roper, just as you go
back to the wide-angle view after using a bust or a close-up scene.
They would be numbered, for example, 17, 18 and 19, and you would
write the action as follows:

17--Library, same as 6.

Fenton continues to make love to Beverly, presently ending
what he is saying with an impassioned plea to fly with him
at once. For just a moment she seems on the point of
yielding; then she starts back and shows that she is
thinking of what it would mean. (Fade out into--)

18--Bedroom, same as 8.

Dean, lying in bed, wakes up and calls out, as if calling to
his wife. Then he falls back again on the pillow, exhausted.
(Fade back to--)

19--Back to 17.

Fenton reaches out to grasp Beverly's hand, but she draws
quickly back and urges him to stop pleading with her, at the
same time crossing etc.

If you are using the "dissolve" or "interpose" (see definitions in
Chapter III) you introduce the device in the same way as above; but
bear in mind that the dissolve is somewhat harder to accomplish than
the fade, and, again, while it merges one scene into another in an
artistically beautiful manner, it is not so readily recognized by the
spectator as an announcement, so to speak, of what is to follow.

The diaphragm (in or out), as the definition in Chapter III states, is
used to indicate a lapse of time in the action of a story without
using a leader. Also, in scenes between which there is supposed to be
only a very brief interval, but which nevertheless call for a definite
break of thought, the diaphragm is resorted to. Some directors will
say "Circle out!" that being the effect on the screen--the oblong
picture changing to a circle, which gradually becomes smaller and
smaller until the diaphragm of the camera is entirely closed and the
film "goes black." The reverse of this, of course, is called
"diaphragming in."

As several critics have pointed out, the fade and the diaphragm should
never be used to denote synchronized action. Action occurring in two
places at practically the same moment should be cut one into the
other, for this is the primary function of the cut-back. At no time
should the diaphragm be used in this connection, either as a means of
fading out or to reduce the field, for this robs the action of any
suggestion of immediate change. Here the use of cutting back is
imperative, and no other device should be substituted.

As has been indi