"Well, then, what's the big objection?"
"Simply that the set is out of harmony with the rest of the picture——"
"Out of harmony! Why, it's going to make the picture! You ask Harry Iturbide here. He'll tell you, when that set's flashed on the screen it's going to knock your eye out."
"I'm sure he will," Lucinda agreed, smiling at the cameraman.
"Well, Harry?" Nolan insisted—"what about it? Who's got the rights of this argument?"
"Miss Lee," the cameraman said, sententious.
"Miss Lee has! Say: how do you make that out?"
"You don't want to make your background too prominent, Mr. Nolan," Iturbide explained patiently. "This set is going to stick out in front of the actors. You won't be able to see what they're doing against a checker-board like that."
"Ah, you give me a pain!" Nolan retorted crushingly. "That background's all right—going to photograph like a million dollars, I tell you."
"But, Mr. Nolan," Lucinda resumed with more confidence: "don't you see that the set is completely out of key with the atmosphere of the story? It isn't in the least like the supper club the author described."