Her right arm rotates horizontally through ninety degrees, the torch in her hand shines across the void; at the same time the fingers on her left hand are tapping rhythmically (impatiently) on top of her ice-cream tray. The back, front and side views of the cinema seating are fused onto the walls of the void, becoming part of the fabric of the building. Safety glass screens, apparently protect the sculptural frieze and also provide a transparent surface film for an etched black line drawing which serves to outline the seating that no longer exists in its relief form.

As the usherette shines the way, her torch light is reflected in the glass pane opposite, as the beam passes the line drawing, the drawing is projected onto the flat wall behind. Changing the intensity of the shadowy projection as the light passes by The walls, chairs and usherette are painted the same colour as the existing walls of the void. The glass is clear with green polished edges and chrome studs hold the panels of glass in place.

The line drawing is precise, yet not quite technical. The torch light colour is to be decided. Proportions and seating arrangements may vary from the model but would be similar in essence. The proportions of the seating would, with the help of the line drawing and the glass panel divisions, echo the proportions and qualities of a strip of 35mm film.