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Sound design process

Lea with the help of Susan (and Ethan for shot stabilisation I believe) did an incredible job considering the material we had shot and managed to salvage the project into a not too embarrassing film. Lea was very good as someone to work with, she would show her progress daily and did listen and implement what the team decided during online meetings.

Lea mostly laid down a lot of the sound design ideas in the edit (the clock, the gun shots etc…), I for the most part just had to polish what was there and enhance some of it.

During the sound design process, Ethan and Rebecca gave me a lot of interesting notes and feedback while I was doing the sound edit which were very useful.

I tried to implement the original sound concept into the edit, with the domestic scenes being oppressive, but as noted during the crit, it maybe doesn't render well, especially considering up to that point no conflict has been established for the character. The last scene also does this with the wind and the sound of the buzzing light.

The flashbacks are very brief and make use of gunshots and more internal sounds such as breathing and heartbeats.

The film also plays with rising moments of loudness to try render Felix’s in turmoil, in the kitchen when he’s tempted to check the police file as he thinks it might be his friend from way back, the kettle sound rises into a low droning. When he’s left in the room to ponder on what he’s done, the clock (and the edit) becomes louder. At the end, when Berkley confronts Felix, a tram can be heard passing by.

For the music, all pieces were written and composed by Archie Lund. Although quite different from what I envisioned for the music, his tracks work very well as along with Lea's editing, is one of the highlights of this production.

Because the edit did away with a scene, I had less time to put all the themes into the music. I decided to do away with the love theme. So we just use the different character themes/leitmotif. The film starts with Felix’s theme as it’s his memories. Then Berkley’s theme is introduced when he sees the picture of him. Then during the argument, Archie’s theme is introduced, as Felix is being pulled in Archie’s direction, but Felix’s theme comes back when he makes a decision.

At the end, Felix’s theme comes back when it is made clear he’s done something, but then turns into Archie’s theme as he confirms to Berkley he doesn’t want to run with him, instead wanting to stay with Archie.

I think the music works well although a bit melodramatic as it’s not supporting a well-established conflict, just pretending there is one.

I don't think my sound design is exceptional, but it's decent for the amount of time I had and what this movie deserves.

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Thoughts on the shoot

The minimal pre-prod

I don't think the shoot was planned out. There seemed to be a lot of tension on set, and communication seemed pretty poor. Except for Marcin and April, no one knew of the shot list or even part of the shot list days before the shoot. I’ve still yet to see any complete shot list or storyboards. Rebecca’s opinion seemed to be discarded at every turn in the creative process.

The shoot was quite rushed, Ethan did not get the shotlist early enough to be able to do a proper production schedule.

Because of the dates being settled last minute, I didn’t have enough time to request time off from work and therefore missed the first day of shooting as well as the end of the second day.

I stepped in to help Ethan complete the props that were needed for the film as I don’t think we would have gotten what was needed. Also because of how shallow the characters are, no one really knew what the box of trinkets from the past should have in it beyond a photo, and it didn’t seem to matter. Although maybe a minor thing, if the writer can’t tell me what the character has kept secret in a little box for 10 years, he probably doesn’t know his character very well. It’s just a wasted opportunity to do some background storytelling and to give meaning to what the actor is interacting within the scene.

Day 1: I wasn't there

I was at work, Emma Leaks took over for sound, she did a very good job.

Day 2: I was partly there

I had to leave early again due to my work schedule.

I didn’t really like the cinematography. I thought the frame was much too wide for the tight space we were shooting in, resulting in huge sections of the frame (sometimes more than 50%) having no purpose. Moreover, some shots resulted in the actor's head being cut off frame. The Film seemed underlit, the brightest spot in the frame (i.e. what people usually pay attention to the most) was often a random wall to the side of the frame. We also had zero coverage.

I did voice some of my concerns and other members of the crew echoed them, but they were ignored. My role was sound so I didn’t insist too much either.

Day 3: Probably the worst day

The DOP forwent the production schedule, and we wasted a lot of time deciding where and how to place the camera for the corridor shot.

The atmosphere on set was very poor on this day, nothing seemed very planned out and they were obvious disagreements between cast members about decisions that should have been figured out before the shoot.

Me and Ethan, seeing how we had no coverage decided to add some close-up pickups shoots to help the editor. We added the shot of the box on the bed, the shot of the pictures getting displayed on the bed and the tying of the shoe laces — all shots that although not incredible found themselves useful for the edit.

Day 4: The best day

This day was more chill, Marcin had left and April was too sick to work. What we call the 2nd Unit (Rebecca, Ethan, Flow and Me) shot what was left of the flashback projection and also did some last-minute ECU pick-ups to alleviate the poor coverage from the days before.

Overall everything was last minute, the script was getting worked on a few days before the shoot, the shotlist was supposedly getting decided on the day before and me and Ethan were scrambling to get the props after the shoot had already started. I don't think we did a very good job and compositionwise and coverage-wise, this film has in my opinion the worst cinematography of any project I've been on.

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This is a second annotated script I did for planning out the sound design and music of the film

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This is a script breakdown I did to try to anticipate the props and costumes needed for the film

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These are the sound and music ideas from the production dossier

SOUND DESIGN

The sound will have two different soundscapes depending on the period.

THE PAST

The sounds of the past will be highly manufactured. Every sound will be its own close-up, every sound occupies the full soundscape, one by one, after another. Specific sounds will be broken down into their component parts (e.g. a gun shooting = the hammer hitting the bullet, the explosion in the barrel, the bullet whistling out of the muzzle, the bullet impacting on the target and the wall behind it etc…).

The aim is to showcase only the sounds that the character remembers rather than a realistic soundscape. Moreover, the voice of the characters will also be clean booming dialogue, with no sound space around it.

PRESENT

The present will feature a more naturalistic and cold soundscape.

The voices of the characters will also be less booming, with greater sound space and a strong presence of the environment – the aim is to make the characters sound distant to one-another with the sound world seeping and overpowering their voices at times.

The soundscape will feature a strong presence of the environment and many layers of off-screen sounds.:

Flat: Running tap of the sink, neighbours' voices, cars from the street, buzzing of the fridge, kettle whistling.

Street: Buzzing of the street light, distant traffic rumbling, a tram or train passing by, the wind – distortion due to the characters being in a tunnel.

The aim is to evoke the paranoia the characters feel and emulate as if they have a bug with them, a microphone that takes all the surrounding sounds.

MUSIC

The entirety of the score will go back and forth from the C major Key to the A minor key to evoke a sense of nostalgia (Happy and Sad).

Several Leitmotifs will be constructed to signify different characters/ideas: Berkeley’s theme, Archie’s theme, Felix’s theme, and Love theme. Death will also be signified using the Dies Irae Gregorian chant motif (i.e. The Shining’s opening theme).

Archie and the Police will use the Phrygian scale to give a darker, sombre sound. The police will be more like a presence than a fully developed theme and will be in the shape of an ostinato (i.e. short repeating pattern) or a single repeating note.

Felix’s theme is playful and simple, using major intervals (3rd, 5th). Archie is more sombre, using the Phrygian mode and chromaticism. Berkeley’s theme is a construct of the other themes.

The love theme will feature greater intervals between the notes and aim to rotate between three keys (transitioning using the third intervals), as to have a circulating motion: 1st Key (Major) → 2nd Key (Minor) → 3rd Key (Minor) → 1st Key (Minor) → etc…

Moreover, the score will start with classical instruments (e.g. violins, piano) and progressively incorporate more and more synth sounds. This evolution is to try and mirror the theme of the characters moving on with their times.

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16 03 2024 Meeting

Pre meeting notes about t he script

Elements of the script that are too vague: Write what the 'police chatter' is, specify on 'the cries of someone pleading for help.

I don't think the cigarettes are gonna look realistic — check videos of the type of cigarettes you’ve got

How are we gonna do the wind that keeps blowing th'e flame of the lighter?

Headings are really confusing, which is intercut and which is a new scene/time/place In your script the kettle boils in less than 30 seconds, is that realistic? — make him get sugar instead

I also attempted to do some themes using Reaper for each of the characters as everyone knew we would want to score the movie.

I also did a prerendering of how the flashback sequence would sound

Meeting Notes

Start classical at the beginning, then as they deal with the past and move on, add synths to complement the characters moving into their modern lives. People wanted the score to build up progressively with more and more layers of sounds and beats.

People express want for modern-sounding synths, but provide a lot of 80s retro examples. Make the score sound mostly sad and melancholic (maybe alternate between Major and Minor keys if possible)

Examples of songs provided by people:

Blade runner end titles: https://www.youtube.com/watch?v=OP63BRzKmB0

‘Smalltown Boy’ by Bronski Beats: https://www.youtube.com/watch?v=E5i2Wa7daDA

Resident Evil 4 Soundtrack: Serenity https://www.youtube.com/watch?v=qBfsAUFifOo

‘Blue Moon’ by Moby https://www.youtube.com/watch?v=ghC2THURX3k

‘I Did It Just The Same’ by Eurythmics https://www.youtube.com/watch?v=JKZdjmwvTVg

Lea also gave me the contact details of a friend of hers in the music course to do the score.

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26 02 2024 Sound and transition annotations

This is an annotated script in which I tried to put a plan for the sound and also editing that could be used for the film

Because I thought nostalgia was still the main subject of the film, my main idea was to have Felix slowly drift into flashbacks only to hard-cut right back to reality.

The sound ideas are the same as what was said in the presentation, with two different styles to distinguish between present and past

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04 03 2024 Script Notes by Guenole

These are notes I've made for one of the drafts

If you have a prelude montage, you don’t really need to show everyday scenes anymore

What’s the character’s goal in the scene? Why is Felix cooking for Archie? What does Archie take from the fridge?

I still don’t like that Archie just happens to notice the picture — I think he should know it existed before.

‘He realises who it is’ is not filmable, describe how Felix reacts

The set-up is a bit convoluted in that they both happen to randomly look into each other’s stuff to find the picture

Archie showing the file again reiterates information the audience already has.

Felix doesn’t defend himself enough, he just gives in ‘I supposed you want me to tell you where he is’ — also Felix answers questions before Archie even poses them. I don't get a sense of what the character wants, his actions happen for the plot to happen rather than proper character motivations

Last line of Archie is meh — he should say to Archie something that convinces Felix to help him e.g. ‘You have a good life, don’t ruin it for some lad you haven’t seen in 10 years’

What does ‘echoes of the past amplify’ mean? — Write what you see

Show more explicitly Felix going into contacts and selecting ‘Archie’ on the phone so that the audience knows what he's doing, not just calling his mum.

We can’t have a lighter and cigarettes

What does Felix and Berkley want from this interaction?

What’s the conflict? ‘You haven’t changed much’ is opposite to what the film is trying to be about

Is Berkley doing well?! What's his life like for someone on the run??

The present dialogue reiterates stuff that happens in the flashbacks

‘No, but time changes us all’ is too on the nose, the action not the dialogue should explain the theme, the dialogue is arguments about the theme — why do we change? what forced these two people to change?

Felix seems too chill to express trauma, either he avoids it or he’s entirely in it, with all the details still flashing through his mind.

‘Because I can’t escape it, even if we got away’ sounds too cheesy

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10 Years After -- 06 02 2024 meeting notes

The are a my notes of the story following both a team meeting and a tutorial on tuesday 06 02 2024

Purple = suggestion of stuff added by me after the meetings

 Logline:

After noticing the return from his ex-lover and partner in burglary Berkley, Felix decides to find him and save him before the police catch him.

Synopsis established during the meeting:

Felix is living with his partner Archie. Archie, a police officer/detective, tells Felix about a robbery that just occurred and how he and his team are closing up on the suspect. Seeing the robbery’s distinct signature (or a clue), Felix realises his ex-lover/partner-in-crime Burkely is back in town. Felix disappears from the flat in the middle of the night.

Make this relationship with Archie not all roses → makes Felix choosing Archie over Berckley a less one-sided decision.

One source of friction between the two is Archie’s job – e.g. if he doesn’t manage to crack this case (i.e. Berkley Burglar), he’ll probably get demoted and back to being a uniform cop, which will also affect his pay and quality of life with Felix.

This would make it more Felix’s choice, which man in his life does he choose, i.e. which life: A safe boring life of righteousness with Archie, or a free and thrilling life of crime and danger with Berkley.

Felix goes to warn his ex-partner Berkley. Felix finds Berkley. At first, talking to his former lover feels very free, but as the conversation continues, he realises the immorality of thieving and the romantic vision of their old lifestyle starts to fade.

Felix knows deep down he’s a criminal, and Archie has never been able to even see that. Felix finds life with Archie a bit boring and mundane. Felix feels a deep sense of freedom and connection with Berkley and finds the life of a burglar and outlaw much more thrilling.

Berkeley misinterprets Felix’s concern as affection and a desire for the two to get together again. Berkeley still has a lot of nostalgia for the past. He’s never been able to move on from burglary or Felix. He does these burglaries to get Felix’s attention.

Felix realises his impression of a burglar’s life is seen through rose-tinted glasses, they’re not Robin Hood, they’re petty thieves stealing from the needy (Berkley steels from charity funds, corner stores).

Memory is Ocean’s Eleven, reality is the guy who killed Peter Parker’s Uncle.

Unknowingly to Berkley, his last burglary resulted in someone dying – Felix having learned that from Archie reveals this to Berkley at some point.

Other: Ethan had a scene of Felix running in the past, but I didn’t understand it enough to know how it fits.

Notes from the tutorial:

Joe Li highlighted in the OG story, the characters in the past still haven’t done any life choice, they’re blank slates.

Joe Li not OK with an appointment in 10 years, but seemed OK with both gone into hiding which prevented them from communicating and Felix noticing his partner in crime is back as inciting incident.

Joe Li likes the theme of loyalty – either loyal to Archie (he thought they were cop partners, but the dynamic can still be present), or loyal to his older friend: Berkeley.

Joe Li liked twisty plots and reversals: The audience thinks Archie is there to sell/catch Berkely only to reveal he’s in fact betraying Archie and saving Berkley.

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The Busy Alzheimer Broker - Synopsis and Other Elements

This is the synopsis for a probably discarded adaptation of The Busy Broker with an Emphasis on Alzheimer’s disease.

This direction for the story came during a meeting and was propositioned by Lea, the team thought about re-orienting the broker story with an emphasis on him forgetting. Although played light-heartedly in the original story, the team thought that anyone who forgets they got married the day before probably has a serious condition. With this shift towards Alzheimer's came the decision to shift the POV to that of Miss. Leslie as Harvey wouldn’t have much context and a consistent want across his phases of short-term memory.

Having attempted to write and ‘Alzheimer Story’ before, I have already conducted a decent amount of research on the symptoms and how a person with said condition acts. The main source of inspiration & knowledge is the book Keeper by Andrea Gillies.

A less developed version of this story was the one shown to Mena during Week 3 tutorials.

Logline:

An old Miss. Leslie tries to re-flame the love her Alzheimer's husband has for her before he forgets he ever loved her, only to find out he’s already a different person.

Thematic argument:

The thematic argument so far would be that: To truly love another is not to expect them to love you back, but to be the person they need.

Plot:

Harvey’s memories are those from 20 years ago when he and Miss. Leslie first started their relationship. The implied scene of the past, which is them meeting, would more or less be what the original ‘Romance of the Busy Broker’ story is. The plot of the film would be Miss. Leslie trying to relive this scene again by tricking Harvey over and over into asking her out. Conflict arises when she tries making him somebody different, moulding him into what he was. By the end, Miss Leslie realises that he’s not that man anymore. Her arc would be to reconsider her relationship to him, not as a lover, but as a career for the former man she loved.

Cinematic techniques to be used:

Set design:

The set design will evolve throughout the film to slowly change the environment from his office (i.e. his fantasy), to reveal he’s in fact in a care home.

Editing:

The editing will sometimes emphasise Harvey’s POV, in which the transition to different moments isn’t made obvious or vice-versa the feeling of entering a scene without context as his short-term memory resets. This can be done by introducing editing tropes of scene transitions and of time passing (e.g. intercuts of clocks or wide-shots, match cuts) when in actuality no time has passed.

Vice-versa, scene changes will be suggested through the wardrobe, as seen in In the Mood for Love, in which a discussion scene at a restaurant spans over multiple meetings and days as the characters change clothes from shot to shot – the dialogue is continuous and doesn’t suggest each line belonging to a different moment.

The later techniques would also subtly undermine the causal narrative. Because a narrative has to come from character action to be somewhat fulfilling, the outcome of the story should come from the actions of the character, because the goal of the protagonist is to manage the mental state of Harvey, his state has to be somewhat the outcome of what Miss. Leslie does this throughout. However, the disease doesn’t work like this, patients' memories waver from day to day without any causal relations from how people interact with them. Therefore, having reactions subtly delinked from the action of a character in the previous shot would subtly manage to not undermine both the effects of the disease or the causality of the perceived narration.

Costumes and props:

Wardrobe:

As mentioned above, characters would constantly subtly change clothes to mark this scene spanning multiple days and Harvey’s reaction being in actuality non-related to Miss. Leslie’s action. Having an ever-changing wardrobe would also make it easier to emphasis certain colours with moments happening in the story (i.e. when they fight, more red. When they’re sad, more blue etc…)

Ring:

Miss. Leslie would be seen with a ring on her finger that she would show whenever Harvey asks her out and she reminds him they’re married. However, at the very end of the film, she would be wearing this ring around her neck, signifying her grief over what used to be her husband.

Body doubles: The pairing of young and old actors would sell the characters living in a fantasy. Harvey is the constant fantasy that he’s still at the office. But Miss. Leslie is also in the fantasy that Harvey is the man from 20 years ago, and that she’s still his lover.

Synopsis:

Here is a not well-refined synopsis. The synopsis has the problem of wanting to hide information from the viewer, but not giving enough information to them to grab onto the scene.

Still unsettled from moving into his new office, Harvey is already hard at work on his table. Miss. Leslie, his assistant is anxious to make sure he likes the space.

She pops back in his office multiple times, always trying to get him to take a break and engage in conversation, but Harvey is absorbed in work and either asks for reports or to not disturb him while he’s working.

Later, she re-enters the office with a report but he’s forgotten what report it is. She complains he doesn’t have even a little bit of time for her, he’s always busy working.

Maxwell notices how distressed she is and attempts to comfort her (by making her laugh?). They discuss her problems (‘Someone very close to me is very sick’) and Harvey decides to take a break to ask Miss. Leslie out. She’s moved to tears and shows him the ring on his finger, he’s already married to her. He tells her to take a break and go for coffee, to go fetch her hat.

(Fake transition? intercut of cutaway suggesting time has passed – e.g. a clock)

She gives him his hat, but he doesn’t understand why. He’s busy working, he tells her, no time to do anything else. Miss. Leslie sits, saddened. He then notices she’s sad and asks her again what’s wrong to comfort her. She says she loves him and asks him to get married but he tells her he’s too busy for that and that they’re not well acquainted yet.

She re-enters the room, he tells her to be quiet he’s working. She plays along with the fantasy, and tries prompting him to ask her out again by talking about his relations – Harvey can’t recall many people which makes him frustrated, he tells her to stop asking her questions, he’s got work to do.

(She’s waiting behind the door whispering to herself, waiting for his short-term memory to reset. Her whispers are about drilling into herself what subject she shouldn’t approach else he’ll panic, and trying to find what to do, which subject of discussion may lead Harvey into proposing to her again)

She re-enters the room asking about his new office. She tries helping him with his work but can see that Harvey himself doesn’t really know what he’s doing, all he knows is that he is busy. Her interest makes him nervous and he tells her to leave him alone as he’s got work to do for ‘Him’

She re-enters the room asking him about his new office, he tells her it’s not his office, and that he doesn’t like the place one bit. He feels betrayed by her, saying she had no right to move his office here. Miss Leslie is getting more and more distressed by his reactions.

She re-enters the room and tries flirting with him, but is too pushy which backfires hugely as he insults her, telling her she’s a whore in the office, and that all the ‘others’ and ‘him’ are on her all the time. She fights back by exposing his condition, trying to get him to name certain object(s) – he doesn’t know the names but refuses to concede. He resolves to louder insults.

Furious she leaves the room slamming the door. She re-enters shaking. Harvey is still upset and refuses to talk to her. She exposes to him that he doesn’t know the reason why. He freaks out and starts throwing objects around the room.

She leaves the room with her bag and coat. She paces out of the building but folds down to cry, unable to take another step. She gets a coffee and checks her nerves.

She re-enters the care room, masking tears with a smile. He’s still angry, she distracts him by telling him it’s his (or her) birthday and that they are arguing because they forgot due to overworking. Harvey consoles her and asks her out again.

She doesn’t respond.

He sees himself that something is terribly wrong, and knows it to be with him. She kindly tells him about his condition. He tells the story about his uncle, how although he had the memories of his teenage years, Harvey’s dad told him he was nothing like his brother. His mind resets and he comforts her again before asking her out. She refuses his demand, tells him she can’t be his wife, she can only assist him now. He agrees, he has a lot of work to get on with.

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Busy Broker Story (Discarded) -- Rough Outline & Character Bios

This is the rough but detailed outline for the now-discarded story about the busy broker who can' find the time to tell his secretary he loves her.

The main issue with this story is that the obstacles have little to do with the relationship between Miss. Leslie & Harvey Maxwell (the protagonist). The only source of conflict was external (i.e. work getting in the way of them) and I wasn’t able to find any interesting conflict between the two characters that would keep the twist intact (i.e. the only element I’d up to that point kept from the original O. Henry Story).

Also included are character bios for each of the characters. Each character is supposed to offer a different philosophy regarding their relation to work

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O. Henry Adaptation — other ideas

A Lickpenny Lover: A rich man tries to impress a poor girl but fails as she believes him to be a lying poor man.

The Ransom of Red Chief (sad version): Make the focus on a kid that no one loves, even his parents are glad he gets kidnapped.

Gift of the magi (Depression version): Two poor individuals attempt to end their suffering, both their methods conflict and they end up alive again.

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Adaptation Idea: Romance of a Busy Broker

Logline:

A forgetful and Busy office worker tries to find the time to tell his love for his kind secretary before the end of her final day at work.

Synopsis:

Harvey Maxwell, a busy office worker wants to profess his love to Miss Leslie, his secretary. Once arriving at the office, he finds out today is her last day and decides it’s now or never to ask her to marry him, but then discovers he doesn’t have the ring. He goes to look for it in his office but then gets distracted by piles of work. It’s only after Pitcher (his colleague) comes with some doughnuts that he snaps out of it and remembers to check with the Janitor. This leads him to a dead end and so Harvey decides to do without the ring. He comes back for lunch and is about to ask Miss Leslie to eat with him, but then gets snatched into a meeting. Hours later he emerges only to find out he still can’t speak to Miss Leslie because he has a client and a report to complete. He finishes the report but then, having run out of time before the end of Miss Leslie's shift, decides to shorten the meeting with the client. He manages to catch up with Miss Leslie before she leaves and asks her out — she shows him the ring on her finger he gave her yesterday.

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O. Henry Reading list

I've read 100 Hundred O. Henry stories over the past week. The aim was to get a good understanding of the themes and tropes present in his writing and also to find stories to adapt beyond the most popular ones (And also to show-off with a pretty number).

Reading list (In order of reading):

20 Years

Hearts & Minds

The Cops & the Anthem

The Ransom of the Red Chief

The Caliph, Cupid & the clock

Mammon & the Archer

A retrieved Reformation

The furnished Room

The Count & the Wedding Guest

Hearts & Crosses

The Romance of a Busy Broker

American Stories

A municipality Report

A Man About Town

A Cosmopolite in a Cafe

The Last Leaf

A Service of Love

Tobin's Palm

Springtime a la Cart

By Courier

The Coming Out of Maggie

The Cactus

Girl

One Dollar's Worth

Witches Loaves

Between Rounds

The Skylight Room

An Adjustment of Nature

Memoirs of a Yellow Dog

The Love Philtre

The Green Door

From the Cabby's Seat

An Unfinished Story

Sisters of the Golden Circle

Lost on a Dress Parade

The Brief Debut of Tildy

The Poet & the Peasant

Babes in the Jungle

A Ramble in Aphasia

Proof of the Pudding

Conscience in Art

Transcient in Arcadia

The Robe of Peace

The Duel

Innocents of Broadway

The Princess & the Puma

The Badge of the Policeman O'Roon

The Girl & the Graft

Psyche & the Psyscraper

A lickpenny Lover

The Third Ingredient

The Purple Dress

The Roads We Take

Make the World Kin

Brick Dust Row

A Strange Story

The Trimmed Lamp

A Call Loan

The Pendulum

Two Thanksgiving Day Gentlemen

The Guilty Party

The Detective Detector

A Little Talk About Mobs

Suite Home & their Romance

A Sacrifice Hit

A Newspaper Story

Two Recalls

Tommy's Burglar

An Odd Character

A Houston Romance

The Legend of San Jacinto

The Pink Flask

A New Microbe

Whiskey did it

Nothing New Under the Sun

The Barber Talks

Did you See the Circus

A Story for Men

How he got in the Swin

When the Train Comes in

The Girl & the Habbit

What You Want

While the Auto Waits

The Prisoner of Zambla

The Clairon Call

Aristocracy vs. Hash

Lord Oakhurst's Curse

The Rathskeller & the Rose

The Marry Month of May

The Social Triangle

A Midsummer Night's Dream

The Duplicity of Hargraves

According to their lights

Fickle Fortune: How Gladys Hustled

The Voice of the City

Newspaper Poets

The Snow

How Willie Saved Father

In Mezzotint

The Mirage on the Frio