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126 SCENES AND SCENE PLOTS to show Jack trying to get into a second story window. Here you write: 22. Side of house. John enters—tries window. Locked. Looks up. An open window. He starts to climb up lightning rod. Swing to follow him up rod and into window. Another effective use of the panoram would be to show two sides of a' location without changing scene. We will suppose that Hans, an ar- rant coward, is hiding behind a tree from Gus, as much of a coward, but who has a louder voice. The scene alternately shows Hans and Gus, without stopping. 42. Location. Hans on—sees Gus coming—hides behind tree— swing to follow him. Swing back to pick up Gus—Dick enters —Gus wants to know where Hans is—Dick looks—sees Hans —smiles—swing to get Hans—Hans makes frantic gestures in appeal for silence—swing to Dick and Gus—Dick shakes head —Gus shows gun—talks big—swing to Hans—Hans scared stiff— swing back to Dick and Gus—Dick sends Gus on wrong track —Gus off—Hans comes out—thanks Dick—they exit, opposite. This is not so rapid and perhaps not so effective as a succession of quick cut-back scenes, but now and then it can be used very effectively. 22. Follow scenes are made with the camera in an automobile either preceding or following a car in which action is taking place, on the front of an engine, or on a flat car coupled ahead of or behind it, in the rear of the automobile in which an action takes place or on a false work in front of the car. Because of the diversity of the effects there is no set term that can be employed to cover the entire series. You describe what you want, and not how it should be done. These ex- amples should suggest about the description to use. 21. Automobile running along the road. Camera in car ahead (or behind as the action may seem to require). 21. Front of locomotive. Camera on flat car ahead. 21. Pvillman car^train in motion. Country seen through windows. 21. Road—posse dashing along. Camera in auto. It is well to use such effects only when they will greatly increase the value of the scene since they are troublesome and frequently expensive. 23. It is well to specify your locations and not merely to say location. "Location" will be sufficient if you wish to tell the director that it does not matter where the scene is played, whether in the woods, on the seashore, beside a brook or along a road, but it is better to say "woods," "fields" or whatever you think will be best. If you use two roads or two field scenes, you add a letter for the purpose of identifica- tion. The first field will be "Field A." The third road will be "Road C." Letters are better than Roman or Arabic numerals. 24. In making out your scene plot \'ou group all scenes in one se) under one heading. You do not write.