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TECHNIQUE OF THE PHOTOPLAY In the action it is not possible to speak lines, to italicize or un- derscore, but the handling of the action of the story, the situation or through the individual acting, it is possible to produce precisely the same effect. Take this scene for example: 2- Lawn- Myra and Holbrook on- John enters- calls Myra- they exit. In the first scene it was shown that John and Myra are man and wife. Played without emphasis, scene two would show that Myra is talking to Holbrook and John comes and tells her that it is time they should be going home. The scene means no more than if Myra had been talking to one of her women friends. It is no unusual thing for a woman at a garden party to talk to a man other than her husband. It is the commonplace. But give that scene emphasis and at once it takes on a different aspect. What we really want to show by this scene is that Myra is more interested in Holbrook than a woman married to another has a right to be. To get the point over, emphasis must be given the fact. Write it this way: 2- Lawn- Myra and Holbrook close to camera- Holbrook is talking earnestly- Myra half eager, half reluctant to listen- Holbrook pleads his cause- John enters- stands in background a moment- they do not hear him- Holbrook tries to take Myra's hand- she gently resists- John comes forward- speaks- Myra and Holbrook turn amd rise- John leads Myra off- at line Myra turns- looks back at Holbrook- he throws her a kiss- she frowns, then smiles- exits- Holbrook turns to camera with confident smile on face. Now the scene will be full of meaning. We can see that Hol- brook is trying to win Myra from her duty to her husband. She is attracted, but it is plain that she has not yet listened seriously to his pleas. John knows of Holbrook's efforts. We have written more action than should be given most scenes, but here we need greater detail because we are gaining our emphasis through the action. You must pass your idea along to the director more fully. Now that the fact is established, he will know in later scenes the attitude of the three leading characters toward each other, and will not need so much business, but this first scene must be em- phasized. In the same way you will emphasize the heroine's preference for one of two suitors. If she leaves one for the other gladly, she