A telephone operator (Dorothy Bernard) working an isolated railroad outpost is besieged when two tramps try to steal a cash delivery. After telegraphing for help, she heroically gives chase to the thieves on their getaway handcar. A thrilling railroad chase commences when her engineer love interest commandeers a train to overtake the villains. THE GIRL AND HER TRUST doesn’t stray far from a standard “race to the rescue” plot but the real story here is D.W. Griffith’s sophisticated visual storytelling. Beyond simply cutting between parallel scenes to build tension, the innovative director boldly relates framing and pacing to intangibles like character psychology. You begin to understand what the early surrealists like about cinema when Griffith moves into a close-up of the heroine pounding a bullet through a keyhole. The story refers to other modern technologies of speed (such as the telegraph and railroad) but Griffith’s dynamic cutting is the engine powering THE GIRL AND HER TRUST.