hat make it humorous for the viewer. The events are built slowly, and once they get a chance to reach their climax, things just deteriorate never really amounting to anything except granting yet another reason to laugh.
             The film illustrates many amazingly difficult sequences of stunts which Keaton called trajectory gags. Where some people may walk from Point A to Point B with no trouble, Buster would do it by tripping, or running into a doorframe, or catching his foot on a bump in the ground. One pratfall just leads to another. Some of them in this film aren't really funny, just physically amazing. There is a sequence where he attempts to escape from his cabin to visit his girl that makes the viewer wonder how many bones he broke rehearsing that scene. Some of the other comedic sequences do not work as well, such as his battles with the ropes/chains of the boat; it gets old seeing him trip over yet another cable. Some of these "gags" do not really have anything to do with the narrative, and may even have a tendency to take away the viewer's attention, and for what another cheap laugh? Whereas Keaton's comic techniques are always appreciated at most times, the comedy can also put a constraint on the narrative, hindering the telling of the story.
             Perhaps the most famous scene within "Steamboat Bill Jr." is the final extended sequence of the hurricane. Keaton is caught in the furious wind sweeping through his small town. He is blown all around the street
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