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46 A PRACTICAL MANUAL OF SCREEN PLAY WRITING
when the sound effects of clopping hoofs, horses' snorts, and jingling spurs and harness add to the sense of excitement. Years ago it was the cowboys who chased the Indians who, in turn, had chased the unwary settlers in their Conestoga wagons. Nowadays cowboys chase cattle rustlers, posses chase stagecoach robbers, and the villain chases Li'l Nell as she approaches the dynamited mine.
Sam Wood's last picture had two chase sequences-one in which the soldiers wiped out most of the Indians, and the other where the escaped Indians set a trap for the whites, killed most of them, and were in turn wiped out by the Reserves.
Comedy chases. The chase is especially effective in comedies. The old-time two-reelers featured a chase in almost every sequence. The Keystone Cops came into being because they were needed to chase baggy-pants comedians. When the camera was slowed down to twelve frames a second (which increased the number of photographed frames and thus sped up the action) the chase was made to appear even faster and the action more hilarious. In photographing Westerns, the normal twenty-four frames per second are gradually cut down to eighteen frames in chase scenes. Cross-screen action need not be slowed down to increase the speed but head-on shots are usually photographed at twenty frames per second to increase speed. A wide-angle lens is also used to accomplish the same effect. More about these matters later, however.
Murder chases. In murder-mystery stories the chase usually begins with the discovery of the crime and with the uncovering of the first clue. Here the chase is more subdued, slower paced. It becomes not so much a chase from one place to another— where the movement is obvious-but a more subtle procedure, one that is slowed down to a stalk.
Very often, though, especially in suspense or crime-without-murder stories, the chase can become as frenzied as in a two-reel Western comedy. In the British film A Run for Your Money an effective, sustained chase was used in which one character was pursued by another while the girl was being tracked down by her victim and a harassed copy boy, vainly trying to capture his charges, wound up being captured by the police himself. This double chase has been successfully exploited in Hitchcock's films. In his The Lodger the