The chapter opens with “Dialogue,” which explains the features of effective cinematic dialogue. It should not mirror natural dialogue, which is often awkward and disjointed; rather, it should say the most possible in the fewest words while retaining the flair and flavor of natural speech. Every line of dialogue should build a pattern of action and reaction, supporting the subtext, motivations, and turning points of the scene. Dialogue should be an additional layer that clarifies visual expression but never replaces it.

“Description” explores how immediacy and specificity create a clear vision of the scene on the page. McKee uses an example scene to illustrate the minimal use of camera direction and notation. “Image systems” goes deeper into the visual aspect of a screenplay by discussing imagery, symbolism, and motifs. These must be subtle and subliminal to communicate unconsciously with the audience. An external image system is based on symbolism that already exists in our wider cultural consciousness; an internal image system builds on the world of the story. McKee provides examples of both from popular films. Lastly, the chapter visits the subject of titles, which can be used in their own symbolic way and communicate the

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