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CHAPTER XXXIX 183 her former sweetheart. Something must be done. If there is no reason why we should conceal the fact of the sweetheart's presence, we cut back to him, in this manner: 44. Back stage —Elinore comes from stage—stops—returns—comes back with bouquet—all smiles—goes to dressing room. 45. Dressing room —Maid on—Elinore enters—Maid springs up— takes flowers—lays aside—starts to remove Elinore's dress. 46. Stage door —Nestor walking up and down—woman comes through door—Nestor looks into her face—not the one—draws back—woman tosses head indignantly—exits—Nestor resumes walk. 47. Dressing room as in No. 45 —Elinore now dressed for street— says good night to maid—exits. 48. Back stage as in No. 44 —Gerald waiting—Elinore comes from dressing room—takes his arm—they exit. 49. Stage door as in No. 46 —Nestor waiting—Elinore and Gerald come from theatre—Nestor springs forward—takes Elinore's hand—she shrinks back—Gerald gives him a push that throws him to sidewalk—he and Elinore exit—Nestor rises—follows slowly—slight limp. Here the cutting back to Xestor not only gets us out of the dressing room (where we do not belong), but now our knowledge of the fact that he is waiting points up the situation. When we see Elinore leave the room we mentally brace ourselves. When we see that Gerald is going with her, the situation becomes more interesting still. Probably anticipation will make for more dramatic effect than surprise. If you have reason to believe that surprise is more to be desired than antici- pation, then you use a form of cut-back that will withhold the informa- tion. It might be done through the employment of Gerald^ in this 44. Back stage —Elinore and Gerald come off stage into scene—go back for curtain bow—return—Elinore now has bouquet—gives Gerald one flower—runs into dressing room—Gerald exits. 45. Dressing room —Maid on—springs up as Elinore enters—takes flowers—lays aside—starts to remove Elinore's dress. 46. Back stage as in No. 44 —Stage hands moving scenery— 47. Gerald's dressing room —Gerald ready for street—exits. 48. Back stage as in No. 44 —Gerald enters—knocks on Elinore's door—Maid answers—nods—Elinore enters—takes Gerald's arm —they exit. Now the next scene will show the meeting with Nestor and it will come as a surprise. This being the case, we must play the scene up more strongly, because now we must establish Nestor, something that was previously done by showing him in forty-six. We must wait until the audience realizes that it is Nestor and not some stage door lounger