The art of sound pictures (1930)

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124 THE ART OF SOUND PICTURES time taken by the previous patterns. See how much faster your story is running? But even this design is by no means the swiftest, though it pleases the ear. Here is a still faster rhythm: Mother. Great window, that ! Cost eight hundred — Daughter. When will it pay? Mother. Soon. Give people a week to learn of us. Daughter. How’s cash? Mother. Enough for two weeks. Daughter. We need enough for six months. Mother. Pooh ! Daughter. I read it in a book. Again hold the stop watch. -Again mark the difference in velocity. Now, to the ear, this telegraphic pattern, this play of monosyllables, is by no means so charming as the longer and smoother swing of finished sentences. But it has the tremendous advantage of whipping up the main action to the limit. Hence, writers favor it, even though they appreciate its esthetic limitations. To get away from the monotony of this rapid-fire talk, you may have recourse to the deftest of all patterns. It is the one which builds around the rhythmic unit of talkgesture-silence, each element being as short as possible. Thus: Mother. Great vdndow, that! [Peers out. Both silent an instanf]. Daughter. Bah! It won’t pay. [5/i!n<gj shoulder and turns back to mother'\. Mother. Give it a week. People vill come. [Daughter laughs hysterically. Both women silent a moment]. Daughter. How’s cash? Mother. Good for two weeks. [Silence again, then Daughter laughs hysterically]. hloTHER. What’s wrong, child? Daughter. Two weeks! Ha! We need enough for six months.