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33 indicates that Garza is caught. During the entire passage, the geography of the locale and each stage of the chase have been clearly conveyed.
The rate of cutting is continuously made to underline the changing tension of the situation. Shot 3 is 10 feet long : the chase has not yet begun and the revolver shot takes the cops unawares in the midst of a lull in the action. The beginning of the chase is rendered as being long and exhausting rather than particularly eventful. Shots 5, 14 and 15 are relatively long : Garza's desperate struggle to get away rather than any new dramatic development is stressed. After this, the cutting becomes a little quicker as Halloran begins to draw nearer and then farther away again. Finally, the rate of cutting is further speeded up into a climax as the gunfire begins.
It is worth commenting on the particular methods the editor has adopted to convey the effect of speed and excitement. Earlier in the film Garza has been characterised as cunning as well as ruthless, and the final chase therefore was best presented as a " battle of wits," instead of a wild action-packed shooting-match. The editor has adapted his technique to this demand of the story. He has not cut the passage particularly fast, but has concentrated in switching the action around quickly among the three participants, in order to give the impression of the smoothly co-ordinated action of the two police contingents working together against the criminal. It is, for instance, particularly noticeable that from shot 13 onwards each cut takes us to another part of the action : there are no cuts which continue the action of a previous shot. This constant switching of the focus of attention creates an impression of fast action even though the cutting — except at the very end — is not particularly quick.
A conspicuous feature of the editing of this passage as compared to most other action scenes is the complete absence of any establishing long shots in which the opposing parties can be seen at once, and of any static reaction shots of observers. Close attention to the details of the locale which is cleverly used to placeeach character in a recognisable position obviates the use of establishing long shots. Similarly, the editor has not resorted to using any reaction shots of observers because the three groups of people concerned in the chase always provide him with something to cut away to.
Nevertheless, both these devices form a useful and often indispensable feature of the editing of action scenes. Their use is shown in the next example.
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