ic means by the director's "special system" of handling
the numbering of close-ups that he may decide to use after the story
has been placed in his hands is simply that such added close-ups will
be inserted into the working script in this manner (40 and 41 being
your original scene numbering):

40--(a) Henderson steps forward to give his prisoner
a better view of his face.

(b) Close-up of Trask and Henderson. In the
stronger light, Trask recognizes his old enemy
and his face is convulsed with hate.

(c) Henderson steps back, laughs, and holds out
the handcuffs, etc.

41--This scene as originally written.

It will be seen that the action contained in (b) is the inserted
close-up action. In what remains (c) we get the end of the scene as
written by the author.

_13. Visions, Memories, Dreams, and Other Devices_

We have already referred to the old method of obtaining certain
effects in so-called fairy-tale pictures by "stop-camera" work, or by
simply stopping the character at a certain point just prior to the
scheduled appearance of some supernatural visitant, having the other
characters hold their positions while the witch or the fairy character
walks into the scene and takes her proper position in it, and then
starting the camera again, the result on the screen being that the
supernatural figure stands, in the fraction of a second, where nothing
of the kind appeared before. Today, stop-camera work is used very
seldom--as a rule only to obtain ludicrously sudden and unexpected
effects in certain types of "slap-stick" comedy. A far more artistic
effect, when it is desired to introduce visitors from other worlds, is
obtained by "superimposure," or by taking the picture twice, as it
were. On the first "take" the characters go through the business
already rehearsed, and the director keeps careful track of just when
each important move is made by counting while the cameraman turns the
crank. If, at the count of "Eleven!" one character registers surprise
and points excitedly at an unoccupied corner of the room, it is the
first step in introducing the fairy, or the spectre, who is to appear
there in the picture as shown on the screen. After the scene has been
gone through with, following this rule, the film is run through the
camera a second time, the "stage" being empty of players up to the
count of "Eleven!" at which point the unearthly-visitor character is
brought into the scene at the pr