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CHAPTER XXX 125 that Sidney meets Ruth. He will come to the yard and ask for a drink. She will offer him a pitcher and a glass. He will point off. She will nod and tliey will leave the scene in the direction in which he pointed. In the next scene we see them come to the well, just off the previous scene, though it may be that the well will be ten miles from the farm- yard and that the scene will be taken the following day or the next week. But if you merely want to bring about the meeting, you change the demand for the well, since this is not essential if the pitcher and glass will do. If, however, you have a scene where Sidney asks for the water and he and Ruth go to get it, so that later the well can be the trysting place, then you should be careful so to tell the director, writing the scene description to give you: 27. Farmyard. No pump or well should show. Now the director will be careful in setting up not to include the pump if there is one, so that the suggestion that they go to the well and get fresh water will seem a natural one. 19. If you will look over the examples in the Appendix, which of- fers for your study the work of seven trained studio writers, you will note that not one script gives an elaborate description of a setting. Even IMr. Merwin, who writes with extreme care, merely indicates the scene in a line. 20. Panoramic scenes, or "panorams" as they are called, are too gen- erally known to need involved description. These are of three sorts, the first being a movement from side to side, the second up and down. These are generally known as swings. A "follow" panoram is one where the camera as a whole is moved to follow action and not merely swung. In swinging use is made of special devices in the tripod head One of these is a cog and crank attachment that revolves the entire top. The other is a rack and cog, the rack being a half circle, that permits the camera to be tilted up or down. 21. If John comes from the house and goes down the walk and up the street, you can play it as a panoram or as two scenes. You can write it: 16, Front of house. John enters from house. Goes down walk. through gate and up street, Panoram to follow him out of scene. Now the camera will be swung so that the eye of the camera—the lens—will follow him as he goes down the walk and up the street. The camera tripod is not moved. But many companies forbid the use of panoramic scenes unless they are very necessary. The operator has to work two cranks, perhaps in opposite directions. The action is apt to be jerky and uneven. Here the use of the device is awkward and unnecessary. A better working of the scene would be to have the camera show John coming from the house. Now the scene stops and a second scene shows him coming down the walk and turning to exit through the gate and up the street. On the other hand you may want