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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.]
_Leader--_
NO LONGER DOES BLINKER SEE A RABBLE. HE IS AMONG HIS BROTHERS, ALL SEEKING AN IDEAL.
63--Front of tawdry amus.e.m.e.nt place.
Blinker is with Florence. As they come up and listen to the "ballyhoo" man--
The scene interposes into--
64--Front of fairy castle.
Florence and Blinker as Prince and Princess.
The scene interposes back into--
65--Front of amus.e.m.e.nt place.
Blinker and Florence rush in with crowd, all gay and hilarious.
_Leader--_
SO BLINKER ROLLS UP THE SHIRTSLEEVES OF HIS MIND, AND BECOMES AN IDEALIST TOO.
66--A show (Slide).
Good comedy to get some people coming down a slide, with Blinker and Florence among them.
67--Bottom of slide.
Blinker and Florence get out, gay as can be--and as they stroll off, there is a touch of sentiment.
_Leader--_
THE PARTING.
68--Park entrance. Night.
Blinker and Florence. She stops him. He wants to go on with her, but she says:
_Cut-in leader--_
"I MUST LEAVE YOU HERE. I DON'T WANT TO SPOIL THE FAIRYLAND BY SHOWING YOU--'BRICKDUST ROW.'"
He tries to persuade her. She is firm. Another "date" for tomorrow. Off she goes. He the other way.
69--Room.
Florence in--lights up. Sits to dream of happy day.
70--Blinker's apartment. Lit up.
Blinker in to find Simonds waiting. Dismisses man, who might interrupt dream of happy day by proffer of something--comedy chase out, then Blinker back to smoke and smile.
71--Florence's room. Gas-lit.
Florence rises to remove dress, pauses to look at herself in mirror--girlish vanity.
_Leader--_
WHEN GANG-LEADER MEETS GANG-LEADER--
72--Front of "Brickdust Row." Night.
Bill sauntering. Pauses to light cigarette. A rival gang-leader comes on. Flash--pistols--bang--other man fires first. Bill wings him and turns.
73--Corner. Night.
"Cop" hears shooting. Listens to locate it.
74--Front of "Row." Night.
Bill hides gun in coat. Dodges into door.[52]
[Footnote 52: Here Bill is not introduced by leader, but is allowed to characterize himself in action.]
75--Corner. Night.
"Cop" looking around--sees--
