There is your climax. End your story in any one of the many ways that are possible, but, above all, end it quickly. It is a wise author who knows when his story is done. Withstand the temptation to start another story at the point where this one ends. You do not have to follow your characters to the grave; the interest of the audience is over when the crisis is past. You may spoil the effect of a good story by trifling with its interest after that. That is part of the story-teller’s art that we spoke of as the third essential--the ability to know where to begin the story, so that no time is lost in useless detail, while at the same time making the necessary points clear, a knowledge of what incidents to introduce and how to group them so that they merge smoothly into the climax and the gift of stopping when the story is done. Thus far our talk has been on points that might apply with almost equal force to any line of literary endeavor. Let us now take up some points more closely identified with the photoplay. We have learned how to look for ideas, we have seen how a plot is built; now we must find out how to tell our story on the screen. It should be unnecessary to tell aspirants that since all photoplays are told by means of pantomime, “action” is a prime necessity. The audience wants to see the characters do everything worth while in the story. It feels cheated if you insert a subtitle saying, “Helen loves John because he saved her from death in a factory fire.” The screen’s purpose is to show the fire, to show John performing his heroic deed. No matter how good your story is, if it is of such a type that it cannot be “acted out,” then it does not belong on the screen. Printed inserts are unwelcome necessities--they are not the substance of which the motion picture’s popularity is made. Cultivate the “picture eye,” the faculty of visualizing each incident in your story, to discover if it is possible of being explained to an audience by means of action without the aid of words.