This chapter discusses the overlaps and differences in how film audiencesencountered feature films ‒ projected in one stretch or via breaks for reelchanges. By charting the trade discourse, the text shows that Americanfilm theaters gradually adopted a two-projector system during the earlyto mid-1910s and thus screened multi-reel feature films without pauses.In contrast, Swedish f ilm theaters retained the one-projector modelwith breaks well into the 1920s, and some did not switch over to twoprojectors until the breakthrough for sound. This non-uniformity forexhibition practices challenges notions about a hegemonic regime foraudience absorption in the engagement with the story world. Breaks dur-ing projection clearly offset such a mindset and instead offered modes ofintermittent and distracted engagement in fictions presented as recordedrather than just given.