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CHAPTER XXVI 103 pany sends a small check where you have named a price, point out that you want the price stated. 14. Below the top of the sheet write the title of the story and un- derline it. This should be about three inches, or eighteen spaces from the top. You can get a neat double underline by slightly shifting the paper carriage. Below this you write the word "Synopsis" and give the synopsis. Sometimes in a short play you can get cast and scene plot on the same page. It is .better, however, to move these last to the next page or to take a page each for scene plot and cast. 15. It is neat in effect to centre all title and other lines, such as "Cast," "Synopsis," and "Scene Plot." The simplest way to do this is to count the letters and spaces in between. Subtract these from the number of spaces your machine prints, divide by two and start on the next space. Generally the scale shows 75 spaces. "July and August" runs thirteen letters with two spaces, fifteen in all. This leaves you sixty spaces. Dividing by two gives thirty. You start on space thirty-one. 16. Do not run parts of a scene on two pages unless you have to. Directors like to have all of a scene on one page. Where it has to be done write as in A-5, Scene 27, or C. 17. Some writers and many directors now use loose leaf books for binders and write a scene to a page. This is handy, if you can give the director what he wants, but there is such a diversity in form at present that it is best not to offer your own loose leaf system, but to wait until you are asked to use these and are shown just what is want- ed. In Examples I and J are shown two forms of loose leaf scripts. 18. Example I shows a form originated by Augustus Thomas and varied by others, the examples shown being this writer's own adapta- tion. The sheets in I-l are cherry paper, merely to set them apart from the action. They are printed with the card and play number, and are used for synopsis, cast, scene and costume plots and any other matter not action or insert. The top figure in 1-2 is on green paper and shows the cut-in leader and insert used in the scene shown on the lower sheet. The line is drawn through the word "Straight" to show that this is a cut-in and not a straight leader. The lower sheet is on white paper. The data shows that this setting was last used in scene 124 and will next be used in 131. The director can consult those scenes and learn the relation of the action. This is scene 128 and is played in the setting first used in scene 38. The three persons em- ployed are Conyers, Fui-San and Mimosa, and they are wearing the costumes designated by the numbers in the proper column and ex- plained on the costume plot. Since the scene is a setting, the word "Location" has been crossed off. The sheets are 7% by 4^. Some pages, the Harrison script for instance, are much larger. The color scheme is used merely to distinguish the pages. Green leader sheets permit these to be picked out from the action sheets and by avoiding the cherry pages the director can turn to the first scene of action. 19. Example J is from Emmett Campbell Hall, a veteran among