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must decide on the nature of our grand climax. It must be as thrilling as possible, as it is the very height of the play. A forest fire occurs to us, with Jack saving the lives of his parents and May. But May has had so little to do so far. We must invent something to make her more interesting and sympathetic to spectators and to make it plausible that Jack should love her at last. Suppose we have her rouse Jack's father and mother, when she discovers the fire, and guide them through the smoke to Jack. We can add to the thrill by having her refuse to escape with Bert. That brings another idea. Let us have Bert the cause of the fire. Soon after his arrival in the mountains he will run across Jack in the woods. He is startled and annoyed. He must keep Jack from his parents; so he pretends to be there alone. He plans to have Jack driven from the camp. At a card game in a cabin, he accuses Jack of cheating the men he is* playing with. Jack calls him a liar. They fight. A lamp is overturned; the cabin burns; the fire spreads to the forest. Jack and men try to stop the blaze. Bert rushes to the bungalow; gets out the automobile. He calls May and tries to persuade her to escape with him. She indignantly refuses. She rouses Jack's father and mother and urges them to leave the bungalow. In the smoke, they become bewildered. They rush toward a clearing. Jack sees the party and goes to help them; saves them from a falling tree. Here we have the grand climax. There is an emotional meeting. Jack then leads them to a safe spot. Now, we have the fall, or anti-climax, which we must get over as quickly as possible. The next day, Jack will call at the bungalow. He will realize May's love for him and will also realize that he is in love with her. But we have not disposed of Bert. We could have him killed while passing through the fire zone, or we could have the auto- mobile run over the edge of a precipice, or we could have him return the next day to see what has happened to May 23