Along the sides of this open space that the camera will photograph are ranged the bright white carbon lights and the bluish-green vacuum lights that illumine the scene. Overhead, suspended by heavy chains from tracks that traverse the ceiling of the great stage, are more lights; white carbon “dome” lights, and additional bluish-green Cooper-Hewitt “overhead banks.” [Illustration: _Courtesy Brown Bros._ HOW A MOTION PICTURE INTERIOR IS MADE. A mass of complicated paraphernalia is necessary to light and equip a motion-picture stage. The tall lights with the lines across them are the “Cooper-Hewitts,” or vacuum lights, called “banks.” The smaller square lights are the white arc-lights or “Kliegs.” The snake-like cables on the floor carry the electricity.] [Illustration: _Courtesy W. W. Hodkinson Corporation._ ENGINE TROUBLE ON A DAKOTA PRAIRIE. To get the scenes shown in this story of a transcontinental tour the motion-picture company travelled almost across the continent.] [Illustration: _Courtesy Goldwyn Pictures Corporation._ WHEN THE HERO IS THE CAPTAIN OF A STEAM SHOVEL. Note how the reflectors, seen at the bottom of the picture, are tilted down to throw the light up into the face of the engineer, while the camera is raised to the right place on a platform.] Thin bluish smoke, like vapor, curls outward and upward from most of the white carbon lights. They give off a good deal of heat. A couple of spot-lights like those used in theaters are situated on scaffolding higher than a man’s head, behind the cameras to left and to right, with an attendant in charge of each. In the bright glare the faces of all who are not “made up” with grease paint and powder look greenish yellow. All color values are distorted. Tan-colored shoes look green. A scene has just been taken. The assistant director turns to an electrician. “Kill ’em!” he says. The electrician goes to the different lights, pulling switches to “cut ’em off.” In a moment only one of the bluish-green “double banks” is left to serve as a working light. This is to save electricity, of which the array of lights takes an enormous amount. The scene that has been taken is, we will say, of an old-fashioned New England sitting room. In the center is a marble-topped table. In a far corner is a “what-not,” with marble shelves. There is a bookcase against one of the walls, and old prints and lithographs are hung here and there. In one place is a needlework “sampler,” with a design and motto. The director is talking with the two actresses who were in the scene. They are in costumes of the Civil War period, with flounces and hoopskirts. They are supposed to be sisters. Suddenly the director decides to take the scene over again. He has thought of a bit of more effective action that will get the point he is trying to make in the story over more effectively. “We’ll shoot it again,” he says. “Let’s run through it once more first.”