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132 A PRACTICAL MANUAL OF SCREEN PLAY WRITING
themselves. It is not necessary to put everything down in black and white to make certain they'll "get it!" In other words, it is psychologically sound to achieve audience acceptance by flattering your audience with the idea that they can be depended upon to make apt deductions by associating certain facts with other facts.
Reaction cutaways. Thus, when writing a murder scene, it is not necessary to show the bullet entering the body in order to indicate it was hit. In the first place, the currently reigning Morals Committee in Hollywood would not permit it. But at the same time, it is possible to indicate what happens in the main action by showing, in a reaction cutaway, what some person's reaction to that action is —by indirection, in other words.
In the picture Payment Deferred, for example, indirection was resorted to when Laughton's nephew was being poisoned. The camera lingered on a shot of Laughton, standing across from his nephew and watching him fascinatedly as he drank the poisoned liquor. In addition, a close-up cut-in of Laughton's own liquor glass, quivering in his shaking hands until its contents spilled over the sides of the glass, heightened the power of the shot. At no time was it necessary for the audience to see the nephew going through the throes of poisoning. Instead, they saw an oblique reflection of his suffering in the suffering of the poisoner.
Hitchcock is a master of the indirection shot, which he uses to build suspense. Simply by photographing a cutaway shot of a door swinging gently, he suggests that a trapped person has succeeded in escaping through the door, without actually showing him going through it. This effect was used in The Maltese Falcon, when a shot of the open door informed the audience that the trapped killer had escaped while his captors were arguing between themselves.
In the picture Miracle on 34th Street, Edmund Gwenn (Santa Claus) is seen showing a little girl how he can handle a wad of bubble gum. A close-up shows him starting to blow up the bubble. Then a cutaway to a close-up of the little girl's face shows her reacting to the bubble she sees being blown up. From her widening eyes, the audience can almost see the bubble increasing in size until finally it is heard to burst with a pop. In the next shot, Gwenn is seen in a close-up trying to remove the bubble gum from his beard. This bit of oblique visualizing by means of an indirection cutaway