The Scene: The Shadows on the Pillar

Camera angles must be varied in this scene. There should be a rapid series of interspersed shots switching back and forth between Matthew and Maria, as the dialogue consists of rapid one-liners they exchange back and forth. There should be close-ups of them when talking with a long-shot view of the railroad station and assume tracks behind them. Focus should be clear on them in the foreground for most of their dialogue, but there are both points where the focus should be on the background. First, the shot should focus on the background when Maria asks Matthew if he could father a baby bird who was not his.

When he says "kids are kids, what does it matter" a shot of a harried, alone adult female carrying suitcases, an infant and trailed by three small children should be viewed in the background at the station. This emphasizes his dialogue and point. Second, when he drops to one articulatio genus to propose to Maria, a background shot of a locomote choose moving through the station should be viewed. This is the apogee of the scene when he admits respect, admiration and trust equals love, and from Maria move off the pillar. The dramatic motion and unexpected movement of the train emphasizes the dramatic emotional moment in the dialogue and action.

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