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44 CRISIS AND CLIMAX climax. The first scenes naturally establish the fact that Joe and Jane are sweethearts. This may be shown in action with a pretty back- ground, but there is no particular value to the scene. There is nothing as yet to gain interest, for there is nothing to show that this court- ship will offer anything out of the ordinary. But there comes Ben to show that he, too, seeks Jane's favor. Now interest rises because there is to be opposition. It will not be plain sailing for Joe. We not only reach the opposition, but also the first crisis—mild enough, it is true, but crises should grow in strength as the action progresses. The crisis perhaps takes the form of Ben's oath that Jane will marry him under duress if not of her own free will. The second crisis is that Ben seeks to abduct Jane and carry her off to the minister. This scene does not immediately follow the first, for each crisis must be followed by a falling action to give the spectator time to prepare for the next crisis. We first see Ben making his plans, then the attempt and the rescue by Joe, which forms the second crisis. This crisis is stronger and more forceful than the first, but part of its strength is derived from the first crisis—Ben's oath, in the light of our preference for Joe. If we did not know of Joe; if favor had been thrown to Ben, we might be glad he was going to get Jane, but, wanting to see her married to Joe, Ben's action is more forceful and exciting because it is an obstacle to Joe's success. 8. Each crisis should be possessed of greater strength than its prede- cessors, but may derive a part of this strength from previous crises. 9. Again there must come a period of preparation. It cannot be as weak as the opening of the story nor even the preparation for the ab- duction. Just as each crisis must be stronger than the last^ so must each period of falling action be stronger than the preceding periods. 10. When the tide is coming in, each wave breaks higher up the beach than the last and does not go quite so far back before being carried along by the next incoming wave. We are leading to a stronger crisis. We must do so in stronger action. 11. Joe has reason to believe that Harry offers himself as a possible rival. The two quarrel. Jane comes upon them and begs them not to fight. They agree. Joe goes on and Jane argues with Harry. He agrees not to continue the quarrel. In an excess of gratitude she kisses him and runs away. Ben sees both the quarrel and the kiss. Mad with jealousy he kills Harry. This is not a crisis. The action has not yet been connected with Joe, the protagonist. It is not until Ben accuses Joe of the murder and calls upon Jane to deny that there was a quarrel that the crisis arises, for this does concern Joe. It pre- cipitates a crisis because it is the end of one period of suspense and the commencement of another. 12. In the falling action that follows Joe is tried and found guilty. The crisis comes with his sentence to death. In falling action Jane engages a famous detective-scientist to free Joe. Ben, sensing dan- ger, shoots at the detective. The detective makes an analysis of the bullet from his arm and of a portion of the bullet which killed Harry.