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230 VALUES AND EMPHASIS will prepare us for the events that only serve to expose that char- acter. You cannot paint her as a strong-minded, self-willed girl and then suggest that she marries the old man because her parents force her to. Character, incident and personality may all be used to prepare for the event. It does not matter which is used so that some explanation may be given in advance without undue emphasis to the end that through some small event a larger may be prepared for. 8. In its last analysis, preparation for the event is no more than anticipating that event and providing a plausible and acceptable ex- planation at a time when there is footage available against the com- ing of the happening that this may have the fullest effect through the immediate and unhesitating acceptance of the fact, as such, with- out doubt or argument. To this end carefully prepare for your climax, but do more than this. ]SIake certain that your personages do nothing that is not in harmony with the characters you give them or that is not in harmony with facts already stated and established. You do not necessarily have to have your personages act in har- mony with their previously drawn characters. If a major action is of greater effect than the minor incident, use it, but alter the minor matters to accord with the major action. (l.XXXIX:4 XLV:5-6) (2.XXXVn:16) (3.XVI:3) (4. XXXVIII:11 XLV:8) (7.XVI:5&11) (8.XII:1 XLVHI:13). CHAPTER XLVII VALUES AXD EMPHASIS - VALUE, in photoplay, has two aspects—the value of the scene as a moment of dramatic intensity and the value of the scene in its relation to the story as a whole. A scene may be dramatically effective and yet not greatly advance the story, or it may be of little dramatic value and yet have a bearing upon the story that later is responsible for strong and gripping effects. 2. There is no very great dramatic value in a scene in which a physician merely prescribes a remedy for a friend. Howard Kingdon comes to his friend and potential rival Doctor Belding, for a remedy for headache. He gets it, thanks him and leaves. The scene runs: 7. Belding's office —Belding on—Howard ushered in—they greet— Howard sits—tells of a headache—Belding examines tongue—• feels pulse—goes to cabinet—gets medicine—gives Howard— Howard thanks him—exits. Such a scene is too commonplace to interest. It seems to be designed merely to show that, though rivals, the two men are friends. Later it develops that the scene is of the utmost importance because the tablets that Belding gave Howard were not intended to cure his