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CHAPTER XLVIII 243 words and a third paragraph is added to call attention to the novel finish. Each part is paragraphed to show where the break comes. Under a strict ruling, five hundred words could have been used. The complete synopsis is about three hundred and fifty words. 37. The cast and scene plot are now made up. The cast calls attention to the changes in some of the characters. It is the same with the single scene where change must be shown. It will be noted that most of the interior scenes are in the first part and the exterior settings are mostly in the western country. This facilitates produc- tion. The two eastern exteriors called for may ,be had in any place near which the rest of the exteriors may be played. The interiors are not grouped in the first half because the first act should consist of interior scenes, but because the interior scenes make it possible to produce the story in the west and yet not require locations in two sections of the country. 38. In writing the story it will be seen that it was first necessary to know what the action was to be before the scenes are written that the scenes may be written in their proper relation to each other. This knowledge enables us to prepare for what is coming to the end that the least possible explanation shall be required. The letter pre- pares for Cort's departure, another scene makes plausible the ready acceptance by Jack of Ruth's supposed confession. At no time do we have to stop the action to prepare a labored explanation of an act. It all shows clearly. 39. Advance knowledge is also necessary if the action is to be held to the story. Writing a continuity without a definite knowledge of what is to be done will generally result in a loosely constructed and overwritten script. There can be little or no extraneous action. Each scene must have a direct bearing on the plot and a definite relation to other scenes which it supports or from which it derives support. 40. Determine exactly the run of action before you write the final draft. If for any reason you change the action, make certain that all that has gone before and all that will come after is wholly in accord with this new factor or else change until all are in agreement. Perhaps you have seen a great railroad terminal with its miles of trackage and its interlocking switches. If one switch is thrown and another is not the train will run off the track. Throw all of the switches that give a clear and unbroken track and the journey is safely made from the terminal to the main line. It is the same with your plot of action. Do not change an action without making certain that you have altered all of the other action affected, or you will find yourself in difficulties. It is told of one director who undertook to change his story as he went along that he developed so many unexpected kinks that in the end he had five reels of action, showing three distinct plots, not one of which was complete or usable. A little preparation is better than much revision. (2.x :6 XIII :5 XXIII :5) (9.XXI :6 XXVII :6) (lO.XIVrlS)