ow sill. She crosses and stares down at it also,
then, with a shudder, picks up--the knife-point!

43--Bust of Maud's hand holding knife-point to show blood-stain in
shape of rude star.

44--Back to wide-angle of room.

Maud flings the knife-point from her in horror, then turns
to Ethel and clings to her. Both look towards door as Frank
enters. He advances a pace or two, sees them, and stops,
aghast.

45--Close-up of Frank. His eyes suddenly drop, he sees the object
lying on the floor, and, slowly, his hands go up over his eyes.

46--Close-up of Maud and Ethel. Maud slowly turns to her sister with a
question in her eyes--"Is he guilty?"--and bows her head, then looks
up quickly and fixes her gaze on Frank.

47--Close-up of Frank. With agony in his eyes, the boy protests his
innocence. Suddenly he pauses, realizing that he is not making an
impression.

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. Incidentally, Scene 49
shows very clearly the distinction between