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100 TECHNIQUE OF THE PHOTOPLAY In the story of the Count we could not bring him down front and so the bust was used, but here the characters can be moved down to the front line and there the action can be played clearly. Emphasis of action may also be employed to give emphasis to the printed leader, since the visual fact, the fact in action, is so much more emphatic than the printed word. A leader may be re- quired to state that Helen's father objects to Herbert because he wishes his daughter to marry a title, but when we see the fact on the screen, the meaning of the leader is driven home, so do not trust to the leader alone to carry the important announcement. Write in a short scene that emphasizes that. You cannot show the matter in the scene alone, but the scene forces on the memory the fact the leader contains. Value has two aspects, the value of the character and the value of the scene or situation. The value of the character depends upon the relation of that character to the story and its narration in action. The maid that merely brings her mistress' wraps when she wants to leave the house is of negative value. She is little more useful to the story than the table or chairs that dress the setting. But if she aids the love affairs of her mistress and the hero, finally arranging so that the girl can elope, then the maid becomes one of the leading characters. Having a real value to the plot she should be early and prop- erly identified. Show that she is devoted to her mistress and that she is regarded as something more than a mere automaton. Do this in the early scenes and then, when her services are needed, it does not become necessary to stop and offer an elaborate expla- nation as to why the girl should turn to her maid for assistance. No character essential to the advancement of the plot should be introduced at the last moment. The detective who comes in to announce that he has discovered that the villain and not the hero killed Banker Kirkham should not be required to identify him- self to the cast and to the audience in that scene. Earlier in the action write in a leader that the heroine consults the detective and then show in a scene who the detective is. Then when he suddenly comes into the last scene and points out the villain as the real criminal, we know who he is. It is not necessary to halt the action while he points to his badge and to the heroine to show who he is and who employed him. Each time a new character comes upon the screen there is a certain relaxation in the mental grip on the plot while the identity of the newcomer is determined. Take advantage of that lapse to get the introduction over with and then, when the essential