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"The Birth of a Nation" 253 rich. However, it probably didn't make Mr. Griffith so very unhappy, for so far he has seemingly got more satis- faction out of the art of picture making than out of the dollars the pictures bring. Had the Epoch Company not sold State Rights on the picture when they did, Tom Dixon's interest would have been fabulous. But as the State Rights' privilege was not for life, only for a term of years, now soon expiring, or perhaps expired now, and as up to date the picture has brought in fifteen million dollars, it seems as though there's nothing much to be unhappy about for any of those con- cerned. One of the State Rights buyers who took a sporting chance on the picture was Louis B. Mayer, who had begun his movie career with a nickelodeon in some place like East or South Boston, borrowing his chairs from an undertaker when they weren't being used for a funeral. Mr. Mayer managed to scrape together enough money to buy the State Rights for New England and he cleaned up a small fortune on the deal after the owners had figured they had skimmed all the cream off Boston and other New England cities. Oh, well, what's money anyway? A little while and we all will rest in good old mother earth, and if we're lucky perhaps pink and white daisies may nod in the soft spring breezes overhead. Or we may be grand and have a mausoleum, or a shining shaft of stone, or a huge boulder to mark our spot, or perhaps we may just rest in a neat little urn—a handful of ashes. And what then of the feted days of Mary and Doug? Of the peals of laughter that rocked a Charlie Chaplin audience? Of the suspenseful rescue of a persecuted