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 Rapids, Michigan, Chicago, and even New York, I have heard it. When a character falls into the water, as at least ten of them invariably do, the pianist may vary the monotony of the melody by sitting on the piano or upsetting a chair. In one theatre I have known him to cause glass to be shattered behind the screen. How Marinetti would like that!

However, the day of this sort of thing is rapidly approaching its conclusion, I venture to prophesy. A few of the firms are already issuing arranged music scores for their productions. I might note in passing the score which accompanied Geraldine Farrar's screen performance of Carmen, largely selected from the music of Bizet's opera, and Victor Herbert's original score for The Fall of a Nation, a score which does not take full advantage of the new technique of the cinema drama. It will not be long before an enterprising director engages an enterprising musician to compose music for a picture. For the same reason that d'Annunzio, very early in the career of the moving-picture, wrote a scenario for a film, I should not be surprised to learn that Richard Strauss was under contract to construct an accompaniment to a screened drama. It will be very loud music and it will require a band of one hundred and forty-three men to interpret it.