Then the Good Fairy of the Snows who all this time has been dreaming in the silver crescent of the moon, looking for all the world like the charming lady of the _Cascarets_ ads, is given a tip that the children have finished their _Snow-man_. So it is time for her to wake up and come out of the moon. From her stellar heights, by means of a clumsy iron apparatus, she is lowered to earth. Sadly crude it all was, but it thrilled the fans of the day, nevertheless. With her magic wand the Good Fairy touches the _Snow-man_ and he comes to life. Predatory Pete now comes along, sees Mr. _Snow-man_, and feeling rather jolly from the consumption of bottled goods, he puts his pipe in the _Snow-man’s_ mouth, and when he sees the _Snow-man_ calmly puff it, in great fright he rushes off the scene, dropping his bottle, the contents of which the _Snow-man_ drains. In the resultant intoxication the _Snow-man_ finds his way into the schoolhouse. Finding the schoolhouse too warm, he throws the stove out of the window. Then he throws himself out of the window and lies down in the snow to “sleep it off.” When the children return the following morning, the _Snow-man_, who is still sleeping, frightens them almost into convulsions. Then the picture really got started--the “chase” began. Sufficiently primitive it was, to have been the first “chase”; but it wasn’t--for almost at the movie’s inception the chase was a part of them. This _Snow-man_ chase takes place in front of a stationary back-drop, that pictures a snowdrift. The actors standing off-stage ready for the excitement, come on through the sawdust snow, kicking it up in clouds, eating it, choking on it, hair, eyes, and throat getting full of it. Back and forth against this one “drop,” the actors chase. On one run across, a prop tree would be set up. Then as the actors were supposed to have run some hundred yards at least, on the next time across, the prop tree would be taken away and a big _papier maché_ rock put in its place. That scene being photographed, the rock would give way to a telegraph pole, and so on until half a dozen chases had been staged before the one “drop.” * * * * * Thus far advanced, artistically and otherwise, was the motion picture this spring of 1908 when “Lawrence” Griffith found himself astride a horse, taking the air in the wide stretches of Coytesville, New Jersey, and getting five dollars to boot. Also found himself so exhilarated, mentally and otherwise, that in the evening he turned author, not of poorly paid poems, but of the more profitable movies. Wrote a number which he sold for fifteen dollars each, a very decent price considering that this sort of authorship meant a spot-cash transaction.