ra is only moved enough to take in a new "stage" three or four
feet to either side of that shown in the last scene.

The word "scene" seems to be a stumbling block for some beginners.
Take for example the setting showing the bedroom in the ranch house,
as listed in the scene-plot of "Without Reward," and given in this
chapter. In doing the five scenes that take place in that room, Scene
4 would be taken, the camera would be stopped, and, in some studios, a
large white card with the figure "9" painted on it in black would be
held a few feet in front of the lens. About a foot of film would then
be exposed, which would thus register the number _of the next scene_
to be taken in the same set.[21] Then Scene 9 would be done. This
scene being ended, the numbering-of-the-scene process would be
repeated, the next scene being number 17. Then, in turn, would come
scenes 28 and 30--or, rather, although listed on the scene-plot as two
scenes, 28 and 30 would really be photographed as one unbroken scene,
for, as a glance at the scene-plot will show, Scene 29 is a bust
scene, which means that the film would be cut at the proper place
after the scene had been taken, thus dividing it into two scenes,
separated by Scene 29 in the finished photoplay.

[Footnote 21: Different studios have different methods for recording
the number of the next scene to be taken. Some use the numbered card
system--as explained in the body of the text--in which a stand, or
tripod, having a rack on top with cards numbered from 1 to 50, and
other cards marked "Retake," etc., is placed on the working line
between each scene. In other studios the film itself is marked with
the number of the scene, just as one writes the name of a picture on
the film when using an "Autographic Kodak" camera.]

[Illustration: The Reception of King Robert of Sicily by His Brother,
the Pope--a Historical Photoplay Produced in the Essanay Studio,
Chicago]

[Illustration: Same Set, with Players Getting Ready for Action. The
Three Poplar Trees are Real, while the Rest of the Background is a
Painted Drop]

Now, since Scene 30 is the last to be taken in the bedroom setting,
let us suppose that the setting showing the interior of the sheriff's
office is standing on the studio floor right next to the bedroom set.
The camera is merely shifted over and set up as required to take the
two scenes (24 and 26) done successively in that set, and the same
process is gone through that was foll