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186 CUT-BACKS AND FLASHES 45. Back to No. 43 —Flash of fight. 46. Street —Man running. 47. Back to No. 45 —Flash of fight. 48. Police station —Man runs in—runs into station. 49. Back to No. 47 —Flash of fight. 50. Back to No. 48 —Man runs out with police—all run out of scene. 51. Back to No. 49 —Flash of fight. 52. Street as in No. 46 —Man and police run through. 53. Back to No. 57—Flash of fight. 54. Door to shop as in No. 18 —Police run in and enter shop—Man stays outside. 55. Back to No. 53 —Still fighting—Police run in—grab Bill and Jim—both in bad shape—lead them out. Here are twenty feet of fight stuff used to suggest a battle that may have been raging half an hour and the entire sequence of scenes will run well within a minute. 9. The cut-back may be used to strengthen the scene through the information it conveys. Take the scene in Chapter XXV in which the fat little physician runs to catch the train. You know this is funny and you smile, forgetting for the moment that he is trying to save a life. But before you can develop the smile into a laugh there flashes a scene in the sickroom. At once you appreciate to the full the intensity of the scene. The reminding cut-in deprives the scene of the suggestion of humor. This is one of the most useful functions of the cut-back when it is intelligently and sparingly employed. 10. Almost invariably the cut-back will add to the suspense wheth- er it is used for this purpose or not. In the beginning the cut-back was made merely to reduce the length of some scenes. The director would take a long strip of film and cut it up, then join in bits of another scene, working back and forth. He found that he gained sus- pense and smartened the action. Many, indeed most, directors still follow the same scheme of making long scenes and cutting them up, for it is not easy for the players to get into full swing for a five or ten second scene, but with this the author has nothing to do. He writes in the cut-backs as they should fall. If the director prefers more or less, he makes fewer cuts. For this reason it is best not to make an excessive use of cut-back, but to cut back as good sense sug- gests and leave it to the director to go to extremes if he wishes. 11. Cut-backs make for suspense through delaying the climax or crisis and also through the cunningly contrived suggestion of victory and defeat in alternation. Perhaps the best example of this is a story that one company used to wTite about once a year. In this a druggist dispenses a corrosive m.edicine in mistake for a harmless drug. He discovers the mistake and instead of going to the tele-