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204 VISIONS The vision serves to remind us of his lost love, and to show that he regrets her; which makes his present action still more despicable. The sight of the girl was more appealing than would have been the mere mention of her name. 6. These scenes were artistic and effective, but as production in- creased they were found objectionable because the film had to be car- ried in the camera until the vision could be made. The use of the masks also made for delay. Some director, needing a larger space, dis- solved his scene into the vision and back again. Someone else seized upon the idea and simply faded down his scene and faded up his vision. Eliminating even the dissolve, the vision could be made with- out reference to the scene in which it was to be employed. Instead of the scene as shown in paragraph five, we get three scenes as shown below: 36. John's room —John getting dressed for the wedding—goes to bureau—sees picture—picks it up—lets it drop—thinks—FADE. 37. Fade in —part of scene nine—FADE. v38. Fade up to No. 36 —John shakes his head—pulls himself to- gether—calls Valet—puts on hat and coat—exits. With this form of vision scene nine would be made twice, once as a straight scene and once with a fade at each end. It may be taken the same day or before or after the scenes in John's room are made, because it will not be connected with those scenes until it is spliced into place in the joining room. Until then it has a separate entity the same as any other scene. 7. In a vision of several scenes, as when a long story is to be told, it is good form to dissolve each scene into the next, but it is better commercial practice to fade down to the first vision scene than to run to the last vision scene and fade into the scene in which the vision is seen. 8. It is always necessary to return to this scene in order to show that the vision is ended. The return may be only for a few feet, but the vision must end where it started. 9. Visions are better if they are dissolved into each other, but this eats up footage so alarmingly that it is the more common practice to use only the start and end fade. Between, the scenes are not faded but are run as any straight action would be. 10. To illustrate the writing of these visions, let us suppose a scene in which Fred, our hero, asks Mr. Bancroft for the hand of his daughter, Grace. Bancroft tells him that Grace is not his daughter, but a foundling whom they adopted. The action should run as shown here: Leader —Fred asks permission to marry Grace, 32. Library —Bancroft on—Grace leads Fred in—both nervous—she gives Fred a little push toward Bancroft, who looks up—regards them kindly—rises—tweaks Grace's ear—she hides face and runs from room—Fred speaks—Bancroft grows grave—motions to chair—both sit—Bancroft starts to speak—FADE.