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THE FILMIC COMPONENTS 149
up a road from a number of angles and camera distances, especially when the destination is some distance from the place of leave-taking. Also, if it is essential that suspense be built, such auto run throughs are extremely effective. The same applies to any means of conveyance, especially trains. In scenes where much of the action takes place in the interior of the train, exterior shots of the train hurtling through the night (it's always night in these sequences) are essential to re-establish the fact that the action is taking place on a moving train. They are also invaluable for purposes of transition. It would be impossible to leave the impression with the audience that a certain amount of distance had been covered by the train if all the shots were of train interiors.
Perhaps this might be a good place to explain why most interior train sequences are shot with NIGHT indicated, especially in cheapbudgeted movie-house pictures and television films. DAY shots require that rear-screen projection be used to suggest that there is real scenic landscape whizzing by the train windows. This calls for an involved setup, in which telephone poles and tree shadows must be shown flickering across the faces of the characters, and where grips must shake the mock-up train set to simulate train movement. Most of this can be eliminated, however— especially the rear-screen process shots and the telephone pole and tree flickerings— simply by indicating that the time be night.
Sound-effect transitions. To this point, we have considered only visual transition techniques. There are others which can be used separately, or in combination with the visual. The sound transition devices are, perhaps, the most important of these. One method was suggested in the section devoted to "within the shot" transition techniques. There are many, many others the screen-play writer can use.
The most obvious and therefore most often used is the continuation of the sound of the vehicle being photographed in a series of run throughs, intercut with interior shots, as in the afore-mentioned train sequences. Here the clackety-clack of the wheels and the shriek of the siren can be carried through under both the exterior and interior shots, with the sounds being diminished in volume for the interiors, to indicate they are being muffled by intervening walls.