Characters
| 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,[10] entrances 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 possible dramatic 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]