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CHAPTER XL 199 53. Engine — camera on car ahead —Ben on running board—climbs to cowcatcher. 54. Track A —Agnes on track—train comes in—Ben on cowcatcher —leans forward and picks Agnes from track—train on out of scene. 55. Track B —Train coming in—slows down—stops—Ben gets ofiE cowcatcher with Agnes in his arms—conductor and passengers run in—praise Ben. In making this series, the director will perhaps make fifty-five first. When it is done, he will have Ben get aboard the cowcatcher again with Agnes in his arms. The train will back slowly into fifty-four, the camera being turned in reverse and at reduced speed. At the proper point Ben will lay Agnes down on the track, trying to make it appear as though he were catching her up. The train keeps on out of the picture with Ben preparing to catch Agnes up. The moment is so tense that few will notice that the smoke is going down the stack. Agnes lies there until fifty-two has been made and then they will make fifty-three or another scene as may be most convenient. 16. Stop-camera work will be more fully explained in a succeeding chapter. It is merely the stoppage of the camera for the introduc- tion or removal of some person or object. The last of the effects to be obtained through turning and stop camera is the one-turn-one- picture attachment. This makes but a single exposure each time the crank is turned. It is the basis of much small trick work and can be used in dramatic work generally only where the supernatural is suggested. Bruce takes the marriage certificate of his step-mother and tears it up, throwing the pieces on the table, intending to put them into the fire. The destruction of the certificate will rob her of her rights and give the estate to him. To his horror he seems to see the certificate become whole again. In a fit of superstitious terror he takes the torn certificate to the rightful owner. The scenes run: 4.^. Library —Bruce sitting at desk—takes paper from drawer—re- gards it with anger. On screen —Marriage certificate as in No. 22. Half fearfully he regards the paper, then, in a sudden rage, he tears the paper up and throws the pieces on the desk—smiles triumphantly—starts—stares at bits of paper. 44. Top of desk —Bits of paper move about until they become united into a perfect certificate again. 45. Back to No. 43 —Bruce stares at paper on desk—breaks the spell—starts forward—paper still in pieces—he is terror-stricken —comes to sudden determination—gathers up the pieces and rushes from the room. In forty-three Bruce is handling a paper the same size as the certifi- cate. The certificate is shown as an insert. On the return to the scene Bruce tears up the duplicate. Now forty-five is played and then the camera is brought down to include the desk only, the certificate is placed on the desk smoothed out. A foot or two will be turned in