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CHAPTER XXXI 133 Stanton—turns him on back—her horror and grief are over- whehning as she discovers that she has killed her father—her shrieks bring others on the scene, Mrs. Stanton, Mary, Butler and Paul. Fifteen words are consumed in telling of her overwhelming grief and the picture is by no means graphic. There is nothing there that con- veys to the director the intensity of the scene. Try a speech: 47. Library — lights do7vn —Stanton by safe—Edna enters throughlF door—"Who's there ?"—Stanton springs to his feet—presents I'. pistol—Edna shoots—Stanton drops on face—Edna turns on lights—kneels beside Stanton—tairns him on back—"My Father?"—her shrieks bring the others in, Mrs. Stanton, Mary, Butler and Paul. You save words and at the same time gain effectiveness in presenting the picture to the director. Examples of the use of dialogue in action may also be found in the Appendix E—scene 28. F-2. Scene 17. H. Scenes 34, 38, and 39. K-1. Scenes 32 and 34 and K-2, Scene 69. In each instance it will be seen that it shortens the action or makes it more explanatory with fewer words. 19. But John is still wandering down the street. He should be at INIaud's by now. We have shown him in twelve leaving his house and in thirteen he gets the bad news about Jim. In fourteen we show him coming to Maud's as it would not be understandable did we show him leave Harry and walk right into a room. He must first be seen to enter a house, so for scene fourteen we have: 14. Front of Maud's —John enters—rings bell—waits—admitted. 15. Parlor —Maud on—Maid ushers John in—they greet—Maid ofif —John and Maud sit—in sitting John's elbow knocks photo frame off table—he picks up—looks—shakes head sadly—says— Cut-in —"Poor old Jim. He may be dying." Maud screams—jumps up—demands the story—John tells— Maud becomes hysterical—Maid runs in—John much relieved— tries to speak to Maud—she tells him to go away—Maid looks up—nods—he can be of no use—John gets away—very awk- ward—out. 16. Front as in No. 14 —^John comes from house—pauses a mo- ment—shakes head—says to himself : Cut-in —"It's Jim she loves ; not me." Keeps on out of scene—strong emotion. Now we go on with the rest of the story, bringing John home, if it is necessary, otherwise leaving the action as John exits and using a time leader to break to the next development. 20. If John had come into the room, had told ]Maud about Jim and the rest had followed, then it would have looked as though he had come for no other purpose, though he did not know about the acci- dent when he left home. On the other hand he might have sat through ten very uninteresting minutes before he brought up the subject. By contriving that accident we lead up to the subject of the scene without waste of time and without seeming to force the matter. It is perfectly