General of the German army
Infantry officer
Gendarme

_Produced by the Vitagraph Company of America_

THE SOPHOMORE'S SURPRISE

by

X Y Z

TED CARSON President of the Freshman class at
College; twenty, blonde, bright,
athletic, full of gay spirits.

FAY NORTON The college co-ed beauty, inclined
to love Ted, who loves her.

NITA CARSON Ted's twin sister; a freshman
co-ed, in love with Hal Coates.

HAL COATES President of the Sophomore class;
twenty-four, dark; athletic rival of
Ted, whom he looks down upon.
A college leader; lover of Nita.

DAN WILLIS Ted's chum; a slim and mischievous
Freshman.

"BUCK" SLAGLE Hal's chum; an unprincipled Sophomore.

DEAN HALL A nervous professor; comedy character.

POLICEMAN In 16, 17 and 18.

STUDENTS Throughout.

WAITERS In 16, 17 and 18.

CO-EDS In 4, 6, 7, 10, 13 and 17.

CHAPTER X

THE SCENARIO OR CONTINUITY

The first step in the preparation of the scenario--or continuity of
scenes--is not a step at all--it is a state of mind: the mood of
visualization.

_1. The Picture Eye_

No matter how easy it may be for you to write a clear, brief and
interesting synopsis of your story, nor how successful you may be in
drawing up your cast of characters, you will fail in producing the
right kind of scenario to accompany them until you acquire or
cultivate the picturing eye. To possess it is simply to be able to
visualize your story as you write it--yes, even before you write it.
You must not only write that "Hal Murdoch steals his employer's
letter-book so as to find out some important facts," but you must
yourself first _see_ him do it, just as you expect to see it on the
screen. On the regular stage, the "business" of the actors--important
as it is--is nevertheless of secondary consideration; dialogue comes
first. On the photoplay stage it is just the reverse--at all times it
is action that is of primary importance. It is what your characters do
that counts. Leaders, letters, and other inserts help to make clear
what you are trying to convey to the audience, but for a proper
understanding and interpretation of your plot the spectators depend
upon what they see the characters do; so how can you expect the
editor, the producer, or the spectator, to "see" your plot
understandingly