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heatedly would probably be best built up in excitement by cutting sharply backwards and forwards from one to the other. Even there I would rather, for the sake of smoothness, keep them both in view in one longer shot and allow the expressions of both faces to be studied together.
Smoothness in a film is important and should be preserved except when for some special effect a 'snap' is preferable. Unreasoned jerkiness is tiring and unconsciously irritating. The 'unities' and the 'verities' should always be observed, to which I would add the 'orienties.' Only the direst need will form an excuse for lifting an audience up by the scruff of its neck and carrying it round to the other side, just because you suddenly want to photograph something from the south when a previous scene has been taken from the north. The preservation of direction of movement is also very important. If a man goes out of a room by a door on the right and goes straight into another room he should, of course, make that latter entry from the left. But the second scene might be taken a month later than the first, so that detail may easily be forgotten. The 'continuity girl' should look after that, just as she should note to remind the actor how far he had smoked down his cigarette in the earlier scene.
The cryptic diagram here indicates that the two characters have entered the scene from the left, and, having been joined by two others in the course of the action, leave it at the end of the 'take' by the right and coming 'down stage,' that is towards the camera.
The vulgar fraction in the opposite corner is intended to show that the previous take in this same set was scene No. 5 and the next one in this set will be scene No. 47. That reduces the risk of forgetting to take a small but necessary shot and having to rebuild the whole set to photograph it later. Here I would like to acknowledge my indebtedness to my excellent script-writer, Blanche Macintosh (my long-term friend, Mrs. Hubbard), whose
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