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CHAPTER XXXI 131 11. But John has been going up the street for some time now. Sup- pose that we follow. The next thing that happens is that he meets Harry and so learns of the accident to Jim. There is nothing striking or pictorial in the sight of a man walking along the street. The next that is seen of him shows that he meets Harry, who tells about Jim. The last scene was twelve, so this must be thirteen. 13. Street —Jim and Harry meet—they chat a moment—Harry says Cut-in —"Jim was badly hurt this morning." John shows surprise and regret—gets details of accident—the> separate—off. There does not seem to be much to this scene, nor is there. We need a fact. We get it from this scene. The fact is that Jim is hurt and tihat John hears about it so that he can tell Maud. We tell the di- rector what we have to have and leave the rest to him. 12. It might be possible to write that John enters from the right and Harry from the left, or that John comes on from the left and meets Harry who is coming down the steps from the house, but what dif- ference does it make? All we require is that the spectator shall see that John found out about the accident to Jim so he can tell Maud I about it. W'e tell that and tell it clearly. The rest we leave to the | director. It is not so much necessary to tell how a thing is done as to tell what is done. Mr. IMerwin (K-1-2) places more reliance in tell- ing how people feel than how they act, since if they feel the scene, they will act it properly. The director knows how to direct action. He re- quires from you the story that is to be told in action. 13. On the other hand, if you can think up some especially good bit of business, you can put it in and take your time in telling it. The director will be quick to realize the value of effective by-play, if it really is effective. 14. Keep your action as brief as possible, but never keep it down when you really have something to say. The length of description has no bearing upon the length of the action. A scene may be expressed in a few words that may play in a hundred feet. Another scene may take ten times the description and play ten feet or less. You can say, for instance: 53. Hillside —Jack enters from side, shootin^^ at posse—they ap- pear below shooting at him—he gets behind rock—siege starts. Your action here may not only cover this scene, but make the basis j of a number of cut-backs in which the line "Fight continues" mayj cover ten or fifteen feet of action. On the other hand you have an idea for a short scene. You think that playing it just as you write it will be the most effective way. You tell the director. You write: \ 48. Den as in No. 23. Giles on, reading—Ben enters throu<Th the \ window at rear—for a moment Giles does not realize his pres- ence, but slowly he seems to sense the presence of another per- son—he looks up, but not at the window—it is as though he