The use of leaders, letters, and other inserts needs some treatment in connection with the scenario.  The ordinary statement-leader, such as “Two years later.  Bob returns to his old home,” is used before the scene to which it applies.  It shows the spectator the passage of time, and explains what is about to follow.  The ordinary, before-the-scene, leader, is frequently employed to make such a statement as, “Tom accuses his brother of having forged the check.”  But the other way of telling the audience what Tom does is the use of the cut-in leader—­of which more later.  This enables us to read Tom’s own words—­the distinguishing mark of the cut-in.

This very effective form of the leader takes its name from the fact that it cuts in, or is inserted into, the midst of a scene.  That the cut-in leader may tell all that is necessary much better than could a long statement of what is going on is evident because the direct words of a character are more effective than the same ideas expressed in the third person.

Another consideration is that using the cut-in and omitting the leader before the scene makes it possible to start the scene with action that does not at first disclose Tom’s intention.  Then when the proper moment arrives, the cut-in leader is flashed on the screen, and the result is that, instead of the spectator’s anticipating what is about to happen, he is likely to be as much taken by surprise as is the guilty brother.

After introducing the cut-in leader, write Back to scene, the same as after an inserted letter, telegram, newspaper item, or the like.

In what follows we give examples of proper scenario form, as well as examples of the way in which the leader, cut-in leader, letter, bust, and mask are used.

[Illustration:  View of Stage, Lubin Studio, Los Angeles, California]

[Illustration:  Wardrobe Room in a Photoplay Studio]

Leader—­TOM DISCOVERS HIS BROTHER’S CRIME

9—­Maxwell’s library, same as 4—­

Tom enters, followed by Ralph.  Tom goes straight to desk, opens it, and takes out envelope.  From it he takes Ralph’s letter and the check.  Glances over letter again, Ralph standing by, watching him with nervous expression.

On screen, letter.

     Dear Blakely: 

     I send you enclosed my father’s check to cover amount of my
     debt to you.  Kindly send receipt to me at old address.

     Yours,

     RALPH MAXWELL.

Back to scene.

Tom lays letter on desk and picks up check, looking at it closely.  Suddenly starts, frowns, glances at Ralph, and then looks intently at check again.  Opens drawer of desk and takes out reading-glass.  Holding check in left hand, he examines it closely through the glass.

10—­Bust of Tom’s left hand holding check, right hand grasping glass, focusing the glass upon the name signed to the check.  This shows that the name has been written in a very shaky hand.