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150 BUSTS It will be observed that the first example shows tlie scene reference as "back to No. 14." This reference says "back to big scene." It does not matter what the precise phrase is. It is enough to show that a return is made to a larger action. 5. Always there should be a return to the larger scene before the action passes elsewhere. The action in a bust is practically never the termination of a scene, and so the scene should be returned to, unless the bust stands alone. 6. Several examples of writing the bust are shown in A-9-10. In D the bust is merely a clock face, which might have been an insert save for the fact that the clock stood in the scene and the mantelpiece on which the clock stood was also shown. Since this made it necessary to use the taking camera, it was written as a bust. It is safer to make it an insert, as a rule, but the script from which this page is taken was written for a certain director. He wanted a bust and it was so writ- ten. 7. In the first example in this chapter, the bust is used to give em- phasis to an action that otherwise might pass unnoticed. The second example shows the use of the bust to explain what is too small to be seen or understood in the larger scene. There is a third form of bust used to explain a minute action rather than an object. Perhaps ISIrs. Smith-Jones has been playing bridge with unfortunate results. She dares not tell her husband. She sells her diamond solitaire and has it replaced with a paste stone. We see her at the jeweler's and at the proper moment the jeweler goes to his bench. We cannot see what he does until a bust makes it clear that he is replacing one stone with another. Then when he hands the ring and some money to the owner we know precisely what has been done without an explanatory leader. 8. Another useful function of the bust is to serve as a cutback and at the same time permit changes to be made. Perhaps the'SCeTTe^hows a rectory. The rector is looking over the old records. From the run of the story we know that he is making a search for the record of the marriage of Sue's mother to the young son of a millionaire. His eyesight is poor and he iises a reading glass. The action runs. 51. Study —Rector enters—looks at letter—takes down book—goes to table where the sunlight will give him plenty of illumination. Takes up reading glass—turns over several pages—smiles—nods. •52. Bust of page of book—record of marriages—text reads Jan. 12, 1888, Richard Bromley, bachelor, to Susan Page, spinster. Read- ing glass shows in bust. F.2. Front of Rectory —George and Sue come to door—ring. 54. Study —Rector hears bell—puts down glass near book—rises— exits. 55. Front of Rectory —George and Sue waiting—Rector comes to door—speaks. 56. Study —Wisp of smoke coming from book—barely seen. 57. Bust of hook —Glass focused on book—charring page. 58. Front of Rectory —Rector invites George and Sue in. All enter.