SCENARIO OF CONISTONWhen the curtain is raised, Millicent Skinner is working about; a second later Chester Perkins comes slinking in, looking back as though pursued by the Evil One, and close on his heels, another local politician, Mr. Dodd, of the Brampton prudential school committee, enters with the same stealthy and harassed air. Millicent twits them with having run away from Bijah Bixby who is at Jonah Winch’s store. They deny that they are afraid of Bije or any one. It is brought out in a sentence or two that Jethro Bass, Cynthia and Ephraim Prescott are away on their Washington trip, and that Bijah, knowing of Jethro’s absence, is not likely to come here, which is why the two men have chosen the yard for a refuge; as they have been planning petty treason against the political control of the town by Jethro Bass. Millicent laughs at them and goes in the house. Mr. Dodd and Chester recover their swagger and begin to discuss Bijah and his sneaking ways. Bob Worthington enters, goes to the porch and calls Millicent. She responds from a nearby window. He enquires when she expects Cynthia to return. She tells him they will be here today. Bob announces that he will return, a little later, and goes out. Chester and Dodd discuss Bob’s attention to Cynthia and how furious the elder Worthington will be if his son marries the ward of Jethro Bass. Then they drift back to their first topic and are soon absorbed in their wordy revolt against Jethro Bass and Bijah.Chester.This town’s tired of puttin’ up with a king!(Behind them Bijah enters silently and stands at their elbows unperceived.)Bijah.Leetle early for campaignin’, Chester, leetle early.(The other two stand aghast.)The scene which follows between the three men gives their characters, the Coniston political atmosphere, Jethro’s position as boss of the Stateand his character, the cumulating antagonism between Jethro Bass and Isaac Worthington, the relation between Jethro and Cynthia, his ward. Bijah confides to the two that a new era is dawning; that “the railroads, represented by Worthington, Sr., are tired of paying tribute” to Jethro and are about to turn and exterminate him. Bixby says that Jethro’s power is gone, that a greater than he has risen, that Isaac Worthington’s campaign, brought forth under cover of a great reform movement, will sweep the State in the next few months and leave Jethro politically dead. Bijah brings out a copy of the last issue of the Newcastle Guardian (leading newspaper of the State), and reads them “The scathing arraignment of Jethro Bass ... showing how he had debauched his own town of Coniston; how, enlarging on the same methods, he had gradually extended his grip over the county and finally over the State; how he had bought and sold men for his own power and profit, deceived those who had trusted him, corrupted governors and legislators ... how he had trafficked ruthlessly in the enterprises of the people.” Bijah tells them that the whole State is in a stir over this article, that it is the open declaration of war against Jethro.Here Alva Hopkins and his daughter Cassandra enter. Hopkins has read the article and come post-haste to see Jethro. He and Bijah discuss the situation and Bijah tells them that the postmastership which Jethro has promised to Ephraim Prescott (and which it is surmised they have gone to Washington to secure) is to go to Dave Wheelock; that that will be the first tangible sign to the public of the fall of Jethro Bass....
SCENARIO OF CONISTON
When the curtain is raised, Millicent Skinner is working about; a second later Chester Perkins comes slinking in, looking back as though pursued by the Evil One, and close on his heels, another local politician, Mr. Dodd, of the Brampton prudential school committee, enters with the same stealthy and harassed air. Millicent twits them with having run away from Bijah Bixby who is at Jonah Winch’s store. They deny that they are afraid of Bije or any one. It is brought out in a sentence or two that Jethro Bass, Cynthia and Ephraim Prescott are away on their Washington trip, and that Bijah, knowing of Jethro’s absence, is not likely to come here, which is why the two men have chosen the yard for a refuge; as they have been planning petty treason against the political control of the town by Jethro Bass. Millicent laughs at them and goes in the house. Mr. Dodd and Chester recover their swagger and begin to discuss Bijah and his sneaking ways. Bob Worthington enters, goes to the porch and calls Millicent. She responds from a nearby window. He enquires when she expects Cynthia to return. She tells him they will be here today. Bob announces that he will return, a little later, and goes out. Chester and Dodd discuss Bob’s attention to Cynthia and how furious the elder Worthington will be if his son marries the ward of Jethro Bass. Then they drift back to their first topic and are soon absorbed in their wordy revolt against Jethro Bass and Bijah.
Chester.This town’s tired of puttin’ up with a king!
(Behind them Bijah enters silently and stands at their elbows unperceived.)
Bijah.Leetle early for campaignin’, Chester, leetle early.
(The other two stand aghast.)
The scene which follows between the three men gives their characters, the Coniston political atmosphere, Jethro’s position as boss of the Stateand his character, the cumulating antagonism between Jethro Bass and Isaac Worthington, the relation between Jethro and Cynthia, his ward. Bijah confides to the two that a new era is dawning; that “the railroads, represented by Worthington, Sr., are tired of paying tribute” to Jethro and are about to turn and exterminate him. Bixby says that Jethro’s power is gone, that a greater than he has risen, that Isaac Worthington’s campaign, brought forth under cover of a great reform movement, will sweep the State in the next few months and leave Jethro politically dead. Bijah brings out a copy of the last issue of the Newcastle Guardian (leading newspaper of the State), and reads them “The scathing arraignment of Jethro Bass ... showing how he had debauched his own town of Coniston; how, enlarging on the same methods, he had gradually extended his grip over the county and finally over the State; how he had bought and sold men for his own power and profit, deceived those who had trusted him, corrupted governors and legislators ... how he had trafficked ruthlessly in the enterprises of the people.” Bijah tells them that the whole State is in a stir over this article, that it is the open declaration of war against Jethro.
Here Alva Hopkins and his daughter Cassandra enter. Hopkins has read the article and come post-haste to see Jethro. He and Bijah discuss the situation and Bijah tells them that the postmastership which Jethro has promised to Ephraim Prescott (and which it is surmised they have gone to Washington to secure) is to go to Dave Wheelock; that that will be the first tangible sign to the public of the fall of Jethro Bass....
The cardinal principle in scenario writing, as in the play itself, is that not talk but action is basal. In a scenario, however, action is described rather than represented. As we have just seen, the lengthy historical account of what lies behind the opening scene is hard to convey without talkiness. Many would-be dramatists dodge this difficulty, indeed the whole task of making clear the emotional significance of the action which the play involves, by writing scenarios which are little more than schedules of the entrances and exits of their characters. There was something of this in the “Coniston” scenario. The difficulty is still more marked in the following:
THE SIRE DE MALETROIT’S DOORSCENE:The Maletroit Entrance-Hall[Diagram of Setting]CharactersA Priest.The Sire de Maletroit.Blanche de Maletroit, his niece.Denis de Beaulieu.Retainer.Discovered, Retainer finishing work on the door, C. Enter Priest, L.U.E. Slight exposition suggesting that a trap is being set for a girl’s gallant. Exit Priest. Enter R.U.E. the Sire. Commends the workman’s results, increasing the suspense regarding purpose. Rope outside window R, examined without explanation. Retainer, questioned as to news in the town, remarks the presence of a dare-devil young French soldier under safe-conduct who is likely to get into trouble with the troops quartered in town, unless he keeps a civil tongue in his head. Retainer dismissed R, with suggestion that he understands what is expected of him.The Sire calls Priest, questions him regarding Blanche, furthering the exposition.Blanche enters, dressed as bride, and bursts forth in troubled questions as to the meaning of her uncle’s orders regarding her appearance at this hour in such costume. The cause is hinted at as an intrigue, and Blanche is ordered to retire and wait in the chapel.The Sire indicates that the hour is approaching for the “arrival” and the lights are extinguished.
THE SIRE DE MALETROIT’S DOOR
SCENE:The Maletroit Entrance-Hall
[Diagram of Setting]
Characters
A Priest.The Sire de Maletroit.Blanche de Maletroit, his niece.Denis de Beaulieu.Retainer.
A Priest.
The Sire de Maletroit.
Blanche de Maletroit, his niece.
Denis de Beaulieu.
Retainer.
Discovered, Retainer finishing work on the door, C. Enter Priest, L.U.E. Slight exposition suggesting that a trap is being set for a girl’s gallant. Exit Priest. Enter R.U.E. the Sire. Commends the workman’s results, increasing the suspense regarding purpose. Rope outside window R, examined without explanation. Retainer, questioned as to news in the town, remarks the presence of a dare-devil young French soldier under safe-conduct who is likely to get into trouble with the troops quartered in town, unless he keeps a civil tongue in his head. Retainer dismissed R, with suggestion that he understands what is expected of him.
The Sire calls Priest, questions him regarding Blanche, furthering the exposition.
Blanche enters, dressed as bride, and bursts forth in troubled questions as to the meaning of her uncle’s orders regarding her appearance at this hour in such costume. The cause is hinted at as an intrigue, and Blanche is ordered to retire and wait in the chapel.
The Sire indicates that the hour is approaching for the “arrival” and the lights are extinguished.
As has been pointed out already,10entrances and exits are of the slightest possible consequence except when they count in characterization or dramatic action. It is what takes place for the characters between an entrance and exit which a scenario must bring out as briefly yet clearly as possible.
This fault of over-emphasizing entrances and exits is closely related to the “referential” treatment of possibledramatic material. The method for this is: “Mr. and Mrs. Brown enter and talk passionately about their future.” “Anne and Sarah now have a tempestuous scene in which Anne discloses to the full her agony.” Such scenario writing is all too easy, for the value of the scenario, like the value of the play, will depend upon the ability of the author to make the first scene passionate and the second tempestuous and agonizing. A scenario which constantly states that at a given point something of interest will be done or a very powerful scene dealing with the emotions of one or more of the characters will be written is both useless and exasperating. Nobody wants to buy such a dramatic “pig in a poke.” Compare a referential scenario, the first of the three which follow, with the other two. They may, as parts of scenarios, have faults, but at least they move, not by references to “sarcasm, a horror that transfixes, violent threats,” etc., but by definitely roused emotional interest.
THE SIRE DE MALETROIT’S DOOR[Diagram of Setting]SCENE.A baronial apartment in heavy polished stone. At the back a large doorway hung with rich tapestry leads to a small chapel. At the right are two doors also with tapestry. In the left back corner is a huge fireplace carved with the arms of the Maletroits. At the left is a large open window looking over the parapets of the castle. A heavy table and a chair or two are all the furnishings.Place: Château Landon.Time: Fourteenth Century.Dramatis PersonæBlanche, orphan niece of Sire de Maletroit.A Priest, chaplain to Sire de Maletroit.Sire de Maletroit.Denis de Beaulieu, a stranger.As the curtain rises Blanche is seen in the chapel kneeling as the priest is finishing the chanting of the vesper service. At the close sherises and walks toward the window, glancing hastily about to see that no one is in the room. As soon as the priest has left she draws from her breast a letter which she starts to read. She is soon interrupted by the entrance of her uncle the Sire de Maletroit, whose keen glance detects her hasty crumpling of the note which she has not had time to conceal. He greets her jovially and starts to walk hand in hand with her. Forcing open her hand, he finds the note, which he reads in a bitterly sarcastic tone, while Blanche stands transfixed with horror. It is a note asking her to leave the house door open at midnight so that the writer may enter and exchange words with her on the stairs. With cold sarcasm, ill concealing his rage, the Sire forces from her the story that a young captain has met her in church and given her the note. She denies that she knows his name, and the most violent threats will not induce her to tell it. She is then sent to her room to dress in sackcloth of repentance and told to prepare to spend the night in the chapel.THE SIRE DE MALETROIT’S DOORPersons representedThe Sire de Maletroit.Blanche de Maletroit, his niece.Denis de Beaulieu, a young soldier.A Priest.SCENE.Large apartment of stone. On each of the three sides of the room, three doors curtained with tapestry. On left, beside the door a window. Stone chimney-piece, carved with arms of the Maletroits. Furniture, mainly consisting of table, and heavy chair beside chimney.Place: Château Landon, France.Time: September, 1429.Curtain rises showing an old gentleman in a fur tipped coat seated in the heavy chair. The old man is mumbling to himself a sort of strange murmur, smiling and nodding, as he sips a cup of wine. The room is silent save for the muttering of the old man.Suddenly, from the direction of the arras covering the door to left, a muffled sound begins to obtrude itself. This sound, at first vague, then waxing more and more distinct, resolves itself into steps cautiously mounting a flight of stairs. The steps, gradually less vague, finally firm and assertive, reach the tapestried doorway. The click of metal, probably that of a sword, accompanying the steps, echoes in the hush of the room.The arras parts, and a young man blinking from dark into sudden light, stumbles into the room.(As the tapestry closes behind the youth, a dark passageway and shadowy flight of stairs beyond are visible.)Another pause ensues, during which the young man and the old man continue to gaze at one another.”Pray step in,” begins the old man; “I have been expecting you all the evening.”The youth shivers slightly, hesitating for speech. Finally he manages to answer....MISTRESS BEATRICE COPEACT III. SCENE 1Next day, White Oaks. Late twilight. Night falls during early part of scene. Later, moonlight. The great dining hall. It opens at the back on a terrace with a large door at centre. Dame Pettigrew, Joyce and Eliza discovered in a flutter over the news of the war. Scotch raids are threatened from over the border. There are terrible tales of the lootings by the King’s soldiers of places suspected of Jacobitry. Dame Pettigrew, as she hears now this story, now that, is first Whig and then Jacobite, until she bewilders herself and the maids. They play on one another’s nerves until they are in sore fright. Pettigrew begins to collect her goods against leaving on the morrow, regretting that she has sent for Beatrice to stay with her, who is momentarily expected. At height of nervous strain, when all windows have been closed, all lights but the fire are out, and the women sit cowering and silent, the mournful shrilling of bagpipes and the heavy tread of feet coming nearer and nearer are heard. Joyce gasps about ghosts. Chilled with terror, no one dares go to the window. The procession reaches the end of the lane and passes. Sudden sharp rapping at door. Frightened parley with spirits, as maids think. Beatrice forces them to open, and appears. The pipes are the funeral train of a Jacobite killed on the neighboring border and now on the way to Goodrest for a final mass. Beatrice is excited and anxious but brings order out of chaos in the room. Turns up lights, gets rid of Dame Pettigrew, and one maid, and sends other maid for supper. Bids Joyce, should Bill Lampeter appear, send him to her at once. She has a message for Crowe Hall. When Joyce has departed wonderingly, it appears that all day Beatrice has been trying to warn Cope at Goodrest that they were watched the day before, but has been unable till as she rode over with Jessie she met Bill Lampeteron the road. Dropping behind, she wrote hastily on her tablets a warning, and dropping them into Bill’s hands made him fly to Goodrest, he to report his success at once. A knock at the big door softly. Raymond’s voice. When she opens to him, a passionate scene follows. She is at first full of affection, mingled with dread of what he may know. He is fighting suspicion, passion for her, and inability to believe her guilty. Seeking her at Crowe Hall, he has followed her thither. At first she is too sincere to play with him. He is too anxious to be able to diplomatize. He shows his fears—that she is intriguing with another, with the Pretender. She is maddeningly incomprehensible—swears she knows no Pretender, but will not say yes or no as to meeting any one in the wood. In his anger and his desire to force the truth from her, by making her feel the uselessness of protecting the Pretender, he lets drop more than he realizes of plans to catch him and for the campaign. Seeing that, had her message not gone, her brother would have been trapped, Beatrice works to delay Raymond. She is first coldly repellent, then alluring, then silent, then apparently almost on the point of revelation. At last in despair he breaks away into the night, vowing vengeance on the destroyer of his happiness and cursing her for a fickle, ambitious thing, unworthy a good man’s love. She stands motionless by the table, then hurries to the wide open door through which the moonlight streams in from the garden, calls again and again softly, staggers back, and falls sobbing on the great settle. Van Brugh appears at the open doors, closes them softly and speaks. He is leaving the Hunters for good, for the final Jacobite blows are to be struck. Seeing Raymond ahead of him, he hid in the garden till Raymond went. He calls on “The Daughter of Charles Cope” to tell him for the good of the cause what she knows of Raymond’s plans. She denies that she knows them fully, but cannot deny that she knows something of them. He shows that everything depends for the Jacobites on knowing the movements of the local forces for the next few days. He uses every appeal he can, her brother among others. To this she only answers that she has warned and saved him. All his appeals are in vain. “Raymond is my husband in the sight of God. His secrets should be my secrets, but my brother I cannot help to kill. To save him I must deceive the man I love best in all the world; so be it. So much I must do, more I will not.” Sandiland, the fanatic breaking out in him, curses her as a renegade and unworthy her name and race. He goes. As she stands murmuring: “Unworthy love, unworthy my father’s name!” suddenly her face softens. She drops to the settle and prays for a moment. Quietly she rises, saying, “Why count the cost if Charles’ life be saved.” Thedoor opens and Joyce enters in great excitement to say, “Bill has come, but in bad plight.” She fetches the boy, his clothes torn, his hands bleeding where ropes have cut the wrists. He has been taken shortly after leaving Beatrice and searched. He snatched the tablets from a captor’s hand and licked off the message before it was read. He was then trussed up behind a soldier on horseback, and started for the “Maid in the Valley” Tavern, the rendezvous from which the journey to Goodrest was to begin. By daring and ingenuity he slipped away at the inn. “Then my brother knows nothing.” “No, and they’ll be starting by now from the Maid in the Valley. They were waiting for the moon to be covered.” “Where’s Philly, my mare?” “In the paddock, miss.” “What do you mean?” cries Joyce. “I am going to Goodrest.” “Alone? To-night, with these rake-hell soldiers abroad?” Beatrice’s only answer is to find her whip and pass quickly out into the night. Joyce sinks down sobbing in window seat. Bill is in the doorway, wild with excitement. “Now, ride, ride, Miss Beatrice. Ride, like Hell!”Quick Curtain
THE SIRE DE MALETROIT’S DOOR
[Diagram of Setting]
SCENE.A baronial apartment in heavy polished stone. At the back a large doorway hung with rich tapestry leads to a small chapel. At the right are two doors also with tapestry. In the left back corner is a huge fireplace carved with the arms of the Maletroits. At the left is a large open window looking over the parapets of the castle. A heavy table and a chair or two are all the furnishings.
Place: Château Landon.Time: Fourteenth Century.
Place: Château Landon.
Time: Fourteenth Century.
Dramatis Personæ
Blanche, orphan niece of Sire de Maletroit.A Priest, chaplain to Sire de Maletroit.Sire de Maletroit.Denis de Beaulieu, a stranger.
Blanche, orphan niece of Sire de Maletroit.
A Priest, chaplain to Sire de Maletroit.
Sire de Maletroit.
Denis de Beaulieu, a stranger.
As the curtain rises Blanche is seen in the chapel kneeling as the priest is finishing the chanting of the vesper service. At the close sherises and walks toward the window, glancing hastily about to see that no one is in the room. As soon as the priest has left she draws from her breast a letter which she starts to read. She is soon interrupted by the entrance of her uncle the Sire de Maletroit, whose keen glance detects her hasty crumpling of the note which she has not had time to conceal. He greets her jovially and starts to walk hand in hand with her. Forcing open her hand, he finds the note, which he reads in a bitterly sarcastic tone, while Blanche stands transfixed with horror. It is a note asking her to leave the house door open at midnight so that the writer may enter and exchange words with her on the stairs. With cold sarcasm, ill concealing his rage, the Sire forces from her the story that a young captain has met her in church and given her the note. She denies that she knows his name, and the most violent threats will not induce her to tell it. She is then sent to her room to dress in sackcloth of repentance and told to prepare to spend the night in the chapel.
THE SIRE DE MALETROIT’S DOOR
Persons represented
The Sire de Maletroit.Blanche de Maletroit, his niece.Denis de Beaulieu, a young soldier.A Priest.
The Sire de Maletroit.
Blanche de Maletroit, his niece.
Denis de Beaulieu, a young soldier.
A Priest.
SCENE.Large apartment of stone. On each of the three sides of the room, three doors curtained with tapestry. On left, beside the door a window. Stone chimney-piece, carved with arms of the Maletroits. Furniture, mainly consisting of table, and heavy chair beside chimney.
Place: Château Landon, France.Time: September, 1429.
Place: Château Landon, France.
Time: September, 1429.
Curtain rises showing an old gentleman in a fur tipped coat seated in the heavy chair. The old man is mumbling to himself a sort of strange murmur, smiling and nodding, as he sips a cup of wine. The room is silent save for the muttering of the old man.
Suddenly, from the direction of the arras covering the door to left, a muffled sound begins to obtrude itself. This sound, at first vague, then waxing more and more distinct, resolves itself into steps cautiously mounting a flight of stairs. The steps, gradually less vague, finally firm and assertive, reach the tapestried doorway. The click of metal, probably that of a sword, accompanying the steps, echoes in the hush of the room.
The arras parts, and a young man blinking from dark into sudden light, stumbles into the room.(As the tapestry closes behind the youth, a dark passageway and shadowy flight of stairs beyond are visible.)
Another pause ensues, during which the young man and the old man continue to gaze at one another.
”Pray step in,” begins the old man; “I have been expecting you all the evening.”
The youth shivers slightly, hesitating for speech. Finally he manages to answer....
MISTRESS BEATRICE COPE
ACT III. SCENE 1
Next day, White Oaks. Late twilight. Night falls during early part of scene. Later, moonlight. The great dining hall. It opens at the back on a terrace with a large door at centre. Dame Pettigrew, Joyce and Eliza discovered in a flutter over the news of the war. Scotch raids are threatened from over the border. There are terrible tales of the lootings by the King’s soldiers of places suspected of Jacobitry. Dame Pettigrew, as she hears now this story, now that, is first Whig and then Jacobite, until she bewilders herself and the maids. They play on one another’s nerves until they are in sore fright. Pettigrew begins to collect her goods against leaving on the morrow, regretting that she has sent for Beatrice to stay with her, who is momentarily expected. At height of nervous strain, when all windows have been closed, all lights but the fire are out, and the women sit cowering and silent, the mournful shrilling of bagpipes and the heavy tread of feet coming nearer and nearer are heard. Joyce gasps about ghosts. Chilled with terror, no one dares go to the window. The procession reaches the end of the lane and passes. Sudden sharp rapping at door. Frightened parley with spirits, as maids think. Beatrice forces them to open, and appears. The pipes are the funeral train of a Jacobite killed on the neighboring border and now on the way to Goodrest for a final mass. Beatrice is excited and anxious but brings order out of chaos in the room. Turns up lights, gets rid of Dame Pettigrew, and one maid, and sends other maid for supper. Bids Joyce, should Bill Lampeter appear, send him to her at once. She has a message for Crowe Hall. When Joyce has departed wonderingly, it appears that all day Beatrice has been trying to warn Cope at Goodrest that they were watched the day before, but has been unable till as she rode over with Jessie she met Bill Lampeteron the road. Dropping behind, she wrote hastily on her tablets a warning, and dropping them into Bill’s hands made him fly to Goodrest, he to report his success at once. A knock at the big door softly. Raymond’s voice. When she opens to him, a passionate scene follows. She is at first full of affection, mingled with dread of what he may know. He is fighting suspicion, passion for her, and inability to believe her guilty. Seeking her at Crowe Hall, he has followed her thither. At first she is too sincere to play with him. He is too anxious to be able to diplomatize. He shows his fears—that she is intriguing with another, with the Pretender. She is maddeningly incomprehensible—swears she knows no Pretender, but will not say yes or no as to meeting any one in the wood. In his anger and his desire to force the truth from her, by making her feel the uselessness of protecting the Pretender, he lets drop more than he realizes of plans to catch him and for the campaign. Seeing that, had her message not gone, her brother would have been trapped, Beatrice works to delay Raymond. She is first coldly repellent, then alluring, then silent, then apparently almost on the point of revelation. At last in despair he breaks away into the night, vowing vengeance on the destroyer of his happiness and cursing her for a fickle, ambitious thing, unworthy a good man’s love. She stands motionless by the table, then hurries to the wide open door through which the moonlight streams in from the garden, calls again and again softly, staggers back, and falls sobbing on the great settle. Van Brugh appears at the open doors, closes them softly and speaks. He is leaving the Hunters for good, for the final Jacobite blows are to be struck. Seeing Raymond ahead of him, he hid in the garden till Raymond went. He calls on “The Daughter of Charles Cope” to tell him for the good of the cause what she knows of Raymond’s plans. She denies that she knows them fully, but cannot deny that she knows something of them. He shows that everything depends for the Jacobites on knowing the movements of the local forces for the next few days. He uses every appeal he can, her brother among others. To this she only answers that she has warned and saved him. All his appeals are in vain. “Raymond is my husband in the sight of God. His secrets should be my secrets, but my brother I cannot help to kill. To save him I must deceive the man I love best in all the world; so be it. So much I must do, more I will not.” Sandiland, the fanatic breaking out in him, curses her as a renegade and unworthy her name and race. He goes. As she stands murmuring: “Unworthy love, unworthy my father’s name!” suddenly her face softens. She drops to the settle and prays for a moment. Quietly she rises, saying, “Why count the cost if Charles’ life be saved.” Thedoor opens and Joyce enters in great excitement to say, “Bill has come, but in bad plight.” She fetches the boy, his clothes torn, his hands bleeding where ropes have cut the wrists. He has been taken shortly after leaving Beatrice and searched. He snatched the tablets from a captor’s hand and licked off the message before it was read. He was then trussed up behind a soldier on horseback, and started for the “Maid in the Valley” Tavern, the rendezvous from which the journey to Goodrest was to begin. By daring and ingenuity he slipped away at the inn. “Then my brother knows nothing.” “No, and they’ll be starting by now from the Maid in the Valley. They were waiting for the moon to be covered.” “Where’s Philly, my mare?” “In the paddock, miss.” “What do you mean?” cries Joyce. “I am going to Goodrest.” “Alone? To-night, with these rake-hell soldiers abroad?” Beatrice’s only answer is to find her whip and pass quickly out into the night. Joyce sinks down sobbing in window seat. Bill is in the doorway, wild with excitement. “Now, ride, ride, Miss Beatrice. Ride, like Hell!”
Quick Curtain
If it is clear that illustrative action is as essential in a scenario as in a play, it is as true for one form as the other that right proportioning and emphasis must make clear the purpose of the author in writing the scenario and must take a reader clearly to its conclusion. Read any one of the following three scenarios and decide whether you are clear as to the purpose of the author. What did he think was attractively dramatic in his material? What is the central interest of his proposed play? Just what is the suspense created near the beginning of the play and developed throughout from sub-climaxes to a final climax? As has been carefully explained, plays must do all this. Therefore their scenarios must also.
THE FISHING OF SUZANNESCENARIO.Curtain rises discovering Madame knitting in chair, upper right, Hélène embroidering in window-seat, Suzanne on sofa, trying to sew. Suzanne gets into trouble and Hélène helps her. Then grandmother offers to tell her a story. Suzanne says that her storiesare so sad, always about her dead parents. Hélène represses her. Enter grandfather, the Colonel, rear. Suzanne starts to show him her sewing and is repulsed. Colonel denounces the Dreyfus situation; Madame trying to interfere when he begins on the American attitude, finally gets Hélène and Suzanne from room. Then Colonel learns that George Williams, an American, loves Hélène. He is overcome. Enter George rear. Embarrassing situation; finally George gets up courage and asks for Hélène’s hand, is refused, but goes away undaunted. Enter Hélène, side. Colonel says, “I will have no friend of traitors place his foot in my house.” Scene. Exit Hélène sobbing angrily. Colonel disturbed, but when wife starts after her, forbids her going. Exit the Colonel. Madame again starts toward door. Suzanne and Marie enter. Madame has Suzanne play with fishing rod; dismisses Marie from room. Suzanne hears Hélène’s sobs. Asks if she is sick. Says she will comfort her. Madame feels guilty and leaves. Suzanne persuades Hélène to come out and watch her fish. Catches some imaginary ones. Discovers George. He sends up notes like fish. Later Hélène furnishes bait. Then she fishes him up. Suzanne is dismissed with candy, and he persuades Hélène to elope. Suzanne comes and says the cab is there. Steps heard. George goes down rope. Marie tells of the cab. Hélène rushes into packing. Leaves note for mother with Suzanne, who wins a promise for a speedy return from her. Exit Hélène rear. Marie and Suzanne wave from window. Talk. Soon Colonel and Madame enter. See disorderly room. Suzanne gives them the note. Madame reads it and breaks news to her husband. Defends Hélène; reminds Colonel of their parents’ political differences. Suzanne tells how Hélène thought they did not care for her in her sorrow. Both in tears. Colonel in desperation starts to send for them by Marie. Enter George and Hélène; Hélène unable to leave without seeing them. Colonel says he may have been too hasty. Then Suzanne discovers George’s Legion of Honor badge. He and Colonel shake on the old friendship of the Republics.CurtainAN ENCOREAdapted from a Story by Margaret DelandTime: About 1830, in June.Place: Little town of Old Chester.Between the first and second act three weeks elapse.Dramatis PersonæCaptain Price: Retired sea-captain, big, bluff, and hearty, with white hair and big white mustachios, rather untidy as to dress. Age, about 68.Cyrus Price: His son, weak and neat-looking, very thin and of sandy complexion. Age, about 35.Mrs. North: Sprightly, pretty, white-haired little lady of about 65. Always in black silk.Miss North: Her daughter, nervous and shy, but truthful with a mania for taking care of her mother and no knowledge of how to wear her clothes; about 40.Mrs. Gussie Price: A stout, colorless blond, a weeping, vividly gowned lady, who rules her husband, Cyrus, through her tears. Age, about 30.Flora: A colored maid.Stage setting: A drawing-room with a door on either side of the back, leading into the long front hall. A window at the right, looking into the street. Between the window and the door, a stuffed armchair, a hair-cloth sofa. Between the doors, under a mantel-shelf, a Franklin stove, on either side of which, but a little down stage, are two rockers just alike. To the left and back, grand piano. To the left, front, another big chair. Hassocks; and a knit shawl on almost every chair. The only ornament on the shelf is a stuffed bird in a glass case.ACT IMiss North is discovered in a very much starched gown, big apron, dusting-cap, and gloves; arranging the chairs more evenly and dusting. Expression of heavy responsibility in her face and manner.Flora announces Mrs. Price, who enters—right door—at once. Though Mary explains she is busy, Mrs. Price stays. Sits on the sofa. Mary in rocking-chair to left of stove. Dialogue in which Mary explains she is determined to let her mother end life happily in her native town and she expects her to arrive any moment. Mrs. Price offers assistancein fixing up the house and begins to gossip about the fact that her father-in-law, the Captain, who lives in the Price house just across the street, tried to elope with Mrs. North when she was eighteen. Mary becomes very indignant, but sees her mother through the window and dismisses Mrs. Price politely but not sweetly. Exit Mrs. Price by the right door, Mary by the left. Enter Mrs. North by the right and Mary is seen hurrying by the right door with a small wooden chair in her hand.Mrs. North begins to look about the room while she takes off her calash and leaves it on the piano, her shawl and puts it on the shelf, her gloves and leaves them on a chair. Mary enters, right, with the chair, during this business and remonstrates with her mother for getting out of the chaise without the aid of the chair. As Mrs. North drops her things Mary picks them up. Mrs. North sees the Price house through the window and mentions, cheerily, that the Captain used to be her beau. Mary is shocked. Tries to have her mother put on one of the little shawls and goes to make her some beef-tea. Hangs her things on the hat-tree in hall beyond left door as she goes out.Mrs. North discovers the Captain going down street and calls him in. Enters right door with his pipe. Both sit in the rockers before the stove and are deep in reminiscences when Mary enters left door. The Captain is requested to put up his pipe, not to talk quite so loud, and not to stay long because of Mrs. North’s delicacy. When Mary offers to make him some beef-tea, too, so her mother can take hers, he leaves precipitately, very much cowed.While Mary is trying to soothe Mrs. North after the undue excitement, Flora announces Cyrus Price who has come in search of his father—at Gussie’s tearful instigation. Mary and Cyrus hold an anxious aside, while Mrs. North expresses her pleasure at seeing the Captain again. Curtain falls on Mrs. North trying to pick out some of the old tunes on the piano, and Cyrus and Mary bidding each other a stiff “Good-morning.”ACT IIThe Captain and Mrs. North discovered, the Captain with his harmonica trying to teach Mrs. North the old airs. Enter Mary at right door, from outdoors. Consternation ensues and in a few moments the Captain leaves guiltily. Then Mary explains that she has been over to the Prices and requested Cyrus to tell the Captain he must keep away, for they are both too old to be married. Mrs. North exits left, indespair. Flora announces Mr. and Mrs. Price: a conference of war is held during which it is decided that Cyrus must consult the minister, Dr. Lavender, and Gussie must speak to the Captain himself. Exeunt Mr. and Mrs. Price.Enter Mrs. North for her knitting. Mary wraps her up in a shawl, puts a hassock at her feet, suggests lighting a fire in the stove, and tries to comfort her mother by telling her she will take her away from Old Chester if the Captain keeps on bothering her. Mrs. North remonstrates feebly, and Mary decides she needs some beef-tea after the excitement. Exit Mary to make the tea.Enter the Captain without ringing or knocking, in great wrath. Gussie has spoken to him. At first they laugh at the children’s stupidity and by degrees decide to carry out and confirm the children’s suspicions by eloping. Enter Mary. Confusion, but the Captain pretends he has come to say good-bye to her because he is going away for a few weeks and under that cover, makes the appointment for the eloping.Curtain with his exitTHE CAPTAIN, A MELODRAMA[Diagram]Dramatis PersonæCaptain La Rue, a little sea captain.Bromley Barnes, former special investigator for the U.S. Customs Service.Patrick Clancy, his friend.A burly Butler.John Felspar, junior partner of the firm of Felspar & Felspar, wine merchants.Two Dinner Guests, members of the firm.Carl Cozzens, the firm’s Canadian representative.SCENE.The dining-room of Felspar’s Summer CottageTime: Early eveningThe Captain is discovered sitting on the end of the table next the window with his legs dangling dejectedly. Suddenly he sees something and, rushing to the window, goes through a violent pantomime imploring help and caution from some one without and indicating theway to enter the house. He then wrings his hands and paces the floor excitedly ending at D. R. C. where he listens. The key turns in the lock and Barnes and Clancy enter cautiously. The Captain throws himself at their feet and tells them of being kidnapped and confined and his Ship’s papers taken from him and asks frantically for the time. Barnes tells him, and the Captain becomes at once dejected and silent. The other two, however, draw from him the story of how he has been racing over the Atlantic to get a cargo of champagne to an American port in time to get the benefit of the old tariff rate, just increased by the governments concerned. He got in in time but was drugged and confined in this house till too late and his papers taken from him. They advise him to stay where he is and, promising to help him at once, slip out as they came. The Butler comes in D. R. C. and begins setting table, joking the Captain about the supper to be held in his honor, but growling about the suddenness of his master’s decision to have it. The Captain is excited and helps him in mock politeness. As they are working, Felspar comes in. Butler tells him that he has hired a waiter for the evening, subject to his approval—a man who happened to be walking by, with a friend. Felspar congratulates him and the new waiter is called. It is Clancy. La Rue controls himself as he recognizes him. Felspar orders the Butler to lock La Rue in the up-stairs bedroom, which has been prepared, till he shall be wanted, telling him at the same time that all the guests have arrived but Mr. Cozzens, who is to be brought directly to the dining-room when he arrives. The others will not wait for him. The Butler hurries La Rue off. Felspar gives a few parting instructions to the new waiter and goes to bring the guests. Clancy finishes the preparations and signals out the window to Barnes to come. Felspar comes back with the guests D. L. C. The Butler reappears, is called to the door-bell and ushers in Barnes as “Mr. Cozzens.” Felspar introduces him as the Canadian representative of the firm whom he has never seen before. Barnes takes the cue and excuses his costume, saying that he arrived late and has not had time to change. All sit again and Felspar, telling the Butler to bring La Rue, tells the company that the ship’s papers of the rival business house have come into his hands. These he produces and passes along the table. Barnes, at the opposite end, pockets them as they come to him and refuses to give them up. All are astonished and half-angry. The Butler, having brought in the Captain at Felspar’s order (who stands unnoticed at the back) again answers the bell and ushers in Mr. Cozzens, announcing him in a doubtful voice. Felspar stutters, “You—you Mr. Cozzens?” “So me mother and father says,” the new-comerreplies. “And you?” says the wine-merchant wheeling on Barnes. Barnes presents his card which is read aloud by Felspar, who goes into a white heat and demands the papers back. Barnes blandly refuses. Felspar threatens, saying he has four to one. At this point Clancy and La Rue step forward and signify their readiness to side with Barnes. Felspar laughs and tells them to take the papers then as the new law went into effect at four-thirty that afternoon. But Barnes informs him that the provisions of the French-American commercial treaty demand that the customs houses remain open till midnight when such a law goes through, and that they still have several hours. Felspar is again furious and orders them out and the three go together leaving the company in an angry stupor.Curtain
THE FISHING OF SUZANNE
SCENARIO.Curtain rises discovering Madame knitting in chair, upper right, Hélène embroidering in window-seat, Suzanne on sofa, trying to sew. Suzanne gets into trouble and Hélène helps her. Then grandmother offers to tell her a story. Suzanne says that her storiesare so sad, always about her dead parents. Hélène represses her. Enter grandfather, the Colonel, rear. Suzanne starts to show him her sewing and is repulsed. Colonel denounces the Dreyfus situation; Madame trying to interfere when he begins on the American attitude, finally gets Hélène and Suzanne from room. Then Colonel learns that George Williams, an American, loves Hélène. He is overcome. Enter George rear. Embarrassing situation; finally George gets up courage and asks for Hélène’s hand, is refused, but goes away undaunted. Enter Hélène, side. Colonel says, “I will have no friend of traitors place his foot in my house.” Scene. Exit Hélène sobbing angrily. Colonel disturbed, but when wife starts after her, forbids her going. Exit the Colonel. Madame again starts toward door. Suzanne and Marie enter. Madame has Suzanne play with fishing rod; dismisses Marie from room. Suzanne hears Hélène’s sobs. Asks if she is sick. Says she will comfort her. Madame feels guilty and leaves. Suzanne persuades Hélène to come out and watch her fish. Catches some imaginary ones. Discovers George. He sends up notes like fish. Later Hélène furnishes bait. Then she fishes him up. Suzanne is dismissed with candy, and he persuades Hélène to elope. Suzanne comes and says the cab is there. Steps heard. George goes down rope. Marie tells of the cab. Hélène rushes into packing. Leaves note for mother with Suzanne, who wins a promise for a speedy return from her. Exit Hélène rear. Marie and Suzanne wave from window. Talk. Soon Colonel and Madame enter. See disorderly room. Suzanne gives them the note. Madame reads it and breaks news to her husband. Defends Hélène; reminds Colonel of their parents’ political differences. Suzanne tells how Hélène thought they did not care for her in her sorrow. Both in tears. Colonel in desperation starts to send for them by Marie. Enter George and Hélène; Hélène unable to leave without seeing them. Colonel says he may have been too hasty. Then Suzanne discovers George’s Legion of Honor badge. He and Colonel shake on the old friendship of the Republics.
Curtain
AN ENCORE
Adapted from a Story by Margaret Deland
Time: About 1830, in June.Place: Little town of Old Chester.Between the first and second act three weeks elapse.
Time: About 1830, in June.
Place: Little town of Old Chester.
Between the first and second act three weeks elapse.
Dramatis Personæ
Captain Price: Retired sea-captain, big, bluff, and hearty, with white hair and big white mustachios, rather untidy as to dress. Age, about 68.
Cyrus Price: His son, weak and neat-looking, very thin and of sandy complexion. Age, about 35.
Mrs. North: Sprightly, pretty, white-haired little lady of about 65. Always in black silk.
Miss North: Her daughter, nervous and shy, but truthful with a mania for taking care of her mother and no knowledge of how to wear her clothes; about 40.
Mrs. Gussie Price: A stout, colorless blond, a weeping, vividly gowned lady, who rules her husband, Cyrus, through her tears. Age, about 30.
Flora: A colored maid.
Stage setting: A drawing-room with a door on either side of the back, leading into the long front hall. A window at the right, looking into the street. Between the window and the door, a stuffed armchair, a hair-cloth sofa. Between the doors, under a mantel-shelf, a Franklin stove, on either side of which, but a little down stage, are two rockers just alike. To the left and back, grand piano. To the left, front, another big chair. Hassocks; and a knit shawl on almost every chair. The only ornament on the shelf is a stuffed bird in a glass case.
ACT I
Miss North is discovered in a very much starched gown, big apron, dusting-cap, and gloves; arranging the chairs more evenly and dusting. Expression of heavy responsibility in her face and manner.
Flora announces Mrs. Price, who enters—right door—at once. Though Mary explains she is busy, Mrs. Price stays. Sits on the sofa. Mary in rocking-chair to left of stove. Dialogue in which Mary explains she is determined to let her mother end life happily in her native town and she expects her to arrive any moment. Mrs. Price offers assistancein fixing up the house and begins to gossip about the fact that her father-in-law, the Captain, who lives in the Price house just across the street, tried to elope with Mrs. North when she was eighteen. Mary becomes very indignant, but sees her mother through the window and dismisses Mrs. Price politely but not sweetly. Exit Mrs. Price by the right door, Mary by the left. Enter Mrs. North by the right and Mary is seen hurrying by the right door with a small wooden chair in her hand.
Mrs. North begins to look about the room while she takes off her calash and leaves it on the piano, her shawl and puts it on the shelf, her gloves and leaves them on a chair. Mary enters, right, with the chair, during this business and remonstrates with her mother for getting out of the chaise without the aid of the chair. As Mrs. North drops her things Mary picks them up. Mrs. North sees the Price house through the window and mentions, cheerily, that the Captain used to be her beau. Mary is shocked. Tries to have her mother put on one of the little shawls and goes to make her some beef-tea. Hangs her things on the hat-tree in hall beyond left door as she goes out.
Mrs. North discovers the Captain going down street and calls him in. Enters right door with his pipe. Both sit in the rockers before the stove and are deep in reminiscences when Mary enters left door. The Captain is requested to put up his pipe, not to talk quite so loud, and not to stay long because of Mrs. North’s delicacy. When Mary offers to make him some beef-tea, too, so her mother can take hers, he leaves precipitately, very much cowed.
While Mary is trying to soothe Mrs. North after the undue excitement, Flora announces Cyrus Price who has come in search of his father—at Gussie’s tearful instigation. Mary and Cyrus hold an anxious aside, while Mrs. North expresses her pleasure at seeing the Captain again. Curtain falls on Mrs. North trying to pick out some of the old tunes on the piano, and Cyrus and Mary bidding each other a stiff “Good-morning.”
ACT II
The Captain and Mrs. North discovered, the Captain with his harmonica trying to teach Mrs. North the old airs. Enter Mary at right door, from outdoors. Consternation ensues and in a few moments the Captain leaves guiltily. Then Mary explains that she has been over to the Prices and requested Cyrus to tell the Captain he must keep away, for they are both too old to be married. Mrs. North exits left, indespair. Flora announces Mr. and Mrs. Price: a conference of war is held during which it is decided that Cyrus must consult the minister, Dr. Lavender, and Gussie must speak to the Captain himself. Exeunt Mr. and Mrs. Price.
Enter Mrs. North for her knitting. Mary wraps her up in a shawl, puts a hassock at her feet, suggests lighting a fire in the stove, and tries to comfort her mother by telling her she will take her away from Old Chester if the Captain keeps on bothering her. Mrs. North remonstrates feebly, and Mary decides she needs some beef-tea after the excitement. Exit Mary to make the tea.
Enter the Captain without ringing or knocking, in great wrath. Gussie has spoken to him. At first they laugh at the children’s stupidity and by degrees decide to carry out and confirm the children’s suspicions by eloping. Enter Mary. Confusion, but the Captain pretends he has come to say good-bye to her because he is going away for a few weeks and under that cover, makes the appointment for the eloping.
Curtain with his exit
THE CAPTAIN, A MELODRAMA
[Diagram]
Dramatis Personæ
Captain La Rue, a little sea captain.
Bromley Barnes, former special investigator for the U.S. Customs Service.
Patrick Clancy, his friend.
A burly Butler.
John Felspar, junior partner of the firm of Felspar & Felspar, wine merchants.
Two Dinner Guests, members of the firm.
Carl Cozzens, the firm’s Canadian representative.
SCENE.The dining-room of Felspar’s Summer Cottage
Time: Early evening
The Captain is discovered sitting on the end of the table next the window with his legs dangling dejectedly. Suddenly he sees something and, rushing to the window, goes through a violent pantomime imploring help and caution from some one without and indicating theway to enter the house. He then wrings his hands and paces the floor excitedly ending at D. R. C. where he listens. The key turns in the lock and Barnes and Clancy enter cautiously. The Captain throws himself at their feet and tells them of being kidnapped and confined and his Ship’s papers taken from him and asks frantically for the time. Barnes tells him, and the Captain becomes at once dejected and silent. The other two, however, draw from him the story of how he has been racing over the Atlantic to get a cargo of champagne to an American port in time to get the benefit of the old tariff rate, just increased by the governments concerned. He got in in time but was drugged and confined in this house till too late and his papers taken from him. They advise him to stay where he is and, promising to help him at once, slip out as they came. The Butler comes in D. R. C. and begins setting table, joking the Captain about the supper to be held in his honor, but growling about the suddenness of his master’s decision to have it. The Captain is excited and helps him in mock politeness. As they are working, Felspar comes in. Butler tells him that he has hired a waiter for the evening, subject to his approval—a man who happened to be walking by, with a friend. Felspar congratulates him and the new waiter is called. It is Clancy. La Rue controls himself as he recognizes him. Felspar orders the Butler to lock La Rue in the up-stairs bedroom, which has been prepared, till he shall be wanted, telling him at the same time that all the guests have arrived but Mr. Cozzens, who is to be brought directly to the dining-room when he arrives. The others will not wait for him. The Butler hurries La Rue off. Felspar gives a few parting instructions to the new waiter and goes to bring the guests. Clancy finishes the preparations and signals out the window to Barnes to come. Felspar comes back with the guests D. L. C. The Butler reappears, is called to the door-bell and ushers in Barnes as “Mr. Cozzens.” Felspar introduces him as the Canadian representative of the firm whom he has never seen before. Barnes takes the cue and excuses his costume, saying that he arrived late and has not had time to change. All sit again and Felspar, telling the Butler to bring La Rue, tells the company that the ship’s papers of the rival business house have come into his hands. These he produces and passes along the table. Barnes, at the opposite end, pockets them as they come to him and refuses to give them up. All are astonished and half-angry. The Butler, having brought in the Captain at Felspar’s order (who stands unnoticed at the back) again answers the bell and ushers in Mr. Cozzens, announcing him in a doubtful voice. Felspar stutters, “You—you Mr. Cozzens?” “So me mother and father says,” the new-comerreplies. “And you?” says the wine-merchant wheeling on Barnes. Barnes presents his card which is read aloud by Felspar, who goes into a white heat and demands the papers back. Barnes blandly refuses. Felspar threatens, saying he has four to one. At this point Clancy and La Rue step forward and signify their readiness to side with Barnes. Felspar laughs and tells them to take the papers then as the new law went into effect at four-thirty that afternoon. But Barnes informs him that the provisions of the French-American commercial treaty demand that the customs houses remain open till midnight when such a law goes through, and that they still have several hours. Felspar is again furious and orders them out and the three go together leaving the company in an angry stupor.
Curtain
Let it be clearly understood that there is no definitely established length for a scenario. It may run from one to two pages for a play of one act to twenty or more pages for a longer play. Obviously, a scenario should be as brief as clear presentation of what it must give permits, for it primarily exists as a short cut for the person who reads it to necessary information about a proposed play. Clearness is the first essential; brevity the second. The exact length must in each case be decided by the particular needs of the subject treated and the best judgment of the writer.
Above all, it should be remembered that a scenario unless it is simply an abbreviated presentation of a play already in manuscript should be considered something flexible. What is meant by this is that many a writer working with a scenario which has been approved by a manager or actor feels hampered because as he writes he has almost irresistible impulses to break away from the scenario as planned into situations or details of characterization and even of general treatment which, though they occur to him at the moment, seem to him undoubted improvements. Yet he hesitates to change his plan because it has been approved. This is folly. A scenario is at its best when it concerns not a completedbut a proposed play and is held to be not fixed but thoroughly flexible. If changes suggesting themselves are felt by the writer to be improvements, he should by all means incorporate them. A good scenario bears much the same relation to a completed play that an architect’s plans bear to a completed house. Where would the carpenter be without such plans, yet where is the set of plans which has not been modified or even greatly changed while the building is in construction? “Ibsen had no respect for any dramatist who proceeded otherwise [than from a carefully prepared scenario]. Once besought by a young dramatist to read the manuscript of his new play, Ibsen curtly asked for the scenario. When the young man proudly replied that he needed no scenario, having followed his inspiration whithersoever it led him from scene to scene, Ibsen grew furious and showed the pseudo-dramatist the door, declaring that any one who dispensed with a scenario didn’t know what a drama was and couldn’t possibly write one. And yet, after all, the scenario as first outlined by Ibsen may best be regarded as an experimental foreshadowing subject to radical modification as the writing of the play itself proceeds. It serves as the skeleton framework for Ibsen’s later ideation. ... While it is true, then, that the material took shape in his mind long before he wrote a word of actual dialogue, yet Ibsen expressly acknowledged that it never took such unalterable shape in his mind as to permit him to write the last act first or the first act last. During the course of the work the details emerged by degrees.”11
The fact is, a scenario is almost always a photograph of the mind of the person who writes it. If he is not ready to write his play, the scenario will show it, making clear whether this unreadiness comes from insufficiently understoodcharacterization; thin or incomplete story; a lack of right proportioning of the material so that what is unimportant seems important; or a general vagueness as to what the author wants to do with his material. Just here lies the strong reason why every would-be dramatist will do well to become expert in scenario writing. He may for a long time fool himself into thinking that he can work better without a scenario; he may be able to write without putting on paper all that in this chapter has been required from the writer of a scenario, but sooner or later he goes through all the processes in his mind and either on paper or in his brain fulfils these requirements. The very people who shrink from forcing themselves to work out all the details required by a good scenario are merely dodging the inevitable. They avoid something irksome as a preliminary merely to do all this work before the completed play is ready. He who wants to write his play rapidly will find that he makes time in his final composition by taking all the time he needs in the preliminary task of drawing a good scenario. Undeniably, a scenario is the most effective way of forcing oneself to know the characters and the story of a play before one begins to write the play in detail. Work out a scenario carefully and all the difficult problems the play involves will have been solved except those of dialogue and perhaps some subtleties of characterization. Regard the resulting scenario as something entirely flexible and the composition of the play should be safe and even sure. He who steers by the compass knows how with safety to change his course. He who steers by dead reckoning is liable to error and delay.
Often questions as to scenarios are asked which imply that there must be some set form fulfilling all the requirements stated which can be adhered to strictly. Not at all. These various requirements may be met in almost as many ways as there are writers. One man may use more description.Another writer may use more narration. Some will use dialogue very freely. Some will characterize more than others. Yet all these different workers may produce scenarios equally good in that they are clear, brief, move by suggested dramatic action, are definite ingenre, and make thoroughly evident their elements of suspense and climax.
Here are some scenarios which use dialogue rather freely. They are given not because such use is especially commendable but merely to illustrate it.
THE LEGACYThe personsDavid Brice, a young attorney.Reene Brice, his uncle.Benjamin Doyle, his fiancée’s father.Dr. Wangren, family physician.Mrs. Brice, the mother.”Ditto” Brice, the sister.Katherine Doyle, fiancée.The Time: The present.The Place: Any city.SCENE.The Brice living-room comfortably furnished in walnut. A piano centre L., a round table rear R. Four entrances: upper L., rear centre, upper right, right centre. Curtained windows rear R. & L.Joy seems to radiate through the household. Ditto and Katherine are discovered; Katherine, a pretty enthusiast of 22 playing diminuendo a joy-melody at piano; Ditto, pretty, 20 and nervous, crossing R. with an armload of tagged packages of various sizes and prettily tied—birthday presents for her brother David. Arrived at table, rear R., she deposits them.Ditto.(Stacking packages.) Don’t you wish you were getting these birthday presents, Katherine?Katherine.(Playing.) I am, Ditto, dear. David is mine; therefore, what is David’s belongs to me.Ditto.(Petulantly.) And what is yours....Katherine.(In fun.) ... Belongs to father.(Begins to sing merrily.)(Exit Ditto, R.)Enter Mrs. Brice, L., a thoughtful woman of 50, quite grey and though careworn, attractive. She carries a linen spread and goes to the table. Katherine sings softly, playing diminuendo.Mrs. Brice.(Covering presents.) You are very happy tonight, aren’t you?Katherine.(Cheerily.) Why shouldn’t I be, Mrs. Brice? It is David’s birthday. (Going to her.) But you aren’t.Mrs. Brice.(Bravely.) Yes, I am. But you see this is probably David’s last birthday at home and....Katherine.(Lovingly.) By no means! I shall bring him home every birthday. (Kissing her.) ... And once in a while between.Mrs. Brice.(As they go down, arm in arm.) I know you will, Katherine, but we mothers ...David.(Entering centre rear, overcoat, hat and traveling grip.) Hello everybody!... (Tosses grip on table and makes for them.) ... Merry Christmas, Happy New Year (kisses mother) and a quiet Fourth of July. (Kisses Katherine.)(David is a well-built handsome man of 28 neatly dressed in business suit, light-weight overcoat and hat.)David.(Removing coat, Katherine assisting.) Well, how are all the little details?(Coat off, he begins kissing Katherine again. Enter Ditto, R.)Ditto.(Petulantly.) Do you realize this is your birthday?David.(Kissing mother.) I am doing my best to show it! (Tossing Ditto his coat.) Hang that up and I will show you.(Exit Ditto, R., with his coat and hat.)David.(Coming down from table with blue-print in hand.) Now, mother and child, look ye!(He shows them the architectural plans of the new cottage he is going to build as a wedding present to Katherine. They like them very much. More joy. Ditto, reëntering, is also enthusiastic over plans.David next announces that he has been invited to become a member of his employer’s law firm, one of the most successful in the State. More joy, manifested by another round of kisses.But he has not only been asked to join the firm; the firmhas promised him a straight loan, without interest, with which to build his house. Otherwise he would have had to borrow from a building and loan association. Therefore, bids are now being advertised for and work will begin very soon. Great joy. Ditto seizes mother’s hand and Katherine’s and dances a ring around David.As the jollification subsides, David inquires for his uncle, Reene. He must approve the plans, for he was a great architect in his day. His mother informs him that the uncle went for a ride with Doctor Wangren.)David.How is he feeling today?Mrs. Brice.Not quite so well. In fact, I never saw him so despondent.David.He must not look at it that way. We all have our little troubles. (To Katherine.) Don’t we?(They go toward piano. Exit Mrs. Brice, L., taking Ditto with her.In a short scene at the piano, during which Katherine plays diminuendo, the fact is revealed that her father opposes the match between her and David; not because he does not like David but for reasons which he has not divulged to his daughter. This cloud passes by quickly, however.)THE CONSULTATIONThe persons of the playMarian.Katherine.Dr. Thomas Wells.Dr. Benjamin Crawford.The scene represents a sitting room in Marian’s home. It is very cheaply furnished. There is a door at back centre, and also one at R. At upper left is a curtained window, not practicable. In the centre is a table, on which is a lighted lamp. Near the window is a couch. There are chairs about the room, and a few cheap pictures on the walls. It is evening, and the room is dimly lighted.[Diagram]When the curtain rises, there is no one in the room, but in a moment the door at rear opens, and Katherine enters noiselessly. She is apleasant looking woman of 30. She is followed by Dr. Wells, who closes the door behind him very softly. He is a young man, with a Van Dyke beard. The two go to right of table, and Katherine looks at the doctor inquiringly. He speaks with some hesitation.Dr. Wells.You want the truth?Katherine.Of course.Dr. Wells.I think he’s dying. This is the crisis, and the chances are a thousand to one against him.Katherine.I’m afraid my sister can’t bear the shock. She loves her husband more than I can tell you, Doctor.(They are discussing the case when Marian enters from the rear. She lingers a moment and looks back into the other room. Then she slowly closes the door, and advances towards the others. She is a pretty woman, about 25, but she looks pale and anxious.Dr. Wells and Katherine stop talking when she comes near and watch her. She turns to the Doctor and asks for his verdict. He doesn’t reply, but looks inquiringly at Katherine. After a moment, she says he’d better tell her. Very gently he breaks the news, and informs her that her husband will probably die. The disease is vicious and can’t be checked.)Marian.(Anxiously.) You mean my husband will die?Dr. Wells.I fear so.Marian.Don’t say that, Doctor. It will kill me. You don’t know what John means to me.(The Doctor assures her that he has done his best, and the patient is now in the hands of God. He’s sorry but in all honesty he believes the man will die.Marian refuses to believe, and maintains that her husband will not die. No doubt he’s a very sick man, but he will live. She declares she has sent for a man who can save him.)Marian.You’ve been good, Doctor, and God will bless you. But you won’t blame me for saying that perhaps some one else might look at the case differently. You don’t feel hurt? Don’t blame me, but I’ve sent for Dr. Crawford, so you can have—what do you call it?—a consultation. I know he can save my husband’s life.Dr. Wells.(Surprised.) You mean Dr. William Crawford, the famous specialist?Marian.Yes. Oh, Doctor, he’s so wonderful!Dr. Wells.(Enthusiastically.) Wonderful? I should say so. He’s one of the most remarkable men in the profession. If there’s any one in the world who can save your husband’s life, he is the man. (Doubtfully.) But can you pay his fee?SCENARIOTHE WINNING OF GENERAL JANE(A farce of three persons, a dog, and a gun “that wasn’t loaded”)CastJane, about twenty.Aunt Sophy, her maiden aunt, about 45.Bobby Holloway, a lodger, about 23.Place, Jane’s bedroom. Time about 11 at nightSETTING.Lower left a closet, door opening inward. Upper left a door leading to Aunt Sophy’s room, opening inward. Rear centre, double-windows set in a shallow alcove. The curtains are draped to right and left. Right, up stage, a fireplace without a fire. Left, down stage, a dressing-table with mirror. A low stool stands before it. Against rear wall to left a washstand half-hidden by a Japanese screen, shoulder height. Against right wall and about halfway down stage a bed. It is low and preferably wooden.[Diagram of Setting]At rise Jane is discovered at dressing-table occupied in braiding her hair. Enter Aunt Sophy. She asks Jane if Mr. Holloway, their single lodger, is in for the night. Jane replies with some petulance that she does not know. A dissection of that gentleman’s character ensues in which Jane anathematizes him, while Aunt Sophy, despite her avowed dislike for all things masculine, champions his cause. At last Jane intimates that in all probability Mr. Holloway will propose to Aunt Sophy at a very early date. The latter cannot conceal her delight. She is not content with Jane’s assurance on this point but must know how she discovered the state of Bobby’s affections. Jane finally admits that she bases her deduction upon the fact that he “proposes to everybody, in season and out!”—that he has proposed to her, Jane, no less than 237 times.Aunt Sophy is hurt and shocked at this revelation of perfidy andimmediately sides with Jane, declaring that she will oust Mr. Holloway on the following morning. Jane however does not want to be sided with. With true feminine variability she shifts her attitude as completely as Aunt Sophy has hers, and pleads with the outraged old maid to reverse her decision. She shows that she really cares for Bobby more than at first appeared. Aunt Sophy however is obdurate, and departs, leaving Jane almost dissolved in tears.At this juncture a racket arises outside Jane’s window. It is a mixture of blasphemous English, growls and hurried footsteps. Jane starts to investigate, but seeing an arm and a leg thrust hastily over the sill, retreats to the door in alarm. Immediately Bobby climbs in, and a smothered exclamation from Jane identifies him. He glances about hurriedly, and not perceiving her, turns his attention to the dog who still growls below. He epitomizes him with surprising fluency, until Jane, unable to stand more, interrupts. This precipitates a profuse apology for the intrusion and other things, an explanation, and later a proposal.Jane is angered beyond measure not only at this invasion of her privacy but also at Bobby’s attitude towards the whole affair. She orders him to leave. He attempts to do so by way of the door.Jane.(Frightened.) W-w-where are you going?Bobby.(Shrugging.) Hump!—to heaven—eventually!Jane.(Barring way.) N-n-not through Aunt Sophy’s room!(She informs him that he must depart the way he came. He consents but only in a very half-hearted manner. Between Aunt Sophy and Towser he is in a quandary. After several unsuccessful starts he flatly refuses to descend, and upbraids Jane for her cruelty. He dwells at length on the horrors of dog-bites, hydrophobia, madness, and death.)Bobby.(Injured.) As if I had not already been chewed up so that I can scarcely sit—(hastily)—I mean walk.Jane.(Relenting.) Gracious! Bobby, did he bite you?Bobby.Didhe?Jane.(Seizing bottle from table.) Heavens! You must put something on it! Some antiseptic! Bobby come here!Bobby.Oh, no, no! No, it’s not serious!Jane.Come here this instant!Bobby.(Flatly.) I won’t do it!(He succeeds so well in working upon her sympathies that even a knock at Aunt Sophy’s door is not enough to make her change her attitude. She now as obstinately refuses tolet him descend to certain death as previously he had refused to do it. The knocks are continued. Jane is rapidly losing her head when it suddenly occurs to her that if she stores Bobby away under the bed until Towser has departed or Aunt Sophy has gone to sleep, all may yet be well. While Bobby is ensconcing himself in this new position a three cornered conversation takes place, in which Jane becomes more and more involved.)Aunt Sophy.(Outside.) Jane, Jane, are you ill?Jane.Ill? Oh, oh! I don’t know!Aunt Sophy.Open the door this minute or I’ll break it down!Jane.Break it down?Aunt Sophy.Yes, this instant!Jane.Oh, oh! Don’t do that! It’s not locked! ...
THE LEGACY
The persons
David Brice, a young attorney.Reene Brice, his uncle.Benjamin Doyle, his fiancée’s father.Dr. Wangren, family physician.Mrs. Brice, the mother.”Ditto” Brice, the sister.Katherine Doyle, fiancée.The Time: The present.The Place: Any city.
David Brice, a young attorney.
Reene Brice, his uncle.
Benjamin Doyle, his fiancée’s father.
Dr. Wangren, family physician.
Mrs. Brice, the mother.
”Ditto” Brice, the sister.
Katherine Doyle, fiancée.
The Time: The present.
The Place: Any city.
SCENE.The Brice living-room comfortably furnished in walnut. A piano centre L., a round table rear R. Four entrances: upper L., rear centre, upper right, right centre. Curtained windows rear R. & L.
Joy seems to radiate through the household. Ditto and Katherine are discovered; Katherine, a pretty enthusiast of 22 playing diminuendo a joy-melody at piano; Ditto, pretty, 20 and nervous, crossing R. with an armload of tagged packages of various sizes and prettily tied—birthday presents for her brother David. Arrived at table, rear R., she deposits them.
Ditto.(Stacking packages.) Don’t you wish you were getting these birthday presents, Katherine?
Katherine.(Playing.) I am, Ditto, dear. David is mine; therefore, what is David’s belongs to me.
Ditto.(Petulantly.) And what is yours....
Katherine.(In fun.) ... Belongs to father.
(Begins to sing merrily.)(Exit Ditto, R.)
Enter Mrs. Brice, L., a thoughtful woman of 50, quite grey and though careworn, attractive. She carries a linen spread and goes to the table. Katherine sings softly, playing diminuendo.
Mrs. Brice.(Covering presents.) You are very happy tonight, aren’t you?
Katherine.(Cheerily.) Why shouldn’t I be, Mrs. Brice? It is David’s birthday. (Going to her.) But you aren’t.
Mrs. Brice.(Bravely.) Yes, I am. But you see this is probably David’s last birthday at home and....
Katherine.(Lovingly.) By no means! I shall bring him home every birthday. (Kissing her.) ... And once in a while between.
Mrs. Brice.(As they go down, arm in arm.) I know you will, Katherine, but we mothers ...
David.(Entering centre rear, overcoat, hat and traveling grip.) Hello everybody!... (Tosses grip on table and makes for them.) ... Merry Christmas, Happy New Year (kisses mother) and a quiet Fourth of July. (Kisses Katherine.)
(David is a well-built handsome man of 28 neatly dressed in business suit, light-weight overcoat and hat.)
David.(Removing coat, Katherine assisting.) Well, how are all the little details?
(Coat off, he begins kissing Katherine again. Enter Ditto, R.)
Ditto.(Petulantly.) Do you realize this is your birthday?
David.(Kissing mother.) I am doing my best to show it! (Tossing Ditto his coat.) Hang that up and I will show you.
(Exit Ditto, R., with his coat and hat.)
David.(Coming down from table with blue-print in hand.) Now, mother and child, look ye!
(He shows them the architectural plans of the new cottage he is going to build as a wedding present to Katherine. They like them very much. More joy. Ditto, reëntering, is also enthusiastic over plans.
David next announces that he has been invited to become a member of his employer’s law firm, one of the most successful in the State. More joy, manifested by another round of kisses.
But he has not only been asked to join the firm; the firmhas promised him a straight loan, without interest, with which to build his house. Otherwise he would have had to borrow from a building and loan association. Therefore, bids are now being advertised for and work will begin very soon. Great joy. Ditto seizes mother’s hand and Katherine’s and dances a ring around David.
As the jollification subsides, David inquires for his uncle, Reene. He must approve the plans, for he was a great architect in his day. His mother informs him that the uncle went for a ride with Doctor Wangren.)
David.How is he feeling today?
Mrs. Brice.Not quite so well. In fact, I never saw him so despondent.
David.He must not look at it that way. We all have our little troubles. (To Katherine.) Don’t we?
(They go toward piano. Exit Mrs. Brice, L., taking Ditto with her.
In a short scene at the piano, during which Katherine plays diminuendo, the fact is revealed that her father opposes the match between her and David; not because he does not like David but for reasons which he has not divulged to his daughter. This cloud passes by quickly, however.)
THE CONSULTATION
The persons of the play
Marian.Katherine.Dr. Thomas Wells.Dr. Benjamin Crawford.
Marian.
Katherine.
Dr. Thomas Wells.
Dr. Benjamin Crawford.
The scene represents a sitting room in Marian’s home. It is very cheaply furnished. There is a door at back centre, and also one at R. At upper left is a curtained window, not practicable. In the centre is a table, on which is a lighted lamp. Near the window is a couch. There are chairs about the room, and a few cheap pictures on the walls. It is evening, and the room is dimly lighted.
[Diagram]
When the curtain rises, there is no one in the room, but in a moment the door at rear opens, and Katherine enters noiselessly. She is apleasant looking woman of 30. She is followed by Dr. Wells, who closes the door behind him very softly. He is a young man, with a Van Dyke beard. The two go to right of table, and Katherine looks at the doctor inquiringly. He speaks with some hesitation.
Dr. Wells.You want the truth?
Katherine.Of course.
Dr. Wells.I think he’s dying. This is the crisis, and the chances are a thousand to one against him.
Katherine.I’m afraid my sister can’t bear the shock. She loves her husband more than I can tell you, Doctor.
(They are discussing the case when Marian enters from the rear. She lingers a moment and looks back into the other room. Then she slowly closes the door, and advances towards the others. She is a pretty woman, about 25, but she looks pale and anxious.
Dr. Wells and Katherine stop talking when she comes near and watch her. She turns to the Doctor and asks for his verdict. He doesn’t reply, but looks inquiringly at Katherine. After a moment, she says he’d better tell her. Very gently he breaks the news, and informs her that her husband will probably die. The disease is vicious and can’t be checked.)
Marian.(Anxiously.) You mean my husband will die?
Dr. Wells.I fear so.
Marian.Don’t say that, Doctor. It will kill me. You don’t know what John means to me.
(The Doctor assures her that he has done his best, and the patient is now in the hands of God. He’s sorry but in all honesty he believes the man will die.
Marian refuses to believe, and maintains that her husband will not die. No doubt he’s a very sick man, but he will live. She declares she has sent for a man who can save him.)
Marian.You’ve been good, Doctor, and God will bless you. But you won’t blame me for saying that perhaps some one else might look at the case differently. You don’t feel hurt? Don’t blame me, but I’ve sent for Dr. Crawford, so you can have—what do you call it?—a consultation. I know he can save my husband’s life.
Dr. Wells.(Surprised.) You mean Dr. William Crawford, the famous specialist?
Marian.Yes. Oh, Doctor, he’s so wonderful!
Dr. Wells.(Enthusiastically.) Wonderful? I should say so. He’s one of the most remarkable men in the profession. If there’s any one in the world who can save your husband’s life, he is the man. (Doubtfully.) But can you pay his fee?
SCENARIO
THE WINNING OF GENERAL JANE
(A farce of three persons, a dog, and a gun “that wasn’t loaded”)
Cast
Jane, about twenty.Aunt Sophy, her maiden aunt, about 45.Bobby Holloway, a lodger, about 23.
Jane, about twenty.
Aunt Sophy, her maiden aunt, about 45.
Bobby Holloway, a lodger, about 23.
Place, Jane’s bedroom. Time about 11 at night
SETTING.Lower left a closet, door opening inward. Upper left a door leading to Aunt Sophy’s room, opening inward. Rear centre, double-windows set in a shallow alcove. The curtains are draped to right and left. Right, up stage, a fireplace without a fire. Left, down stage, a dressing-table with mirror. A low stool stands before it. Against rear wall to left a washstand half-hidden by a Japanese screen, shoulder height. Against right wall and about halfway down stage a bed. It is low and preferably wooden.
[Diagram of Setting]
At rise Jane is discovered at dressing-table occupied in braiding her hair. Enter Aunt Sophy. She asks Jane if Mr. Holloway, their single lodger, is in for the night. Jane replies with some petulance that she does not know. A dissection of that gentleman’s character ensues in which Jane anathematizes him, while Aunt Sophy, despite her avowed dislike for all things masculine, champions his cause. At last Jane intimates that in all probability Mr. Holloway will propose to Aunt Sophy at a very early date. The latter cannot conceal her delight. She is not content with Jane’s assurance on this point but must know how she discovered the state of Bobby’s affections. Jane finally admits that she bases her deduction upon the fact that he “proposes to everybody, in season and out!”—that he has proposed to her, Jane, no less than 237 times.
Aunt Sophy is hurt and shocked at this revelation of perfidy andimmediately sides with Jane, declaring that she will oust Mr. Holloway on the following morning. Jane however does not want to be sided with. With true feminine variability she shifts her attitude as completely as Aunt Sophy has hers, and pleads with the outraged old maid to reverse her decision. She shows that she really cares for Bobby more than at first appeared. Aunt Sophy however is obdurate, and departs, leaving Jane almost dissolved in tears.
At this juncture a racket arises outside Jane’s window. It is a mixture of blasphemous English, growls and hurried footsteps. Jane starts to investigate, but seeing an arm and a leg thrust hastily over the sill, retreats to the door in alarm. Immediately Bobby climbs in, and a smothered exclamation from Jane identifies him. He glances about hurriedly, and not perceiving her, turns his attention to the dog who still growls below. He epitomizes him with surprising fluency, until Jane, unable to stand more, interrupts. This precipitates a profuse apology for the intrusion and other things, an explanation, and later a proposal.
Jane is angered beyond measure not only at this invasion of her privacy but also at Bobby’s attitude towards the whole affair. She orders him to leave. He attempts to do so by way of the door.
Jane.(Frightened.) W-w-where are you going?
Bobby.(Shrugging.) Hump!—to heaven—eventually!
Jane.(Barring way.) N-n-not through Aunt Sophy’s room!
(She informs him that he must depart the way he came. He consents but only in a very half-hearted manner. Between Aunt Sophy and Towser he is in a quandary. After several unsuccessful starts he flatly refuses to descend, and upbraids Jane for her cruelty. He dwells at length on the horrors of dog-bites, hydrophobia, madness, and death.)
Bobby.(Injured.) As if I had not already been chewed up so that I can scarcely sit—(hastily)—I mean walk.
Jane.(Relenting.) Gracious! Bobby, did he bite you?
Bobby.Didhe?
Jane.(Seizing bottle from table.) Heavens! You must put something on it! Some antiseptic! Bobby come here!
Bobby.Oh, no, no! No, it’s not serious!
Jane.Come here this instant!
Bobby.(Flatly.) I won’t do it!
(He succeeds so well in working upon her sympathies that even a knock at Aunt Sophy’s door is not enough to make her change her attitude. She now as obstinately refuses tolet him descend to certain death as previously he had refused to do it. The knocks are continued. Jane is rapidly losing her head when it suddenly occurs to her that if she stores Bobby away under the bed until Towser has departed or Aunt Sophy has gone to sleep, all may yet be well. While Bobby is ensconcing himself in this new position a three cornered conversation takes place, in which Jane becomes more and more involved.)
Aunt Sophy.(Outside.) Jane, Jane, are you ill?
Jane.Ill? Oh, oh! I don’t know!
Aunt Sophy.Open the door this minute or I’ll break it down!
Jane.Break it down?
Aunt Sophy.Yes, this instant!
Jane.Oh, oh! Don’t do that! It’s not locked! ...
It may be interesting to compare the scenario ofA Doll’s Housefrom which Ibsen wrote his first draft with his original notes. Here is perfect illustration of the difference between sketchy notes which mean much to the writer and a scenario which at least broadly will convey to a reader the artistic and ethical purposes in the play the dramatist means to write.