[49] Note the progressive series of leaders to emphasize Florence's characteristic morality.
[50] The boat- and amusement-park scenes can only be lightly sketched in, as much depends on the director and his locations, so skeleton action is given.
[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. See definition of "[Interpose]," [Chapter III].
[52] Here Bill is not introduced by leader, but is allowed to characterize himself in action.
[53] It is, of course, clear to the spectators that he is not telling the truth, though not so to Florence.
[54] Compare the present scene and the one following, in respect to varying treatment of conveyed information. Here the girl merely indicates what she intends to do, and her statement of the fact is not given as dialogue-in-scene, since the next scene will make clear her unregistered words; but see how dialogue-in-scene is employed in the scene that comes next, emphasizing in the briefest way just what the player feels by what she thinks and unconsciously forms with her lips.
[55] Sketchy, because in this case, "O. Henry" leaders are the important thing—and they give sufficient clue to the action required.
[56] Sketchy, as this sort of material has to depend on boat, crowd, director, etc. Continuity only required.
[57] Necessary departure from O. Henry, to build up Blinker's good qualities, and achieve a preparation for new finish.
[58] Purposely uncompleted to give suspense strength to hold over into next—slowing—episode.