ining--dejectedly--goes off with him.

_Leader--_

FLORENCE IS DIVINELY HAPPY--FOR IS SHE NOT WITH HER
MAN--KEEPER OF THE KEYS OF FAIRYLAND?

54--Front of a show.

Florence in ecstasy. Overcomes chagrin. Goes in with
disgusted but subdued Blinker--subdued by a battle royal
with the mob around ticket wicket.

55--Inside the show.

As Blinker helps Florence into a seat, an Italian woman with
bunch of candy-sticky kids comes along. In they pile,
candying Blinker, who disgustedly hops out, with Florence,
somewhat discomfited and provoked at him, following. He
backs away, and she after him.

56--Closer view of the two.

Florence sizing up Blinker--delivers her opinion:

_Cut-in leader--_

"IF YOU EXPECT TO HAVE ANY FUN, YOU'VE GOT TO JUMP IN AND
ACT AS NUTTY AS THE REST OF THEM."

Blinker is subdued, but hard to convince. Then he looks at
the wistfulness of Florence's eyes, and somehow he decides
he will try to enter into the spirit of the thing. She sees,
is starry-eyed--drags him off, ecstasy in her face.

57--The flying horses.

Blinker about to get on, with Florence pulling him. They get
on. "They're off!"

_Leader--_

BY THE MAGIC OF FLORENCE'S ENTHUSIASM BLINKER SUDDENLY SEES
CONEY ISLAND IN ITS TRUE GUISE.

58--Flash on horse.

Florence all ecstasy.

59--Another horse--parallel.

Blinker watching Florence--sudden change to delight.

60--Horses on track in Steeplechase, running parallel.

The two horses are going away from the camera, and as
Blinker turns to smile at Florence, she smiles at him, and--

The scene interposes into--

61--A rolling open field.

Taking the place of the Steeplechase horses, we see Florence
and Blinker riding at a gallop on real horses, typifying
their imagined visualization. The scene interposes back into--

62--Steeplechase horses.

Blinker laughs merrily at Florence, and both "work" as hard
as they can to send the horses faster.[51]

[Footnote 51: The technical "interpose into" and its resultant "back
into" are technical devices to indicate the merging of one scene into
another--and the effect here noted, as well as the following one,
while very significant if well done, must not be taken as models--they
were specially planned with the knowledge that a director could and
would secure them adequately