They get
on. "They're off!"
_Leader--_
BY THE MAGIC OF FLORENCE'S ENTHUSIASM BLINKER SUDDENLY SEES
CONEY ISLAND IN ITS TRUE GUISE.
58--Flash on horse.
Florence all ecstasy.
59--Another horse--parallel.
Blinker watching Florence--sudden change to delight.
60--Horses on track in Steeplechase, running parallel.
The two horses are going away from the camera, and as
Blinker turns to smile at Florence, she smiles at him, and--
The scene interposes into--
61--A rolling open field.
Taking the place of the Steeplechase horses, we see Florence
and Blinker riding at a gallop on real horses, typifying
their imagined visualization. The scene interposes back into--
62--Steeplechase horses.
Blinker laughs merrily at Florence, and both "work" as hard
as they can to send the horses faster.[51]
[Footnote 51: The technical "interpose into" and its resultant "back
into" are technical devices to indicate the merging of one scene into
another--and the effect here noted, as well as the following one,
while very significant if well done, must not be taken as models--they
were specially planned with the knowledge that a director could and
would secure them adequately. See definition of "Interpose," Chapter
III.
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