Enid responded, but in tones too low for us to hear.  A new flush of red in Marilyn’s face, however, demonstrated the power in the lash of the other girl’s tongue.  Werner hurried over to them, not masking his own irritation any too well.  Without a word he began rearranging the table, moving it slightly so that while there was no great difference in its position he had yet made a show of satisfying Marilyn.  In effect he pleased neither.  The two pretty faces closest to the camera were a study in discontent.

“I don’t wonder that moving-picture directors are nervous,” Kennedy remarked.  “Film manufacture must keep everyone under constant tension.”

“What do you make of the feeling between the different people?” I asked.  “Did you notice Millard and Gordon, and now Enid and Marilyn?”

“There’s something under cover,” he rejoined; “something behind all this.  I get the impression that our suspects are watching one another, like as many hawks.  At various times most of them have glanced over at us.  They know we are here and are conscious they may be under suspicion.  Therefore I particularly want to see how those two girls act when Mackay arrives to arrest Werner.”

The director, stepping back to his place, took a megaphone from his assistant for use in the rehearsal.

“Now you must act just as though this were a real banquet,” he shouted.  “Try to forget that the Black Terror is lurking outside the window, that an attack is coming from him.  Remember, when the shot is fired you must all leap up as though you meant it.  Here!  You—­you—­you—­” designating certain extra girls, “faint when it happens.  That’s not until after the toast is proposed.  I’ll propose the toast from my table and it will be the cue for Shirley, outside.  Now don’t get ahead of the action.  You amateurs, don’t turn around to see if the camera is working.  We’ll go through the action up to the moment I propose the toast.”  The buzz of conversation rose slightly as though an effort was being put into the gayety.  I glanced about at some of the people who were cast for only this one scene, wishing I could read lips, because I was sure many of them talked of matters wholly out of place in this setting.  At the same time I kept an eye on the principals and upon Werner.

Finally the director was satisfied, after a second rehearsal.

“All right,” he bellowed, throwing the megaphone from the scene.  “Shoot!”

At the same instant he dropped to his place and apparently was a guest with no interest but in the food and wine before him.

At the cameras-there were three of them-the assistant director kept a careful watch of the general action.  In actual time by the watch the whole was very short, a second measuring to sixteen pictures or a foot of film as I explained afterward to Kennedy.  The entire scene perhaps ran one hundred or one hundred and fifty feet.

But on the screen, even to the spectators in the studio, the illusion in a scene of the kind would be the duration of half an hour or even more.  This would be helped by close-ups of the individual action, especially by the byplay between the principals, taken later and inserted into the long shot by the film cutter.