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178 THE CLOSE-UP merely show the restaurant and its people. It is a large set, both wide and deep. The musicians' balcony stands a little above the floor, perhaps three feet. This will enable us to perceive the figures of the players. It will not be easy to distinguish their features. Forty-four brings us to a close-up of Pompton and Castle. We have seen them in the large set, but this scene shows them more clearly. They are through with their meal, but they linger. Why? In a moment Castle sees Paula coming. The reason for their delay is explained a moment later as we see Paula and Dick approach in forty-five. They have been waiting to watch Paula and her victim. The table has been engaged by Dick. They have taken seats as close to it as they can get. Dick does not know them, so there is no danger. 9. In forty-sLx we get our first glimpse of Gecko. Probably we know he is the leader here and that Dick, with the influence of a profitable patron, obtained him the position. We do not need to come close to Gecko to see that he is there. We know that. We do not need to come close to see that he recognizes someone. The flash of Paula in forty-seven reveals the identity of the person in whom he is interested. We could guess this, knowing what has gone before, but the flash makes it clear that it is Paula and not Pompton whom Gecko sees. In forty-eight we get a glimpse of his surprise. We see how the recognition affects him. Practically all of this would be lost were the camera held on the front line. Forty-eight shows the excitement created. As Paula is not interested, it is clear that she does not know that Gecko is present. In the next scene (fifty) we see that Pompton, for the first time, becomes aware of Gecko's presence. He tells Castle, who does not know, of his elopement with Paula. We are familiar with the story. It is necessary to show only one vision scene to recall the rest. The departure is the most definite of these scenes, so this is selected. Castle reassures Pompton and passes him a revolver. 10. Something must be done to terminate this period and start the next. The manager tells Gecko to play. Gecko resumes the music, watching Paula. It is through watching her that Gecko is made aware of the presence of Pompton. As in forty-seven we used a flash of Paula to tell" that it was she and not Pompton whom Gecko saw, now in fifty-six we show Pompton toasting Paula. This com- pletes the action of the toast while it also shows that Gecko sees Pompton. In a flash it becomes clear to Gecko that Paula went av/ay with Pompton. In an earHer scene he was led to believe that she went by herself. Note here the chain of events. Gecko watches for Dick, his benefactor. Watching him he sees Paula and watching her he is made aware of Pompton's presence. One event naturally leads to the next. 11. In fifty-eight we show that Paula is not feeling well. Dick seeks to take the wine from her, but she drinks it. This prepares for the later scene. It is not so much recollection or conscience as it is excitement aggravating an existing blood pressure which causes her