oper place in the setting, either
appearing quite suddenly or being more gradually dissolved in,
different studios having different methods of accomplishing this. The
point is that visions of this kind are obviously written into the
scene proper, just as you would introduce any new character. If it is
a ghostly visitor of some kind, you simply say: "Harding looks in
horror (at whatever point of the room or location you desire). Vision
of Blake, standing quite still and pointing an accusing finger at
Harding." Or, if Tom is in the city and has reason to believe that
Frank, back on the farm, is taking advantage of his friend's absence
to win his sweetheart away from him, write the scene down to the point
where Tom straightens up in his office chair and stares (perhaps
directly into the camera) with a worried expression, and then say:
"Vision-in portion of the apple orchard, with Frank making love to
Mary as they stand beneath one of the trees."

Everyone who has attended the motion picture theatres has seen dozens
of examples of "visions," produced in one or another manner, and it
should be easy to distinguish between "visions" and "thoughts" or
"memories." The latter _may_ be introduced as part of another scene
just as the vision (using the word in the sense of "apparition" or
"supernatural visitant") is introduced; but it must be borne in mind
that the photoplay spectators have in the past few years been
gradually educated up to a rather perfect comprehension of what
results different technical devices produce--even if they do not quite
understand the technical why and wherefore; and for this reason it is
best when writing action in which the characters are supposed to show
what they are thinking about or describing to use the fade-out and
fade-in device, as the meaning of this is now very clearly understood.
The spectators are quite used to seeing the picture fade out, or "go
black" at the end of certain scenes, just as they are familiar with
the use of it at the actual end of the photoplay. Apart from these two
uses, they have come to associate the fade-out with the thought of
the immediate introduction of a "memory," either related to others or
silently indulged in, or a mere thought, or, if the character is seen
going to sleep, of a "dream."

If the fade-out is used, it means three scenes instead of one, of
course, because following the introduction of the "memory," or
whatever it may be, you return to the scene p