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186 \\TaTING THE PHOTOPLAY the-scene leader, the mind of the spectator is engaged with the import of what he has just read on the screen, and the action immediately following the leader is overlooked. Yet a cut-in leader is usually one that suddenly discloses an important point of the plot. It may be that one of the characters, when the scene is about half through, unex- pectedly makes a statement which amounts to a confession of some crime. We read on the screen, "Judge, she said that to save me. That is my revolver!" No sooner has the cut-in been shown, and the action resumed, than the eyes of every spectator are fastened upon the face of the character in the scene who should, by all logical reasoning, be most affected by that confession. If a scene is important enough to require a cut-in leader, it is reason- able to suppose that it has the full attention of the audience after the first few seconds of action. This being so, it v^'Ould seem that the spectator is far less likely to miss a point of the action immediately following a cut-in than he is to miss what occurs at the begmning of a scene, follow- ing an ordinary between-the-scenes leader. It is a fact that many producers "drag" the action of a scene for the first few seconds following an ordinary leader, for the pur- pose of again centering the attention of the audience on the action itself, before developing — in action — another point of the plot. 7. The Use of Letters, Clippings, and Similar Inserts The great thing in using inserts, other than leaders, is to be able to tell what would be most effective in scoring