(EXAMPLE 4.) Showing how little side-lights are thrown on character, and shades of emotion may be revealed in the synopsis: “Frail, piquant Rosalie, with whom Malcolm is in love, is often piqued because he never comes to the point in anything.... Malcolm prefers to sit on the porch and dream of his coming deed.... Douglas is a doer of things and immediately carries out the music in his heart in appealing words.”
The cast of characters should mention individual characteristics if possible and clearly show the relationships at a glance. The cast is for the convenience of the director in computing the number of players necessary, in selecting actors for the parts according to their talents and personal characteristics.
(EXAMPLE 5.) MALCOLM FRENCH.... (Lead).... In love with Rosalie; Artist, Dreamer.
ROSALIE.... (Ingénue-lead).... Piquant, impatient, frail, flirtatious.
Characters that appear singly should be mentioned singly; those appearing in groups, or mobs, described en masse, so that the director may form at a glance a comprehensive idea of outlay in characters, costumes and possible character props.
There should be a distinct part of each photoplay manuscript known as “Author’s Remarks.” These should be brief and contain such helpful suggestions as a mention of the period of the play, its locale, where ideal locations may be found near particular studios, the need of extraordinary properties and where they might be obtained (possibly the author might have in his possession a coin, MS., or oddity), maybe the suggestion of specific actors whom you have in mind for important parts. Confine these remarks to 50 words or less.
The part of the manuscript next to appear is the scenario, or enumeration of scenes, including the respective action taking place in each. After numbering the scene, a single line is devoted to the description of the scene of setting. This is the only space permitted the writer for description, and one or two words are supposed to suffice unless he wishes a certain arrangement of setting that will have dramatic bearing on the development of the action.
(EXAMPLE 6.) Scene 3—FRONT OF SHOP (Window plainly lettered: J. CADWALLADER—ANTIQUE JEWELS).
Despite the fact that it is the same in name as a division of stage drama, a photoplay scene is by no means identical with a stage play scene. An apt parallel may be drawn by saying that while a stage scene is all that is seen and acted in one setting without dropping the curtain, a photoplay scene is all of the setting and action that is photographed without stopping or changing the position of the camera. If the position of the camera is changed an inch, or if we should return to the same scene a score of times, viewing it from the identical point, it must bear another scene number and be treated as a new scene. There is one exception to this rule. When a scene is broken by an insert or a close-view we “continue” the scene, for the reason that the scene is not interrupted at all in the taking, the film being cut to insert either close-view or other inserted matter.
(EXAMPLE 7.) Scene 24.—INTERIOR PAWN-BROKER’S. Broker takes necklace from case, examines it, eyeing Douglas all the while, examines jewels with jeweler’s glass, then turns, with shake of head: INSERT 4.... “I DON’T RECEIVE STOLEN GOODS. GET OUT OR I’LL CALL THE POLICE!” Scene 24—(Continued). Douglas slinks out with a scowl.