SCENARIO:  Correctly applied only to that part of the photoplay manuscript which describes the development of the plot, scene by scene and situation by situation; the complete story is swiftly outlined in the synopsis, but in the scenario it is told—­that is, worked out—­in action.  The continuity of action; often called “the continuity.”

SCENE:  A scene is so much of the action of a photoplay as is taken in one place at one time without stopping the camera.  The instant that there is need to stop the camera, to change grouping, break the progress of the action, introduce or take away characters, or change costumes, that scene is terminated, and with the new start a new scene is begun.

SCENE-PLOT:  That part of the photoplay script which lists the scenes and shows the producer at a glance exactly what different sets are required to stage the picture, and how many different scenes may be done in each separate set.

SCRIPT:  The typewritten copy of the completed photoplay.  A complete script is composed of three parts:  Synopsis, Cast of Characters, and Scenario, or Continuity—­and sometimes a fourth part, called the Scene-Plot.

SERIAL:  A photoplay serial, as the name implies, is a film totaling, say, 30,000 feet in length, and divided into fifteen “episodes,” each episode being made up of two reels, or parts—­2,000 feet of film.  The production covers one long, continued story, each episode planned to end with a thrilling climax, with a “To be continued in our next,” so to speak, tail-piece.  The climax comes only at the end of each episode (as the two parts released each week, taken in conjunction, are termed).  Incidentally, it should be borne in mind that, in all up-to-date picture theatres, two projecting machines are employed, so that no “break” occurs in the showing of any picture.  For this reason, “feature” subjects do not necessarily have any special climax at the end of each reel, and, to repeat, serial photoplays have the grand, forward-looking climax only at the end of each episode.

SET:  When a room, hotel lobby, or other interior setting is required, it is usually built in the studio, or in the open air near by, and is called a “set.”

SETTING:  The setting is the scenic environment of the action.  Whether indoors or out, the surroundings, properties, furniture, buildings, and, in short, all that comes within the view of the camera, is the “setting” for that particular scene.

SITUATION:  A state of affairs in which certain characters sustain such relations to each other that an important change might and almost must grow out of the relationship.  In other words, a “situation” is a state of affairs full of dramatic possibilities.  When a single character is confronted by the necessity for an important decision, whether of morals or of physical action, we also have a “situation.”

SPLIT REEL:  See Reel.