about a mile from the Gaumont office. The City of Paris records Alice Guy’s residence at Quai Malaquais from 1896 to 1898. She said she moved from there to Belleville. In February 1897, Léon Gaumont obtained a permit to remodel 14, rue Alouettes, “pavilion pour concierge,” for an employee or caretaker of the property. Thus, two government records support Alice Guy’s accounts. Sage-Femme de Premiere Classe Sage-Femme de Première Classe is pointed to by some archivists and historians as Alice Guy’s first film, but Sage-Femme doesn’t correspond to her descriptions. There are three characters in Sage-Femme, but four characters in Alice’s descriptions of the 1896 La Fée aux Choux, including a couple, a male farmer, children in costume, and a mother who “leaped into the field of focus.” Alice Guy said she couldn’t “remember the name of the man who played the farmer” in the 1896 La Fée aux Choux. But there are no male players in either Sage-Femme or the 1900 La Fée aux Choux. The Fan Alice Guy reported that the backdrop for her 1896 original La Fée aux Choux was painted by a ladies’ fan-painter. Pamela Green’s research for Be Natural, The Untold Story of Alice Guy-Blaché, turned up a hand-painted ladies’ fan that was given to Alice Guy as a gift. It was signed by René Sérand (Yvonne Mugnier-Sérand’s older brother). The painting on the fan looks like René Sérand painted it to commemorate the 1896 La Fée aux Choux. A woman, her arms in the air, is surrounded by little ones. A young woman approaches her from the right. This painting fits the descriptions Alice Guy gave for her first film: “We got the kids all dressed up,” “the mother leaped into the field of focus,” and the bride “ran to a distant part of the cabbage field.” 58 Millimeter Neither the 1900 nor the 1902 version has a bride running to a “distant part of the cabbage field” or a woman jumping into the field of focus. The words “running” and “distant” suggest the 1896 version was shot on a larger format film, such as the 58-millimeter which allowed for a scene in wide-screen. The Catalogues There are three Gaumont catalogue entries that correspond to 1) Alice Guy’s 1896 descriptions, 2) the 1900 version of La Fée aux Choux, and 3) the 1902 Sage-Femme. The first entry Alice Guy supplied to Victor Bachy and