Chapter LIII: Act I: of The Dancing Girl shows

THE DANCING GIRL. ACT I[8]

_I. Call.
John Christison.
Faith Ives.
David Ives.
Drusilla Ives._

SCENE. _The Island of Saint Endellion, off the Cornish Coast. At the
back is a line of low rocks, and beyond, the sea. A pathway leads
through the rocks down to the sea. On the right side of the stage is
the Quakers' meeting-house, a plain square granite building, showing a
door and two windows. The meeting-house is built on a low insular rock
that rises some three or four feet above the stage; it is approached
by pathways, leading up from the stage. On the left side of the stage,
down towards the audience, is David Ives's house; another plain
granite building, with a door down stage, and above the door, a
window. The house is built into a cliff that rises above it. Beyond
the house is a pathway that leads up the cliff and disappears amongst
the rocks on the left side towards the centre of the stage; a little
to the right is a piece of rock rising about two feet from the stage._

_Time, An Autumn evening._

As the chief purpose of the writer of a scenario is immediately to grip the interest of the reader, this dramatic outline must obviously provide any historical background necessary to sympathetic understanding of the story. In other words, a scenario must very briefly summarize the preliminary exposition about which so much has already been said in the body of this book.[9] The opening of the scenario, already quoted in part on p. 428, may be interesting, but it is also puzzling, for a reader is not told enough in regard to the past of the figures involved to know how to receive what information is given. Much depends on whether Denis de Beaulieu is lying or not. Make the reader somehow understand that Denis and Blanche have never met before and that although the uncle believes Denis is her lover, he is completely in the wrong. Then comedy immediately emerges, interest increases.

Here is a scenario which remained vague and confusing, till just before the final curtain, because the writer thought surprise more valuable than suspense. Consequently he held back the one bit of information which gives significance and comic value to the conduct of Mr. and Mrs. Brede.

[Diagram of setting]

SCENE. _The piazza of a mountain boarding-house. R, practicable door.
L, practicable window. C, practicable step. On the piazza are a number
of chairs. The bit of lawn in front is not too well kept._

_Characters_

_Mr. Jones \ ordinary, well-educated people.
Mrs. Jones /
Major Halkit, retired business man, interested in stock companies.
Mrs. Halkit, his wife, an old gossip, prim and censorious.
Mr. Brede \ young, handsome, "nice."
Mrs. Brede /
Jacobus, Yankee boarding-house keeper_.

_Brede and Jones come from the house and discuss the view from the
piazza. Brede is enthusiastic and compares it with that from the
Matterhorn. Mrs. Brede and Mrs. Jones come from the house in time to
hear "Matterhorn" and Mrs. Brede expresses surprise that her husband
has climbed it. Mr. Brede, confused, says it was five years ago, and
Mrs. Brede gently chides him for doing such a thing during the first
year of their marriage. Mr. Jones and Mrs. Brede talk aside while Mr.
Brede explains to Mrs. Jones that he had left his wife in New York
some months after their marriage for a hasty trip to Europe and had
climbed the Matterhorn then._

_Mr. and Mrs. Brede go down the side steps and off at R.C. for a
stroll. Mr. and Mrs. Jones discuss them, and decide that they are very
"nice" people. During their talk it develops that while Mr. Brede had
been telling Mr. Jones that Mrs. Brede had been in this country when
he climbed the Matterhorn, Mrs. Brede had informed Mrs. Jones that her
husband had left her at Geneva and afterwards taken her to Basle,
where their first child was born._

_At this point Mrs. Halkit comes from the house. She censures Mrs.
Brede for not knowing how to care for her husband and children and it
comes out that Mrs. Brede has told Mrs. Halkit that they have two
children who have been left with her aunt, whereas Mr. Brede has told
Mr. Jones that they have three children at present under the care of
his mother-in-law._

_Enter Major Halkit from the house. He criticises Mr. Brede, who
purports to be looking for a business opening, for his failure to take
a fine chance the Major has pointed out to him._

_The party come to the conclusion that there is something queer about
the couple and are about to call Jacobus when he appears, coming from
the left. Before any of the boarders have a chance to speak, Jacobus
asks some question about the numbering of streets in New York and the
fact is brought out that Mr. Brede told Mrs. Jacobus, when he was
engaging the room, that he lived at number thirty-four of his street,
and that the day before Mrs. Brede had informed Mrs. Jacobus that
their number was thirty-five...._

A reader struggling through the paragraphs of this scenario finds very little that is dramatic because the dramatic values the writer feels in his sentences cannot be the reader's till he learns that Mr. and Mrs. Brede are a newly married couple who wish to conceal the fact. Re-read the quotation with that in mind and all confusion disappears.

On the other hand, it is not always easy to convey needed preliminary exposition interestingly. When much is needed, there is always danger that the opening of the scenario will be talky and referential rather than definite and full of dramatic action. The following is by no means as bad an example as might be found of a slow opening caused by need for much historical exposition, but it certainly lacks gripping action:

SCENARIO OF CONISTON

_When the curtain is raised, Millicent Skinner is working about; a
second later Chester Perkins comes slinking in, looking back as though
pursued by the Evil One, and close on his heels, another local
politician, Mr. Dodd, of the Brampton prudential school committee,
enters with the same stealthy and harassed air. Millicent twits them
with having run away from Bijah Bixby who is at Jonah Winch's store.
They deny that they are afraid of Bije or any one. It is brought out
in a sentence or two that Jethro Bass, Cynthia and Ephraim Prescott
are away on their Washington trip, and that Bijah, knowing of Jethro's
absence, is not likely to come here, which is why the two men have
chosen the yard for a refuge; as they have been planning petty treason
against the political control of the town by Jethro Bass. Millicent
laughs at them and goes in the house. Mr. Dodd and Chester recover
their swagger and begin to discuss Bijah and his sneaking ways. Bob
Worthington enters, goes to the porch and calls Millicent. She
responds from a nearby window. He enquires when she expects Cynthia to
return. She tells him they will be here today. Bob announces that he
will return, a little later, and goes out. Chester and Dodd discuss
Bob's attention to Cynthia and how furious the elder Worthington will
be if his son marries the ward of Jethro Bass. Then they drift back to
their first topic and are soon absorbed in their wordy revolt against
Jethro Bass and Bijah._

_Chester._ This town's tired of puttin' up with a king!

(_Behind them Bijah enters silently and stands at their elbows
unperceived._)

_Bijah._ Leetle early for campaignin', Chester, leetle early.

(_The other two stand aghast._)

_The scene which follows between the three men gives their characters,
the Coniston political atmosphere, Jethro's position as boss of the
State and his character, the cumulating antagonism between Jethro
Bass and Isaac Worthington, the relation between Jethro and Cynthia,
his ward. Bijah confides to the two that a new era is dawning; that
"the railroads, represented by Worthington, Sr., are tired of paying
tribute" to Jethro and are about to turn and exterminate him. Bixby
says that Jethro's power is gone, that a greater than he has risen,
that Isaac Worthington's campaign, brought forth under cover of a
great reform movement, will sweep the State in the next few months and
leave Jethro politically dead. Bijah brings out a copy of the last
issue of the Newcastle Guardian (leading newspaper of the State), and
reads them "The scathing arraignment of Jethro Bass ... showing how he
had debauched his own town of Coniston; how, enlarging on the same
methods, he had gradually extended his grip over the county and
finally over the State; how he had bought and sold men for his own
power and profit, deceived those who had trusted him, corrupted
governors and legislators ... how he had trafficked ruthlessly in the
enterprises of the people." Bijah tells them that the whole State is
in a stir over this article, that it is the open declaration of war
against Jethro._

_Here Alva Hopkins and his daughter Cassandra enter. Hopkins has read
the article and come post-haste to see Jethro. He and Bijah discuss
the situation and Bijah tells them that the postmastership which
Jethro has promised to Ephraim Prescott (and which it is surmised they
have gone to Washington to secure) is to go to Dave Wheelock; that
that will be the first tangible sign to the public of the fall of
Jethro Bass...._

The cardinal principle in scenario writing, as in the play itself, is that not talk but action is basal. In a scenario, however, action is described rather than represented. As we have just seen, the lengthy historical account of what lies behind the opening scene is hard to convey without talkiness. Many would-be dramatists dodge this difficulty, indeed the whole task of making clear the emotional significance of the action which the play involves, by writing scenarios which are little more than schedules of the entrances and exits of their characters. There was something of this in the "Coniston" scenario. The difficulty is still more marked in the following:

THE SIRE DE MALETROIT'S DOOR

SCENE: _The Maletroit Entrance-Hall_

[Diagram of Setting]

_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]

SCENE. _A baronial apartment in heavy polished stone. At the back a
large doorway hung with rich tapestry leads to a small chapel. At the
right are two doors also with tapestry. In the left back corner is a
huge fireplace carved with the arms of the Maletroits. At the left is
a large open window looking over the parapets of the castle. A heavy
table and a chair or two are all the furnishings_.

_Place: Chateau Landon.
Time: Fourteenth Century._

_Dramatis Personae_

_Blanche, orphan niece of Sire de Maletroit.
A Priest, chaplain to Sire de Maletroit.
Sire de Maletroit.
Denis de Beaulieu, a stranger._

_As the curtain rises Blanche is seen in the chapel kneeling as the
priest is finishing the chanting of the vesper service. At the close
she rises and walks toward the window, glancing hastily about to see
that no one is in the room. As soon as the priest has left she draws
from her breast a letter which she starts to read. She is soon
interrupted by the entrance of her uncle the Sire de Maletroit, whose
keen glance detects her hasty crumpling of the note which she has not
had time to conceal. He greets her jovially and starts to walk hand in
hand with her. Forcing open her hand, he finds the note, which he
reads in a bitterly sarcastic tone, while Blanche stands transfixed
with horror. It is a note asking her to leave the house door open at
midnight so that the writer may enter and exchange words with her on
the stairs. With cold sarcasm, ill concealing his rage, the Sire
forces from her the story that a young captain has met her in church
and given her the note. She denies that she knows his name, and the
most violent threats will not induce her to tell it. She is then sent
to her room to dress in sackcloth of repentance and told to prepare to
spend the night in the chapel._

THE SIRE DE MALETROIT'S DOOR

_Persons represented_

_The Sire de Maletroit.
Blanche de Maletroit, his niece.
Denis de Beaulieu, a young soldier.
A Priest._

SCENE. _Large apartment of stone. On each of the three sides of the
room, three doors curtained with tapestry. On left, beside the door a
window. Stone chimney-piece, carved with arms of the Maletroits.
Furniture, mainly consisting of table, and heavy chair beside
chimney._

_Place: Chateau Landon, France.
Time: September, 1429._

_Curtain rises showing an old gentleman in a fur tipped coat seated in
the heavy chair. The old man is mumbling to himself a sort of strange
murmur, smiling and nodding, as he sips a cup of wine. The room is
silent save for the muttering of the old man._

_Suddenly, from the direction of the arras covering the door to left,
a muffled sound begins to obtrude itself. This sound, at first vague,
then waxing more and more distinct, resolves itself into steps
cautiously mounting a flight of stairs. The steps, gradually less
vague, finally firm and assertive, reach the tapestried doorway. The
click of metal, probably that of a sword, accompanying the steps,
echoes in the hush of the room._

_The arras parts, and a young man blinking from dark into sudden
light, stumbles into the room. (As the tapestry closes behind the
youth, a dark passageway and shadowy flight of stairs beyond are
visible.)_

_Another pause ensues, during which the young man and the old man
continue to gaze at one another._

_"Pray step in," begins the old man; "I have been expecting you all
the evening."_

_The youth shivers slightly, hesitating for speech. Finally he manages
to answer...._

MISTRESS BEATRICE COPE