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A VISIT TO A THEATER 15 but -gradually growing more distinct, until it seems as though she was as real as Harry himself. Then she slowly fades away and Harry realizes with a sigh that it was just a day dream. Jane has been dissolved into'the picture and out again. Harry sinks back in his chair again and wonders what Jane is doing. Once more we see Jane, but this time we see not only Jane, but the orchard where she is sitting. This time Jane's figure is not so large, but the picture takes up almost a quarter of the screen. She conies and goes just as she did in the other appearance, but this time it is a vision. The vision differs from the dissolve in that a vision is distinct from the scene while in a dissolve what- ever is shown is dissolved into the scene already showing. The first time we saw just Jane in the den. Now we see Jane in the orchard, so it is a vision since Jane and the orchard are quite apart from Harry in his den. The next scene also shows Harry's room, but this time he is in evening dress because he is going to take dinner with Jane's father. That's why there was just a one word leader flashed on the screen that said "Later." Without that leader it would have seemed that Harry, sitting in the chair in a smoking jacket, suddenly sprang up and by the mere act of jumping had changed his clothes. It was the same room. The only thing changed would be Harry's clothes, because there would be no pause be- tween the two scenes, so we break them with a leader. The leader only runs three seconds, but it acts like the drop curtain in a theater. A moment later we get another sort of leader. Harry comes to Jane's home and meets the Count. We can guess that the old man says that this is Jane's husband to-be, for Harry stiffens up and a leader flashes on the screen. This time it is in quota- tion marks and says, "She will marry only an American." All the other leaders have been between scenes, but this is right in the middle, so it is known as a "cut-in leader'' because it is cut into the scene. As the play runs along we find that the Count is not a noble- man at all, but just a thief who is after the jewels that he knows Jane's father keeps in the safe in the library. He coaxes the father to show him the jewels. As the safe is about to be locked, the Count jostles him and the key falls to the floor. The Count picks it up and makes a wax impression of it before he returns it. We know that the wax impression was made because just as the Count started to rise it seemed as though the camera had been moved right up to the Count, so close that the lense would take in only his hands working with the cake of wax. This hap- pened just as we were wishing that they would come closer so we