[The figures denote the number of the scenes in which the different locations are used. List every location or setting used in this scene plot. Be sparing in your use of interior scenes where exteriors will serve the purpose equally well. Interiors increase the cost of a production in time and expenditure for scenes.] Start a new page: “ACROSS THE GREAT DIVIDE” Scene 1. _New England farm-yard._ Carson with old-fashioned portmanteau on scene. Calls Mary, she appears, they embrace. He bids her good-by, telling her he is going West to make a home for her. She breaks down as he exits. Scene 2. _On a Chicago River wharf._ SUBTITLE: SIX WEEKS LATER. IN CHICAGO DESTITUTE. Carson dejected, clothes baggy, gazing into river. Dissolve into-- Scene 3. _Farm-yard, same as 1._ Mary stands alone. Wistful expression. Dissolve back to-- Scene 4. _Wharf, same as 2._ Carson still on wharf. Express despair. Brightens. Dissolve to-- Scene 5. _Attic room._ Carson, twelve years old, studying telegraphy, picking at instrument, following instructions in book. Mother enters and scolds, making him study school-books. Dissolve back to-- Scene 6. _Wharf; as in 2._ Carson goes off to follow up inspiration. [The subtitle is here inserted before Scene 2 to prepare the audience for the break in the action. While it says that Carson is destitute, the action of the scene carries the explanation still further. Don’t let your subtitle spoil the scene by telling too much. By dissolving the other scenes, that is, narrowing the lens so that they “fade” in and out, the audience knows that they represent Carson’s thoughts. An abrupt change of scene would mystify the audience. In practice the director may decide to use double exposure for these scenes, but it is best for the author to leave these special effects to the producer’s discretion.] Scene 7. _Exterior Western Union city office._ Carson comes out of office with long tickets in hand. Pauses to register, “Thank God!” and happiness. Exits. [To “register” means to convey a certain feeling to the audience. The long tickets let the spectator know that Carson is going a great distance, without the necessity of an abrupt subtitle stating the fact.] Scene 8. _Interior Rocky Mountain despatch-office._ SUBTITLE: SIX YEARS HAVE PASSED. Other telegrapher at instrument receiving message. Carson enters, with dinner-pail, to relieve him. Greetings, etc., other telegrapher exits. Carson reserved and thoughtful. Lights pipe, and settles in chair. Fade to-- Scene 9. _Farm-yard, same as 1._ Carson bidding Mary farewell. [The author desires to show us that, though he is far away in the wilderness, Carson’s thoughts are still true to Mary.] Scene 10. _Close-up of seat in moving day-coach._ Red finishes writing note. Handwriting to be irregular owing to train motion. FLASH--note: _Big haul on No. 5, first car. Fargo shipment. $300,000 yellowbacks, no guard except messenger. (Signed) Red._