_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
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Introduction by Matthew White, Jr., Editor of “Munsey’s”
_The only serious work on Plot Sources, Construction and Analysis there
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“The most practical hand-book for Photoplaywrights ever written.”--E.
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_OTHER VOLUMES_
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Art in Short Story Narration
A Searching Analysis of the Qualifications of Fiction in General and of
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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.