Perhaps there is a tall fence around the grounds, and one of the director’s scenes will have to show the thief climbing this obstacle, both on his entry into the grounds, and later on his escape. Perhaps, with the latter, there is to be a brief scuffle with the watchman. A spot for the scene is chosen, the camera set up, and all is ready. The range of vision of the camera’s eye, the lens, is an angle, and care is taken to indicate to the players the boundaries of that angle. Outside those lines the players may group themselves idly, but within the lines the camera registers everything, once the crank is turning. The first scene taken is to show the thief scaling the fence. The player is rehearsed once or twice, perhaps even oftener, until he does the action in the exact way the director wishes it done. When he is proficient the director stations himself beside the camera-man, the scene is cleared, and the thief stands waiting just outside the line. “One--two--three--Go!” shouts the director, and at his last word the thief skulks on the scene, the camera-man starts to turn the crank. The thief peers through the fence, glances furtively about him, and then, as if making a sudden decision, starts to climb. He drops to the ground on the other side, then runs diagonally until he is again outside the camera line. It is over. During the whole the director has been the busiest man on the spot. Each motion of the player has been accompanied by a command from him, but it is not for the player to let the camera know that he is listening for these words. By holding a slate covered with figures in front of the camera before the scene was photographed this strip of film now bears its own index figure to aid the factory later in assembling the complete picture. Next, the scene showing the return of the thief over the fence, his scuffle with the watchman, and his escape is to be taken. This will probably require many more rehearsals than the previous scene, both that the action be properly vigorous and realistic, and that the players be drilled so that they will not inadvertently cross the camera lines in the heat of the action. An audience would naturally not take very kindly to a scene in which a man was fighting with an adversary who could not be seen, which would be the case should one of the players step outside the lines while the other remained in view of the camera. It is even possible that many strips of film will be wasted before the scene is taken in a manner to satisfy the director.