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CHAPTER XXX 123 Now the director will know that the picture is a property that must be on the scene and his assistant will see to it that a print large enough to be visible on the screen will be put in place before the first scene in that set is played. 14. This holds good of any essential property or any particular form of setting you may require. If anything will do, you leave the choice to the director. If it is a "must" you write it in the script. You may require that your people enter the room through one door that leads into the hall and so to the street, and through another door that is sup- posed to open into the dining room. In such a case you write : 26. Library. Door to hall at rear, door to dining-room on right. You go on with your action and the director reads, knowing that when the action says that "Bill exits to hall" he leaves the stage by the door at the rear of the setting. You may be even more specific, if necessary, and provide for an effect by writing: 29. Living room. Door to hall in back flat, covered by light cur- tain. Door to porch at right. Doors should be so arranged that when door to porch is opened in No. 62 that it will blow back curtains over hall door to expose Grace. Now the scene plot will be drawn so that the hall door will be close to the one leading to the porch. The latter door will be hung to open in- ward and toward the audience to conceal an electric fan placed just outside the set that will be used to blow away the curtain. 15. Unless you require something of this sort, you do not specify any openings in the set, but leave these to the fancy of the director. He knows more about setting scenes than you are apt to. On the other hand it is important to tell him just what you need, particularly if this is not made clearly apparent in the action. You may give a hint in a very few words, but do not be afraid to suggest such matters as these: 21. Room. Windows open on court. j 22. Room. Farmyard window backing. ^ 23. Room. Bedroom shows through open door. 24. Room. Backing shows housetops across street. Once you have described a scene you do not repeat the description, but refer to it as 32. Room as in No. 21 You always describe the scene as being in the setting first used, unless there is a lapse of only an instant, when it is to be supposed that the action has not materially advanced. Then you give it: 32. Room as in A^o. 2i. Jack on—Bill enters—Jack sees him— turns—Bill jumps for him—they clinch—wrestle.—Bill draws gun. 33. Street in front of Jack's —Alan passing—hears shot—looks up —runs to door—pounds on same—admitted— 34. Back to No. 32. Jack on floor, dead. Bill with smoking revol- ver in hand—Mrs. Buck and man from last scene rush in— Man grabs Bill—wrests gun from him.