standing of the causes that lead to the subsequent effect. Perhaps this may be more clearly explained by example:
10. Let us suppose that we are seated among the spectators at a murder trial. A witness is called to the stand and after he is sworn in the prosecuting attorney says: "We have just ten minutes before court adjourns for the day. I want you to start and tell us all that you know about this killing in just ten minutes." Let us assume that the witness has known all of the persons involved in the crime for many years and that he was an actual witness of the murder and of many connected events that took place before and after. He is facing exactly the same problem that confronts the photoplaywright. Each is compelled to tell a story within a specified time limit. Each may turn back to happenings of years before, which may be more or less interesting, but which must be swept aside to make room for what is vital and necessary. Or each may in his haste plunge incoherently into the midst of the actual scene of the crime and omit information that is important in showing motive and connecting a logical sequence of events leading up to the climax. Each must thoughtfully decide upon a point of attack—a beginning.
11. There are numerous methods of opening the action of a photoplay, no one of which may be set apart as invariably superior to the others. Various forms of photoplays require a variety of beginnings. While essentially the same results are sought in all cases, numerous methods may be employed to obtain such results. Generally the opening must do one or more of the following things:
Look backward and acquaint the audience with important events having direct bearing upon the forth-
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