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Security and the Lodging Industry
Sample Lesson Plan
Note: If your students are taking this class as part of a credited course from the Educational Institute, please inform
them that the material in this chapter will NOT be covered on the Educational Institute’s Final Exam for this course.
PowerPoints:
PowerPoint 1: Competencies for Security and the Lodging Industry
Competency 1: Explain important issues in developing and managing a security program.
(pp. 261–273)
Key Concepts:
Security
Protection of people and assets
Legal duty to provide “reasonable care”
Not all crime is preventable
Elements of a security program:
Doors, locks, key control, access control
Electronic locking systems
Record authorized/unauthorized entry
Security can identify last 50 entries
Keys coded with time limits
Guest key deactivates on departure date
Guest key recoded for extended stay
Guestroom keys coded for maintenance repairs
Security levels of keys
Individual room
Section master
Floor master
Building masters
Guestrooms
Public areas
Grand master
Emergency key (E-key)
Guestroom security
Peepholes
Corridor lighting
Telephones
Control of persons on premises
Surveillance systems
Video cameras
Motion detectors
Perimeter and grounds control
Lighting
Gates
Fences
Protection of assets
Safe deposit boxes
Guest signature card used for each access
One key per box
In-room safes
Silent alarm at front desk
Safes
Access/deposit control
Cashier bank audit
Employee lockers

2 Security and the Lodging Industry
Emergency procedures
Fire
CPR
Guests with disabilities
Communications
Radios, pagers
Posting security information
Emergency medical services
Security records
Track issues/problems
Protect hotel from legal action
Assist hotel with insurance claims
Staff security procedures
Never mention a guest’s room number aloud
Require identification before issuing a key
No one enters a guestroom without a key
Valet parking control with 3-part forms
Provide safety information in each guestroom
No charge purchases without a key
Require immediate reporting of security issues
Credit and debit cards: hotels must exercise extreme care in keeping card data
secure
Payment Card Industry Data Security Standard (PCI DSS)
Affects all businesses globally that accept credit/debit cards
Collection, storage, transmission, use of customer and account info
Six major categories and 12 key compliance requirements
Privacy issues re: payment cards: fraud, identity theft, misuse of data
Identity theft: dumpster diving, skimming, change of address
Ways to secure credit card numbers: “mask” numbers; destroy obsolete
records; secure databases; secure back-up tapes; encrypt numbers
Hotels should be prepared to release data to legitimate investigations or warrant
Folio detail should include only enough information to identify transaction
Ensure that requests for copies of folios are legitimate
Text Exhibits:
Exhibit 1: Incident/Loss Report
Exhibit 2: Traveler Safety Tips Card
Exhibit 3: A Synopsis of the PCI Data Security Standard
PowerPoints:
PowerPoint 2: Elements of a Security Program
PowerPoint 3: Doors, Locks, Key Control, and Access Control
PowerPoint 4: Guestroom Security
PowerPoint 5: Control of Persons on Premises
PowerPoint 6: Perimeter and Grounds Control
PowerPoint 7: Protection of Assets
PowerPoint 8: Emergency Procedures
PowerPoint 9: Communications
PowerPoint 10: Security Records
PowerPoint 11: Staff Security Procedures
PowerPoint 12: Security Issues with Payment Cards
PowerPoint 13: Identity Theft
PowerPoint 14: Effective Ways to Secure Payment Card Numbers
Competency 2: Describe the role that managers play in a property’s security program.
(pp. 274–275)
Key Concepts:
Need for effective management
Managers/supervisors develop security guidelines
Tailor information to specific jobs

Security and the Lodging Industry 3
Areas of vulnerability
Security procedures
Must be consistent with image of service/hospitality
Must not offend/inconvenience guests
Handling checks and providing credit
Physical assets of hotel: towels, linens, tableware
Theft by employees
Security requirements
Challenges at newer lodging concepts (example: at some extended-stay lodging brands,
minimal or no staff at night)
No national industry standards due to diverse lodging brands/concepts
PowerPoints:
PowerPoint 15: Management’s Role in Security
PowerPoint 16: Hotel Areas of Vulnerability
PowerPoint 17: Hotel Security Requirements
Competency 3: Explain the importance of setting up a security program, including security
staffing and having a liaison with local law enforcement. (pp. 275–281)
Key Concepts:
Establish good relationships with local government agencies (police, fire, health,
emergency management)
Coordinate hotel security plans with local and regional law enforcement and other
agencies
A good relationship with law enforcement agencies:
Promotes prompt response to security incidents
Encourages more frequent police patrols
Visibility of police—deterrent to certain crimes
Security staffing
Full-time, part-time, outsourced
Contract security companies
Screened, tested, and trained personnel
Consulting services
Surveys on hotel security requirements
Debugging sweeps
Data processing security
Contingency planning: bomb threats/disasters
Checklist
Guard training programs
Previous lodging experience
State certification, if applicable
Property inspection frequency
Staffing for large-scale emergency
Daily incident reporting to management
Liability and workers’ compensation issues
In-house security staff:
Hotel’s greater control over security officers
More focused training
Quality of personnel becomes hotel decision
More effective integration with other hotel departments
Career paths can reduce security officer turnover
Off-duty police:
Superior training in reacting to security incidents
Knowledge of the law
Better able to recognize criminals
Immediately recognized as authorities
May enhance police response to incidents
Trained more toward apprehension than prevention
May be required to carry firearms

May not be permitted to wear police uniforms
Fatigue may become a factor
Personnel screening:
Security job candidates, authorization statement/affidavit
Bonding
Police background check
PowerPoints:
PowerPoint 18: Setting Up a Hotel Security Program
PowerPoint 19: Relations with Local Governmental Agencies
PowerPoint 20: Security Staffing
PowerPoint 21: Security Staffing: Contract Security Companies
PowerPoint 22: Security Staffing: In-House Security Staff
PowerPoint 23: Security Staffing: Off-Duty Police
Competency 4: Identify the elements of security training that are critical to an effective security
program. (pp. 281–287)
Key Concepts:
Security training topics for all employees:
Identify security issues, take appropriate action when they are discovered
Limits of an on-premises security officer’s authority
Thorough security orientation when hired; ongoing security training
Written security manual
Responsibility: hiring off-duty police officers or a security contract company does not
relieve the hotel from “reasonable care” responsibilities
Authority of a security officer: no greater than any other private citizen; citizen’s arrests,
search, use of force
Team concept: the entire hotel staff should be security-conscious.
Text Exhibits:
Exhibit 4: Selected Security and Law Enforcement Publications
PowerPoints:
PowerPoint 24: Security Training
PowerPoint 25: The Authority of a Security Officer
PowerPoint 26: The Team Concept
Competency 5: List and describe the legal concepts and societal concerns related to security
issues. (pp. 287–290)
Key Concepts:
Reasonable care
Foreseeability
Proximate cause
Negligence
Damages
Compensatory
Punitive
Trial court
Plaintiff
Defendant
Summary judgment
Directed verdict
Judgment notwithstanding the verdict
Appeals
Appellant
Appellee (respondent)
PowerPoints:
PowerPoint 27: Security and the Law
PowerPoint 28: Legal Concepts

Class Activities
Suggested Guest Speaker
Consider inviting a guest speaker to this class session. An appropriate guest speaker would be the general manager
of a local hotel to discuss:
• Elements of the hotel’s security program
• Liaison with local law enforcement agencies
• Security training for all employees
• Balancing image of hospitality with need for security
• Security staff procedures
• Reasonable care
Optional Test
A ready-to-use test containing questions related to the competencies covered by this chapter is included in this
session. Note, however, that if your students are enrolled in this course with the Educational Institute, the Institute’s
Final Exam will NOT contain test questions on material from this chapter.
The answers to this session's optional test are:
1-b-C1, 2-a-C1, 3-d-C1, 4-c-C2, 5-b-C3, 6-c-C3, 7-c-C4, 8-a-C4, 9-b-C5, 10-d-C5
Each question is linked to a competency. Competencies are listed on the first page of the chapter and in the Sample
Lesson Plan. An answer reading 3-b-C4 translates to:
3: the question number
b: the correct answer
C4: the competency number
The pages in the text that are associated with this chapter's competencies are as follows:
C1: 261–273
C2: 274–275
C3: 275–281
C4: 281–287
C5: 287–290
Note that the answers to test questions may not appear verbatim on the referenced pages. Test questions may assess
the examinees’ ability to apply a concept, not just their knowledge of the concept.
These questions can also be found on the CD-ROM in a rich text format. You can use these questions as a starter to
create your own tests.
Individual /Group Activities
Activity 1: Case Study: “Steve’s Royal Problem”
Instructor’s points for guiding discussion on this case study can be found later in this session. This case
study covers Competency 1, 2, 3, 4, and 5 in this chapter.
Activity 2: Case Study: “Doughnuts and Dilemmas”
study covers Competency 1, 2, and 5 in this chapter.
Activity 3: Case Study: “The Case of the Missing Jewels”
study covers Competency 1 in this chapter.

Activity 4: Case Study: “The Safe Deposit Box That Wasn’t”
This case study and instructor’s points for guiding discussion can be found later in this session. This
case study covers Competency 1 in this chapter.

Security and the Lodging Industry
NAME _____________________________________________________
DATE _________________________________
1. At the SafeWay Hotel, each room attendant is issued one electronic key that is coded to provide access to the
rooms he/she is assigned to clean for that day. These keys are called:
a. floor keys.
b. section masters.
c. building masters.
d. E-keys.
2. Which of the following statements about a hotel security program is false?
a. Due to lost or stolen keys, hotels typically stock extra keys for each safe deposit box.
b. Hotels evict visitors who have no specific reason for being on the property.
c. Electronic locking systems recode keys every time a new guest checks in.
d. Most guestroom locks have a deadbolt mechanism.
3. Which of the following is a common hotel security procedure?
a. require identification before issuing a room key to guests
b. never mention a guest’s room number aloud
c. issue E-keys to all hotel managers and supervisors
d. a and b
4. Which of the following statements about lodging security issues is true?
a. Standard security procedures apply across the lodging industry.
b. Managers should look upon the theft of hotel towels, ash trays, and so on as just the cost of doing
business.
c. Security information for employees should be tailored to fit the needs of their specific jobs.
d. Hotels are required by law to have security staff available and on the property 24 hours a day.
5. The general manager of a large, mid-market hotel wants to hire off-duty police officers as part-time security
staff. Which of the following statements about off-duty police officers is false?
a. They may be better able to identify known criminals.
b. They are oriented more toward crime prevention than the apprehension of criminals.
c. They may have superior training in dealing with emergencies.
d. They might be fatigued after already working a full duty shift.
6. A hotel’s contract security company should be responsible for supervising:
a. the hotel’s in-house security team.
b. the hotel’s security director.
c. contract security employees.
d. off-duty police officers working as security officers for the hotel.
7. Even where the law permits security officers to make a citizen’s arrest, they should do so only:
a. when a guest is under suspicion of burglary.
b. when a guest is under suspicion of credit card fraud.
c. if a sworn police officer cannot respond in time.
d. after receiving the approval of the hotel’s general manager.

8. Which of the following is an appropriate action for a hotel’s in-house security officer?
a. asking questions following an incident
b. use of deadly force
c. search of a guest’s room for evidence
d. detaining all suspects involved in an incident
9. Compensatory damages are awarded:
a. to punish a defendant for outrageous conduct.
b. to the plaintiff for pain and suffering.
c. only when punitive damages are also awarded.
d. based on the emotions of the plaintiff.
10. Which of the following factors helps in determining foreseeability at a given property?
a. the visibility of local police in the surrounding community
b. the prior incidence of that type or similar types of crime on the premises
c. the crime rate of the surrounding community
d. b and c

Case Study: “Steve's Royal Problem”
Points for Instructors
1. What evidence can Steve share with the corporate legal department that would support a
recommendation either to settle for $25,000 or to take the case to court?
Given the unfortunate history of the Royal Court in terms of its crime rate, Steve would have little substantive
support for a recommendation to go to court. In fact, such an event might well bring to light even more
examples of lax security. Steve may raise the question of whether or not the Royal Court was truly liable for
the incident involving Mrs. Heidegger (who was not a registered guest at the property). However, the corporate
legal department would find that the hotel was in fact liable for her "reasonable care" because she was
attending a hotel-sponsored event.
"Reasonable care" refers to that degree of care the ordinary, prudent person would use under similar
circumstances, and it touches on the question of foreseeability: is there reason to think, based on past
experience and general knowledge, that an event may occur? What it means to provide reasonable care will
vary, depending on specific factors. For example, when determining what constitutes reasonable care, courts
may consider whether the injured party was a guest or a trespasser, the hotel's history, the neighborhood, public
expectations, competitors' actions, and common industry practices, among other issues. Given what Steve has
learned of the neighborhood and the hotel's history, there seems little chance of persuading a court that
reasonable care had been taken in this instance.
Instead, it seems best for Steve to recommend a settlement. Points he could raise with the legal department
include:
• By all accounts, the June 4 incident happened as claimed by Mrs. Heidegger.
• She was attending a hotel-sponsored event, although she was not a registered hotel guest.
• There were numerous witnesses to the incident.
• The hotel had no written records of the incident, which could be interpreted as carelessness or
negligence.
• A similar crime had occurred three months earlier.
• Hotel staff had been instructed to keep police calls to a bare minimum, which could give the
impression of negligence or carelessness.
• Police records indicated six valid calls for emergency situations during the past year.
• Other hotels in the vicinity have been increasing security efforts, while the Royal Court actually
eliminated a full-time security staff.
• Hotel staff report numerous security breaches at the property and a general uneasiness in terms of
overall safety.
• Newspaper articles seem to support the police record and employee perceptions.
2. What steps can Steve and his staff take to effectively reduce the number of security incidents at the
Royal Court, while still working to keep expenses to a minimum?
In the absence of a full-time security staff, it is especially important that all staff view themselves as having
security responsibilities. Clearly, a number of employees have been at the Royal Court for many years and
are dedicated to the operation; they would likely be more than willing to play a greater role in making their
workplace more secure. This change in mindset might require only a modest training expense.

Case Study: “Doughnuts and Dilemmas”
Points for Instructors
1. In addition to the things Phil mentioned to Doug, what other things can Doug do to promote a good
relationship with his local police department?
Doug can make it clear that the hotel will prosecute any wrongdoers the police apprehend at the hotel.
This should apply to employees as well as guests. If an employee is caught stealing, for example, or in some
other wrongdoing that is a police matter, the hotel's policy should be to prosecute. To do otherwise sends a
message to the police department that the hotel is not serious about punishing wrongdoers. Once that message
is sent, sometimes it is hard to get police officers to respond quickly when a call for help is sent out. If,
whenever guests destroy hotel property and the police have to be called out, the hotel drops the charges when
the guests agree to pay for the damages, police officers begin to feel like glorified bill collectors, and their
respect for the hotel's management and their eagerness to respond to calls from that hotel may diminish
accordingly.
If Doug decides to hire off-duty police officers to help with hotel security, Doug can outline his expectations of
them up front.
For example, he should point out that the hotel's goal is to prevent problems from occurring, not apprehend
wrongdoers after problems occur. Their focus when working at the hotel should be on prevention, not
apprehension. Doug should put the officers through a training program that outlines the hotel's standards in
terms of hospitably interacting with guests. Last but not least, Doug should make it clear that, due to safety and
liability concerns, no guns will be allowed on the property.
Doug can make it clear up front that, by law, he must protect the privacy of his guests.
This puts the police department on notice that it should not impose on its relationship with the hotel by asking
for information illegally. Doug can point out that he will be happy to cooperate with any court orders, but
otherwise, he must adhere to his legal obligation to protect guest privacy. To do otherwise would open up the
hotel to possible lawsuits by aggrieved guests.
2. The "domestic situation" that occurred at Phil's hotel could have turned out much worse. What are
some of the things that could have gone wrong, had it been handled less effectively by hotel staff
members?
Hotel staff members could have erred in four ways:
• Ignore the problem and do nothing.
• Handle the problem all by themselves.
• Fail to cooperate with police officers.
• Call the police too late.
Ignore the problem and do nothing.
The ignore-it-and-maybe-it-will-go-away approach has two major flaws: (1) other guests in the hotel would
continue to be disturbed by the fighting couple in Room 410, and (2) someone within Room 410 might have
wound up seriously hurt if the fight had been allowed to continue unchecked.
There are several junctures where the problem could be ignored. First, the guest representative at the front desk
might decide to not follow up on the complaint calls. Second, the guest representative might call security
personnel, but security might decide to ignore the situation: “It's just a couple having a squabble. It's none of
our business. It'll probably be over with before we can even get up to the room to check it out,” and so on. Or,
security personnel might even investigate, but decide to ignore the problem after the couple assures them that
they will behave—and ignore the problem even if the fight starts up again. No matter where the ball is dropped,
the consequences to the hotel are the same: unhappy guests who are disturbed by the noise, and guests in Room
410 who are in danger of being injured.

Handle the problem all by themselves.
The let's-handle-everything-ourselves approach puts the responsibility for handling the situation squarely on the
hotel. Domestic quarrels are notoriously difficult for would-be peacemakers to handle, even for specially
trained police officers. If security personnel decide to go it alone, they must do everything right.
For example, if they are talking through the door to the couple in 410 and the man is assuring them that
everything is all right, they must also insist on hearing this from the woman as well. If they don't like what they
hear and decide to enter the guestroom, they must do so without escalating the potential explosiveness of the
situation. Once in the room, they must defuse the fight without becoming targets themselves. Many a peace-
maker with the chivalrous motivation of "saving the lady" has been surprised to find that same lady kicking and
punching him because she suddenly wants to "defend her man."
In short, the scene in Room 410 could very easily have disintegrated into something far worse, with lots more
disruption to other guests in the hotel, had Bret and the security guard decided to take care of it themselves and
mishandled the situation somewhere along the way.
Fail to cooperate with police officers.
If the hotel had called the police out on time but failed to cooperate with the officers, the situation could have
ended up much worse as well. Once the police got control of the situation, the hotel could have declined to
press charges because the couple promised to stop fighting and pay for the damages. The result? Instead of the
man being led to jail, the woman to a shelter, and the hotel quickly returned to normalcy, the police would have
left and the fight might have broken out again, with more disruption to the hotel's other guests and the potential
for serious injury to one or both members of the couple. On top of that, the police officers might have departed
feeling used, thinking that the hotel called them out only so that the quarreling guests would be intimidated into
agreeing to pay for the damage they caused. If the hotel was forced to call the officers out a second time, they
might be slower to respond.
Call the police too late.
If the hotel had called the police out but had waited until late in the fight, again, one or both members of the
couple, with more time for the fight to escalate, might have been seriously injured, and the prolonged fracas
probably would have disturbed more of the hotel's other guests.
3. Despite Phil's advice to Doug about establishing a good working relationship with the police, and despite
Phil's wish to preserve his relationship with his own local police force, Phil turned down Lieutenant
Foster's request for information about a man wanted by the FBI. Why did Phil refuse to give Foster all
of the information he wanted?
Phil cannot legally give out guest information—such as credit card numbers or phone calls made or received—
to police without a court order. In the absence of a court order, Phil can legally tell police only whether
someone is registered at the hotel. Phil can also put a call through to the person the police are interested in, but
even then must be careful not to reveal the guestroom number.
Lieutenant Foster knew this before he asked Phil to bend the rules. Foster was trying to avoid all the paperwork
involved in getting court orders, and avoid a delay (he might not be able to reach a judge until Monday). Foster
didn't push very hard, because he knew what he was asking Phil to do was illegal.
Phil, despite his good relationship with the police department, was correct in turning Foster down. Cooperating
with the police is not a defense in court, and if at any time Phil passes information to the police illegally and the
matter comes up in court (by a wronged, innocent guest, for example), the hotel can be held liable for damages.
Even cooperating with the police in a legal way should be done with care. For example, the police may ask a
hotel to cooperate in a "sting" operation, during which the hotel rents a room to a known drug dealer so the
police can collect evidence and make arrests. In this type of situation, the general manager should make sure
that all guests are kept well away from the drug dealer's room. Otherwise, if something should go wrong during
the sting and a guest in a room adjacent to the dealer's room is shot and seriously wounded or killed, the hotel
could well be held liable by a jury for not making sure that guests were kept well out of harm's way.

Front desk personnel and others on the hotel's staff should be aware of what they can and cannot do legally to
cooperate with police officers and others seeking information about guests. For example, some police officers,
bounty hunters, and private investigators flash a badge at a hotel staff member—typically someone at the front
desk—and then try to grill him or her about the person they are interested in. Staff members should be trained
to refer such individuals to the manager on duty or to the head of the security department.

Discovering Diverse Content Through
Random Scribd Documents

Credits: Director, William Bailey.
© Universal Film Mfg. Co., Inc.; 26Apr17; LP10668.
SILAS MARNER. 1913. 2 reels. Adapted from the novel by George
Eliot [pseud.]
© Thomas A. Edison, Inc.; 4Oct13; LP1344.
SILAS MARNER. © 1922. 6,344 ft. Adapted from the novel by
George Eliot [pseud.]
Credits: Scenario and direction, Frank Donovan.
© Associated Exhibitors, Inc. (Frank P. Donovan, author); title,
descr. & 112 prints, 11Apr22; LU17743.
SILENCE. © 1915. 2 reels.
© American Film Mfg. Co. (Webster Campbell, author); title &
descr., 14Jan15; 149 prints, 15Jan15; LU4192.
SILENCE. Presented by Cecil B. De Mille. Released by Producers
Distributing Corp. 1926. 8 reels. From the play by Max Marcin.
Credits: Producer and director, Rupert Julian; adaptation, Beulah
Marie Dix.
© Cinema Corporation of America; 19Apr26; LP22697.
SILENCE. 1931. 8 reels, sd. From the stage play by Max Marcin.
Credits: Directors, Louis Gasnier, Max Marcin.
© Paramount Publix Corp.; 29Aug31; LP2439.
SILENCE. © 1937.
© Chevrolet Motor Co.; title & descr., 8Jan37; 1,012 prints,
11Feb37; MU7163.
THE SILENCE OF DEAN MAITLAND. SEE Sealed Lips.
THE SILENCE OF JOHN GORDON. Beauty. © 1914.
© American Film Mfg. Co. (Harry Pollard, author); title & 72
prints, 14Sep14; descr., 5Sep14; LU3355.

THE SILENCE OF THE DEAD. 1913. 4 reels.
** © Gaumont Co.; 29Nov13; LP1763.
THE SILENCE SELLERS. 1917. 5 reels. From the story by Blair Hall.
Credits: Director, Burton L. King; adaptation, Wallace C. Clifton.
© Metro Pictures Corp.; 19Sep17; LP11426.
SILENCIO! 1928. 2 reels.
Credits: Story, scenario, and direction, Marcel G. Silver.
© Fox Case Corp.; 14Feb28; LP25024.
THE SILENT ACCUSER. 1915. 1 reel.
Credits: Producer, Joseph Kaufman.
© Lubin Mfg. Co. (Daniel Carson Goodman, author); 13Sep15;
LP6345.
THE SILENT ACCUSER. Metro-Goldwyn-Mayer. Presented by Louis
B. Mayer. 1924. 6 reels, b&w, tinted sequences.
Credits: Director, Chester M. Franklin; film editor, Lloyd Nezler.
© Metro-Goldwyn Pictures Corp.; 10Nov24; LP20746.
THE SILENT AVENGER. 1920. 2 reels each, except no. 1 which is 3
reels. © The Vitagraph Co. of America.
Credits: Director, William Duncan; story, Albert E. Smith,
Cleveland Moffett; scenario, Graham Baker, William B. Courtney.
1. The Escape. © 27Feb20; LP14795.
2. Fighting Back. © 27Feb20; LP14796.
3. Within the Noose. © 15Mar20; LP14889.
4. Tearing Through. © 18Mar20; LP14905.
5. Blotted Out. © 10Apr20; LP15017.
6. The Hidden Blow. © 22Apr20; LP15044.

7. Dynamite Doom. © 6May20; LP15078.
8. The Crusher. © 12May20; LP15113.
9. Into the Jaws. © 21May20; LP15156.
10. Blades of Horror. © 25May20; LP15169.
11. Shot into Space. © 4Jun20; LP15208.
12. Facing Eternity. © 11Jun20; LP15242.
13. A Human Pendulum. © 18Jun20; LP15265.
14. The Lake of Fire. © 28Jun20; LP15318.
15. The Final Trump. © 3Jul20; LP15332.
THE SILENT AVENGER. 1927. 6 reels.
Credits: Supervision and story, Frank Foster Davis; director,
James P. Hogan; adaptation, George Greene, Doris Schroeder;
continuity, Herbert C. Clark; titles, Delos Sutherland; film editor,
Fred Bornworth.
© Lumas Film Corp.; 2Aug27; LP24264.
SILENT BARRIERS. 1937. 9 reels, sd. Based on the novel "The
Great Divide" by Alan Sullivan.
Credits: Director, Milton Rosmer; screenplay, Michael Barringer,
Milton Rosmer; dialogue, Ralph Spence, Milton Rosmer; editors,
Charles Trend, B. H. Hipkins; music score, Hubert Bath; music
director, Louis Levy.
© Gaumont British Picture Corp. of America (Gaumont British
Picture Corp., Ltd., author); 4Feb37; LP7284.
THE SILENT BATTLE. 1916. 5 reels. From the novel by George
Gibbs.
Credits: Producer, Jack Conway; adaptation, F. McGrew Willis.
© Bluebird Photoplays, Inc.; 26Jun16; LP8588.
THE SILENT BELL; a Military Drama. © 1914.

© Pasquali American Co. (Pasquali Co., author); title, descr. & 80
prints, 25Feb14; LU2215.
THE SILENT CALL. 1921. 7 reels. From "The Cross Pull" by Hal G.
Evarts.
Credits: Producers, Jane Murfin, Laurence Trimble; director,
Laurence Trimble; adaptation, Jane Murfin.
© H. O. Davis; 5Dec21; LP17286.
THE SILENT COMMAND. Laemmle. 1915. 4 reels.
Credits: Written and produced by Robert Leonard.
© Universal Film Mfg. Co., Inc.; 24May15; LP5378.
THE SILENT COMMAND. 1923. 8 reels, b&w, tinted sequences.
Filmed with the cooperation of the United States Navy.
Credits: Producer and director, J. Gordon Edwards; story, Rufus
King; scenario, Paul Kelly.
© William Fox (Fox Film Corp., author); 20Aug23; LP19411.
THE SILENT DEATH. 1914. 2 reels.
Credits: Frank Blighton; director, Richard R. Ridgely.
© Thomas A. Edison, Inc.; 10Jan14; LP1949.
THE SILENT ENEMY. 1930. 7,551 ft., sd.
Credits: Producers, W. Douglas Burden, William C. Chanler;
director, H. P. Carver; story, W. Douglas Burden; scenario,
Richard Carver.
© Paramount Publix Corp.; 1Aug30; LP1459.
THE SILENT FLYER. 1926. 2 reels each. © Universal Pictures Corp.
Credits: Director, Wm. James Craft; story, George Morgan.
1. The Jaws of Death. © 26Jun26; LP22854.
2. Dynamited. © 6Jul26; LP22878.

3. Waters of Death. © 8Jul26; LP22900.
4. The Treacherous Trail. © 15Jul26; LP22911.
5. The Plunge of Peril. © 16Jul26; LP22926.
6. The Fight of Honor. © 21Jul26; LP22946.
7. Under Arrest. © 24Jul26; LP22983.
8. Flames of Terror. © 29Jul26; LP22995.
9. Hurled Through Space. © 2Aug26; LP23002.
10. Love and Glory. © 2Aug26; LP23010.
THE SILENT GUARDIAN. 1926. 5,000 ft.
Credits: Director, William Bletcher; story, Ewart Adamson.
© Truart Film Corp.; 4Feb26; LP22384.
SILENT KNIGHT, THE TRIUMPH OF SILENCE OVER NOISE. 1929. 1
reel.
© Willys-Overland, Inc. (Raymond J. Faller, author); 25Feb29;
MP5961.
THE SILENT LADY. Butterfly. 1917. 5 reels.
Credits: Director, Elsie Jane Wilson; story, Elliott J. Clawson.
© Universal Film Mfg. Co., Inc.; 30Nov17; LP11766.
THE SILENT LIE. 1917. For Fox Film Corp. 5 reels. From the story
"Conohan" by Larry Evans.
Credits: Director, R. A. Walsh.
© William Fox (C. B. Clapp, author); 27May17; LP10837.
THE SILENT LOVER. 1926. 7 reels. Adapted from the play "The
Legionary" by Ludwig Biro.
Credits: Director, George Archainbaud; scenario, Carey Wilson.
© First National Pictures, Inc.; 14Nov26; LP23337.

THE SILENT MAN. 1915. 2,000 ft.
Credits: Producer, Leon D. Kent.
© Lubin Mfg. Co. (Julian Louis Lamothe, author); 24Nov15;
LP7022.
THE SILENT MAN. 1917. 5 reels.
Credits: Director, William S. Hart; story, Charles Kenyon.
© Thomas H. Ince Studios; 14Nov17; LP11713.
THE SILENT MAN OF TIMBER GULCH. Gold Seal. 1916. 2 reels.
© Universal Film Mfg. Co., Inc.; 22May16; LP8335.
THE SILENT MASTER. 1917. 7 reels. From the novel "The Court of
St. Simon" by E. Phillips Oppenheim.
Credits: Direction and adaptation, Leonel Perret.
© Robert Warwick Film Corp.; 29May17; LP10858.
THE SILENT MEMBER. Rex. 1916. 1 reel.
© Universal Film Mfg. Co., Inc.; 10Jan16; LP7391.
SILENT MEN. 1933. 6 reels, sd.
Credits: Director, D. Ross Lederman; story, Walt Coburn;
screenplay, Stuart Anthony; film editor, Otto Meyer.
© Columbia Pictures Corp.; 23Feb33; LP3680.
THE SILENT MYSTERY, no. 1-15. Presented by Louis Burston. ©
1919.
© Silent Mystery Corp. (Elsie Van Name, author); title & descr.,
28Oct19; 308 prints, 19Nov19; LU14444.
THE SILENT PAL. Presented by Samuel Sax. 1925. 6 reels.

Credits: Adapted and directed by Henry McCarty; story, Frank
Foster Davis.
© Gotham Productions; 27Mar25; LP21278.
THE SILENT PARTNER. 1917. 5 reels.
Credits: Director, Marshall Neilan; story, Edmund Goulding;
scenario, George D. Proctor.
© Jesse L. Lasky Feature Play Co.; 5May17; LP10717.
THE SILENT PARTNER. Paramount. Presented by Jesse L. Lasky.
1923. 6 reels. From the Saturday Evening Post story by
Maximilian Foster.
Credits: Producer and director, Charles Maigne; adaptation, Sada
Cowan.
© Famous Players-Lasky Corp.; 22Aug23; LP19325.
THE SILENT PARTNER. Mustang. 1927. 2 reels.
Credits: Director, William Wyler; story, Basil Dicky; continuity,
George Morgan.
© Universal Pictures Corp.; 8Mar27; LP23741.
THE SILENT PLEA. 1915. 3 reels.
Credits: Director, Lionel Belmore.
© Vitagraph Co. of America (C. Mae Koch, author); 18Jan15;
LP4248.
THE SILENT POWER. Gotham. Presented by Sam Sax. 1926. 5
reels.
Credits: Supervision, Renaud Hoffman; director, Frank O'Connor;
story, James J. Tynan; adaptation and continuity, James Bell
Smith.
© Lumas Film Corp.; 25Aug26; LP23047.
THE SILENT PRISONER. Laemmle. 1917. 1 reel.

© Universal Film Mfg. Co., Inc.; 31Mar17; LP10480.
THE SILENT RIDER. Jewel. 1926. 6 reels. From the story "The Red
Headed Husband" by Katherine Newlin Burt.
Credits: Director, Lynn Reynolds.
© Universal Pictures Corp.; 22Dec26; LP23460.
SILENT SANDERSON. Presented by Hunt Stromberg. Released by
Producers Distributing Corp. 1925. 6 reels.
Credits: Supervision, Hunt Stromberg; director, Scott R. Dunlap;
story, Kate Corbaley; adaptation, Harvey Gates; editor, Harry S.
Decker.
© Hunt Stromberg Corp.; 1May25; LP21751.
THE SILENT SENTINEL. 1918. 2 reels.
Credits: Director, Harry Harvey; story, Alvin J. Neitz.
© Universal Film Mfg. Co., Inc.; 27Nov18; LP13076.
THE SILENT STRANGER. Big U. 1916. 1 reel.
Credits: Frank Smith; director, King Baggot.
© Universal Film Mfg. Co., Inc.; 28Jul16; LP8813.
THE SILENT STRANGER. 1924. 5 reels.
Credits: Director, Albert Rogell; story, Stewart Heisler.
© R-C Pictures Corp. (Harry J. Brown, author); 11Apr24;
LP20066.
SILENT STRENGTH. 1919. 5 reels.
Credits: Director, Paul Scardon; story, Laurence McCloskey;
scenario, Garfield Thompson.
© Vitagraph Co. of America; 7Jan19; LP13254.
SILENT THUNDER. SEE The Man Called Back.

THE SILENT TONGUE. 1915. 1,000 ft. A revival of the Edison
comedy.
Credits: Louis Sydsmith; director, Will Louis.
© Thomas A. Edison, Inc.; 31Aug15; LP6264.
SILENT TRAILS. 1914.
Credits: Director, Rollin S. Sturgeon.
© Vitagraph Co. of America (E. A. Brininstool, author); 10Feb14;
LP2132.
THE SILENT VOICE. 1915. 6 reels.
THE SILENT VOW. 1922. 5 reels.
Credits: Director, William Duncan; scenario, Bradley J. Smollen.
© Vitagraph Co. of America; 17Mar22; LP17653.
THE SILENT W. 1915. 2 reels.
Credits: Director, Wilfrid North.
© The Vitagraph Co. of America (Donald I. Buchanan, author);
27May15; LP5424.
THE SILENT WATCHER. 1924. 8 reels. Adapted from the Saturday
Evening Post story "The Altar on the Hill" by Mary Roberts
Rinehart.
Credits: Director, Frank Lloyd; screen adaptation, J. G. Hawks;
film editor, Edward M. Roskam.
© First National Pictures, Inc.; 1Oct24; LP20615.
THE SILENT WAY. © 1914.
© American Film Mfg. Co. (Louis Fitzroy, author); title, descr. &
108 prints, 10Dec14; LU3929.
THE SILENT WITNESS. 1932. 6,614 ft., sd. Based on the stage
play by Jack DeLeon and Jack Celestin.

Credits: Directors, Marcel Varnel, R. L. Hough; screenplay,
Douglas Doty; editor, Jack Murray.
© Fox Film Corp.; 14Jan32; LP2793.
THE SILENT WOMAN. 1918. 5 reels.
Credits: Director, Herbert Blache; story, Lois Zellner; scenario,
June Mathis, Katharine Kavanaugh.
SILENT YEARS. 1921. 6 reels.
Credits: Producer and director, Louis Gasnier; story, Harriet T.
Comstock.
© R-C Pictures Corp.; 5Dec21; LP17366.
SILK. (Eastman Classroom Films) 1929. 1 reel.
© Eastman Teaching Films, Inc. (George W. Hoke, author);
5Jun29; MP645.
THE SILK EXPRESS. Presented by Warner Brothers Pictures, Inc.
and The Vitaphone Corp. 1933. 7 reels, sd.
Credits: Director, Ray Enright; story, Houston Branch; screenplay,
Houston Branch, Ben Markson.
© Warner Brothers Pictures, Inc.; 2Jun33; LP3914.
SILK HAT KID. 1935. 6,250 ft., sd.
Credits: Director, H. Bruce Humberstone; story, Gerald
Beaumont; screenplay, Edward Eliscu, Lou Breslow, Dore Schary;
music, Samuel Kaylin.
© Fox Film Corp.; 19Jul35; LP5789.
SILK HOSE AND HIGH PRESSURE. L-Ko. 1915. 3 reels.
© Universal Film Mfg. Co., Inc.; 30Oct15; LP6825.
SILK HOSIERY. 1920. 5 reels.

Credits: Supervision, Thomas H. Ince; director, Fred Niblo; story,
Frank Dazey; scenario, Agnes Christine Johnston.
© Thomas H. Ince; 17Nov20; LP15824.
SILK HOSIERY, YESTERDAY'S LUXURY, TO-DAY'S NECESSITY.
Presented by The Phoenix Hosiery Co. 1929. Filmstrip, 66
frames.
© Rowland Rogers Picture Service, Inc. (Rowland Rogers,
author); 20May29; MP1534.
SILK HUSBANDS AND CALICO WIVES. 1920. 6 reels.
Credits: Director, Alfred E. Green; story, Monte M. Katterjohn.
© Equity Pictures Corp.; 15Jan20; LP17241.
SILK INDUSTRY IN JAPAN AND THE UNITED STATES. © 1916.
© Leggett-Gruen Corp. (J. Alexander Leggett, author); title,
descr. & 93 prints, 7Sep16; MU715.
SILK LEGS. 1927. 6 reels.
Credits: Director, Arthur Rosson; story, Frederica Sagor; scenario,
Frances Agnew.
© Fox Film Corp.; 7Dec27; LP24731.
SILK LEGS. SEE Piernas de Seda.
THE SILK LINED BURGLAR. 1919. 6 reels.
Credits: Director, Jack Dillon; story, Jack Boyle; scenario, Fred
Myton.
© Universal Film Mfg. Co., Inc.; 10Mar19; LP13481.
SILK SOCK HAL. 1928. 2 reels.
Credits: Director, Albert Herman; story, E. V. Durling, Pinto
Colvig, H. A. Woodmansee.
© F. B. O. Productions, Inc. (Larry Darmour Productions,
author); 14May28; LP25241.

SILK STOCKING SAL. Presented by Gothic Pictures. Released by F.
B. O. 1924. 5 reels.
Credits: Director, Tod Browning; story and scenario, E. Richard
Schayer.
© R-C Pictures Corp.; 30Nov24; LP20927.
SILK STOCKINGS. Universal Jewel. 1927. 5,947 ft. From the stage
play by Cyril Harcourt.
Credits: Director, Wesley Ruggles; adaptation, Beatrice Van.
© Universal Pictures Corp.; 16Aug27; LP24324.
SILK TEXTILES. 1920. 2 reels.
© Economist Film Service; 9Jun20; MP2031.
SILK, THE FABRIC OF BEAUTY. Presented by H. R. Mallinson & Co.,
Inc. 1929. Filmstrip, 70 frames.
© Rowland Rogers Picture Service, Inc. (Rowland Rogers,
author); 15Jun29; MP1532.
SILKEN SHACKLES. 1926. 6 reels.
Credits: Director, Walter Morosco; story and adaptation, Walter
Morosco, Philip Klein.
© Warner Bros. Pictures, Inc.; 16Apr26; LP22612.
THE SILKLESS BANK NOTE. © 1920. From the official records of
William J. Flynn.
Credits: Wilson Mizner; director, Carl Harbaugh.
© Oliver Films, Inc. (William J. Flynn, author); title, descr. & 426
prints, 23Jan20; LU14726.
SILKS AND SADDLES. Universal Jewel. 1928. 6 reels.
Credits: Director, Robert F. Hill; story, Gerald Beaumont;
adaptation, Edward Clark; continuity, Paul Gangelin, Faith
Thomas.

© Universal Pictures Corp.; 12May28; LP25262.
SILKS AND SATINS. © 1916.
© Famous Players Film Co. (Hugh Ford, author); title, descr. &
20 prints, 25May16; LU8354.
SILKS AND SATINS. SEE Karyl Norman, the Creole Fashion Plate,
in Silks and Satins.
SILLY BILLIES. 1936. 7 reels, sd.
Credits: Associate producer, Lee Marcus; director, Fred Guiol;
story, Thomas Lennon, Fred Guiol; screenplay, Al Boasberg, Jack
Townley; editor, John Lockert; music director, Roy Webb.
© RKO Radio Pictures, Inc.; 20Mar36; LP6240.
SILLY NIGHT. Presented by E. W. Hammons. 1937. 1,718 ft., sd.
Credits: Producer, Al Christie; story, Jefferson Machamer.
© Educational Films Corp. of America; 1Oct37; LP7486.
A SILLY SAILOR. Presented by William Fox. 1927. 2 reels.
Credits: Director, Wallace MacDonald; story and scenario, Max
Gold, William Kernell.
© Fox Film Corp.; 9Nov27; LP24647.
SILLY SCANDALS. 1931. 1 reel.
Credits: Max Fleischer; director, Dave Fleischer.
© Paramount Publix Corp.; 23May31; MP2564.
SILLY SEALS. (Oswald the Rabbit) 1938. 1 reel, sd.
Credits: Producer, Walter Lantz; director, Lester Kline; story,
Victor McLeod, James Miele; animation, George Nicholas, Ralph
Sommerville.
© Universal Pictures Co., Inc.; 12Jul38; MP8580.
A SILLY SULTAN. Nestor. 1916. 1 reel.

Credits: Ben Cohn; director, Louis William Chaudet.
© Universal Film Mfg. Co., Inc.; 11Sep16; LP9090.
SILLY SUPERSTITION. (A Walter Lantz Cartune) (A Walter Lantz
Lil' Eightball) 1939. 1 reel, sd.
© Universal Pictures Co., Inc.; 29Aug39; MP9615.
SILVER. 1930. 1 reel.
16May30; MP1838.
SILVER BLAZE. © 1912. From "The Adventures of Sherlock
Holmes" by Sir Arthur Conan Doyle.
© Société Française des Films & Cinématographes Éclair; title,
descr. & 34 prints, 29Nov12; LU141.
THE SILVER CAR. 1921. 6 reels.
Credits: Director, David Smith; story, Wyndham Martyn.
© Vitagraph Co. of America; 1Jun21; LP16603.
SILVER COMES THROUGH. Released by F. B. O. 1927. 6 reels.
Credits: Original story, Frank M. Clifton; adaptation, continuity
and direction, Lloyd Ingraham.
© R-C Pictures Corp.; 21May27; LP23994.
THE SILVER CORD. 1933. 8 reels, sd. Based on the play by Sidney
Howard.
Credits: Associate producer, Pandro S. Berman; director, John
Cromwell; screenplay, Jane Murfin; film editor, George Nichols,
Jr.; music director, Max Steiner.
© RKO Radio Pictures, Inc.; 1May33; LP3919.
SILVER DOLLAR. Presented by First National Pictures, Inc. and The
Vitaphone Corp. 1933. 9 reels, sd. From the book by David
Karsner.

Credits: Director, Alfred E. Green; screenplay, Carl Erickson,
Harvey Thew.
© First National Pictures, Inc.; 24Mar33; LP3748.
SILVER FOX. SEE Rendezvous at Midnight.
THE SILVER GIRL. © 1919.
© Pathe Exchange, Inc. (Edward H. Peple, author); title, descr. &
90 prints, 13Mar19; LU13487.
THE SILVER GRINDSTONE. © 1913.
Credits: Producer, William Duncan.
© Selig Polyscope Co. (Eugene P. Lyle, author); title, descr. & 37
prints, 11Oct13; LU1379.
THE SILVER HAWK. SEE Mysterious Pilot.
THE SILVER HORDE. 1920. 7 reels. From the story of the Alaskan
fisheries.
Credits: Director, Frank Lloyd.
© Rex Beach (Goldwyn Pictures Corp., author); 8May20;
LP15106.
THE SILVER HORDE. 1930. 8 reels. From the novel by Rex Beach.
Credits: Producer, William LeBaron; director, George
Archainbaud; screenplay, continuity and dialogue, Wallace Smith;
film editor, Otto Ludwig.
© RKO Radio Pictures, Inc.; 25Oct30; LP1678.
THE SILVER KING. Paramount-Artcraft Special. Presented by
Adolph Zukor. 1918. 5 reels.
Credits: Henry Arthur Jones; director, George Irving; scenario,
Burns Mantle.
© Famous Players-Lasky Corp.; 25Dec18; LP13215.
THE SILVER LINING. 1920. For Iroquois Film Corp. 6 reels.

Credits: Written, directed, and produced by Roland West;
adaptation, D. J. Buchanan, Charles H. Smith.
© Metro Pictures Corp.; 27Dec20; LP15970.
THE SILVER LINING. 1931. 6 reels, sd. Title changed from "Thirty
Days."
Credits: Producer and director, Alan Crosland; story, Hal Conklin;
adaptation and dialogue, Gertrude Orr; added dialogue, Claire
Corvalho; film editor, Doris Drought; musical score, Lee Zahler.
© Patrician Pictures, Ltd.; 14Aug31; LP3011.
SILVER LININGS. SEE The Man Hunt.
SILVER MILLIONS. (A Paramount Paragraphic). Presented by
Adolph Zukor. 1938. 1 reel, sd.
Credits: Commentary, Justin Herman; editor, Robert Blauvelt;
narrator, Alois Havrilla.
© Paramount Pictures, Inc.; 15Jul38; MP8590.
SILVER ON THE SAGE. 1939. 7 reels, sd. Based on characters
created by Clarence E. Mulford.
Credits: Producer, Harry Sherman; director, Lesley Selander;
screenplay, Maurice Geraghty.
© Paramount Pictures, Inc.; 31Mar39; LP8744.
THE SILVER-PLATED GUN. © 1913.
© American Film Mfg. Co.; title, descr. & 54 prints, 27Jan13;
LU305.
THE SILVER SHELL. SEE The Suspect.
THE SILVER SLAVE. 1927. 7 reels.
Credits: Director, Howard Bretherton; story, Howard Smith;
scenario, Peter Milne, Anthony Coldewey.
© Warner Bros. Pictures, Inc.; 3Nov27; LP24615.

THE SILVER SNUFF BOX. 1914.
Credits: Director, Theodore Marston; story, W. A. Tremayne.
© Vitagraph Co. of America (W. A. Tremayne, author); 2Mar14;
LP2266.
THE SILVER SPOON. SEE Let's Make a Night of It.
SILVER SPRINGS, FLORIDA. 1935. 200 ft., 16 mm.
© George Franklin Ryan; 22May35; MP5612.
THE SILVER STREAK. 1934. 8 reels, sd.
Credits: Associate producer, Glendon Allvine; director, Tommy
Atkins; story, Roger Whately; screenplay, Roger Whately, H. W.
Hanemann, Jack O'Donnell; editor, Fred Knudtson; music
director, Al Colombo.
© RKO Radio Pictures, Inc.; 30Nov34; LP5179.
SILVER THREADS. (Strange As It Seems) Screen Classics. 1937.
938 ft., sd.
Credits: John Hix; supervision and direction, Leonard M. Poole;
editor, Charles Diltz; music director, Lee Zahler.
© Columbia Pictures Corp. of Calif., Ltd. (Screen Classics, Inc.,
author); 9Nov37; MP7929.
SILVER THREADS AMONG THE GOLD. © 1915.
© Pierce Kingsley; title & 217 prints, 17Jun15; descr., 1Jul15;
LU5706.
THE SILVER TREASURE. 1926. 6 reels, b&w, tinted sequences.
Adapted from the story "Nostromo" by Joseph Conrad.
Credits: Director, Rowland V. Lee; scenario, Robert N. Lee.
© William Fox (Fox Film Corp., author); 20Jun26; LP22862.
SILVER VALLEY. 1927. 5 reels, b&w.

Credits: Director, Benjamin Stoloff; story, Harry Sinclair Drago;
scenario, Harold B. Lipsitz.
© Fox Film Corp.; 2Oct27; LP24464.
SILVER WINGS. 1922. 9 reels.
Credits: Directors, Edwin Carewe, Jack Ford; scenario, Paul H.
Sloane.
© William Fox (Fox Film Corp., author); 27Aug22; LP19007.
SILVERSPURS. Buck Jones Productions. Presented by Carl
Laemmle. 1936. 6 reels, sd. From the book by Charles Alden
Seltzer.
Credits: Director, Ray Taylor; screenplay, Joseph Francis Polland;
film editor, Bernard Loftus.
© Universal Productions, Inc.; 29Jan36; LP6098.
SILVERY MOON. (Aesop's Sound Fables, no. 10) 1933. 7 min., sd.
Credits: John Foster, Mannie Davis.
© RKO Radio Pictures, Inc. (The Van Beuren Corp., author);
13Jan33; MP3804.
SIMBA, THE KING OF BEASTS; a Saga of the African Veldt. ©
1928.
© Daniel E. Pomeroy (Martin Johnson, author); title, descr. & 8
prints, 14Jan28; MU4642.
SIMEON TETLOW'S SHADOW. SEE Ruler of the Road.
SIMON, THE JESTER. © 1915.
© Pathé Frères; title, descr. & 137 prints, 9Oct15; LU6596.
SIMON, THE JESTER. Released by Producers Distributing Corp.
1925. 7 reels.
Credits: Production and adaptation, Frances Marion; director,
George Melford; story, William J. Locke.

© Metropolitan Pictures Corp. of Calif.; 1Sep25; LP22701.
THE SIMP. 1921. 2 reels.
Credits: Director, Ferris Hartman.
© William Fox (Fox Film Corp., author); 13Mar21; LP16323.
THE SIMP AND THE SOPHOMORES. 1915. 1,000 ft.
Credits: Eldon Raymond; director, Will Louis.
© Thomas A. Edison, Inc.; 18Aug15; LP6145.
THE SIMP-PHONEY CONCERT. 1935. 2 reels, sd.
Credits: Producer, Lee Marcus; director, Alf Goulding; story, Eddie
Conrad, Joseph A. Fields.
© RKO Radio Pictures, Inc.; 20Feb35; LP5339.
SIMP SIMPSON AND THE SPIRITS. 1914. 1 reel.
© Selig Polyscope Co. (O. A. Nelson, author); 6May14; LP2663.
SIMPLE AND SWEET. (Star Comedy) 1921. 1 reel.
Credits: Written and directed by Chuck Reisner.
© Universal Film Mfg. Co., Inc.; 27Jan21; LP16074.
SIMPLE GOITER. 1929. 1 reel.
© Eastman Teaching Films, Inc. (George W. Crile, author);
4Jul29; MP411.
A SIMPLE ILLUSTRATION OF CHIROPRACTIC PHILOSOPHY,
SHOWING THE TRANSMISSION OF THE MENTAL IMPULSES
OVER THE NERVOUS SYSTEM. 1925. 1 reel.
© Wilbur E. Methvin; 23Oct25; MP3233.
THE SIMPLE LIFE. 1919. 2 reels.
Credits: Story and director, Lawrence Semon.
© Vitagraph Co. of America; 10Jul19; LP13943.

SIMPLE MACHINES. 1929. 1 reel.
13Jun29; MP415.
SIMPLE POLLY. Rex. 1915. 1 reel.
Credits: Ida May Park; producer, Joseph De Grasse.
© Universal Film Mfg. Co., Inc.; 22Jun15; LP5641.
A SIMPLE SAP. (Larry Semon Comedies) (Educational) 1928. 2
reels.
Credits: Written and directed by Larry Semon and Hampton Del
Ruth.
© Chadwick Productions, Inc.; 12Feb28; LP25041.
SIMPLE SAPHO. Joker. 1917. 1 reel.
Credits: Director, Allen Curtis; scenario, Jack Cunningham.
© Universal Film Mfg. Co.; 26May17; LP10844.
SIMPLE SIS. 1927. 7 reels.
Credits: Mark Canfield; director, Herman C. Raymaker; story,
Melville Crosman; screenplay, Al Kenyon.
© Warner Bros. Pictures, Inc.; 1Jun27; LP24033.
A SIMPLE SOLUTION. (Minute Mysteries) 1934. 914 ft. From a
story by H. A. Ripley.
Credits: Director, D. Ross Lederman; screenplay, Harold
Shumate.
© Columbia Pictures Corp.; 4Jul34; LP4809.
SIMPLE SOULS. © 1920.
Credits: John Hastings Turner.
© Pathe Exchange, Inc. (Fred Myton, author); title, descr. & 120
prints, 8May20; LU15090.

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