48--Back to wide-angle of room.
Both sisters are staring at Frank. Maud's look is one of
unmistakable accusation. She looks down at the floor. Frank
follows her gaze. Maud stoops, picks up the knife-point, and
holds it out towards him. He slowly advances and takes it
from her. He knows what they expect--what they demand!
Slowly, hesitatingly, he draws a pocket knife out of his
pocket. The sisters come closer, drawn magnetically by the
horrible thing they fear to see--the meeting of the knife
and the broken point.
49--Close-up of Frank. A very close view to show him slowly opening
the knife, the point of which is broken off. The other hand puts the
bloodstained point to the broken blade. They match! They fit
absolutely!
50--Back to wide-angle of room.
With an anguished face the boy cries:
_Leader_--"I DIDN'T!--OH! WON'T YOU BELIEVE ME?"
_Back to scene_.
He sees a hardening of Maud's face. Silently his hands
unclench; the knife-point falls to the table. Then, with an
access of fear, he closes his knife, thrusts it into his
pocket, and rushes wildly out, while the two girls merely
stare after him, too horror-stricken to move, to follow.
The foregoing is a good example of how "straight" action, all in one
uninterrupted wide-angle scene, would not be half so convincing,
dramatic or suspense-holding as the broken-up series of scenes, all in
the same setting, all in the one situation.
Pages:
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194