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CHAPTER XXXVHI 179 death. Gecko plays the music he wrote for their wedding. The vision of scene six recalls this to us and tells what it is that he is playing. 12. The excitement kills her. She falls across the table, dead. We show the scene, but close on the picture of Gecko in the balcony pray- ing for the soul of the woman he loved, because this is really more dramatic than tlie death. With the dissolution we get the end of that episode. Gecko is now more dramatic than the dead Paula. 13. It woud be possible to continue this scene and show Dick's grief, Pompton's fear and Gecko's despair, but it will be better to use a break leader and go on to the next development of action. We have gotten about all that we can from the scene. ]More would be in the nature of an anti-climax. 14. For a scene of less importance it would be better not to cut back so much. Take the development of action in Chapter XXXIII, in which John and Edna meet. Here close-ups will not improve the dramatic effect, but we can very greatly improve the playing action by using a close-up and changing the placement of the camera. Sup- pose that the scene be split up in this fashion: 6. Road through woods. Brook in foreground —Edna approaches from rear—carries hat as basket—filled with wild flowers—comes to front—sees stepping stones—dismayed—John enters from side—unperceived—watches. 7. Close-up of Edna—she puts foot on first stone—too slippery— she nearly falls—shakes head. 8. Big scene —John springs forward—offers to carry her over—she declines—he offers hand—will lead her over—she takes hand— John starts to walk beside her in the water—she stops—expostu- lates—John shakes head—laughs—won't hurt him any—they go on. 9. Opposite hank —John and Edna coming to camera—Edna on stones—John in water—they come to bank—Edna thanks him— he asks for flower—she gives it—^John raises to lips—bashful, Edna runs off scene—John looks after her—sighs—turns back. The close-up in seven adds a pretty touch. Also it brings us close to Edna for the moment, which might not have been possible in a scene large enough to include John. Scene nine is not a close-up because we are not working within the field of scene six, but it gives the close-up effect, just the same, and had we retained the setting as in the original of the scene, it might properly have been called a close-up in that. INIaking a new scene has the double advantage of avoiding a panoramic swing and getting a more advantageous view- point. As Johrv and Edna move away from the camera they turn their backs. In this arrangement as soon as they have taken a few steps, the point of view changes and they are now approaching the camera; practically walking into a close-up. This permits a shorten- ing of the scene if the stream is too wide, for now we do not have to