Part 3
There is an enormous demand at present and there will be a greater demand in the future for _original_ Scenarios, especially written for screen production.
The motion picture industry is going through a change continually, and logical stories, with human interest and action are needed to take the place of Scenarios written from old Plays or Books.
The Public is becoming dissatisfied with old plots rehashed from some published book. You have a better chance of selling your Plays at present than you had six or eight months ago and the Producer to whom you submitted it several months ago, may be glad to give it earnest consideration at present.
Your story, however, must be _original_ and _unique_; must be decidedly different and with enough real _punch_ to make the Scenario Editor “sit up and take notice.”
EMBRIE ZUVER Submitted at Usual Rates. 609 West 127th St. New York City
TIMID TEDDY
_Timid Teddy_
SYNOPSIS.
Teddy Tyler, a young man of about 22 years of age, has been left several million dollars by his father. He is considered a most desirable husband by the matrimonially inclined mothers. He is, however, of a very timid, bashful nature. He doesn’t smoke, drink, swear, nor stay out late at night. His chum, Harry Jackson, thinks it a pity that so much money should go to waste when many beautiful young girls need so many things that the money would buy. He tries to get Teddy to propose, but without results. He eventually hits upon the idea of giving Teddy some Dutch courage, that is to get him drunk, thinking by so doing he will propose to Martha Stone, whom he knows loves Teddy. He succeeds in getting Teddy “half seas over” and in this condition takes him to a couple of dances, where he proposes to every girl he meets. The next morning, when he sobers up, he is confronted by the awful predicament that he has proposed to at least two ladies who have accepted him. Neither one is Martha, the girl he desired to propose to. How he gets out of his trouble and eventually proposes to Martha, gets married and lives happily ever after, is told in the latter scenes of this script.
_Timid Teddy_
CAST OF CHARACTERS.
Teddy Tyler Light Comedy Lead Harry Jackson Juvenile Edith Harcourt Very, Very Fat Soubrette Mrs. Harcourt Grande Dame Tom Ransom Juvenile Janice Ransom Tall, Scrawny Old Maid John Stone Character Man Martha Stone Ingenue Butler Character Comedian
Supers.
Maids, City Editor, Guests at Dance, Footmen, etc., etc.
Props.
A broom Bottles Glasses Sofa pillows Punch glasses Newspapers Cigars Cigarette case Towel for Teddy’s head Telephone Materials for breakfast Limousines Toilet articles for Teddy Decanters A taxi Punch bowl Punch ladle Letters Cigarettes Dance programs for both dances Bromo Seltzer Bouquet of flowers A large roll of money Writing materials
Scene Plot.
Scene 1, 3, 5, 7, 9, 45, 50, 52--Teddy’s rooms.
Scene 2, 6, 51--Exterior of apartment house (Teddy’s).
Scene 4, 8, 30, 32, 34, 36, 38, 40, 42, 44--Teddy’s bedroom, showing other room, through door.
Scene 10--Living room at Ransom’s.
Scene 11--Exterior of Ransom’s.
Scene 12, 14, 16, 18, 20, 22, 23, 25, 27--Ballroom at the Stones’.
Scene 13, 29, 49--Exterior at the Stones’.
Scene 15, 17, 19, 21, 24, 26, 28--Alcove of ballroom at Stones’.
Scene 31, 33, 35, 46--Edith’s boudoir.
Scene 37, 39, 41, 47--Breakfast room at Ransom’s.
Scene 43--Newspaper office.
Scene 48--Mail box at street corner.
REASONS FOR GIVING PROP AND SCENE PLOTS; IN ADDITION TO CAST OF CHARACTERS.
The cast of characters is given as a guide for the director to quickly pick his types, without being obliged to wade through an entire manuscript and bother to read scene by scene. All directors have different methods of casting their pictures; no two working alike, and, although some may pay no attention to the cast of characters yet most all of the directors working for the Syndicate, or Trust studios, find it easier to have a cast submitted.
The property plot is made out to aid the property man for, though he reads through the script, the same as the director, yet a list of important props, being typed, saves him a great amount of time, and time is of value in studios.
The scene plot is done for the same purpose, it not only saves the carpenter time in making his sets, but aids the director in knowing just how many scenes take place in the various sets. When the scene plot is made out, the director can see at a glance which sets have the most number of scenes and thus can have them set accordingly.
_Timid Teddy_
SCENE 1: _Teddy’s Rooms._
Butler cleaning glasses and tidying up room and attending to other various duties such as one would attend to when they “buttle.”
SCENE 2: _Exterior of Teddy’s Apartment House._
Jackson, Teddy’s chum, seen approaching. Enters into picture and goes up to the door.
SCENE 3: _Interior of Teddy’s Rooms (same as 1.)_
Butler registers fact that he hears bell ring. Puts down his duster, exits out of picture, presumably to let Jackson in the front door. Enters in picture again, following Jackson; goes to door of Teddy’s bedroom.
SCENE 4: _Teddy’s Bedroom._
Teddy, a very particular and fastidious young man of the effeminate type, is just completing a very finicky toilet gazing at himself in mirror, etc. Butler enters and informs him of Jackson’s arrival. He and Teddy both exit into....
SCENE 5: _Same as 3._
Teddy greets Jackson, who calls to the butler for a drink. Butler serves drinks for two.
SUBTITLE NO. 1: “_It’s time you married and settled down._”
Jackson drinks his, Teddy “in a ladylike manner” refuses his drink, registering the fact that he doesn’t drink or smoke or swear. Jackson coaxes him to take the drink and proceeds to give him the advice in the above subtitle.
SCENE 6: _Exterior (same as 2)._
Edith Harcourt and her mother alight from a limousine, go up to front door and ring bell.
_Timid Teddy_
SCENE 7: _Same as 5._
Jackson, rallying Teddy about his timidity. Bell rings. All register the fact. Butler exits to answer bell. Jackson tiptoes to window, sees who is coming, registers the fact so that Teddy does not see him. Crosses back to Teddy, who is busy polishing his nails as Edith and her mother enter. The mother registers the fact that she thinks Teddy a desirable match for her daughter and makes much of him.
SUBTITLE NO. 2: “_Leave them together._”
Edith is sitting on sofa with Teddy. Mother registers above subtitle to Jackson. Jackson asks Teddy’s permission to show the mother the rooms. Teddy grants it. Mother and Jackson exit.
SCENE 8: _Teddy’s Bedroom (same as 4.)_
Jackson and mother enter and peep cautiously through the door.
SCENE 9: _Same as 7. Close up to sofa in room._
Edith making love to Teddy. Teddy very nervous. Edith shows disgust, registering “You’re a fine kind of a man, that a woman has to make love to you.” Jackson and mother enter from bedroom; Edith goes to mother and suggests that they leave, which they do. After their exit, Jackson kids Teddy on his timidity, advises him to get drunk.
SUBTITLE NO. 3: “_A little Dutch courage might be good for you._”
_Back to scene._
Teddy goes to sideboard and starts drinking feverishly from the various bottles thereon, laying a foundation for the future “jag.”
_Timid Teddy_
SUBTITLE NO. 4: _Later--Janice proposes--Teddy disposes._
SCENE 10: _Interior of Ransom’s Home (The living room)._
Tom Ransom sitting smoking when Maid announces Teddy, who enters and is welcomed by Tom. Tom goes to door and calls Janice, who enters, and, upon seeing Teddy, welcomes him exuberantly, sitting on a settee, she shifts over and makes room for Teddy, calling him beside her. Tom, seeing this, makes an excuse to leave on business. The maid brings his hat and coat. Tom exits. Teddy looks around in desperation, finding himself alone with Janice, attempts to follow Tom. Janice pulls him back down on settee by coat-tails, putting her arm around his neck, after he is down, and trying to make love to him. Teddy struggles and eventually gets away. Hurriedly exits, without his hat. Janice registers chagrin.
SCENE 11: _Street outside of house._
Tom comes from the house, stops a car, gets in. Car starts. Teddy comes dashing out of house, sees car in distance, runs after it and jumps on out of breath.
SUBTITLE NO. 5: “_Later--at the Stone’s dance._” “_Wine lets no lover unrewarded go._”
SCENE 12: _Interior of the drawing room at Stone’s house._
Mr. Stone and Martha, his daughter, are receiving. Tom Ransom and his sister, Janice, enter: Edith and her mother enter and mingle with the guests.
SCENE 13: _Exterior of Stone’s house, showing awning and carpet stretched to the curb._
A taxi drives up. Jackson and Teddy get out. Teddy paying the taxi and registering a big roll of bills. Both exit into the house.
_Timid Teddy_
SCENE 14: _Same as 12._
Guests are all dancing. Jackson and Teddy enter; are greeted by Mr. Stone and Martha, and then go off and mingle with the guests.
SUBTITLE NO. 6: “_If at first you don’t succeed, try, try again!_”
SCENE 15: _Another portion of ballroom, showing Punch Bowl._
Teddy and Jackson are sampling the brew. Teddy drinking a great deal. Edith comes in from alcove, leading to the dancing floor, and asks Teddy to dance with her. He acts peevish and will not dance with her but goes back to the Punch Bowl. Jackson offers her his arm, she accepts, and they dance off into the crowd; Teddy, meanwhile giving enthusiastic attention to the Punch Bowl. _Cut to_....
SCENE 16: _Another portion of ballroom._
Martha looking after her guests, notices Teddy in the distance, still at the Punch Bowl. She goes to him. _Cut back to_....
SCENE 17: _Same as 15._
Teddy is now quite drunk. Martha enters and asks him why he is not dancing. Teddy has gotten his courage. Makes violent love to Martha. She puts him off registering that she thinks him intoxicated. He stumbles back onto settee, pulls out cigarette case and smokes.
SCENE 18: _Same as 14._
Jackson and Edith are dancing, Edith notices that Teddy is smoking in the alcove and leaves Jackson.
SCENE 19: _Same as 17._
Edith enters; Teddy upon seeing her immediately makes “alcoholic love.” Is accepted.
_Timid Teddy_
SCENE 20: _Same as 18._
Jackson amusedly watching, notices the acceptance.
SCENE 21: _Same as 19._
Teddy still making love to Edith, even though he has been accepted. Edith rapturously embraces him and exits. Teddy applies himself industriously to the punch bowl.
SCENE 22: _Same as 20._
Edith rejoins Jackson, registers that she is very, very happy, telling him that Teddy has just proposed to her. He laughs and they dance off together.
SUBTITLE NO. 7: _Cupid is generous._
SCENE 23: _Same as 14._
Janice is fanning herself and glances at her program.
(_Insert of program_:) _All spaces taken up excepting one, her finger indicates it._
Janice looks up and sees Teddy in distance, smiles back at her program, rises and exits.
SCENE 24: _Same as 19._
Teddy is still at the Punch Bowl. Janice enters. She shows him her program. He takes her by the arm affectionately and they retire to the settee.
SCENE 25: _Same as 20._
Jackson looking for Teddy, sees him with Janice and watches.
SCENE 26: _Same as 24._
Teddy makes violent “alcoholic love” again but to Janice, who is very coy, but overcome by his furious love making blushingly accepts him and rushes out.
_Timid Teddy_
SCENE 27: _Same as 25._
Janice rushes up to Jackson, tells him the good news, and rushes off.
_Insert_: “_Great Scott; I must get him away from here or he will become engaged to every girl in the room._”
_Back to scene._
He exits.
SCENE 28: _Same as 26._
Teddy is now maudlin. Jackson enters and takes him away.
SCENE 29: _Exterior of house (same as 13.)_
Teddy and Jackson exit from house. Footman calls them a taxi, which they enter and are driven off.
SUBTITLE NO. 8: _Next morning._
SCENE 30: _Teddy’s Bedroom (same as 4.)_
Teddy is sitting on edge of bed, in dressing gown, towel about his head. A most abject specimen. Butler is arranging him a Bromo Seltzer. Butler registers he hears the bell ring. Teddy orders him to go and answer the door, throwing Bromo Seltzer bottle after him. Butler returns following Jackson. Jackson laughs at Teddy’s predicament. Butler arranges another Bromo Seltzer for him. He drinks it while effervescing and chokes on it, Butler slaps him violently on back. Jackson tells Teddy of his two engagements. Teddy registers horror! Goes to phone.
SUBTITLE NO. 9: “_I must break these engagements off at once._”
_Timid Teddy_
SCENE 31: _Edith’s boudoir._
Edith in her kimona in front of dressing table, looking at herself intently in mirror. She registers happiness. Telephone bell rings.
SCENE 32: _Same as 30._
Teddy registers the fact that he is talking on the phone to someone.
SCENE 33: _Same as 31 (Close-Up)._
Edith’s face beaming with joy. She registers that she is using endearing words.
SCENE 34: _Same as 32._
Teddy trying hard to explain. Jackson and Butler convulsed with laughter.
SCENE 35: _Same as 33._
Edith talking very rapidly and smiling. She blows a kiss into the telephone receiver.
SCENE 36: _Same as 34._
Teddy hangs up receiver with resignation.
_Inserts_: “_I’ll try the other one._”
_Back to scene._
Teddy takes up receiver and tries to get another number.
SCENE 37: _Dining room in the Ransom’s._
Janice setting table, just putting flowers in centerpiece. Telephone rings. She goes to answer it. Is overjoyed when she hears whose voice it is, talks rapidly.
SCENE 38: _Same as 36._
Teddy trying to get a word in edgewise at the telephone.
_Timid Teddy_
SCENE 39: _Same as 37._
Janice crowding a multitude of love words into the phone.
SCENE 40: _Same as 38._
Teddy resignedly drops the receiver and it hangs.
SCENE 41: _Same as 39._
Janice still talking. Thinks it funny that she gets no answer, pouts and hangs up.
SCENE 42: _Same as 40._
Teddy at his wit’s end. Appeals to Jackson. Both stop and take positions in the attitude of thinking. Butler helps them think, mimicking them behind their backs. Jackson registers “I have it!”
SUBTITLE NO. 10: “_Publish in the papers the fact that you went broke on the stock market._”
Teddy looks at him and says “All right. I’ll try anything once.” Goes again to phone, puts receiver back on its hook, shakes the hook a couple of times, then telephones.
SCENE 43: _Interior of newspaper office._
Boy takes news of Teddy’s financial failure to City Editor. He expresses surprise, but accepts it.
SCENE 44: _Same as 42._
Teddy puts receiver back on hook, shakes hands with Jackson and tells the Butler to get them a drink.
SUBTITLE NO. 11: _Next day._
_Timid Teddy_
SCENE 45: _Teddy’s rooms (same as 1)._
Teddy at breakfast. Butler brings in newspaper, Teddy glances through it and sees the notice.
_Insert_: _It is reported that Teddy Tyler, the wealthy stock broker, lost his entire fortune on the Street to-day._
_Back to scene._
Teddy shows pleasure. Butler registers he hears bell ring. Exits and comes back following Jackson, who is shown the notice. Both chuckle with glee.
SUBTITLE NO. 12: _The horrible news._
SCENE 46: _Same as 31._
Edith and her mother receive the morning papers. Edith reads the notice and is horrified, shows it to her mother.
_Insert flash of newspaper notice._
_Back to Scene._
Edith resolves to write a letter breaking off the engagement, which she immediately does, hands it to the Maid, who goes out to post it, and is then consoled by her mother.
SCENE 47: _Same as 37._
Tom Ransom and Janice at table. Maid comes in with mail and morning paper. Tom sees the notice, gives it to Janice, she reads it and immediately bursts into hysterical tears. (_This must be broad burlesque._) He comforts her. She then registers anger, calls the maid, tells her to get writing paper and envelope. Maid brings writing materials. Janice writes note, gives it to Maid to mail. Maid exits.
_Timid Teddy_
SCENE 48: _Letterbox on a corner._
The two maids come on from different directions and post letters. Gossip for a moment, drop letters in box and exit in different directions.
SUBTITLE NO. 13: _Cupid strikes the right spot._
SCENE 49: _Porch of the Stone’s Mansion._
Martha’s father reading on the veranda, Martha watering plants in the garden. Mr. Stone sees the notice in newspaper, calls Martha’s attention to it. She expresses sorrow, Mr. Stone leaves to go to his business and Martha enters the house.
SUBTITLE NO. 14: _The next day._
SCENE 50: _Same as 45._
Teddy and Jackson are sitting smoking, Butler brings in the mail, which consists of two letters. Teddy excitedly opens one and reads:
_Insert_: _Dear Teddy_:
_I have enough hard luck of my own, I can never marry a poor man. Consider our engagement broken. Farewell forever!_
_Edith._
Teddy passes letter to Jackson. Looks up and catches the butler reading over his shoulder. (_Close-Up_), of kicking him out of the room, returning to chair and opening the second letter which he reads.
_Insert_: _My heart is bursting with grief for your misfortune, but I cannot, for a moment, think of annexing your troubles for life. I am going abroad to forget you. I will be gone for thirty years._
_Your heartbroken, Janice._
EMBRIE ZUVER 609 West 127th St. New York City
_Timid Teddy_
Teddy dances with glee, grabbing Jackson by the shoulders, calls for the Butler to come in and arrange some drinks, which he does.
SUBTITLE NO. 15: _Later._
SCENE 51: _Exterior (same as 2)._
Martha drives up in her limousine and enters, passing Jackson on the steps, who is exiting from the house.
SCENE 52: _Same as 50._
Teddy is alone. Butler announces Martha. She is ushered in. Condoles with Teddy over the loss of his money and offers to loan him enough to start over again. Teddy is greatly mortified and tries to get up courage enough to tell Martha the truth, registering the fact that he is very uncomfortable. He finally musters up enough courage to go up to Martha and in an awkward manner proposes to her and is accepted.
FINIS.
* * * * *
Transcriber’s note
On page 29 it says:
“We give you, on a separate sheet, which you will find in the front part of the book, a _complete_ and _up-to-date list_ of the firms, which are buying _Photoplays_.”
Research did not find any copies of the book that contain this.
Minor punctuation errors have been changed without notice. Hyphenation and italicization have been standardized. Spelling and capitalization of the word “Photoplay(s)” standardized.
Spelling was retained as in the original except for the following Changes:
Page 2: “Studio Terms 1 to 11” “Studio Terms 3 to 11” Page 2: “A Few Dont’s 31 to 32” “A Few Don’ts 31 to 33” Page 5: “see scene 16” “See scene 16” Page 19: “is easer to write” “is easier to write” Page 20: “not advisible to” “not advisable to” Page 21: “camera man to photopgraph” “camera man to photograph” Page 24: “feature in Photolays” “feature in Photoplays” Page 24: “Alwas bear in mind” “Always bear in mind” Page 25: “througout the play” “throughout the play” Page 30: “exonorating the evil doer” “exonerating the evil doer” Page 32: “You canot write” “You cannot write” Page 33: “one of their’s that” “one of theirs that” Page 34: “old plots rehased” “old plots rehashed” Page 45: “Tom exists.” “Tom exits” Page 47: “Stone nad Martha” “Stone and Martha” Page 53: “Edith’s boudior.” “Edith’s boudoir.”