Bowtell during week two’s lecture discussed closure through the introduction of holes spaces and gaps, making a juxtaposition of combing part to create a new meaning. This ‘fixing and breaking’ of narration, also discussed in previously evaluated McCloud’s Blood in the Gutter was exemplified in Martin Scorses’ Sam Meets Ginger scene, within Casino (1995). With rhythm Scorsese juxtaposes the risk of Ginger’s gambling chaos and the effects of its high steaks on her life compared to statuesque figure Robert Di Nero who watched her through a muted CCTV recording. It combines story and emotion through the sequences of shots that linger on Di Nero’s inquisitive but comparatively apathetic face looking over the antics of Ginger as she steals from both her hand mate and Sam’s casino. The film’s techniques of cutting long allude to the idea that by the time Di Nero gets to the casino room floor a love story is set up without a single word said to one another. The audiences thus senses themselves as the role of fate upon Sam and Ginger’s meeting, having experienced the tones of their relationship before it’s even begun. Through playing with editing and creating the audience’s meta-theatrical role of Cubid or fate, Scorsese alines the tragedy of Casino’s love story in the same way Shakespeare did in Romeo and Juliet’s prologue.