE MAGNIFICENT… Mr. L. Evans

   This scene again is old and familiar. It is the well-known

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