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202 VISIONS erected, or the landscape will be taken. The interior will be made with a mask that will cut out the window. In the printing room the negative of the interior will be printed with a similar mask, and the landscape will later be printed with a mask that cuts out all but the window. 23. A mask is a piece of metal placed in front of the film. It may be cut to a particular shape as a ke^-hole, a figure eight (to represent a scene viewed through a pair of field glasses.) a circle (spyglass) or any other appropriate shape. When used as indicated in the preced- ing paragraph, they are very carefully matched in pairs, each cutting out what the other reveals. It is sometimes called a mat as is shown in scene thirty-three in H, where it is used. 24. Double exposure, with or without masks, is the explanation of many of the seemingly impossible things seen on the screen. But be- cause things are possible it does not follow that the author should seek to tax the technical skill of cameraman and director to the utmost merely to procure novelty effects. It is not the effects but the plot that will sell the story, and the plot that can be made without lavish outlay will find the most ready welcome. 25. Where effects are used, they should be described and not ex- plained. It will be noted in the railroad example in paragraph fifteen the scene is written with no reference to reverse turning or slow turn- ing. What happens is told. The director is supposed to know enough ^o keep out of the Coroners Court by making the picture the safe w^ay and not taking chances on straight action. You may imagine that you are helping the sale of a story by telling how an effect may be obtained. You may fear that the director may not know how to do it and so will return your script. You tell him. If he does not know, he will not read your explanation and if he does know—and probably he does—he will resent your suggestion of his ignorance. (3.111:3) (ll.XXXIV:3) (20. Scene 9. F-1. Appendix) (21. XLII:1). CHAPTER XLI VISIONS VISIONS in photoplay serve a variety of purposes according to the method of their introduction and general handling. Their principal use is to recall some past action or to explain some action of the past not already sho\\-n. They may also be employed to picture the thoughts of some person present, whether these thoughts refer to the past or to a dream of the future. Used as the means of recalling some unrelated incident of the past, it is the pictorial equiv- alent of such literary expressions as "and in the meantime—," or "lis-