but that functionary rarely
makes additions or cuts unless he works an improvement.

The writer sends the scene-plot along so that, in case no drastic
changes are necessary, the director may have all ready his list of
scenes arranged in proper chronological order. From these he will
prepare his regular scene-plot diagram, which the carpenters and
mechanics will use in building the scenery, and by which the stage
hands and property men will be guided in setting the scenes and
placing the furniture and other "props."

_2. The Scene-Plot Explained_

Let us now explain the difference between the _only kind of scene-plot
with which the photoplaywright is concerned_ and that which the
director means when he uses the same term.

Practically all directors have had experience as theatrical producers,
or stage directors, or stage managers, before entering the
moving-picture field. What is known as a scene-plot in regular
theatrical work is a list of the various scenes, or sets, showing
where the different "hanging pieces" (drops, cut-drops, fog drops,
foliage, fancy, kitchen, or other borders) are hung, and how all the
various pieces of scenery that are handled on the floor of the stage,
as wood and rock wings, "set" pieces, "flats," and "runs," are to be
arranged or set. Almost every stage carpenter has, in addition to
this list, a supply of printed diagrams showing the exact position on
the stage of everything handled by the "grips," or scene-shifters, as
well as the proper arrangement on the set of the furniture and larger
props. Both the list and the diagram are usually printed on one sheet,
and this, known as the scene-plot, is sent ahead to the stage managers
of the theatres in the next towns to be played. At the same time, a
"property plot," being simply a list, act by act, of the various props
not carried by the company, is sent to the property man of the house.

Now, the principal difference between the regular and the
moving-picture stage is that, in making photoplays, _natural_
exteriors are used, in almost every case. Consequently, landscape and
other exterior drops are almost unknown in moving-picture work. As
actual drops they _are_ unknown; when such painted backgrounds are
used, they are usually painted on canvas or a sort of heavy cardboard,
which is stretched over or tacked to a solid framework. So that even
in making out his working scene-plot diagram, a director finds that
there are many technical term