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CHAPTER IX 29 becomes John's partisan, then the incidents are permissible because they advance the story. 15. A plot can have but a single objective point. This is even more binding on photoplay than on the drama of the stage. We can- not have as objective the twin facts that George and John both wish t« marry Agnes. We must select either John or George and state our preference or, by changing slightly the factors, make it plain that it is because we are interested in Agnes and know that she prefers George to John that we wish to see George and Agnes wed. This matter of choice of protagonist is the first matter to be settled. We must first Select the chief character and then plan to hold all the interest to that character. In the story as stated George is the protagonist, Agnes the object and John the antagonist. If we made Agnes the protagonist (or heroine) then George would be the objective and John would re- main the antagonist, but would be forced to change his tactics and through the father seek to force Agnes to marry him. If George is the hero all the action must directly or indirectly relate to his chances. If Agnes is the favorite, George is interesting merely because he is the man we want to see Agnes marry because it is her wish. 16. The best way to determine the question of protagonist is to state the plot in the form of a question and its answer. The ques- tion shows in its formation who must carry the interest. It reads: George desires to marry Agnes. Does he? Clearly George is our hero and the action must be directed to his chances. If the question reads: Agnes wishes to marry George. John seeks to marry her. Does she marry George ? then it is plain that we must center the interest on Agnes and not on George or John. In the drama of the stage it is customary to have a second pair of lovers, played by younger persons, for the so-styled comedy relief, but photoplay is too direct and too short to permit these intrusions as a rule and the attention must be held to the pro- tagonist more rigidly than in the spoken drama, where dialogue per- mits explanation to be given more readily. 17. The statement of the question is the start of the play, the solv- ing of the problem the middle action and the reply the climax or end. If the answer is affirmative, then the desirable happy ending is achieved. If the reply is in the negative, the ending is unhappy. Sometimes changing the framing of the question will permit the end- ing to be a happy one though the result is the same. This is true both of the dramatic play and the comedy, but particularly true of the latter. To use a familiar plot, John Smith has been out with the boys the night before. He seeks to convince his wife that he was at the office. She endeavors to learn the truth. If the question reads: Mrs. Smith seeks to learn if her husband was intoxicated. Does she ?