The alluring, even jolting, spectacles so central to early film's ‘cinema of attractions’ and its developing trade in verisimilitudinous and vicarious experience occasionally provided a glimpse of what happened after death. Where the train only approached in the Lumière brothers' classic sequence which inaugurated Part I, and Topsy merely tumbled for Edison's camera at the start of Part II, in this concluding chapter Cecil Hepworth's trick film How it Feels to be Run Over of 1900 takes us further. A fixed camera in the middle of a rural road records the approach and passing of a horse and cart. A motor car, however, hurtles towards it and, following the collision, a black screen spells out, one word at a time: ‘!!! Oh! mother will be pleased’. Hepworth, the pioneer of British cinema, using what are considered the first examples of intertitles, had the victim ‘speak’ from beyond the grave. Inventive and playful, the film is typical of the period in opposing tradition and progress, movement and fixity, and in its device-determining narrative. It also joins other more vivid conjurings of death and the afterlife common to the silent era: the puffs of smoke, double-exposed ghosts, and hauntings found in the films of Georges Méliès, J. Stuart Blackton, and G. A. Smith. This early gesturing to a realm beyond the finitude of life functioned simultaneously, just as it did with regard to self-endangerment and to dying earlier, as the achievement of technology and the wonder of film.