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CHAPTER XXXVIII 175 43. Interior of restaurant. Music balcony at the rear -with four or five piece string band. Guests at tables, waiters serving them. Down front a reserved sign decorates a vacant table. Nearby Pompton and Castle are idling over their coffee. Castle points off—Pompton nods and looks. Head waiter bustles down, ush- ering Dick and Paula—seats them at the reserved table—removes sign—waiter captain comes to take order—Pompton and Castle watch—Gecko starts—music stops—musicians alarmed—Gecko pulls himself together—resumes playing—Dick and Paula chat —Dick clearly fascinated—Pompton and Castle watch with ap- proval—Pompton and Paula exchange signals—Gecko watch- ing, sees signal—starts as he recognizes Pompton—understands now that it was Pompton with whom Paula ran away—mo- tions the others to end the piece they are playing—starts to play a solo—Paula starts—does not look at Gecko, but straight ahead—FADE. 44. Fade in part of scene six where Paula dances to Gecko's play- ing. FADE. 45. Fade up to No. 43. Paula rises unsteadily to her feet—-Dick springs up and catches her—Pompton and Castle alarmed—• Pompton would go to her, but Castle prevents—Paula turns— her glance meets Gecko's—covers her eyes with her hands—turns back to camera—shrieks—drops forward on table—dead—all confusion—in the balcony Gecko throws his violin from him— kneels at rail, praying for the dead. To the novice this would seem to be a scene of unusual dramatic intensity. It would be were it possible to get in the screened picture all that has been written down, but there are two reasons why it will not work well in action. For one thing we barely see Gecko. We cannot connect his action with the action in the front. For another objection we have the fact that attention will not be centered upon the proper person at all times. The spectator may be watching Paula when he should be observing Gecko or looking at Pompton and Castle while Paula is carrying the story. More than this, the scene will run | too long. It surely will make a hundred and fifty feet, if not more, I and the. scene that runs for that length of time in one place, no matter how vivid or varied the action, seems interminable. 7. To reduce the apparent length of the scene and to centre the j attention of the spectator upon the proper action is the function of t he ^ cut-back^ The reconstructor will take that scene and split it mto its various factors. First he will give the big scene. This is merely atmosphere. It does not advance the story, but it shows the scene, the relation of the smaller stages to each other and gets the spectator in the proper frame of mind, just as the orchestral prelude is supposed to prepare the auditor for the play. Then he starts in to pick the action apart and assign each important action to its respective stage.. He will get a greater number of scenes and perhaps a slight addition to the footage, but he will have something that will give full value to every action of importance. His reconstruction will look like this: