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CHAPTER XXXIX 185 looks the crime and later tells the story. If it is important that no one should know, then you cut to some contrast, either the victim's wife and family, or some similar situation. 7. Probably the strongest contrast would be a scene that shows the uselessness of the sacrifice of life. Suppose that John kills Henry be- cause both want the same girl, Jess. The act will be more dramatic if it can be shown that the girl is not worth the deed. Then the use- lessness of the deed will give strength to a scene that is now merely a murder. Both of the men have been seen to be in receipt of Jess' favors. They meet in the woods. 14. Woods —John and Henry meet—quarrel—struggle. 15. Location —Daisy flirting with Ben. Reproduce as closely as possible scene six, 16. Back to No. 14 —Henry now lies dead on ground—John realizes what he has done—seeks to call Henry back to life—in vain— throws weapon away—dashes out of scene like a madman. To show that the sacrifice is needless is dramatic, but the scene which demonstrates this will be more effective still if it reproduces a scene we remember in which John went through the same experience. The scene need not be wanton. It is sufficient to show that the girl i3 flirtatious. She need not be shown as of an immoral character. In writing the scene in which John figures you are practically giving directions for scene fifteen as well, so you write six: 6. Location —Jess on—looks up with a smile as John enters—makes room for him beside her on the bench—he begs a flower—she gives him one—he crushes her in his arms and covers her face with kisses—she wrenches herself loose—not angry, merely tan- talizing—dodges around bench—runs off. NOTE—This action is also used in No. 16 with Ben. Now it does not matter what scene the director plays first. Six re- fers to fifteen and fifteen refers him even more pointedly to six.' 8. Where a more extended use of the cut-back may be needed to reduce to a minimum a violent scene it is more general to invent some action that will suggest progression. There is a terrific combat in a room. The police are called and come with the patrol wagon. The run of the wagon through the streets, alternating with the fight, will give the suggestion of a long-continued struggle and perhaps show less than twenty feet, where to stay in the scene would require fifty to one hundred feet. Taking this rather antique situation for an example, we would get: 43. Shop —Tim and Bill quarreling—Bill throws a hammer at Jim —he picks up an axe and comes toward Bill—Bill seizes a sledge—they circle about, warily. 44. Exterior of shof —Man passing by stops—looks in window— exits on run.