VIII

TECHNIQUE OF THE PHOTOPLAY

For the purpose of making clear the strictly technical aspects of photoplay-writing it has been decided best to provide a model “scenario,” as the manuscript form of the photoplay is called. Explanatory notations are made on the different points in construction developed. From the model given here the beginner will understand the manner in which he must develop his story, scene by scene, telling of each move made by the characters.

“How many scenes are there in one reel?” is a question often asked by beginners, when a little thought should show them that the number will vary, depending on the length of the individual scenes. The average is between thirty-five and forty. It will be seen that the model runs over forty, but many of the scenes are the briefest of flashes. Remember, “a scene is the action that can be photographed without stopping the camera.”No matter how short your scene seems, if you feel that the camera-man would have to stop grinding, and move his camera to take in the next action, then you know that the next action must be numbered as another scene. The form for photoplays of more than one reel is similar to that given here. The author may suit his own convenience in deciding whether to number his scenes from beginning to end of the story or to number each reel separately.

The author is indebted to the Edison Company for the privilege of using the scenario of the one-reel photoplay, “Across the Great Divide,” by Edward C. Taylor. The notes in brackets are solely explanatory and are not part of the scenario.

If you desire, an outer sheet may carry the name of the photoplay, the number of reels, whether it is comedy or drama, your name and address, and a line, “Submitted at usual rates.” The first page proper of your scenario will read:

(In upper corner author’s name and address)“ACROSS THE GREAT DIVIDE”SYNOPSIS

Bob Carson, a young man from the country, leaves for the city in order that he mayearn enough money to marry Mary Carter. After several years of plodding effort he is shown as a telegraph operator in a Rocky Mountain station. Black Jack and his band plan to hold up a train carrying a large shipment of gold, and, in order that their crime may be covered up, decide to cause a head-on collision. They force Carson to send the message that will cause the accident, under the cover of their guns, with the certainty that if he refuses he will be killed and Black Jack, an ex-telegrapher, will send the message himself. Immediately afterward he receives a message apprising him that his sweetheart is dead. With nothing left in life to live for he jumps to the telegraph instrument and, before the bandit realizes what he is doing, countermands his orders, saying as he does so: “There will be no wreck now. We will meet across the Great Divide.” As the last click of the instrument ceases, the bandit, realizing what he has done, shoots him dead.

[From three hundred to five hundred words should suffice for your synopsis. Have it tell all the important points of your story, but don’t go into unnecessary detail that the action scenario can explain. The synopsis is the most important part of your manuscript;it is the first thing the editor reads—and often the last. Make it clear, convincing, and brief—your sale depends largely on it.]

The second page:

CAST OF CHARACTERS

Bob Carson—Young country lad, later a telegrapher.Mary Carter—His sweetheart, country dress, sunbonnet, etc.Black Jack—Heavy-set desperado.Bird Stevens—Outlaw, lieutenant of Black Jack.Red—Shifty-eyed, suspicious-looking character.Another telegrapher.Superintendent.Call-boy.Four other desperados.Boy to represent Carson at age of twelve.Carson’s mother.

Bob Carson—Young country lad, later a telegrapher.

Mary Carter—His sweetheart, country dress, sunbonnet, etc.

Black Jack—Heavy-set desperado.

Bird Stevens—Outlaw, lieutenant of Black Jack.

Red—Shifty-eyed, suspicious-looking character.

Another telegrapher.

Superintendent.

Call-boy.

Four other desperados.

Boy to represent Carson at age of twelve.

Carson’s mother.

[Some of these players will appear for but a few seconds, but you must list every character to appear on the screen. Brief descriptions will suffice unless you want some particular type.]

SCENES

Interior:Attic room—5.Rocky Mountain despatch-office—8, 11, 16, 20, 29, 31, 32, 33, 34, 36, 37, 38, 39, 41, 43, 44, 45, 46.Section of day-coach—10.Section-house, sleeping-bunks, 40.Exterior:Farm-yard—1, 3, 9.River-wharf—2, 4, 6.Western Union city office—6.Cut through rocky gorge—12, 14.Woods near railroad track—13.Clearing in woods—15.Mountain road—17.Small station—18, 28, 30, 42.Clearing on ridge—22.Railroad tracks near station—23.Another section of mountain road—19.Cross-roads—24.Tree with swing—21.Woods, with despatch-office in sight—25.Bushes at side of railroad track—26.Down railroad track as seen from 26—27, 35.

Interior:

Attic room—5.

Rocky Mountain despatch-office—8, 11, 16, 20, 29, 31, 32, 33, 34, 36, 37, 38, 39, 41, 43, 44, 45, 46.

Section of day-coach—10.

Section-house, sleeping-bunks, 40.

Exterior:

Farm-yard—1, 3, 9.

River-wharf—2, 4, 6.

Western Union city office—6.

Cut through rocky gorge—12, 14.

Woods near railroad track—13.

Clearing in woods—15.

Mountain road—17.

Small station—18, 28, 30, 42.

Clearing on ridge—22.

Railroad tracks near station—23.

Another section of mountain road—19.

Cross-roads—24.

Tree with swing—21.

Woods, with despatch-office in sight—25.

Bushes at side of railroad track—26.

Down railroad track as seen from 26—27, 35.

[The figures denote the number of the scenes in which the different locations are used. List every location or setting used inthis scene plot. Be sparing in your use of interior scenes where exteriors will serve the purpose equally well. Interiors increase the cost of a production in time and expenditure for scenes.]

Start a new page:

“ACROSS THE GREAT DIVIDE”

Scene 1.New England farm-yard.

Carson with old-fashioned portmanteau on scene. Calls Mary, she appears, they embrace. He bids her good-by, telling her he is going West to make a home for her. She breaks down as he exits.

Scene 2.On a Chicago River wharf.Subtitle: Six weeks later. In Chicago destitute.

Scene 2.On a Chicago River wharf.

Subtitle: Six weeks later. In Chicago destitute.

Carson dejected, clothes baggy, gazing into river. Dissolve into—

Scene 3.Farm-yard, same as 1.

Mary stands alone. Wistful expression. Dissolve back to—

Scene 4.Wharf, same as 2.

Carson still on wharf. Express despair. Brightens. Dissolve to—

Scene 5.Attic room.

Carson, twelve years old, studying telegraphy, picking at instrument, following instructionsin book. Mother enters and scolds, making him study school-books. Dissolve back to—

Scene 6.Wharf; as in 2.

Carson goes off to follow up inspiration.

[The subtitle is here inserted before Scene 2 to prepare the audience for the break in the action. While it says that Carson is destitute, the action of the scene carries the explanation still further. Don’t let your subtitle spoil the scene by telling too much. By dissolving the other scenes, that is, narrowing the lens so that they “fade” in and out, the audience knows that they represent Carson’s thoughts. An abrupt change of scene would mystify the audience. In practice the director may decide to use double exposure for these scenes, but it is best for the author to leave these special effects to the producer’s discretion.]

Scene 7.Exterior Western Union city office.

Scene 7.

Exterior Western Union city office.

Carson comes out of office with long tickets in hand. Pauses to register, “Thank God!” and happiness. Exits.

[To “register” means to convey a certain feeling to the audience. The long tickets let the spectator know that Carson is going agreat distance, without the necessity of an abrupt subtitle stating the fact.]

Scene 8.Interior Rocky Mountain despatch-office.

Scene 8.

Interior Rocky Mountain despatch-office.

Subtitle: Six years have passed.

Other telegrapher at instrument receiving message. Carson enters, with dinner-pail, to relieve him. Greetings, etc., other telegrapher exits. Carson reserved and thoughtful. Lights pipe, and settles in chair. Fade to—

Scene 9.Farm-yard, same as 1.

Carson bidding Mary farewell.

[The author desires to show us that, though he is far away in the wilderness, Carson’s thoughts are still true to Mary.]

Scene 10.Close-up of seat in moving day-coach.

Scene 10.

Close-up of seat in moving day-coach.

Red finishes writing note. Handwriting to be irregular owing to train motion.

Flash—note:Big haul on No. 5, first car. Fargo shipment. $300,000 yellowbacks, no guard except messenger. (Signed) Red.

After tying note on spear-handle, conceals same, and exits.

Scene 11.Despatch-office, as in 8.

Close-up of Carson receiving message.

Flash—message on official blank:No. 5 carrying pay-car East—

[These “flashes,” unlike subtitles, are not to be printed statements, but are reproductions of the particular object, a newspaper clipping, letter, telegram, etc., and are inserted in the body of scenes as indicated. Make them brief; long letters mean many feet of film to give the audience time to read them.]

Scene 12.Rocky gorge. Railroad tracks.

Scene 12.

Rocky gorge. Railroad tracks.

Rear of day-coach pulling out of scene. Informer Red on platform, slings spiked stick into telegraph post from steps of car.

Scene 13.Woods near Scene 12.

Branches of bush part. Black Jack peers through. Plows through bushes.

Scene 14.Railroad tracks, as in 12.

Receding train in distance. Black Jack comes on, yanks spike from post.

Scene 15.Clearing in woods.

Desperados lounging about. Black Jack enters, unrolls note, reads, and gives orders.

Subtitle: “Stick No. 5 up at Mason’s Cut. We’ll cover up the job by making the despatcher drive No. 2 into No. 5.”

At his last word four desperados exit left. Black Jack and Bird Stevens go off right.

[Note the strength gained by inserting the subtitle in the action of the scene and having it a speech by one of the characters. How much weaker would it have been had the author put his subtitle before or after the scene, and said, “The desperados decide to hold up No. 5 at Mason’s Cut and cover up their crime by forcing the despatcher to drive No. 2 into No. 5.”]

Scene 16.Despatch-office, as in 8.

Call-boy sitting in reckless position, reading novel. Carson orders him to put up signal lamps—no ears. Carson tosses heavy object on floor near him and boy nearly falls out of chair; starts off on “hot-foot” with lanterns.

[The audience must now be kept in touch with events happening at different points. The flashes of the desperados will show them moving toward a definite object, and we are satisfied. If we were shown the despatch-office, however, with Carson seated idly at his key, the scene would appear unnecessary, so the author introduces such “business” as that of the call-boy above. The author must hold his audience’s interest while bringing his characters together for the climax. However, don’t let such “business” be important enough to distract the attention from the main plot.]

Scene 17.Mountain road.

Black Jack and Bird cantering.

Scene 18.Exterior of station.

Call-boy reading novel and lighting lantern without taking eyes off book. Match burning fingers. Finishes job hastily.

Scene 19.Another section of mountain road.

Scene 19.

Another section of mountain road.

Black Jack and Bird turn off main road into wood road.

Scene 20.Despatch-office, as in 8.

Carson in reflective attitude. Dissolve, or a double exposure of—

Scene 21.Big knotty tree, with swing.

Carson swinging Mary. Look much younger.

Scene 22.

Clearing on ridge; station can be seen below.

Black Jack and Bird walk to brink of hill, point down, both start to descend.

Scene 23.Railroad tracks.

Call-boy walking with switch signal lights, nose in novel, stubs bare toe, sprawls up holding toe, down track limping.

Scene 24.Forked roads.

Four desperados cantering, pass sign-post: “Mason’s Cut, 1 mile.”

Scene 25.

Woods opposite despatch-office.

Black Jack and Bird take observations; way is clear; start across.

Scene 26.

At Mason’s Cut—railroad tracks.

Four bandits arrive, conceal themselves at points of vantage.

Scene 27.

Down railroad track from 26.

Train No. 5 in distance, rounding curve.

Scene 28.

Exterior of station, as in 18.

Black Jack sees poster near door with his picture. Reads: “$1000 reward for the capture, either dead or alive, of Jack Rindge, generally known as Black Jack. Was railroad despatch operator 1898 to 1907. Description:” (Follow with description of Black Jack.) Latter does bravado business, posts Bird as guard, and enters station.

[Two purposes are served by the author’s introduction of this poster. He has let us know that Black Jack is an unusually desperate character from the fact that so large a reward is offered, and, of even greater importance to the story, he has told us that Black Jack is a capable telegraph operator. Both are points necessary to the plot later on and skill is shown in introducing them indirectly now. How unconvincing it would have been to haveBlack Jack say later to Carson, “I am an old telegrapher operator,” and thus give the audience its first intimation of the fact.]

Scene 29.Despatch-office, as in 8.

Carson studying train report. Office door being cautiously opened. Black Jack steps stealthily into room, covering Carson with automatic, closes door. Carson quickly turns. Carson registers, “Black Jack.” Latter makes threatening move toward Carson’s hands, saying, “Stick ’em up.” Carson hesitates, then slowly raises hands. Outlaw steps quickly behind and searches him, takes position in front of Carson.

Scene 30.

Exterior of station, as in 18.

Close-up of Bird seated on door-step with Winchester across knee. Leisurely rolls cigarette.

Scene 31.

Interior despatch-office, as in 8.

Black Jack studying order-book, tosses it on table, steps back on sleeping cat’s tail, disconcerted for a moment. Turns to kick cat. Carson about to leap at him. Black Jack turns back quickly, shoves automatic under Carson’s nose and backs him into seat. Keeping Carson covered, Black Jack settles down at table, studying order-book. Speaks—

Subtitle: “Stick out a red for No. 2 at Wind River.”

Carson sends message.

Scene 32.

Close-up of desk.

Black Jack searches around until he finds railroad-map.

Scene 33.

Close-up of special railroad-map.

Black Jack tracing plans on map. (To be cut into Scenes 33 and 34.)

Scene 34.Despatch-office, as in 8.

Black Jack giving another order: “Give No. 5 order to meet No. 2 at Big Bend instead of Napavin.” Carson turns quickly on Black Jack in defiant manner. Registers, “For God’s sake, man, do you know that means a human slaughter?” Black Jack laughs mercilessly. Carson, strongly protesting, finally refuses. Black Jack leaps closer. “Send it, or I’ll bore you through and send it myself.” Carson realizes Black Jack is master of situation any way he decides. Slowly he comes to a decision, finally he reaches forward to key. Expression of Black Jack’s face shows what he is sending. Black Jack nods approval.

Scene 35.

Down railroad track, as in 27.

Train No. 5 coming nearer.

Scene 36.Despatch-office, as in 8.

Black Jack becoming sociable. Carson silent, as if under spell.

Scene 37.

Close-up of Western Union sounder working.

Scene 38.Despatch-office, as in 8.

Carson’s interest centers on Western Union receiver, ignoring Black Jack’s presence. Writes—

Flash—close view of pad as he writes:From Bradford, N. H.Bob Carson, Castle Rock, Colo.Mary’s dying wish was to have you know that all her love and last words were for you, and that she hoped to meet you across the great divide.—Mrs. A. L. Carter.

Flash—close view of pad as he writes:

From Bradford, N. H.Bob Carson, Castle Rock, Colo.

Mary’s dying wish was to have you know that all her love and last words were for you, and that she hoped to meet you across the great divide.—Mrs. A. L. Carter.

Remorse creeps over Carson; shows weakness and thoughtfulness; gradually takes on strength and purpose. Offers a little prayer; his hand shoots forward to key. Black Jack up on his feet.

Scene 39.

Close-up of two men over desk.

Black Jack registers, “Get away from that key.” Carson, working like mad, every muscle tense. Carson registers, “There’ll be no wreck to-night.” Sending message.

Flash—message:Hold No—

Black Jack steps back, fires. Carson grasps breast, rises, slumps back into chair, falls forward on table. Black Jack studies him.

Scene 40.

Interior of section-house, with bunks.

Superintendent and other telegrapher hear shot, pile out of bunks.

Scene 41.Despatch-office, as in 8.

Black Jack, walking over to Carson, places revolver in hand, saying, “Remember, you committed suicide.” Bravado business; turns away, laughing. Carson weakly rolls over. Looks at revolver in hand in dazed manner; sees Black Jack, takes feeble aim, fires. Black Jack lunges forward, dead.

Scene 42.

Exterior of station, as in 18.

Telegrapher and superintendent rushing up track, partly dressed. Bird fires. Fire returned, Bird topples over.

Scene 43.Despatch-office, as in 8.

Carson, apparently dead, moves as if awakening from deep slumber, feebly arises to half-sitting and half-lying position. Wearing a queer little tired smile, feebly gropes as if in dark for the key, sends message.

Subtitle: “Put 5 into clear for 2—quick.”

Door bursts open, superintendent and telegrapher rush in. All suddenly tense.

Scene 44.

Close-up view of sounder working, as in 37.

Scene 45.Despatch-office, as in 8.

Superintendent takes pad, begins to write.

Flash—close-up view of pad as he writes:O. S. No. 2 by 3. 42. No. 5 heading out. Attempted hold up in express-car discovered, bandits captured.

Scene 46.Despatch-office, as in 8.

Carson smiles wearily. Registers: “Black Jack got me. He was going to put them together to cover up the robbery. I gave all I had, boys. That’s all; I’m going now. She is waiting for me over there.” Slight flutter, scene fades.

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