The mental-image as a movement-image of thought ‘finds its most adequate representation in relation’, the relation-image (C1: 197). Relation-images are designated by Deleuze as rendering logical and symbolic thought on-screen, for the character, for the viewer. In this way, the film is now dominated by images of understanding: logical progressions which may structure the entire trajectory of the narration; may be carried to a certain point before a derailing; or may describe amorphous symbolical meaning. In other words, the relation-image takes the processes of thought to the highest levels of active and reactive consciousness. The perception-image, the affection-image and the action-image no longer follow the sensory-motor trajectory of matter-images; rather, matter-images enter into mental relations. This is ‘the essential point’ for Deleuze: ‘action, and also perception and affection, are framed in a fabric of relations. It is this chain of relations which constitutes the mental image, in opposition to the thread of action, perceptions and affections’ (C1: 200). Put simply, ‘actions, affections, perceptions, all is interpretation, from beginning to end … the images are only the winding paths of a single reasoning process’ (C1: 200). The signs of the relation-image are designated as the mark, the demark and the symbol. The mark and the demark are the first and secondary signs of composition. With the mark ‘we see a customary series such that each can be “interpreted” by the others’ (C1: 203). With the demark ‘it is always possible for one of these terms to … appear in conditions which take it out of its series’ (C1: 203). In other words, an established sequence takes a swerve, and the demark becomes an image which reorients, disturbs or ungrounds the logic of the series. The symbol, the genetic sign, describes an abstract relation: ‘a concrete object which is the bearer of various relations or of variations of a single relation’ (C1: 204). Such are the coordinates of the final movementimage, the consummation of the sensory-motor system as an image of thought, the first and foremost mental-image.