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140 TECHNIQUE OF THE PHOTOPLAY The best way is first to dissect the plot and then, with the disjointed plot before you, consider the scenes with relation to their parts of the plot and the plot as a whole. The first step, then, is to catalogue the various incidents. If you will turn to the chapter on punch you will see that there the story of the bank clerks is dissected into factors. In order to work with new material, suppose that we take Mr. McCloskey's story of "Auntie's Affinity," which is given in full. The first point is that Ethel lives with her Aunt at the hotel. The second is that she is in love with Harry. The third point is that Auntie objects to Harry, the fourth, that Peitro is the chef at the hotel, and so on. A proper tabulation would look something like this: Peitro is chef at the hotel. Ethel and her Aunt live at the hotel. Ethel loves Harry. Auntie objects to Harry. Ethel plans to take a clandestine ride with Harry. Auntie goes out alone for a walk. She meets a distinguished stranger, who is none other than Peitro. They do not recognize each other. She invites Peitro to visit at the hotel, but he does not dare. She makes an appointment for the next day, which she keeps. Peitro tells her that he is a Count. Peitro proposes and is accepted. Peitro buys the ring. Peitro loses the ring. It falls into the pudding. Ethel finds the ring in her portion of pudding. Ethel reports the matter to the office. Harry investigates and Peitro claims the ring. Auntie is horrified to discover in the chef her Count. In the excitement Harry and Ethel elope. They return and are forgiven by Harry's father. Peitro returns to the hotel insisting on seeing Auntie. Auntie is withholding her approval of Ethel's marriage. Peitro proves himself a real Count. In her delight Auntie forgives Ethel and the picture closes. The first thing that strikes us is the excellent and orderly ar- rangement of the incident. Discarding some of the love scenes between Harry and Ethel which are not essential to the main plot, we have the story passing from one point to the other, not only in chronological order but in the exact order that will give the greatest comedy value.