Chapter II: A Specimen Photoplay

THE EFFECTIVENESS OF TYPOGRAPHY; “THE SALT OF VENGEANCE,”--A SHORT PLAY DRAMA.

Typographical display in preparing manuscript will effect its immediate understandability. A careless and unintelligent display will require extra time and patience on the part of the reader to fathom its full significance. A careful and intelligent arrangement will enable the reader to grasp the full meaning of every detail on sight. The special features of the arrangement and display of type adhered to in the following play are: (1) Single-spacing body of Synopsis; (2) Underlining setting, or location, above the text of scene action; (3) Indenting scene text, single-spacing it and making it stand out as by putting double space before and after it; (4) All Captions and dialog typed in capital letters; (5) Using the red ribbon for all matter that is to appear intact on the screen; (6) Numbering Scenes and Captions in Arabic numerals and Inserts in Roman; (7) Indenting Close-Views double the distance of Scene indentation; (8) In case of more than one reel, numbering the scenes consecutively (1 to 100, etc.) but, after the first reel, putting in parenthesis the number of scenes it represents in current reel, as: Scene 48 (13), always referring back to the serial number on its reappearance. (The foregoing remarks are necessary since print-type gives only the effect without following the rules identically.)

HENRY ALBERT PHILLIPS,
New York City .... N. Y.

_THE SALT OF VENGEANCE._

A Short Play (One Reel) Drama
In 23 Interior and 17 Exterior Scenes.
By Henry Albert Phillips.

_Synopsis_:

The matter of a rotten bridge is brought to the attention of Donnelly, a penurious railroad president, by Dalton, a conscientious consulting engineer. Donnelly refuses to listen or heed the report. Dalton pleads, insists and finally is discharged.

Dalton does not tell his wife of his misfortune. Failing to get work after two months he is on the verge of a breakdown. His wife has learned the truth and sets out at once with their little boy, Arthur, to her father’s for aid. On the way home Dalton reads of the terrible train wreck at the very point he had condemned. Hardly able to think, he hurries home, finding a note from his wife saying that she and the child have taken--the train that was wrecked! More than half-crazed, Dalton hurries to the scene of the wreck.

Mrs. Donnelly, the sweet wife of the president, has learned of the wreck and hurries to the scene to offer aid. With her is her own lovable child, Florence. It is her car that carries the terribly maimed little Arthur to the hospital. The child’s leg is amputated.

Mrs. Donnelly has kept her identity secret, but continues to bestow every blessing in her power upon the stricken family. Dalton has gone completely mad. There seems but one influence under heaven that makes Arthur want to live, and brings intelligence and peace to Dalton--that is Florence. They worship the wonderful little girl.

Dalton’s insanity takes the form of a blind obsession. He seeks vengeance on Donnelly. He learns that Donnelly has an only child. He immediately sets to work and makes a terrible bomb. He then plans to telegraph for Mrs. Donnelly and her daughter and have the train wrecked and the child blown to atoms on the spot where his child was maimed.

Mrs. Donnelly and Florence are with Arthur when the telegram is brought by a servant, they just catch the fatal train. Meanwhile, Dalton has forcibly entered Donnelly’s office, tells him at the point of a gun what will happen in less than an hour and waits. In that hour Donnelly passes thru hell. When there is but twenty minutes left, Dalton espies the picture of Florence, realizes that she is the victim, his mind clears and the men hurry away on the almost hopeless task of rescue.

It is Dalton who arrives alone, half dead, just as the train looms up. They ignore his white signal and he heroically cuts his wrist and saturates the handkerchief with blood that warns the engineer of danger the last instant.

Dalton recovers; the men are reconciled; Dalton gets back his position; Donnelly mends his ways.

(NOTE: _Use another sheet of paper_.)

HENRY ALBERT PHILLIPS,
New York City .... N. Y.

_THE SALT OF VENGEANCE._

_Author’s Remarks_:

In the explosion scene, the supposed bridge that is blown up could be a set erected to look like portion of bridge showing thru trees. The question of color of the blood is solved by the Caption.

_Scene Plot_:

INTERIORS

Donnelly’s Office, 2, 4, 25, 27, 29, 31.
Ante-room, 3, 8, 10, 20, 24.
Dalton living-room, 5, 7, 9, 11, 13, 21, 28, 40.
Hospital, 19.
Telegraph office, 23.
Passenger coach, 35.
Engine cab, 38.

EXTERIORS

Beneath bridge, 1, 22.
Veranda, 6, 26.
City street, 12.
Field hospital, 15, 17.
Open field, 14, 16.
Near automobile, 18.
Railway station, 30.
Stretch of railroad, 32, 34, 39.
Another stretch, 33, 37.
On railway trestle, 36.

_Cast_:

CHARLES DALTON--Arthur’s father; consulting engineer; serious, nervous.

JOHN DONNELLY--Florence’s father; railroad president; brutal.

FLORENCE DONNELLY--(Ingenue) Sweet child with wonderful influence.

ARTHUR DALTON--(Juvenile) Injured in accident.

MRS. DALTON--Anxious type.

MRS. DONNELLY--Kindly.

Telegraph Clerk, Newsboy, Stenographer, Employe, two laborers, Engineer, Fireman, Guards, Doctors, Nurse.

(NOTE: _Use another sheet of paper._)

HENRY ALBERT PHILLIPS,
New York City .... N. Y.

_THE SALT OF VENGEANCE._

_Scenario_:

SCENE 1. BENEATH RICKETY RAILROAD BRIDGE.

_Dalton making notes; he directs one of two laborers to strike pier of bridge. He does so; there is a hail of debris; they all hurry out in alarm._

CAPTION 1. CONSULTING ENGINEER DALTON BRINGS MATTER OF ROTTEN BRIDGE BEFORE DONNELLY, PRESIDENT OF THE ROAD.

SCENE 2. PRESIDENT DONNELLY’S OFFICE.

_Donnelly bullying stenographer over an error. Boy enters; announces Dalton; Donnelly shakes head emphatically can’t see him; boy says it is urgent; Donnelly looks at him a second, then nods and turns belligerently to receive Dalton._

SCENE 3. ANTEROOM OF OFFICE.

_Dalton pacing determinedly and anxiously. Boy enters; nods; exit Dalton._

SCENE 4. SAME AS 2. OFFICE.

_Dalton advances and begins confidently. Donnelly stops him. Dalton amazed; walks to map and points out bridge. Donnelly angrily refuses to listen. Dalton turns; delivers eloquent tirade. Donnelly in rage rings bell; obsequious employe enters; he is told to put Dalton out and pay him off. Dalton speaks his mind before he goes._

Scene 5. DALTON LIVING-ROOM.

_Mrs. Dalton sewing a man’s shirt; kisses sleeve tenderly; turns in surprise and pleasure as Dalton enters; looks into his eyes; questions him anxiously; looks at clock. He pats her on shoulder and smiles, shaking head; asks for Arthur. They call and child runs in; Dalton takes him in his arms and makes plain his love._

SCENE 6. VERANDA, DONNELLY MANSION.

_Mrs. Donnelly reading to Florence; pauses occasionally to lavish affection; they register approach of motor. Mother sighs; child brightens. Car swings up; Donnelly alights; scolds chauffeur about tire; brushes maid who holds open door; scowls at wife who approaches yearningly; sees child and softens; takes her in his arms._

CAPTION 2. MRS. DALTON LEARNS THE TRUTH AFTER TWO MONTHS’ DECEPTION.

SCENE 7. SAME AS 5. LIVING-ROOM.

_Dalton leave-taking; marked change in his appearance which he tries to hide from wife. He looks at clock saying it is time he was at office; kisses her and child; exit. Mrs. Dalton looks after him, then turns resolutely to telephone._

SCENE 8. SAME AS 3. ANTEROOM OF OFFICE.

_Same boy as in 2 at switchboard; looks up name in book; same employe as in 4. Passes thru; pantomimes throwing person out bodily at boy’s question; boy shakes head emphatically and bangs up receiver._

SCENE 9. SAME AS 5. LIVING-ROOM.

_Mrs. Dalton staggering back from telephone; sinks into chair and takes Arthur tragically into her arms._

SCENE 10. ANOTHER OUTER OFFICE.

_Dalton pacing up and down; another man enters; men shake hands cordially; Dalton asks question; other points to empty desks; Dalton turns sadly away._

SCENE 11. SAME AS 5. LIVING-ROOM.

_Mrs. Dalton and Arthur dressed for journey; bag on table; she is finishing note; holds it up and reads_:

INSERT (I) LETTER. “FATHER WILL HELP US OUT, DEAR, AND I AM TAKING ARTHUR TO HOYTSVILLE WITH ME.”

SCENE 11. (CONTINUED.)

_She has Arthur kiss note; she kisses it, sticks it in the mirror; exeunt._

SCENE 12. CITY STREET.

_Dalton going along despondent; boy asks him to buy paper. Dalton brushes him away; boy insists, pointing excitedly to scare head. Dalton shows wild interest;_

INSERT (II) _News head_, TERRIBLE TRAIN WRECK. HOYTSVILLE LOCAL PLUNGES THRU FAULTY TRESTLE.

SCENE 12. (CONTINUED.)

_Dalton devours news; boy demands payment and he absently hands him coin; boy offers change, but he moves away, paying no attention._

SCENE 13. SAME AS 5. LIVING-ROOM.

_Enter Dalton still reading; pauses; realizes no one is there to welcome him; shrugs shoulders and sits down shaking his head; suddenly espies note in mirror; seizes it with a look of apprehension; reads, falling back in chair and clutching his hair; rises unsteadily; gropes his way out his face contorted in agony._

CAPTION 3. MRS. DONNELLY INCOGNITO OFFERS AID.

SCENE 14. STRETCH OF ROAD. (Train wreck and field hospital visible.)

_Crowd held back by guards, evidently railroad employes. Donnelly car drives on; Mrs. Donnelly orders car stopped and alights, inquiring the trouble; face convulsed in horror; asks guard to let her pass; he refuses; she shows pass; he takes off his hat and sends one of men with her._

SCENE 15. FIELD HOSPITAL NEAR SCENE OF WRECK.

_Mrs. Dalton on stretcher in foreground; she becomes conscious; cries for Arthur. But everyone seems to be working over form on cot a few feet away; a doctor steps aside; Mrs. Dalton screams and creeps toward them; falls, fainting as she clasps a limp little hand; Arthur is revealed to audience. Doctor turns to companion._

INSERT (III) DIALOG. “WE MUST OPERATE IMMEDIATELY!”

SCENE 15. (CONTINUED.)

_One doctor has opened case; stands scratching his head in despair; instrument missing._

SCENE 16. SAME AS 14. ROADWAY.

_Guards pushing back the curious. Dalton, now completely mad, enters hatless and wild-eyed; looks about till he sees people on beds; gives a cry and tries to pass; guard pushes him back. Dalton beats down guard murderously; rushes on._

SCENE 17. SAME AS 15, FIELD HOSPITAL.

_Mrs. Dalton on her knees sobbing before pallet. Doctor is telling Mrs. Donnelly of predicament; she instantly points to car; doctor calls his aid and instantly the cot is lifted and hurried away, Mrs. Donnelly supporting Mrs. Dalton from scene._

SCENE 18. VERY NEAR DONNELLY CAR.

_Florence standing alongside and looking painfully at what is approaching. Men enter with stretcher. They are halted this moment by appearance of Dalton who lifts cover from Arthur’s face and sobs like a child. The two women appear. A terrible look of frenzy comes into Dalton’s eyes; it gradually disappears as he feels Florence’s hand in his; she soothes him completely. Mrs. Dalton is helped into car that drives away. A buggy nearby is requisitioned; they all get in and exeunt._

CAPTION 4. FLORENCE BECOMES THE DALTONS’ ANGEL OF HAPPINESS.

SCENE 19. HOSPITAL PRIVATE ROOM.

_Arthur in bed; opens his eyes and speaks; nurse motions toward door; Mrs. Dalton enters; Arthur half turns away to mother’s great grief. Dalton enters listlessly; maniacal cunning in his eye; in turn, he is almost repulsed by Arthur. Florence enters with bouquet; tiptoes to downcast parents; her influence marked, especially on Dalton; she puts her arm round both of their necks and kisses them in turn. She moves to bedside; Arthur looks up and smiles immediately; she strokes the hand he puts out; kisses his cheek and moves away. Dalton now sobbing takes her in his arms, showing great affection. They all exeunt on tiptoe._

CAPTION 5. SEEKING TERRIBLE VENGEANCE DALTON LEARNS THAT DONNELLY TOO HAS A CHILD.

SCENE 20. SAME AS 3. ANTEROOM.

_Dalton conversing with boy to latter’s discomfiture; asks cunningly, pointing toward Donnelly’s private office, if he has children. Boy annoyed nods and indicates height of child. Dalton persists; finally boy writes Donnelly’s country home address on piece of paper; Dalton stows it away with vicious delight and sneaks out. Donnelly enters hurriedly; tells boy never to let Dalton in again._

CAPTION 6. THE MESSENGER OF DESTRUCTION AND ITS UNSUSPECTED VICTIMS.

SCENE 21. SAME AS 5. LIVING-ROOM.

_Arthur in reclining chair; crutches beside him. Dalton in corner working on obvious bomb with time clock connection; looks around crazily now and then, gathering the outfit in his arms when he thinks he hears someone coming. Mrs. Dalton pats him gently when he shows violence toward an unseen enemy. Enter Florence; Dalton is first to see her; takes her in his arms joyfully; changed at once. Florence plays with machine; he shows how it operates; imitates train; points to clock; then pantomimes big explosion. They have not heard Mrs. Donnelly enter; she comes forward and picks it up; but he is suspicious and will say no more. Mrs. Dalton draws her gently away; two shake their heads sadly; approach Arthur._

CAPTION 7. THE 4.29 TRAIN DOOMED!

SCENE 22. SIMILAR TO 1. BENEATH RAILROAD BRIDGE.

_Dalton’s face slowly emerges from bushes; now hideously maniacal; opens valise and hurriedly arranges mechanism of bomb; clock in plain view; connects wires already strung; hears a noise and crawls away grinning fiendishly._

SCENE 23. TELEGRAPH OFFICE.

_Dalton enters; takes folded telegram from pocket; hands it to clerk who opens and reads_:

INSERT (IV). MRS. JOHN DONNELLY, MANORVIEW.

YOUR HUSBAND INJURED--COME AND BRING CHILD--WILL MEET YOU ON TRAIN LEAVING 4.29.

DR. SAVAGE.

SCENE 23. (CONTINUED.)

_Clerk looks up skeptically; points to signature; he nods with a frown; he pays and hurries out._

SCENE 24. SAME AS 3, ANTEROOM.

_Boy reading; registers bell; shakes his fist at it; reluctantly shuffles thru door other than that marked “President.” Enter Dalton cautiously; hurries to and thru president’s door; boy returns; puzzled at finding no one; resumes reading._

SCENE 25. SAME AS 2. DONNELLY’S OFFICE.

_Enter Dalton, softly locking door; Donnelly alone at desk; does not look up; Dalton throws key thru window as Donnelly looks up; covers him with revolver as he rises angrily; Donnelly startled at something he sees in Dalton’s eyes, sits down; reaches for button; Dalton stops him and makes him move chair from desk; places two photographs in his hand; he glowers at them._

INSERT (V) CLOSE-VIEW PHOTOGRAPHS.

_One showing little Arthur smiling and healthy. Other of him emaciated; face disfigured; on crutches, with but one leg._

SCENE 25. (CONTINUED.)

_Dalton now convulsed with madness has taken rope from pocket; springs on Donnelly; there is an uncertain struggle in process as scene fades._

SCENE 26. SAME AS 6. VERANDA.

_Maid returning telegram to messenger and urging him to follow disappearing auto; he rides away as fast as he can._

SCENE 27. SAME AS 2. OFFICE.

_Dalton sits facing Donnelly whom he has bound and gagged; both men with clothes half torn off. Dalton approaches pointing to photographs; tries to speak; breaks down and weeps like a child. Donnelly merely indifferent and defiant. Dalton pantomimes tragically the whole story; beats his breast, points accusingly at Donnelly; raises his clenched fists as tho to brain him; then remembers and smiles crazily; whispers behind his hand_:

INSERT (VI) DIALOG. “IN 50 MINUTES YOUR CHILD WILL BE ON THE SCRAP-HEAP, TOO!”

SCENE 27. (CONTINUED.)

_Instant change in Donnelly who rises horror-struck; searches the maniac’s face with terrible anxiety. Dalton begins to laugh exultantly._

SCENE 28. SAME AS 5. LIVING-ROOM.

_Mrs. Donnelly has just entered with Florence with packages which they put on table before Arthur; it is a big iced cake and delicacies; Florence claps her hands and kisses boy; Mrs. Dalton admiring. Messenger interrupts; at first too exhausted to speak; Mrs. Donnelly takes telegram; nods; tears it open; half faints; hands it to Mrs. Dalton who is amazed at her identity. She comforts Mrs. Donnelly, who seizes Florence; hurries out. Florence kissing flower Arthur has given her._

SCENE 29. SAME AS 2. OFFICE.

_Shocking change in Donnelly; hair almost white; jaw sagging as he slumps in seat. Dalton points malignantly to time with gun; gives way to terrible memory. Donnelly now turns supplicatingly; pleads; weeps. Dalton laughs tauntingly. Donnelly makes a furious but futile effort; curses gnashes his teeth; tries to cry out. Dalton springs to door menacing it with gun._

SCENE 30. RAILROAD STATION.

_Mrs. Donnelly and Florence anxiously clamber aboard train._

SCENE 31. SAME AS 2. OFFICE.

_Donnelly now exhausted and still more terribly changed; hair matted on brow; all arrogance burnt out of him; brutality gone. Dalton now walking about room in a ferment; suddenly pauses before a photograph of Florence on bookcase; pleasure comes in his eyes; he kisses it. Suddenly he springs back; pain in his eyes; a shudder passing over him. Horror in his eyes as he extends portrait toward Donnelly._

INSERT (VII). CLOSE-VIEW PHOTOGRAPH of Florence; Dalton’s twitching thumb grasping it.

SCENE 31. (CONTINUED.)

_Dalton’s face has lost its madness and has become like Donnelly’s; he approaches Donnelly, his gun falling to the floor; he tries to speak; Donnelly nods; like a flash he unties Donnelly; the two men look into each other’s face an instant; then grasp each other’s hand, making it plain that they forgive; they rush to the door which they tear and break down after desperate effort._

SCENE 32. STRETCH OF RAILROAD.

_Train speeding along._

SCENE 33. STRETCH OF RAILROAD WITH HIGHWAY ALONGSIDE.

(_Be sure to have auto moving toward train._) _Follow swaying, madly-driven car containing Donnelly and Dalton. Obvious explosion of tire; auto stops; both spring out in dismay. Show futility; rush despairingly to track; suddenly Dalton points ahead with a glad cry; a hand car is on a siding close by; laborer tries to stop them from seizing car and is thrown down the embankment; they propel it away._

SCENE 34. STRAIGHTAWAY STRETCH OF RAILWAY.

(_Following car._) _Both men working in half exhaustion; suddenly Donnelly collapses and pitches off the side of the car. Dalton tries in vain to push car alone up steep incline; seeing the futility he too drops off exhausted; is up again and runs on._

SCENE 35. INTERIOR OF PASSENGER COACH.

_Florence and Mrs. Donnelly in foreground; Florence seeing her mother weeping asks her to kiss the flower Arthur gave her; both smile._

SCENE 36. STRETCH OF RAILWAY TRESTLE.

_Dalton making his way groggily over it in dangerous manner; looks down once while resting and draws away in horror, realizing that dynamite is there; glances at watch; registers the singing of the rails; hurries on in terror._

CAPTION 9. DALTON SEVERS HIS WRIST TO MAKE THE BLOOD-RED DANGER SIGNAL.

SCENE 37. CURVE OF RAILROAD.

_Dalton has fallen at last between the tracks; structure (artificial) of bridge may be seen several hundred feet behind; train plainly in sight bearing down on him. He has been waving his handkerchief weakly with no effect; shakes his head and with frantic weakness gets out his knife; severs his wrist; presses handkerchief._

SCENE 38. ENGINE CAB.

_Cab swaying; fireman leans over frantically signalling to engineer to down brakes; engineer pulls throttle back and both jump down._

SCENE 39. SAME AS 37. RAILROAD.

_Dalton, his arm still raised waveringly; streams of blood running down it; he collapses. Mrs. Donnelly and Florence among first passengers to appear. Doctor comes forward and tourniquets arm. They are all startled by tremendous explosion that sends debris up in a cloud; supposed bridge collapses. All turn thankfully to Dalton._

CAPTION 9. THE BALM OF VENGEANCE.

SCENE 40. SAME AS 5. LIVING ROOM.

_Dalton sleeping in chair, his arm, in bandage; Florence enters; signals someone; Donnelly enters tenderly carrying Arthur; Dalton opens his eyes; sees Donnelly caressing his boy; Donnelly turns; they look at each other and smile; Florence takes her father’s hand and puts it into Dalton’s._ (_Fade._)

THE END.

GLOSSARY

_To listen continually to words you do not understand, is Ignorance; to use words persistently and inaccurately, is Pedantry; to essay the Business of Expression and not study the significance of its terminology, is Dabbling._

THE MOST-USED TERMS DEFINED WITH MANY SUGGESTIONS FOR REVISION AND ALTERNATIVE TERMS.

It was but natural that photoplaydom should be all cluttered up with the crude material from the workshop where it first saw the light of the screen--the Studio-Factory. The Photoplay, step by step, was manufactured. Ideas, pictures, crude plays and even playwrights were manufactured! Let the factory have its own terminology, but do not cripple technique with it. That day has past forever, but we have many of the relics still remaining, most noticeable are those to be found among the terms applied to the technique of the photodrama. They all smack of the factory. There was never a question of literary quality, value or significance. Many of them are unique in their homely appropriateness and should remain. Others are ridiculous and should be changed. Among the latter are terms that are without reason, and which are used with different significance in different studios. There should be a dignified standard of universal usage and recognition. With this aim in view, several suggestions are offered.

_Action_--Specific act of a character; the Scenario; the combined elements that compose a drama.

_Business_--The playwright’s instructions to the actor to perform the expressive acts that transform him into a character.

_Bust_--(Meaningless, misleading.) See CLOSE-VIEW.

_Caption_--The interpretive reading line preceding a Scene, or Sequence, that explains, excites interest and indicates passage of time.

_Close-Up_--(Unliterary; confusing because of both verbal and adverbal use.) See CLOSE-VIEW.

_Climax_--The supreme moment in the play; the end toward which all elements tend in the Plot.

_Cut-Back_--(Really instruction in manufacturing to cut film and go back; misleading to playwright who goes only forward.) See RETURN.

_Censor_--Person employed by National or Local Board of Censorship to criticize plays with a view to their moral influence.

_Chase_--An inartistic device in which many scenes are consumed in showing the pursuit of one or more characters by others, and their perilous or ludicrous difficulties.

_Close-View_--The isolated, microscopic or magnified close view of some important fragment of action or essential piece of evidence or reading matter.

_Co-Incidence_--A chance incident, meeting or discovery that conveniently helps out the plot and is obviously unconvincing to the audience.

_Crisis_--The instant that follows the “planting” of a Situation and precedes the Solution; the turning-point when something must happen.

_Characters_--What the actors should become in the eyes of the audience.

_Cast_--The list of names, parts and required characteristics of the characters (in some cases includes names of actors taking the parts).

_Dissolve_--To dissolve one scene or character gradually into another.

_Director_--The person or persons who translate the playwright’s manuscript into action, setting and effects by directing the production of the play, which is simultaneously photographed.

_Discover_--Means to find a character already upon a scene when it is thrown upon the screen: “Douglas discovered at window.”

_Denouement_--That part of the Plot left after the Climax; the part of the play following the culmination, when “just deserts” are meted out as a result of the foregoing action.

_Dynamic_--The visible exercise of force, violence and physical effects, as opposed to visualized emotion.

_Enter_--Said of a character as he enters a scene: “Enter Douglas.”

_Exit_--(Plural EXEUNT.) Said of a character as he leaves a scene: “Exit Douglas.”

_Establish_--To make certain the relationship of a character with other characters and with his surroundings, or to make known his identity.

_Episode_--An isolated incident not bearing upon the climax which has no place in the Play.

_Editor_--Person who reads manuscripts to determine their availability, and possibly edits, revises and rebuilds promising manuscripts to practicability.

_Exterior_--A scene laid actually or presumably in the open-air.

_Film_--The celluloid strip upon which the photographs are to be--or have been--portrayed. (FILM as a verb seems almost eligible because of usage.)

_Fade_--To cause a scene to fade gradually into blackness.

_Flash_--(Variously used by different Companies.) Accurately, when referring to a scene fragment that is flashed for a second on the screen.

_Farce_--Extravagant Comedy.

_Harmony_--The perfect agreement, consistency and balance of all the parts with the whole in a complete, artistic and gratifying effect.

_Insert_--Any matter that breaks the continuity of a scene; printed matter, letters, inscriptions, captions, dialog, close-views, visions and devices other than action.

_Interior_--A scene laid under the roof and within the four walls of any structure.

_Jump_--A gap, not merely in the continuity, but in the progressive action of the Play.

_Leader_--(Prominent editorial in a newspaper.) See CAPTION.

_Lead_--One of the “star” actors having the leading part in a Play.

_Locale_--The combined Settings for the main theme of the Play, including Atmosphere.

_Long Play_--A Play occupying more than one Reel.

_Multiple Reel_--(See LONG PLAY.)

_Manuscript_--The written form of the playwright, containing Synopsis, Cast, Scene-Plot, Remarks and Scenario.

_Pantomime_--Sign language and inter-communication between characters.

_Punch_--An effective Climax; the effect upon the audience of the Climax.

_Plot_--The organized dramatic material upon which the Play is elaborated.

_Properties_--All articles necessary for the effective staging of a play.

_Reel_--1,000 feet of film; length of a Short Play; the spool upon which the film is wound.

_Register_--The method of visualizing sounds by showing the reflex action of recipient.

_Release_--To place a Play upon the market; the Play so released.

_Screen_--The framed surface upon which the Play is projected; the act of projecting.

_Spectacle_--A Scene or Play or series showing daring deeds, gorgeous settings or dynamic force or numbers; not necessarily dramatic.

_Set_--Specific Scene artificially constructed.

_Short Play_--A one-reel, one-part Play; comparable to the Short Story, or One-act Play.

_Setting_--The scenic environment in which the action takes place.

_Scenario_--The Action of a Play laid out in progressive Scenes with appropriate Business.

_Synopsis_--A condensed version of the play in story form and present tense.

_Script_--(Slang, by which nothing is gained but ill-repute.) See MANUSCRIPT.

_Sequence_--Logical order of succession of events; a connected series of incidents.

_Serio-Comic_--Comedy written in vein of seriousness that makes it ridiculous.

_Split Reel_--A subject, or Play, occupying less than one reel.

_Scene_--All the Action in one Setting taken without moving or stopping the camera; a Scene broken by any form of Insert is “continued,” technically unbroken after the interruption.

_Stage_--The Cinema stage never exceeds in limits the range of the camera.

_Sub-Title_--(A secondary title, as: “St. Valentine’s Day, or The Fair Maid of Perth,” “The Fair Maid of Perth” being the sub-title to “St. Valentine’s Day.”) See CAPTION.

_Title_--The name by which the Play is called and known.

_Technique_--The science of giving established and effective photoplay form to the dramatic Plot.

_Theme_--The main line of Plot development; the subject-idea of the Play.

_Tint_--To color the scene to represent moonlight, lamplight, firelight.

_Unity_--The agreement and appropriateness of the elements that constitute a Play.

_Visualize_--To interpret the playwright’s ideas in such a way that the audience will see and understand them.

_Vision_--The screening of some remembered or contemplated action bearing on the play that is passing thru the mind of a character; picturing a dream.

_OTHER VOLUMES IN_

THE AUTHORS’ HAND-BOOK SERIES

THE PLOT _of the_ SHORT STORY

BY

HENRY ALBERT PHILLIPS

Author of “A Complete Course in Short Story Writing,” “A Complete Course in Photoplay Writing,” “A Complete Course in Plot Construction,” “Art in Short Story Narration,” “The Photodrama,” and formerly Associate Editor of the “Metropolitan Magazine.”

Introduction by Matthew White, Jr., Editor of “Munsey’s”

_The only serious work on Plot Sources, Construction and Analysis there is; just as valuable to Photoplaywright as to Fiction Writer._

“We think the Photoplaywright will find many helpful hints in ‘The Plot of the Short Story.’ Those who are building up their working library will find this book a welcome addition. Mr. Phillips proves himself a teacher as well as an author.”--EPES WINTHROP SARGENT in _The Moving Picture World_.

“‘The Plot of the Short Story’ will prove invaluable to the Photoplaywright. Originality and treatment of plot are the essence of the successful picture play, and Mr. Phillips points out very clearly how these plots may be obtained.”--PHIL LANG, Editor of the _Kalem Company_.

“The most practical hand-book for Photoplaywrights ever written.”--E. V. BREWSTER, Editor _Motion Picture Magazine_.

“It is certainly a fine little work!”--ARTHUR LEEDS, Editor _Photoplay Author_.

“It is the best thing of the kind that has come my way.”--MODESTE HANNIS JORDAN, Editor _Writer’s Bulletin_.

“This hand-book may be regarded as the best thing of its kind extant.”--_North Carolina Education._

“It is an excellent thing excellently done.”--JACK LONDON.

A Thousand Other Testimonials!

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Book Department Larchmont, New York, U. S. A.

_The Most Noteworthy Auxiliary That the Writer’s Workshop Has Ever Known!_

THE PHILLIPS AUTOMATIC

PLOT COLLECTOR, FILE AND CATALOG

Elastic and limitless in Scope and Capacity. Will hold more than 10,000 uniform items of Plot Material. Designed for Plot Material, Plot Germs and Complete Plots in the form of Notes, Items, Newspaper Clippings, Excerpts, References, Statistics, etc. Five hundred specially made Receptacles, in handsome, serviceable filing cases. More than 1,000 headings and sub-headings under which Plot matter is catalogued. All divisions are logical, progressive and comprehensive. The most infinitesimal phase of fiction can be located, filed or produced instantly. Each receptacle is numbered with “Contents” plainly printed upon it. Progressively indexed under seven grand divisions:

I.--THE HEART OF MAN--Man’s Relations with Woman and Family.

II.--THE AMBITION OF MAN--Man’s Relations with His People and Fellow Man.

III.--THE FLESH OF MAN--Man’s Relations with the Devil and Death.

IV.--THE SOUL OF MAN--Man’s Relations with His God and Religion.

V.--THE MIND OF MAN--Man’s Interpretation of the Unreal and Realization of the Unknown.

VI.--NOT-MAN--The Personification of the Elements, Nature and Animals.

VII.--HUMOR--Man Under the Spell of the Ludicrous.

A Stupendous Work That Has Taken Years of Its Author’s Time. A Positive Inspiration That Creates Plot Material from Every Phenomena of Life, Eliminates All Bungling, Untidy and Haphazard Methods of Gathering Plots. Will last a Lifetime, Keeping Material Under Double Covers in Original State. It Will Save Hours of Time and Days of Wasted Effort.

PLOT COLLECTOR, FILE AND CATALOG

(Invented and Copyrighted by Henry Albert Phillips)

Sent Prepaid Anywhere in the Postal Union for

_FIVE DOLLARS_

SOLE DISTRIBUTORS:
STANHOPE-DODGE
Book Department Larchmont, New York, U. S. A.

_OTHER VOLUMES_

THE AUTHORS’ HAND-BOOK SERIES

Art in Short Story Narration

A Searching Analysis of the Qualifications of Fiction in General and of the Short Story in Particular, with Copious Examples, Making the Work

_A PRACTICAL TREATISE_
=By Henry Albert Phillips= ∴ ∴ =Introduction by Rex Beach=

“Have read the book with continued interest.”--BRANDER MATTHEWS.

“The book is admirable; as a series of sermons illustrative of the canon of literary good taste it is faultless.”--_Toronto Mail and Empire._

“Teachers will find much in Mr. Phillips’ book that will help them.”--_America._

“You have treated your subject with great justice and discernment.”--ANTHONY HOPE HAWKINS.

“I find it full of suggestions.”--W. J. LOCKE.

“‘Art in Short Story Narration’ is a wonder book. A constant source of enthusiasm. It answers all the vital questions so perplexing to the beginner.”--NELLE JACKMAN.

_Price Postpaid, $1.20_

_IN PREPARATION_

The Mechanics of Fiction

=By the same Author.= ∴ =Introduction by a Famous Literary
Critic=
_Price Postpaid, $1.20_

Glimpses of the Unusual Around the World

By HOWARD S. F. RANDOLPH

Written in a trenchant, intimate style that brings the most remote and interesting corners of the whole world to the reader’s armchair. The odd byways of the earth are visualized microscopically. The author truly takes you with him!

_Illustrated by 68 of the most superb photographs that ever appeared in any book. Price Postpaid, $1.00._

COMBINATION PRICES: “Plot,” “Narration” and “Mechanics” and “Glimpses,” $4.00; 3 of the above, $3.15; 2 for $2.10.

“The Short Story Market” or “The Photoplay Market,” each 10 cents.

“List of 500 Books of Interest to the Literary Craft,” 10 cents.

_Note--Add 10 cents for collection of all out of New York checks._

THE STANHOPE-DODGE PUBLISHING CO.,
Book Department Larchmont, New York, U. S. A.

Transcriber's Notes:

Italics are shown thus: _sloping_.

Bold type is shown thus: =strong=.

Variations in spelling and hyphenation are retained.

Perceived typographical errors have been changed.