Picture Play Magazine (Mar-Aug 1917)

Hints for Scenario Writers 265 must serve as a foundation for the plot action which is to follow and fit in as a part of the framework of the initial situation, and they must be as concise as possible, for the dragged-out introduction is fatal. Some writers — especially staff men who are goaded for time — make free use of leaders or subtitles in launching their story. This may seem all right in script form, but we all know that when we see a subject on the screen, which has three or four subtitles within the first two scenes, our interest in the subject is diminished and we probably do not read the last leaders, and, therefore, miss an essential fact of the story. Xow, let us take an abstract example of correct handling of opening scenes and see just how the matter can be treated to bring about the best results. For the story, let us take an opening which deals with the launching of a four-cornered love affair — three men and a girl. The synopsis would run somewhat as follows : Roy, a young student at a medical college, is in love with Edith, the daughter of Colonel Carton, who is in charge of a regiment of soldiers stationed near the college. Edith has also been loved by Major Gray and Lieutenant Wiley, of her father's post, and when she chooses Roy's attentions in preference to theirs, Gray steps aside. Wiley, however, is determined not to give her up, though Gray tells him not to interfere, for the best man has won. Xow, in that introduction lies the possibilities for a most uninteresting development and also for the elaborate use of subtitles. Now, let us see how it can be worked out with only three subtitles, and these widely separated ; also, how enough interesting action can be infused into the scenes to grip an audience, while the relationship and identity of all the characters mentioned in the synopsis is made clear. Following is the scene development : 1. Walk in private garden. — Roy enters looking for some one ; sees Edith off picture ; beckons her. 2. Front of Colonel Carton's residence in military camp. — Colonel Carton and Edith on steps talking ; Edith looks to side of picture, and sees Roy ; waves back to him ; makes an excuse to get away from her father ; Carton smiles good-naturedly as she leaves to join Roy. Subtitle.— ROY, A MEDICAL STUDENT, AND EDITH CARTON, THE COLONEL'S DAUGHTER. 3. Bench on lawn in garden. — Roy enters from one side, Edith from the other ; by their actions they show they are lovers ; they sit on bench ; go through a love scene ending in embrace. Subtitle.— LIEUTENANT WILEY AND MAJOR GRAY. 4. Same as scene 1 (walk through garden). — Wiley enters, walking about slowly and smoking ; Gray enters, passing through garden ; they salute, and, by their manner, indicate which is the major; Gray passes from scene; Wiley walks slowly about ; suddenly he looks off scene and sees the lovers ; he registers pain and jealousy. 5. Back to scene 3. — Roy and Edith continue love scene= 6. Back to scene 4. — Wiley almost overcome by his feelings; clearly show that he has lost the woman he loves ; then he braces himself ; shows hatred and strong jealousy. 7. Another view of lawn in garden. — Gray enters ; looks off to side and also sees lovers ; pauses. 8. Back to scene 5. — Roy and Edith still making love. 9. Back to scene 7. — An expression of pain comes over Gray's face ; show that he, too, has loved and lost ; then have him brace up like a man and put the trouble behind him ; looks to other side — off scene — and sees Wiley ; knows he loved her, too ; starts toward him