On turns, along the dangerous road, the stolen car is “shot” from behind, as described above. These scenes are varied with “long shots,” taken from the distance, that show the road along the precipice, with both pursued and pursuers racing along. Then we have a fairly close “shot” of the wheels of the stolen car, as they come close enough to the edge of the cliff to make you shudder; this “close-up” is taken from behind, with slow cranking. Then, perhaps, we have a view of the road ahead, the camera being placed (supposedly) on the stolen car. We see the road apparently running towards us, the edge of the cliff at one side so close that it seems as though we’d surely go over. Next, say, a close-up of the thief, showing his expression of terror as he loses control of the car and realizes that it is about to plunge over the cliff into space. Then, the real “trick action” of the incident. The car is rolled by hand to the very edge of the precipice, and blocked there with little stones that do not show—the tires of the front wheels actually projecting over the cliff. The actor taking the part of the thief holds his hands above his head, looking as terrified as he can, and brings them very slowly down in front of him, at the same time releasing the clutch of the car, with the gears in reverse and the motor running. The camera, placed quite close at one side, is slow-cranked backward. So that when the print from the film is projected at normal speed, we see the car dash to the very edge of the cliff, while the thief lets go of the wheel and throws his hands above his head just as the machine makes the plunge. For the next shot, of course, we have a distant view of the scene, a “long shot,” showing the car plunging down to destruction, with the thief still behind the wheel. This is done with a dummy figure. But on the screen, when the picture is completed, we jump from the close scene of the thief throwing up his hands as the car reaches the edge of the cliff to the long shot of the car falling with the dummy, and the illusion is perfect. Before the car is pushed over the edge for the real fall, the engine is taken out, and everything else of value that can be salvaged is detached. In the final scene of this tragic death these accessories may be scattered around the wreck of the car, adding to the total effect of utter destruction. The body of the thief, half covered by one of the crumpled fenders—the real actor, of course, this time, shamming unconsciousness or death, properly smeared with tomato-catsup-and-glycerine blood, adds the finishing ghastly touch. Do you believe that any one could see that picture,—well done, the chase along the mountainside, the rush to the edge of the cliff, the drop through space, and the wrecked car on the ground—without a thrill? It would be quite convincing, and few indeed could tell which scenes were actual “straight” photographs and which were “tricked.”