nd of these,
eighteen were to be played in the one room without a break in the
settings. Imagine the monotony of such a production, even on the
regular stage!

But while it is best to have a frequent change of scene, it is also a
mistake to risk confusing the spectator by changing often from one
scene to another far removed from the first, especially without the
use of some explanatory insert.

In connection with the error of some amateur writers referred to on
page 146, of making what is (or would be, if their script was worked
out as planned by them) actually one scene when they intend it to be
two, it may be said that this is one of the commonest and most amusing
errors of beginners. The mistake lies simply in their failure to
observe the rule of _always separating two different scenes in the
same set or location by interposing a scene in a different setting, or
by introducing a leader_. If this rule is not observed, the
result--even though it goes no farther than the amateur script--is
decidedly funny. To illustrate, take the following example:

23--Bedroom, same as 12--

Thorn, still looking through contents of bureau drawer,
stops, listens, indicates that he hears someone coming down
hall, and then, closing drawer, crosses to the window again
and makes his escape.

24--Bedroom, same as 12--

Tom is sitting at the table opening the letters laid there
by the landlady. He opens one, etc., etc.

A glance at the foregoing will show that, if produced as written, the
result on the screen would be a continuous scene in the bedroom
setting. Thorn would be seen making his exit by way of the window, and
then _instantly_ there would be Tom sitting at the table, opening his
mail! There would be lacking the logical action of his coming into the
room, crossing to the table, and sitting down. The whole effect would
be much the same as in those "fairy" plays produced several years ago,
where "stop camera" work was resorted to to obtain the effect of a
supernatural being suddenly appearing on the scene, greatly to the
astonishment of the mere mortals present.

Introduce a scene showing Thorn just landing on the ground after
sliding down a rain-water pipe from the roof of the veranda, or even
insert a leader between the two scenes as now written, and the mind of
the spectator is prepared for almost anything that he may find to be
going on in that room when he sees it again. But too much care