The technique of film editing (1958)

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24 As in 21. Interior moving car. 25 26 27 28 Garza running down steps at the other side of the overhead crossing. M.C.S. Garza as he climbs on to a fence. He looks down. From Garza's viewpoint. Muldoon's car draws up below. As in 26. Garza has spotted the car and momentarily attempts to hide behind the fence. 29 M.S. Car. Two cops get out. 30 As in 28. Garza panics and shoots. 3 1 As in 29. Cops both crouch on one knee and shoot up at Garza. They run towards overhead crossing. 32 Garza running down some steps. He suddenly stops as he sees somebody in the opposite direction. 33 Shooting across the railway line. Halloran is seen approaching. Just as he is about to jump the railing, a train speeds across screen ieft to right, thereby cutting Halloran off from Garza. Muldoon : (turning to cops sitting in back of car) That tower up ahead on the left — you boys can get out there. Watch for Garza from that end. Cop : Right. Ft. fr. Report of shot. 5 14 1 13 5 3 2 3 1 12 2 3 6 I 4 2 3 10 Let us try to follow the relative positions of Garza and his pursuers throughout the sequence in order to see how the editor has contrived this perfectly lucid continuity. Up to half way through shot 3 the two parties are unaware of each other's whereabouts. This is confirmed in 4, when we see Halloran running towards the railway station, and in 5, when Garza is seen to be already some way along the bridge. Specific attention is unobtrusively drawn to Garza's position by the presence of the mother with her small child. The next three shots (6-8) show Halloran running in the direction from which the gun was fired, and take him to the top of the flight of steps — to the exact spot where Garza was at the opening of the incident. 74