Pierre, a French Canadian trapper....... 
Baptiste, his brother................... 
Duncan McLain, a trapper................ 
Mary McKenzie, the factor’s daughter.... 
John McKenzie, the factor............... 
Mail Carrier............................ 
Half Breed..............................

Produced by the Selig Polyscope Company

THE OLD MUSICIAN

by

W.A.  Tremayne

Francois Vian, an old musician
Pierre le Noir, his neighbor
Oscar Muhlbach, a German spy
Bertha le Noir, Pierre’s sister
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