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SECRET PEOPLE 95
job, his craftsmanship became creative. Dovetailing the two rolls of picture and the two of sound he whittled and rearranged the intentions, overlaying the sounds of the entertainers over the visuals of the action of our story. We projected the experimental assemblies of the sequence over and over again. Ideas and arguments. Opinions from outside. Numberless experiments. Sidney Cole, the producer, and I had both been film editors, and, as all film people know, the collective term for film editors, however small the number, is bicker.
Finally the sequence was shaped as follows and unless it is changed between the time at which I am writing and the first public showing of the film, this is how the sequence will appear on the screen.
And I repeat that, apart from the differences dictated by the nature of Nora's dance and the CairohV act, skilful and creative editing has contributed strongly to the final result.
SECRET PEOPLE:
The flashback of the Garden party as edited in the finished film.
22 Interior of Anselmo's Living-room. Night.
Maria and Nora are standing by the window. Louis enters through the door past camera. Maria does not look at him. louis : Hullo you're back early. nora: Something horrible happened. There was an explosion
22a Reverse Shot. Louis and Penny. penny: An explosion.
22b Close Shot. Maria and Nora.
nora: It was terrible (She breaks down and runs off right to her bedroom).
22c As 22a.
Louis signals to Penny to go after Nora. Penny goes left. Camera tracks into close up of Louis. Louis : It worked.