American Cinematographer - December 1940 - 16

DRAMATIC SCENARIO FOR
LOW KEY LIGHTING
By CLAUDE W. CADARETTE
FADE IN
Main Title, "A Mother's Ordeal."
Sub-Title, Cast.
The Mother
The Son
Detective
----
Sub-Title
Directed by
Camera
FADE OUT
FADE IN (Sequence No. I).
Scene 1-Exterior of an old farmhouse,
with chickens or other livestock in fore¬
ground. An old lady enters from right
with pail in her hand. She places the
pail on the porch and faces toward cam¬
era.
Scene 2-Closeup. Three quarter view
of face of the mother as she wipes her
face with her apron. She appears tired
and worn.
Scene 3-Medium shot. The mother
turns and enters the door.
Scene 4-(Interior of farmhouse. The
furnishings are crude, but the appearance
reflects neatness. A table with a kero¬
sene lamp on it is in the center of the
room. A checkered red and white cloth
or oil cloth can be used. A picture of a
young man and a Bible are also on the
table. A tall cupboard can be seen on
a side wall. Any cabinet that is large
enough to enable a man to enter it is
suitable. An old fashioned rocking chair
is by the table).
The mother enters the room, which is
seemingly lighted from the kerosene
lamp, and sits in the chair. She takes the
Bible from the table.
Scene 5-Semi-closeup. The mother
picks up the boy's picture and faintly
smiles, then replaces the picture and
opens the Bible to read.
FADE OUT
FADE IN (Sequence No. II).
Scene 1-The man is seen running
down a dark alley-way carrying a small
suitcase. He intermittently pauses be¬
hind a post or pile of boxes as though
he is pursued. He emerges from a shad¬
owed place and runs toward the camera.
At a closeup position he pauses and we
recognize him as the same boy as in the
picture at the farmhouse. He is excited
and appears frightened. As he leaves the
camera, two figures in the distance are
seen running in pursuit of the boy.
Scene 2-Long shot. (Exterior of
farmhouse.) A figure is seen running to
the farmhouse and on the porch. He
pounds on the door.
544

December, 1940 *

Scene 3-Medium shot. The mother
looks up from her Bible toward the
door.
Scene 4-Semi-medium shot. The
mother opens the door and the boy
enters, very excited. He closes the door
and bolts it. The mother is happy, but
senses something is wrong. She attempts
to kiss the boy, but he steps to the table
and places the suitcase on it. The cover
of the case falls open, and papers that
appear to be bonds and wrapped cur¬
rency fall across the table. The boy hur¬
ries to try to hide this sight from his
mother, but she picks up some of the
packages and looks to her son for an
answer to this.
Scene 5-The mother and boy are
seated at the table talking earnestly to
each other.
Scene 6-Cut a series of facial closeups
of each character back and forth to
catch the serious expressions on the faces
as the boy explains he has robbed a
bank.
Scene 7-Long shot. The mother stands
up grief-stricken and assumes an atti¬
tude of prayer. The boy holds his head
in his hands.
Scene 8-Closeup. The mother is pray¬
ing as she looks up. Suddenly she looks
toward the door.
Scene 9-Exterior-medium shot. Two
men on the porch are knocking on the
door.
Scene 10-Interior. The mother and
son look toward the door. Suddenly she
opens the door to the cupboard and
pushes her son into the cabinet. She then
goes to the door and opens it. The
two men enter, showing their detective
badges. They see the money on the
table and the boy's picture.
Scene 11-Semi-closeup. The detective
asks the mother where the boy is hiding,
pointing to the picture.

Tri-City Cinema Club
The Tri-City Cinema Club (Davenport,
Rock Island, Moline) held its regular
meeting November 7 in Rock Island.
There was a fifteen-minute talk and
question and answer by R. Fawn Mit¬
chell of the Victor Animatograph Com¬
pany of Davenport. Dr. James Dunn of
Davenport showed a thousand feet of
Kodachrome covering a route from Holly¬
wood to San Francisco.
In the annual contest award for June
the footage has been increased from 100
to 200 feet for 16mm. and from 50 to 100
feet for 8mm.

AMERICAN CINEMATOGRAPHER

Scene 12--Long shot. The two detec¬
tives are questioning the mother and
looking over the bonds. One detective
draws his gun and aims it at the cab¬
inet door. The mother runs to the cab¬
inet and stands in front of the door, im¬
ploring him not to shoot.
Scene 13-Closeup of detectives telling
the mother to step aside.
Scene 14-Closeup of the mother, very
distraught, pleading for mercy and not
to shoot. Her face then changes as she
realizes the crime her son has committed
and she assumes a determined attitude.
Scene 15-Long shot. The mother
walks to the detective and takes the
gun from his hand, and turns toward
the cabinet door.
Scene 16-'Closeup. The mother is
murmuring a prayer.
Scene 17-Semi-medium shot. The
mother lifts the gun and shoots three
times into the cabinet, then turns to the
detective and returns the gun to him.
She then goes to the table and picks
up the boy's picture and lifts her eyes
up as in prayer.
Scene 18--Semi-medium shot. The two
detectives stand looking at the mother
and slowly remove their hats and bow
their heads.
Scene 19-Closeup. The mother is
praying, tears in her eyes as she clasps
the boy's picture to her. Slowly fade out.
This is a scenario wherein the action
of the players and their expressive
ability can eliminate the use of spoken
sub-titles. The interior of the farmhouse
can be set up in any garage, as only
rough furnishings are necessary.
The strength of the story will depend
greatly on good editing and close cut¬
ting of the scenes. Select characters
who are exceptionally good at express¬
ing their emotions with facial expres¬
sions, as any dramatic picture requires
this type of people. Add any human in¬
terest shots that arise during the taking
of the picture.
Keep the lighting in low key with deep
shadows to increase the dramatic effect.
Fill in some of the actions with closeups
of hands, or objects pertinent to the
story, but do not fail to use these
closeups except as short intimate view
for emphasis. Closeups of faces must be
of sufficient length to allow the expres¬
sions to tell the story.
Select heavy, dramatic music for the
background during projection, and I am
sure that you will entertain your audi¬
ence thoroughly with this story.
American Cinematographer - December 1940

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