He can see just where and how the use
of the close-up can help the _pictorial_ quality of the picture. You
are apt to concern yourself only with the narrative value of the
close-up, employing it only where it is necessary in order to get the
_story_ over clearly. You cannot possibly imagine the scene exactly as
it will be set up or played, therefore you cannot tell where and how
_pictorial_ close-ups or other effects will be useful. Leave that to
the director and he will handle the numbering according to his special
system. Number _your own_ close-ups, because they are separate scenes
even though they are in reality a part of other scenes."
What this critic means by the director's "special system" of handling
the numbering of close-ups that he may decide to use after the story
has been placed in his hands is simply that such added close-ups will
be inserted into the working script in this manner (40 and 41 being
your original scene numbering):
40--(a) Henderson steps forward to give his prisoner
a better view of his face.
(b) Close-up of Trask and Henderson. In the
stronger light, Trask recognizes his old enemy
and his face is convulsed with hate.
(c) Henderson steps back, laughs, and holds out
the handcuffs, etc.
41--This scene as originally written.
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