,how ,to ,write ,photoplays ,,third ,,edition ,,by ,,embrie ,,zuver ,e-,z ,,scenario ,,co4 ,,new ,,york ,,city ,,copyright1 #aiae ,,by ,,embrie ,,zuver 7,all rights reserved47 ,,introductory4 ,we endeavor to give you in this ,book of ,instructions1 all the correct and up-to-date information necessary in writing ,photoplays4 ,if you will read carefully1 and follow the instructions contained in this book we can see no reason why you cannot become a successful ,scenario writer4 ,it is needless for us to go into details about the ever-increasing demand for new pictures1 or the wonderful growth of this new industry4 ,we could make this ,book up into #aej or #bjj smaller pages1 by adding considerable padding4 ,we could dwell on each subject at great length1 put in unnecessary reading matter for a few cents additional expense4 ,we do not deem it advisable1 however1 to confuse or burden you with padded matter which is not necessary for your success4 ,our aim is to show you in a clear and simple manner1 how to put your ideas into proper form necessary for acceptable ,photoplays4 ,,contents ,,page ,,lesson ,i--,technical ,studio ,terms #c to #aa ,,lesson ,,ii--,your ,idea #aa ,,lesson ,,iii--,topics to ,write ,about #ab ,,lesson ,,iv--,formation of ,plot #ac ,,lesson ,v--,length of ,play #ad ,,lesson ,,vi--,scenario #ae ,,lesson ,,vii--,subject or ,title #ag ,,lesson ,,viii--,synopsis #ah ,,lesson ,,ix--,cast of ,characters #ah ,,lesson ,x--,scenes #ai ,,lesson ,,xi--,continuity of ,scenes #bj ,,lesson ,,xii--,plays that are ,practical for the ,camera #ba ,,lesson ,,xiii--,leaders or ,subtitles #bb ,,lesson ,,xiv--,telegrams1 ,letters1 etc4 #bc ,,lesson ,,xv--,entrances and ,exits #bc ,,lesson ,,xvi--,stage-settings #bd ,,lesson ,,xvii--,crisis1 ,anti-,climax and ,climax #bd ,,lesson ,,xviii--,outline of ,play #be ,,lesson ,,xix--,emotion and ,sympathy #bf ,,lesson ,,xx--,general ,instructions #bg ,,lesson ,,xxi--,preparation of ,manuscript #bg to #bh ,,lesson ,,xxii--,where to ,sell ,plays and ,prices ,paid #bi to #cj ,,lesson ,,xxiii--,copyrights #cj ,,lesson ,,xxiv--,board of ,censors #cj ,,lesson ,,xxv--,the ,production of a ,photoplay #cj to #ca ,,lesson ,,xxvi--,a ,few ,don'ts #ca to #cc ,,lesson ,,xxvii--,conclusion #cc to #cd ,photoplay ,writing ,,lesson ,i4 ,every ,photo-,playwright should know the various technical terms and names used in the profession4 ,you must use the right word at the right time1 and1 consequently1 a knowledge of the different ,photoplay terms and expressions is necessary4 ,,action4 ,action means the movements1 actions and gestures of the players in the development of the plot4 ,,adaptation4 ,a ,play written from a copyrighted book1 poem or story4 ,,bust4 ,a 8,bust0 is a 8,close-,up0 of a person taken from the waist line up4 ,practically all ,directors use the expression 8,close-,up0 instead of ,bust4 ,,cast ,,of ,,characters4 ,the cast of characters is simply a list of the important persons who act in your play4 ,,character4 ,a player who takes part in producing the play4 ,,climax4 ,the end of a play or the last scene4 ,the climax is the strongest part of the ,play4 ,the anti-climax is the beginning of the climax or the unraveling of the plot4 ,,close-,,up4 ,if you desire to magnify or enlarge some particular scene1 person or object it is called a close-up4 ,to obtain a close-up picture1 the camera is placed very close to the scene or object to be photographed4 ,a close-up scene is taken when you want the same to show up in a very distinct and clear manner and is employed to break up an unusually long scene1 or to make a certain point of your story very forceful4 ,use ,close-,up frequently as they give new life to the scene and make the characters more familiar to the audience4 ,refer to scenes #cc and #ej of sample play4 ,,continuity4 ,a continuous story which runs along in a smooth1 uninterrupted manner4 8,,cut40 ,a cut means to shorten an action as in scene #ae of sample play4 8,,cut ,,back40 ,referring back to a preceding scene4 ,see scene #af4 8,,cut ,,in0 ,,leader4 ,a 8,cut ,in0 ,leader or ,subtitle is introduced into a scene after which the action goes back to the same scene4 ,in other words a 8,cut ,in0 ,leader cuts into the middle of a scene4 ,please refer to ,subtitle ,no4 #a of sample play which is a 8,cut ,in0 ,leader or 8,cut ,in0 ,subtitle4 ,,development4 ,the building up of the plot and arranging the action into different scenes and parts4 ,,director4 ,the ,director is the man who directs the different movements necessary in taking the pictures4 ,he visualizes your play1 arranges the various scenes1 and casts the actors and actresses into their respective characters4 ,he directs the correct actions of the picture from beginning to end4 ,,dissolve4 ,the gradual introduction or fading out of a person or scene4 ,is done by double exposure and is used when referring to past recollections or dream pictures4 ,,editor4 ,the ,editor is the person who passes on your play when sent to the ,moving ,picture ,manufacturing ,companies4 ,if he sees any merit in your story and has a cast of characters suitable for your play1 he will send you a check for what he thinks the play is worth4 ,if he cannot use your story he will have same returned to you4 ,,film4 ,the film is in the form of a celluloid ribbon about one inch wide and is wound on a roll4 ,an average of sixteen pictures are taken in a second and these sixteen pictures will be on one foot of film4 ,,flash4 ,a very brief glimpse of an action or scene4 ,,inserts4 ,inserts are put in to make the story more clear to the spectators and are foreign to the actions of the characters4 ,inserts may be in the form of a note1 newspaper clipping1 telegram1 dialogue1 a 8,close ,up0 or in fact anything that is necessary to carry a scene along or to break a scene if it is too long4 ,refer to scenes #bc-bg-cf1 #de1 #df1 #ej of sample play4 ,,leaders ,,and ,,subtitles4 ,a 8,subtitle0 is a written explanation preceding a scene--except before the #ast scene of the ,play1 when a 8,leader0 is sometimes used4 ,it is not advisable1 however1 to start your ,play with a 8,leader10 as good ,action is better4 ,refer to lesson #ac where we explain more fully the meaning of ,leaders and ,subtitles4 ,,masks4 ,occasionally in moving pictures you will see the vision which a character witnesses when looking through a hole in the floor or wall or oftentimes through a field glass4 ,instead of viewing the picture in its usual shape it is shown to you in the same way that you would actually see it if you were to look at it through a field glass4 ,such scenes are called masks4 ,,melodramatic4 ,a ,play of a sensational nature4 ,,padding4 ,putting unnecessary action into a story in order to make a full reel4 ,,photoplay4 ,a ,photoplay or a ,moving ,picture ,play is a story told in pictures1 where all conversation is eliminated and where the camera portrays the story4 ,in fact1 it is simply pantomime or dumb show1 presented in pictures or1 in other words1 8,silent ,drama of the ,screens40 ,,plot4 ,the plot is the theme or idea of your story4 ,,producer4 ,producing companies hire the actors and actresses and take the pictures as you see them on the screen4 ,,projecting ,,machine4 ,a projecting machine is the machine that throws the pictures on the screens as you see them in the moving picture theatres4 ,,punch4 ,any action that will create and increase suspense and make the play a success4 ,,reels4 ,pictures are shown in different reels1 viz43 ,split reels1 single1 double or multiple reels4 ,a ,split reel is composed of two separate short stories1 on one reel4 ,a full one reel contains #a1jjj feet of film which can be shown on the screen in about #bj minutes4 ,a multiple reel means more than one reel4 ,,register4 ,the word register is used when you want to make the actions of the actor very impressive to the spectators4 ,the actor is supposed to play his part accordingly4 ,for examples1 refer to scenes #c-e-g-ac-ag of sample play4 ,,releases4 ,releasing a picture means that the film manufacturer places it upon the market4 ,,scenario4 ,scenario is a common term now being used in the moving picture business1 and means the outline or sketch of a theme1 put into scenes in consecutive order so as to be in form to offer to the producers or film manufacturing companies4 ,,scene4 ,action which takes place in one spot without moving or stopping the camera4 ,,set4 ,the arrangement of scenery for interior or exterior scenes4 ,,suspense4 ,some action or part of the ,play that arouses the interest of the audience and makes them 8all attention40 ,,synopsis4 ,the synopsis is the story written in a brief1 condensed way1 eliminating all unnecessary words4 ,the synopsis enables the ,editor to see1 in a few minutes reading1 the idea of your play4 ,if your ,synopsis appeals to him he will read the play4 ,if not1 he will reject it4 ,,technique4 ,the correct points of formation or construction for a ,photoplay4 ,,visions4 ,when one of your characters thinks of some happy or well-remembered day in his or her life1 a vision of the scene is reproduced4 ,it is usually shown in upper right-hand or left-hand corner of the screen4 ,,visualize4 ,to be able to picture your story in your mind's eye1 and see that your idea is practical for screen production4 ,,lesson ,,ii4 ,,your ,,idea4 ,when starting to write your play1 first settle upon your idea and add to it as your imagination pictures the plot1 as it develops1 until you have a sequence of events1 which will form an interesting ,photoplay4 ,be original with your ideas1 because hundreds of old ones are rejected every week4 ,your own personal experiences will often give you good ideas for a picture4 ,keen observation will lead to many good ,ideas4 ,be observing in your everyday mode of living and you will be surprised at the number of germs and plots you will find for good ,photoplays4 ,get an idea that is worth while4 ,it is the ,big ,idea or ,plot that must be carried out to a logical and interesting conclusion4 ,a great many writers are not able to tell the difference between what is ,plot and what is not4 ,hundreds of ,scenarios are submitted which are written in neat up-to-date correct ,scenario ,form but they lack ,plot and are consequently returned4 ,you should be able to visualize your story1 and know that what you are writing can be transferred to the screen4 ,see that the characters perform the actions according to man's way of doing things4 ,write about subjects with which you are thoroughly familiar1 and study the characteristics of the parties you introduce into your story4 ,,lesson ,,iii4 ,,topics ,,to ,,write ,,about4 ,there are numerous subjects you can write on1 namely1 ,friendship1 ,fidelity1 ,thoughtfulness1 ,high ,character1 ,love for ,mankind1 ,integrity1 ,devotion to ,parents1 ,benevolence1 ,charity or ,heroism4 ,you can also show the folly of dishonest acts1 the dangers of weakness of character1 selfishness or dishonorable efforts to gain wealth and fame4 ,the parting of friends1 the meeting of enemies1 the complex working of governments and politics1 the new inventions and rivalry between inventors1 all furnish an everlasting source of ,ideas and ,plots for ,photoplays4 ,no matter how sad the play might be1 at the different stages1 always try and work out a happy ending4 ,a great number of themes can be worked into ,scenarios that will teach a good lesson and portray acts that might go home to many in the audience4 ,in everyday life1 you no doubt see many incidents that have merit for screen entertainment4 ,always try to bear in mind1 that the highest aim of the ,photoplay is to portray true insight of human nature and character4 ,write ,plays with heart interest4 ,if so inclined1 you can write plays in which children take part1 but so arrange the acts so they will not be impossible for the child actors4 ,an intelligent child in a nice part in a picture goes far in gladdening the hearts of the audience4 ,comedy plays are in the greatest demand4 ,good comedies are the most difficult to write1 and naturally sell for the most money4 ,always remember1 however1 to write as your inclination leads you4 ,the kind of humor wanted is not of the rough nature4 ,you should not try to make people laugh at cruel or inhuman jokes or depict scenes that cause accidents4 ,if you can write a play into which you can put a good moral1 it will add merit to your ,scenario4 ,plays showing summer scenes should be submitted in the early ,spring4 ,winter stories should be submitted in the ,fall4 ,for instance1 if you have a play with summer scenes showing a ,park1 the ,sea ,shore or any other beautiful summer location1 you must submit that kind of a play in ,march or ,april4 ,it takes from six weeks to two months for a producing company to make the necessary arrangements for the production of a play4 ,you must therefore1 always figure ahead and if you have a ,christmas ,play1 it should be submitted about ,october4 ,,lesson ,,iv4 ,,formation ,,of ,,plot4 ,your plot will not come to you in a finished form4 ,you will probably have the idea in the rough state4 ,as thought engenders thought1 so does one ,idea create or develop another4 ,draw from your imagination and instead of being content with one or two ideas1 weave a chain of events1 ideas and circumstances so as to make a story worth while4 ,arrange the action of your story so that it grows logically1 and have the scenes follow each other in natural succession4 ,start with an incident that arouses interest1 develop the theme in a consistent way and work for the big climax at the finish4 ,every plot must have a purpose or problem to solve2 obstacles will present themselves and difficulties are bound to arise1 which by a chain of events must be removed4 ,the last scene must clear up all problems or preceding events4 ,the good theme1 or object of the play1 should win out in the end1 although it can be thwarted at different times to cause suspense4 ,be sure that suspense predominates and is carried out from the beginning to the end4 ,your story must have strength and be fascinating enough to hold the spectators throughout the play4 ,plot is the keynote of the successful ,photoplay and with proper formation will draw the checks from the ,producers4 ,,lesson ,v4 ,,length ,,of ,,play4 ,have your play last about #bj minutes to the reel4 ,it is best to take your manuscript and go through all the action1 in this way you can plan the length of the play4 ,some inexperienced writers send in plays which could be shown in #f to #h minutes1 while others send them in so full of incidents1 it would require twelve or fourteen hundred feet of film to portray them1 as written1 and would take #be or #cj minutes to show them on the screen4 ,always arrange your scenes so that they can be clearly understood4 ,the way to time a play is to start with the first scene and enact all the scenes of the ,play4 ,if it takes you only #h minutes to act out your ,play1 then you know it is too short for a one reel picture or #a1jjj ft4 of film4 ,comedy action is much more rapid than drama and in ,comedy plays more scenes are used4 ,,split ,,reel ,,pictures4 ,split reel pictures are not in demand now and only a few companies are buying them4 ,,one ,,reel ,,pictures4 ,the average one reel pictures1 now in demand1 have from #dj to #ej scenes for ,dramas and from #fj to #hj scenes for ,comedies4 ,the number of scenes1 of course1 depending on the length of the story4 ,some scenes take longer than others2 one scene might be #be seconds long1 and another #c or #d minutes4 ,the stage director sometimes adds a few scenes or cuts some out1 as he thinks advisable4 ,,two ,,reel ,,pictures4 ,two reel pictures are wanted by the majority of ,producers and are in greater demand at present than one reel4 ,the number of scenes for a two reel picture is naturally about twice as great as a one reel or from #hj to #afj scenes1 depending on the kind of ,play and the amount of action4 ,,lesson ,,vi4 ,,scenario4 ,have a purpose in your plot4 ,knowledge and ,technique in ,photoplay ,writing 7without an ,idea that is new and original7 are absolutely worthless4 ,you must first have a ,plot or ,idea that is worth-while and different1 something directly appealing and inspiring4 ,on the other hand1 your ,plot must be properly constructed in ,scenario ,form and contain the necessary technique to make it self-explanatory and marketable4 ,film ,producers will pay much more for original ,ideas worked out into proper1 technical ,scenario ,form4 ,your ,scenario should give the ,editor an accurate understanding of the theme of your story1 and show what each character is supposed to do4 ,from the beginning1 you should remember that something must be taking place all the time to accentuate the various developments of the story4 ,all sentences of your ,scenario should be condensed4 ,refer to our model ,scenario4 ,refer to our model ,scenario and note how all sentences are condensed4 ,photoplays are1 of course1 dumb1 and their meaning must be clearly expressed by action4 ,it is1 therefore1 not necessary to write as you would in a book1 or as would be spoken on the stage4 ,the scene action on the screen tells the story1 and the camera carries out the details and theme of the play in an even more comprehensive way4 ,the beginning of the ,play is almost as important as the end4 ,arouse interest in your first scene1 and you will then have a better chance to hold the spectator's attention for the rest of the play4 ,always remember1 however1 to incorporate interest in all scenes1 so as not to allow the thoughts of the spectator to waver or drift away4 ,you must stimulate the imagination of the audience1 so that they will watch with keen interest every scene in the play4 ,write slowly and surely1 for a hurriedly written ,scenario will no doubt1 contain many faults1 and will not create as good an impression with the ,editor as one carefully prepared4 ,write a story with ,interest4 ,is there any interest in a story where the wayward son is reformed by the appeals of his sweetheart8 ,but let us suppose that the wayward son is caught in the act of burglary4 ,the master of the house takes his revolver from him1 lays it on the table and tells him to sit down--then we have started interest4 ,instead of calling the police1 he asks him why he has lowered himself to such a degrading position as burglarizing4 ,then the daughter appears1 and although she knows that her father is a professional gentleman-crook1 still she takes an interest in the young wayward boy and treats him with kindness4 ,you must1 therefore1 incorporate interest in every point of the play1 and while the plot must not be over-done1 still the actions of the characters must awaken the emotions of the audience4 ,you can develop the above idea1 strengthen the action as you proceed1 and then after a combination of events1 have the daughter reform both her gentleman-crook father and the wayward son4 ,your ,scenario should have a number of unusual turns and the ,grand ,climax must not be reached till many difficulties have been overcome4 ,,lesson ,,vii4 ,,subject ,,or ,,title4 ,the ,subject or ,title of your play is a very important thing4 ,select an original ,title that is catchy and will attract the attention of the public1 particularly when shown on posters4 ,it should be expressive of the plot and stimulating to the ,editor's curiosity4 ,use as few words as possible for your title2 try and limit yourself from two to five words4 ,,lesson ,,viii4 ,,synopsis4 ,write the ,synopsis or outline of your story from your idea4 ,the ,synopsis should be as brief as possible2 at the same time giving the reader a clear idea of your play4 ,the ,synopsis sells or rejects your play1 so by all means make it attractive and catchy4 ,in writing the ,synopsis1 limit yourself to about #bej words1 per reel1 as a maximum1 for the average ,scenario ,editor does not want to take the time to read a long drawn-out ,synopsis1 which could be better understood if condensed into fewer words4 ,arrange your ,synopsis into short sentences1 in simple language1 expressive1 crisp and to the point4 ,mention only the ,,vital parts of your story and make every sentence tell something4 ,introduce only the important characters in your ,synopsis1 and do not give them more than one name when referring to them1 for instance3 do not mention ,martha ,stone in one sentence and then call her ,miss ,stone in another paragraph4 ,the ,reader is liable to become confused and get the names mixed4 ,some people are able to write a better ,synopsis if they wait till after they have written the ,scenario4 ,this is a good way for beginners to do1 as all the important point of the story can then be put into the ,synopsis4 ,,lesson ,,ix4 ,,cast ,,of ,,characters4 ,the number of characters to use all depends on the nature of the play4 ,some scenes require more characters than others1 but it is well to limit your cast to a few principal or leading characters4 ,avoid unnecessary characters4 ,the leading characters should appear as early in the play as can be arranged4 ,as your story will often be written or woven about the incidents in the life of one or two principal characters1 you should keep them in the foreground as much as possible1 and not allow the minor characters to attract too much attention4 ,deal with your main characters first1 and then1 add your minor characters as they are needed4 ,have your characters natural and true to life4 ,the name of a character should be short and characteristic4 ,a short name is easier to write and to remember4 ,avoid the use of silly or eccentric names1 unless you have an eccentric comedy or farce4 ,establish a clear relationship between all characters4 ,see that they are put in the situation or surroundings in which they naturally belong4 ,do not let the spectator lose sight of your leading characters2 follow them through all the incidents of the story in which they are represented4 ,many stories are weak on dramatic characterization4 ,the average amateur writer has the leading characters very poorly developed and usually leaves them to wander around alone1 without any definite aim or direct action4 ,the leading characters must have sufficient action to befit the parts they are playing and be impressive to the spectators4 ,,lesson ,x4 ,,scenes4 ,whenever a picture is taken of new surroundings and background it becomes a new scene4 ,each new scene must be shown in your ,scenario and numbered consecutively4 ,the same stage settings are often used several times with different action4 ,see ,scenes #a-c-e-g-i-de-ej-eb of sample ,scenario4 ,brevity is essential when writing your scenes4 ,do not endeavor to depict a scene4 ,in scene ,i1 you will note we mention 8,teddy's ,rooms10 but we do not describe them4 ,we leave that for the ,director to do when arranging the scene4 ,make all your scenes as simple as possible4 ,all the details in connection with the scenes can be taken care of much better by the ,director4 ,the novice sees moving pictures only in a superficial way and fails to examine carefully the manner in which they are presented on the screen4 ,many inexperienced writers are under the impression that a certain number of scenes are required for a thousand feet of film1 and proceed to write accordingly4 ,the number of scenes should be gauged by the length of the play4 ,time should be spent in gauging the length of your various scenes to see that none of them contain too much action and mechanical play4 ,study the play as to its technical presentation1 forget the plot1 for the time1 and interest yourself in the dramatic technique4 ,the producer often must divide and subdivide some of your scenes into several scenes1 which require cut backs1 and1 naturally1 causes trouble in matching up the broken parts perfectly4 ,therefore1 do not have long acting scenes1 and avoid narrativeness1 which we find characteristic among amateur writers4 ,briefness and clearness are the principal things to follow2 leave nothing to be guessed at or inferred by the producer or spectators4 ,,lesson ,,xi4 ,,continuity ,,of ,,scenes4 ,it is not advisable to have a long lapse of time between scenes4 ,some of the best plays are those in which the action takes place in a few hours or days4 ,keep up with your characters in their movements2 and try to account for all lapses of time1 making the scene continue in perfect harmony4 ,have your characters go from one scene to another in a natural way4 ,do not allow a character to pass from the interior of his office to the interior of another man's office4 ,in doing so1 you destroy the illusion of the two distinct buildings1 perhaps far apart1 and break the continuity of your story by neglecting to follow up the character in his various movements4 ,if a character is in one scene and you intend that he appear in the following scene1 be sure and have him exit from the first scene and enter him in the following scene in the proper manner4 ,when showing the incidents in the lives of two different characters1 do not show every incident in the life of one and then follow with the life of the other4 ,show the experiences of one of the characters in one scene1 then flash the other character in the next scene1 and so on4 ,in this way you keep well balanced the incidents surrounding both characters until the climax is reached4 ,for example1 refer to scene number #aa of sample play2 note we leave ,teddy after he jumps on the car2 in the next scene we show ,martha and others1 and then show ,teddy again in scene number #ac4 ,,lesson ,,xii4 ,,plays ,,that ,,are ,,practical ,,for ,,the ,,camera4 ,it is not advisable to write scenes that are exceptionally difficult to photograph1 such as a battle in the air1 or a conflict in which too great a number of people are engaged4 ,try and lay your scenes in such a way that they can be enacted in the ,studio or the nearby outside surrounding territory of the producer's plant4 ,when reading over your play1 examine your different scenes and consider if it is possible for the camera man to photograph them without entailing big expense4 ,,lesson ,,xiii4 ,,leaders ,,or ,,subtitles4 ,leaders or ,subtitles are used to cover up gaps in continuity1 and are supposed to give the spectator a clearer understanding of the story2 for instance1 such expressions as 8,next ,morning10 8,the ,horrible ,news10 8,later10 or 8,midnight10 etc4 ,such subtitles prepare the audience for what is to follow1 and help to make the following incidents more clear4 ,it is sometimes impossible to give the proper explanation of the story in action1 so a ,subtitle is used4 ,it is not necessary1 to place on subtitles the name of the person who is making the 8speech40 ,you should arrange your title so that there could be no question as to which character was speaking the lines4 ,do not jump from daylight action to night-time without inserting a subtitle to show elapsion of time1 as in sample play ,subtitle ,no4 #h--8,next ,morning40 ,do not1 however1 be too free with the use of subtitles1 as the action of your play should tell the story4 ,the interjection of conversation into a picture play ,scenario is sometimes necessary1 but it should be avoided1 if at all possible4 ,the proper wording and placing of ,leaders or ,inserts will improve the film immensely4 ,all speech ,inserts should be couched in natural language1 reading as if the character would make such a remark4 ,if ,inserts are in unnatural language1 the scene loses considerable strength4 ,a short scene is often better than a ,subtitle1 as it portrays the incidents in a more impressive manner4 ,at times1 you may be obliged to break a scene2 which means that you flash another scene for a few seconds and then go back and show the original scene4 ,as an illustration we refer you to ,scenes #ae1 #af and #ag of sample play4 ,the average number of words to use in a subtitle is from #b to #aj4 ,a bit of dialogue which is explanatory can be used occasionally as a subtitle4 ,refer to 8,inserts0 in ,scenes #bc and #bg of sample ,scenario4 ,it is a good idea for you to number your ,subtitles separately from the number of scenes1 as ,subtitle ,no4 #a1 ,subtitle ,no4 #b1 etc4 ,put ,subtitles between the reels when you have more than a one-reel picture1 as3 ,subtitle ,no4 #af4--;,,end ,,of ,,part ,,one4 ,part ,two4 ,subtitle ,no4 #ag4--,,the ,,truth ,,revealed4 ,,lesson ,,xiv4 ,,telegrams1 ,,letters1 ,,etc4 ,the above are to answer the same purpose as leaders and subtitles and are used to explain different points in your story4 ,do not use telegrams1 letters or newspaper articles unless they are absolutely necessary in the working out of the plot4 ,they detract from the action of the various scenes1 and the audience becomes wearied when they are obliged to do too much reading on the screens4 ,letters and telegrams should be as concise and condensed as you can make them4 ,it is only necessary to show the portion of the letter required to convey the meaning and make your story clear4 ,,lesson ,,xv4 ,,entrances ,,and ,,exits4 ,when a character enters or exits from a scene in any manner other than on foot1 make mention of this in your ,scenario4 ,refer to scenes #f and #aa of sample play4 ,sometimes a character enters in an automobile and another character may exit in a cab4 ,the plural for exit is 8exeunt20 for instance1 8,teddy exits10 and 8,teddy and ,martha exeunt40 ,,lesson ,,xvi4 ,,stage-,,settings4 ,a real feature in ,photoplays is the setting1 which is shown by the scenes and surroundings1 and takes the place of the elaborate description of the novelist4 ,when a certain setting in your play is to be one of the main features1 name it as a scene2 for illustration1 8,teddy's ,room10 in sample ,scenario4 ,the stage ,director takes care of the scene settings1 but if you give a list of ,props 7as you will see given in the sample ,scenario7 it will be of great assistance to the property-man4 ,work as much into each setting as possible1 as it is an expense to produce each new setting4 ,express your settings or scenes in a few words1 and the ,director will do the rest4 ,avoid showing expensive settings4 ,always bear in mind that moving pictures are simply photographs and that the elaborate settings you may desire must often be taken in the ,studio and not in the home of a millionaire4 ,a great many ,scenarios with good plots have been rejected because the expense in producing them was too great4 ,you1 of course1 see many elaborate settings2 but the play and situations were strong enough to warrant the expense4 ,,lesson ,,xvii4 ,,crisis1 ,,anti-,,climax ,,and ,,climax4 ,your story may have several crisis points in it1 but each crisis should be stronger and more interesting than the preceding one1 until the ,anti-,climax1 or turning point of the play is reached4 ,then the ,climax1 which is the last scene and the point at which the strongest part is enacted4 ,you should have interesting incidents throughout your story1 so as to hold the attention of the audience and keep them guessing till the ,climax4 ,do not allow the leading characters to win1 or the important point to be gained without considerable difficulty4 ,prolong the suspense and make it very hard for the audience to figure out how the ,play will end4 ,a great many ,plays are spoiled because the outcome of the story was too visible to the audience at the first part of the picture4 ,unless your play is strong enough to hold the interest of the spectators1 throughout the play1 they will be indifferent as to the outcome of the story4 ,the ,climax must be strong and effective4 ,it is rather difficult for an amateur to know when and how to write the climax4 ,do not have a long drawn-out ending4 ,simply satisfy the interest of the audience and leave an impression with a ,punch4 ,your story must contain all rudiments that lead from the reasonable incidents of the plot to the logical ending4 ,,lesson ,,xviii4 ,,outline ,,of ,,play4 ,draw up an outline of your story1 give names to your principal characters1 divide and subdivide your scenes1 show entrances and exits of characters1 and grouping of incidents4 ,you can afterwards condense1 select and arrange the details4 ,from your rough ,scenario you can work out from #ej to #bjj or more scenes4 ,analyze your story1 and weigh its intrinsic value4 ,if there is enough material in the plot to warrant and enable you to write a #b reel picture you might do so4 ,if there is a middle in the plot1 which is a thrilling situation 7a sort of climax1 or anti-climax in itself71 and the story is worthy of further development1 you can no doubt1 work the play into #b reels4 ,if however1 the middle1 or intermediate climax is missing1 and the action of the plot1 leads up to only one big scene1 then the logical thing to do is to make a one reel picture4 ,you should not start your story with quick action1 but it should increase in action up to its anti-crisis1 crisis1 anti-climax and then climax4 ,we advise you to put your talents to the test in writing plays for single and double reels first4 ,a good story in a single or double reel1 by an amateur writer always has a better chance of being accepted4 ,after you have become experienced in ,scenario writing1 you can attempt the multiple reels made up in two1 three1 four1 five and more reels4 ,,lesson ,,xix4 ,,emotion ,,and ,,sympathy4 ,true emotion is one of the essentials of a successful ,photoplay4 ,it stirs us into sorrow1 pity1 anger or contempt1 also to laughter and happiness4 ,you must have enough real action in your story or plot to enable the characters to awaken the emotions of the audience4 ,much of course1 depends upon the character when acting the part1 but you are obliged to furnish a good basis to work on4 ,sympathy is a big asset4 ,it reveals itself by stirring our emotions and works heart-interest into the story4 ,bring out the sympathy in the most effective way possible4 ,there is some sympathy in a scene showing a little boy and his aged mother living in one small1 unventilated room4 ,when you show1 however1 that the small boy is the only support for the aged mother1 that they are absolutely destitute1 without food1 and the mother sick in bed1 then you create sympathy4 ,when action is coupled with your plot and sympathy1 you will as a result1 get real action4 ,,lesson ,,xx4 ,,general ,,instructions4 ,after you have written your play you should read it over very carefully1 cut out all unnecessary words1 and eliminate any scenes1 or parts of scenes1 that are not actually essential4 ,take your time in writing your play4 ,go over it several times before sending it to the ,producer4 ,every time you read the play you will no doubt find some place where you can improve it4 ,read it over1 revise it and change it until you think it is in the best possible form in which you can put it4 ,if there is any part of your play that does not seem clear1 you should change that part until there is no doubt in your mind that it cannot be improved upon4 ,you should study the moving picture proposition in all of its phases4 ,considerable knowledge can be acquired from close observation and discernment4 ,familiarize yourself with the chief points and essentials of the moving picture play1 as you see it in your favorite theatre4 ,criticize the different plays you see1 and1 if you observe one you do not like1 try to ascertain why and what is at fault4 ,study the sequence of scenes1 the exits of the different characters from one scene and their reappearance in another4 ,,lesson ,,xxi4 ,,preparation ,,of ,,manuscript4 ,your manuscript must be tastefully put together4 ,use white1 unruled paper1 about #h #aa inches in size1 which you can secure from your stationer or druggist4 ,have your ,scenario typewritten1 by all means4 ,very few companies will buy plays that are not typewritten4 ,you do not stand one chance in a hundred of getting a play accepted that is not typewritten4 ,use double space4 ,write on one side of the paper only4 ,write your ,title on the first sheet1 the ,synopsis on the second1 your cast of characters on the third page1 and then start your first scene on page four4 7,see sample play47 ,place the ,title of your play on upper right-hand corner of each page1 following the ,title page4 ,in upper right-hand corner of ,title sheet write1 8,submitted at usual rates10 or 8,please make offer40 ,the best way to do is to mark 7,submitted at usual rates74 ,we firmly believe the producers are all reliable1 and will pay you what your play is worth4 ,should you prefer to do so you can write 7,please make offer74 ,when you ask them to make you an offer1 however1 it means correspondence1 which most of the producers dislike4 ,write your name and complete address in the left-hand corner on the first and last sheets of manuscript4 ,fasten all pages together with paper clips or fasteners1 which can be easily removed4 ,please bear in mind not to roll your manuscript4 ,editors will not read a rolled manuscript4 ,fold pages twice1 and place in a legal size envelope1 about #i #aj inches1 which you can buy at the ,post-office4 ,address another large envelope to yourself1 put on sufficient postage1 and enclose with your ,scenario1 so the ,producer can return your script to you1 if he does not accept it4 ,the envelope you address to yourself1 should be a trifle smaller than the other1 so it will not have to be creased4 ,a creased envelope1 quite often breaks open in the mail1 and your script may become lost4 ,address your envelope to the 8,scenario ,editor10 of whatever ,company you send your play4 ,to prevent the envelope in which you mail your script1 from being lost1 write your name and address on upper left-hand corner of envelope4 ,do not offer your play to any other ,company1 until the one to whom it is first sent1 has notified you of its rejection4 ,do not write the ,editor1 about the merit of your story1 he will judge the play for himself1 and if he wants it1 will pay you what it is worth4 ,if you have been successful as a magazine writer1 or sold any other literary work1 you might mention this to the ,editor when sending him your ,play4 ,if your play is rejected1 and is soiled or wrinkled when it is sent back to you1 have it rewritten on new paper1 before sending it to another ,producer for acceptance4 ,it is well to have the heading of your different scenes1 as well as your ,leaders1 ,subtitles1 or ,inserts1 written in red ink4 ,this can easily be done1 if the machine has a red ink ribbon4 ,you will note we have printed them in italics4 ,the names of the various ,scenes and ,subtitles will show up much more prominently1 when written in red ink1 and will facilitate matters considerably for the ,editor and ,director4 ,have a carbon copy of your manuscript made1 for your records4 ,if you do not hear from the ,producers 7to whom you send your ,play7 in a reasonable length of time1 say #d to #f weeks1 then send a registered letter and enclose a stamped self-addressed envelope for reply4 ,,lesson ,,xxii4 ,,where ,,to ,,sell ,,plays ,,and ,,prices ,,paid4 ,we give you1 on a separate sheet1 which you will find in the front part of the book1 a complete and up-to-date list of the firms1 which are buying ,photoplays4 ,we have separated them into different groups1 so you can easily pick out the companies1 which are in the market for the style of play you have written4 ,twenty-five dollars is a good average for a short play4 ,a long multiple reel play of exceptional merit will oftentimes bring from two to three hundred dollars and more4 ,,lesson ,,xxiii4 ,,copyrights4 ,we do not think it necessary to have your ,photoplays copyrighted4 ,very few are copyrighted before being presented to the ,producers1 whom we believe are thoroughly trustworthy in this respect4 ,if1 however1 you want your play copyrighted1 you can write to the 8,register of ,copyrights10 ,washington1 ,d4 ,c41 and ask him to send you an application blank4 ,he will then advise you1 as to the small fee charged1 and will give you all information required4 ,,lesson ,,xxiv4 ,,board ,,of ,,censors4 ,this board was organized in #aiji1 by the ,people's ,institute1 at the request of the ,film ,manufacturers1 and approves or rejects the pictures before they are released for public exhibition4 ,the expenses of the board are paid by the film interests4 ,new rules have just been adopted for a higher standard of films4 ,a rigid ban is put on vice and crime pictures4 ,the ,board is opposed to films1 which feature sensuous pictures1 and will not pass pictures glorifying or exonerating the evil doer4 ,the portrayal of insanity will not be permitted4 ,scenes which tend to weaken the religious spirit1 and are sacrilegious1 will be condemned4 ,,lesson ,,xxv4 ,,the ,,production ,,of ,a ,,photoplay4 ,we want to give you a general idea of the inner workings of a ,scenario studio1 and the production of ,photoplays4 ,in the first place1 the ,scenario ,editor puts the finishing touches on the manuscript1 if necessary1 and turns the same over to the ,stage ,director4 ,the ,director examines the ,scenario very carefully1 changes it a little to suit conditions1 plans his scenes1 and selects the actors and actresses he thinks are best qualified to play the various parts4 ,he rehearses them with the utmost care before he sends for the camera man4 ,then1 the camera operator turns the crank of the camera machine1 as the different scenes are enacted and winds off the film on which the photographs are taken4 ,the pictures are produced on the screen1 by the projecting machine1 with such rapidity that it deceives the eye1 and appears as one picture4 ,the projecting machine is called upon to reproduce a picture three-quarters of an inch square1 to one from #ae1jjj to #cj1jjj times that size1 according to the dimensions of the screen on which the picture is shown4 ,when the picture is first produced on the screen in the studio1 the photography1 and work of the actors is carefully examined and criticized4 ,the defects in photography are taken care of1 and improved1 and the mistakes in acting are pointed out to the actors at fault4 ,if some of the scenes are very poorly acted1 they are cut out and re-enacted4 ,when the ,film ,manufacturing ,co4 thinks the picture is in a satisfactory condition1 they send it to the ,exchange1 who in turn supply the ,theatre4 ,,lesson ,,xxvi4 ,a ,few ,don'ts4 ,don't ,plagiarize1 or try to copy the theme of a popular book1 a well known poem1 or magazine story4 ,you will not receive any consideration1 if you infringe on copyrighted books or publications of any kind4 ,all adaptations from ,books1 or magazine stories are made by the salaried ,staff writers of the ,producers1 or by the ,scenario ,editors themselves4 ,producers watch very carefully to see that they are buying original stories1 as a great many law suits take place because the ,idea of the ,play was stolen from some copyrighted book or story4 ,you cannot write a scenario adapted from a copyrighted book or article unless you secure permission from the author4 ,don't write ,scenarios1 in which you show impossible inventions1 or impractical machinery4 ,these stretch too much on one's imagination4 ,don't fill your ,scenario with useless adjectives1 or words that are not necessary4 ,the more condensed1 and still comprehensive1 the better4 ,don't fill your ,scenario with trivial details and explanations4 ,they don't appeal to ,editors4 ,don't write plays that are expensive to produce4 ,don't enlarge or dwell on insignificant incidents in laying out the different scenes4 ,the big thoughts or ideas are entitled to the big scenes or settings4 ,don't depict scenes1 if you can help it1 of train wrecks1 ships sinking1 or automobile accidents1 as these scenes are too expensive to produce1 and your play is liable to be rejected on that account4 ,don't get high ideas about scenic display4 ,expensive settings cost money4 ,the ,scenario that can be inexpensively produced has a better chance of being accepted4 ,don't use too many leading characters4 ,they are too hard to group in the small radius of the camera4 ,don't keep your characters too long in one scene1 and on the other hand1 don't have too many short scenes4 ,the length of scenes all depends on the nature of the play4 ,don't try to be humorous if your inclination is for tragedy4 ,try and find out the kind of plays to which your nature is best suited4 ,don't write about themes1 and ideas which have no meaning4 ,quite often you witness a picture and after it is over you say to yourself3 8,what was it all about80 ,unless your problem is strong enough to be solved in a logical and reasonable way it is a waste of time to try to work it into a ,scenario4 ,don't write illogical1 lurid or immoral plays4 ,don't introduce an action that is not consistent with precedent4 ,don't incorporate actions in your play that are impossible4 ,don't let the thread of your story get broken in writing your play4 ,keep the incidents all closely linked together4 ,the tighter the connection1 the better the story4 ,a disjointed action will not suffice4 ,don't write about tragic subjects1 murders1 suicide1 uncanny incidents1 coffins or grave yards4 ,don't reflect on any religion1 belief or nationality4 ,remember the moving picture audiences are made up of all kinds of people4 ,don't show the commission of a crime1 or depict immoral actions4 ,don't write on themes with which you are not familiar4 ,study your different characters1 and have them do things1 that are consistent with the parts they play4 ,,lesson ,,xxvii4 ,,conclusion4 ,do not be suspicious and imagine your play will be stolen by the ,producer4 ,a person quite often sees a play on the screen which resembles one of theirs that has been rejected2 they immediately jump to the conclusion that it is their play1 and unjustly accuse the ,film ,co4 ,they should stop to consider that others might have had the same idea1 and that the ,scenario could have been accepted1 and the play produced1 before their cherished effusions could have possibly been written4 ,do not be discouraged if you do not sell your first ,scenario4 ,should it be returned to you1 send it to some other company1 after you have read it over1 and made any changes for its improvement4 ,if your play is returned to you it might be due to the fact that the company to whom you sent it did not have use for that particular kind of a play1 although your play might suit another company4 ,if your play has any merit1 some company will possibly buy it4 ,a great many plays1 have been revised many times1 and sent to several different film manufacturing companies1 before they have been accepted4 ,there is an enormous demand at present and there will be a greater demand in the future for original ,scenarios1 especially written for screen production4 ,the motion picture industry is going through a change continually1 and logical stories1 with human interest and action are needed to take the place of ,scenarios written from old ,plays or ,books4 ,the ,public is becoming dissatisfied with old plots rehashed from some published book4 ,you have a better chance of selling your ,plays at present than you had six or eight months ago and the ,producer to whom you submitted it several months ago1 may be glad to give it earnest consideration at present4 ,your story1 however1 must be original and unique2 must be decidedly different and with enough real punch to make the ,scenario ,editor 8sit up and take notice40 ,,embrie ,,zuver ,submitted at ,usual ,rates4 #fji ,west #abgth ,st4 ,new ,york ,city ,,timid ,,teddy ,timid ,teddy ,,synopsis4 ,teddy ,tyler1 a young man of about #bb years of age1 has been left several million dollars by his father4 ,he is considered a most desirable husband by the matrimonially inclined mothers4 ,he is1 however1 of a very timid1 bashful nature4 ,he doesn't smoke1 drink1 swear1 nor stay out late at night4 ,his chum1 ,harry ,jackson1 thinks it a pity that so much money should go to waste when many beautiful young girls need so many things that the money would buy4 ,he tries to get ,teddy to propose1 but without results4 ,he eventually hits upon the idea of giving ,teddy some ,dutch courage1 that is to get him drunk1 thinking by so doing he will propose to ,martha ,stone1 whom he knows loves ,teddy4 ,he succeeds in getting ,teddy 8half seas over0 and in this condition takes him to a couple of dances1 where he proposes to every girl he meets4 ,the next morning1 when he sobers up1 he is confronted by the awful predicament that he has proposed to at least two ladies who have accepted him4 ,neither one is ,martha1 the girl he desired to propose to4 ,how he gets out of his trouble and eventually proposes to ,martha1 gets married and lives happily ever after1 is told in the latter scenes of this script4 ,timid ,teddy ,,cast ,,of ,,characters4 ,teddy ,tyler ,light ,comedy ,lead ,harry ,jackson ,juvenile ,edith ,harcourt ,very1 ,very ,fat ,soubrette ,mrs4 ,harcourt ,grande ,dame ,tom ,ransom ,juvenile ,janice ,ransom ,tall1 ,scrawny ,old ,maid ,john ,stone ,character ,man ,martha ,stone ,ingenue ,butler ,character ,comedian ,supers4 ,maids1 ,city ,editor1 ,guests at ,dance1 ,footmen1 etc41 etc4 ,props4 ,a broom ,bottles ,glasses ,sofa pillows ,punch glasses ,newspapers ,cigars ,cigarette case ,towel for ,teddy's head ,telephone ,materials for breakfast ,limousines ,toilet articles for ,teddy ,decanters ,a taxi ,punch bowl ,punch ladle ,letters ,cigarettes ,dance programs for both dances ,bromo ,seltzer ,bouquet of flowers ,a large roll of money ,writing materials ,scene ,plot4 ,scene #a1 #c1 #e1 #g1 #i1 #de1 #ej1 #eb--,teddy's rooms4 ,scene #b1 #f1 #ea--;,exterior of apartment house 7,teddy's74 ,scene #d1 #h1 #cj1 #cb1 #cd1 #cf1 #ch1 #dj1 #db1 #dd--,teddy's bedroom1 showing other room1 through door4 ,scene #aj--,living room at ,ransom's4 ,scene #aa--;,exterior of ,ransom's4 ,scene #ab1 #ad1 #af1 #ah1 #bj1 #bb1 #bc1 #be1 #bg--;,ballroom at the ,stones'4 ,scene #ac1 #bi1 #di--;,exterior at the ,stones'4 ,scene #ae1 #ag1 #ai1 #ba1 #bd1 #bf1 #bh--;,alcove of ballroom at ,stones'4 ,scene #ca1 #cc1 #ce1 #df--;,edith's boudoir4 ,scene #cg1 #ci1 #da1 #dg--;,breakfast room at ,ransom's4 ,scene #dc--,newspaper office4 ,scene #dh--,mail box at street corner4 ,,reasons ,,for ,,giving ,,prop ,,and ,,scene ,,plots2 ,,in ,,addition ,,to ,,cast ,,of ,,characters4 ,the cast of characters is given as a guide for the director to quickly pick his types1 without being obliged to wade through an entire manuscript and bother to read scene by scene4 ,all directors have different methods of casting their pictures2 no two working alike1 and1 although some may pay no attention to the cast of characters yet most all of the directors working for the ,syndicate1 or ,trust studios1 find it easier to have a cast submitted4 ,the property plot is made out to aid the property man for1 though he reads through the script1 the same as the director1 yet a list of important props1 being typed1 saves him a great amount of time1 and time is of value in studios4 ,the scene plot is done for the same purpose1 it not only saves the carpenter time in making his sets1 but aids the director in knowing just how many scenes take place in the various sets4 ,when the scene plot is made out1 the director can see at a glance which sets have the most number of scenes and thus can have them set accordingly4 ,timid ,teddy ,,scene #a3 ,teddy's ,rooms4 ,butler cleaning glasses and tidying up room and attending to other various duties such as one would attend to when they 8buttle40 ,,scene #b3 ,exterior of ,teddy's ,apartment ,house4 ,jackson1 ,teddy's chum1 seen approaching4 ,enters into picture and goes up to the door4 ,,scene #c3 ,interior of ,teddy's ,rooms 7same as #a47 ,butler registers fact that he hears bell ring4 ,puts down his duster1 exits out of picture1 presumably to let ,jackson in the front door4 ,enters in picture again1 following ,jackson2 goes to door of ,teddy's bedroom4 ,,scene #d3 ,teddy's ,bedroom4 ,teddy1 a very particular and fastidious young man of the effeminate type1 is just completing a very finicky toilet gazing at himself in mirror1 etc4 ,butler enters and informs him of ,jackson's arrival4 ,he and ,teddy both exit into4444 ,,scene #e3 ,same as #c4 ,teddy greets ,jackson1 who calls to the butler for a drink4 ,butler serves drinks for two4 ,,subtitle ,,no4 #a3 8,it's time you married and settled down40 ,jackson drinks his1 ,teddy 8in a ladylike manner0 refuses his drink1 registering the fact that he doesn't drink or smoke or swear4 ,jackson coaxes him to take the drink and proceeds to give him the advice in the above subtitle4 ,,scene #f3 ,exterior 7same as #b74 ,edith ,harcourt and her mother alight from a limousine1 go up to front door and ring bell4 ,timid ,teddy ,,scene #g3 ,same as #e4 ,jackson1 rallying ,teddy about his timidity4 ,bell rings4 ,all register the fact4 ,butler exits to answer bell4 ,jackson tiptoes to window1 sees who is coming1 registers the fact so that ,teddy does not see him4 ,crosses back to ,teddy1 who is busy polishing his nails as ,edith and her mother enter4 ,the mother registers the fact that she thinks ,teddy a desirable match for her daughter and makes much of him4 ,,subtitle ,,no4 #b3 8,leave them together40 ,edith is sitting on sofa with ,teddy4 ,mother registers above subtitle to ,jackson4 ,jackson asks ,teddy's permission to show the mother the rooms4 ,teddy grants it4 ,mother and ,jackson exit4 ,,scene #h3 ,teddy's ,bedroom 7same as #d47 ,jackson and mother enter and peep cautiously through the door4 ,,scene #i3 ,same as #g4 ,close up to sofa in room4 ,edith making love to ,teddy4 ,teddy very nervous4 ,edith shows disgust1 registering 8,you're a fine kind of a man1 that a woman has to make love to you40 ,jackson and mother enter from bedroom2 ,edith goes to mother and suggests that they leave1 which they do4 ,after their exit1 ,jackson kids ,teddy on his timidity1 advises him to get drunk4 ,,subtitle ,,no4 #c3 8,a little ,dutch courage might be good for you40 ,back to scene4 ,teddy goes to sideboard and starts drinking feverishly from the various bottles thereon1 laying a foundation for the future 8jag40 ,timid ,teddy ,,subtitle ,,no4 #d3 ,later--,janice proposes--,teddy disposes4 ,,scene #aj3 ,interior of ,ransom's ,home 7,the living room74 ,tom ,ransom sitting smoking when ,maid announces ,teddy1 who enters and is welcomed by ,tom4 ,tom goes to door and calls ,janice1 who enters1 and1 upon seeing ,teddy1 welcomes him exuberantly1 sitting on a settee1 she shifts over and makes room for ,teddy1 calling him beside her4 ,tom1 seeing this1 makes an excuse to leave on business4 ,the maid brings his hat and coat4 ,tom exits4 ,teddy looks around in desperation1 finding himself alone with ,janice1 attempts to follow ,tom4 ,janice pulls him back down on settee by coat-tails1 putting her arm around his neck1 after he is down1 and trying to make love to him4 ,teddy struggles and eventually gets away4 ,hurriedly exits1 without his hat4 ,janice registers chagrin4 ,,scene #aa3 ,street outside of house4 ,tom comes from the house1 stops a car1 gets in4 ,car starts4 ,teddy comes dashing out of house1 sees car in distance1 runs after it and jumps on out of breath4 ,,subtitle ,,no4 #e3 8,later--at the ,stone's dance40 8,wine lets no lover unrewarded go40 ,,scene #ab3 ,interior of the drawing room at ,stone's house4 ,mr4 ,stone and ,martha1 his daughter1 are receiving4 ,tom ,ransom and his sister1 ,janice1 enter3 ,edith and her mother enter and mingle with the guests4 ,,scene #ac3 ,exterior of ,stone's house1 showing awning and carpet stretched to the curb4 ,a taxi drives up4 ,jackson and ,teddy get out4 ,teddy paying the taxi and registering a big roll of bills4 ,both exit into the house4 ,timid ,teddy ,,scene #ad3 ,same as #ab4 ,guests are all dancing4 ,jackson and ,teddy enter2 are greeted by ,mr4 ,stone and ,martha1 and then go off and mingle with the guests4 ,,subtitle ,,no4 #f3 8,if at first you don't succeed1 try1 try again60 ,,scene #ae3 ,another portion of ballroom1 showing ,punch ,bowl4 ,teddy and ,jackson are sampling the brew4 ,teddy drinking a great deal4 ,edith comes in from alcove1 leading to the dancing floor1 and asks ,teddy to dance with her4 ,he acts peevish and will not dance with her but goes back to the ,punch ,bowl4 ,jackson offers her his arm1 she accepts1 and they dance off into the crowd2 ,teddy1 meanwhile giving enthusiastic attention to the ,punch ,bowl4 ,cut to4444 ,,scene #af3 ,another portion of ballroom4 ,martha looking after her guests1 notices ,teddy in the distance1 still at the ,punch ,bowl4 ,she goes to him4 ,cut back to4444 ,,scene #ag3 ,same as #ae4 ,teddy is now quite drunk4 ,martha enters and asks him why he is not dancing4 ,teddy has gotten his courage4 ,makes violent love to ,martha4 ,she puts him off registering that she thinks him intoxicated4 ,he stumbles back onto settee1 pulls out cigarette case and smokes4 ,,scene #ah3 ,same as #ad4 ,jackson and ,edith are dancing1 ,edith notices that ,teddy is smoking in the alcove and leaves ,jackson4 ,,scene #ai3 ,same as #ag4 ,edith enters2 ,teddy upon seeing her immediately makes 8alcoholic love40 ,is accepted4 ,timid ,teddy ,,scene #bj3 ,same as #ah4 ,jackson amusedly watching1 notices the acceptance4 ,,scene #ba3 ,same as #ai4 ,teddy still making love to ,edith1 even though he has been accepted4 ,edith rapturously embraces him and exits4 ,teddy applies himself industriously to the punch bowl4 ,,scene #bb3 ,same as #bj4 ,edith rejoins ,jackson1 registers that she is very1 very happy1 telling him that ,teddy has just proposed to her4 ,he laughs and they dance off together4 ,,subtitle ,,no4 #g3 ,cupid is generous4 ,,scene #bc3 ,same as #ad4 ,janice is fanning herself and glances at her program4 7,insert of program37 ,all spaces taken up excepting one1 her finger indicates it4 ,janice looks up and sees ,teddy in distance1 smiles back at her program1 rises and exits4 ,,scene #bd3 ,same as #ai4 ,teddy is still at the ,punch ,bowl4 ,janice enters4 ,she shows him her program4 ,he takes her by the arm affectionately and they retire to the settee4 ,,scene #be3 ,same as #bj4 ,jackson looking for ,teddy1 sees him with ,janice and watches4 ,,scene #bf3 ,same as #bd4 ,teddy makes violent 8alcoholic love0 again but to ,janice1 who is very coy1 but overcome by his furious love making blushingly accepts him and rushes out4 ,timid ,teddy ,,scene #bg3 ,same as #be4 ,janice rushes up to ,jackson1 tells him the good news1 and rushes off4 ,insert3 8,great ,scott2 ,i must get him away from here or he will become engaged to every girl in the room40 ,back to scene4 ,he exits4 ,,scene #bh3 ,same as #bf4 ,teddy is now maudlin4 ,jackson enters and takes him away4 ,,scene #bi3 ,exterior of house 7same as #ac47 ,teddy and ,jackson exit from house4 ,footman calls them a taxi1 which they enter and are driven off4 ,,subtitle ,,no4 #h3 ,next morning4 ,,scene #cj3 ,teddy's ,bedroom 7same as #d47 ,teddy is sitting on edge of bed1 in dressing gown1 towel about his head4 ,a most abject specimen4 ,butler is arranging him a ,bromo ,seltzer4 ,butler registers he hears the bell ring4 ,teddy orders him to go and answer the door1 throwing ,bromo ,seltzer bottle after him4 ,butler returns following ,jackson4 ,jackson laughs at ,teddy's predicament4 ,butler arranges another ,bromo ,seltzer for him4 ,he drinks it while effervescing and chokes on it1 ,butler slaps him violently on back4 ,jackson tells ,teddy of his two engagements4 ,teddy registers horror6 ,goes to phone4 ,,subtitle ,,no4 #i3 8,i must break these engagements off at once40 ,timid ,teddy ,,scene #ca3 ,edith's boudoir4 ,edith in her kimona in front of dressing table1 looking at herself intently in mirror4 ,she registers happiness4 ,telephone bell rings4 ,,scene #cb3 ,same as #cj4 ,teddy registers the fact that he is talking on the phone to someone4 ,,scene #cc3 ,same as #ca 7,close-,up74 ,edith's face beaming with joy4 ,she registers that she is using endearing words4 ,,scene #cd3 ,same as #cb4 ,teddy trying hard to explain4 ,jackson and ,butler convulsed with laughter4 ,,scene #ce3 ,same as #cc4 ,edith talking very rapidly and smiling4 ,she blows a kiss into the telephone receiver4 ,,scene #cf3 ,same as #cd4 ,teddy hangs up receiver with resignation4 ,inserts3 8,i'll try the other one40 ,back to scene4 ,teddy takes up receiver and tries to get another number4 ,,scene #cg3 ,dining room in the ,ransom's4 ,janice setting table1 just putting flowers in centerpiece4 ,telephone rings4 ,she goes to answer it4 ,is overjoyed when she hears whose voice it is1 talks rapidly4 ,,scene #ch3 ,same as #cf4 ,teddy trying to get a word in edgewise at the telephone4 ,timid ,teddy ,,scene #ci3 ,same as #cg4 ,janice crowding a multitude of love words into the phone4 ,,scene #dj3 ,same as #ch4 ,teddy resignedly drops the receiver and it hangs4 ,,scene #da3 ,same as #ci4 ,janice still talking4 ,thinks it funny that she gets no answer1 pouts and hangs up4 ,,scene #db3 ,same as #dj4 ,teddy at his wit's end4 ,appeals to ,jackson4 ,both stop and take positions in the attitude of thinking4 ,butler helps them think1 mimicking them behind their backs4 ,jackson registers 8,i have it60 ,,subtitle ,,no4 #aj3 8,publish in the papers the fact that you went broke on the stock market40 ,teddy looks at him and says 8,all right4 ,i'll try anything once40 ,goes again to phone1 puts receiver back on its hook1 shakes the hook a couple of times1 then telephones4 ,,scene #dc3 ,interior of newspaper office4 ,boy takes news of ,teddy's financial failure to ,city ,editor4 ,he expresses surprise1 but accepts it4 ,,scene #dd3 ,same as #db4 ,teddy puts receiver back on hook1 shakes hands with ,jackson and tells the ,butler to get them a drink4 ,,subtitle ,,no4 #aa3 ,next day4 ,timid ,teddy ,,scene #de3 ,teddy's rooms 7same as #a74 ,teddy at breakfast4 ,butler brings in newspaper1 ,teddy glances through it and sees the notice4 ,insert3 ,it is reported that ,teddy ,tyler1 the wealthy stock broker1 lost his entire fortune on the ,street to-day4 ,back to scene4 ,teddy shows pleasure4 ,butler registers he hears bell ring4 ,exits and comes back following ,jackson1 who is shown the notice4 ,both chuckle with glee4 ,,subtitle ,,no4 #ab3 ,the horrible news4 ,,scene #df3 ,same as #ca4 ,edith and her mother receive the morning papers4 ,edith reads the notice and is horrified1 shows it to her mother4 ,insert flash of newspaper notice4 ,back to ,scene4 ,edith resolves to write a letter breaking off the engagement1 which she immediately does1 hands it to the ,maid1 who goes out to post it1 and is then consoled by her mother4 ,,scene #dg3 ,same as #cg4 ,tom ,ransom and ,janice at table4 ,maid comes in with mail and morning paper4 ,tom sees the notice1 gives it to ,janice1 she reads it and immediately bursts into hysterical tears4 7,this must be broad burlesque47 ,he comforts her4 ,she then registers anger1 calls the maid1 tells her to get writing paper and envelope4 ,maid brings writing materials4 ,janice writes note1 gives it to ,maid to mail4 ,maid exits4 ,timid ,teddy ,,scene #dh3 ,letterbox on a corner4 ,the two maids come on from different directions and post letters4 ,gossip for a moment1 drop letters in box and exit in different directions4 ,,subtitle ,,no4 #ac3 ,cupid strikes the right spot4 ,,scene #di3 ,porch of the ,stone's ,mansion4 ,martha's father reading on the veranda1 ,martha watering plants in the garden4 ,mr4 ,stone sees the notice in newspaper1 calls ,martha's attention to it4 ,she expresses sorrow1 ,mr4 ,stone leaves to go to his business and ,martha enters the house4 ,,subtitle ,,no4 #ad3 ,the next day4 ,,scene #ej3 ,same as #de4 ,teddy and ,jackson are sitting smoking1 ,butler brings in the mail1 which consists of two letters4 ,teddy excitedly opens one and reads3 ,insert3 ,dear ,teddy3 ,i have enough hard luck of my own1 ,i can never marry a poor man4 ,consider our engagement broken4 ,farewell forever6 ,edith4 ,teddy passes letter to ,jackson4 ,looks up and catches the butler reading over his shoulder4 7,close-,up71 of kicking him out of the room1 returning to chair and opening the second letter which he reads4 ,insert3 ,my heart is bursting with grief for your misfortune1 but ,i cannot1 for a moment1 think of annexing your troubles for life4 ,i am going abroad to forget you4 ,i will be gone for thirty years4 ,your heartbroken1 ,janice4 ,,embrie ,,zuver #fji ,west #abgth ,st4 ,new ,york ,city ,timid ,teddy ,teddy dances with glee1 grabbing ,jackson by the shoulders1 calls for the ,butler to come in and arrange some drinks1 which he does4 ,,subtitle ,,no4 #ae3 ,later4 ,,scene #ea3 ,exterior 7same as #b74 ,martha drives up in her limousine and enters1 passing ,jackson on the steps1 who is exiting from the house4 ,,scene #eb3 ,same as #ej4 ,teddy is alone4 ,butler announces ,martha4 ,she is ushered in4 ,condoles with ,teddy over the loss of his money and offers to loan him enough to start over again4 ,teddy is greatly mortified and tries to get up courage enough to tell ,martha the truth1 registering the fact that he is very uncomfortable4 ,he finally musters up enough courage to go up to ,martha and in an awkward manner proposes to her and is accepted4 ,,finis4 99 99 99 99 99 ,transcriber's note ,on page #bi it says3 8,we give you1 on a separate sheet1 which you will find in the front part of the book1 a complete and up-to-date list of the firms1 which are buying ,photoplays40 ,research did not find any copies of the book that contain this4 ,minor punctuation errors have been changed without notice4 ,hyphenation and italicization have been standardized4 ,spelling and capitalization of the word 8,photoplay7s70 standardized4 ,spelling was retained as in the original except for the following ,changes3 ,page #b3 8,studio ,terms #a to #aa0 8,studio ,terms #c to #aa0 ,page #b3 8,a ,few ,dont's #ca to #cb0 8,a ,few ,don'ts #ca to #cc0 ,page #e3 8see scene #af0 8,see scene #af0 ,page #ai3 8is easer to write0 8is easier to write0 ,page #bj3 8not advisible to0 8not advisable to0 ,page #ba3 8camera man to photopgraph0 8camera man to photograph0 ,page #bd3 8feature in ,photolays0 8feature in ,photoplays0 ,page #bd3 8,alwas bear in mind0 8,always bear in mind0 ,page #be3 8througout the play0 8throughout the play0 ,page #cj3 8exonorating the evil doer0 8exonerating the evil doer0 ,page #cb3 8,you canot write0 8,you cannot write0 ,page #cc3 8one of their's that0 8one of theirs that0 ,page #cd3 8old plots rehased0 8old plots rehashed0 ,page #de3 8,tom exists40 8,tom exits0 ,page #dg3 8,stone nad ,martha0 8,stone and ,martha0 ,page #ec3 8,edith's boudior40 8,edith's boudoir40