"
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 proper, 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.
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