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CHAPTER XLI 205 33. Fade in —Front of Bancroft's—night—Bancroft approaches from street—sees basket on steps—picks up—looks—surprised—enters house. 34. Library —Mrs. Bancroft on—Bancroft enters with basket—she springs up—screams—takes baby from basket—admires—they examine child's clothes—find a paper—they read— Ou screen —sheet of paper—woman's handwriting. Her name is Grace Be good to her. Mrs. Bancroft cuddles child—Bancroft exits. 35. Front —Bancroft comes to door—looks up and down street— beckons—Policeman enters—Bancroft explains—Policeman nods —they enteir house together. 36. Library —Mrs. Bancroft fondling child—looks up as Bancroft and policeman enter—hugs child closer—Bancroft looks at police- man, who crosses and tries to take child—Mrs. Bancroft will not let go—pleads with Bancroft—he nods—tells policeman he can see how it is—Policeman exits. 37. Magistrate's court —Bancrofts sign papers of adoption. 3S. Library —Grace as a little girl—Mr. and Mrs. Bancroft watch her with pleasure—FADE. 39. Fade tip to No. 32 —Bancroft rises—goes to desk—gets papers— offers to Fred—he pushes them aside—Grace enters timidly— Fred turns—holds out his arms—she rushes into his embrace— Fred kisses her—over her shoulder he motions to Bancroft to put the papers away. In this vision it will be noted that there is not an exact continuity. This is because Bancroft is not telling the entire story of Grace's life, but is telling such parts as have a bearing upon the adoption. It is a story, told in fragments, and as such it may be shown in fragments and to better effect than the carefully connected history. If, for any reason, it is necessary to preserve a rigid continuity in the story, then there will be used a fade each time the period changes. In the above it would then be necessary to fade after thirty-six, thirty-seven and of course after thirty-eight. 11. Where Bancroft tells facts new to the audience, they should be told in reasonably full detail. If the scenes in the above vision had already been shown the spectator as a part of the running action, then so long a vision would have been a superfluity. A single scene, pref- erably the scene of adoption, would have been ample to have told the spectator that Bancroft was telling Fred all about Grace. If the court scene is objected to as not possessing much pictorial value, then thirty-six might be selected instead. Either would have recalled to the mind of the spectator the previous story and would have sug- gested that this was all being told Fred, though only a single scene is used. 12. In the above vision it is supposed that the audience, like Fred, is not aware of the fact that Grace is a foundling, and so the story is told for the benefit of the spectator, though given apparently for the benefit of Fred. It is always a question as to whether the surprise will be greater in effect gained than a previous knowledge on the part