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124 SCENES AND SCENE PLOTS It is evident that this scene thirty-three interrupts scene thirty-two only for an instant. The action in the room is practically continuous, the interpolation being for the purpose of cutting out the actual shooting. It will probably be played as one complete scene and then cut up. "Back to" is a better reference than "Same as." 16. In Example H will be seen another form of reference. In this example you will note that scene thirty-one is also numbered twenty- five. Later you will see that thirty-five also carries the twenty-five and in the scene is added "& 31." This indicates that scene thirty-one is in the same setting as scene twenty-five. Thirty-five carries on the action in thirt>'-one just as that carries on the action in scene twenty-sever This is purely a studio scheme as yet, and until it is more generally adopted it may not be understood by those who are not familiar with Universal procedure, but the example is given here because the idea has such good points in doing away with an excess of w^ords that are of no real use that it may presently come into general use. 17. Where a scene is the same as before, but has been changed since the original number, it is necessary to make a note of the change. The examples here given will explain the idea fully. , 32. Room as in No. 21, but showing slight changes. (A week later.) 42. Room as in No. 18. but changed. (Ten years have elapsed.) 53. Room as in No. 40, but showing changes made bv fight in No. 42. 47. Room as in No. 6. Again in order. Where the changes are as complete as are suggested in the second ex- ample, in which ten years are supposed to have brought many changes, you change your reference number and now the subsequent scenes are "As in No. 42" and are no longer "As in No. 18." 18. In writing exteriors you give the director the same choice. You do not write in an exact description. You tell what you must have, and the director does the best he can. You do not write: 27. Farmyard. At the left is the barn, at the right the house. In the foreground are farming implements. Chickens swarm on the scene and at the rear is an old-fashioned well-sweep. A director, should he be so foolish as to try and carry out the directions of the author, might search for days for such a farmyard. He will not make the search, however, for he will see that all he needs is a farm- yard—any farmyard. If there is some essential, you note the fact, the same as in exterior sets, and write: 27. Farmyard. W^ell sweep essential. Now the director will know that he must have the well sweep. If he cannot find one, he will build one, not in the yard, perhaps, but in some spot with appropriate surroundings and he will change the script so that he can play this part of the scene by the well. Suppose that your action is to show that it is through a request for a glass of water