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HOW TO WRITE PHOTO PLAYS 101
the various companies. We must admit that once in a while a black sheep creeps into the fold, but the few who have tried stealing the work they were supposed to pass judgment on met with anything but an enjoyable fate.
In submitting to the "certain individual," whom he probably knew or felt he "stood in" with, the writer took the future of his script in his own hands, for the company was in no way obligated. It was the same as though the writer met an acquaintance on the street and gave him the script to sell. He wouldn't be able to do much to a company if the stranger sold the script as his own and pocketed the money, so why should he even mention the company in the present case?
If the matter was brought to the film firm's attention through the proper channel, the officials would undoubtedly do all they could to punish the "certain individual," for he doubtless claimed it to be his own work when he oold it to them. As far as reselling the scenario goes, though, we tear the writer is trotting along the wrong path. The company which has already made the subject certainly vould make a xuss if it again appeared on the screen under a different trade-mark than their own, but this is almost impossible, for the editors of the various concerns would probably "spot it" before they finished reading the synopsis. Then the writer would be the only one to lose, for the editors would believe that he was the one who was stealing another's work.
We hope that amateurs will profit by this writer's trouble. There is only one way to do a thing, and that