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 cannot be taken to guard against everything that may make for jerky or illogical action of this kind.  The merciless scissors of a careless operator in the picture theatre may remove three or four inches of the film at a certain point, with the result that a character leaving one side of the room and starting to go out by the door on the other side may be made to cross the room at a bound, causing a surprised laugh at a very serious moment of your play.  Do not approximate this ludicrous effect by writing your scenes as illustrated in the foregoing example.

Still another laughable error of the novice is to introduce into a scene certain action which could not be properly registered in mere pantomime.  We lately examined an amateur script in which the following appeared as part of the action between a girl and a man in a farm location: