The technique of the photoplay ([c1913])

46 TECHNIQUE OF THE PHOTOPLAY 22- Workshop as in No. 8- John enters alone in car- closes door- starts to attend to car- man enters- gives note- John reads- On screen- Note Because I would not marry the Count, father is sending me to Uncle George's place in the country, with the house keeper for a watchman- I will write soon- don't be discouraged. NELL. Back to scene- John shocked- comes to sudden determina- tion- puts on coat- exits. Leader- John goes to warn Morton. 23- Street- John passes through. 24- Close up of Morton's steps- John enters- rings bell- servant comes- takes John's card- exits, closing door- John shows surprise at being left on steps. 25- Library as in No. 3- Morton and Count on- talking- servant enters with card- gives Morton- Morton angry- exits- Count rises as door closes- goes to safe. 26- Back to No. 24- Morton enters- starts to row with John- John speaks- Morton refuses to believe. 27- Back to No. 25- Count has opened safe- stuffs jewels in pocket. 28- Back to No. 26- John still arguing- Morton enters house- John follows. 29- Back to No. 27- Count closing safe- hears noise- alarmed- tries to lock safe- Morton and John enter- Count tries to appear unconcerned- John goes to safe- opens- they seize Count- take jewels from him- John goes to telephone- Mor- ton tells him not to send for the police- Count exits- has nerve back- Morton thanks John. All through these later scenes "Back to" is used since the dual action is continuous, but while this is a cut-back it is not the cut-back as it is generally understood, though it is the same as a cut-back in the way it is handled. The dual action is employed here to cover up the actual robbery and get the story past the Board of Censors, though if they passed the wax impression of the key they would probably pass this. The commission of any crime or offensive act can be covered up in this fashion. We are coming presently to the true cut-back-