your script.  There is a possibility, however, that the producer might use the author’s diagram as a guide in preparing that particular setting, should the photoplaywright send one similar to the one here reproduced.

The dotted lines show the dimensions of the enlarged stage for special very large sets.  Since the line E represents the background of this enlarged stage, it will be seen that it is almost twice as wide as the background for the interior setting here shown.  By “background” is meant the space on the diagram between B and D, not the “desert backing,” which, if the scene were taken inside the studio, would be simply a painted background, taking the place of the “drop” which would be used on the regular stage.  It will be noticed that, although there are a couple of steps leading to the veranda, there is only one post indicated on the diagram.  This, of course, is because a post at the other side of the steps is unnecessary, that point being “masked” by the piece of scenery representing the back wall of the room.  The open door shows a portion of the veranda railing and the post on the left of the steps.  As the scenario shows, Dean is carried up these steps, and into the bedroom on the left, after he has been thrown from his horse.  To the right of the door, and looking out upon the veranda, is a bay window, forming a window-seat.  Attention is called to the fact that what is so frequently called a “bay window” is, properly, a “bow window,” the three sides of a bay window being at right angles to each other.  The sideboard at the right of the stage is absolutely essential to the climax of the plot, though only half of it—­enough to show the upper left-hand drawer distinctly—­need appear in the picture.

CHAPTER XII

THE USE AND ABUSE OF LEADERS, LETTERS AND OTHER INSERTS

A full reel contains approximately one thousand feet of film.  The ordinary five-reel feature is therefore somewhat less than five thousand feet in length.  With far less stress laid upon the admonition to “Make your leaders and inserts brief” than formerly, the writer still must keep in mind the fact that the major portion of a five-thousand-foot film must be devoted to scenes—­to action which the spectator merely watches—­and that the inserts, of whatever nature, must never be allowed to crowd this action-part of the picture.

At the same time, any story with the average amount of plot-complication can be told—­the action-portion, that is, can be fully worked out—­in from 3,800 to slightly over 4,000 feet; which means that something less than one thousand feet of film may be, and frequently is, given up to the various inserts.