begins with “a pair of newlyweds” walking in the fields during their honeymoon. “They come upon a field of cabbages where a farmer is working.” Then “the young man leans into the ear of his young wife and asks if she would like a baby. She agrees, lowering her eyes…the young man asks permission of the farmer,” who gives the couple permission to search his field. The young husband discovers a baby made of cardboard, but both he and his bride are disappointed in it. Then the young bride “hears a cooing behind a more distant cabbage. She runs and discovers a beautiful, live baby and brings it in triumph to her husband.” After compensating the farmer, the newlyweds “leave excitedly” while the farmer returns to his field with a shrug. This scenario has no fairy which has caused some confusion. Alice Guy explained in her memoirs: "As actors, my friends, a screaming baby, an anxious mother leaping to and fro into the field of focus, and my first film, La Fée aux Choux, was born.” Since that one-minute length of film cost as much as Alice’s salary for a week, she apparently decided not to reshoot after the mother jumped in. Since fairies do not like to be seen by mortal eyes, the leaping mother was a happy accident. Those in the audience who saw the 1896 original were charmed by the leaping mother who had appeared only for a few seconds at the end. Following this, the 1900 version is all about the fairy, dovetailing perfectly with the 1896 version and carrying forward the pleasant fantasy. The 1896 Baby Incubator Exposition In February 1896, on a boulevard leading to the cabarets of Montmartre, Dr. Alexandre Lion opened an exposition, a “boutique fully operational,” of baby incubators, filled with live, premature infants. The baby incubator was a new invention, modeled after chicken incubators, serving to keep the babies warm. An art nouveau poster was designed by Adolfo Hohenstein to advertise the Paris Couveuses d’Enfants. A nurse holding three babies is framed by a vine sprouting baby’s heads in place of flowers. Faint white lines‒drawings of babies growing on vines‒fill in the background. Alice Guy went to this exposition and saw the babies in their enclosures. She later told her granddaughter, Regine Blaché-Bolton, that she was inspired to create La Fée aux Choux because she had seen the babies in