any
shadows that would make it seem unnatural, since the cave was
supposedly dimly illumined from the daylight outside. At any rate, it
would not be a studio setting--whether the stage was an indoor or an
open-air one--so it would be classed as an exterior.

After the cameraman had taken Scene 3, which shows Freeman and the
Doctor riding to the ranch, he could probably find a suitable
background for the scene showing Steve riding toward the town, by
merely turning his camera half way around. Thus Scene 18 might be
taken after Scene 3; after which, by again moving the camera only a
short distance, a suitable spot might be found in which to take Scene
12. Scenes 19 and 20 were intended to be taken on a fairly well-kept
piece of roadway, supposedly on the outskirts of the town, and it
might be necessary to travel some distance to find the desired spot.
So it will be seen that the order in which the scenes are written has
nothing to do with the order in which they will be taken. Scene 29,
so called, is really a part of Scene 28, being simply a bust of the
girl's hand holding a photograph. The words written on the back of
this picture have an important bearing on the action which follows;
therefore it is important that they should be read by the spectators.
So, the much enlarged bust picture is introduced, in which, as has
been explained in the preceding chapter, the hand with the photograph
is held so close to the camera that when the picture is shown on the
screen the writing is easily read. In writing out the scene-plot,
never omit mentioning the bust picture, if one is used, and give it a
number as if it were a distinct interior or exterior, but when giving
the total number of interior and total number of exterior settings
(which follows your title in writing the synopsis), do not include it
as being either one or the other. It is not even necessary to say "One
bust picture." On the other hand, close-ups are regarded as regular
interior or exterior scenes, and must be counted as such and so
mentioned when giving the number of scenes, as described.

_5. How the Director Provides the Sets_

The director having gone over the author's scene-plot to aid him in
preparing his own diagrams of the various settings, it is merely
necessary, so far as the exteriors are concerned, to go out himself,
or send out his assistant, to pick the natural settings required. In
fact, in most modern studios, an elaborate card index system o