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CHAPTER XXXIX 193 45. Front of house as in No. 3 —Grace enters from left—rings bell— practices with whip—door opens—landlady appears—barely es- capes being hit—closes door—Grace kicks on door—landlady opens again—Grace asks Landlady, says— Cut-in —"Maybe he's at the Trocadero with his friend." Landlady points—Grace thanks—exits—Landlady sorry for Bill if she catches him. 46. Front of restaurant as in N'o. 15 —Bill comes in—looks through window—angry—enters— 47. Restaurant —Jim and Daisy very happy—Bill enters—comes down to table—stands there looking accusingly at Jim—it never feazes him—he pulls Bill down into a chair and introduces him to Daisy—tells about the suit—shows letter Bill gives him— laughs—Daisy helps coax Bill into good humor. 48. Street —Grace passes through—snapping whip—angry all the way through. 49. Back to Xo. 4/ —Boy paging the room—Jim calls him—telephone message—he excuses himself—Bill will take care of Daisy— exits. 50. Corner of bar (small set) —Jim comes in and goes to phone— starts to talk. 51. Front of restaurant as in No. 15 —Grace comes in—looks in win- dow—starts back—looks again. 52. Restaurant as in No. 17 —Daisy talking and laughing with Bill —Bill enjoying it, 53. Back to Xo. 51 —Grace enters restaurant. 54. Back to Xo. 52 —Grace coming toward Bill, who has his back turned—waiter tries to stop her—she pushes him against table —he falls—upsets table—Grace comes down—lashes Bill—• lashes Daisy—Daisy crawls under table—Grace turns on Bill again—half a dozen waiters rush up and grab her—hold her— Jim comes up—Bill turns on him—Jim explains—gets Grace laughing as he tells the story—shows tailor's note—puts her down at table—slams Bill into seat next her-—lifts up table cloth and tells Daisy it's all right—she comes up—Jim orders an- other bottle. Here cutting back very materially helps the action. Grace walking through scene forty-eight is not funny as a scene, but when we see her coming and remember that she will catch Bill alone with Daisy it becomes a strong laugh through the connection. We know, or think we know, what is coming next. A laugh in anticipation is as good as 0. laugh won. If we can get another laugh because the action takes a new turn, then there are two laughs where before there had been but one laugh in two sections. 23. In cutting back each section of the action should gain in con- trast with the other half. Do not write action that merely tells your story by advancing the plot. Plan to have your scenes help each other as well. The individual scene is like one of the bricks of which