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138 ACTION AND BY-PLAY admiration at Edna. Edna does not hear him because he is walking softly; not on purpose, but because there is sand on the bank. Edna puts her foot on one of the stones. It is wet and slippery. She is afraid. She draws back. John springs forward and offers to carry her across. She shakes her head. She doesn't want him to do that. Then he takes her hand and tells her he will lead her across. Edna is afraid that maybe he will fall in too, but she takes his hand. He walks right into the water. She stops to protest, but he laughs and says it won't hurt him any. They go on and she gets across safely. She thanks him and he asks her for a flower. She gives him one. She is frightened at the way he looks at her and runs off into the woods, John looks at her for a moment, then he turns and comes back. He looks again when he gets on our side of the brook and we can tell from his face that he wants to meet her again. Then he walks out of the picture. 7. Any director can take this and make a pretty scene from it, if he wants to, but he will not want to unless the studio has nothing eke he can work on. He will not be willing to waste a day fixing up this script so he can pick out the essential action if he can get as good a story told in such a way that only the narrative action shows. He knows hoii) to make a scene in action, but he wants to know what to make. He wants the suggestions of the author, but not a complete schedule of every trifling action. A practical writer would give him something more like this: 6. Path through woods. Brook in foreground. Edna comes through trees at rear. Carries flowers in hat, using as basket. Sees stepping stones in brook. Wet and slippery. Tests. Afraid. John enters. Sees Edna. Offers to carry her over. She de- clines. He offers hand. She accepts. John walks in water be- side her. She protests. He laughs. Swing camera to follow them across. Edna lands safely. John demands flower. Gets it. Edna alarmed by his expression. Runs off. He looks after her. Comes back. Stands looking. Wants to know her. Off. This can be improved through splitting up the scene as will be shown in a later chapter. As it stands, it offers the same essentials of ac- tion, but it gives these essentials in such a manner that the director can take them without having to study a lot of useless material. It is eight lines in script against nineteen, and the director has been saved the study of eleven useless lines, though he is given the same real ac- tion and can supply the minor details himself. 8. In the scene above there is considerable action that must be de- scribed to be understood by the director, but many scenes will require little or no descriptive action. The director is given a hint and builds on this as may be most convenient in the location he selects. Suppose that we need a scene in which John and Tom meet and decide to go and see Dick. The action might visualize something like this: 7. A street corner showing a handsome house in the rear with a lawn in front of it. In the distance Jack is seen approaching. He is swinging his cane and carries his gloves in his hand. Just