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In cases where a character has to be conveyed from one place to another between two consecutive scenes, this principle of implying the unnecessary intervals can be carried a stage further. For instance : A is shown talking to B in the street just outside the apartment house at which he lives. We see him taking leave of his companion, and the script demands that the next scene should take place between A and his wife, in his third floor flat. Now if the transition from the first scene to the second were to be shot strictly as it would happen in real life, it would be necessary to show A entering the house, pushing the button to call the lift, waiting for the lift to descend, stepping into the lift, ascending to the third floor, getting out, walking up to the door of his flat, and opening the door. Only after all this could the second scene commence. Unless there is some dramatic point to be made in the course of the journey, this is clearly an unnecessary waste of time. The time gap between the scene in the street and the scene in the flat must in some way be bridged.
Several ways suggest themselves. As the two men are seen parting in the street, the camera could stay on B and let A walk out of frame, obviously towards his house. Then, after B had been held on the screen for a little time, a cut could take us straight up to A as he was entering his flat. The period of time during which B was held on the screen would be sufficient to imply that A had meanwhile had time to ascend to the third floor.
Alternatively, it would be possible to cut the scene in another way. As the two men are parting, A might say something to the effect that his wife is waiting for him at home. The line of dialogue would justify a cut straight to the interior of the flat where the wife is waiting. After a very brief period it would be permissible to cut to the inside of the flat door and show A entering. The spectator will not mind seeing A entering the flat a few seconds after he was seen in the street : it will appear to him that the short time in which the shot of the wife was held on screen was sufficient to let A ascend to the third floor. It will be seen that the physical continuity is wrong, yet because the order of events is dramatically significant, this does not matter. From the street scene where the wife's name is mentioned, the logical cut is to a shot of the wife herself. From the shot of the wife waiting for her husband, the logical cut is to a shot of A entering.
In each case the idea of the scene is carried over into the next and the dramatic continuity is strong enough to make the spectator ignore the physical inaccuracies.
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