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48 CHARACTER climax. A preceding scene may be shown in such effective picture that when the cHmax does come it seems tame in comparison and there is a sense of disappointment at the letting down in the action. This form of anti-climax is more apt to come from the direction than from the writing of the play, but it should be remembered that a sequence of action that will overshadow to a marked degree the visual appeal of the climax must necessarily militate against that climax. 7. In theory nothing can be more important to story than idea, and in truth it is idea that viust give real importance to the story and therefore to the climax of that storj-, but it is possible, in picture, to dwarf the indicated climax by previous action, obtaining a reaction through contrast. 8. Suppose that you have a story of a railroad engineer. He is about to marry the usual beautiful young girl. There comes a strike. He promises her that he will commit no act of violence. He keeps his word, but events so shape themselves that when the strike is over he is supposed by the officials of the road to have been guilty of planning and directing most of these acts of reprisal. They refuse to reinstate him, but something happens to prove his innocence and he is taken back. This proof, whatever it may be, is the climax to the story, but proof may be obtained in a manner so quiet as con- trasted with the burning bridges, dynamited freight stations and wrecked trains that the spectator, his mind tuned to heavier action, feels a sense of disappointment at the lack of vivid action here. The mechanical appeal of the havoc overshadows the more quiet appeal of the real story. This is but another way of saying that each succeeding crisis should be of greater importance than the preceding ones, but the fact remains that a greater visual action may dwarf a les^r if shown before. In a w^ord, do not overload your action with mechanical effect to the prejudice of your climax. (6.IX:12) (8.XIV:15). CHAPTER XVI CHARACTER CHARACTER sketches have no place in photoplay. They lack action and consist too largely of description, of analysis of modes of thought and of reason for actions rather than the actions themselves, but it is essential that the characters of your leading players be understood in order that their actions be under- standable. 2. In general the character of the person cast to play a part will determine the characteristics of your mimic personages on the screen.