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76 TECHNIQUE OF THE PHOTOPLAY casm and the home anything but happy. His wife nags and his children worry him. What next? Does he start to run away from that happy home, or does he make the home really happy? In the first of these we might make the escape a dream, and he wakes to find himself still at home, but dream plays have been overdone and to most Editors "It was a dream" is like a red rag to a bull. As a rule the dream play is the last resort of an author whose story is too wildly improbable to pass as anything else. If he runs away from home he must be brought back, other- wise the moral is misplaced and there will be as many who will think of the deserted wife as will rejoice in the victim's escape. On the other hand suppose that the home really is happy until the wife turns reformer or suffragette or something and the once happy home is overrun by weak-minded men and strong- minded women. Here is another idea. Hubby is henpecked. He doesn't even dare speak in his own home. There is a club of henpecks and in the gymnasium each has a dummy figure of his wife that he uses as a punching bag. Hubby talks of his "other wife" in his sleep and the wife gets jealous, with the result that the wife and the other wives descend on the club and put it out of business. 'Now we call it "His Other Wife." We have the story and we still have the title to suggest another story. As a drama the happy home may be wrecked by the business ambition of the man, by the social ambition of the woman, by some tempter, either man or woman, by the growing dissipation of the husband, through the loss of money, through the death of an only child or any other means. In working from the climax you conceive a strong situation and then work back to the start. Suppose that we take this idea: A man loves a woman other than his wife. In a moment of danger he may save but one of the two women. Which one does he save, the woman he loves or the woman who loves him? Why did he make his choice? Don't try to answer your question yet. You are not in a posi- tion to answer, for you do not know the facts of the case. First manufacture the facts by working back to the start of the story, and then make your decision. You have a man and two women, one of whom is his wife. Now you can either first show the man and his wife or else go back of the marriage and show, if you wish, that the other woman really has the more logical claim on his affections. Here again, you have two choices. Shall the other woman be the man's mistress or shall she nurse a hopeless but chaste pas-