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 Alternative
Scriptwriting
The three-act structure is so last century! Unlike other screenwriting books,
this unique storytelling guide pushes you to break free of tired, formulaic writ-
ing by bending or breaking the rules of storytelling as we know them. This new
edition dives into all the key aspects of scriptwriting, including structure, genre,
character, form, and tone.
Authors Ken Dancyger, Jessie Keyt, and Jeff Rush explore myriad alterna-
tives to the traditional three-act story structure, going beyond teaching you
“how to tell a story” by teaching you how to write against conventional formu-
las to produce original, exciting material. Fully revised and updated, the book
includes new examples from contemporary and classic cinema and episodic se-
ries, as well as additional content on strategies for plot, character, and genre;
an exploration of theatrical devices in film; and approaches to scriptwriting
with case studies of prolific storytellers such as Billy Wilder, Kelly Reichardt,
Phoebe Waller-Bridge, and Kathryn Bigelow.
Ideal for students of screenwriting and professional screenwriters wishing
to develop their craft and write original scripts.

Ken Dancyger is a Professor of Film and Television at Tisch School of the Arts at
New York University as well as the author of numerous books on screenwriting,
editing, and production.

Jessie Keyt is a writer and Assistant Arts Professor in the Department of Dra-
matic Writing at Tisch School of the Arts at New York University as well as a
story and script consultant for independent filmmakers and production compa-
nies in the US, UK, and Europe.

Jeff Rush is an Associate Professor at Temple University’s Department of Film &

Media Arts as well as the author of numerous articles on screenwriting and nar-
rative theory.
Alternative
Scriptwriting

Contemporary Storytelling
for the Screen

Sixth Edition

Ken Dancyger, Jessie Keyt, and Jeff Rush

Designed cover image: © Alamy

Sixth edition published 2023

by Routledge
4 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

and by Routledge
605 Third Avenue, New York, NY 10158

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2023 Ken Dancyger, Jessie Keyt, and Jeff Rush

The right of Ken Dancyger, Jessie Keyt, and Jeff Rush to be identified as authors of this
work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and
Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced or utilised in any
form or by any electronic, mechanical, or other means, now known or hereafter invented,
including photocopying and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.

Trademark notice: Product or corporate names may be trademarks or registered trademarks,

and are used only for identification and explanation without intent to infringe.

First edition published by Elsevier Science & Technology 1991

Second edition published by Focal Press 1995
Fifth edition published by Taylor & Francis 2013

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library

Library of Congress Cataloging-in-Publication Data

Names: Dancyger, Ken, author. | Keyt, Jessie, author. | Rush, Jeff, author.
Title: Alternative Scriptwriting: Contemporary Storytelling for the Screen/Ken Dancyger,
Jessie Keyt, Jeff Rush. Description: Sixth edition. | Abingdon, Oxon;
New York, NY: Routledge, 2023. | Includes bibliographical references and index.
Identifiers: LCCN 2022028916 (print) | LCCN 2022028917 (ebook) |
ISBN 9781032150550 (hbk) | ISBN 9781032150567 (pbk) | ISBN 9781003242307 (ebk)
Classification: LCC PN1996.D36 2023 (print) | LCC PN1996 (ebook) |
DDC 808.2/3—dc23 LC record available at https://lccn.loc.gov/2022028916 |
LC ebook record available at https://lccn.loc.gov/2022028917

ISBN: 978-1-032-15055-0 (hbk)

ISBN: 978-1-032-15056-7 (pbk)
ISBN: 978-1-003-24230-7 (ebk)

DOI: 10.4324/9781003242307

Typeset in Trump
by codeMantra
 For Ida
For Stewart
For Ilene
 Contents

Acknowledgments for the Sixth Edition ix

Foreword xi

INTRODUCTION
Chapter 1 Beyond the Rules 1

STRUCTURE
Chapter 2 Structure 15
Chapter 3 Critique of Restorative Three-Act Form 35
Chapter 4 Counter-Structure 43
Chapter 5 The Three-Act Spectrum 54
Chapter 6 
Strategies for Plot and Character: Surprise,
Triangulation, and Subtext 63
Chapter 7 Multiple Threaded, Long-Form Episodic Scripts 77

GENRE
Chapter 8 Why Genre? 89
Chapter 9 Working with Genre 99
Chapter 10 Working with Genre II: The Melodrama and the Thriller 121
Chapter 11 Working with Genre III: Billy Wilder and Preston Sturges 141
Chapter 12 Working Against Genre 150
Chapter 13 The Flexibility of Genre 168
Chapter 14 Genres of Voice 183
Chapter 15 The Nonlinear Film 195
Chapter 16 
The Fable, a Case Study of Darkness: The Wizard of Oz
and Pan’s Labyrinth 205

CHARACTER
Chapter 17 Reframing the Active/Passive Character Distinction 214
Chapter 18 Stretching the Limits of Character Identification 229
Chapter 19 Main and Secondary Characters 241

vii
viii Alternative Scriptwriting

Chapter 20 Subtext, Action, and Character 251

Chapter 21 Exceptional but Opaque Characters in Flattened Scripts 262

FORM, TONE, AND THEORY

Chapter 22 The Subtleties and Implications of Screenplay Form 273
Chapter 23 Theatricality on Screen 295
Chapter 24 Tone: The Inescapability of Irony 312
Chapter 25 Dramatic Voice/Narrative Voice 335
Chapter 26 Writing the Narrative Voice 343
Chapter 27 
Regionalism vs Commercialism: Kelly Reichardt,
Eugene Martin, and Kathryn Bigelow 355
Chapter 28 Adaptations from Literature 366
Chapter 29 Rewriting 379

CONCLUSION
Chapter 30 Personal Scriptwriting: The Edge 386
Chapter 31 Personal Scriptwriting: The Short Film 403

Film and Director Name Index 413

Subject Index 423
 Acknowledgments
for the Sixth Edition

In support of the sixth edition of this book, we’d like to thank Claire Margerison
and Sarah Pickles at Focal Press/Routledge. We would also like to extend par-
ticular thanks to the filmmakers and scholars who contributed their thoughts
on contemporary storytelling for the screen—Cyril Aris, Lola Blanche, Matthew
Eng, Ellie Foumbi, Missy Hernandez, Nancy Kates, Jimmy Keyrouz, Shinho Lee,
Chloe Lenihan, Valerie Castillo Martinez, Alexandre Moratto, George Sikharu-
lidze, and Ísold Uggadóttir.
Jeff would like to thank his colleagues in Film and Media Arts at ­Temple—
particularly Nora Alter, Allan Barber, Chris Cagle, Rod Coover, Eran Preis,
Mark Rosenthal, Michael Ryan, Elisabeth Subrin, and Paul Swann—for con-
tinued discussion about film and narrative. Jessie would like to thank Stewart
Griffin, Alessandra Raengo, Michael Gillespie, and Kevin Durr for their depth
of film knowledge and generosity with which they share it, as well as her col-
leagues in the Department of Dramatic Writing at Tisch. We’d all especially
like to express our appreciation to students in different parts of the world who,
in their curiosity and in their work, keep making us feel that our own work on
story is an ongoing creative investigation. Thank you all.

ix
 Foreword

When Ken and Jeff asked me to co-author the sixth edition of Alternative Script-
writing, I was delighted. Several years ago, Alternative Scriptwriting was the
text I most referred to when, a year out of grad school and frustrated by the
limitations of the three-act structure, I needed guidance on other ways to tell a
screen story. The text became foundational to my understanding of screenwrit-
ing and the basis for which I teach storytelling today. The two key lessons I
took from that early 3rd edition—and the ones I hope I’ve communicated to my
students and clients over the years—are one, there’s more than one way to tell
a story, and two, how you tell a story is just as important as the story you tell.
We agreed my primary tasks would be to write an additional chapter or two
and update the current text. My initial understanding of “update the current
text” was that I would swap out some of the more dated case studies with recent
examples that would illustrate the same point.
But it didn’t take long for me to realize that updating a 30-year-old text,
which represents approximately 1/4 of the entirety of film history, would be an
insight into the seismic shift that has occurred in cinematic storytelling, indeed
in storytelling across several mediums, over the past three decades. Remember,
back in 1991, when the first edition was published, the second Golden Age
of Television had yet to dawn, the internet was still a nascent thing used by
NASA, and the idea of a mail-delivery DVD subscription service wasn’t even a
twinkle in Reed Hastings’s eye.
One of my first tasks was to eliminate the use of binary pronouns where
applicable. Instead of alternating between he and she to identify generic writers,
viewers, and characters, I opted for the singular they. But that’s not the only bi-
naries that existed. Chapters that assumed a certain positionality of the reader
were taken out, as well as a comparison between Steven Spielberg and Steven
Soderbergh. While the comparison was quite apt earlier in their careers, their
own catalogs are evidence of the slippery boundaries between “Hollywood” and
“Independent” storytelling modes. The chapter on digital storytelling was re-
moved, as was a chapter on the non-American screenplay since globalization
has made the cultural exchange between nations much more fluid—as the as-
tronomical success of films and episodic series like Parasite, Harry Potter, Lord
of the Rings, Fleabag, The Bridge, and Squid Game can attest.

xi
xii Alternative Scriptwriting

Indeed, we now recognize that even the series title itself “Alternative
Scriptwriting” is problematic, freighted as it is by an implied binary between
“hegemonic” on one hand and “everything else” on the other. But instead of be-
ing disheartened by my increasing awareness of the enormity of the task ahead,
I was encouraged by how much storytelling for the screen has changed over the
past few decades—not just in the names on the marquee, but in how we literally
tell stories.
Realization of the confinement posed by the restorative three-act structure
has become so widespread that we no longer need to proselytize the merits of
“alternative” structures. The storytellers who don’t fit into tidy boxes, the ones
who come from communities that promote the collective over the individual,
the ones who don’t think of time as linear, or narratives as singular, and the
ones who know too well that personal agency does not always lead to change,
have come to the fore and are pounding at the gates of the Tinseltown castle.
Let’s not kid ourselves, we still have a long way to go before the industry pow-
erholders come even close to representing the people who watch their movies,
but the needle is creeping forward.
We also introduced a new subtitle—Contemporary Storytelling for the
Screen. And to that end, contributions from contemporary writers, directors,
producers, and critics make up part of this text. If you read nothing else, at least
read what they have to share, speaking as they do from the frontlines of the con-
temporary film and television industry. Their words are unedited, their opin-
ions uncensored. While common themes exist across their entries—the need for
greater representation, frustration over the lack of originality and funding—they
are a pure collective of individual voices.
Alas, even the new subtitle is not quite accurate; to write a text that truly
covered contemporary storytelling for the screen would have required a roots-
to-branch overhaul, which there was simply not enough time to do. Perhaps in
subsequent editions, we might get there, but for now, I hope you’ll think of this
edition as emblematic of an art form in transition.
While there are certain films I retained that are decidedly not contemporary,
I felt they were iconic, canonic, or simply offered the clearest illustration of
points we wanted to make. Other films were easy to let go of—they had either
outlived their relevance or were never intended to be preserved (e.g., Mystic
Pizza). Some were plagued by overt or latent sexism, racism, homophobia, and
other kinds of narrowmindedness without any otherwise redeeming or instruc-
tive aspects to merit their continued inclusion.
Others I wrestled with: Woody Allen’s Crimes and Misdemeanors, for ex-
ample. Its use of competing genres for thematic reverberations is still incredibly
instructive, and cancelling an artist’s entire oeuvre when we disagree with or
disapprove of their actions doesn’t actually solve the root issues. (Should House
of Cards be erased from the historical record because of Kevin Spacey? After all,
Beau Willimon still created a work of satirical and eerily prophetic intelligence.)
However, to compensate, I reduced Allen’s overall footprint in the text.
 Foreword      xiii

Some films I kept but recontextualized. For example, Spike Lee’s She’s Gotta
Have It. As sex positive as the film is, especially when it forces the audience to
question their own complicity in pressuring Nola Darling toward monogamy, she
does get raped in the film. But Spike Lee is an important filmmaker and Nola Dar-
ling is an important character. Eliminating them was not going to offer a solution
to the real issue, which is sexual violence against women. So, where the film is
included, I offer a link to Spike Lee’s apology for his narrative decision.
Similarly, there are chapters I wanted to write, but didn’t get the chance
to—a chapter on climate-change films; queering the canon; films that expand
the representation of women and BIPOC storytellers and explore how much
one’s identity shapes the way one tells stories (if indeed it does); films that
argue against implied universality; the pros and cons of built-in audiences and
algorithmic-driven offerings… And while episodic series are mentioned and
used as case studies where appropriate, I did not take on the behemoth that
the advances in episodic storytelling, streaming services, studios affiliated with
streaming services, YouTube, TikTok, and whatever new platforms will be in
use by the time you read this would have presented.
While not every ambition was achieved, I still feel this new edition offers
multiple useful analyses for the contemporary storyteller and nuanced intel-
ligent arguments on the use of genre, structure, character, and form. So, thank
you, Ken and Jeff, for the opportunity to participate in this valuable endeavor.
And thank you, reader. I sincerely hope this will be as influential a text for you
as that early edition was for me.
One last thought before I leave you—screw the cat! I love cats (and dogs),
but there’s absolutely no need to make your character save a cat (in all its meta-
phoric variations) to have a compelling screenplay. All you need to do is write
a pure expression of your experience of the world, or a pure expression of your
confoundment. To quote Anton Chekhov: “The task of the writer is not to solve
the problem, but to state the problem correctly.” As I write this, Roe v Wade is
under threat in the United States, a new variant of the Coronavirus has taken
hold in the world, Ukraine is under attack by Russia, Fascism is on the rise
worldwide, and hate crimes have increased across the globe.1 Since the first
edition of Alternative Scriptwriting was published 31 years ago, the United
States is seeing its highest-rate of gun-related deaths in more than 25 years,2 and
climate-related disasters have tripled.3 Increasingly more people recognize that
events do not fall tidily into beginnings, middles, and ends, and that linearity
itself is a construction.4 Several of the structures and systems that existed when
Louis Le Prince first filmed people walking around a garden in 18885 have come
crashing down, and an urgent need for new structures and new systems to tell
new stories has emerged.
We hope you will take up the baton.
Jessie Keyt
New York City
May 2022
xiv Alternative Scriptwriting

Notes
1. https://time.com/5947862/anti-asian-attacks-rising-worldwide/
2. https://www.cnn.com/2022/05/10/health/firearm-homicide-suicide-
rates-2020/index.html
3. https://www.oxfam.org/en/5-natural-disasters-beg-climate-action
4. See Carlo Rovelli’s The Order of Time
5. Widely believed to be the first film ever made still in existence
 1
Beyond the Rules

There are many different schools of thought with regard to becoming a bet-
ter screenwriter. Some value convention, while others stress experimentation.
Some focus on character, while others rely on plot. Because there are so many
different opinions, we feel it’s best to state our biases at the outset.
First, we think of the screenwriter as a storyteller who happens to write
for film. Many screenwriters write for more than one medium. Aaron Sorkin
(The Social Network) and Kenneth Lonergan (Manchester by the Sea) write for
both theater and film. Phoebe Waller-Bridge (Fleabag) and Michaela Coel (I May
Destroy You) write for both film and television. Dave Eggers (Where the Wild
Things Are) and Gillian Flynn (Gone Girl) write both fiction and screenplays,
as have many others throughout the short history of screenwriting. Our point
is that you, as the scriptwriter, are part of a broad storytelling tradition. To cut
yourself off from other forms of writing or to view scriptwriting as an exclusive
art form is to rob yourself of a large cultural community of different types of
writing that have more in common than you might realize.
Second, a screenplay should be more than structurally sound. The screen-
writer is often referred to as a technician—the equivalent of the draftsman in
architecture. Although there are screenwriters who are content to be techni-
cians, many are not. Nor do we feel you should be a technician. One of our goals
in this book is to suggest ways to move beyond structure.
Third, you must know everything about structure to move beyond it. It isn’t
possible to reinvent the process without knowing it in detail. Consequently, we
illustrate the conventions of screenwriting so that you will be able to break
from them.
Now that you know our biases, we can state our simple approach. We out-
line conventions and then proceed to suggest practical ways to undermine or
alter those conventions. We use specific examples to illustrate the points we’re
trying to make. Our ultimate goal is to help you develop better screenplays. To
do this, we talk about form, content, character, and language, while pressing
you to develop alternative narrative strategies that prompt you to write the best
screenplay you can write. When Bob Obendirk passes off the Pentagon Papers
to Tom Hanks in The Post (2017), he smiles softly and says, “I always wanted
to be part of a small rebellion.” Just as he sees the vital importance of doing the
unexpected, we want you to look beyond what you’ve always been told a movie
story is and instead consider what a movie story can be.

DOI: 10.4324/9781003242307-11
2 Alternative Scriptwriting

Conventions
There are some fundamental story devices that remain constant
regardless of your scriptwriting approach. All screen stories use plots in which
the premise is expressed in terms of conflict. The focus on conflict is so cen-
tral to storytelling that its use can be traced from the original Ten Command-
ments to the two film versions of the story. Discovery and reversal are two more
conventional storytelling devices because surprise is important to all stories;
without it, the story is flat and tends to become a mundane series of events,
rather than a story that invites the viewer to get involved and stay involved. A
turning point is another device that is typically used in storytelling. The num-
ber of turning points varies from screen story to screen story, but their useful-
ness is critical. All these elements—conflict, discovery, reversal, and turning
point—are the technical devices you use to involve the reader in your story.
Beyond these devices, however, the choices are limited only by your willingness
to explore your imagination.

Structure
In the past several years, structure, as applied to film, has come to
mean Act One, Act Two, and Act Three. Each act has its own characteristics:
Act One introduces character and premise, Act Two focuses on confrontation
and struggle, and Act Three resolves the crisis introduced in the premise. Oper-
ating in each act are various plot devices intended to intensify conflict, develop
characters, and propel the plot forward. We discuss structure in more detail in
Chapter 2.
Noteworthy, however, is how the scriptwriting structure differs from other
structured forms of storytelling. Most plays have only two acts, and most books
have more than three chapters. Although many operas do have three acts, the
unfolding of the narrative to suggest the greater importance of subtext over text
indicates how far removed opera is from film (but here, too, the screenwriter can
learn something from another medium).

Premise
The premise, sometimes referred to as the concept, central con-
cept, or central idea, is what the screenplay is about. Usually, the premise is
presented in terms of the central character’s dilemma at a particular point in
their life (the point at which the screen story begins). For example, the premise
in Parasite (2019) is: What happens when a poor family schemes their way into
a wealthy household? In Get Out (2017) the premise is: What happens when a
man falls prey to a barbaric ritual of racism?
Premise is usually presented in terms of conflict. In Parasite, once their
secret is discovered by another household employee, the conflict offers the Kim
 Beyond the Rules      
3

family two options: to slip away without a trace before they’re punished for
their ruse, or to do whatever it takes to maintain their increasingly dangerous
deceit. This struggle and its outcome form the basis of the script. When the Kim
family makes their decision, the screen story is (essentially) over.
In Get Out, the protagonist, Chris, a black man, is brought home by his
white girlfriend to meet her proudly progressive parents. But when Chris dis-
covers his girlfriend’s family has different plans for his weekend away, he has
two options: to succumb to their master plan or to fight desperately for his free-
dom. Life or death becomes the basis of this screen story. Once Chris makes his
decision and commits to one option, the screen story is over. The premise, then,
is central to the screen story and is best posited in terms of the central conflict
for the main character.
A variation worth mentioning is the existence of two particular types of
premises. We mention them because they have become part of the industry par-
lance. The two variations are high concept and low (or soft) concept. High con-
cept refers to a plot-oriented premise and implies excitement. Low concept refers
to a premise that is softer on plot and consequently relies more on the strength of
the characters. A simple way to discern the two is to view a high-­concept prem-
ise as a plot-intensive story and a low-concept premise as a c­ haracter-intensive
story.

The Role of Conflict

Conflict is the central feature of the screen story—human against
human, human against nature, human against society, and human against
self—describe the classic versions of conflict found in most stories, regard-
less of medium. Variations of sex, age, religion, culture, etc. provide variety
to the conflict. Polarities make conflict operational in screen stories. In the
traditional Western genre, the most obvious polarity is the hero’s white horse
and white clothing, and the villain’s black horse and black clothing. Police-
man/criminal, lawyer/accused, rich/poor, and hero/villain are other examples
of polarities that exemplify the character conflicts featured in different screen
stories.
All screen characters are developed using polarities, such as opposites in
physical appearance and in behavioral characteristics. In On the Waterfront
(1954), the main character is the only character who is physically fit. His
brother, a criminal, looks older, dresses differently, and speaks differently. The
main character is cynical; the young woman he falls in love with believes in
people’s inherent goodness. She also speaks better and behaves more earnestly
than the main character does. While she is committed to a decision, the main
character hedges. The polarities go on and on. When we look at all the other
characters’ physical variations (slim and heavy), age variations (young and old),
and aggression variations (violent and meek), we see that they permeate the
screen story. Polarities are the most obvious, useful devices for instilling con-
flict in your story.
4 Alternative Scriptwriting

Character
The main character of the screen story is the primary means for
the audience to experience the story. The audience will be involved in the story
to the extent that it identifies with the character and their dilemma. On the
surface, the character may be recognizable via a dominant physical or behavioral
characteristic. However, during a moment of private revelation or a moment
when the character allows themself to appear foolish or vulnerable, our empathy
for that character is realized and our identification with the character is secured.
Generally, the main character is energetic and exposed to sufficient conflict
to propel them through the story. The main character differs from secondary
characters in a variety of ways. The primary difference is that the main charac-
ter undergoes a metamorphosis during the story. On the other hand, the second-
ary characters do not necessarily change and, in fact, often serve as a source of
contrast to the main character. Through interaction with the main character,
secondary characters help to move the story along. All the characters (main and
secondary) have distinct goals in the screen story. Generally, these goals paral-
lel the premise. Secondary characters take each side of the issue, and the main
character is faced with the conflict. In On the Waterfront, Marlon Brando’s char-
acter is faced with these questions: Can he, a washed-up boxer, be a more moral
person than his brother, the criminal? Should he be a criminal or a saint? Actors
Lee J. Cobb and Rod Steiger, who play gangsters in the film, are important sec-
ondary characters, along with Eva Marie Saint and Karl Malden, who play the
roles of saints. The secondary characters prod Brando to join their respective
side. The screen story draws to its conclusion once Brando has made his choice.

Dialogue
Since 1927, films have had sound, comprising dialogue, sound
effects, and music. When dialogue is used in film, it fulfills three roles. First,
dialogue characterizes. Speech patterns tell us whether the character is edu-
cated, from where the character originates, the profession of the character, the
approximate age of the character, and the emotional state of the character. Sec-
ond, dialogue helps define the plot. What the character says depends on the
role of the character in the story. In Sideways (2004), Jack is a philanderer who
pursues every woman he sees, as opposed to the central character’s tentative
approach to romance. Jack’s function is to highlight, through dialogue, his pre-
occupation with sex, his naïve approach to relationships, and his disregard for
commitment, as a direct contrast to the main character’s values. The third func-
tion of dialogue is to relieve tension, through humor, when it occurs in a script
(an inevitable state given the writer’s attention to conflict). Humor serves to put
us at ease with the characters; we like people more readily after we’ve shared a
laugh with them.
In a more general sense, dialogue has an additional overarching purpose—to
make the characters more believable. The writer’s first objective is to make the
 Beyond the Rules      
5

audience believe the story, or, more specifically, believe the characters in the
story. If the dialogue is working, the audience will be more inclined to believe
in the characters. When dialogue does not work, the characters tend to be less
believable. Consequently, dialogue plays an important role in the creation of
character credibility.

Atmosphere
When a reader reads a screenplay, they are confronted with a good
deal of description and then dialogue. So how can the writer create atmosphere?
Doesn’t atmosphere come from visualization when the screenplay is filmed?
Not entirely. Atmosphere in a screenplay is the accumulation of details that
create the illusion of a single, coherent world on the page.
The writer creates a spatial, or three-dimensional, sense of believability
when the dialogue is credible and when the depictions of time and place are so
convincing that the reader can say “I know that person, I’ve been in that place or
situation.” Detail is the key. When there is enough detail, the atmosphere of the
screenplay moves from generic to particular, from mechanical to meaningful.

Action Line
Action line is frequently referred to as the storyline or the plot. The
term action line, however, is most appropriate for film, because the visual nature
of the medium suggests visual action as the preferred form of characterization.
Also, the action line is occasionally referred to as the foreground story, or the
major storyline, as opposed to the background story, or the secondary storyline.
The term foreground story implies the more important aspects of the story,
which isn’t always true. Indeed, in many stories the more subtle background (or
minor storyline) involves the deeper elements of the story, the characters’ rela-
tionships, as opposed to the larger events that drive the story. For an audience,
these relationship elements are frequently the most meaningful, emotional link
to the screen story. Consequently, the background story can be just as, if not
more, important for the audience.
Often, the action line, although more sensational, is more superficial in its
meaning. For simplicity, the action line can be viewed as the exterior action of
the story and is conflict oriented. The background story can be viewed as the
interior (main character) action of the screen story. The background story is
identification oriented.

Rising Action
Rising action carries the action line from the beginning to the
end and implies that the level of conflict that confronts the major character
increases as we move through the screen story. The level of conflict is greatest
6 Alternative Scriptwriting

in Act Three. There is a dip in the rising action at the beginning of Act Two and
Act Three.

Subtext
Subtext is the background story or the interior struggle of the main
character to choose the most appropriate solution to their interior conflict. Sub-
text is often expressed in terms of general human emotional states: love-hate
and life-death. Not every screen story deals with such primal feelings, but many
memorable films have these dimensions to their stories. At the deepest level,
subtext can reach the audience in a more complex and gripping manner than
action can. The screen stories you most likely remember have a strong subtext.

Discovery
As we mentioned earlier, the element of surprise is important in
a screenplay. Whether it refers to plot or character, unexpected revelation—
no matter how trivial—maintains our interest. Discoveries made later in the
screen story must be greater in scale than those found earlier in the screen story.

Reversal
Plot twists manifest as reversals of fortune for the main character.
This form of setback creates tension and concern for the fate of the character.
Reversals are used more sparingly than other plot devices. Too many reversals
in a screen story tend to depreciate the impact of the reversals. Use reversals
with care to allow for maximum impact.

Turning Point
Sometimes referred to as plot points, turning points yield sur-
prise, anticipation, and tension, and help maintain our interest in the screen
story. Turning points are classified as minor or major, while reversals tend to
be major turning points. Minor turning points take place frequently throughout
the screen story. Early major turning points open up the story and provide a
broader spectrum of options for the main character. Late major turning points
help to focus the story by pointing the main character toward the resolution of
their crisis.

Going Against Structure and Genre

Structure and genre are such important characteristics of the screen-
play that we devote Chapters 2–14 to discussing structure, counter-structure,
 Beyond the Rules      
7

genre, and working against genre. As previously mentioned, the traditionally

structured approach uses three acts to tell the screen story and, if you choose,
the use of a particular genre to deliver the three acts.
The central question you face if you don’t wish to use the conventional
three-act structure is: What is available to you? Can you, for example, tell a
story in one act? If we take Mean Streets (1973) or A Fantastic Woman (2017)
as examples, yes (but it is extremely difficult to do well). Can you tell a story in
two acts? Yes, as evidenced in Full Metal Jacket (1987). In four acts? Yes, as we
see in Mo’ Better Blues (1990) and The Dark Knight (2008).
Although the setup-confrontation-resolution approach to structure remains
the predominant form, the absence of resolution in Full Metal Jacket and the
addition of a second optional resolution in the fourth act of Mo’ Better Blues add
a dimension to the films that is not present in the classic case. The potential
benefit of the fresh addition of a second resolution is to alter the meaning of the
film.
In regard to genre, the scriptwriter’s options increase. Genres, or particu-
lar types of films, such as gangster or horror, have specific characteristics
that audiences identify with those films. For example, audiences identify
the monster antagonist with the horror film and the urban setting with the
gangster film. You can use a particular genre as the vehicle for your structural
choice, or you can challenge a particular genre motif. For example, in a West-
ern the protagonist is generally positive and moral and faces their challenges
alone. However, as evidenced in The Wild Bunch (1969), the scriptwriter
challenges the genre motif of the wholesome protagonist by making the main
character an outlaw and a murderer and surrounding him with people who
are worse.
The violation of genre needn’t relate to character. It can relate to any motif
of a genre. A scriptwriter can vary the presentation of the antagonist, the nature
of the confrontation, and the resolution. For example, the charismatic, queer,
female psychopath in the episodic series Killing Eve (2018–2022) breaks from
the conventional onscreen depiction of the villain, who is more often someone
like the Teutonic German in Saving Private Ryan (1998), who brutally mur-
ders the sole Jewish member of the American patrol. In Killing Eve, the enemy
becomes a kind of love interest for the female British Intelligence agent hired
to track her down.
Another challenge to genre is the use of mixed genres to alter meaning. This
scriptwriting technique became popular in the 1980s with films like Blade Run-
ner (1982) and is still used today, as evidenced by A Girl Walks Home Alone at
Night (2014) and Personal Shopper (2016). Given the number of genres, many
options are available to the scriptwriter. Not all genres mix with success but
attempts to mix even the most unlikely genres have yielded interesting results.
For example, by mixing the horror and Western genres, Bone Tomahawk (2015)
is fresher than it would have been had it been presented as a straight horror or
Western screen story.
One contemporary filmmaker who constantly challenges conventional sto-
rytelling is Wes Anderson, particularly in his film The French Dispatch (2021).
8 Alternative Scriptwriting

Not only does Anderson alter structure in this film by presenting several sto-
ries in one film, but he also mixes genres and challenges particular motifs in
each of the genres. The result is a dizzying screen story that, despite its mixed
reviews by critics, has been uniformly cited for its audacity. Anderson’s films
suggest audiences will tolerate a good deal of experimentation and are suffi-
ciently film-experienced to know what to expect from conventional structure
and genres. Anderson subverts these expectations on as many levels as he feels
are manageable.

Character Alternatives
If the main character is traditionally active, likable, and central
to the story, alternative approaches challenge any or all these qualities. (These
character alternatives are explored in detail in Chapters 17–21.) What happens
to your screen story when the main character is more passive, more voyeur than
participant?
What happens when your main character is not admirable or even likable?
What happens when your main character is overshadowed by one or more sec-
ondary characters? Do these initiatives undermine the effectiveness of your
screen story? The answers to these questions yield a new range of possibilities.
They can weaken your story or alter the experience of your story in new and
interesting ways. In all likelihood, you will have to adjust your treatment of all
the characters and of the amount of narrative necessary to tell your story. This
is especially true for the role of the antagonist.
Taking up the issue of the unconventional main character, we can find
examples throughout the history of film. Diello, the main character in Michael
Wilson’s 5 Fingers (1952), is a spy trying to sell secrets to the Nazis, including
the time and place of the Normandy invasion of France. Hardly a person to
admire, Diello is, nevertheless, a fascinating and involving character. Travis
Bickle in Paul Schrader’s Taxi Driver (1976) is an alienated, highly disturbed war
veteran. He is sufficiently antisocial and prone to violence to have little appeal
as a main character. Rupert Popkin in Paul Zimmerman’s The King of Comedy
(1982) is even less appealing. Delusional and desperate, Popkin wants to be a
television celebrity.
In each of these cases, the scriptwriter was faced with presenting characters
and action in a way that allowed the viewer to identify with the main charac-
ter. In Taxi Driver, the uncaring, callous nature of the majority of characters
makes Travis Bickle seem more sensitive, and he becomes a victim rather than
a perpetrator. Consequently, we identify with Travis Bickle despite his neurotic
behavior. This is the sort of adjustment the writer has to make if they wish to
move from the classic presentation of the main character.
You can also use an ironic character as an alternative character. An ironic
character promotes distance between us and the character and allows us not
only to sympathize with the character’s plight but also to wonder why events
 Beyond the Rules      
9

and people seem to conspire against him. Often, the ironic character is por-
trayed as an innocent victim of a person or system, such as in Hitchcock’s The
Wrong Man (1956). This type of character is very useful when you feel that the
ideas are more important than the people in your screen story.

Dialogue Alternatives
Dialogue in a screen story enhances the credibility of the charac-
ter. Whether it’s used to advance the plot or develop the character, audiences
expect film dialogue to be believable. This is in keeping with the illusion of real-
ism in the film medium. Events on film look real; therefore, the behavior and
appearance of performers must support that illusion. What if the screenwriter
wants to use dialogue to undermine credibility or to supersede the sense of real-
ism? If so, the quality and function of the dialogue in the screenplay broadens
considerably and invites the influence of other storytelling forms—the play, the
performance, the burlesque—all of which are dependent on dialogue in more
elaborate ways.
Dialogue can be more highly charged and more emotional than conven-
tional movie dialogue. Aaron Sorkin uses this approach in his screenplay The
Social Network (2010). The sweatshirt-wearing outsider (Jesse Eisenberg) and
the polished blue-blood twins (both played by Armie Hammer) argue eloquently
about their conflicting philosophies. The dialogue illustrates this conflict. Dia-
logue can also be stripped of feeling and abstracted so that the viewer relates to
the dialogue as a metaphor for the character’s state of mind, rather than with a
sense of plausibility. Jane Campion uses this approach to dialogue in The Power
of the Dog (2021).
A third option for dialogue is to use language ironically in order to destroy
the most literal meaning of the language. This type of dialogue is often asso-
ciated with the Marx Brothers; Groucho was constantly trying to undermine
meaning. For example, Groucho plays Rufus T. Firefly in Bert Kalmar and Harry
Ruby’s Duck Soup (1933). Firefly is the new leader of Freedonia, a fictional
middle European state. Fanfare announces the arrival of the leader. In the pal-
ace, he is greeted by Mrs. Teasdale. The regal guests eagerly await his arrival.
Rather than following the pomp expected in such circumstances, the dialogue
trivializes the ceremonial dimension of the scene, reducing it to the level of a
social card game in a community hall. The exchange of dialogue follows:

MRS. TEASDALE
We’ve been expecting you.
(she gives him her hand; pompously)
As Chairwoman of the reception
committee, I extend the good
wishes of every man, woman and
child of Freedonia.
10 Alternative Scriptwriting

FIREFLY
Never mind that stuff. Take a
card.
(he fans out a pack of cards)

MRS. TEASDALE
A card? What’ll I do with a card?
(she takes it)

FIREFLY
You can keep it. I’ve got fifty-one
left. Now what were you saying?1

Another dialogue alternative is used in screen stories that have very little
action and subsequently may be subject to a loss of screen energy. Often, this
situation is compensated for by using energized dialogue, which is sufficiently
charged so that the dynamism of the story is brought out. This alternative neces-
sitates a great deal more dialogue because dialogue becomes considerably more
important than in the conventional screen story. Roman Polanski’s Carnage
(2011) is an example of this type of dialogue. Budget limitations can also pro-
mote the use of excessive, energized dialogue to avoid costly action sequences.
Quentin Tarantino’s use of dialogue scenes to replace action sequences is a good
example of this impulse.

Atmosphere Alternatives
Atmosphere is created by visual detail and lends visual credibility
to your screen story. If your goal is to challenge credibility or to add another
level of meaning to your story, manipulation of environmental details becomes
your most direct tool to alter atmosphere.
In Local Hero (1983), Bill Forsyth uses detail to subvert and alter the origi-
nal direction of the narrative. Local Hero is the story of a Texas oilman’s efforts
to buy land in Scotland. The purpose of the purchase is to exploit offshore oil. To
underscore the corporate dimension of the storyline, we would expect offices,
oil rigs, and the material benefits of the exploiters and the exploited. Forsyth
has little interest in this type of detail. Instead, we are presented with a sensual
otherworldly presentation of the land and its hypnotic effect on the would-be
exploiters. The result is that the oilmen, by the end of the narrative, don’t get
what they came for, but they don’t seem to mind. The owner of the company, a
mystic portrayed by Burt Lancaster, and his salesman, portrayed by Peter Rieg-
ert, have been changed by their exposure to this mystical landscape. They are
sensually enriched but materially worse off.
Francis Ford Coppola and Michael Herr use the atmosphere of Apocalypse
Now (1979) to move that story from a realistic treatment of the Vietnam War to
a metaphor of war and Vietnam as hell. In her film Atlantics (2019), Mati Diop
 Beyond the Rules      
11

turns her supernatural romantic drama into a story about migration, crime, and
class. The metaphor moves us away from the events of the story toward an
examination of colonialism and exploitation, with the Atlantic Ocean operating
as a beguiling symbol of disappearance, loss, and renewal.
Finally, the scriptwriter has the option of altering atmosphere by using
details that undermine the sense of place developed from preceding details. A
good example of this alteration is found in David Lynch’s Blue Velvet (1986). A
tranquil, pastoral town is presented—beautiful flowers, contented inhabitants,
and, of course, rosy-cheeked children. Then, suddenly, Lynch shows us the ants
and insects living beneath the surface. Shortly after this shot, the viewer’s ini-
tial impression of the town is shattered when the main character finds a severed
ear. The tranquility is broken, and we can’t trust our expectations for the bal-
ance of the screen story.

Foreground and Background Story Alternatives

The scriptwriter has broad options in the area of foreground and
background stories. Film stories have long been divided between personal inter-
est stories and adventure (action) stories. Often, the personal interest story is
more literary, and the action story is linear. The action story is frequently
called the high-concept premise and the personal interest story is called the
low-concept premise. The high-concept film, particularly since Star Wars
(1977), has become the dominant Hollywood studio product with the hopes
for a significant return on the investment. Irrespective of the market, screen
stories benefit from having both strong foreground and background stories. It
should be noted that the long-held international dominance of the American
film is attributable to the success of the foreground, plot-oriented story. Film
franchises such as The Avengers, X-Men, and The Fast and the Furious employ
stars, special effects, and production values, but at heart are all linear stories
with memorable set pieces of action. When European films such as Harry Pot-
ter or The Girl with the Dragon Tattoo or Australia’s Mad Max films employ
a similar narrative strategy, they too are great international successes. This
does not mean, however, that all writers should now devote themselves to
the action genre. Indeed, the success of films such as Lady Bird (2017) and
Moonlight (2016) demonstrates that audiences want low-concept or character-
driven stories as well.
For the scriptwriter, alternatives begin to develop when working with the
balance of foreground and background. The key ingredient in creating fore-
ground and background balance is the main character. If the scriptwriter posi-
tions the main character in a deeply personal dilemma, the outcome of the story
is less predictable. Background stories, which dwell on the interior life of the
main character, tend to be less predictable because the interior life is not linear.
Screen stories that are more background-story–oriented tend to have char-
acteristics beyond their character orientation. Often, dialogue moves away from
realism toward a more literary quality and is distinctive and eccentric. Playwrights
12 Alternative Scriptwriting

are accustomed to using literary, charged dialogue because there is less action on
stage. Emotional levels intensify through language and dialogue. The dialogue
in I May Destroy You (2020) shouldn’t come as a surprise, since the scriptwriter,
Michaela Coel, is also a playwright. Aaron Sorkin, Phoebe Waller-Bridge, Kenneth
Lonergan, Ayad Akhtar, and Martin McDonagh are all interesting playwrights
who also happen to write screenplays with strong background stories.
When the writer uses the background story, the main character becomes
more personal to us, and the narrative more open-ended. The result invites a
deeper involvement from the viewer.

Rising Action Alternatives

When writers use a stronger background story, they open up pos-
sibilities in varying the convention of rising action. Generally, the action of the
screen story gradually rises to a climax, except for a brief pause at the beginning
of Acts Two and Three. These pauses allow the writer to set up the parameters
for the acts that follow. When using a background story, the scriptwriter can
devote more time to the characters, although this does not necessarily advance
the plot or move the story toward the climax. A good example of this alterna-
tive approach to rising action is found in Louis Malle’s My Dinner with Andre
(1981). Less extreme, but no less interesting, is Jean-Claude Carriére and Louis
Malle’s May Fools (1990). In these films, the shift from rising action affords the
audience a greater opportunity to know the characters.
As we mention in Chapter 4, moving away from the three-act model
results in a more open-ended sense of character and structure. A similar result
occurs when the scriptwriter moves away from rising action. To make this
step effective, however, the screenwriter must make the focus on the charac-
ters worthwhile. The characters must be interesting, and the dialogue has to
be as involving as new plot developments would be. This means the dialogue
should be charged, witty, and surprising. If these elements are not present, the
viewer will experience a flatness that does not serve the interests of the screen
story.
This idea of modulating rising action applies only to Act Two of the screen-
play. The screen story still needs the rise in action during the setup in Act
One and the continued rise in action to the resolution in Act Three…unless, of
course, you choose not to use an Act Three.

Developing Narrative Strategies

There are many more ways to tell a screen story than conventional
screenwriting suggests. This message is the central theme of this book. In order
to tell your story, you need to develop a narrative strategy that is best suited to
your idea. First, you need to answer the following questions: Who is your main
character? What is the premise of your story? What is the most exciting action
line for this story? Does the action line best highlight your main character’s
 Beyond the Rules      
13

dilemma? Is your main character’s dilemma situational, or is it deeply rooted in

their personality?
The choices you make when answering these questions are inherently dra-
matic choices. You, as a screenwriter, must make the best dramatic choice. Bear
in mind that the most interesting choice is not necessarily the most obvious.
A central issue for all scriptwriters is the creation of a story that invites the
viewer to identify with the main character or with that character’s situation. If
your narrative strategy employs characters who don’t invite that identification,
you can’t guarantee that the viewer will stay with you for the length of your
story. This is not to say you must write characters with whom the audience can
identify; it’s only to say that if the identification is not happening via the char-
acters, the non-conventional scriptwriter should look for other ways to secure
that investment.
What are the narrative strategies available to the writer? There are many,
and you have options with every element in the screenplay, including character,
language, atmosphere, action line, background story, and structure. In regard
to the main character, for example, you can opt for an active main character, a
more passive one, or a less likable one. Your choice depends on the type of char-
acter that best elicits the dramatic results for which you are looking. In regard
to dialogue, you do not have to be limited by character function, and in terms
of structure and genre, you can challenge the convention of the three-act struc-
ture, vary the foreground-background mix, or vary and mix genres. In all cases,
exploring alternative ways to develop your narrative strategy yields a fresher
approach to your story and more open-ended characters.
The scriptwriter must be flexible to ensure that whatever is taken away from
one area of the screenplay is compensated for elsewhere. If we don’t like your
main character and the challenge is to create a situation in which we identify
with that character (despite our reservations about the character), there are cer-
tain steps you can take to reach this goal. You may have to shift your approach
to the other characters; your dialogue may have to be more emotionally charged
and more intense; or you may need a more elaborate plot. Alfred Hitchcock, in
his work with writers Ben Hecht and Raymond Chandler, exemplifies the abil-
ity to capture viewer empathy despite less-than-admirable main characters. In
Psycho (1960), The Birds (1963), and North by Northwest (1959), it’s the situa-
tion, rather than the character, that brings us into the story. In Notorious (1946)
and Strangers on a Train (1951), the unsympathetic main characters are offset
by extreme antagonists, people we like to hate.
A scriptwriter must also consider how they plan to stimulate the viewer.
Audiences go to movies to enjoy themselves. Whether stimulation comes from
a complex plot or witty dialogue, there is an element of charm and intrigue that
is necessary for relating the screen story to the audience. What happens to this
element when you begin to challenge screenwriting conventions? It begins to
fade. Therefore, you must include stimulation in some other form. The Coen
Brothers challenge conventional structure in Inside Llewyn Davis (2013), but
the unusual directness of the character draws us in. Whatever narrative strat-
egy you use, audience identification and stimulation are critical factors in
14 Alternative Scriptwriting

determining the success of your screenplay. If you select an alternative strategy,

these factors will still have to be present.

Conclusion
In this chapter, we discussed conventions and counter-­conventions
to scriptwriting. Conventions are critical building blocks to telling your story.
Counter-conventions can make a story fresh and more exciting. To use new
strategies, however, you must know the conventions of scriptwriting. Through-
out this book, we highlight the creative opportunities that lie between these
conventions and counter-conventions.

Note
1. George Seaton, Kalmer Bert, and Will B. Johnstone, The Marx Brothers:
Monkey Business, Duck Soup, and A Day at the Races (London: Faber and
Faber, 1953).
 2
Structure

In this chapter, we will begin an extended examination of structure—looking

at how it is used in both mainstream and alternative films. We will consider
the relationship of structure to character development and change, internal and
external conflict, story meaning, and the relative positioning of character and
audience.
Consider the storyline of a mainstream film. In The King’s Speech (2010),
“Bertie,” the Duke of York, son of King George III and younger brother to
Edward VIII, is introduced in the excruciating opening moments of the film
as a diffident man with a crippling stammer. Tasked by his father to deliver
a speech on behalf of the royal family, the duke’s halting manner is met with
disdain and disappointment by the British public. Through the friendship he
develops with an amateur actor hired by the Duchess to give Bertie elocution
lessons, the Duke of York goes from being a ridiculed figure unable to stand
up for himself against his own father and brother to an inspiring leader of his
people. He is literally and metaphorically taught to find his voice and claim his
right to rule.
Now contrast this storyline with that of Inside Llewyn Davis (2013), which
is about a week in the life of a struggling and cynical folk singer in New York
City’s Greenwich Village in 1961. Unlike Bertie who must face his fears in order
to ascend to the British throne, Llewyn can’t even pull himself together enough
to take care of a cat. He careens from one couch to another, scrounging for
gigs on the edges of the folk-music scene, impregnating at least two one-night
stands, and alienating almost everyone he meets. He can’t even succeed at the
one attempt he makes to turn his life around by re-enlisting in the Merchant
Marines because he lost his union card and doesn’t have the money to replace
it. At the end of the film, he is literally right back where he began, as we come
to understand that after the opening scene in which he is beaten up in an alley,
the entire film was an extended flashback. Llewyn Davis’s inability to progress
in life is perfectly captured in the circular structure.
During the next four chapters, we’re going to analyze the contrast between
the approaches to narrative structure illustrated by these two stories. Before we
do, however, we want to stop for a moment and consider how different these
approaches feel. In the first story, there is a clear progression and a develop-
ing connection between the acts. The end of the story is a consequence of all
that has taken place before. In the second story, the end seems to prove how

DOI: 10.4324/9781003242307-215
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Greta, stenog, Ivs 585 Sherboume — ^Helen M, stenog .\merican
Consulate, Ks 585 Shetbounw Christmas Beatrice Mrs, h 101 Seaton
Christo Coteffe, leather wkr, b 11 St Paul CHRISTO — Ciizo, gro 2010
St Clair av w. h 2036 same — .liJn. Ivs 25 Bleviris pi —Thos, lab, ivs
2036 St Clair av w — Tonv, lab, h 2068 St Clair av w — Traiko, lab.
Ivs 9 Wilklns av — Trayan, Ivs 331 Gilead pi li'tuo Robt. h 9 MiUlcent
(on active service) rhristoir Antony, Its 51 Sumach — Bogayol. jro
390 King e, h same -David, barber 611 Queen w, h same —John,
eonfv 6S8 Bloor w, h same — Michl, opr Can Cloak Co. rms 20
Blevins pi — Nassau, leather wkr A R Clarke & Co, rms 9 St Paul —
Noum. tnsmth, Ivs 44 Berkeley — Peter, rest 409 King e, h same —
Storio, gro 286 King e. h same Christolfer Carma, confy. h 3257
Dundas w — Hubert, asst shipper, h 50 Laing Christoffsky Jos, mldr,
h 534 Perth av flirtstopher Albert, driver, h 385 Hillsdale av c —
Edwd. mach, h 1230 I,ansdnwne av — Jas. lab. h 230 Heath w —
John. pdlr. h 700 Dundas w — John S, Ivs 230 Heath w — Robt. Ivs
1230 Lansdowne av (on active service) — Ruby (wid Adam). Ivs 700
Dundas w —Thos J. Ivs 230 Heath w — Tons, pdlr, h 78 O.'siiigton av
Christopherson Robt, ydmn, h 19 Grenadier rd Chiistov Geo (Chiistov
i Yanakw) . Ivs 398 Quern e — & Yanakw (G Christov and S
YanakTi), photo 398 Queen e Christow Andrew, tin wkr, b 60
Vanauley Chiistrofldes Alex, chef, rms 291 >4 George Christ's Church
(AngUcan), Rev T W Patorson recto' 1600 Yonge ♦ Christy sec also
Christie — Lillian I. emp Hydro. Ivs 139 Pape av — Wm. plmbr. h 5
Churchill av CHRONICLE (Halifax). F W Thompson Representative.
Room 57 Mall Building. 108 Bay. Phone Adelaide 1313 Chruszez
John. lab. h 200 Chestnut ♦ Chrysler see also Crysler —Gordon,
cond. h 32 Knox av — Herbert, tchr Ogdcn Pub Schl. tms 45 Cecil
(on —Lulu, stenog MacNeiU & Yonng. b 91 Withrow a» — Percy C.
eh elk Tor Hydro, h 67 Wheeler av Chrystal Louisa, fnshr Eaton's, b
334 Spadina av Clirystic Geo. elk. h 142 Boullbce av Chulib Bertiam,
h 2 Morrison — Elsa, slsldy Murray-Kay, Ivs 866 Manning a» —
Ernest, moto, Ivs 907 Logan av — Ethel, opr. Ivs 581 Cariaw av —
Frcdk T. engnr. h 439 Annette — Geo F, h 866 Manning av — Horace,
mun wkr, h 8 Rowland pi -John A. jwlr 2615 Yonge, h 184 Sherwood
at — Lillian, opr C N W Tel Co, Ivs 581 Cariaw av — Lillian M, emp
Christie, Brown 4 Co, b 162 Berkeley — May. bkpr. Ivs 866 Manning
av — Wm H, elk stores dept CNR. h 5 Doncrest rd Chubo Saml, with
Jacob Richanink, Ivs 709 Queen w Chuck Geo, tmstr, h 182 Van
Home Chnckman Peter, lab, Ivs 332 Richmond w Chue SamI, h 11
Chestnut Church .Vlice J, Ivs 67 Lakevlew av — Annie, elk m o
Eaton's, Ivs 111 Humberslde av — Benj, shotmkr 283 Gerrard e. li
same — Bible and Prayer Book Society. Rev H 0 Ttemayu" sec, 25
Dundas e —Book Room, W J Dyas prop, church supplies 48, 3.1
Richmond w — Bnu'e M, slsmn. b 16 Boswell »v — Edwd. carpet
layer, Ivs 557 Roxton rd —Elsie M (wid Alfred J), h 1379 Dulferiii —
Envelope Co. Alberta Everall mgr. 109 Jarvia -Frances, lab. b 161
Lappln av — Frank. lv« 137 Miinro (on active service) — Harold E,
timekpr Can Machine Tel Co. lis 137 Munri> — Harry F. packer, h 111
Huraberside av —Home (The). 78 Oxford — Home Department
(quarterly), 225. 12 Richmond « — Tola M, sample mkr, Ivs 2457
Dundas w — John, elk, Ivs 33 Howard Paik av — John J. elk. Ivs 681
Shaw (on active service) — Jos, tmstr, h 137 Munro — Jos, trav, Ivs
303 '^ Gerrard e — .los P. shipper, h 33 Howard Park av — Life
Limited. L H Baldain pres, 17 Queen c — Louis, mach bd Kilgour
Davenport Co, h 50 Laughton av — Louisa (wid Wm), h 557 Roxton
rd — Lyla, elk, Ivs 137 Munro — Margt, stenog Tor Creamery Co Ltd,
Ivs 73 Isabella — Minnie, Ivs 108 Euclid av — of rhtist f Discinle*:) .
see Miscellaneous* CHURCH — of God. 155 Broadview at — of our
Lady of Mt Carmel (R C), 196 WilUan CHURCH OF ST MARTIN-IN-
THEKlilds (Anj'lican). 151 Glenlake av (See card Miscellaneous
Churches) -of the Ascension (Ang), Rev J E Gibson, -MA, reetor, 137
Richmond w — of The Epiphany, Rev Dyson Hague pastor, 1515
Queen —of the Holy Name (R C), Rev Michl CUne pastor, 9 Moscow
av — of The Messiah (Ang), Avenue rd —of the New Jerusalem, 532
College, bet Palnwrstoii and Euclid av . —of The Redemmer (Ang),
Bloor w cor Atenoe rd — of the Resurrection (Ang). after 743
WoodblM at — Rebecca (wid Archd) , h 176 Spadina av CHURCH
RECORD S S PUBUCA tions. Iletbert Mortimer Manager, Rooms 224-
225. 12 Richmond east —Robt G. shipper Butterick Pub Co, Ivs 111
Hnmberside av — St School, 443 Church —Sidney F, gro 112
Ossington av — Stewart L, elk, Ivs 16 Boswell av — Sunday School
Lesson Helps (montliU). 225, 12 Richmond c — Sydney A, adj S A, h
98 Wallace av — Thof, moto. h 60 Arriington a? CHURCH THOMAS L,
.Mayor City of Toronto. Mayor's Parlors City Hall, Res 98 Binscarth rd
— -Thos R, postmn. h 39>^ Boston av — Wm. ivs 16 Charles w —
Wm. asst tax coll Ward 3. office City Kali, h 11 Dearbourne av — Wm
H, foremn, h 2457 Dundas w Churcher Bertie C, receiver, rms 124
Jones av — Cha« J, 111 253 Hallam (on active servlcel —Daisy, staty
2806 Dnndss w, h same — Ethel, confy 2953 Dundas w, h same —
Geo W, carp, h 253 Hallam — Jas, whsemn .M Rawlinson Ltd, h 108
Scnllard Churchhouse Eliza (wid Henry) . h 63 Haydes Churchill
Agnes, h 6. 1 Vankoughnet — Albert, carp, h 164 Bartlett av BEH
RAVEN HIGHEST GRADE ROSE coAi: COAL FDR DOMESTIC AND
INDUSTRIAL USE. IN LOTS FROM 1 TON TO A CARLSAD. Head
niflce: 314 C. P. R. BLD6. Tel. Adel. 3o7, 36S Ya:d.s: 572 D UPC NT
ST. H merest 61 ESPUNADE Main 570 325 DUFFERIN ST. JOHN
STARK & CO. Members Toronto Stock Exchange STOCKS Bought and
Sold on all the Leading Exchanges. Prompt Attention Given to Orders
Royal Bank Building Phone Main 7B0
The text on this page is estimated to be only 14.82%
accurate

C.J.SHAW Real Estate and Insurance TEMPLE BUILDING

MAIN 5718 CHURCHILL — Jas, clothes repr 729 Queen e, Ivs 39
Empire — Albert E, trav IX)m Textile Co, lis Havelock Court Apts —
ApoUos, h 211 Wheeler av — Beatrice, (nshr, Ivs 376 Woodbine a?
— Cecil W. cond. Ivs 4 Osborn" av — Chas W, raldr Tor Haidnare Mfg
Co, h 22 Thompsop — CSias W jr, Ivs 22 Thompson (on actiie
serrice) — Edmond, carp, h 3 Orchard Park bird — Bdwd J, Ivs 183
Sorauren ay — RliiUi (wid Bernard), dry gds 348 Bathurst, h jarae —
rioraice, Ivs 312 Weston rd s — Predk, torcmn Tor Harbor Coram, h
233 Lanjley af — Predk, presstdr Saturday Night, ivs 376 Woodbine ii
— Gertrude (wid Thos), b 38 Riverdale ai — Cladjs, recorder
Simpsons', Ivs 4 Osborne ai — Gladys H. stenog Imperial lite, Ivs
213 Quebec »t — Helen, parceller Simpson's, Ivs 370 Woodbine a?
^J — Heniy, trastr. h 312 Weston rd s ^J — Heary R, police, h S
Irene ar ■" —Hilda W, elk, b 436 Manning ar SB — H Jas, elk, Ivs 8
Irene av (on active service) ^1^ — Jos G, carp Canada Steamship
Lines, h 349 Daven«(■ port rd ^.^ — Louise C, slsldy Eaton's, b 1
Vankouglinet 2£ —Matthew, carp, h 672 Manning av :K —May A. Ivs
312 Weston rd s CD — Saml, h 41 Riiskin ay (on actife service) -
Thos, mldr, h 794 Crawford —Thos H, trav, h 213 Quebec at —
Walter, mldr Anthes Fairy Co, h 179 B«Jlefalf ay — Wm, plstr, h 376
Woodbine ar — Wm D, moto, h 4 Osborne ay — Winston, lab, b 312
Weston rd Cbtirchman Edith, maid Isolation Hospit&l — Etbel. cook
Isolation Hospital rhurcti*ard Annie, Ivs 349 Osslngton ay — Bwart,
cond, Ivs 124 West Lodge ay — Fredk. cond, h 439 Lansdowne av
•htrly Abel (A Cburly & Son), b 1 Essex — A i Son (Abel Churly) .
horseshoers 1 Essex — Frank, horscshoer, Ivs 1 Essex — Cm J. btclir
752 Queen w. h 53 MilUcent — John, slsmn, h 763 St Clair ay w —
Obadiah. v»hol btchr 73 Yarmouth rd — Wm G, horseshoer A Churly
& Son, Ivs 1 Esses eiiBrn Fredk, h 504 Parliament -Harold, Ivs 504
Parliament ehums H'm, lab, h 172 Bedford rd Oiiimside Louis, h 31%
Herbert av (on active service) —Nancy, emp Rob Roy Mfg Co, Irs 50
Non»«a ar — Percy, driver. Ivs- 224 Queen e nation Arnold G (Vivid
Electric Lamp Co), h B, 11 Wineva av Chute Agnea, h 40 Gerrard e
— Ciias, carpet layer Eaton's, h 41 Wyndham — Frank M, asst supt
Prudential Ins, h 95 Oakwood av —Harold S, trar F C Dayldge & Co,
h 48, 197 Wellesley — 4r)hn J, carpet la^er, Ivs 171 St Clarens ay —
Jm, packer, Ivs 171 St Claiens ay CHUTE ROBERT J, Manager
Grasselli Chemical Co, Ltd, Res 25, 619 Avenue rd — Wm. agt. lis 30
Balmuto (hater Arthur, h 4 Brooklyn ay Cfcvlckel .Milt, ice cream
parlor 158 Dundas w, h same Chwalia Jos. lab, Ivs 261 Royee av
fhyir Hairoan, cigar mkr, b 124 Grange sr tiubella Geo, b 261
Claremont (laapni Giuseppe, gro 132 Lappln av, h same Ciano Louis,
rms 69 ScoUard (on actiye service) Cibleman Patk, rms 2 Leonard av
Cicconi Pictro, lab, h 1364 Dufferin Ciceri John B (John E Ciceri &
Co), h 1369 King yr — J(*n B jr, ragr John B Ciceri & Co, h 107
Searbornugh rd CICERI JOHN B & CO, J B Ciceri Projjrietor. Fiuit
Dealcis and Commission Agents, 38-40 Church —Paul L, h 299
Indian rd —Tony, lab, h 2 Tretord pi Cicinelli John, h 298A Manning
ay Cido Frank, bootbtk, h 208 Teraulay CieWeman Lazarus, fish dlr
53-55 Kensington ar. h 33 same — Nathan, pmtr, h^ 53 Kensinstoa
«» del John, lab, h 120 Denison av (aeman Albert, elk Goldsmiths'
Stoci Co of Canada, lis 262 Major — Jos, barber Wm G Forsyth, h
262 Major —Sarah, bkfldr. Us 262 Major Cierc Cldir. lab, Ivs rear 96
St Patrick Cilence Annie Mrs, drs mkr. Ivs 270 Carlton — Victoria, elk,
Ivs 270 (iarlton Cimnak John, raldr, rns 69 Berkeley CinlTreda Rocco,
smpl mkr Eaton's, b 148 Carltou Cinnamon Abraham, ctr, li 4 Fltircy
ter —David, elk, rms 83% Walton — Jas (Jas W Cinnamon est), h 99
Connolly —Jas W (est), drugs 150-152 Dundos w Cinnani Frank, fruit
102 Dundas w, h same rion Jas, Its 38 Baldwin Cipler Hyman, tlr 403
Queen w, h sam» Cipprell B A, baker, Ivs 1 Ward rira Chas. confy
501 Parliament, h same —Jos, dir Loogo Fruit Co Ltd, h 284 Gerrard
o Circelli Michl, fruits 461 Parliament, h saau — Midil, opr, h 198
Teraulay —Michl, shoe mkr W B Hamilton Shoe Co. Ivs 461
Parlian,ent — Vincent, shoe mkr 584 Yonge, h same Circle Bar
Hosiery Co, C & A G Clark reps, 33 Wellington w • Ciroff Veden, Ivs
85 Portland (;isson Norman, h 652 Gladstone av (on active scnicc)
Cistema Paul, cabt mkr. h 164 Harbnrd Citizens' Committee of One
Hundred, Gilbert Agar sec. lioom 1404 C?R Bldj, 6:i Yonce fito
Natale, lab, h 271 Claremont Citron Bessie, fnshr Eaton's. Ivs 85 -
D'Arcy —Jacob, tlr, Ivs 22 Soho —Thos. tlr. h 22 Soho City Agency
North American Life Assurance Co. Ernest W Pratt, city mner. 112
Kins w CITY ASPHALT PLANT AND TEST ing Lrtlinratoiy. s s
Esplanade, ft Prinrew CITY CREMATORY, fruit Str.achan avenue CITY
INCINERATOR, Don Roadway, north of Queen e CITY DAIRY CO,
LIMITED, W J Northgrave General Manager, Wliolesale and Retail
Dealers in Milk, Cream, Ice Cream and Dairy Products, Spadina Cres,
cor Bancroft and Russell. Branch 14 Manitou rd. Island (See right top
corner cards: also classified Butter. CeitiHed Milk, Cream
(Wliolesale). Dairies and Ice Cream) CITY DAIRY FARMS, LIMITED,
W J Northgrave General M;ui;\ger, Office Spadina cres: Farms, New
Lowell. Ont CITY DIRECTORY OFFICE 74-76 Church. Phones
Adelaide 3500-1-2-3-4 (See adv opposite Might Directories Limited)
— Dye Works (S Zaid, H White, S Rosenick), 351 College — Estates
of Canada Ltd, Philip Thomlinsou comptroller. 1521-1522, 67 Yonge
CITY HALL, Queen w. opp Bay; For Departments see Street
Directory; also Miscellaneous Directory —Hall Tailors Ltd, Chas Evans
mgr, 31 Queen w CITY LAVATORIES, Toronto street opposite Post
Office; southeast cor Queen and Broadview av; Southwest cor
Queen and Parliament; Queen west cor Spadina av; Lansdowne and
Dundas; Yonge and Shaftesbury ay CITY MORGUE, 84-90 Lombard
— of New York Insurance Company, rm 11, 40 Victoria — Park, w s
Yonge, 1 n of Lake CITY POUNDS, K>.stpri! aventie at Dofi. and King
and Huffcrln CITY REGISTRY OFFICE, Peter Ryan Rcgis'.iar Eastern
Division, » H B«ir«. KC, Resislrar Western Division, 90-106 Altot CITY
STABLES, (.Northern), 1008 Yonge, (easteyn) last«r> »y at Don,
(western). 1116 King w CITY STORAGE, LIMITED, C H Thompson
President, II W Masr SetrrtBy, F A Magce Manager, 251-253 College,
Phone CoIIeiee1200-12111, West Toronto Branch 2787 D»iidas w
CITY WEIGH SCALES, St Lawrence Market, Front bet Jarris wvd
(Jeerge, J A Hubbard Weighraaster; St Andrew's Market, south side
Richmond West; Wesley Brmvn Weighmaster; foot Market, Isaac J
RadcUte WeJghmaster; Logan avenue and Queen. Harry Radclllfe
Wekhmaster; 1008 Yonge, Fred Wheat Weiglimaster OXTT &
SUBURBAN WINDOW .■•.ni„5 In, I ' r • fi,,,, \um%a, 432 ParUament
(ne taid Wlidov Cleuias) Civerllng Max, h IH Major Civic Emplo)'mfnt
Bureau. Saml Arnold Supt. 130 Richmond w Civil Section ot Military
Police, Capt T C Maiiasai\ in charge, 101-106, 31 Y'^onge CLibajlo
Thos, lab Macdonald Mfg Co. Ivs 369 Osslngton ay Clack Jessie, mun
wkr, rms 61 Hamiltoa — Jos B. coinii Atwell Fleming Ptg t'o. h 86
Aleioa av — Louis, pressr, h 320 Denison av Clalfey Herbert J,
foremn Constructing & PMtag Go, t 75 Helena ay — Louis A. piin Tor
Rusine-s Colleite. Ivs 84 M<
The text on this page is estimated to be only 17.18%
accurate

Confeberation %ifc I HEAD OFFICE -rOF»OIMTO I A

SOUND (Canadian Comft^ •LAHCY — M«U M. ngt Imp Guar & Aeedt
In« To, b 178 gadisoii ar — SMte-iok, rarp. rms 275 Sherbourne ^Ka
W, dk Molsons Bank. Ivs 70 Albany a» —8m*. tmstr, h 132
Bellwooda at —San* (wM Thos), h 102 Harbord — S«i*i», (or opr, h
17 Gloucester — SteUa, dk Nortlirop & Lyman Co, l»s 96 Paflbment
— Susan Mrs h S2 Eiehth av — l*es J. dk P .\ MfBride. h 31 Cbarles
v — Ti^la. Its 105 Strachan at — W» U. Ira Hotel Elliott Cl«»*eM
Eorald A, mgr Jess Applesath (280 Yonce), n«3 114 McGllI Siifbtn
Cbarlott'e, rms 33 Manning at —Geo, h 4.57 Concord at —iota, cbkr
frt dept GTR, res Umbton Mills — «li«ii, laap shades 841 College, h
457 Concord at — Mittie Mis. h 318 Albany at —May. b 318 Albany at
— SaaJ, dry gds 215 Danforth at, h same — ffm, rms 179 O.^ington
at (on active strtice) — 1»« J. Irs 392 PatUament (on actite sertlce)
€laj>|) CecU 0, mgr Clapp's Shoe Store, h 499A Bloot w — Cfcts R
(C R Clapp & Co), h 455 Atenue rd CLAPP C B & CO, (Charles R
Clapp), Real Kstate, Insurance and Bonds, 53 Adelaide e (See card
Real Estate) — F/ttwd M, sec-treas Odd Fellows Relief Assn, h 300
Euclid at — BUen M. shoes 977 Bloor w. Its 1027 Ossington at —
Uo), shoe store prop, Irs 77 Pembroke — Gwendolyn, stenog. Its 48
Lynd at — Henry S, elk, h 490A Bloor tr — Lionel S, Ivs 4, 20
Heintzman — Mabd. stenog Registrar General's Dept, Its 300 BnelM
at — Marie E. shoe store. Us 1027 Ossington at — Ptnline, nurse
Hospital for Sick Children — addoa T, shoe store, h 1037 Ossington
av — Stail'T. flreii:in CPR (West Tor), ivs 4, 20 Heitzman — Wilttn S.
driver, h 48 Lyall at — ff»i H, phy 171 King e. h same — Wm R, car
washer Eaton's, h 505 Adelaide w Clapptra Victor, Ivs 243 .Maria
Clawif JacqMelinc. rnvsr llo-,>Ual tor Sick Children ClaiW Bcnj, h 92
Scollatd (on active sendee) ClapjwtoB Geo, tice-pres Bennett &
Wright Co, h 321 High Park at — Qeorgis, dli. Its 321 High Park at -
G. elk Natl Trust Co, Its 321 High Park ar -Harold, elk, Its 3012
(Jueen e — Harry G. tice-pres Gundy, Clapperton Co Ltd, Ii 3012
Qaeen e -Isakella, Ivs 3012 Queen e — Jis, Its 115 Ferrier at —
Janet (wid Vim), h 115 Ferrier at — Margt, emp Sunset .Soap Dye
Co, Its 115 Ferrier at — Naixr, erap Sunset Soap Dye Co, Its 115
Ferrier at — Nettk, emp Sunset Soap Dye Co, Its 115 Ferrier at —
B«bt, Bldr. its 41 Davies at — Walter, Its 3012 Queen e (on actite
service) — ffii, printer Tor Typesetting Co, h 115 Ferrier at (Jhpp's
Shoe Store, C G Clapp mgr, 74 Victoria Clai)tae May, Ivs 105
Sherbourne — Wb a, ilsran, h 175 Sumach (3an Geo, rms 38
McFarland at —Walter, elect, rms 33 McFarland at CUratrat Bernard,
mach, Ivs TOT Do\ercouTt rd dacbrougli Robt V, slsmn E W
Bmpbacher, b 13S Lee at CItt Albert E, lab, h 279 Erie ter — ABwft
E, lab, h 279 Erie ter —kV, krklyt, h 15 Shaw n — Atfred jr, h 40
Arlington at — Ajue Mis, h 417 Erie ter — Amtad, elk CPR (1 King e).
Ire 131 Bordeo — Arthw W, Ivs 362 Soiauren at — Cfaas, imnate
130 Dunn af —VntOK, prin St John's Sep Schl, Its St Joseph's Cm
tent — Fieft P, apiarist, h 14 Pailton cres — 0« r, test mgr Jas
Robertson Co, h 101 Woodlawn amm w — HfutT, Bremn, h 75 Booth
ar — H«T»e», asst supt Asylum — J«» 1, press tdr, b 104A McCauI
— Jss W, bldr. h 56 Prescott at — J«hB. shipper, b 15 Shavt n —
JolBi, skipper, b 55 Simcoe — J«ta. shipper P W Weston 4 Sons. Its
297 Erie ter —Mind Mrs, opr House of Hobbetlin, Its 15 Shaw n ! —
Mleil. rms 193 Robert — niUU», dk. Its 417 Erie ter — Wb. fc 131
Borden CUKTOMt Andrew, bldr, h 85 First at OLAREMONT —
Annette, cashier m o Eaton's, tvs 139 Seatoi — Fredk H. slsmn, h 2A
Alexandra apts — Hotel 732-34 Queen it — Louis, iron wkr. Its 213
Bolton at —Louisa Mrs, translator m o Eaton's, Its 139 Sesloo
Clarence Dorothy, mgr United Cigar Stoies Ltd (576 Queen w), Its 64
Ha.vden — Frank H, brkmn. h 1 Hateourt av Clarendon Bldg 25-27
Richmond vt Clarey .Margt E, Idgrfcpr Bel Tel Co, Its 3 Multland pi —
Mary, opr. Its 53 Olive av Chrfeldt Alex, b 52 Oiford — .los, h 124 St
Patrick ♦ Clatidse see also Clarridge — Chas, tobacconist 497 Pape
av. h same — Chas. trat, its 62 Awde — Elizth. fnshr Eaton's, b 313
Grace —Ernest, h 197 Bellwoods at (on active service) — G. elk
retL«ion dept Might Directories, Ltd, Its 409 Brock at — Hugh,
mattress fnslir Empire Mattress Co, Its 22 Willison sq — Isabel (wid
Thos), Its 433 Pape at — Jessie, elk Hyslop Bros, h 180 Simcoe.
YWCA — Mary E (wid John), Its 497 Pape av — .Myrtle M. dk
Maclean Pub Co. b YWCA, Simcoe — Nathan, mattress mkr, h 22
WillisoB sq — Richd. blrmkr Tot Hardware Mtg Co, h 409 Brock at
Clatingbold Chas. h 266 Clinton (on actite sertict) — Ernest, h 55
Dimberland (on active service) Clarita Carrie, elk Eaton's, Its 73 Ann
^ Clark see also Clerk — Ada, opr Eaton's, b 22 Simpson at —
Adam, rms 129 King e — Adam, ajt, b 806 Keele — Addaide L (wid
Malcolm S) . h 74 Albany at — Adde. elk. b 149 Galley at — Agnes, h
40 Lipplncott — AgLes, stenog. Its 122 Glenlake av —Agnes M, dk
Eaton's, Its 29 Chester ar —Agnes M, elk 3 F Bowser & Co, b 146
Empress cres —Alan G. elk Imperial Bank of Canada, Irs 126
Westmount at — Alban E, acct Electric Power Co, Ltd, b 162 Rushton
rd — Albert, engr, h 29 Chester av — Albert, express 374 Wellington
w. Its same — .\lb«t E, mng dir Edwd Clark & Sons, Ltd. h 17 St
Andrews gdns --Albert J. h 8 Ftichot — Albert M. phy 232 Shaw, h
same — Alberta K, Its 119 Willow av -Alberta M, order mgr House of
Hobberlin, b 161 Beatrice — Alden D, h 115 DowUng at — Alex,
bicycles 1052 Genard e. h same — Alex, blksmth, Ivs 1063
Dotercourt rd —Alex, blksmth, h 36 Somerset at — Alex, chemist. Its
82 Fernwood Park av — Ales, r-nitor Bank of BXA Bldg, h 52 Uunlldd
at — Ales, plstr. h-66 Vermont av — Alex, plmhr, h 7 Follis av —
.Mex, tmstr. h 87 Greenlaw at CLARK ALEXANDER C, Vice-Prreident
Hardware Co of Toronto, Limited, h 38 Ikndrick av —Alex M, elk, h
240 Coxwell at — Alex N, mun wkr. Its 535 Roxton rd — Alex P
(Clarmead Shoe Store), Its 502 Church — .\lfrcd, h 11 Maltland pi —
Alfred, Ivs 684 Pape av — Alfred, Its 145 Yorktille at (on active
service) — Alfred, contr 233 Waterley rd. h same — Alfred, driver, h
19 Abbott at — Alf grinder, h 579 Crawford — Alfred E, mng dir
Edward Clark & Sous. Ltd. h 17 St Andrews gdns — Alfred G. ydmn
GTR. h 84 Sorauren at —Alfred T, h 520 Bloor w — Alice JL-s. h 465
Perth av — .Ulan G (C & A G Clark), h c s Mount Plea,sant rd, s e cor
Diunick cies — Almina Mrs (Clark & Dillon), h 389 Church — Alvin,
presser, Its 44 Westmoreland at — Andrew, h 221 Pearson at —
.\ndrew, carp, Its 54 Dingwall at (on actite sertice) — Andrew, citil
engr, h 4, 29 Enderby rd — Andrew, moto, h 142 Jones at — .^nna J
(wid Saml), Its 88 Ferier at -.\mia .M (wid Thos), Its 72 Hilton at —
Annie, sewer Eaton's b 537 Eastern at — Annie, elk, rms 410A
Wellesley — Annie, manicure, b 37 Bloor e — Annie, opr Tor Feather
& Down Co, Its 548 Duferin — .\nnie E (wid Wm A), h 31 Alhambra
— Archd C. ctr. b 90 Coady at CLARK —Archie, elk Goodyear Tire &
Rubber Co, Its 20S Bedford Park at — Arttair, h 11 Norfolk —Arthur,
chkr frt dept CTR, h 47 Arlington at -Arthur, chauf. h 115 Gladstone
av —Arthur, driver, h 257 Sumach — Arthur, painter, h 376
Wellington w — Arthur, timekpr, h 40% Morse —Arthur, trat, h 132
Beatrice —Arthur D (P M Clark & Son), h 240 Bloor w — Arthur E,
draftsmn Canadian (Jeneral Fire Eitinguisher Co, res Runnymede —
Arthur E, engr. h 436 Runnymede rd —Arthur J, portraits 540 King w.
h 8 Fisher — Arthur J, sculptor, h 159 Springhurst at —A Clifford, elk
David W Ch:k, Ivs 102 Roxborough ¥ west —A Esson, dk. Its 31
Alhambra at (on actlto sefrise) —A G, h 370 Symington at — A
Russell, elk Datid W Clark, Its 102 Roxbotoagk w — A R & Co, Gm
ChUd mpr, dry gds 800 Queen e — A T, cond. h 372 Symington .at
— Beatrice, slsldy Eaton's, b 61 Armstrong at — Beatrice, opt. Its 37
Bloor e — Beatrice A, stenog Marwick, .Mitchell, Peat k C», Ivs 31
Alhambra av — Benj W, mach, h 157 Dovercourt rd — Belle A, prin
Jos Workman Pub Schl. Its 32 Delaware av —Bert, h 319 Bain at —
Bertha Mrs, Its 821 Ossington at — Bertram L. mgr Canada Electric
Co. ivs 44 .\nn —Bessie J, tchr Regal Rd Schl, Its 34 Ellsworth at —
Bonnie, slsldy, b 628 Bloor w — Brodie D, dk Hydro, Its 1063
Dovercourt rd — Burrel A, h 1197 Dotercourt rd — Caroline, stenog
Lands, Titles, City Registry Office, ^Caroline E, h 141 Balmoral av —
Caspar, h s s Queen e, cor Laketlew at — Catharine, h 452 Euclid av
—Catherine A (wid Bdmund J), h 60 St .Mary — Cecil 0, pres.man
The Glebe, h 12 Spring Grote at —Chas (C & A G Clark), h 1
Rochester at — Chas. Its 80 Genard e — Chas, bartndr, h 547
Dundas w — Cb&s, elk, h 84 Woolfrey av — Chas, lab. Its 465 Perth
at (on active senict) — Chas, opr, rms 165 Galley av — CTias, pkr
Cowan Co, h 292 Gladstone at — Chas, postm;in, h 143 Shutrr —
Chas, printer Addison & Malnprice .rms 18T OHudi — Chas, printer, h
21 Robinsim — Chas, trat, h 34 Norton at — Chas, tuner Gourlay,
Winter & Leeming, ta 281 SUtcr Birch at — Chas A, comp, h 124
Shaw —Chas C, mng dir Swedish General Elect, Ltd. Its 2362 Queen
e —Chas M, baths 1-2, 65 Bloor w —Chas W (Nelles & Clark), res
Upper Woodstock, N B - — Chas W, phy 455 Huron, h same — Chas
W, phy 1986 Queen e, h same — Clias W L, phy 112 College, h 26,
21 Atenue ri — Charlotte A. cinr. Its 200 Macpherson at —Chester,
rms 88 Warilell — Christie T, Its 68 Wabner rd (on active sertlcc) —
Christina, elk Imperial Ufe, Its 452 Euclid at — Christina, emp Mabie
Todd k Co. b 214 Clintea — Christopher, Ivs 143 St Clarens av —
Clara (wid Joel), h 12 Ridley gdns — Clarence H. bfcpr, Ivs 80
Gerrard e ^Clarence 0. stableman, h 216 Briin-swiek at — Curlena
(wid Vincent), h SO Gerrard e — C Day, ass sup phy I 0 F, h 121
Bernard at «iGRE60R & MclNTYRE, Limited I "ROCTORAL steel shops
OrnamentaS Iron Work^ Stair Work, Ktc. 1139 SHAW ST. Phones
"'H-eRtsT
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FREEK ¥ 655 YONCE ST. 0pp. St. Mary PHONE NORTH ?MB
GENERAL HARDWARE Sherwin-Wsliiains' Painfs Oils and Varnishes
eSAL Elf ATE 105 RONCESVALLES AVE. PHONE PARK 2763 CLARK —
e Langton, editor Toronto World, Jre Tlie Alexandra, 326 Lake Front
— C Ruth, nurse Orace Hospitil — C & A Q (Charles ud AHen G),
mfrs a«ts 35 WrilineloD w —Daisy E, opr Ham Carhartt Cotton Mills,
Its 305 Snnadi — Daniel J, caretaker Biolojlcal Dept of Tot Unlf, Its
stine — Darid, installer S F Bowser « Co. h 35 Seneca, (Fairbank) —
Da?id. plmbr 778 Dundas w, h sane — DsTld A, pressman Warwick's,
b 255 Booth it — Darid C. h 278 Logan bt — Darid H, messr Home
Bank of Canada. Its 121 Carlaw at — Datid M, enenr. h 63 Caras at
— Datid M, Uav, h 438 Marion —Darid W, gro 248 Avenue rd and
sarage 182 Bedford rd, h 102 Roiborooth rd — Donald, blksmUi, h
1063 Dovercourt td — Dora, Its 545 Broadtiew at — Doris M. elk
TSR, Ivs 71 Herbert at ■ — Dontlas, b 16 Manning at (on actit«
serrlce) — Doojlas, elk, h 410A Wellesley — Dooelas Jr, elk, its 410A
Wellesley — Doujlas 0, boiler rakr, h 202 Mcdland —Douglas R, trat
Ratcliff Paper Co, Ivs 121 Glcndale at — Dudley F, elk, Ivs 480
Dundas w —Duncan P, trat, h 35 SummerhlU gdn —Edgar M (P M
Clark 4 Son), h 10 Lowther at — Edith (wid Edmund J), h 70 Dnpont
—Edith, Its 242 Cottinghan -Edith, elk Eisman & Co, Its 484
Margueretta —Edith E. bkpr. Its 602 Indian rd —Edith F, stenog. Its
78 Pricefield rd — ^Edmund J, elk. h 136 Hepboume — Edffd, Ivs 5
Vankonfhnet — Edwd jr, Ivs 5 Vantoufluirt — Edwd. pres Edward
Claik SSons, Ltd, Its Prince George Hotel —Edward & Sons, Ltd,
Ed»ajd Clark pres. 807-809, 67 Yonge — Edwd E, cartage 1215
Danforth at, h same — Edwd F, elk acctg and purch sect Dept of
Works, Oty Hall —Edwd I, Ivs 51 Chatham at — Effela (wid
Alexander H), Its 4;!8 Clendenan at — Egbert, trat, h 113 Roselawn
at — ^Eleanor, action wkr Sterling Actions, Its 39 Gladstone atenne
— Eleanor L (wid Chas), h 477 Shaw — Eleanor L, tchr. Its 1986
Queen e — Eiizth (wid John W). h 1-13 St riarens av — Ellzth, h 19
Oiafton av — Eiizth, corset wkr Crompton Corset Co, b 172 Lisgar —
Eiizth J (wid John), h 121 Carl?*- av — Ella A (wid Jas 0), Its 1986
aueen e — Elsie, elk P 0, Ivs 61 Hjch Park blvd —Elsie D, its 1215
Danforth at —Emily (wid Fredk). h 91 Bickle at — Emily, Its 121
Carlaw at —Emily E (wid Dana H), h 339 Davenport rd — Ernest, its
278 Wobnm at (on active service) — Ernest, elk, h 1, 1277
Datenport at — Ernest, mach, Ivs 12 Alien av —Ernest W, mach, h
147 Hamilton —Ethel, elk, b 219 Westani at —Ethel, fldr, Its 1226
Dotereonrt rd CLARK — BUicl A. office asst Gra^c Hosnital. Ivs 31
Alhambfa — Etliel 0, tchr Clinton St BchI, Its 121 Carlton — Eva M. h
r Hnwhnd Afts — EtelsTi K. elk Imperial Life, Its 452 Euclid at —
Farley G. h 251 Rvsscll Hill rd — Fem. stndt. Its 129 Lavrton — Flora
(wid Thos), b 122 Clenlake at — Florence M. h 12 Allen at — Flnyd,
slsmn Adams Fum Co. Its 218 Brunswick at — ^Prances (irid Jas).
Ivs 549 Richmond w — Francis, tile setter, h 262 Balllol — Frank,
bkpr. Its 418 Saekville — Frank, driver, h 1574 Datenport rd —
Frank, driver, h 59 Wychwood av — Frank, fruiter, h 38 Dundonald —
Frank A, mjr Frank Stanley. Ivs 12 Ridley gdns (on artiip sprvice) —
Frank D, moto, h 16 CarroU — Frank R (Clark & Stone). Ivs 109
Willow av —Frank R, sol (rt agt GTR frgn (rt dept, 313 Onion Station
—Fred (Clark & Eiin.wn), Its 19 BoswcII at —Fred, Ivs 91 Bickle av
—Fred, elk, h 58 Alice — Fre-i. pishr, h 86 Day at — Fred, wks
Cowan Co — Fred B, mach hd International Business Machines Co,
Its 91 Bickles av — F>d E. comp Mall & Empire, h 39 Sorauren at —
Fredk, h 85 Strathcona at (on active service) — F>edk. Its 465 Perth
at — Fredk, lab, h 84 Mnscnw av — Fredk, lab, h 574 Parliament —
Fredk, printer, h 39 Sorauren at —Fredk D, Prospect Cemetery, n of
Earlsconrt. b 1466 St Clair at — Fredk J. b 13 Prince Rupert at —
Fredk R. elk. Its 592 Sherboume — Fredk T, carp, h 187 Palmerston
at — Fredk T. chaoff. h 115 Cambridge at — Ft«dk W. chanff. h HI
Heward at —Fredk W, slsmn, Ivs 254 Jarvls — F Mabel, tchr Kew
Beach Schl. Ivs 8l Ann — F R, with Can Bank o( Commerce, Ivs 592
Shetbourno — Gardner E. mun wkr. h 36 Vernon — Ceo. h 2 Arnold
av —Geo, h 6, 27 Christie — Geo, h 98 Euclid av — Crfo. Ivs 18
McMnrray at (on actite sendee) — Geo. bkbndr Business Sj'stems,
Its 144 BeacoBsfieM at —Geo, glove ctr A R Clarke & Cn. h 201
fcnes at — Ceo, printer. Its 104 Silier Birch at —Geo, slsmn, h 8A St
Clair at w —Geo. shipper Hreiene Kola, Ltd, Its 100 Ersktoe at — r
The text on this page is estimated to be only 17.08%
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4Wirebound Packing Cases Lighter, Stronger, Cheaper

Canadian Wood Products Ltd. 1000 GEPRARD ST. EAST Phone
GeiTard 2100 CXABK —Uht. elk Britlsti Alter Oil Co. Its 100 LIpptBwtt
—Ma. drartsmo. h 129 Garden u — Mn. Ids, h 16 Riubolne rd — iota.
lab. rms 114H Sherboonw — Jofca. messr Bank of Nova StoUa, h
143 WestDbist
The text on this page is estimated to be only 18.87%
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Mappin REAL ESTATE, LOANS, INSURANCE BEACH

PROPERTIES A SPECIALTY Queen East and Balsam Phone Beach
1675 IRRISON The Credit Clothier 318 QUEEN WEST Phone Main
4677 Ready-Made Cloihina, I.3il:c3' Ccats and Furs, Custom
Tcilorinq. CLARK — Wb V, denUst F J Capon, h 171 Haielock — Willis
B, marine enjnr, h 159 Macpherson a» — Wtonlfred (wid Fred), Ivs
232 Claremont — Wyman S, supt Frank Stanley, Ivs 12 Ridley gdns
— W K, Ltd, W E Clark mgr, plumbers' supplifs 710 King w — Zeta,
stenos. Its 466 Qwbec av — 4 Dillon (Mrs Alralna Clark, Wra W
Dillon), eros 389 Church — t Eunson (Fredk Clark, Wm R Eunson),
tlrs 99 King w —ft Meadows (Alei P Clark, &n«st Meadows), shots
225 Broadview av »*• — » Stone (Frank R Clark, Geo 0 Stone), gros
109 Willow av -i Tbompsoh ( aM Clark and W B Thompson), printers
j ••^^ 38 Adelaide w » ff~i. ~9 Tmni (■'o''? Clark, Ernest Towler),
gros 869 Bloor * Clarke Ada, atehOg. Ivs 38 West 4* --Adtle, slsidy
R g Williams & Sons, b 149 Galley ai £•— Agne« M, elk, h 78
Pricefleld rd —Agnes M, Ivs 57 liomewood a? — Alb«rt, rms ia
AlexahJef ^» ^AlMrt, printer Wra Moylan, Ivs 166 Sumaeh ■j^ —
Albert C, pilnter R G McLean, h 1633 Dundas w C9 —Albert B, emp
sec Eaton's, h 223 Victor av ^Albert E, shipper Carsn-ell Co, Ltd, Ivs
149 Roslin & avenue —Albert }, tltf frt dept 0TB, h 25 Brighton af —
AlWrt Wi warehsemh Adams Fum Co, rms 29 Alcs■Ddor —Alex, acct
U S Playing Card Co, h 587 Yonge 'y — AUred, elk, Ivs 6 Innis av (on
active service) ^ —Alfred, elk Richd Clarke, Ivs 237 Queen e —
Alfred, coll Toronto World, h 83 Grenadier rd -Alfred, fnshr Adams
Fum Co, h 11 Maitland pi —Alfred, warehsemn Adams Purn Co, Ivs
684 Pape av —Alfred B, yardmn GTR, Ivs 18 Marion — Alfred E. elk
CPR Co's Tel, h 1245 Duiferin —Alfred E, coll Toronto World, h 599
Pape av —Alfred 0, coll Tor World, h 83 Grenadier rd —Alfred G, mun
wkr, h 464 Salem av —Alice E .Mrs. Ivs 1418 Bloor w — AUoe E, asst
sec Bureau of .Municipal Re.=earch, Ivs 44 Herbert av -Alice G, wks
Eaton's, Ivs 29 Gilford —Amelia (wid Richd), ims 773 Ossington av —
Andrew B, reports Mail and Empire, Ivs 938 Dovercourt rd —Anna J.
stenog Central Canada Loan & Savings Co, ivs 54 Lakeview av —
Annie (wid Jabez), l\s 645 Ossington av — Annie, b 537 Eastern av
—Annie, slsidy Falrweather's, Ivs 8 Kintyre av — Annie E, slsidy, Ivs
92 Roslin av —Annie L, Ivs 428 Huron — Arclid, transfer b,-limn CTR.
Ivs 142 Empress crcs — Archd R, rubber wkr, h 41 Sorauren av —
Arthur, b 415 Duiferin -Arthur, chkr Union Station —Arthur, lab. h 172
lioyce av —Arthur 11, sec com on works, Dept of Works, Head Office
City Hall, h 244 Cottlngham —Arthur T. Ivs 105 Hogarth av (on
active service) — Angnsta L (wid Edmund), h 696 Bathurst —
Aofustus, tir, h 35 Augusta av — Avcy B, elk, Ivs 465 Boxton rd —A,
elk Silks, Ltd, rms 415 Wellesley —A H, Ivs 29 Christie — A M, elk
Natl Trust Co. h 78 Pricefleld rd CLARKE A R & CO, LIMITED, Griffith
B Clarke President and Managing Dirertor, Manufacturers of Patent
Leather and Gloves, Mitts, Moccasins, Leather and Sheep Skin Lined
Coats, Shirts, Etc, Office and Works 633-661 Eastern av — Beatrice
(wid John P), b 596 Manning av — Beatrice, pkr i Henry Peters Co,
Ivs 112 Bertnomt —Beatrice, slsidy Laura Secord, Ivs 98 Pembroke
— Beatrice E, slsidy, Ivs 178 Howard av — Beatrice M, elk Gumey
Fndry, Ivs 596 Manning av — Benedict A, vocalist, h 178 Heward av
— Benj, b 2 Vivian — BenJ, gcnl supt Natl Iron Corp, Ltd, h 30
Redwood av — Benj A, mgr Ward, Lock & Co, h 391 Keele — BenJ
W, real est 12, 77 Victoria, h 24 Webster av -Blanche M, tchr Queen
Alexandra Schl, rms 407 Markham — Bros (Chas and Frank H), mach
158 Duke — Brace W, tchr Humberside Coll Inst, h 29 Quebec av —
Carrie, opr Richards Glass Co, Ltd, res Wychwood -Catherine, Ivs 37
Beaty av —Chas (Clarke Bros), h 35 Brooklyn av -Chas, h 1117
Dundas w (on active service) -Chas, h 116 Spencer av — Cbas, elk,
Ivs 1245 Duffeiin — Chas, lab, h 99 Christie — Chas, lab, h 128
Pearson av -Chas, lab, h 149 Roslin av — Chas A, Ivs 477
Runnmyede rd — Clias B, cook, rms 105 St Patrick — Cbas E, h 58A,
414 Jarvis — Chas F, postman, h 38 Westminster av — Chas H,
designer Punchard-Blrrell Co, h 519 Shlw —Chas i, elk sects br Dept
of Lands, Forests and Mines, res Aurora —Chas K, pliy 143 College, h
34 Roxborough o — Chas M Mrs, Ivs 182 Wright av —Charlotte Mrs,
Ivs 262% Sherboume —Charlotte E (wid Edwd F), h 5, 135 TyndaU
av —Clwilotte E, stenog SchoII Mfg Co, Ltd, Ivs 84 Eighth aveoM —
Chester B, thief elk Prince George .Hotel, h 239 Crawford —
Chr!!»pl>«r, supervisor Asyium, h 11 Grove av — Ciar«Bee C, Ivs 45
Rusholme Park cres -Clarence H, elk Eaton's, b 45 Charles w —
Clement, baker, h 24 Winnifred av ^Clement, porter, h 16 Nassau —
Conner, mun wkr A B Ormsby Co, b 44 Beacousfleld avenue -Cora,
fekpr, Ivs 246 Sherboume — Daisy, elk, rms 310 Wright av — Danl, h
183 Lamb av — Danl. ctr, Ivs 2 St Andrew — Darid, cigar mkr, Ivs
831 Dovercourt rd — David. Ivs 42 Niagara — Donaldson G, printer,
h 17 Earl Grey rd — Dora L, bkpr Clarke Products, Ltd, Ivs 127
Qilmour av — Dorothy E Mrs. tchr Rose Av Schl — Dudley F, elk
Gordon Mackay k Co, Ivs 480 Dimdas west —Edith, bkfldr Lumley &
Hewitt, Irs 183 Lamb ar —Edith J, h 386 Berkeley — Edmond J, bkpr,
h 427 Pape av — Edna J. bkpr W T .Morley & Co, Ivs 396 Bathurst —
Edwd C, h 68 Harvard av —Edwd S. gro 3128-3130 Dundas w, h
3128A same — Edwin H, h 32 Morrow —Eliza (wid Adam), h 29
Giftord — Ellzth (wid Clias E), Ivs 2365 Queen e — Elizth J. nurse,
Ivs 1622 Darforth av —Ella (wid Edwd), h 45 Charles w —Ellen Mrs,
Ivs 108 Cumberland — Elsie, opr Eaton's, Ivs 166 Hastings av Emily,
h 23 Bartlett av — -Emma Mrs, fncy gds 690 Yonge, Ivs same —
Emma L (wid Fredk G), h 90 Glen rd — Enid, elk Margt Nelles, Ivs 45
Charies w — Erme E, hipr Christie Brown, Ivs 149 Roslin ar —
Ernest, Ivs 477 Runnymede (on active service) — Ernest, box mkr, h
268 Salem av — Ernest, ink mkr Canada Printing Ca, Ltd, res Mt
Dennis — Eniest. lab. Ivs 300 Morley av -Ernest, mach, h 147
Hamilton —Ernest H, studt sec Natl Council YMCA, Ivs 72 Avenue rd
— Ernest L, stmftr Baton's, h 961 Eastern av -Ernest R. sec-treas
Sherwood (^struction Co. Ltd, h 1504 King w —Ernest S, dairy 134
Armstrong av, h same —Ethel, ivs 41 Olive av — Ethel, elk Baton's,
Ivs 52 Armstrong av — Etbellnd B L, tlrs E L 1 Symington, Tms 69
Foiley —Eva, opr Eaton's, b 166 Hastings av -E J. Idcrki.r Geo H
Ilees Son & Co, h 427 Pape ar CLARKE — E Boy, sis mir Don Toy Mfg
Co, Ltd (60 Rwt r), h 11 Femdale ar — E Winnifred, bkpr Crane &
Baird, Irs 13 BnaMdt ar (Lampton Mills) — F.-iniile (wid Isaac), h 55
Homewood ,iv —Fannie, Ivs 772 Broadview av — Florence, mhir
John D Ivey Co, b 38 DmxlMaU —Florence E, elk m o Eaton's, b 166
Mntnl —Frances E .Mrs. lady pria Clarke's Shortha»ii ftmege, Ire 565
College — Francis, stkpr Simpson's, h 533 «4 Ointon —Frauds C, b
819 Dnpont —Francis C, slsmn Eaton's, Ivs 1 Bowden —Francis F,
skmn His Master's Voice. Ltd, Irs MIB St Clalr ar w — Frands W,
mach, Ivs 52 Armstrong av —Frank, dk purchase dept CNR (9
Toronto), hs 72 .Sackville — Frank, h 113 Westmoreland av —Frank,
staty 343 Roncesvalles ar, h 30 GsmaKu r< — Frank C. rms 448
Indian Grove — Frank C, rms 1 Bowden —Frank H (Clarke Bros), h
52 Curron CLARKE FRANK W, Manager Presto Patch Co (of Canada),
122 'Victoria. Res 254 Jarvis —Fred C. h 82 Binscarth rd — Fred F,
surveyor, h 137 Shddrake boul — Fredk, h 250 Annette —Fredk,
brkljT, h 690 Yonge — Fredk, engr, h 139 Prescott av —Fredk F.
printer 136 Simcoe, res Port Credit, On* —Fredk H. dept head
Oakwood High Schl, h 103 CaMlance—Fredk J. j-dmn GTR, h 49
Millicent —Fredk R, ttar Gale Mfg Co, h 36 Park Way ar —Fredk W,
dianff Adams Fum Co, h 141 Heward av -F E, fotemn R Score & Son.
Ltd, Ivs 71 MaltbUM --F W, b 190 University ar —Garrison, Ivs 45
Charles w (on active servl») —Geo, Ivs 73 O'Hara av — Geo, Irs 373
Wellealey (on active service-) — Geo jr, bkbndr, Ivs 68 Albambra , —
Oo. brkmn GTR ■( — Geo, elk, Ivs 968 Dovercourt rd; — Geo, h 52
Armstrong ar ' —t\K. i 105 Sitchie — Geo latemn Onion Stkt'on. h 4
Tlwril — Geo. glove dr, h 201 Jones av — Geo, harness ct,- Samuel
Trees & Co, h 235 Sumach —Geo, lab, b 431 Danforth av — 0(0,
Ihaeh, h 61 /Armstrong ar — Geo, pocketbook mkr, Ivs 234 Seaton
— Geo. wvr Tor C!arpet. b 7 Conway av (Oakwooel — Geo E, agent,
h 178 Heward ar — Crt-: E, Mdr, b 12!) La'.'ton av —Cm F, real est
12, 77 Victoria, Ivs 24 \W)stei av ^Geo H, h 15 Alexander (on active
serriee) — Geo 11, brass fnshr James Robertson Co, b 18 Hertford
ar — Geo H, painter, h 54 Maughan crcs — Geo R. h 135 TsTid,ill av
— Geo R. printer, h 62 Alhambra — Geo S, asst a.-ct I C Larkln, h 18
Geotfiey — Geo W, Idgrkpr Gas Co. h 169 llsslings ar — Georglna,
elk n o Baton's, b 134 Brunswick v — Gertrude, traf elk Simpson's,
Ivs 589 Dundas t — Gertrude, sisclk Eaton's, b 0G5 Richsond w —
Gladys, opr Cronpton Corset Co, Irs 15 Al«sa«*r — Gladys E. nuise
Grace Hospital — Gordon C, emp Imp Ministry of Mun (6 Kkc e), Ivs
635 Ossington av —Grace W Mrs (wid Richd), h 85 Grenadier tt
CLARKE GRIFFITH B, President and Managing Director A R Osike k
Co, Ltd, Res Carls-Rite Hotel — Giover, dk Central Electric Supply Co,
h 323 Be» av — G, comp Telegram, Ivs 62 Alhambra -ilannab, rms
33 SUver Birch av — Harold, h 139 Rhodes av — Il.irold A. cashier
Bell Tel, res Cooksvilb — Harry, Ivs 166 Hastings ar — Harry,
foreman cngrii jr Ryiie's, h 463 Roitti rd — Harry, police, h 55 Boston
av —Harry A, h 223 Pearson av — Harry B, carp Geo Rathbone, Ltd
— Harry C W, Its 57 Ilomewond av (on active aerrict) — Hacry E.
dept fireman Quaker Candy Co, k 2239 (ierrard e —Harry G, broker,
h 130 South Drive —Harry J, dk, h 58 The Lindens 90 Bain ar —
Harry J, engr, Ivs 30 Shudell av — Harry K, chemist, Ivs 46 Mlnto —
Harry W, dk. Ivs 56 Fenwlck ar -Hazel M. b 124.'! Gerard e — Helen
Mrs, h 249 Avenue rd —Helena M (wid Leonard 0), h 19 Erskine ar
— Helen M, opr, Ivs 9 Alphine av H. S. SWEATMAN PERCY S. GRANT
12 WELLINGTON ST. E. 648— Phone Main 1790
The text on this page is estimated to be only 20.64%
accurate

LAWSON, WELCH ^ CAMPBELL telephones main 6874-5'j

'^bst; 3008 CHARTERED ACCOUNTANTS, COST and PRODUCTION
ENOSNEERS CLABKE —Henry, elk Goodyear Tire & Rubier Co, h 54
Literi«» IT — BSKl, tfnma, ms 81 McGee — HewT. lib, h 288 Rydins ii
— HeuTT r. shpr A R Clarke & Co. h 36 West a» — Itairr T, carp, h 11
S Moscow af — Hubert, ctr Berger Tailoring Co, Ire 430 Ontario —
HertMit, elef opr Katon's, h 63 Stafford — Herbert, enp Richards
Glass Co, Ltd, Ivs 465 ffobm tr — Hatort, with United Typewriter Co,
IfS 372 Wellesley — Henu, b 170 Westmoimt av — Hfmanii, lab, ti
59 Armstrons a? — Hilda, stcnog Cluff Bros, Ivs 62 Alhambra —
Hira».H. slsmn Adams Fum Co, h 669 Spadlna av — Bme, lUpper
Yokes Hardware Co, Ltd, h 172 Duke — Howard, dk Eaton's, Ivs 45
Charles w — HitXrt, elk B 0 samples Eaton's, h 37 Follia — ai*ert L.
ctr, h 37 Erindale av — H, Bteoog Nat Tnist Co, Ivs 74 Mafgueretta
— H A, tsst to estates mgr Nat Trust Co. h 223 Pear8M av — Isiae N,
carp Eaton's, h 41 Olive «v —Isabella (wid Francis C), h 687 Ontario
— Jai, b 44 Eastmount av — Sis, b 9 Alpine av — Jai, h 83 St Joseph
—Its. elk Marshall B Young, Its 28 Smith — iffi, lib, h 140 Eastern av
-^as, printer Katon's, h 28 Smith — J«3, rest 1134 Yonge, h same —
Jas, stblemn Nasmlth's, b 44 Sullivan L'i, tnstr, h 59 Soriuren av
CLARKE JAMES B, EC, (aarke, Swabey & McLean), Mail Building, h 56
Lowtber av ~,Ias B, nacfa. h 154 Essex av — Jas B, sec-treas
International Petroleum Co, Ltd, res 240 Jarvis — in S, h 9, 31
Enderby rd —Jane (wid Seymour), h 122 Baldwin — Janet, elk
Eaton's, b 15 Grenville —Jennie, slsldy Eaton's; Ivs 1185A Bloor w —
JeniUe, (Mdy, Ivs 572 Pape av — Jennie A, sisclk, Ivs 201 Bain av —
Jesse, painter, h 67 Erskine av —John, h 23 Bartlett av (on active
service) — John, h 37 Beaty av -John, h 23 Brookmount rd — John,
ivs House of Providence John, ras 26 McGill -John, h 2488% St Clair
av * -John, earp, h 751 Bathurst -John, chartered acct 26, 32 Church
— John, driver, h 60 Parling av — John, driver Standard Fuel, h 932
Osslngton a? — John, elev opr Telegram, h 225 Wavwley rd —John,
lab, h 673 Dutferin -John, macli, h 128 Miller av — John, police, Ivs
46 Pearson av — John, slsmn D A Brash. Ivs 41 Pembroke — John,
slFmsr Canada Brokerage Co, Ltd, h 23 Brookmount rd —John, stock
kpr Consol Optical Co, h 104 Merrick — John, wtr, h 43 Mercer —
John, watcbnm, h 14 Eastern a? —John A 0, slsmn Wood, Gundy &
Co, Ivs 43 Russell Hill rd —John B. h 103% Carlaw av —John B. Iv3
225 Waverley rd (on active service) —John B. wdwkr, h 330 Ontario
—John E, h 776 Indian rd — JoIm E, brklyr, h 131 Chester av -Join E,
trav slsmn Pease Fndry Co, Ivs 45 Charles w —Join F, elk, Ivs 127
Gllmour av (on active service) -John G, chauf, h 34 Cumberland —
John G, mlnr 916 Queen e. h same — John G. shipper, h 100 Erskine
av — Jota H. h 416 Wellesley — Jobn H, mesar Royal Bank of
Canada (454 King «), h 79 Spadlna av -John R, b 240 Jarvis — John
R, tool mkr, h 582 Brock av — John T Col, h 74, 21 Avenue rd (on
active service) —John T, h 372 Wellejley —Iota V, peatl setter
Eaton's, h 798 Euclid av — Job* W, trunk mkr, hs 42 Niagara —Jon.
h 321 Bain av — J«. h 1097 St Clarens av — ict, nns 145 Lauder av
—Jos. Bach, b 223 Kenilworth av — J«», trav, h 70 Wilson av —Jon
C, prln Clarke's Shorthand Coll, h 565 College — Jos E, engr, Ivs 139
Dowling av —Jos J. with J P Langley, Ivs 225 Waverlej rd (on native
service) —Julia (wid John H). Ivs 67 Kenilworth av —Julia, opr
Eaton's, Ivs 493 St Clarens av CLARKE — J H. b 145 Lauder av — J
Vernon, trav. h 254 Danforth av —Laura, bkpr Gome Fndry, Ivs 258
Main — I.aiira. elk Simpson's, h 138 Eaton av — Laurie, h 146
Lappto av — Leighton S, Ivs 90 Glen rd (on active service) —
Leonard, Ivs 639 Broadview av (on active service) — Lennaid 0, h 19
Erskine av — LeRoy F, elk Bell Tel. Ivs 74 Bertmount at — Lewis A,
slsmn, h 92 Roslin av — Lillian M. stenog Wilson Pub Co, Ivs 1243
Gerrard e -Lillian M. stenog Ellis, Ivs 372 Wellesley — Lillian V, tcbr
Queen Victoria Schl —Lionel H, pres Canada Malting Co, Ltd, b 6
Clarendon cres —Lionel S. elk acctg dept CNU, h 153 Gillard at —
Lloyd, elk, Ivs 223 Victor av — Loltus J, conty 1418 Bloor w, h same
— Lome, mus inst mkr Whaley Royce. rms 72 Grace — Lo:ne H. tchr
Malvern St High Schl, h 139 Searbi»rough rd — Mabel F. stenog, Ivs
3128A Dundas w — MadeU, elk Goldsmiths Stock Co of Canada, Ivs
463 Roxton rd — Malcolm, draughtsnm Natl Iron Corp, h 62 Fulton
— Malvern. Ivs 639 Broadview av (on active setvlce) — Margt (wid
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