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CHAPTER LVI 275 gained—and it is largely a trick—the writing of comedy action be- comes almost mechanical. A situation is conceived and immediately the action presents itself. The sub-conscious mind has been plan- ning the comedy action while the active mind has been conceiving the situation, and it now responds with the proper suggestion. 15. Not every scene is required to have comedy action, but most scenes should, and it is best in all scenes longer than a mere flash to show at least one distinct comedy action or situation. Note this series of scenes: 14. Parlor as in No. 3 —Bill making love to May—Father enters— orders him from the house—orders May to leave the room—she exits—Father follows Bill out. 15. Front as in No. 2 —Father and Bill enter from house—Father sternly tells Bill not to come again—Bill exits. 16. Front gate —Bill coming down the walk—comes through gate— looks back at house—turns and walks out of scene. This is action that tells the story. In drama it would be the proper 'sort of action since then it would be required only to show that Bill is forbidden the house. In drama the fact is more important than the action. In comedy the action is of equal importance with the fact. It is the purpose of comedy to make people laugh. The story must make them laugh, and the action, the way the story is told, must also make them laugh. In a drama it would be quite enough if we showed the parlor scene and had the father speak a leader. We would not ,be able to afford a greater footage for one fact so simple. In comedy we have less story and more footage. We can have all three of those scenes if we can make them amusing. But we must pay for the footage in laughter. 16. The way to get the laughs is to build up the action. The idea is there. The action is not amusing. It must be elaborated. Try this: 14. Parlor as in No. 3 —Bill and May on, spooning—he starts to kiss her just as Father appears in doorway—May has her mouth puckered for the kiss, but it does not land—Bill keeps on turning his head to see Father watching—Father comes down, waving cane—May rouses—Bill goes over the back of the sofa—only his head shows above—Father slashes at Bill's head—Bill ducks—Father gets down on knees—pokes under sofa with cane—Bill climbs back over the top—slips—falls on Father—May picks Father up—pleads with him—he throws her from him—she falls into Bill's arms—he kisses her—Father strikes at him—drags May from him—May turns her head for another kiss—Father lets go of her and grabs Bill by the neck —leads him out—May follows—weeping. 15. Front of house as in No. 2 —Father enters from house with Bill —places him for a kick—as he is about to swing May comes from house with Bill's hat—grabs Father's coat tails—pulls him back as he kicks—kick falls short—Father falls—May tosses Bill his hat—he throws her a kiss—out of scene—Father up and follows—May follows him— 16. Front gate — gate closed —Bill running down walk—Father and