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122 TECHNIQUE OF THE PHOTOPLAY for the curtain to rise again that we may have our curiosity gratified. At the end of the second act the hero is being led off to jail on a trumped up charge, while the villain takes the heroine off on a yachting cruise very much against her will. This is a pretty state of affairs and we wonder how things are ever going to right themselves after all this mix-up. We know, because we have been to the theater more than once, that it will all straighten out in the last act and that the villain will get the worst of it, but the situation is interesting and we wish we were up in the gallery along with the rest of the kids that we might hiss the villain, too. A third form is the disconnected series, such as the Vitagraph's Lambert Chase series in which each story is complete in itself and yet employs a central figure, that of the detective. Some- times these series of stories are all written by the same person or the task lies between three or four studio writers, but some of them are open to any writer who may be able to catch the trick of writing precisely what is wanted. It is not a wise plan to write especially for any particular player or series, but if you have a story that might do, send it to the studio with the suggestion that it might do for that series. If you write a special story and fail you must change it about to suit the more general market, and it seldom pays to write par- ticularly for one character or player. The fourth style is the serial series, of which the first was the Edison, What Happened to Mary, written by Bannister Merwin. These are precisely the same as the monthly or weekly install- ments of a published serial and must be written by the same author that the unities may be preserved. In trying to sell the serial series it is best to submit the general idea to the company with which you hope to do business. If they approve, then submit a full synopsis of each installment and sub- mit them all at once. If these synopses are approved, then the script may be developed in full. This is more a matter for the advanced writer, who, by that time, will need no instruction, so the remainder of this chapter will be devoted to the straight multiple reel. Methods of preparing the script differ as greatly as the de- mands of the story. Some editors prefer the single script without the dividing point marked, others want the parts marked in but the script as a whole, while some desire a separate script for each part. In any event one synopsis and one cast should be made to cover the entire story. The synopsis may be little longer than that for the single reel. It is possible to use three or four hundred words