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AN ANALYSIS OF THE DIFFERENCES
INVOLVED IN WRITING THE
ONE-ACT PLAY FOR STAGE.

AND THE HALF-HOUR PLAY FOR

RADIO AND FOR TELEVISION

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MICHIGAN STATE COLLEGE

Arthur VaIner Briskin
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AN ANALYSIS OF THE DIFFERENCES INVOLVED IN
WRITING THE ONE-ACT PLAY FOR STAGE, AND THE HALF-HOUR PLAY

FOR RADIO AND FOR TELEVISION

By

ARTHUR VALNER BRISKIN
W

A THESIS

Submitted to the School of Graduate Studies of‘Michigan
State College of Agriculture and Applied Science
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Speech, Dramatice, and Radio

1949

tall? {[[rlll l Ell . . ...

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ACKN O' NLED GMEN T

I wish to thank Dr. Wilson B. Paul, Head of the
Department of Speech, Dramatics, and Radio Education,
for making possible the writing of a thesis of such
wide scope and for permitting the author to be the
first to undertake the study of combined comparisons
in the fields of radio, television and theater.

My sincere gratitude and thanks are also expressed
to Donald 0. Buell, Director of Dramatics, for his
guidance, encouragement, and sympathetic understanding
during the writing of this thesis.

My thanks are also expressed to James D. Davis and
to Stuart C. Chenoweth, of the Department of Speech,
Dramatics, and Radio Education, for their aid and super-
vision in the preparation of the three scripts as well
as the analysis chapters.

***s*****s**
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East Lansing, Michigan

216916

TABLE OF CONTENTS

Page
IITRODTICTILWITJOIO00.0.00...O0.00.00.00.00...00.0.00... 1

PART I - THg STAGE PLAYooooeeeeeeeoeoeeoooeeeoeeoeee 3
ANALYSIS OF THE STAGE PLAYOOOOOOOOOOOOOOOOO 45

PART II - RADIO SCRIPToeeeecoco-00.990.00.00...eeeoe 74
AFALXSIS OF THE RADIO SCRIPTeeooeeeeeooeoo 103

PART III ‘ TELEVISION SCRIPToeeeoooooeeeoeeeeeeeeeeo 325
ANALYSIS OF THE TELEVISION SCRIPT........ 155

PART IV - BIBLIOGRAPHYOOOO000000000000000000000000.. 165

‘l I.I- A \lI.I I lu|1ll||| II III I.}

INTRODUCTION

 

The playwright who is interested in writing in the contemporary
field is faced with having to know the technical background of the
theater, of radio, and of television.

There are major differences in writing for each of these fields
that are imposed by the limitations of the physical factors of pro-
duction. These may be overcome, however, by acknowledgment of the
use of these mechanical factors.

There are subtler differences in writing which lie in the fields
of plotting, characterization, action, and dialogue; and so far, little
has been done in making a study of the problemsinvolved in each of
these fields.

This study will be an analysis of the similarities and the differ-
ences involved in writing the one-act play for stage, and the half-hour
play for radio, and for television. The thesis will be divided into
two sections. The first will be the writing of the one—act play, the
half-hour radio drama, and the half-hour television drama. A master
scenario will be used in all three scripts. Part two will be the
analysis of the differences and similarities that exist in the techni-
que of writing for the three media with regard to a) plotting; b)
characterization; 0) action; d) dialogue. Each analysis chapter will
follow the specific script to which it pertains.

All three plays will be in the form.of comedy, trying to show that

an attractive Hollywood "glamour girl? reputedly the stupid type,is in

reality a smart individual and has more business acumen than that
for which she is given credit.

The author chose this problem in the hope that this study will
acquaint the reader with the difficulties and techniques which are

involved in writing for these three media.

PART I

THE STAGE PLAY

 

" THE GORGEOUS BRAIN"

By

Arthur V. Briskin

A PLAY IN ONE ACT

-4-

CHARACTERS

 

GERTIE ”THE LEGS" GRINSHAW, Hollywood glamour girl.

MAX FEINBAUM, Gerties agent -- a New Yorker gone Hollywood

ARTHUR HIGGENSWORTH, Young, Handsome, but stuffy, museum.curator

EIMER STONEHURST, pompous, blowsy President of the board of the museum
CLERK

MAID

ELIZABETH STONEHURST, plain, spinster type young woman

SCENE

 

The "Presidental" suite of the Star Hotel, New York City. Eleven

o'clock in the morning

THE SCENE:

”THE GORGEOUS BRAIN"

Presidental suite of the Star Hotel. A spacious,
handsome, and tastefully furnished living room,
decorated in bright colors. In the back, a raised
doorway that leads outside into the hotel corridor.
In the right-hand wall of the room another door
leading to the bedroom. Between the two doors a
sliding door leading off to the kitchen and dining
room of the suite. The room is furnished with
beautiful, ultradmodern furniture. There is a
large mirror near the bedroom door, couches, chairs,
tables, radio-phonograph combination set, and fancy
nick-nacks all over the place.

It is eleven o'clock A. M. on a bright cheerful day.

-6...

THE GORGEOUS BRAIN

AT RISE: Hotel clerk is checking over the condition of
the room, he talks to the maid off stage.

CLERK
(To MAID off Stage)

make sure that there are plenty of towels in the lavatory. (Hums to
himself as he continues to fix up the room.) (To self) Now, let's see:
Plenty of flowers - lots of sunlight'coming in, and - - - oh yes,
music. Miss Grinshaw always likes music. (Walks over to radio and
puts it on). Ah: I guess that takes care of everything for Miss
Grinshaw. (walks across room to the bedroom door, locks in and speaks
to MAID off stage). And don't forget to make sure Miss Grinshaw'has
plenty of pillows - - - you remember the last time she was here, her
agent kept calling down for more pillows. (Walks toward the other
room.as music on radio is interrupted by news plash).

ANNOUNCER
(Radio-Voice)

Flash! - - - Gertie, ”The Legs" Grinshaw'was kidnapped a feW'minutes
ago from the Grand Central Rail Terminal as she was alighting from

the train. Miss Grinshaw - the owner of the world's classiest legs

was to lead a galaxy of stars at her new world premiere this evening

in New York. Miss Grinshaw when last seen was attired in slacks,

beret, and glasses - the dark variety type. Anyone knowing the where-
abouts of this glamorous creature, please notify the police immediateky.
Now, back to the music of Art Val and his orchestra. (Music is playing
"On a Slow Boat to China").

CLERK

(Startled) Oh no: Dear mel This can't happen to me - oh, poor Gertie.
(MAID enters from.bedroom).

MAID

What was that he said about Miss Grinshaw, sir?

-7-

CLERK

Kidnapped! Oh, for the life of me, I can't believe it - our Gertie
kidnapped.

MAID

Our Gertie kidnapped. It must be a mistake sir:
CLERK

(wailing) Poor, poor Gertiel
MAID

That's all right sir: Don't take it so hard, I'm sure it will all
turn out all right.

CLERK

(Regaining dignity) Yes, yes, you are right. It will be all right.
Now then, if you have taken care of everything, that will be ell.

MAID

Yes, sir.
CLERK

One more thing - please turn off the radio as you go out.
MAID

Yes, sir. (walks over and turns radio off. Opens door to exit and
in bursts GERTIE. Exit Maid and closes door).

CLERK
Dear, dear me. (Turns sadly and sees GERTIE). Oh, Miss Grinshawl
Miss Grinshaw --- thank God you are safe: The radio said you were
kidnapped.

GERTIE«
(Nonchalantly) Do I look kidnapped?

CLERK

No, no Miss Grinshaw, but they said it was--—-

GERTIE

I don't know what it was -- I didn't bother to find out. Some jerk

pushed me in a cab before I knew it, said something about wanting to
see my works of art and then I hopped him one and ran into the hotel
here. You known nowadays anything can happen to a woman - even when
she don't want it to.

CLERK

Oh yes, I knowi (Disappointed) Oh, you're wearing slacks, Miss Grin-
shaw. But as soon as your luggage arrives, I imagine you'll be anxious
to change to --- oh...something...ah lighter, shall we say?

GERTIE
And shall we say that you'll have a chance to see them before I leave.
CLERK

(Giggling) Oh Miss Grinshaw’.... Gertie, you're a card, that's what
you are.

GERTIE

Thanks little man ... My agent should be along any minute. He must
be in a tizzy ... will you see if he's arrived yet and then send him
right up to my suite.

CLERK
Of course ... (slyly) Gertie (Exit CLERK)

(Gertie takes off glasses and beret and goes into bedroom. The door
is seen closing at the same time the door from.the hotel corridor
bursts open and Max Feinbaum rushes in. He is attired in a Hollywood
getup - yellOW'pants, red shirt, white ascot, blue sport jacket, dark
rim.glasses, and a purple tam.perched atop of his head. He is carry-
ing and listening to his portable radio which is in his hand).

MAX
Gertie, Gertie. You're all right? Mit my own brain I couldn't ...
(stops short as he sees GERTIE is not in room. He starts toward

bedroom door - calling.) Gertie, Gertie -- qye always she is not
where she should be!

-9-

GERTIE

(Bedroom door opens and GERTIE enters still attired in slacks).
Must you always make so much noise?

MAX
This morning it is called for - - Nu, what happened?

GERTIE
Don't you know?

MAX
Oye, eye, oye. What a woman. (Turns his midget radio on louder.)
On every station you are and with ”flashes", too. (GERTIE walks
right past him to coffee table to get a cigarette, takes one out
and then turns back to him.) Nu, listen.

ANNOUNCER
(Radio Voice)

The kidnapper of Gertie "The Legs" Grinshaw was discovered to be
Mr. Arthur Higgensworth, curator of the city museum. It is be-
lieved that Mr. Higgensworth is the new hidden love in Gertie's
life. The where-aboutsof Miss Grinshaw are still unknown.
(MAX turns off radio).
MAX
Nu?
GERTIE
Nothing I don't deserve, Maxie dear.
MAX
Yes, dis I know--but this time I'm.having nothin' to do with it!
GERTIE

‘With what?

-10..

MAX
(Ebccitedly, with gestures) With what, she asks. With this morning
at the railroad station. Here for two days I'm making big publicity
plans for my Gertie. I'm having reporters, with photographers, boys
mit flowers, and having thousands of peoples waiting to meet "The
Legs", and what happens?

GERTIE

All right, what happens? Go on, keep talking, I won't charge you for
it.

MAX
You, you go and getting a new boyfriend I'm not even meeting and he
grabs you from under mine nose, picking you up and making get away in
cab. Oye, eye, oye. No pictures, nothing, then they find you mit
him gettin' out at dis hotel.

GERTIE
Where did you want me to get out? At his hotel!

MAX
So, now your making with jokes.

GERT IE

I'm sorry about it, Max. It was just one of those things, why I
don't even know the jerk.

MAX
(Looks at GERTIE and then at the radio) You know something, this
isn't even making sense. Oye, vat a ding to doing to me, like a
father I'm being and then behind mine back your getting a boy friend.
GERTIE
But Max, you heard it on the radio. You wanted publicity, didn't you?
MAX
Nu, so for yourself, now your thinking. It is on every one's ears--so

it's beautiful. Oye, what a woman. All right, so how long has this
been going on?

-11..

GERTIE
Has what been going on?
MAX

This, this love affair with-dwith (MAX turns on radio) thanks, with
the museum head.

GERTIE
Why--why only-~Say, what about the photographers? Where were they?
MAX

‘Well, that boyfriend of yours didn't give anybody a chance to taking
a picture. One-two-three you're both gone.

GERTIE

well, I'm.here nOW'and everything is fine again. So how about seeing
about the pictures?

MAX

O.K., O.K.--you know, for over thirty years I'm a publicity man and
never did anything like this happen to me.

GERTIE

Why nothing happened, You know all about it. (Points to his radio)
EVerybody knows about it.

MAX

Fooiel So all right! When is the wedding? That at least tell me.
You want maybe I should loose my job?

GERTIE
Lose your job?
MAX
Of course lose mine job. Your knowing to me, that being married is

one of the most beautiful things in life--dat is next to money--and
if you get married, I don't get no money.

-12..

GERTIE

Max, no matter what happens, the people will always see "The Legs"
on the screen.

MAX
Now, that's like my Gertie. But you should be telling me somethin'--
your knowing I've been like a father to you all these years--nothin'
I don't know“until this museum guy comes up like somebody dug him.up.
Gertie, how long did you knowing him? (Phone rings. MAX walks over
to answer it.)

MAX

Miss Grinshaw's suite. Yes. Who is this? Wh.. (GERTIE grabs the
phone.)

GERTIE

Yes....of course. Yes. All right. Goodbye. (Hangs up phone.)

MAX
Nu--who vas it, reporters?
GERTIE
Why ------ uh no. Max, be a good 'papa' and go down to the newspapers

and round up the photographers and bring them back here. You don't

want this golden opportunity for publicity to fade away---do you?

And Maxie, I may have a real surprise picture for you...so hurry up!
MAX

So, nu, good. Ah, more publicity and pictures...dat's good, ya-good:
But, de phone calls..(8uspiciously) Surprise huh, vat gives?

GERTIE
Please Max for me.
MAX
well, all right, but I don't like it.
GETTIE

Talk to them nice!

-13-

MAX

O.K. O.K. don't push, I'm going. Hollywood stars, mine bread and
butter; mine grey hair--even from the servants entrance I'm having
to leave. (Exit MAX from room.through_dining room door.)'

 

(GERTIE turns back to room, starts to straighten her hair. There's a
knock on the door. GERTIE walks over and opens the door. Enter
Arthur Higgensworth--conservatively dressed, stiff, uneasy and with a
stuffy over-all appearance, like a funeral parlor attendant. He
carries two Ming Dynasty Vases.)

ART
Ah, Miss Grinshaw.

GERTIE
Yes ----- come in. (ART slides in around door jam as GERTIE closes
the door.) All the way in.

ART

(Moves further on stage) Thank you, Miss Grinshaw.
GERTIE

Now, what---can-----may I do for you?
ART

I wish to explain about this morning and offer my humble apologies.
GERTIE

Fine, but no more taxi rides with you. Now, Mr. Higgensworth, lets
get straightened out.

ART

Oh, thank you, thank you. See, these are the vases that caused the
mix-up, Miss Grinshaw.

GERTIE
Make it Gertie, Hig. (Takes vases and looks them over.)
ART

Thank you. My first name is Arthur, ah....Gertie.

-14...

GERTIE

Arthur's too "icky" and doesn't suit you. I think Hig is much cuter,
don't you?

ART
I wouldn't say the adjective "cute" exactly applies to me.
GERTIE
You sure are educated, aren't you. You talk like a college professor.
ART
we11, in a way, I am. But I preferred the museum post to teaching.
GERTIE
Fancy that, now: They tried to learns I mean teach, me some grammar
and stuff when I first went to Hollywood, but it ain't, hasn't taken
too well.
ART
Well, education isn't everything, Miss Grinshaw. (GERTIB gives him a
look) I mean...Gertie. You know, you really are a most fascinating
young lady.
GERTIE
You haven't seen the best part of me, yet.
ART
Ah, you mean in reference to that absurd title.
GERTIE
There's nothing absurd about it, brother.
ART
I....ah....wan't...referring....

GERTIE

All right, skip it. NOW'What about this morning?

ART

You see, it was like this, I thought you had two works of Art of
mine.

GERTIE
I have two "legs” of Art, but they're not yours.
ART

Well, I should think not: But you see I was waiting at the station
for these two precious Ming dynasty vases and....

ERTIE
I know, you decided you liked the idea of my two legs better.

ART
Why, that's hard to say....you see I....no, you don't understand.

GERTIE
I can't if you don't explain.......Higgsie.

ART
“Well, Miss Elizabeth Stonehurst was suppose to deliver the vases to
me. I knew she would be wearing slacks, beret, and glasses. She
always wears clothes like that.

GERTIE

Yea, that's what to wear when you travel-~me, I always wear casual
clothes.

ART
Hurph. well, when I saw you carrying that luggage so carefully---
'well, I thought---that is, I thought you were her and I wanted to
get you out of the crowd and prevent any damage to the vases.

GERTIE

(Holding and looking closely at the vases) So, these caused the
trouble.

-16..

ART

Yes. Then I got you in the cab and when I finally discovered you
‘were not Elizabeth, you were gone.

GERTIE
I'm a fast mover you know.
ART

So then, I immediately had the driver return.me to the station and
saw Elizabeth standing with the vases--I grabbed them from her and
told her I had to find you and explain everything. That's why I'm
here, to say I'm sorry.

GERTIE

So that's it. Hmmmm, and all the time I thought that it was----oh
well, deep and devious don't worry about it....everything is all
right now;

ART

But it's not, Gertie. The account on the radio will bring about my
dismissal from the museum. You see this type of publicity isn't
exactly up to standards for a museum employee! And then I've got
to make Elizabeth understand.

GERTIE

Is that so....well, I always say, when a little Hollywood glamour
won't help boost a guys business, then it ain't fit to be in.

ART

You don't understand Gertie. Personally, this morning was a most
adventuresome time for me, and to be truthful I have rather enjoyed
it. But the board of directors of the Museum will look at it differ-
ently. Why, Mr. Stonehurst, the President of the Board will relieve
me of my duties as soon as I deliver these vases to him: (Telephone

rings)
GERTIE

Oh damn: Just a minute, Hig. (Into phone) Hello...Gertie Grinshaw's
suite. Who's this? Who? Oh yes, he's here. Just a minute. It's
for you, Higgsie. (Hands ART the phone, covering one end with hand
and mimics) Mr. Stonehurst, calling.

-17-

ART
What in the world! I wonder what he wants! (Takes phone) Hello
Mr. Stonehurst. Yes. What sir....yes sir. Right away, sir...but
Mr. Stonehurst, but...but...but....ohh, he hung up.

GERTIE
Say, how did he know you were here?

ART

Elizabeth phoned and told him of my action and he's already heard
the radio.

GERTIE

First it's the radio and now it's Mr. Stonehurst bothering you.
Say, Higgsie, don't you know...you can only get fired once!

ART

'Well, you see....Gertie--Elizabeth...that is he...well, Mr. Stone-
hurst is the father of my fiance.

GERT is

Fiance, why Higgsie. I didn't know that you were engaged! Say,
what does the girl friend think of all this?

ART
Mr. Stonehurst just informed me about Elizabeth's reaction and I'm
afraid she isn't taking too kindly to all this. 'Mr. Stonehurst
worships Elizabeth and would do anything for Elizabeth.

GERTIE
Do you always call her Elizabeth?

ART

Yes, that's her given name and seeing we're engaged it's permissable.
You know, Elizabeth is a very sweet girl. Very intelligent.

GERTIE

I'll bet she belongs to the Thursday afternoon Club and does social
work.

-18-

ART

Oh, she does. An admirable girl. And quite a leader. She's
very good at running things.

GERTIE
Like you, for instance. I'll bet she has you run ragged.
ART

Elizabeth and I have found our tastes very similar and work well
together. ‘We provide mental stimulation for each other.

GERTIE

Fancy that now! 'Well, at least you know what to do "On a Slow
Boat To China!"

ART

We've never been "On a Slow Boat To China," but I'm sure that if
'we did go, Elizabeth would know what to do, if it were slow.

GERTIE

You may be a professor, Higgsie, but there are parts of your
education that are noticeably lacking.

ART
To what aspect of my education are you referring?
GERTIE

I have neither the strength or the inclination to help you brush
up on it now, especially before lunch.

ART
Dear me, (Looking at watch) it is lunch time and I must be going.
I have to see what I can do about counteracting all this unpleasant
publicity I've unwittingly brought about and then explaining to
Elizabeth about your "legs." And the vases and everything.

GERTIE

I doubt if she'd understand! But stay and have lunch with me!

-19-

ART

Gertie, please. This is a serious matter. I am most fearful of
the outcome concerning Elizabeth. I must go.

GERTIE
I'll bet if I could get you to stop talking like it came out of a
book, you wmuldn't be a bad fellow. You are kind of cute, you
know.

ART

You are one of the most amazing people I have ever met. I really
should like to see you again before you go.

GERTIE
That's hard "Higgsie"--but stay now (grabs him) and let's get better
acquainted. (Looks toward the door very hopefully) If you're
hungry I'll make the arrangements and we'll eat up here in.my room--
no publicity, etc.

ART
Gertie, just the two of us alone?

GERTIE

What do you have to do----take a little nap in a mummy case and
think about it.

ART

Miss Grinshaw! I'm used to all sorts of ordeals and without the
benefit of a nap.

GERTIE
No-o-o-o-! How do you do it?
ART
Due to daily exercise, my physical condition is most rugged. (Goes

and picks up the vases) I must return these vases first and then
I shall return for our luncheon engagement.

-20-

GERTIE

No Higgsie---please, old Stoneheart won't be too tough on you if
you come in a little later.

ART
Stone-hurst. I really must go now.
(Starts to walk to door. Knock on door. Turns around and heads
for closest door saying over his shoulder)
I shouldn't be found here alone with you! I'll leave by the ser-
vant's entrance.
(MAX enters as ART reaches bedroom door.)

MAX

'Well, I got the photographer's coming here and the stories all'
fixed up. Nu, who's die! on ho, this is the Museum.Head, no?

GERTIE

Hi Max, this is Higgsie. Higgsie this is my manager, Max Feinbaum.
ART

Ah ----- -(Releived) How do you do Mr. Feinbaum.
MAX

Feinbaum, but to you, just Maxie.
ART

Did you say photographers? Dear me, I really must leave now!
MAX

Wait, dis is for Gertie! The photographers wdll be here right away.
GERTIE

Oh, come on.Higgsie. (Grabs his hand) I have pictures taken with
everyone that hustles me into a taxi cab.

ART

But, I've already explained it was a mistake. Please let me leave!

MAX
Nu, have you set the wedding date?
GERTIE
No, not yet Max.
ART
Oh, are you engaged too, Gertie?
m
Is she engaged, nu, who should know better than you?
GERTIE

Max, one more favor please-dwill you go down and make arrangements
at the dining room to have a luncheon table sent up here for two?

MAX
All the way down I should go for dot--not--me--we pay our bills.
I'll call room service-~that's what it's for you know. (Starts
toward phone.)

GERTIE

No, Max. I'd rather have you take care of it.personally. (Knock
on door-~Relieved) Ah--that must be the photographers. Who's there?

STONEHURST
(OFF STAGE) Mr. Stonehurst.
(ART takes off for the dining room putting the vases in GERTIE'S
hands!)
GERTIE

One minute, please. Whispers to MAX) Go with Higgsie--don't let
him.leave.

MAX
Why should I leave and who's this Stone head?
GERTIE

Please go with Higgsie, he'll explain!

-22-

MAX

All right, I go..Stop pushing me. (MAX exits into dining room,
closes door. GERTIE walks over to main door, opens it.)

GERTIE
Come in.
STONEHURST

I am not in the habit of calling on.young ladies in their hotel
rooms at this hour of the morning. But I deem this necessary.

GERTIE
I beg your pardon.
STONEHURST

I am E. W. Stonehurst, President of the board of directors of the
Museum, and Mr. Higgensworth's future father-in-law, and those are
my vases you have there.

GERTIE

(Shocked) They are--—well, do tell. Aw, come down off that high-
horse, Mr. Stonehurst. You don't have to go dignified on me, and
after you do that you can explain everything!

, STONEHURST

Explain everything---I beg your pardon, but I am.Mr. E. W3 Stonehurst
and am.not accustomed to being spoken to in that tone of voice.

GERTIE
No? All right, what was it you stated about the vases?
STONEHURST

I wanted to see what type of young woman would lead a man astray
just so she could gain some cheap publicity. And to warn you that
if you do not stop all this scandal and stop using innocent people
as your tools that I will sue you for $100,000 dollars; have your
pictures barred by the civic group as being immoral; and see that

everything you do from now on will be ridiculed. Now, give me
those vases.

-23.-

GERTIE
What? Ha, you're wasting your breath.
STONEHURST

That's what I had thought, your type never cares who you hurt. After
all, the public can only go by what it sees in the papers and public-
ity of that sort cannot be countenanced by the Museum.

What's wrong with that?
STONEHURST

‘Wrong with it! What was it the radio said---oh yes---Museum Curator
Ganders Gertie's Gams.

GERTIE

That's good publicity. I said it before and I'll say it again. Any
business that can't stand a little Hollywood glamour isn't fit to be
in, and I don't think the Museum is any different than any other.

STONEHHRST

A museum.is a cultural center. A dignified guardian of the treasures
of the ages. It's custodian.must reflect that.....

GERTIE

Oh, nuts! You want people to come and look at the stuff, don't you?
'Well, can you think of a better way to get them than by giving the
joint a little glamour. They'll flock to see Higgsie, now. I'll bet
you'll be getting the biggest crowds that musty old mausoleum ever
drew.

STONEHURST
That may be true, but they won't see it's now, notorious curator....
Higgsie. Besides, have you thought what this has done to my daughter,
Elizabeth? I don't know why she loves the damn fool, but anything
she wants, I'll see that she gets.

GERTIE

Higgsie, isn't a damn fool.

-24-

STONEHURST
Why, all your type is out for is cheap publicity and money. I suppose
you've already an idea that some one gave you to publicize yourself
some more at the expense of that ass Arthur. Why, everyone knows the
theater is completely immoral!!

GERTIE
Why you---you fogie. If I wasn't a lady I'd ------ oh nuts. (Throws
the vases to him. Goes to bedroom and slams door after her. STONEHHRST
turns to leave and the dining room door opens and once again MAX appears.)

MAX

STONEHURST
E. W. Stonehurst, President of--
MAX
Don't tell, don't tell me. You're Arties's boss, no?
STONEHURST
You might say that. .
MAX
What do you mean, I might say that, I am saying it.
STONEHURST
.And who may I ask are you?
MAX
(Draws himself up) Me, me I'm.Max Feinbaum, top publicity man for
Parmouth Studios, assigned to "The Legs”, Parmouth's brightest star
and the woman with the world's most perfect legs.
STONEHURST
I thought so, another Hollywood person ------ you're all no good!
MAX
You should pardon the interruption (under his breath) you should drop
dead, but what is it you're saying?

STONEHURST
Just what I told Miss Grinshaw, that everyone from Hollywood is out
for cheap publicity, money and to hurt people. None of you has any
brains.

MAX
You said this to my Gertie, oye, oye, oye!

STONEHURST

That's right, I said it tot..to Miss Grinshaw after what she did to
Mr. Higgensworth and to my daughter.

MAX
Why did you tell her this?
STONEHHRST
Because I'm thinking of my daughter!
MAX

Your daughter. You think maybe she's going to marry Artie...ah yes,
he just told me about her!

STONEHURST

Against my better judgement she's going to marry him--and nothing
will spoil her happiness.

MAX
I see.

srowwmrésr
You see what?

MAX

I see that you've made a mistake.
ST ONEIHTRST

I make a mistake? I beg your pardon.

-25-

MAX
You don't have to beg, you're old enough to steal.
STONEHURST
What was that?
MAX
I said all this we can heal.
STONEHURST
Oh.
MAX

In the first place, if you want to gain anything you should go about
it in the right way. You want Gertie should leave Artie alone, nu.
Well, the way to do that is to find someone to take Artie's place.
You said my Gertie is interested in money---so, someone with more
money would interest her, no? Good. Now by telling my Gertie what
you think that she's no good is bad. You should never tell people
what you think of them. It always causes hard feelings. Now,
everything you know'about us--we want money, publicity and pictures,
so what? But you want Artie should marry with your daughter and go
back to the museum. Hmmm--let's see---how will---ah! Here is what
you have to do. '

STONEHURST
lie?
MAX

Nu, who then? You should being nice to mine Gertie, helping her,
not hurting her. Like opening your museum.to seeing her and the
ideas or maybe giving her the vases, in front of photographers--
to put in a special place in the museum. Then she'll forget about
Artie and think only of you---how good you are and then everything
wdll be honkey-dorrie. You're wanting to make your daughter
happy-no?

STONEHTRST

Well yes, but permitting her to receive publicity at the expense of
the museum! well, I don't think I can.

-27-

MAX

Can you? Sure you can. This way your letting Gertie know that
you're all right, that your a smart man. And will play up all
publicity for her? -

STONEHURST

You really think this will do the trick? That Elizabeth will go
back to Arthur and Gertie will leave him.alone and also return the
vases?

MAX

,1 don't think, I'm knowing. Nu, are you going to work with me or
not?

STONEHURST

I don't knOW'yet, of course it's for Elizabeth's happiness--she
means everything to me.

HAX
Good---now'hurry then. You better go and make arrangements at the
museum. Then I'll go fix things up with my Gertie and then our
little plot can come hatching, no.

STONEHURST
well I'm not sure yet, but I'd like to apologize to Miss Grinshaw now.

MKX

What? No, not now! Leaving me speak with her first, then you speak
to her. _

STONEHURST
well, I don't know now.
MAX

I'm.s§ying--leave it to me, so go now; (Starts to push him toward
door.

STONEHURST

All right, I'll be back later. (He exits.)

-28..

MAX
well, nobody is going to stand in the way of my Gertie's happiness
and her wedding. Maxie, will fix everything......(calling) Gertie,
Gertie.

GERTIE
(Enters from bedroom with different outfit, dressed in long skirt
that comes down to floor and fancy blouse with no shoulders or back,
etc.) 'Well, where is he?

MAX

Oh-ho, your meaning Artie of course. He's eating Graham crackers and
milk in the kitchen.

GERTIE

I mean that big, stupid jerk Stonehurst.
MAX

Don't worry, I'm fixing it all up right.
GERTIE

Fixing what up? Oh, never mind. Did you say Higgsie was in the
dining room? .

Ts'IAX

No, he's in the kitchen eating Graham crackers and milk. (Makes face
on milk)

GERTIE

Talking about food, that reminds me. Are you going to go down and
get that lunch for us?

MAX
Vot was that? ,
GERTIE

You knowz-the lunch.

-2 9..

MAX
But why couldn't we phone?
GERTIE
Please go get it!
MAX
Oh ho, I'm gettin' it. Boy am.I dumb or am I.
GERTIE
What do you mean?
MAX

All dressed up you are and wanting me to go away. Last time I go,
Artie comes. This time I go, he's here, oh ho:

GERTIE
I assure you that nothing is going to happen. Now, will you go?
MAX
All right, I'm going, I'm going. With that dress on, nothing she
tells me will happen. Like my own daughter I'm treating her and
she doesn't want me around. (walks to center door, shrugs head and
exits.)

GERTIE

Higgsie, Oh Higgsie. (Enter ART with brandy snifter filled with milk
and half eaten Graham cracker.)-

ART

Yes, Gertie. Is everything allright nOWb-I mean, is it proper to be
seen here alone with you?

GERTIE
I see that you have made yourself at home in.my suite.
ART

I guess I have beerla bit presumptious. I'm sorry, but it is a nice
suite!

-30-

GERTIE

It's the presidential suite you know' ----- What's good enough for
Harry is good enough for met

ART
I don't see a piano.

GERTIE

Why, Higgsie, you surprise mell

ART
Thank you. Why Gertie, you look simply ravishing. But I see I've
interrupted;your dressing. You haven't had the time to don the ....
up.....upper portion of your lovely gown.

GERTIE
The upper portion is me, Higgsie. That's all there is.

ART
Er....may I be so bold as to ask what holds it up?

GERTIE

A special act of congress? Shall we leave it at that. (Knock at
Door)

STONEHURST
(Off stage) Gertie.
ART
Oh, my God: (Runs back into dining room)
GERTIE

(Looks at ART running away) NOW”What. Oh well, come in. Oh, it's
you. Get out!

STONEHURST
I bought these flowers and candy for you down in the lobby, Miss Grin-

shaw, er--Gertie, while thinking about my actions I wdsh to apologize.
(Hands her the above mentioned articles.)

-31..

GERTIE

'What was that, these are for me? I thought you were going to sue
me--ruin my career-~why you--

STOHEHURST

I'm sorry about before! I...I was a little rash and....
GERTIE

This I don't get. What gives? Why the sudden change?
STONEHURST

Why nothing, can't one of your admirers bring you some little token
to honor you?

GERTIE

Admirer? Gifts? Hey, this the "The Legs" Grinshaw; You know, the
babe that wants money and publicity. The one you're out to break.

ST OITEIHURST
I'm sorry. I was a bit upset you see, but max brought me to my
senses. Will you permit me to take;you to lunch, I'd like to talk
to you about an idea I've had:

' GERTIE

Lunch with.you, why..(Phone rings)..excuse me. (Answers telephone)
Gertie Grinshaw's suite. Yes. She is: Thank you. (Hangs up and
turns back to Stonehurst.) That was the desk clerk. He just in-
formed me that your daughter is on her way up here.

STONEHURST
She is?

GERTIE

I don't think she expects you up here. You're a smart man so I
think you better think of something, but fast.

STONEHURST

Why...ah..thank you Miss Grinshaw, but I'm.afraid my so-called smart-
ness won't help me with my daughter. You know she is nr. Higgensworth
fiancee!

-32-

GERTIE

Yeah, he told me about her. She hasn't broken off the engagement
has she?

STONEHURST
Not yet, but I presume she will for dignity sake, only. Funny
thing, I think she's jealous. But if she wants Arthur--I'll see
to it that nothing spoils it for her. She's all I have in the
'world, and her happiness is my only thought now.

GERTIE

Is that so? Well, don't worry. I only felt sorry for him. He's
not a bad egg, but he ain't my type.

STOHEHURST
Uh, he's not? well you know, you are a beautiful girl. No matter
how intellectual the woman is, she has a sneaking fear of the
glamour girl.

GERTIE
Say, what is she? Definitely droopy when it comes to looks?

STONEHURST
I" would hardly call-Elizabeth ugly, but she certainly has managed
to disguise what few good points she has. She was rather attrac-
tive as a girl.

GERTIE
Why the broomstick complex? Maybe she's erratic.

STONEHURST
Neurotic is the word. No, I don't think that's it. You see, she
has always been in love with Arthur and I think she has an idea that
he is only interested in her brains.

GERTIE

Oh, brother! She ain't lived much, has she?

-33...

STONEHURST

Arthur's tastes are very aesthetic. He's fearfully intellectual
you know. A scholar of the Arts.

GERTIE

He may be asthmatic, but he is still a man. He sure didn't sound
love sick when he told me about Elizabeth.

STONEHURST
No, that's just the trouble. Elizabeth is fully aware of the fact
that Arthur admires her, but she knows that she instilled no over-
powering emotions of love in him.

GERTIE
I know his type. They're the first one to go overboard for a pretty
face and an empty head. A little ”tch tch" in a dame and they're
sunk.

STONEHURST

I'm afraid you're right. (Door opens and in walks MAX) You certainly
have got plenty of "tch tch" eh......eh....Gertie.

MEX

Certainly she got plenty of it, plenty of beauty, with brains thrown
in besides. (To GERTIE) I'm making the arrangements you want, Gertie.

GERTIE
Thank you Max. Yea, that's what I mean. It never fails.
MAX

(Aside to STONEHURST) You're following my advice, no... Remember this
is for your daughter!

STONEHURST

Oh yes, yes indeed! Do you know Gertie's admitted she doesn't care
for Arthur?

MAX

Did you say, doesn't care? Oye!

-34..

(Knock on door)
GERTIE

Come in, the door is unlocked. (Door opens and in comes ELIZABETH
dressed in slacks, beret and glasses)

ELIZABETH
Father! 'What are you still doing here?
. GERTIE
Nothing he shouldn't be, dearie. You got here just in time.
STONEHURST

Why.....ah... Elizabeth...(MAX whispers to him) Yes..Umph, Elizabeth,
I think I shall ask the same of you?

ELIZABETH
I've come to see about returning the vases to the Museum. I've also
come to speak to Miss Grinshaw! I should like to have the satis-
faction of pointing out to her the havoc women of her type can wreck
on a man's life.

STONEHURST
Elizabeth, you are going to far! (MAX whispers to him again) I find
nothing wrong with Gertie's...ah... Miss Grinshawis type. (MAX pats
him on the back and he smiles back at MAX)

ELIZABETH

You too, father? There, you see, you have even managed to distort my
father's sense of values.

GERTIE

Then, values have been distorted since Adam fell for Eve.
ELIZABETH

And look what happened to them!
STONEHURST

Elizabeth, you are being ridiculous.

ELIZABETH

Oh, it's ridiculous that Arthur lost his job, has been made a
fool of, and on top of that hasn't even called me?

GERTIE
Take it easy, kid. Higgsie got his job back and he most likely

didn't have time to call. Too busy signing autographs for his
fan clubs.

ELIZABETH

What is all this father? Do you mean to tell me Arthur wasn't dis-
charged immediately as a result of his depraved behavior?

STONEHURST
Elizabeth, sometimes you make me sick. Gertie has more good sense

in her exotically manicured little finger, than you have in.your
whole dowdy, badly-dressed body.

ELIZABETH

I refuse to stay and listen.to such outrageous talk from.my own
father. Here, give me the vases and I'll leave.

STONEHURST
Oh yes, you will listen. One beautiful, exciting woman has done
more for the museum.overnight than.you and all those frustrated
frumps you try to copy could ever do. Arthur may be a pompus ass

but he's human. I don't blame him for prefering Gertie. (Steps,
and thinks over what he's just said.)

ELIZABETH

(Crying) See what you've done, you...you..tramp? Stolen my fiance
and turned my own father against me.

GERTIE
Stop sniveling and come here. It's time someone got you straight
on the bird and has routine. I may be sappy--but I hate to see a
woman of your type discredit the rest of our clan......I said, come
here'.’

ELIZABETH

Now what do you want?

-56...

GERTIE

Just come here a minute. I want to show you something.
ELIZABETH

All right. Well, what is it?
GERTIE

Look in that big mirror there.

ELIZABETH
well?

GERTIE
Well?

ELIZABETH

I don't deny you are attractive in a superficial way. But....
GERTIE

Who gave you the cock-eyed notion that a smart woman can't be a
pretty one?

ELIZABETH

A good book doesn't need a flashy cover.
GERTIE

And damn few people want to curl up with one on a rainy night!
ELIZABETH

Are you suggesting I should advertize like a.. a.. soap chip?
GERTIE

If you ever want to get anyone interested in the product you have
to offer....Take off these glasses.

ELIZABETH

(Gertie looks her over and then starts to monkey with her hair.)
What are you doing to my hair?

-37-

GERTIE
Taking the pins out. It's about time you let your hair down.

STONEHURST
I haven't had so much fun in.years.

ELIZABETH
Ohhh. O O O

GERTIE
Max, you and Mr. Stonehurst go into the dining room and have a
drink. We'll call you when we're ready. (Exit men) Stop fidgit-
ing around. Say, your hair is naturally curly, isn't it?.........
Pull your skirt up.

ELIZABETH
Hy....my skirt.

ERTIE

If this ain't a dilly! Oxfords and rayon stockings. Even mine
couldn't survive that. my gosh kid, this is supposed to be the
20th century.

ART

(Enters during GERTIE'S speech) Elizabeth...I feel that I owe
you an apology.

ELIZABETH
(Drops skirt.) Arthur---really! (Exits into bedroom)
GERTIE
Higgsie, that is one of the points your education has been lacking!
ART
You mean.......Oh, Gertie, No!
GERTIE

Yyyy..eeee...sss, I do!

-38-

ART
Perhaps if I took some...
GERTIE

Benzadrine, ought to do it. I thought you told me you were the
smart type.

ART
I am but I have never dissipated. I lead a most exemplary life.
GERTIE

You don't have to diddipate, Higgsie, to have a little fun. Just
let your hair down and be yourself once in a while.

ART

I shall try, Gertie, to please you. But if ever I tried it on
Elizabeth, she'd think I'd gone mad.

GERTIE
Don't be too sure. Elizabeth might love it. I bet her secret
ambition is to forget she's a lady just for once and have herself
a time.

ART
Heaven Forbid! (Nervous laugh) Oh, flowers and candy.

GERTIE
Oh, those...they belong to Max. He's got a girl friend.

ART

(Face brightens up) Max's...good! May I use the telephone,
Gertie?

GERTIE

Of course Higgsie.....I'm going in to freshen up now. (Exit into
bedroom)

-39-

ART

(walks over to phone and picks it up) Hello. Give me the florist,
9168.860 0 e e e

(smter MAX and STONEHURST talking..both stop talking when they see
Higgsie and he drops phone when he sees them and walks down stage
trying to whistle. ‘MAX goes to sit down, picks up the flowers and

candy and crosses to table near main entrance. STONEHURST pauses to
light and fix up his cigar.)

ART

Oh Max, are you going to take them to your...your..girl friend.
MAX

Girl, smirl...since ven I'm having a girl friend besides Gertie?
ART

(Disappointed) Ohh.
STONEHURST

What are you doing with my flowers...and candy?.

ART
Yours?
MAX
For Gertie, huh?
STONEHURST

Yes, but Max I have yet to know why they call her...

MAX
"The Legs"? Does Heifitz carry his fiddle around mit out a case?
And does he ; ' play it eveny time your looking at him, either?
STONEIIURST

What's that got to do with it?

-40-

TUDC
Nu, that's what the box office is for!
ART
'Well, I thought her...ah...legs were her stock in trade, so to speak.
MAX
(Aside) Just between.youse and me, it's a publicity gag. They're
being no different than a hundred others. Its all mit special light-
ing and leg make-up doing the trick on the pictures screen.
STONEHURST

You know'Arthur, I think that all this publicity may be a blessing
in disguise after all. _

ART
Certainly it is. Gertie is a mighty smart woman.

STONEHURST
Yes, she is! I really believe she is. I think I shall do something
for her as well as ourselves. She's really a good and smart young
lady e

ART

And a gorgeous one. I've never met anyone as completely fascinating.
I find it hard to keep her out of my mind.

MAX

So doing a few million others.
STONEHURST

Arthur, my boy, you know you haven't a ghost of a chance with her!
ART

No, I have never deluded myself into believing that I had. If only
Elizabeth...

MAX

Vots dat? You're not being for mine Gertie, who is saying do?

-41-

STONEHURST
Mr. Feinbaum, please.
MAX
That's all right, you can call me Max.
STONEHURST

Arthur, what's wrong with Elizabeth? You two are perfectly suited
to each other.

ART

Oh, nothing is wrong. It's just that she's so...so..
STONEHURST

Wholesome and unappetizing, I know.

(Bedroom door opens and in walks ELIZABETH all dressed up.
STONEHURST and ART both whistle.)

ART

Gertie, they're sensational!.....Why, it's Elizabeth!
STONEHURST

Good Heavens! Is that mine?
ELIZABETH

Oh, I knew I'd just make a fool of myself. I'll change this ridicu-
lous getup right away.

ART

(Springs to action) Ridiculous! Why you're simply stunning,
Elizabeth!

STONEHURST
You make me proud to be‘your father.
MAX

(Rushes over) Me, youie making your agent, I'm gettin' you in the
movies and I'm only charging 10 percent.

-42-

ART

(GERTIE enters while he is speaking) I can't understand why I
never noticed how lovely you were before.

GERTIE
Ever hear of camouflage? She was a master at it.

ART
(Still has his eyes on ELIZABETH and sees nothing else.)
Elizabeth, would you do me the honor of having lunch with me at
Stauffers?

ELIZABETH

Why Arthur, I'd be delighted. Come on dear...(leads him out main
door)

ART
Elizabeth, the activities in that room have made you like Gertie.
(Looks over to GERTIE and says to her) Gertie, I'm almost through
with my education.

STONEHURST
Errumph.....Gertie, (Picks up vases)--if you don't mind, I'd like
to have the photographers take a picture of the vases and your
"works of art" at the museum.

GERTIE
! y--how'nice---uh--uh---

STONEHURST
Elmer. Call me Elmer, Gertie.

GERTIE
Elmer, how sweet. Do you know you are a very handsome man?

ELIZABETH

(To GERTIE on way out) I'm.beginning to see what you mean dear.
(Exit ART and ELIZABETH; STONEHURST and GERTIE.)

-43 -

MAX

Oye, oye, oye. Vot gives. Oh vell, someone has to wait for the
photographers. (Starts to pull up chair)

"at” CURTAIN mun

~44-

ANALYSIS

STAGE PLAY

-45..

In undertaking an analysis of the different techniques and
methods of approach in writing for the stage, radio, and television,
one of the first prdblems discovered was the division of each field
into comparable study areas. For the purpose of this analysis, the
following major areas were selected: plot, action, character, and
dialogue. This thesis will attempt to point out the different approach
to each of these areas in the three writing fields. These divisions
'were also the author's foundation for all of the creative writing in
this thesis. This breakdown.was based on text material as well as
previous experience.

This first chapter will discuss plot, action, character and
dialogue only as they apply to the stage, as exemplified by the pre-
ceding one-act play script. later chapters will begin a comparison
of these areas as they appear in radio and television as well.

The author first discusses plot with particular emphasis on the
plot of the one-act play. The majority of the books on playwrighting
recommend that the one-act play plot should be focused on a single
incident and that the fundamental plan of the plot should be simple.
Selden stated that in a one-act play, "The structural plan includes
a brief passage of exposition, a swift development leading up to some
'well-marked crisis, and then a clean-cut ending."1 The author followed
this pattern in preparing his play, and in further discussing plot, let
us follow'Selden's lead and consider plot in relation to the beginning
or exposition, the conflict, the crisis, and the denouement or ending.

1. Samuel Selden, An Introduction to Playwrighting,
F. S. Crofts and Co., New York, 1946, p. 17.

 

The beginning of the play is very important. What many theater-
goers fail to realize is that every part of the beginning of the play
has been carefully plotted. Drawing the audience's attention with the
dimmed theater lights, the raising of the curtain, and focusing this
attention.upon the well-lighted stage, all this is part of the begin-
ning of the play. The first element the playwright uses in introducing
his story is spectacle or setting. "The modern stage setting not only
decides character and creates mood for action, but also helps the
player tell a story."2 When this broad, comprehensive idea of the
function of the setting is accepted, it is easy to understand the
place the scene design plays in the plot. For instance, consider the
stage set called for in the thesis play and its effect upon the audience
as the curtain rises and/ggeésfor the first time. The plot requires an
interior setting representing a sumptuous room in an exclusive hotel.
The hotel environment is suggested by the spacious, handsome, taste-
fully-furnished, yet somehow impersonal room. In the wall, center back,
is a door whiCh opens into the hotel corridor; in the downstage right
wall is another door opening into the bedroom; in the upstage right
wall is a third door opening into the dining and kitchen areas. The
furnishings consist of beautiful, ultra-modern furniture. The color
scheme is bright, gay, and cheerful. The whole setting gives an in-
stant impression of liveliness and happiness, an atmosphere which is
necessary to a comedy plot.

2. Heffner, Selden, and Sellman, Modern Theater Practice,
Fe Se Crofts and 000, New York, 1946, Pe 2120

 

At the beginning of the play, the playwright's first business
is to reveal to the audience/fihg, what, why, when and where of the
story. "This presentation is generally called exposition.”3 There
are numerous methods of exposition in the theater today,but one of
the easiest methods is to have one of the characters begin the play
by recounting facts. "At least nine out of every ten plays start
with a character"4 on stage, and this play is not the exception to
the rule. The opening of the play finds the hotel clerk on stage.
His business and dialogue establish the "where" or locale of the
play as a luxurious hotel suite and sets the tempo of the play. The
clerk mentions and introduces the leading character of our story,
Gertie Grinshaw; In.discussing her personal preferences and whims
on her last visit, he gives us our first glimpse of Miss Grinshaw's
character and reveals that she is apparently wealthy and given to
having her whims gratified. Next, the playwright incorporates a de-
vice to aid in the exposition. This device is a special or "flash"
announcement heard on the radio. (The use of the radio announcement
is probably influenced by the author's radio writing experience.
Many other such devices may be used, such as a telephone call, a
newspaper read aloud). This ”flash" announcement notifies the audience
of the kidnaping of the "The Legs” Grinshaw.' The radio announcement
completes the exposition; it has set the mood, established the identity
of the leading character, and given the impetus for the action to follow.

3. Barnard Hewitt, Art and Craft of Play Production,
J. B. Lippincott Co.,‘New'York,’l940, p. 73.

 

4. Selden, op. cit., p. 9.

-48-

Many dramatists agree with the statement that "the beginning of
a play is necessarily a dramatic situation, a situation which is un-
stable and which must therefore lead to action.“5 The radio "flash"
in this dramatic situation is one that will lead to action and set
the stage for ensuing action. What the clerk hears on the radio serves
to change his emotions; his face lights up with fear, and he utters a
startled statement accompanied by emotions. Observing the clerk's re-
action, the audience is curious so that it will be willing to listen
eagerly as the story unfolds in dialogue and action. This opening
action will lead gradually to the unwinding of the main issue, to the
dramatic statement of the major question of the play.
’B'The author mustipause at this point and briefly consider character
in relation to the plot. The main issue in the plot is effected by the
characters,dnd as Archer states, "the play will be of small account as
a work of art unless character, at a very early point, enters into and
conditions its developing."6 (From the beginning of this play the char-
acters are put to work. The clerk is used for exposition and setting
the tempo. Next comes the brief appearance of Miss Grinshaw who gives
the audience a glimpse of the traits that will identify her in the
story. The exit of Miss GrinshaW'is timed with the entrance of Mr.
Feinbaum, the "comedian" of the play. Mr. Feinbaum is a colorful char-
acter in the play. He is on the stage just long enough to supply the
necessary details to start the wheels turning and to lead the audience
on to the main conflict of the play.

5. Hewitt, op. cit., p. 72

6. 'William.Archer, Play-Making, Dodd, Mead and Co.,
New York, l934, p. 72.

 

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) Once the opening situation has been explained, one finds himself.
in the central part of the plot, conflict. "Every ooint of attack
starts with conflict."7 The author started this play with a basic or
opening situation of Arthur kidnaping Gertie as a result of mistaken
identity, and this leads to publicity. The case of mistaken identity
is the basis for the conflict throughout the play. Most authorities
on the art of the drama agree that conflict should be kept before an

/
audience at all timea, t)This conflict may be between character and
character, between a character and a social order that is represented
by another individual, or even.within the character himself. The
author has planned this conflict to appear in all the above forms.
The initial conflict is between.Arthur and Gertie and is revealed to
the audience by Gertie soon after her appearance. Conflict after the
kidnaping is brought about when complications set in between the forces
of Gertie and Max versus Mr. Stonehurst. "Two determined, uncompromis-
ing forces in combat will create a virile rising conflict."B Gertie
and Max wish to turn publicity resulting from the case of mistaken
identity. to their advantage and to capitaliza on it. Mr. Stonehurst
is not only against the plan but thinks people whose minds work that
way are worthless and stupid. Mr. Stonehurst's attitude arouses the
emotions of anger and pride in Gertie and he has insulted her intelli-
gence. She refuses to accept the derogatory remarks and insinuations
made about her, the movie industry, and her new interest, Arthur Higgens-
worth, the museum.curator. .There is a heightening of the struggle

7. Lajos Egri, The Art of Dramatic writing, Simon and
Schuster, New York, 1946, p. 256.

 

8. Ibid, p. 158

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between these forces when the mention of Elizabeth,Stonehurst's
daughter and Arthur's fiancee, brings up the possibility of a love
triangle between Gertie, Elizabeth and Arthur. All this is in prepara-
tion for and leading up to the decisive clash between the two forces,
as examplified by Gertie and Stonehurst. The conflict is further in-
tensified by Stonehurst's reappearance and his use of a new approach
on Gertie. The Completion of the rising action or the "climax" comes
with the announcement that Elizabeth Stonehurst is on her way up to
the suite. The author followed the lead of many well-known dramatists
when he developed the conflict of his plot through the use of attack
and counter-attack. and permitted it to grow naturally out of the char-
acters. The climax finds Gertie facing a decision as to her course of
action and arouses audience interest in the coming solution of the con-
flict. The rising action ends with the turning point. "The main pur-
pose of rising action is to lead up to the turning point or crisis, the
most significant dramatic situation in the play."9
Modern playwrights agree that the essence of the drama is the
crisis. Since this is a one-act play, the crisis has of necessity been
reached swiftly, with a minimum of sub-plots and complications. The
start of the crisis is the accusation by Stonehurst that Gertie is re-
sponsible for the case of mistaken identity and that she has taken un-
fair advantage of an innocent person. (The plot, in its development up
to this point, has been composed of a short series of increasingly in-

VOIVBd complications; as soon as Gertie makes her decision regarding

9. Milton Marx, The Enjoyment of_Drama, F. S. Crofts
and Co., New York, l940, p. 73.

 

-51..

the final problem posed in the crisis, there is a rapid unwinding of
the various skeins of the plot until the ending is reached.MI

”This unwinding has long been called by the French term.denoue-
ment."10 In the beginning of the play the characters are in a state
of uneasy equilibrium.) Then an overt act is done by Arthur, the act
of supposed kidnaping. This action started the following sequence of
events that complicate the affairs of the major characters: Gertie's
reputation, pride, and livelihood are at stake; Max may lose his job;
Mr. Stonehurst fears disgrace for his museum and heart-break for his
daughter; Arthur is in danger of losing employment and losing his
' fianceegElizabeth may become a spinster. These complications build up
until it appears that the problems will resolve themselves with Gertie
giving up everything for Arthur, Max falling out, Stonehurst losing a
potential son-in-law, Elizabeth nursing a broken heart. However, just
before that point isreached, further complications arise through Mr.
Stonehurst's conversion and change of tactics, Gertie's new plans and
poor Max's floundering among the quickly-changing romantic ideas.
Thus the play has been constructed in terms of a series of complications
that grow out of each other and which in turn carry the play on to a
higher pitch. The resolving of the plot is found in the denouement.
Gertie's intelligence is shown and accepted by Elizabeth, Arthur, Max
and Stonehurst. She converted Elizabeth to a modern streamlined girl
in both appearance and mind. Arthur found his real happiness with the
new Elizabeth. Max won his publicity and kept his job. Mr. Stonehurst

lO. Heffner, Selden, and Sellman, op. cit., p. 50.

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gained a son-in-law and was humanized. Thus in this denouement the
major dramatic questions were answered, the conflicting forces were
balanced, and the author's purpose established.

From.the previous analysis in this thesis, it is known that
dramatic plot is basically founded on what people do, think, and feel.
These qualities may be termed action. The author has divided the
action into two parts: mental, what the characters suffer, discover,
feel, think and do; and physical, the progression of the story and
the overt acts of the characters.

One of the major elements of action is suffering. "By that is
meant what the characters experience, feel, or undergo, ranging the
whole gamut from emotional experience to actual physical suffering.”11
The author thus uses "suffering" for what happens in the character,
'within himself. The first character to analyze in relation to suffering
is Gertie Grinshaw. Miss Grinshaw‘s suffering includes the humiliation
she undergoes by the kidnaping at the opening of the play, the anguish
over Max's loss of faith in her, and the initial bitter reaction to
Elizabeth. Next, the author considers the suffering of Arthur Higgens-
worth. His suffering takes the form of fear over losing his position
and fiancee. Mr. Stonehurst undergoes mental suffering in the form
of fear of his daughter's losing her fiance,and the museum which he
heads receiving some adverse publicity. Elizabeth Stonehurst goes
through suffering in the broadest sense of the term for she is brought
to tears and near hysteria through everyone apparently turning

ll. Heffner, Sehien, and Sellman, op. cit., p. 48.

-53..

against her. She thinks her father and fiance are taking Miss Grin-
shaw's side and fears that she is losing her fiance. Max suffers be-
cause of lack of information and knowledge, as shown in his fear of
losing his job.

The second phase of mental action is discovery. It is through
the suffering and its consequent actions that these characters are led
to make discoveries of relationships, of new facts, or of other things
'which vitally affect their lives and conditions. The first discovery
in this play is that the "works of art", in which the museum curator
is interested, are Ming Dynasty vases and not the famous "legs" of
Gertie Grinshaw; This disclosure starts off a series of events and
gives the author his story within the play. These two pairs of "works
of art" lead to Arthur's discovery that Elizabeth is missing sex-appeal
in her physical make-up and that is what has held up their marriage.
The case of mistaken identity gives Max and Gertie a better publicity
idea. Mr. Stonehurst discovers his belligerent attitude will never
achieve his desires. The best type of discovery is exemplified in
Elizabeth's finding out that a woman with brains may also be attractive.
This brings about the final group of discoveries: Elizabeth is natur-
ally attractive; Arthur's real love for Elizabeth is brought to light;
Stonehurst opens his eyes to Gertie's intelligence and is going to aid
her in publicity; Max realizes that he had nothing to fear about his
job.

Discovery may in turn lead to the third part of this action, which

Aristotle calls peripeteia, or reversal. Playwrights, in general,

conclude that a good play with complete action should contain both
discoveries and reversals.

In this pla‘, Stonehurst‘s final discovery of Gertie's golden
nature and the conversion of his daughter into an attractive young
woman constitute a definite reversal of his nature, attitude, almost
the basic foundations of his character. He becomes human, friendly,
helpful, and cooperative. Elizabeth's reversal is both mental and
physical. Her attitude of superiority changes into one of trustful-
ness and displeasure and dislike into happiness. She reverses her
physical appearance from that of a plain woman into that of an attrac-
tive one and becomes happy and carefree. Her concept of Gertie now
takes an opposite direction, one in which she feels grateful and in-
debted. The reversal in Arthur is his returning to Elizabeth and the
complete dismissal of Gertie from his mind.

The statement of Grafton and Royer that "people must do and not
be"12 is further evidenced by the changes in the fortunes of the
leading character. The changes shew Gertie seemingly interested in
Arthur and then reversing her action so that Arthur will give his atten-
tion to Elizabeth. Gertie is further shown going from.what appears to
be bad fortune in the ruining of her publicity for a world premiere to
one of good fortune in "here-to-see" unpredicted publicity. Not all
of these reversals nay appear as major ones to the reader,but each one
played an important, necessary part in the writing of the play.

12. Crafton and Royer, The Problems of Play Production,
F. S. crOftB and C00’ New York, 1.928, p. 2730

 

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In contrast to mental action is physical action. This type
includes consideration of dramatic progression and the emotional
and physical maturing of the characters.

A phase of this physical action may be defined as "what-ever
the actor does on the stage, as distinct from.what he says."13
Movement, according to Brown and Garwood, is divided into inherent
and imposed action. The inherent movement in a play is necessary to
the plot. It is required, and without it, the play has no progression.

The necessary physical action in this play starts with the turn-
ing on of the radio by the clerk in the suite. The next bit of required
movement is Gertie's entrance and brief appearance, followed by max's
entrance. The exit of Max, further on in the play, through the ser-
vant's entrance, builds up Arthur's entrance. Arthur's entrance with
the two Ming Dynasty vases is required, as it supplies a comic incident
when he forgets the value of the vases and tosses them over to Gertie
at the sound of Mr. Stonehurst's voice. The vases also supply the
visual proof of the reason for the case of mistaken identity. The
next bit of required action is Max's reentrance just as Arthur is
about to emit. This timed, reentrance injects a new note of conflict
and a revealing of Max's ideas pertaining to the original incident
of mistaken identity. The appearance of Stonehurst, heralded by his
voice and knock on the door, puts to use the setting the playwright
has required for this play when max and Arthur exit through one of
the doors in the suite to avoid Stonehurst. The following required

l3. Brown and Garwood, General Principles of Play Direction,
Samuel French, New York, l937, p. l7.

 

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action of Gertie throwing the vases to Stonehurst and slamming her
bedroom door indicates the mood she is in, and marks a point of
semi-climax in the play. The action of the play continues when.Max
reenters the room just as Stonehurst is about to leave, and Max con-
vinces Stonehurst that his attitude and tactics toward Gertie are
wrong. Max accelerates Stonehurst's exit after he has injected the
idea into Stonehurst to be nice to Gertie. Immediately after, Max's
exit is demanded by Gertie in order for her to be alone with Arthur.
The period of seclusion is short-lived for Gertie and Arthur, because
Stonehurst knocks, announcing his arrival. Stonehurst's reappearance
brings about another hurried but planned retreat for Arthur, and the
spectators anticipate conflict. Attention and interest are carried
forward by the reaction Gertie will have to the conversation of
Stonehurst and the possible mixaup that will take place when Arthur
and Stonehurst encounter each other in the hotel suite. The final re-
quired movement is the unexpected appearance of Elizabeth at the suite
with all the characters present. Elizabeth allows her emotions to get
the better of her and breaks into tears. Gertie takes over at this
point and arranges the required physical changes in Elizabeth which
will transform her into an attractive woman. This physical conversion
then leads to the happy ending.

The second type of physical action is imposed action. This is
movement used throughout the play for effect and purpose but is not
absolutely necessary to the play. The playwright in this play used

imposed movement in numerous instances to break up a long scene.

-5 7..

Bodily movement is used in the scene between Max and Stonehurst where
Max is attempting to change Stonehurst's ideas and actions in such a
way that Stonehurst will be nice to Gertie and at the same time be use-
ful to max. The first encounter on stage between Max, Gertie, and
Arthur, where they are all standing around looking a little awkward be-
cause of the intimidating conversation, is broken up by the movement
and gestures of all three. The scene between Gertie and Stonehurst
appears confusing to both Gertie and the audience until it is broken
up with the presentation of the flowers and candy by Stonehurst to
Gertie. The opening scene with the clerk attempting to fix up the
suite for the arrival of Miss Grinshaw is filled with imposed action
such as his turning on the radio, fixing the blinds to let sunshine
in, and straightening out the pillows on the couches.

Another purpose of imposed movement is the recapturing of atten—
tion by an actor. The entrance of Arthur with a brandy snifter of
Hulk swings the audience's attention to him. Special attention for
Gertie's reentrance after the argument with Stonehurst is gained by
the clothes she has on. When Max comes back on stage at the end of
the play, he gains the audience's attention by his comment on Gertie's
beauty and the compliment he pays her on her intelligence.

One of the most pertinent needs of imposed movement is to aid
in the building of a climax. Stonehurst's first appearance in the play,
when.Arthur is in the suite with just Gertie and max, adds the element
of conflict and this aids in arriving at the climax in the play. Fur-

ther on in the play, the second appearance of Stonehurst brings on a

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hurried exit by Arthur which is a prelude to the climax in the play.

The phone call to the suite announcing Elizabeth's visit brings

about the uneasy fidgeting by Stonehurst and helps build up the feel-
ing of suspense about the meeting of father and daughter, fiance and

fiancee, and the two women.

The introductory movement by the hotel clerk of fixing the pillow
not only breaks up a seemingly dull scene but also aids in.giving the
locale of the play as a hotel. suite. Changing of clothes by Gertie
gives the location of the bedroom, and the exit and entrance of Arthur
with milk and crackers gives the locale of the kitchen.

The last use of imposed movement is in the relieving of strain
so that the emotional build-up in the audience will not reach a
breaking point. This is best illustrated in the scene where Arthur
first comes to Gertie's suite. Their conversation is relieved by the
presenting of vases to Gertie and her examination of the vases. This
movement relieves the boredom and presents the necessary relief with-
out letting the scene drop. Another example, is Gertie going over and
taking Elizabeth's handstflter her near breakdown and relieving the un-
easiness of the other characters in the scene.

The plot and action being chosen, the next problem the playwright
must solve is characterization. The fundamental make-up of a character
is the first determinant of his actions. Iajos Egri states that it is
necessary to understand a character in his three dimensions: physiologi-

cal, sociological, and psychological. The desired understanding of a

-59..

person requires the knowledge of everything that will motivate and
compel the character to act the way he does.14

The first phase in character development is his physical appear-
ance. The visual interpretation of character is an important factor
in arousing audience sympathy and understanding.

Arthur's outward appearance somewhat resembling an undertaker's
assistant causes the audience to feel sorry for him. He is stiff and
unnatural in posture; his pale complexion gives him a sickly appearance.
He doesn't become relaxed and natural in looks and bearing until he has
been in Gertie's company for over half of the play. Elizabeth's appear-
ance takes the audience by surprise. She is dressed and looks like an
old lady. Youth and beauty are so camouflaged and her talk so pedantic
that when Gertie transforms her, the audience has difficulty in realiz-
ing that they are seeing the same girl. Elizabeth is now physically
attractive, witty, yet still honest and straight-forward. Hr. Stonehurst
is the only character in the play who shows a definite age. He is about
fifty. He not only appears pompous but acts that way. Gertie finally
makes Stonehurst relax and be natural, forgetting his background long
enough to be human.

Max is the colorful agent in the physiological sense. His dyed,
blond hair, rotund figure and bright attire, all added to his notice-
able accent, present a clear-cut picture of a New Yorker gone Hollywood.
Gertie is "The Legs" and represents the sex element in this play. Her
physical appearance not only pleases the men and awes the women, but

14. Egri. op. cit., pp. 33-34

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her over-all appearance.of good-looks, proper weight, neatness,
pleasant attitude, reveal the desired elements for dramatic action.
The audience will sympathize with Gertie, no matter what she does.

The next phase of character analysis is the sociological back-
ground. Under this comes class groupings. In this play Arthur,
Elizabeth, and Mr. Stonehurst are from one society group. They have
education, social position, and wealth. Max and Gertie are of a
different group. They have gained their education through experience
and struggle, their position as the result of professional activities,
their wealth without culture. Another factor in this character study
is occupation. Arthur has a routine job at the museum, but one that
he enjoys. Elizabeth does work for charity and her society circle.

Mr. Stonehurst's work consists of living from an inherited income

and ruling the museum.board. Hex and Gertie are show people from the
land of the movies. Their positions are held by their developed talents
and the way in.which they sell themselves to the public. All five char-
actors have a place in their respective communities. Gertie is a leader
in Hollywood circles. Max is one of the top agents and managers in the
movie business. Arthur is a well-known museum curator. Elizabeth is

a social leader. Stonehurst is a'Wall-street tycoon in New York.

The psychological analysis of character is an out-growth of both
physiological and sociological aspects. "This combined influence gives
life to ambition, frustration, temperament, attitudes, and complexes."15
This sum.and substance differentiates one human being from the other.

l5. Egri., op. cit., p. 34.

-6]-

In order, then, to understand the action of the characters, the play-
wright has to think of a motivation which will compel them to act as

they do. The psychological point of view presents the characters in

this light.

Arthur has a sex life that is based on high moral standards. He
has persOnal ambition to make a success of his curator position. He
is an easy-going individual who permits himself to be imposed upon by
one and all. This well-known attitude toward life finds him resigned
to the Stonehurst designs until Gertie appears. In a sense, he is an
introvert. His abilities are excellent, having talent and being well-
versed in the aesthetic field. He is intelligent and has fine judge-
ment, and until he met Gertie always maintained a dignified poise.
Elizabeth is lacking in feminine appeal, never having realized its
necessity with even as serious-minded a man as Arthur. The chief per-
sonal goal she is striving for is an accomplishment that Arthur will
admire. Arthur shows only an intellectual attraction toward her. Her
temperament is one of pessimism. She has a slight introvert complex
but is very intelligent and has leadership ability in certain fields.
Mr. Stonehurst has the highest moral standards of his social group.
His ambition is to be a father-in-law and to make the museum one of
the most famous in the country. His only disappointment is that his
money can.not remedy the appearance and change the set of ways of his
only daughter. He is excitable and somewhat intolerant by nature
and very militant in his attitude toward life. In a sense he has an

extrovert complex. His main abilities are spending money and dictating

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to people. He always means well, but his efforts seldom turn out
for the best.

Max is a happy contrast to Hr. Stonehurst. He has lived in a
world of glamour for a long tine, and his moral standards have been
broadened. His chief desire is to keep Gertie at the top in the
movie business and to continue as her agent. His only disappoint-
ments appear when he unsuccessfully tries to act as cupid and find
Gertie a husband. Max is very easy-going and has the attitude
towards life of "live and let live". Max is also an extrovert, and
he has the talent of making publicity out of any and all occurrences.
His judgement is good, and he has an.uncanny sense for doing the
right thing at the right time.

The last character for analysis is Gertie Grinshaw, She has
all the Hollywood standards of glamour at her command but knows
how to asc‘er‘tulin right from wrong. She is anxious to prove to people
that her type of glamour girl is really smart and not stupid. She
has an optimistic, easygoing temperament and an attitude towards life
of being helpful and wanting to get along with evenyone. She is also
an extrovert whose abilities include good acting and the talent of
bringing people out of themselves to change for the better. Her
major qualities are her excellent judgement, good taste, normal poise,
and her ability to understand and aid everyone.

The next phase of character analysis is a consideration of their

growth and development. The author attempted to understand his

-53-

characters and endeavored to follow George Pierce Baker's advice for
presenting their advancement from one stage to another. "A play

which aims to be real in depicting life must illustrate character by
characterization which is in character."16 To maintain authenticity
the playwright has to know his characters through and through, and

this involves change. "Everything in nature changes human beings along
hath the rest."17

The characterization of Gertie is to prove the premise that Holly-
wood glamour girls must be inherently intelligent to reach the peak of
stardom. Quick wit and good common sense are deciding factors in
maintaining their position. Throughout the play, Gertie uses her in-
telligence, ability and sense of judgement to motivate all the other
characters from.one definite position to another. The maneuverability
of everyone, directly or indirectly because of Gertie, brings about
the accepted acknowledgment of her brilliance and is the motivating
_power of the play.

Arthur is first revealed to the audience through a minor conflict
with Gertie. He is a serious, methodical museum.director who is veny
conscientious about his responsibilities. He is only aware of women
as intellectual beings and has had his concepts of love frozen by
Elizabeth. The mistaken identity situation brings about a decision
by Arthur to rectify his blunder and to attempt to make amends. This
decision sets in.motion other forces that bring him in conflict with

l6. George Pierce Baker, Dramatic Technique, Houghton
Mifflin and Co., Boston,'lgl§, p. 308.

 

17. Egri, op. cit., p. 60.

-64...

Gertie, Max and Stonehurst. The combination of these conflicts and
the definite influence of Gertie, who awakens the manhood in Arthur,
moves the play forward and brings out hidden qualities in Arthur. He
shows that he has spirit and determination, is a good loser, can get
away from the serious side of life, and he decreases his interest in
his work long enough to aid in proving that Gertie is the main reason
for his change and that she is smart in every sense of the word.

Mr. Stonehurst is also brought into the play through conflict.
This conflict begins with the preconceived ideas which Stonehurst has
about Hollywood and all its inhabitants being worthless and cheap,
ideas intensified by the fact that his daughter's fiance has become
involved with a Hollywood glamour girl. Arthur's entanglement gives
rise to Stonehurst's commanding and demanding that Arthur break away
from.the present surroundings, and that Gertie and max recant and
rectify all past activities. Stonehurst is moved to this pompous atti-
tude because of his fear that his daughter will be hurt by the loss of
Arthur to Gertie. This starts the play's little war of intelligence
and has Gertie's aiding Elizabeth and the museum's business bringing
about the decision by Stonehurst that he was in error. Stonehurst
changes from ordering people around to a pleasant manner of requesting
people to do his bidding and of being natural with them. This complete
reversal in Stonehurst is brought about by Gertie's ingenious ways.

First, she proves to Stonehurst that if people are to do things for you,

you cannot be demanding. Second, Gertie's actions in changing Arthur

into a real man appeal to Stonehurst and cause him to have a new
regard for Arthur. Third, Gertie's kindness in making over Elisabeth
accounts for Stonehurst's ammounoement that Gertie is not only a fine
young woman but a brilliant one, too.

Max's presence in the play and his actions are also motivated by
Gertie. He feels a paternal interest in Gertie since he was the one
who started her in the movies, helped her rise to the top in her pro-
fession and helps her to maintain her position. He watches out for
her welfare. There is also an element of self-preservation in Max's
case. Gertie has been and is Max's source of income. Her success is
his, and consequently he is faithful and Obedient to her. There has
been no necessity for any change in max's character as he is in the
play to support Gertie in her actions and attitudes, and his attitude
has to be the same throughout the play in order to maintain the proper
continuity.

Elizabeth's entrance also results from.conflict. She is troubled
with inner conflict between a desire to see who this woman is who
maneuvered Arthur away from her and to release her pentdup emotions
over her treatment from.Arthur. At one time or another, Elizabeth
has a motivating effect on all characters in the play. Elizabeth
motivates her father through the love he has for her and the fear he
feels at the possibility of her losing Arthur. Through her lack of
feminine charm, Elizabeth contributes to Arthur's interest in Gertie

as an attractive woman. Through Elizabeth's influence on her father,

Max is able to push Stonehurst into actions that are against Stone-
hurst's previous principles. Elizabeth's decision to meet Gertie

finds her entering the suite of the star, and her ensuing ideas and
words set in.motion further decisions from her father and Gertie.

These are all tied in, and the next bit of action moves the play towards
its ending. Here, Gertie is impelled to change an unattractive girl
into a gay, attractive and toharant young woman. This transformation is
brought about through Gertie's kindness and the sympathy Elizabeth
creates by her appearance and the predicament she is in.

Therefore, no matter what influence each character may have on
the plot, each one in turn is motivated one way or another by Gertie,
the attractive Hollywood glamour girl. She is the central character
around whom all the action revolves. Gertie proves by her physical
and mental actions that Arthur can.be a normal person and that Elizabeth
was the girl he really admires and loves. She shows Elizabeth that just
being intelligent is not the only way to win a husband. Stonehurst is
shown the fallacy of his ideas through the conversion of Arthur, the
metamorphosis in Elizabeth, and the revitalizing of his museum.

The art in playwrighting is a matter of balance, and the playwright
should have all elements of his play in balance. In the breakdown of
character analysis, "the principle of balance has to do with the main-
tenance of stability through equilization of contending forces."38 The
playwright has a purpose in mind when he undertakes the writing of a
play. In this play the author desires to prove that Gertie,

18. John Dolman, Jr., The Art of Play Production, Harper
and Brothers, NeW’York, l946, p. 61.

 

-67-

as/lllustration of the typical Hollywood glamour girl, has intelli-
gence. In order to prove the point, characters are used by the author
to maintain this element of balance in.the conflict.

The characters in this play are divided into two groups-~protagon-
ists and antagonists--and are maneuvered into their respective areas
by Arthur who is placed in the middle of the grouping. Arthur is used
throughout the play to bring about the necessary circumstances that
keep the scale balanced evenly. He is in the middle of all the arguments
and is the cause of some of the disputes, instigating conflict by his
seeming interest in Gertie instead of Elizabeth.

On one side of this scale are the protagonists, Gertie and Hex.
They help to create conflict and maintain.the forward movement of the
play. At the start of the play, Gertie is only opposing an incident
that marred a publicity deal. This incident leads Gertie into initial
conflict with Stonehurst. The conflict is magnified until Gertie is not
only attempting to prove to her antagonists that she has nothing to do
with starting the trouble but also that she is sweet, kind, considerate
and intelligent. The finale of the play still shows Gertie as the
leading protagonist, but she has proved her point by the converting of
Elizabeth, by making Arthur a man, by making Stonehurst admit his mis-
take.

To insure the'balance of the play in.number and strength of char-
acters, Max is on the protagonist side. The beginning finds Max not

only supporting Gertie but also supplying incidents to bring about

-68-

action to aid in the maintenance of the balance of the conflict of the
play. Towards the middle of the play, Max is enduring Stonehurst for
Gertie's sake but conceives the idea of using Stonehurst without Stone-
hurst's knowledge. 'When Gertie is off stage, sex maintains the con-
flict for her to make sure that there is equilibrium. The balance of
the play is helped along by Mex at the final curtain. The conversion
of Elizabeth, Arthur rejoining Elizabeth, Stonehurst joining Gertie,
these leavo'Max as the middle man to see that the weights on the scale
are still balances.

The main antagonist in this play is Mr. Stonehurst, who is con-
cerned over both his daughter's single state and the dignity of the
museum. He starts fighting Gertie and Max from the moment he knows
about their connection with the dilemma facing his daughter and his
museum. Henunjustly accuses Gertie of intentionally playing up the
publicity incident with Arthur, and he adds injury to insult by stating
untruths about her profession and her part in it. Progression of the
plot finds Max playing on Stonehurst's fatherly love for his daughter
and his wish to help his daughter's cause with Arthur by suggesting
that Stonehurst be nice to Gertie. Here, Max shows Stonehurst what
road to take in the present situation. The end of the play finds
Mr. Stonehurst admitting his mistake, trying to make amends in his
peculiar way, and joining Gertie in agreeing that she is intelligent
and in admitting his own mistaken ideas.

Elizabeth bolsters the antagonistic side. Her appearance adds

new blood to the conflict just as Stonehurst is about to join Gertie

-59-

in her ways. Elizabeth's appearance keeps the balance in sight again.
Emotional problems are easily discerned by Gertie who takes Elizabeth
in hand and does the expected revision of her personality both physio-
ally and mentally. The ending coming soon after her late appearance,
finds Elizabeth reunited with Arthur, and the romantic element is
balanced and cancelled out.

The characters in this play are all well-defined and uncompromising
in their actions until the end. They moved from one point in the plot
toward another through conflicts.

One of the main problems in the writing of a play is the conver-
sion of story material into dialogue. Ideal dialogue must be as
natural a part of the character as are his physical attributes. George
Pierce Baker states this idea as,"when a dramatist works as he should, the
emotion of his characters gives him the right words for carrying their
feelings to the audience, and every word counts."19 Dialogue is also
used for exposition to let the audience know what is happening, who
the characters in the play are, their relation to one another and aids
the actor in forming a convincing characterization. It is also used
”for impressive reading, and for rising to dramatic heights."20 The
major uses that were made of dialogue in this play were: exposition,
plot, mood, characterization, and to prove the author's tenet that
Hollywood glamour girls are clever as well as beautiful.

l9. Baker, op. cit., p. 344

20. Grafton and Royer, 0p. Cite, p. 269

-70-

The initial dialogue in this play is used for exposition. It
occurs in the play where little or no action is called for. The open-
ing of the play has the clerk's expository speech developing curiosity,
and then the radio "flash" comes, explaining the situation and giving
the author the desired break so that he may initiate his element of.con-
flict. Further exposition is presented through the "flashes" where a
more detailed explanation of the leading character is furnished.

‘ Dialogue in relation to the plot fulfills the function of advanc-
ing the action. For instance, there is the dialogue in Arthur's first
visit to Gertie to apologize for his mistake and the revelation of the
outcome of the mistaken.identity situation. This brings in the con-
flict elements of damage to the museum.and injury to Elizabeth, and
it moves the play along to the point of bringing Stonehurst into the
picture. The dialogue between Max and Stonehurst when Max attempts
to have Stonehurst change his conception of Gertie also advances to
new action.

A play must have a definite locale, and diaIOgue assists the
setting in establishing the locale. Then opening dialogue of this
play sets the locale as an expensive hotel suite in New Yerk. The
locals is further defined by Gertie's dialogue with Arthur when she
reveals in referring to her suite, "it's the presidential suitez"
Thus, the locale is set as being not only in the best hotel in the city,
but also in the best suite of the hotel.

The mood of this whole play comedy, is created by fast, witty,

sarcastic, direct dialogue. The greater part of the dialogue adds to

-7]-

the mood and brings on humorous retorts from other characters. Gertie
frequently utters amusing malapropisms. Max and his muttered comments
are intended to elicit chuckles. Elizabeth's quaint, old-fashioned
statements light up otherwise dull dialogue and offer a contrast to
the wisecracks of the two from Hollywood. Another aid to creating a
light and gay mood is the use of Stonehurst's facetious comments.

Characterization pointing up the character's backgrounds, express-
ing their ideas and emotions, and bringing out their individual functions
in the play is also shown by the dialogue. The first scene between.Max
and Gertie point out Max's dialect and broken English, and conveys to
the audience that he is Jewish, has had a limited education, and that he '
is in the play as Gertie's agent and advisor. In the same scene, Gertie's
casual wise-cracks and easy-going conversation reveals the sharp tongue
and witty mind which she possesses. The further clarification of char-
acterization through dialogue is shown in the cases of Stonehurst with
his dictatorial speech, Arthur with his polite but educated speech,
Elizabeth with her highly intellectual conversation.

Dialogue is further used to prove that Gertie is intelligent.
The spectators hear Gertie match Stonehurst word for word and thought
for thought, never giving ground. They hear her taunt Arthur. They
listen to Gertie change Elizabeth's ideas about Gerties' association
with Arthur and Mr. Stonehurst. Gertie proves to Max, throughout all
the play, that all the planning and happening taking place are due to
her actions and not to circumstance. The crowning acknowledgment that

glamour girls are smart comes with Stonehurst's comment, "I think I

-72..

shall do something for Gertie as well as ourselves. She is really a

smart young lady."

PART II

RADIO SCRIPT

 

-74..

"THE GORGEOUS BRAIN"

By

Arthur V. Briskin

CHARACTERS:

 

GERTIE GRIMSHMN
ARTHUR HIGGEHSWCRTH
MR. STONEHURST
ELIZABETH STONEHURST
DRIVER

VOICE I

VOICE II

VOICE III

CLERK

FRENCH WAITER

COP

SOUND EFFECT:

 

MUSIC:

 

CAR
CAR (DOOR)

KEY IN LOCK
DOOR

TELEPHONE
BATTLE OF DISHES
BELL RINGING

-75-

SOUND:

Music-~fast--fades under for crowd noise-~under for announcer

AEPIOUNC ER :

S OUTTD :

GERTIE:

HIG:

GERTIE:

Car

It's a weekday morning at a railroad terminal. A larger
crowd than.usual is waiting for Gertie Grimshaw of Holly-
wood, better known as "The Legs".

On the same train with this glittering personage is a non-
descript little lady known as Miss Bessie Bottomely. She
is the guardian of two precious Ming Dynasty vases bound
for the city museum. Mr. Arthur Higgensworth, the curator
of the museum is on hand to meet Miss Bessie and her
precious cargo. Fever having met the lady before he has
been informed that she will be attired in slacks, beret
and wearing glasses. Gertie "The Legs" Grimshaw is also
attired in slacks, beret and glasses, the dark variety.
The mighty monster of the rails has just pulled in and dis-
gorges our two heroines. Poor Hr. Higgensworth has only
the slacks and beret description to go on so in his haste
and eagerness he scoops up the protesting Gertie and Whisks

her into a cab.

starts up -- under for:

‘Well, reallyt After all I don't play favorites you know.
Depressing crowd, wasn't it? You have got them with you,
haven't you?

I hardly see how I could get along without them.

-75-

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

Beautiful things. I can hardly wait to see them.
Good-Heavens: They're not that goodi

Great Scott, it just occurred to me. You don't think they
could have gotten scratched or broken in that crowd back
there.

I'd hardly be sitting here grinning if they were. Or was
that a sample of your sparkling wit?

What a strange girl you are. Don't you realize what an
unthinkable catastrophe it would be if they were damaged?
You really feel they are that valuable?

They are two of the most priceless treasures ever to have
passed into the keeping of the museumi

Now look here, Bub. Let's not get personal about this.
This is a most remarkable conversation. What can be personal
about something that belongs to the ages.

Listen, deep and deviOus, I'm only twenty three, regardless
of what that catty InluParsnips has to say about it.

Young lady, no one has the slightest interest in your age.
I am interested in two things and two things only. And as
soon as I get you to the museum my interest in you as a
person ceases.

Driver! Driver! Stop this cab. SOUND: - Car-Brakes-Stop.

 

As for you, you cnemic wolfi I'll report you to your paper

and personally see to it that you're put on obituaries from

now on. Now let me out of here.

-77..

There's some mistake here.

There sure is Bud, and it's you.

Here's my Hotel, let me out right here.

You can't get away without proving that
you have them with you.

He thinks I put them on and off.

Puts what on and off Lady. This is gettin' confusin' even

 

Let me out of this cabi

 

WOlf or no wolf I want my fare.

 

Help, this man is attacking me.

Just pay the fare and you can take her legs home with you '

All right! Hold on to her while I get out my

Hey you, in the uniform. Arrest this man.

What's all the excitement here. Who seems to be annqyin'

HIG: NOW'wait, driver.
DRIVER:
GERTIE:
HIG: Oh no you don't.
GERTIE: Well, get himl
DRIVER:

for me.
GERTIE: My legs, goon child.
SOUND: CAR DOOR SLAM
HIG: ,Come back here.
SOUND: CAR DOOR SLAM
DRIVER:
SOUND: CAR DOOR SIAM
GERTIE: Let go of me.
GRIVEI:

for all of me.
HIG: All righti

wallet, will you?
DRIVER: Sure, glad to oblige.
GETTIE:
COP:

who.
VOICE I:

Hey, that's Gertie Grimshaw. Come on boys, here she is.

-78-

VOICE II:

VOICE III:

VOICE I:

VOICE II:

HIG:

VOICE I:

VOICE II:

VOICE III:

VOICE I:

VOICE II

HIG:

VOICE I:

' VOICE II:

What happened at the train, Miss Grimshaw.

I'm from the Star, how about an interview, Miss Grimshaw.
Hold it Miss Grimshaw. You wouldn't roll your slacks up
for the next one, would you Gertie?

Who's the boy friend, Gertie, someone new?

Just what is all this and who are you, young lady?
Gertie, "The Legs" Grimshaw, as if you didn't know.
Gertie "The Legs" Grimshaw?

You've heard of the "Look," "The Body," "The Voice," aint
'cha, I mean haven't you. ‘Well, I'm the "Legs."
Oh, a cinema actress. I thought you were Miss Bottemly
with my Ming Vases for the Museum.

Come on, Gertie, give out: Who's the boy friend.

Who is he, Gert, the new love interest?

Give us a chance to scoop lulu Parsnips, will you, Gert.

Know who that isZ It's Higgensworth. You

Hey you guys.

know, Arthur Higgensworth. The Curator of the Art Museum.

What's he going to do Gert, give a private showing of your
game for the art lovers.

Please, gentlemen. There's been a mistake. None of this

must leak out to the papers, you know.

You kiddin' Hig. A story like this'll make the front page.

Hold it, Higgenbottom. Got it. Museum Curator Genders

Gerties' gams. Oh Boy, what a picture.

VOICE I:

VOICE III:

So long, Gert, thanks for the story. This'll be great

publicity for you. Compliments of the Evening Reporter.

See you tonight, Grimshaw.

 

 

DRIVER: Could I have my fare now, Mrl I got to go home. I promised
to help the wife with the canning.

HIG: Fare? Fare? Oh, of course. Sorry, old man. Here's a
little something extra for your trouble.

DRIVER: Gosh, thanks. Another dime towards Juniors college in-
tuition.

SOUND: CAR-START UP-FADE

GERTIE: How about coming up to my suite and talking this thing over.
we certainly put on a swell "who's on First" routine, didn't
we?

SOUND: DOOR

HIG: They won't really print all those things in the paper, with
my picture, will they, Hiss Grimshaw?

GERTIE: I'm afraid so. It was too good to pass up. But why so
sad, look at all the free publicity you'll get.

HIG: Oh no!

GERTIE: I'm Miss Grimshaw. Is my suite ready.

CLERK: Oh yes! Right this way Miss Grimshaw. This IS an honor
Miss Grimshaw..(DISAPPOINTED) Oh, you'rewearing slacks,
Miss Grimshaw.

GERTIE: Come on, Mr. Higgensworth, it can't be all that bad. Brace

up.

-80..

 

Whatever made you think I was the girl with the Ming vases.

‘Well, you see I was told to meet a young lady wearing slacks

 

Here we are, Miss Grimshaw. The presidential suite.

Well, what's good enough for Harry is good enough for me.

 

There you are and I'll send up your luggage as soon as it

my maid and secretary should be along any minute. They

must be in a tizzy. I suppose they think you kidnaped me,

As soon as your luggage arrives, Miss Grimshaw, I imagine

you'll be anxious to change to....ah....something...ah
And shall we say that'you'll have a chance to see them

(GIGGLING) Oh Miss Grimshaw....Gertie, you're a card,

 

well, I'm all of a twitter...Sit down, Mr. Higgensworth

CLERK: Here's the elevator, Miss Grimshaw.
SOUND: CLOSE ELEVATOR DOOR
GERTIE:
HIG:

and a beret.
SOUND: ELEVATOR STOPS - DOOR
CLERK:
GERTIE:
SOUND: KEY IN LOCK......DOOR OPENING
CLERK:

comes from the station.
GERTIE:

Mr. Higgensworth.-
CLERK:

lighter, shall we say?
GERTIE:

before I leave.
CLERK:

that's what you are.
SOUND: DOOR CLOSE
GERTIE:

and lets get straightened out.
HIG: Why, thank you Miss Grimshaw.

-31-

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

SOUND:

make it Gertie, Hig.

my first name is Arthur, ah...Gertie.

Arthur's too "icky" and Art doesn't suit you. I think Hig
is much cuter, don't you?

I wouldn't say the adjective "cute" exactly applies to me.
You sure are educated, aren't you? You talk like a college
professor.

well in.a way, I am. But I preferred the museum post to
teaching.

Fancy that now. They tried to learn, I mean teach, me some
grammer and stuff when I first went to Hollywood, but it
ain't, hasn't taken too well.

That's part of your charm, Gertie. You really are a most
fascinating young lady, you know;

You haven't seen the best part yet.

Ah, You mean in reference to that absurd appellation.
There's nothing absurd about it, brother.
I....ah....wasn't....referring....

TELEPHONE RINGS

 

GERTIE:

HIG:

Just a minute, Hig, while I get the phone. Hello, Gertie
Grimshaw's suite. Who? Oh yes, he's here. Just a minute.
It's for you, Higgy.

For me? What in the world? Higgensworth speaking. Who...

Oh Mr. Stonehurst......You did, Sir? Yes it was a bit

-32-

HIG:(con'd) unfortunate.

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GETTIE:

HIG:

GERTIE:

HIG:

GERTIE:

What Sir...Yes Sir....Right away, Sir.
But N . Stonehurst.....Ur. Stonehurst? Hm, he hung up.
Who was the, cookie?

The President of the Museum's Board of Directors and inci-
dentally the father of my fiancee.

How did he know you were here?

Someone that knew me was in that crowd down on the street.
He saw us come in the Hotel and then telephoned Hr. Stone-
hurst.

Was he mad or anything?

I would say "mad" was an.understatement. If any of this
gets in the papers, I'll be through at the Museum.
You're through.then.‘ Might as well start looking around
for another job.

You're sure they'll print it.

A story like that! Higgy, you'll be a national figure
tomorrow. Say, what is the girl friend going to think of
all this?

Good Gracious! I'm afraid Elizabeth isn't

I forgot.
going to take too kindly to all this.

You mean she's the kind of a girl that's gone through life
as Elizabeth. No nickname? Don't bother describing her
to me. I know the type.
Elizabeth is a very sweet girl. Very intelligent.

I'll bet she belongs to the Thursday afternoon Club and does

social work.

-83-

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

Oh she does. An admirable girl. And quite a leader. She's
very good at running things.

Like you, for instance. I'll bet she has you run ragged.
Elizabeth and I have>found our tastes very similar. we
provide mental stimulation for each other.

Fancy that nowi Well at least you know what to do on a

"SlOW'Boat to China."

We've never been "On.A Slow Boat to China" But I'm sure
that if we did go Elizabeth would know what to do if it
were slow. But Gertie, please. This is a serious matter.
I am most fearful of the outcome.

I'll bet if I could get you to stop talking like it came
out of a book, you wouldn't be a bad fellow. You are kind
of cute, you know.

You are one of the most amazing people I have ever met.

I really should like to see you again before you go.

I'll be here for three days. But I'm pretty well booked up.
Of course it was presumptious of me. “Well, good-bye and
the best of luck to you. I will make it a point to see one
of your cinema achievements soon.

Not so fast, Hig, of course I want to see you again. I've
got to see how all this comes out. Let's see, I should

be free by about ten tomorrow night.

Thank you. I shall arrive at approximately ten then.

Right: Hope old Stoneheart isn't too tough on you.

-34-

 

may I come in, Elizabeth? I feel I have an explanation to
make, concerning the afternoon papers.

Come in, Arthur. Indeed you have.

 

Have you seen the papers? That horrible picture, right on
the front page. It's too revolting.

Miss GrimshaW'is hardly what you might call revolting, or
perhaps you were referring to me.

You know as well as I what I am referring to. The indignity
of it. That ghastly headline “MUSEUM CURATOR GANDERS GERTIES

GORGEOUS GAWS." The vulgarity of it!.......Arthur...What are
Why...ah...I believe they are a slang expression used in
regard to a young women's...ah...limbs.

Gorgeous Gams indeed! I'd sue a man if he'd ever made a

I hardly think you have anything to fear, on that score, my

I should think not! .....What was that again, Arthur?

Why....uh....I merely meant your...ah....reputation as a

HIG: Stonehurst. Good-bye.
MUSIC: UP SWELL FADE...OUT
HIG:
ELIZ:
SOUND: DOOR CLCEE
ELIZ:
HIG:
ELIZ:
gams?
HIG:
ELIZ:
remark like that about me.
HIG:
dear.
ELIZ:
HIG:
perfect lady.
ELIZ:

Oh-h-h! Father is simply furious.

-85-

HIG:

ELIZ:

HIG:

ELIZ:

STORE:

HIG:

ELIZ:

HIG:

HIG:

ELIZ:

STONE:

I know. The board of Directors are having a meeting now.

I am.being tried without being allowed to speak in my own
defense. It's utter injustice. Uh-Elizabeth? This may
sound a bit irrevelant but what would you do on a"Slow
Boat to China”?

Try to make it go faster!

That's what I thought.

Whatever made you ask me that? Oh, here's father.

Good afternoon, Elizabeth. Good afternoon, Arthur.

Good afternoon, Sir. Is the meeting over?

Yes, just one more escapade, one more whisper of unbecoming
conduct and youre out. we shall publish a dignified account
of this mornings disgraceful mixup in the papers to offset
that horrible picture...By the way, Arthur...wh...what...
are gams?

They were referring to Miss Grimshaw's....ah...legs, I be—
lieve.

Really, Arthur, have you forgotten there is a lady present?
Forgive me, my dear.

Gorgeous Gams, eh? .And she covers them with slacks!
Horrid fashion. I felt the same way.

You'll never see me wearing slacks!

On you it wouldn't make any difference.

Father! Just what do you mean?

Just what you thought I meant.

-8 6..

Have you thought of the light that all this has put me in.

I anxyour fiancee, you know; My first impulse was to

break the engagement, but then I decided to brave the storm

(ABSEHTMIXDEDLY) By hurrying the boat up--of course.

Oh...er...I do appreciate your sacrifice, indeed I do

Very well, then. It's all settled. By the way, Elizabeth,

I won't be home for dinner, tonight. The Press Club is

The Press Club. But you don't belong to the Press Club.

Whatever possessed him to join the Press Club. I wonder who

‘Why, come to think of it, it's for Gertie. I wonder if I

 

 

ELIZ:
with you.
HIG:
ELIZ: 'What?
HIG:
Elizabeth.
STONE:
holding a banquet.
ELIZ:
STONE: I do now....Good afternoon, Arthur.
HIG: Good afternoon, Sir, and thank you again.
ELIZ:
the banquet is in honor of?
HIG:
still have time to join?
MUSIC: UP...SWELL...CROSS FADE'WITH
SQDND: TELEPHONE RINGING
HIG:

City MDseum.of Fine Arts. Arthur Higgensworth speaking.

Oh Good morning, Miss Grimshaw, uh...Gertie...Yes everything
has worked out beautifully......Tonight? ....Oh no, I haven't
forgotten, but you see I..... They made a condition.....It

would be taking a chance....What was that about Columbus.....

-87-

HIG:(Con'd) Oh yes, of course.......No of course I'm not.....certainly

I am.......I most certainly am not.....I most certainly am..

ten o'clock then. Goodbye Gertie and thank you for calling.

 

(TO HIHSELF) Elizabeth was right, I'm simply too impulsive.

 

City Museum of Fine Arts, Arthur Higgensworth speaking.

Oh good morning Elizabeth. Yes everything is going splendidly
You have a favor to ask? Tonight?....Pick you up after the
recital? I'd be glad to Elizabeth only....well, you see I'm
going to be tied up tonight. Business you know...ah...ah..

a directors meeting. Yes, I know it's a bit unusual to have

it at night.....well, do..Enjoy the recital....Good bye.

 

 

Higgy, come in, come in. I'll be ready in a minute.

 

Are you planning on going out somewhere, Gertie. If you've

Sure, I'm planning on going out somewhere. Haven't we got

Why, I thought we were just going to sit and have a cozy

SOUND: CLICK OF RECEIVER
HIG:
SOUND : PHONE RINGS
HIG:
MUSIC: UP...SNELL...CROSS FADE'WITH
SOUND: BELL RINGING
GERTIE:
SOUND: DOOR CLOSE
HIG:
made another engagement.....?
GERTIE:
a date?
HIG:
little chat
GERTIE~

You didn't expect an evening of mental stimulation, with me,

did you. That's Lizzie "The Brains“ department.

-88-

 

O
I o
a
O
l 9
. l
I
I . n
C
I
o
s
I
o
.
y
a
l
b s
.
a
a
o a
I l
u
b
v
a
c
a 1
U
l
c
v

 

Gertie, you under-rate yourself. You are very stimulating,

You look sihply ravishing, Gertie. But I see I've interrupted

your dressing. You haven't had time to don the...uh...upper

The upper portion is me, Higgsy. That's all there is.

Gertie, I might as well tell you. I managed to keep my

I know. No more publicity. I figured as much. So I have

Sure. The manager of the hotel is'a nice guy, so he arranged

No reporters. No pictures. A table behind a pillar. 'We'll
be safe enough. Good as having a private dining room.

That was very thoughtful, of you Gertie. You are a most

 

HIG:
you know.
GERTIE: That I know. That's why we're going out.
HIG:
portion of your lovely gown.
GERTIE:
HIG: Er...May I be so bold as to ask what holds it up?
GERTIE: A special act of congress. Shall we go?
HIG:
position on one condition.
GERTIE:
everything fixed.
HIG: Fixed?
GERTIE:
it with the headwaiter of the Camelia Room.
HIG: Arranged what?
GERTIE:
HIG:
perspective young woman.
GElTIE: Thank you--shall we go?
MUSIC: UP....SWELL....FADE'UNDER FOR
HIG:

This is delightful, Gertie. Such a refreshing atmosphere
of frivolity. One can banish all thought of dull care and

live for the delight of the moment.

HIG:

GERTIE:

WAITER:

HIG:

WAITER:

WAITER:

GERTIE:

WAITER:

HIG:

WAITER:

GERTIE:

Don't relax too fast. You might not be able to handle it.
Ah, here comes the waiter. What does one usually eat in
these places?

Not much. One usually drinks. That's why the atmosphere
of frivolity.

Liquor? I never touch it.

Of that I was sure.

I do hope you don't indulge in the vile stuff, Gertie.

No, I don't Hig, and anyway I have to watch my figure.

Ah Madame and Monsieur. Have you decided on your order?

I never eat this late at night. But perhaps some fruit?
Figs or stewed prunes?

What was that, monsieur? I'm afraid I didn't hear correctly.
You heard correctly, Mr. Boyer, you just don't know Higgsy.
ry name is Jacques, Madam. But I am afraid we have not the
ragout of prune.

Don't let it throw you, Jack. You've got a long night
ahead of you.

Hay I suggest the lobster, with perhaps a Hagnum......
Waiter, what sort of pop is that in those buckets?

Pop, what is this Pop? Pop? Pop? No I do not know.
Sounds like the Fourth of July. Say that gives me an idea.
Say listen, Jack, do me a favor and I'll give you my auto-

graph.

l'J'AIT ER :

WA I T ER :

IIIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTI

t‘J

HIG:

GERTIE:

HIG:

Ah, nOW'I recognize the Mademoiselle. You are The Grinshaw!
But of course. It will be a pleasure, Fademoiselle.

Good. NOW'look, I don't drink and neither does my boy friend.
I should say not!

So bring on the lobster and pack some Ginger Ale in one of
those ice-buckets. A couple of champagne glasses.

Ah Hademoiselle! You are truly the great artist! The proper
atmosphere, that is what counts, no?

Lobster and Ginger Ale! Oh my! I dread to think of how I
wdll feel tomorrow.

Who cares about tomorrow, Hig. Banish dull care and live

for the moment, remember?

Perhaps if I took an extra vitamin pill it might help.

How about a shot of sulpha? I thought you told me you were
the rugged type.

That's because I have never dissipated. I lead a most ex-
amplary life.

You don't have to dissipate, Hig, to have a little fun.

Just let your hair down and be yourself once in awhile.

Say, I wonder what all that comotion is around the entrance.
Where? Oh yes. Looks like someone that isn't wanted is
trying to force their way in. I

It's gratifying to know that they are so careful in the choice

)
of their clientele.

-9]-

GERTIE:

WA IT ER :

GERTIE:

HIG:

WAITER:

HIG:

GERTIE:

WAITER:

GERTIE:

VOICE I:

VOICE II:

VOICE III:

WAITER:

VOICE I:

GERTIE:

Here comes Jean Sablon with the Ginger Ale. Looks cute

in that silver bucket, doesn't it?

Ah, the Champagne l"ademoiselle Grimshaw. A glass, perhaps
while you are waiting for your lobster?
Let her bubble, Jack.

What is the commotion over at the door, do you know?
Ah, the press. I took the liberty of informing them.that
you were here. They.......
The Press! Oh no!

Here they come. To late to try and duck now. They've
spotted us.

I hope I haven't inconvienced you? Perhaps you wished to
remain incognito?

If you're not too busy tomorrow, perhaps you could learn my
boy friend how to be a waiter. As of now, he's out of a job.
Hi Gertie, say what gives with the professor?
Hey, champagne and evenything. Naughty, naughty, Hig. Try-
ing to lead our Gertie astray.

Hold it! Got it! Local Playboy Sweeps Hollywood Star off
her Feet.

Monsieurs, my reward. Five dollars is it not, for phoning
in the news tip?

We'll mail you a check tomorrow, Frenchie. Thanks.

I'm sorry Hig. Do you want to go?

-92-

It's too late now; If it's all right with you, I intend to

Condemned man orders last meal. Well, bring on the lobster

 

I am not in the habit of calling on.young ladies in their

hotel rooms at this hour of the morning. What was it you

Come down off that high-horse, Er. Stonehurst. After that

Press Club dinner it's a little late to try and go dignified

That's another thing entirely, Miss Grimshaw.

Oh no it isn't. You just didn't happen to get your picture

If this is about Mr. Higgensworth and that disgraceful pic-
ture again this morning, you're wasting your breath.
It wasn't champagne, it was ginger ale and for your informa-

tion Higgsy couldn't do anything disgraceful if he tried,

HIG:

make a night out of it.
GERTIE

Jack, here we go!
Tin-TSIC : ITP. o c o SHELL. o o .FADE OTIT
GERTIE: Come in, Mr. Stonehurst.
STOA :

wished to see me about?
GERTIE:

on me.
STONE:
GERTIE:

in the paper.
STONE:
GERTIE:

which is more than I can say for you.
STONE:

No matter what it was, the public can only go by what it
sees in.the papers and publicity of that sort cannot be

countenanced by the Museum.

-93-

GERTIE:

STONE:

GERTIE:

ST ONE:

GERTIE:

STONE:

GERTIE:

I said it before and I'll say it again. Any business that
can't stand a little Hollywood Glamour isn't fit to be in.
And I don't think the Museum.business is any different

than any other.

A Museum is a cultural center. A dignified guardian of the
treasures of the ages. It's custodian must reflect that.....
Oh nuts! You want people to come and look at the stuff,
don't you. 'Well, can.you think of a better way to get
them, than by giving the joint a little glamour. They'll
flock to see Hirgsy, now. I'll bet you'll be getting the
Biggest crowds that musty old mausoleum ever drew.

That may be true, but they would only come to catch a glimpse
of it's, now, notorious curator. That is not the type of
person we cater to.

Since when did any public building cater to a favored few.
You'll get people in there that never saw the inside of a
Museum before, and once they are in it they'll be bound to
look around. The next time they'll come back to see all
them expensive antiques and junk you got around.

Hmmm! I never thought of it quite that way before? Your a
very astute person, Miss Grimshaw.

I'll lose it as soon as I get back on my diet. ‘Well what

do you say? Does Higgsy keep his job?

-94-

GERTIE:

ST ON" :

GmTIE:

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

GERTIE:

Well, I can see no harm in trying it. The more I think
about it, the more I can see certain possibilities in all
this publicity.

A man as smart as you couldn't miss.

Why...ah...thank you, Miss Grimshaw, but I'm afraid my so-
called smartness won't help me with my daughter. She is Mr.
Higgensworth fiancee, you know.

Yeah, he told me about her. She hasn't broken off the en-
gagement, has she.

She most certainly has. Funny thing, I think she's jealous.
Of what. I only felt sorry for Higgsy. He's not a bad guy,
but hardly my type.

Well you know, you are a beautiful girl. No matter how
intellectual the woman is, she has a sneaking fear of the
glamour girl.

What is she? Definitely droopy when it comes to looks?

I would hardly call Elizabeth ugly, but she certainly has
managed to disguise what few good points she has. She was
rather attractive as a girl.

Why the broomstick complex? Maybe she's erratic.

Neurotic is the word. No I don't think that's it. You see
she has always been in love with Arthur and I think she has
an idea that he is only interested in her brains.

Oh Brother! She ain't lived much, has she?

-95-

Arthur's tastes are very aesthetic. He is fearfully in-

He may be asthmatic, but he's still a man. He sure didn't
sound love sick when he told me about Elizabeth.

No, that's just the trouble. Elizabeth is fully aware of
the fact that Arthur admires her but she knows that she
has instilled no overpowering emotions of love in him.

I know his type. They're the first ones to go overboard

for a pretty face and an empty head. A little "tch tch"

 

 

Nothing he shouldn't be, dearie. You got here just in time.
Why...ah...Elizabeth, I might ask the same of you.
I've come to speak to Miss Grimshaw. I should like to have

the satisfaction of pointing out to her the havoc women of

Elizabeth, you are going too far. I find nothing wrong with

STONE:

tellectual you know. A scholar of the Arts.
GERTI E:
STON“:
GERTIE:

in a dame and they're sunk.
STONE: I'm afraid you're right.
SOUND: DOOR BELL
GERTIE: Come in, the door is unlocked.
SOUND: DOOR OPEN............CLOSES
ELIZ: Father. What are you doing here.
GERTIE:
STONE:
ELIZ:

her type can wreck on a man's life.
STONE:

Gerties...ah...Miss Grimshaw's type.
ELIZ:

You too, father. There, you see, you have even managed to

distort my father's sense of values.

-96-

ELIZ:
STONE:

ELIZ:

STONE:

me
E
f?

STON“:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

Then values have been distorted since Adam fell for Eve.

And look what happened, to them!

Elizabeth, you are being ridiculous.

Oh, I am, am I? It's ridiculous that Arthur lost his posi-
tion, has been made a fool of and on top of that hasn't even
called.

Elizabeth, sometimes you make me sick. Gertie has more good
sense in her exotically manicured little finger, than you
have in.your whole dowdy, badly dressed body.

I refuse to stay and listen to such outrageous talk from my
own father.

Oh yes you will. One beautiful, exciting woman has done
more for the Museum in two days than.you and all those frus-
terated frumps you try to copy, could ever do. Arthur may
be a pompous ass but he's human.- I don't blame him for pre-
fering Gertie to you.

(CRYING) See what you've done, you...you...vamp! Stolen my
fiance and turned my aim flesh and blood against me.

Stop sniveling and come here. It's time someone got you
straight on the bird and bee routine.

NOW'what do you want.

Just come here a minute. I want to show you something.

All right. ‘Well...what is it.

Look in that big mirror there.

ELIZ:
GERTIE:
ELIZ:

GERTIE:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

ELIZ:
GERTIE:
STONE:

GEiTIE:

lYell?

Well?

I don't deny you are attractive in a superficial way. But....
Who gave you the cock-eyed notion that a smart woman can't
be a pretty one.

A good book doesn't need a flashy cover.

And darn few people want to curl up with one on a rainy night.
Are you trying to say that the cover sells a book.

You never worked in a rental library, did you? That's good
advertising, baby.

Are you suggesting I should advertise like a...a...soap chip?
If you ever want to get anyone interested in the product you
have to offer...... Take off those glasses.

What are you doing to my hair.

Taking the pins out. It's about time you let your hair down.
I haven't had so much fun in years.

Stop fidgiting around. Say your hair is naturally curly,
isn't it?......Pull up your skirt.

My. . . .My skirt?

If this ain't a dilly! Oxfords and rayon stockings. Even
mine couldn't survive that.

DOOR BELL

 

(OFF MIKE) May I come in?

It's Arthur, what shall I do.

-98-

 

.....

 

GERTIE:

SOUND:

Get in the bedroom quick (CALLS) Just a minute, Hig.

DCOR CLOSES

 

HIG:

GERTIE:

ST ONE:

HIG:

GERTIE:

STONE:

GERTIE:

SOUND:

(OFF MIKE) I want to see you. Gertie.

Come on in, I was just talking to your future father-in-
law.

Mr. Stonehurst. What are you doing here?

Thoroughly enjoying myself. Anything wrong in that?

You two boys amuse each other for a few minutes while I
finish dressing.

Slacks, long evening gowns, negligees. Gertie; when is
the unveiling?

I have yet to know why they call you.....

Gertie "The Legs" Grimshaw? Does Heifitz carry his fiddle
around without a case? He don't play it every time you
look at him, either.

What's that got to do with it?

That's what the box office is for. Be with you in a minute.
Tell Hig the good news while I'm gone.

DOOR CLCBES

 

ELIZ:

GERTIE:

ELIZ:

GERTIE:

Why did you have me come in here?

Look kid. You love that academic Romeo of yours, don't you?
Yes, I'm afraid I do.

well, if a little glamour'll get him hooked, you can sneak

the brains in later, when he isn't looking.

ELIZ:

GERTIE:

ELIZ:

GERTIE:

ELIZ:

GERTI

t4

ELIZ:

GERTIE:

ELIZ:

GERTIE:

HIG:

STONE:

Do you really think he would learn to care for me through
my physical attraction only?

Been working without a hitch up till now. Start brushing
that hair while I change to a slack suit.

Slacks? I thought your...ah...legs were your stock in
trade, so to speak.

Just between you and me it's a publicity gag. They're no
different than a hundred others. Special lighting and leg
make—up do the trick on the screen.

Somehow it all reminds me of setting a trap to catch some
hel pl 653 animal.

And since when was a male anything else? ... What size
shoes do you wear?

Five and a half, narrow.

Here, put on these nylons and try on these patent leather
ankle strap pumps. They're a little wide but they'll do.
Heavens! I'll never be able to balance on these heels.
The odds are worth it, aren't they? (FADING) You'll need
some make up........

(FADING IN) I believe you're right sir. The publicity may
be a blessing in disguise after all.

Certainly it is. I tell you, Arthur, that Gertie is a mighty
smart woman.

And a gorgeous one. I've never met anyone as completely

fascinating. I find it hard to keep her out of my mind.

-lOO-

STONE:

HIG:

STONE:

SOUND:

Along with a few million others. Arthur, you know you
haven't a ghost of a chance with her.

No, I have never deluded myself into believing that I had.
If only Elizabeth........

What's wrong with Elizabeth? You two are perfectly suited
to each other.

Oh, nothing wrong. It's just that she's so...so....
Wholesome and unappetizing, I know.

DOOR OPEN

 

HIG AND STONE:

HIG:

HIG:

ST ONE:

HIG:

GERTIE:

HIG:

ELIZ:

STONE:

GERTIE:

STONE:

(WOIF mnsrm)

Gertie, they're sensational! Why it's Elizabeth!

Good Heavens! Is that mine?

Oh, I knew I'd just make a fool of myself! Please, I'll
change this ridiculous get-up right away.

Ridiculous! Why you're simply stunning, Elizabeth!

You make me proud to be your father.

I can't understand why I never noticed how lovely you were
before.

Ever hear of camouflage? She was a master at it.
Elizabeth, would you do me the honor of having lunch with me?
Why Arthur, I'd be delighted.

Shall we make it a foursome, Gertie?

I would have died if you hadn't asked me...ah...ah

Elmer, Call me Elmer, Gertie.

-101-

 

GERTIE: Elmer. How sweet. Do you know you are a very handsome
man?
ELIZ: I am beginning to see what you mean, dear.

NNOUNCER: And so ends our Gorgeous Brain's little escapade. We do
hope you were able to derive a moral from it. 'We couldn't
find one for the life of us. But with Gertie around, who

really cares!

mpg

H
O
0.

UP AND OW“

l_} y.

 

-102-

 

ANALYS I S

of

RADIO SCRIPT

—l03-

 

The technique of writing for radio differs from that of writing
for any other dramatic medium in three major respects. First, radio
depends solely upon the ear to stir the imagination of the audience/O
Radio has the advantage of being able to depend upon the listener's
imagination to supply his own scenic background, but the only fuel
with which the listener can fire his imagination are word picture and
special spounds. Secondly, the audience is scattered in small groups
instead of being gathered in large numbers in a theater. Radio is a
moreuintimate medium than theater. (At present radio tends to be more
intimate than television since the scarcity of television sets tends to
draw larger audiences for each receiver.) Radio is primarily individual,
concerning itself only with the radio speaker or actor and the solitary
listeners. Third, the radio listener is/freg, at any time that he
doesn't care for the program, to merely turn the dial and listen to some-
thing else. Television as yet doesn't offer enough competing programs
at the same time to make this one of the prime considerations for writ-
ing for television. But the radio play must catch the listener's atten-
tion at the very outset and hold this attention in a grip of iron, or
the listener will turn to another program. Very seldom in a stage play,
unless it is completely hopeless, does the audience leave the theater be-
fore the final curtain. They are content to wait for the sl w unfolding
of the conflict; the radio listener wants a quick, suspenseful develop-
ment.

‘\\These bring about the necessity for informality and siqplicity.

In radio, the listener hears a line spoken only once and has no opportunity

-l04-

of going back and figuring out a complex sentence structure or of
pondering over glittering figures of speech.,/The radio listener does
not even have the benefit of explanatory or illustrative gestures
which are often used in stage plays. Sentences in radio must be straight-
forward and relatively brief. All ideas must be made instantly clear
by a vivid pattern of dialogue, sound, and music. The imagination of
the listener can furnish supplementary details only when the essential
facts are obvious.

In the writing of a dramatic radio script, the author must have a
plot in mind which fulfills the same three major requirements as that
of a stage play. First, the plot must be based on a simple situation.
Second, the situation must contain a clear, simple conflict. Third,
the conclusion, or solution of the conflict must be complete and con-
cise.

The necessity for a simple, clear and concise plot in radio drama
is due in part to the time limitations imposed by the station and in
part to the fact that the listeners, not having printed or visual aids
to fall back on, find it difficult to retain a complicated story pattern
in their minds. After the writer has outlined his clear, simple plot, he
begins the actual composition of the radio script.

The thesis radio script, "The Gorgeous Brain," is introduced by
suitable music to help set the proper opening mood for the script. §"Music
is the most valuable mood-suggesting toolfiiythe radio writer has.

l. Erik Barnow, Eandbook of Radio Friting, D. C. Heath and 00.,
Boston, l947, p. 82.

 

-l05-

There are two major reaspns fpr the use of such an openingwdeviee:
to catch the listener's attention and to maintain it; to set the mood
of the play. The radio writer wishes to attract and hold attention,
without wasting time with exposition in the opening lines of the script.
"During the first moments the listener decides whether he wishes to
remain tuned to the station, and he should be put in the right mood to
cooperate in the reception of the plot that is to follow."2 Usually the_
setting and initial characters are introduced briefly by the program
announcer or narrator. Just enough information is given in the opening
lines of the play to gain the listener's interest. Once the attention
and interest are established, action must begin and build conflict
rapidly, and the remainder of the exposition is brought in unobtrusively
through the dialogue of the characters.

After opening this radio script with fast light music designed to
establish a comedy mood, the music fades and the sound of a crowd at a
railroad station comes to the listener's attention. These crowd noises
remain on just long enough for the listener to recognize the background.
Once the scene is set, the narrator presents a brief bit of introduction.

The narrator introduces Gertie "The Legs" Grimshaw and Arthur
"museum" Higgensworth, the two main characters in the radio play. He
arouses interest by revealing that Gertie is a Hollywood star arriving_
for a world premiere of her new picture, and that Arthur is the curator
of the city museum awaiting the arrival of two precious hing Dynasty
vases. The main action of the play is set in motion by a description

2. waldo Abbot, Handbook of Broadcasting, NcGraw-Hill Co.,
New York, l94l, p. l07.

 

-105-

of Arthur who mistakes Gertie for the person delivering the vases,
and hustles Gertie away from the crowd into a cab.

‘Time.is limited in radio, and often a great deal has to happen
in a very short interval. This acceleration of time is aided by
scene transitions, (often music or sound) by means of which the radio
writer gets his characters from one point to another in his play.

These transitions serve much the same purpose as the betweenfacts
"curtains" in the theater, interrupting the action and indicating a
lapse of time or a change of scene.

The fading in of the sound of a cab puts the radio audience in the
taxi-cab with Gertie and Arthur. Their conversation is one of complete
cross-purposes. Gertie does not escape from Arthur who still believes
she possesses his vases. Their slight struggle in front of the hotel
attracts a crowd, including reporters and photographers, forcing Gertie
to reveal her true identity to Arthur. This situation of mistaken
identity, the kidnaping of Gertie, and the discovery of Arthur's identity
by the reporters, leads the audience up to the start of the play's con-
flict.

This scene was designed with two factors in mind. First, it com-
pletes the necessary exposition and introduces the situation upon
which the whole plot is based. Second, the changes of scene are excel-
lent for holding the audience's attention and are easily accomplished
by sound transitions and dialogue.

In order to meet the radio's time limitation and to keep the

listener's attention, the conflict in the play should develop rapidly

.-wo7_

with a maximum of "suspense.“ The plot must contain enough uncertainty
so that the listener feels he must hear the solution and not turn off
the program.

The beginning officonfligtgin radio drama, with its strict time
limdtations, "should have been under way before the actual action of
the play starts."3 A radio writer seldom has the time to start and
develop the complete conflict in a half-hour radio script.

In this script the conflict begins with the misunderstanding in
the car and gains momentum in Gertie's hotel suite when Arthur receives
a phone call from'Mr. Stonehurst. The phone call informs the audience
that'Mr. Stonehurst is Arthur's future father—in-law, as well as the
President of the museum's board of director‘, and that the kidnaping
of Gertie has displeased both father and daughter.

To maintain interest and introduce both Mr. Stonehurst and Eliza-
beth, the scene is switched to the Stonehurst mansion, the transition
is accomplished by a musical bridge. This continual shifting of scene
in the radio script is used both to maintain interest and to make un-
necessary long passages of exposition. This fluidity of setting is
one of the great advantages which radio and movie writing hold over
'both stage and television. 'Very few one-act plays use more than one
set, both because of the expense involved in changes of scenery and be-
cause of the time necessary to make the changes, during which the
audience would get restive. The result in the stage play is that any-
thing happening elsewhere has to be explained and discussed; in the radio

3. Albert Crews, Professional Radio writipg, Houghton Mifflin
C00, New York, 1946, p. 238.

 

-l08-

play and in the movie, we follow the characters wherever they go and
have a first-hand knowledge of events as they transpire. Needless to
say, it is of great advantage in the swift, exciting development of
the conflict.

Arriving at the Stonehurst mansion, Elizabeth informs Arthur that
she is highly displeased with what has taken place and that if it occurs
again she shall break their engagement. Mr. Stonehurst informs Arthur
that the museum board will give him just one more chance to keep his
position; that unfavorable publicity will not be tolerated; that under
no circumstance is Arthur to be seen.with Gertie again. Arthur agrees
to abide by Elizabeth's and Mr. Stonehurst's rulings.

This leads to further complications, "obstacles to the solution of
the problem arise and are removed, only to leave the characters with
new obstacles to be removed before a final solution can be reached."4

Another musical interlude and ensuing dialogue marks the passing
of a day. Thus the next day, Arthur completes his previous plans to
see Gertie in the evening. He breaks an engagement with Elizabeth,
telling her it is business, thus clearing his way to keep the date with
Gertie.

The above passage of time was not possible in the stage play be-
cause in a one-act play the author must conform to the unity rule of
having the story take place in one scene on one day. In radio, change
of scene is desirable, as well as progression in time, so that the lis-
tener will have new image pictures created to stir his imagination, and
to maintain his interest.

4. Sherman Lawton, Radio Drama, Expression Co., New York,
1930, p. 1930.

 

-l09-

Arthur's confirming engagement with Gertie and his breaking of
the previous engagement with Elizabeth again uses the device of the
phone call, with a musical bridge between the two calls. In the calls
with both girls, Arthur does all the talking but pauses long enough
between certain words and sentences so that the listener can imagine the
conversation that is taking place.

Major conflict in the radio script is begun by Arthur's breaking
of his nightly date with Elizabeth. By breaking the date with Elizabeth,
.Arthur is able to attend a night club math Gertie. The reporters once
again appear, take the necessary pictures, and draw romantic deductions.
Arthur knows that this appearance with Gertie means more adverse public-
ity, his removal from the curator's position, and the definite loss of
Elizabeth.

The passing of another day finds Mr. Stonehurst and Gertie face to
face in the star's hotel suite, discussing the misfortune of more pub-
licity for Arthur. Harsh words are spoken and Gertie uses her intelli-
gence to make Mr. Stonehurst change his mind about firing Arthur. Just
as the trouble seems to be solved the door bell rings and Elizabeth
enters, bringing the comedy to its major crisis.

The author, having brought the two elements of his plot into con-
flict and having tipped the scale back and forth several times, must
now resolve the conflict quickly because of the time limitation of a
half-hour. In radio, "the crisis should come as near the end of that
allotted time as possible, and the denouement should always be held to
an absolute‘minimum."5 In a cleverly constructed radio script, it is

50 Crews, op. Cite p. 245

-110-

possible to make the climax and denouement seem one. The audience

should know, before tho actual climax is reached, exactly what will

be the results of the several possible solutions to the problem. Thus,
when one of these alternatives is chosen, the results are obvious, and
further explanations are unnecessary. "In radio, where time is impor-
tant and the audience wants its full measure of entertainment, the de-
nouement should be as short and as near the climax as possible."6

The major build-up to the crisis is Stonehurst's accusation that
Arthur is to blame for everything and that he is not a responsible per-
son. Gertie's concept of fair play is aroused, and she tells Stonehurst
the truth of the situation. Gertie's revelation makes Stonehurst real-
ize that all this publicity can be turned to the museum's advantage.
however, the thought of his daughter bothers him, and the discussion of
Elizabeth points up her entrance and the subsequent crisis in the radio
script.

The radio denouement starts with the arrival of Arthur at Gertie's
suite with Elizabeth and Mr. Stonehurst present. Arthur's appearance
causes Elizabeth and Gertie to go into another room of the suite where
Gertie completes Elizabeths change of appearance. The exit of the two
women permits the men to come to a better understanding. Elizabeth
and Gertie reenter the scene, and the changed Elizabeth sweeps Arthur
off his feet. Arthur realizes he is head over heels in love with Eliza-
beth. Mr. Stonehurst is pleased by the outcome of events and asks
Gertie to join him for lunch. Thus, the denouement is fast, short, and
ends happily for all concerned.

6. Ibid, p. 255.

-lll-

///~\K
Max wylie states, "the first requirement of radio drama is action.”7

Radio writers agree that action must be clear, credible, and brief. In
radio, as in a stage play, the audience wants to know'what happens to
the charadters, but they are not willing to sit through a long-winded
verbal explanation. Radio action must be fast and clearly explained
events.

Radio divides action into two main parts: main action and simple
business. "Main actions are those events which will lead up the crea-
tion of, or solution of a difficulty."8 The main plot action in the
radio script written for this thesis consists of the same incidents as
used in the stage play, with the exception of the nightclub scene. This
scene has been inserted to add color to the play, to give further impetus
to the growing conflict and to give the listener another new background
for the continuation of dialogue. In explaining the rest of the action
in.the radio play the author will use the term "simpleWbusiness.” This
term.is accepted by such authorities in the radio drama field as Sherman
Iawton, Norman Corwin, Arch Obler and Max wylie.

Simple business consists of non-plot activities which
help carry a scene through expository sections. It is
used to emphasise items in background, character or sit—
uation, or simply act as a foil for the main action to
rest on. 9

In the radio play, physical movement and visual scenery are missing

and can not be used to aid in explaining action. Sound-effect and accom-

Mfr—

panying dialogue compensate for the limitation in the radio medium. Non-

7. Max wylie, Radio writing, Farrar and Reinhart, New York,
3939, p. 170

8. Iawton, op. cit., p. 197

9. Loc. cit.

 

-ll2-

In this script, ”simple business" started out with the crowd
noises in the background under the opening narration. The purpose of
the crowd was to emphasize the locale of the opening scene and to make
it appear authentic. The sound of the cab in the background of Gertie's
and Arthur's opening conversation also is simple business.

The entrance of Arthur, Gertie and the hotel clerk into the hotel
elevator is shown by the sound of the opening and closing of the eleva-
tor door. The presence of the hotel clerk is detected by the sound of
his unlocking of the hotel suite and his dialogue. The rattling of
dishes brings out the tea hour in the stonehurst mansion. The butler's
presence is pointed up by his terse comments. The proper background
noises set the scene in the night club.

“Simple business" fulfills other purposes: it aids in giving an
air of naturalness to a scene; it relieves the audience's tension
through preventing a too intense and continual concentration on the
main problem; it can delay the plot action and bring about the feeling
of suspense required by intensification; it can give the effect of move-
ment to scenes in which no important plot action is taking place. All
the phases of "simple business" are necessary to a radio script as they
enable a writer to tell his story without having to rely completely on
dialogue; they help show that actions which happen in the play do not
always come about by coincidence.

.All the action of a radio show is presented in the dialogue of the
characters or by sound-effects and nusic. The characters are the people

who make the plot real. They are the living, breathing forces which

give the play its personal appeal. For several reasons, in a radio
play it is necessary to keep the number of these characters to a mini-

mum. ”The author should write a play requiring a limited cast, for

more than six voices of major characters are confusing.”10

One reason for limiting the number of charactersjis to help the

-,.‘ fi—a flfifi. ,7

"~—

listener keepmtheignidentities clear. The spectator sees the characters

..er

 

speaking in a stage play or television show, but in a radio show each
character is identified only by his voice. If the listener has to
remember more than six voices, he will not only get them confused in "

his mind but will lose interest due to the concentration necessary to
keep from this confusion. Also in any dramatic production a small cast
avoids the unnecessary complications of handling barge numbers of people
when dealing with amateurs. Not all productions are put on by profes-
sional people, and simplification eases the undertaking by non-profes-
sionals. This is especially true in radio for working on a mike is a very
exacting and difficult special technique.

The limited cast is also required to avoid expense in a professional
show. Due to the regulations of the American Federation of Radio Artists
and of Actor's Ehuity, performers have to receive a definite amount of
compensation for their efforts. The present-day standard of pay is
fairly high, and all actors receive the same amount, based on the number
of lines they speak. Radio dramatic shows all have production budgets,
and if there are too many characters in a script that can not be doubled,
the show will cost too much to produce.

no. Abbot, op. cit., p. 108.

Four major characters are used in "The Gorgeous Brain" compared
with the five used in the stage and television scripts. They are
Arthur, Gertie, Mr. Stonehurst and Elizabeth. These characters were
created simultaneously with the plot.

In a radio show each character) must begunique) and as different ~33
wible from every other character. Each must have a definite person-
ality and his own style of talking. Howard Thomas points out that "the
radio writer has to give his characters words which help listeners to
create a sound picture of the speaker.“1'1 For instance, being a capable,
intelligent Hollywood star, Miss Grimshaw develops her own characteriza-
tion in the ears of the radio audience through her own smart, sharp dia-
logue. This same technique was used in the stage play. Gertie's wit is
brought forth by the quick retorts she nukes to Arthur at the beginning
of all three plays. The rapidity with which she sizes up a situation is
shown in the radio scene with the hotel clerk. Here she quiets his
curiosity concerning a view of her legs with a straightforward and satis-
factory answer. This same ability is brought out in the stage play by
Gertie's conversation with Max.

In the radio script Gertie's easy-going nature is shown in the
scene with Stonehurst in which she proves Stonehurst was in error con-
cerning Arthur. Her ability to understand is demonstrated by her help-
ing Elizabeth to become a physically shaming woman.

Gertie's humor is demonstrated in the radio nightclub scene where
she jests with the waiter. In the stage play, her humor is shown

ll. Howard Thomas, How to Write for Broadcasting, George
Allen and Unwinltd" London, 1940, p. '77.

 

-ll5-

through jesting with Arthur concerning his taking of naps and vitamins.
Her personality will easily win favor with family audience; she
represents a new approach to a type of character which has been popu-
larized on screen and stage.

Arthur Higgensworth, the museum.curator, is introduced to the
radio audience in the same manner as Gertie. The opening narration
mentions his presence and he further reveals his own personality through
his dialogue. In the stage and television plays, Arthur's physical
appearance gives the audience additional clues to his personality.
Arthur's character was easy to develOp as he maintains the same naive
but intelligent perspective throughout.

Arthur's high standard of living is shown time and time again.by
the way he takes the remarks that Gertie makes pertaining to his physi-
cal condition, his love life, and his position. His lack of fight is
shown by the way Stonehurst dictates his actions and by the way Eliza-
beth dominates him.

The humorous side of Arthur comes out at the end of the play,
after his indoctrination by Gertie, and he tries to talk lightly to
Mr. Stonehurst concerning his reasons for not rushing into marriage
with Elizabeth. The whole extent of success arousing the "male animal"
in.Arthur is discovered in the last minute of the radio play when he
realizes he is in love with Elizabeth and "sweeps Elizabeth off her
feeti" In the stage play, this awakening is shown in the whole last
part of the play through Arthur's overtactions such as his self-assured

attitude, and manly talk.

..116-

Mr. Stonehurst is introduced to the radio audience through a
phone call concerning Arthur. The gist of the dialogue in the phone
conversation gives the listener a hint to Mr. Stonehurst's bossy and
unreasonable personality. In the stage play the audience sees Mr.
Stonehurst and the forming of their ideas is simplified by being able
to look at him.

After the phone call in the radio script, Arthur confirms that
Mr. Stonehurst is dictatorial and unreasonable. He also states that
Mr. Stonehurst is the President of the Museum Board of Directors and
the father of his fiancee.

Stonehurst makes his appearance in the radio script at his home
where, in a solemn and dignified manner, he informa Arthur that he
has another chance to redeem himself. Mr. Stonehurst's words and manner
of delivery denote his positive and commanding position. In the stage
play these qualities are shown by the mannerisms Stonehurst possessed
in addition of his speech, such as a militant walk, well-tailored
clothes, and the carrying of a cane. The listener gets a hint that
Stonehurst has a few human.traits when he tells Arthur and Elizabeth he
is going to join the Press Cluhnbecause they are honoring Gertie; when
he inquires about the meaning of "gams"; when he discusses his daughter's
faults with Gertie. In therstage and television plays this other side
of his personality was shown when Stonehurst brought flowers and candy
and tried to make up to Gertie.

Stonehurst's good nature is brought forth when he listens to Gertie

' and forgives Arthur, His conversion to a more likeable fellow is shown

-117-

when he encourages the changes in his daughter's physical appearance
and then asks Gertie to join him for lunch at the end of the script,
and ends by telling Gertie his first name.

Elizabeth is the last character to be developed. She only appears
in the radio play after she has been described by phrases that estab-
lish her strict way of living. Her domineering nature is made clear.

The intelligence she possesses is brought out and her cold sense
of humor is stressed in the tea scene with Arthur. This tea scene
was included in the radio script because of the entertainment value,
the chance to permit the audience to become acquainted with Elizabeth
sooner, and the necessity for a variety of scene in a radio show to
maintain audience interest. In her first appearance on the radio, the
audience hears Elizabeth's sharp, overbearing way of treating Arthur and
her lack of feminine wiles. Further development is made of Elizabeth's
character through the conversation between Gertie and Mr. Stonehurst,
completing the radio listener's mental picture of Elizabeth. Elizabeth's
old fashioned way of dressing and thinking are brought forth in various
conversations about her.

Elizabeth's second appearance reveal her own reaction to her pre-
dicament when she asks Gertie to take her in.hand. After Elizabeth's
conversion and rewinning of Arthur, she acknowledges Gertie's intelli-
gence in.a way that the listeners will comprehend. In developing the
characters in the radio script, the author has followed the radio
writers adage: "radio characters are born to be heard and not seen.“2

12'. Ralph Rogers, DOs and DOIITs of Radio Writing, Associated
Radio writers, Inc., Boston, l937, p. l6.

 

-118-

 

In writing for radio the author usually thinks of his characters
as voices for it is largely by means of the voice types that the
audience will classify the characters. Each listener has his own image
of the radio character being heard. In the media of stage and televis-
ion, the listener sees the character the way the author and producer
want him to be seen.

In radio the characters should net be é}; unusual gr_§ubti;3as they
may not be fully understood and appreciated by the audience. However,
the characters must have anindividual characteristic which varys them
from.the stereotype character; otherwise they will not seem natural to
the listening audience. Another important factbr in radio writing is
not to have any one trait too dominant in the characters otherwise the
characters will not seem like real people.J3

As in playwriting, radio dramatic writing is also an art of balance.
The balance in a radio script is due to the time element, minimizing of
characters, and simplifying of the plot.

Arthur is still used asthe balance in the play but his maintaining
of equilization is simplified. He is still in the middle of all the
arguments. He brings the conflict to a crisis when his seeming interest
in Gertie tends to upset the balance.

Gertie maintains one side of the scale of balance in the radio
script and is not aided by Max, as in the play. The script still starts
out with Gertie just opposing the mistaken case of identity. This leads
to the publicity jeopardizing Arthur's future and Gertie tries to help
him.

l3. Lawton, op. cit., p. 197

—119-

During this conflict Gertie proves that Arthur is innocent of
all the publicity stories. In the stage play, the publicity incident
occurs once, and then the audience is told about it. In the radio
script, the publicity incident occurs twice, and the listening audience
hears the event both times.

The remainder of the radio script is occupied by Gertie's attempts
to show Arthur that he is really in love with Elizabeth and that his
mishaps can be advantageous to the museum. Gertie also forces Elizabeth
and Mr. Stonehurst to acknowledge these facts thus demonstrating Gertie's
intelligence, kindness, and understanding.

The forces on the other side of the scale of balance in the radio
script are Elizabeth and Mr. Stonehurst. Stonehurst is still the chief
antagonist in the play. His concern lies with his daughter's future
and the reputation of the museum.he heads. Conflict in the radio script
starts between Arthur and Stonehurst over the phone when Stonehurst
learns of the unfortunate publicity incident. The circumstances that
places the blame on Arthur put Stonehurst in conflict with Gertie. In
addition to blaming Arthur, he insinuates that Gertie is partly at
fault. Gertie by her own special method of achieveing results, changes
Stonehurst's ideas about Arthur, about the publicity the museum.has
received, and about the spoiling of Elizabeth.

In the radio script, these points are brought to the audience
through additional scenes concerned with these issues. The stage play
has the same point of view, but the motivating powers behind the issues,

the cause and effect, are stressed.

-l20-

The end of the radio script shows Stonehurst acknowledging his
mistakes, using the publicity advantageously for the museum, aiding
in the physical and mental change of Elizabeth, and joining Arthur
and Elizabeth in agreeing that Gertie has a fine nature and pleasant
way of doing things.

Elizabeth is used to bolster the conflict against Gertie. Eliza-
beth shows this in the two appearances she makes in the radio play.

The tea scene in Elizabeth's home threatens Arthur's position as a ful-
crum when.doubt concerning his engagement with Elizabeth is expressed.
This first brief oral appearance of Elizabeth aids in keeping the
balance of characters in the script in sight and prepares the audience
for the scene in which Gertie is bound to take over and change Eliza-
beth. This extra seene was added to the radio script to aid in ac-
quainting the audience with Elizabeth and gives more color and variety
to the script.

Elizabeth's second appearance is her surprise appearance at Gertie's
suite. This precipitates the crisis in the radio play. Gertie's trans-
formation of Elizabeth into a modern.young woman is shown in the radio
script through Elizabeth's changed dialogue and through remarks about
her made by Arthur and Mr. Stonehurst. The conversation reunites
Elizabeth with Arthur, completing the romance of the script. The re-
aligning of the characters into an harmonious group resolves the con-
flict and ends the comedy happily.

The audience in the theater learns hbout the characters by what

they do and say. The audience of the radio play learns about the

-121_

characters and what they do only b’ what the characters say or what is
said about them. These spoken lines by the characters in any dramati-
zation are called dialogue.

One of the first problems in writing radio dialogue is maintaining
a natural style and at the same time make everything clear. In the
stage and television plays, the speaker may rely upon a gesture, a look,
or on some easily understood background in order to convey an idea to a
listener. In radio everything has to be accomplished by the voice, and
each line must be in keeping with the character for whom it is intended
as well as suited to conversational speech.

On paper, radio writing seems to be very poor style. This is due
to over-punctuation and over-simplified conversational expression. The’} X
script usually indicates to the actor how the line is to be read. I
"Punctuation is, after all, only a series of signposts which should be
used by the writer to clarify the construction of the sentence, and
therefore, its meaning."14

The radio script also appears to be over-written, for every main
point is usually stated twice. "The simplicity with which ideas are
stated might appear to be almost childish, but one must remember that
every line spoken by radio must be clear to a listener the first time
the character reads it."15 Ideas in a radio script are often repeated
for emphasis and to make sure that a line‘will not be lost. One point
the author discovered through experience is that the repetition in a
radio script must be worded differently than the original statement;
otherwise an audience may feel its intelligence is being insulted.

l4. Crews, op. cit., p. 293

l5. Iawton, op. cit., p. 83

-122-

Another difference in radio dialogue is that it must be "actor-

W”

€£23§2° The actor must read a‘ling but not memorize it. The audience
must assimilate the idea by hearing the line read once. An actor-proof
line will not be over-simplified but will contain enough information to
be self explanatory. For example, many of Gertie's affirmative answers
to Arthur and Mr. Stonehurst are not just written "yes" but "yes, I
think I shall“ or "yes, I believe I will.”.

Due to the lack of visual stimulus, a slight exaggeration in the
key-note of character portrayal and character conception through dia-
logue. The individual's dialogue style will leave no question as to who
is speaking the line and what kind of a person is speaking it.

The first dialogue in this radio play comes after the opening narra-
tion and gives the listener the who, when, and where of the story to
follow. The initial dialogue, as previously explained was used both to
enlighten the listener about the background of the characters in the
scene, and to start the story. .

Plot dialogue describing events aids the progress of the story
throughout the script. It was used to explain the cause for Arthur's
abduction of Gertie, Stonehurst's anger towards Arthur, Elizabeth's un-
easiness concerning Gertie's presence in her life, and Gertie's reason
for steping into the picture and straightening everything out.

..g.

r'l‘Dialogue is used throughout the numerous scenes to give locale of
(...-m» ~. M.— ~- www-mwmmu '_ ,, , l .l . A.

~..~..— ' ‘

the action. In radio, the setting should be established immediately.

This aids the listener in visualizing the scent, placing the characters

in a definite location, and establishing variety.

-123-

Locale dialogue is best illustrated in the scene in which we find
Arthur at the city museum receiving phone calls. In answering the
phone, he identifies the locale and immediately establishes his posi-
tion. The night club scene is established by background noises, dance
music and the discussion between Arthur and Gertie about the nightclub.

Dialogue also differentiates characters. Gertie's fast, easy-
going wisecracks identify her throughout the whole play. Arthur has a
definite form of erudite speech as his calling card. Stonehurst's
characterization is built up in a terse, heavy form of dialogue through-
out the script, and gives the listener the impression of his bossy atti-
tude. Elizabeth's speech is slow, precise, and highly intellectual.

In the radio script the producer casts his actors according to
their voice qualities so that the voices will lead the listening aud-
ience to a closely aligned picture of the characters. No two listeners
will picture the same character according to what he hears, the dialogue
must be distinctive enough to arouse some sort of image. "Dialogue must
sound not only like real people talking, but also like specific characters
in the particular story under discussion."16 This contrast is necessary
in any type of dramatic production, but especially in radio where all

the mental pictures are based on sound alone.

16. Crews, op. cit., p. 294.

-324-

PART III

TELEVISION SCRIPT

-125-

THE GORGEOUS BRAIN

By

ARTHUR V. BRISKIN

-126-

SCENE:
Presidental suite of the Star Hotel, New York.
A spacious, handsome, and tastefully furnished
living room, decorated in bright colors. In
the right-hand wall of the room another door
leading to the bedroom. Between the two doors
a sliding door leading off to the kitchen and
dining room.of the suite. The room is furnished
with beautiful, modern-day furniture. There is
a large mirror near the bedroom door, couches,
chairs, tables, radio-phonograph combination

set, and fancy nick-necks all over the place.

It is eleven o'clock A. M. on a bright cheerful

day.

After camera gives shOW'introductions--card will state “Hotel
suite of Gertie "The Legs" Grinshaw, Hollywood actress." Camera
will show above described suite and switch to door as Max comes‘

bounding into room.

~127-

SOUND

SIAMING DOOR

MAX :

GERTIE:

MAX:

GERTIE:

MAX:

GERTIE:

MAX:

GERTIE:

MAX:

GERTIE:

MAX:

AUDIO VIDEO

MAX SEEN ENTERING
GERTIE'S SUITE WAV-
ING NEWSPAPERS. PICK
UP GERTIE COMING OUT
OF BEDROOM

Gertie, Gertie.

Must you always make
so much noise?

This time it's called
for--look at the news-
papers.

What about the newspapers?

POSSIBLE CLOSE SHOT
OF PAPER & PICTURE.

You're on every front
page--and vit head-
lines, too.

Nothin' I don't deserve.

Yea, I knowa-but this time
I'm.having nothing to do
nut it.

"With what?

(SITTING DOWN ON COUCH WITH
PAPERS) Having your neW'boy
friend steal you away from the
crowd. Uh huh. (STUDIES PAPER)
You know, he's not a bad lookin'
guy. (READS FROM PAPER) "Mr.
Arthur Higgensworth, Curator of
City Museum, Kidnape Gertie
”The Legs" Grinshawz"

Nice, isn't‘Max? (WALKS OVER TO
MIRROR AND LOOKS AT SELF)

It's beautiful, oye, what a woman.
Nu--how long has this been going
on?

Has what been going on?
(STANDS UP, POINTS TO PAPER) This,

this love affair mit--(READS) mit
Arthur Higgensworth.

-l28-

SOUND

PHONE RINGS:

GERTIE:

MAX:

GERTIE:

MAX 3

MAX:

GERTIE:

MAX:

GERTIE:

MAX 3

AUDIO VIDEO

Why-dwhy only-~(LOOKS CLOSELY
AND STUDIES PAPER) say, is

that the best the photograph-
ers could do with my picture?

well, you had your slacks on

and besides your boyfriend didn't
give anybody a chance to take a
good picture. l-2-3 you're both
gone.

O.K. O.K., I'm here now and
everything is fine again.

So, for over 50 years I'm a

publicity man and never did

anything like this happen to
me. . ‘

(GOES OVER AND PETS MAX’S
CHEEK) Why Maxie, nothing's
happened, you knOW'all about
it.

(GETS UP) Fooiel All right,
ven is the wedding? That at
least tell me, you vat maybe
I should loose mine job?

max darling, if there is any
wedding, you'll be the first
one to know it.

So, that's like my Gertie. But
tell me somethin'---(SITS GERTIE
DOWN) like a father I've been to
you all these years--nothin' I'm
told and this museum.guy then pops
up like somebody dug him.up.
Gertie, how'long did you know him?

(WALKS OVER AND ANSWERS IT) Miss
Grinshaw's suite. Yes, speaking.
Yes--of course. Yes. All right.
Goodbye. (HANGS UP)

Nu--who vas it?

-l29-

SOUND

(KNOCK ON DOOR)

GERTIE:

MAX:

GERTIE:

GERTIE:

HIG:

GEiTIE:

HIG:
GERTIE:

HIG:

AUDIO VIDEO

Why, uh uh--uh just the
beauty parlor telling me
they can take me this after-
noon. Max, be a good "papa"
and go down to the newspapers
and get me a big picture of
Mr. Higgensworth---please.

Oh ho, so it's pictures you
vant of him how. Pictures--
phone call, sounds fish and
soup to me, but I'll go.

(PETS HIM) Good, now talk to
them real nice like so they'll
make it a good picture. (STARTS
TO PUSH HIM TOWARDS DOOR SHE
HAS OPENED INTO HALL.)

So, don't push, I'm going. Oye,
Hollywood stars, mine bread and
butter; mine grey hairs; mine-
(GERTIE CLOSES DOOR) ( SHE STARTS
TO TIDY UP ROOM, HIDES PAPERS BE—
HIND CUSHIONS ON COUCH AND LOOKS
AT SELF IN THE MIRROR.)

(RUNS OVER TO STAND RT. NEAR DOOR)
It's open. Entre vousl

(OPENS DOOR STANDS IN DOORNAY IN
STIFF, UNEASY NANNER.) Ah, ah..
Miss Grimshaw.

'Well, don't just stand there.
Close the door and come on in--
all the way inl

(STEPS IN AND CLOSES DOOR BEHIND
HIM) Thank you Miss Grinshaw.

Now, what, can...may I do for
you?

I wish to explain about the un-

fortunate incident and offer my
humble apologies.

-l30-

S OU ND

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

AUDIO VIDEO

well, I'm all of a twitter...
Sit down, Mr. Higgensworth,

I don't think you'll grow
anymore, so lets get straight-
ened out.

(WALKS OVER AND SITS DUNN)
Thank you Miss Grinshaw.

Make it Gertie, Hig.

my first name is Arthur, ah..
Gerti ee

Arthur's too "icky" and Art
doesn't suit you. I think Hig
is much cuter, don't you?

I wouldn't say the adjective
"cute" exactly applies to me.

You sure are educated, aren't
you. You talk like a college
professor.

Well in a way, I am. .But I
preferred the museum post to
teaching.

(SITS ON ARM OF HIGS CHAIR)
Fancy that now. They tried to
learn, I mean teach me, some
grammer and stuff when I first
went to Hollywood, but it ain't,
hasn't taken too well.

That's part of your charm, Gertie.
You really are a most fascinating
young lady, you know.

You haven't seen the best part of
me yet.

Ah, you mean in reference to that
absurb appalation.

-lS']-

SOUND

HIG:

GERTIE:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

AUDIO VIDEO

There's nothing absurb about
it, brother. (JUNPS UP A
STARTS TO ROLL UP SLACKS)

I....ah...wasn't...referring...

(LEAVES PANTS LEGS DROP BACK
DONN & SITS ON COUCH) All right,
skip it. Now, what was it about
the mistaken kidnaping.

Well you see, I thought you had
my two works of art.

(JUNPS UP AGAIN & STARTS TO ROLL
UP PANTS AGAIN) I have two "legs"
of art, but these ain't yours.

Gertie, please. (GERTIE DROPS
SLACKS AGAIN & SITS DOWN) You see
I was waiting at the station for
my two precious ming dynasty vases
andeeeee

You decided you liked the idea of
my two legs better.

Why, that's hard to say....you see
I...No, you don't understand.

I'd like to, but I can't if you
don't explain...Higgsiel

Well, a Miss Bessie Bottomely was
suppose to deliver the vases to me.
I only knew she would be wearing
slacks, beret and glasses. Then
when I saW'you..well, I thought..
that is I thought you were her and

I wanted to get you out of the crowd
and prevent any damage to the vases.

So that's it. (STARTS TO LAUGH) Boy,
oh boy, this sounds just like a story
for television or something. Well
dark and dramatic don't worry about
it...everything is all right now.

-l52-

SOUND

TELEPHONE RINGS

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

AUDIO VIDEO

Thank you Gertie, but I think
this may bring about my dis-
missal from the museum. You
see this type of publicity
isn't exactly up to standards
for a museum employee.

(JUMPS UP, STAMPS FOOT AND HANS
UP FOLLOWING) Is that so? weII,
I always say, when a little Holly-
wood glamour won't help boost a
buys business, then it ain't fit
to be in: (SITS DOWN)

You don't understand Gertie; per-
sonally last night was a most ad-
venturesome evening for me, and to

be truthful I have rather enjoyed

it. But the board of directors of
the Mneeum may look at it differently.

(WALKS OVER TO ANSWER AND IN GETTING
UP KNOCKS DOWN CUSHION REVEALING
PAPERS) Hello, Gertie Grinshaw's
suite. Who? Oh yes, he's here. Just
a minute. It's for you, Higgy.

(SURPRISED LOCK. GETS UP AND WALES
OVER TO PHONE) For me? What in the
world? (TAKES PHONE FROM GERTIE AND
IS DISTRACTED FOR A MOMENT AS SHE
WALKS BACK TO COUCH) Uh..what..oh,
Higgensworth speaking. Who....0h,
Mr. Stonehurst? You did, sir? Yes,
it was a bit unfortunate. What Sir..
..Yes Sir...Right away, Sir. But
Mr. Stonehurst.....Mr. Stonehurst?
Hmmmm, he hung up:

Who was the cookie?

(SADLY) The President of the Maseum's
Board of Directors and incidently the
father of my fiancee.

How did he know'you were here?

-l33-

SOUND

HIG:

GERTIE:

HIG:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

AUDIO VIDEO

(WALKING BACK TOWARD COUCH ‘I'J'HEN
GERTIE SPOTS PAPERS AND TRIES TO
COVER THEN UP, ETC.) Someone

that knew me was in the lobby.

He heard me ask for your room and

I guess he saw me come up here

and then telephoned Mr. Stonehurst.

was he mad or anything?

I would say ”mad" was an understate-
ment. If any more of this gets in
the papers, I'll be through at the
museum. .

(ICOKING AT COUCH & PART OF PAPER
STOCKING OUT) You're through then.
Might as well start looking around
for another job.

(QUESTIONABLY) You're sure they'll
print more?

A story like that: Higgy, you'll be
a national figure in no time at all.
Say, what is the girl friend going
to think of all this?

(SHOCKINGLX) Good gracious! I for-
got. I'm afraid Elizabeth isn't
going to take too kindly to all this.

You mean she's the kind of a girl that's
gone through life as Elizabeth. No
nickname? Don't bother describing her
to me. I know the type. (GETS UP AND
WALKS AROUND GIVING AN IVITATION, KICK-
ING SHOES OFF, WALKING FUNNY AND WITH
NOSE IN’AIR.)

Elizabeth is a very sweet girl. Very
intelligent.

I'll bet she belongs to the Thursday
afternoon club and does social work.

Oh, she does. An admirable girl. And

quite a leader. She's very good at
running things.

~134-

SOUND

GERTIE:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

AUDIO VIDEO

(SARCASTICALLY) Like you,
for instance. I'll bet
she has you run ragged.

Elizabeth and I have found
our tastes very similar. we
provide mental stimulation
for each other.

Fancy that noun (WALKS OVER
AND SITS NEXT TO HIM) well, at
least you know what to do on a
rainy night in Rio.

(PUZZLED)‘We”ve never been.to
Riot But I'm.sure that if we
did go, Elizabeth would know
what to do if it rained.

(SLAPS HIG ON BACK) You may be
a professor, Higgy, but there
are parts of your education that
are noticeably lacking.

(STARTLED) Just what aspect of
my education are you referring
to?

(STANDS UP) I have neither the
strength or the inclination to

help you brush up on them now,

especially before lunch.

(GETS UP. LOOKS AT WATCH) Dear
me, I must be going. I have to
see what I can do about counter-
acting all this unpleasant pub-
licity I've unwittingly brought
about e

Hmmm. There's one thing, or
should I say two. (KICKING LEG
AROUND) I bet they wouldn't Took
at no difeeeo

Gertie, please. This is a serious

matter. I am most fearful of the
outcome.

~l35-

SOUND

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

AUDIO VIDEO

I'll bet if I could get you to
stop talking like it came out of
a book, you wouldn't be a bad
fellow. You are kind of cute,
you know.

You are one of the most amazing
people I have ever met. I really
should like to see you again be-
fore you go.

By all means, shall we say lunch
today, Higgsy?

Whyeee eahe e311 right.

I'll make the arrangements and
we'll eat up here in my room--
no publicity, etc.

Gertie, you think of everything.

well, you take a little nap in a
mummy case and I bet you'll feel
better.

(STANDING STIFF AND STRAIGHT
STATES) Miss Grinshawi I'm use
to all sorts of ordeals and with-
out the benefit of a nap.

(TEASINGLY) No-o-o: How do you do
it? _

(PROUDLY) Due to daily exercises,
my physical condition is most rugged
(GERTIE FEELS WHERE MUSCIES SHOULD
BE) I shall return in a little
while for our luncheon engagement.

Right! Hope old Stoneheart isn't
too tough on you.

(OPENS DOOR.AS IF To GO OUT..TURNS
AROUND) StoneHURST- 'Well, good-
bye. (STARTS To WALK OUT AND MAX
STARTS TO WALK IN, SEEING HIGGY
LEAVING MAX TURNS AROUND TO LEAVE
‘WITH HIM AND CALLS BACK TO GERTIE.)

~136-

SOUND

KNOCK ON DOOR

I<TDIOCK ON DOOR

MAX:

GERTIE:

CLERK:

GERTIE:

CLERK:

GEITIE:

CLERK:

GERTIE:

OLE? :

GERTIE:

STONE:

AUDIO VIDEO

Leave everything to me....vat
a vedding I fix up: (CLOSES
DOOR BEHIND Hm LEAVING GERTIE
ALL ALONE. SHE STARTS TO GO
INTO BEDROOM.

Come in.

(WALKS IN FE'AIE TYPE) Miss Grin-
shaw, I thought as the chief clerk,
that I would drop up to see if
everything is satisfactory.

Yes, everything is, thank you.

well having you is indeed an honor
Miss Grinshaw. (DISAPPOINTED) Oh,
your still wearing your slacks.

Oh hO....well, shall we say that
you'll have a chance to see them
before I leave.

(BACKING UP TO DOOR) Oh Miss Grin-
shaw.....Gertie, you're a card,
that's what you are!

Thank you. AND if I need something
I'll call you.

Please do and I'll look into it.
(CLOSES DOOR BEHIND HIM.)

Boy, oh boy. (LOOKING AT CMIERA)
You know, this should be a movie
or something with all the jerks
popin' in and out. You'd think
this was the corner of State and
Madison......(K.O.D.) (Not again,
I hope.) All right, come in.

(ENTER STONEHVRST DRESSED IN A
DIGNIFIED MANNER AND CARRYING SELF

IN SAME WAY.) Miss Grimshaw. (GERTIE
NODS) I am not in the habit of call—
ing on young ladies in their hotel
rooms at this hour of the day. But,
I deem this necessary.

-l57-

SOUND

GERTIE:

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

GERTIE:

STON

[‘3

O.

GERTIE:

STONE:

AUDIO VIDEO

I beg your pardon; whom,
who are you?

(BOASTFUL) I am Mr. Stonehurst.
President of the board of di-
rectors of the museum.and Mr.
Higgensworth's employer.

You don't say. well, come down
off that high-horse, Mr. Stone-
hurst, you don't have to go
dignified on me.

(STEPS FURTHER INTO ROOM) I beg
your pardon, I am on no high-horsei

Oh no, well all right; now, what
was it you wished to see me about?

(LOOKS HER UP AND DOWN) I wanted
to see what type of young woman
lead a man astray just so she could
gain some cheap publicity.

(APPROACHES HIM) If this is about
Mr. Higgensworth and that disgrace-
ful picture in the papers, you're
wasting your breath. You see..

That's what I thought, you're type
never cares who you hurt; after all,
the public can only go by what it
sees in the papers and publicity of
that sort cannot be countenanced by
the museum.

(TAKES ORATOR STAND) I said it before
and I'll say it again. Any business
that can't stand a little Hollywood
Glamour isn't fit to be in, and I don't
think the MUSeum.is any different than
any other.

A museum is a cultural center. A
dignified guardian of the treasures
of the ages. It's custodian must re-
flect that....

-133-

SOUND

GERTIE:

STONE:

GERTIE:

STONE:

GERTIE:

TONE:

GERTIE:

AUDIO VIDEO

(EKPLODEs) Oh nuts: You want
people to come and look at the
stuff, don't you? well, can
you think of a better way to get
them, than by giving the joint

a little glamour. They'll flock
to see Higgsie now. I'll bet
you'll be getting the biggest
crowds that musty old mausoleum
ever drew.

(CONGH) That may be true, but they
would only come to catch a glimpse
of it's now notorious curator.

That my dear, is not the type of
person we cater to.

Say, since when did public buildings
cater to a favored few. You'll get
people in there that never say the
inside of a museum before, and once
they are in it...they'll be bound

to look around. So the next time
they'll come back to see all them ex-
pensive antiques and junk you got
around. (SITS DGNN As IR PLEASED
WITH SELF)

And how would you know. I'm sure
that people of your kind have never
been in a museum. If they ever did
find themselves in one, they wouldn't
know what to do. All your type is

out for, is cheap publicity and money.

Why Yale...

Don't interrupt me. I'm also sure
that you've an idea to publicize
yourself some more at the expense of
Arthur.

You—-you (JU”PS UP AS TEARS START TO
CONE TO HER EYES, STARTS TO SOB ANDr
RUNS INTO HER BEDROOM LEAVING STONE-
HURST STANDING THERE WELL PLEASED.
AS HE TURNS TO LEAVE THE DOOR OPENS
AND AGAIN MAX APPEARS.)

~139-

SOUND

MAX:

STONE:

MAX:

STONE:

MAX:

STONE:

MAX:

STONE:

MAX:

STONE:

MAX:

STONE:

MAX:

STONE:

AUDIO VIDEO
Nu...vat are you?

(DRAWS SELF UP) I am Mr. Stone-
hurst. President of....

Don't tell me. You're Arthur's
boss, no?

I imagine you might say that.

Vat do you mean, I might say that,
I did.

Now may I ask who are you.

(DRAWS SELF UP INITATING STONEz) ME,
I'm Max Feinbaum, top publicity man
for Parmouth studios, assigned to
Gertie "The Legs" Grinshaw, Parmouth's
top star and the woman mit the world's
most perfect legsii!

(SARCASTICALLY) I thought so, another
Hollywood person---you're all the same,
no good.

You should pardon the interruption,
but vat is it you're saying.

Just what I told her, that everyone
from Hollywood is out for publicity,
money and to hurt people. None of
you have any brains.

You said this to Gertie, oye, oye, oye:
That is correct, I stated it to Miss
Grimshaw after what she did to Mr.

Higgensworth and to my museum.

I'm.having vun question—-vhy did you
telling mine Gertie this?

So she'd leave Mr. Higgensworth alone.

-l40-

SOUND

PHONE RINGS.

KNOCK ON DOOR.

MAX:

STONE:

MAX:

STONE:

MAX:

STONE:

MAX :

STONE:

MAX:

STONE:

MAX:

GERTIE:

AUDIO VIDEO
(SURPRISED) You vant she should

leave him alone, (vat no wedding)

say, you think maybe she's a gold
digger, no?

Yes.

Oh ho, I see.

You see what?

I see vat a mistake you made.

I make a mistake, I beg your par-
don.

Nu, don't beg, you're old enough
to steal.

What was that?

I said, maybe this time I can heal
it.

Heal what?

Come mit me, I vant to talk mit you.
(TAKES STONE'S ARN AND LEADS HIN
OUT OF ROON.)

(ENTERS FROM BEDROOM WITH LONG SKIRT
ON AND STRAPLESS BACKLESS BIOUSE)
Gertie Grinshaw's suite. Yes. Oh

no. No. Now now, later please..I'm
not dressed yet. Yes Thank you.
(HANGS UP PHONE) That's all I need
now the way I feel..reporters. Boy I
never should have let that Stoneheart
upset me like that, the big snob!
(PICKS UP PHONE) Room service, please.
Will you please send some one up from
your dining room to take a special
order for lunch. Thank you. (WALKS
OVER TO MIRROR.) Boy, what fast ser-
vice, come in. Oh, it's you, get outi

-141-

SOUND

PHONE RINGS

STONE:

GERTIE:

STONE:

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

GERTI E:

AUDIO VIDEO

Please, I brought these flowers
and candy and gifts for you,
Miss Grimshaw. PRESENTS HER
WITH FLOWERS, CANDY, GIFT BOXES,
ETC.)

(LOOKS PUZZLED) I don't get it.

well, H‘m.sorry about before.
I...I was a little rash and....

(HITTING DOWN PACKAGES) This,
I don't get. I'm suppose to be
the heartless one that hurts
people....cona on, what gives.

(HELPING HER WITH PACKAGES.
OPENING SOME) Why..ah..ah noth-
ing, can't one of your admirers
bring you some little gifts?

(SITS Dam) Admirer? Gifts?
Hey, this is "The Legs" Grinshaw.
You know, the babe that wants
money and publicity.

I'm.really sorry. I made a mis-
take and, please say you forgive
me and that you'll have lunch
with me.

(JUMPING UP. STARTLED LIKE) Lunch
with you, why..

Excuse me pl ass (WALKS OVER TO
PHONE) Gertie Grinshaw's suite.
Yes. She is. Thank you. (HANGS
UP) That was my friend the desk
clerk, he says that your daughter
is on her way up here.-

She is?
I don't think she expects you up
here, your suppose to be a smart

man so I think you better think
of something, but fast.

-142-

SOUND

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

STONE:

GERTIE:

AUDIO VIDEO

Why..ah...thank you Miss Grin-
shaw, but I'm.afraid my so
called smartness won't help with
my daughter. You know she is
Mr. Higgensworth fiancee.

(GOES OVER TO NIRRCR AND LOOKS
AT SELF) Yea, he told me about
her. She hasn't broken Off the
engagement, has she.

She most certainly has. (STARTS
TO CHUCKLE) Funny thing, I think
she's jealous.

or what? (TURNS AROUND AND WALKS
TOWARD STONE, 'AS IF MODELING) I

only felt sorry for Higgsie; he's
not a bad guy, but hardly my type.

(SURPRISED) Uh, he's not? Well

you know, you are a beautiful girl.
No matter how intellectual the
woman is, she has a sneaking fear
of the glamour girl.

(SITS DOWN) Say, what is she?
Definitely droopy (MAKES SAD FACE)
when it comes to looks.

(STANDS UP) I would hardly call
Elizabeth ugly, but she certainly
has managed to disguise what few
good points she has. She was
rather attractive as a girl.(SHAKES
HEAD)

Why the broomstick complex? Maybe
she's erratic.

Neurotic is the word. NO, I don't

think that's it. You see, she has

always been in love with Arthur and
I think she has an idea that he is

only interested in her brains.

Oh brothert She ain't lived much,
has she?

-143-

SOUND

KNOCK ON DOOR

STONE:

GERTIE:

STONE:

GERTIE:

STONE:

MAX:

GERTIE:

MAX:

STONE:
MAX:

GERTIE:

AUDIO VIDEO

Arthur's tastes are‘veny
aesthetic. He is fearfully
intellectual you know. A
scholar of the Arts.

He may be asthmatic, but he's
still a man. He sure didn't
sound love sick when he told
me about Elizabeth.

(WALKS SLOWLY SHARING HEAD) No,
that's just the trouble. Eliza-
beth is fully aware of the fact
that Arthur admires her but she
knows that she instilled no over-
powering emotions of love in him.

Yea, I know his type. They're the
first ones to go overboard for a
pretty face and an empty head. A
little "tch tch" in a dame and
they're sunk.

I'm afraid you're right. (DOOR
OPENS IN WALKS MAX) You certainly
have got plenty of “tch tch" eh Gertie.

Cointainly she got plenty of it,
(BOTH TURN TO FACE MAX) plenty of
beauty, mit brains thrown in besides,
didn't I telling you that.

Why thank you Maxie, (WALKS OVER AND
PSTS HIS cnsnz) You see, that's
what I mean. It never fails.

(WALKS TOWARD ST NE. WHISPERS TO
HIM.) You're following mine advise,

no?

Yes, and she's already admitted she
doesn't care for Arthur.

Vot did you say, she said she didn't
care, oyex

Come on in and join the party.

.344...

SOUND

ELIZ:

GERTIE:

STONE:

ELIZ:

STONE:

ELIZ:

GETTIE:

ELIZ:

STONE:

ELIZ:

AUDIO VIDEO

(STRUTS IN AND STOPS FAST)
Fathert What are you doing
here?

Nothing he shouldn't be dearie.
You got here just in time.

Why...ah...Elizabeth..(MAX
WHISPERS TO HIM) Yes, Elizabeth,
I think I shall ask the same of
you.

I've come to speak to Miss Grin-
shaw. I should like to have the
satisfaction of pointing out to
her the havoc women of her type
can'wreck on a man's life.

Elizabeth, you are gaing too far.
(MAX WHISPERS AGAIN) I find
nothing wrong with Gerties..ah..
Miss Grinshaw's type. (MAX PATS
HIM ON BACK)

You too, father. There (TURNING
TO GERTIE) you see, you have

even managed to distort my father's
sense of values .

Then, values have been distorted
since Adam fell for Eve.

And look what happened, to them:

(NAN ‘NHISPERS TO HIM AND PUSHES
TOWARDS HER) Elizabeth, you are
being ridiculous.

(STARTLED A HURT) Oh I am, am I?
It's ridiculous that Arthur lost
his position, has been made a fool
of and on top of that hasn't even
calledi

-l45-

SOUN

GERTIE:

ELIZ:

STONE:

ELIZ:

STONE:

GERTIE:

AUDIO VIDEO

(NNIKS OVER AND PUTS ARN.ARGUND

HER..ELIZ SNAKES IT OFF AND AP-

PROACHES STONE.) Take it easy,

kid. Hig's got his job and most
likely didn't have time to call.
Too busy signing autographs for

his fan clubs.

What is all this father? Do you
mean to tell me Arthur wasn't
discharged immediately as a re-
sult of his depraved behavior?

Elizabeth, sometimes you make me
sick. (ELIZ. PUTS HAND TO MOUTH.
SHOWS SURPRISE AND PLOPS DOWN IN
CHAIR. MAX WHISPERS TO STONE.
AGAIN AND PUSHES BIN TOWARD HER)
Gertie, has more good sense in her
exotically manicured little finger,
than you have in your whole dowdy,
badly dressed body. -

(STANDS UP A REGAINS POSITION) I
refuse to stay and listen.to such
outrageous talk from my own father.

Oh yes you will, sit downl (SHE
DOES) One beautiful, exciting
woman has done more for the museum
overnight than you and all those
frustrated frumps you try to copy
could ever do. Arthur may be a
pompus ass but he's human. I don't
blame him for prefering Gertie to
you. (THINKS OVER WHAT HE'S SAID)

(CRYING A SOBBING) See what you've
done, (POINTS FINGER AT GERTIE)
you...you..vamp. Stolen my fiance
and turned my own flesh and blood
against me.

Stop sniveling and come over here.
(WALKS TOWARDS MIRROR) It's time
someone got you straight on the
bird and bee routine.

-l46-

SOUND

ELIZ:

GERTIE:

ELIZ:
GERTIE:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

ELIZ:

GEXTIE:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

AUDIO VIDEO

(GETS UP AND WALKS RELUC-
TANTLY OVER) NOW'what do
you want?

Just come here a minute.
I want to show you something.

All right. Well...what is it?
Look in that big mirror there.
Well? (LOOKING IN MIRROR)
Well? (WATCHING HER)

I don't deny you are attractive
in a superficial way. But...

(TURNS HER AROUND) Who gave you
the cock-eyed notion that a smart
woman can't be a pretty one.

A good book doesn't need a flashy
cover.

Yea; and darn few people want to
curl up with one on a rainy night:

(INNOCENTLY) Are you trying to say
that the cover sells a book.

You never worked in a rental library,
did you: That's good advertising,
baby.

Are you suggesting I should advertise
like a...a..soap chip?

If you ever want to get anyone in-
terested in the product you have to
offer. (LOOKS AT ELIz.) Take off
those glasses. (STARTS TO CHANGE
ELIz. HAIR)

What are you doing to my hair?

Taking the pins out. It's about
time you let your hair down.

-l47-

SOUND

KNOCK ON DOOR

STONE:

ELIZ:

GERTIE:

ELIZ:

GERTIE:

HIG:

ELIZ:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

AUDIO VIDEO.
I haven't had so ImIch fun
in years.

Oh..

Max, you and Mr. Stonehurst
go into the other room and
have something. 'We'll call
you when we're ready. (MEN
EXIT) Stop fidgiting around.
Say, your hair is naturally
curly, 1811' t it? 0 es s s (STANDS
BACK) Pull your skirt up.

Ny...my skirt?(PULIS IT UP.)

Oxfords
Even mine

If this ain't a dilly:
and rayon stockings.

couldn't survive that.
(BEHIND DOOR) May I come in?

(DROPS SKIRT AND LOOKS STARTIED)
It's Arthur, what shall I do?

(POINTS) Get in the bedroom
quick. (CAIJS) Just a minute, Hig.

(OFF MIKE YET) I want to see you,
Gertie.

Come in, I was waiting for you.

(ENTERS WITH FLONERS, CANDY AND
GIFTS. SEES OTHER DUPLICATES
FROM STONE AND LCOKS HURT) Are
you going out somewhere, Gertie.
If something else has come up

I ' 1.] O O O O

(STARTS TO TRY AND GET OTHER BOXES
OUT OF WAY) No, I'm not planning

on going out anywhere. Haven't we
got a date.

onI, I thought we were just going

to stay here and have a cozy little
chat and meal.

-l48-

SOUND

KNOCK ON DOOR

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

HIG:

GERTIE:

FR.WAIT:

AUDIO VIDEO
That's it, but I hope you

don't expect an.afternoon of

mental stimulation, with me,

did you? That's Lizzie

"The Brains" department.

Gertie, you under-rate your-
self. You are very stimulating,
you know.

That I know.

You lodk simply ravishing, Gertie.
But I see I've interrupted your
dressing. You haven't had the
time to don the...upper portion of
your lovely gown.

The upper portion is me, Higgsie.
That's all there is.

Er...may I be so bold as to ask
what holds it up?

A special act of congress. Shall
we leave it at that.

Oh yes, (LOOKS AT HIS HANDS FULL
OF GIFTS) I..I brought these for
you, but...well, I see you all
ready have received some of the
88.1110.

(GESTURING NONCHALANTLY) Oh, those.
They belong to Max, he's always
buying me gifts.

(SMILES) Nax's. Good, good.
are for you Gertie.

These

Thank you Higgsie, will you excuse
me for a feW'minutes while I finish
dressing. Now what? All right, it's
open.

Ah, Madame and Monsieur. You have
called to make up the order, non?

-l49-

SOUND

GERTIE:

HIG:

WAIT:

GERTIE:

WAIT:

GETTIE:

GERTIE:

WAIT:

GERTIE:

HIG:

AUDIO VIDEO

Why, yes. It's for our little
lunch together, Higgsie.

Noll I'm not really hungry. But
perhaps some fruit? Figs or
stewed prunes?

What was that, Monsieur? I'm
afraid I didn't hear correctly.

You heard correctly, Mr. Boyer,
you just don't knOW'Higgsie.

my name is Jacques, Madam. But
I am afraid we have not the rag-
out of prune.

Don't let it throw you, Jack.
You've got a long day ahead of

you.

Nay I suggest the lobster, with
perhaps a magnum...

Waiter, what sort of pop do you
serve in buckets?

(WITH EXPRESSIONS FITTING) Pop,
Wmat is this pop? Pop? ‘Pop?
No, I don't know.

Sounds like the fourth of July.
Say that gives me an.idea. Say
listen, Jack, do me a favor and
I'll give you my autOgraph.

Ah, now I recognize the Mademoi-
selle. You are the Grinshawt
But of course. It will be a
pleasure, Mademoiselle.

Good, now look, I don't drink and
neither does my boy friend.

I should say noti

-l50-

SOUND

GERTIE:

'WAIT:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:

HIG:

GERTIE:.

HIG:

GERTIE:

AUDIO VIDEO

So bring on the lobster and
pack some Ginger Ale in one of
those ice-buckets. A couple
of champagne glasses and who'll
ever guess we're just a couple
of squares.

Ah Nademoisellei You are truly
the great artist. (STARTS TO
BACK OUT) The proper atmosphere,
that is what counts, non?

With Higgsie, I doubt if even that
would help. (EXIT WAITER)

Lobster and Ginger Ale. Oh myl
I dread to think of hOW'I will
feel tomorrow.

Who cares about tomorrow, Higgsie.
Banish dull care and live for the
moment.

Perhaps if I took an extra vitamin
pill it might help.

(STARTS TOWARD BEDROON) How about
a shot of sulpha? I thought you
told me you were the rugged type.

That's because I have never dissi-
pated. I lead a most exemplary life.

You don't have to dissipate, Higgsie,
to have a little fun. Just let your
hair down.and be yourself once in a
While.

(SINCERELY) I shall try Gertie, to
please you. But if ever I tried it
on Elizabeth, she'd think I'd gone

mad.

(LOOKS TOWARDS BEDROOM TURNS BACK)
Don't be too sure, Elizabeth might
love it. I bet her secret ambition
is to forget she's a lady just for
once and have herself a time.

-151-

SOUND

KNOCK ON DOOR

HIG:

GERTIE:

HIG:

STONE:

MAX:

HIG:

MAX:

CLERK:

MAX:

CLERK:

MAX :

CLERK:

MAX:

HIG:

AUDIO VIDEO
Heaven forbid: Do I hear
something in the next room?

Look and find out, while I
finish dressing. (EXIT INTO
BEDROOM)

(ABOUT TO GO INTO NEXT ROOM
WHEN DOOR OPENS AND OUT COMES
MAX AND STONE) Mr. Stonehurst.
What are you doing here?

Thoroughly enjoying myself. Any-
thing wrong in that?

(SEES FLOWERS, GIFTS, ETC.) All
this you bring for Gertie, that's
good.

well, you see...that is..I

Come in.

Oh, pardon me. I just thought
I'd drop up to see if Miss Grin-

shaw wanted anything.

Something she is wanting, we call
room service.

It's our policy to help as much as
‘we can. Has Miss Grinshaw changed
her..er slacks, et..yet...h.

Vots to you, ven the unveiling is
coming, ve let you know;

Oh, please do.
(EXIT)

I can hardly wait.

Is Gertie in the bedroom?

Yes, she just went in there. You
know, I believe you're right sir.
The publicity may be a blessing in
disguise after all.

-l52-

SOUND

STONE:

HIG:

MAX:

STONE:

HIG:

MAX:

STONE:

HIG:

STONE:

HIG:

STONE:

AUDIO VIDEO

Certainly it is. I tell you
Arthur, that Gertie is a
mighty smart woman.

And a gorgeous one. I've never
met anyone as completely fasci-
nating. I find it hard to keep
her out of my mind.

Mit a feW'million others.

Arthur, you haven't a ghost of
a chance with her.

No, I have never deluded myself
into believing that I had. If
only E1izabe e e e e

Vots dat? You're not for mine
Gertie, who is saying so?

Mr. Feinbaum, please. Arthur,
what's wrong with Elizabeth?
You two are perfectly suited to
each other.

Oh, nothing wrong. It's just that
She's 30000500000

Wholesome and unappetizing, I
know. (BEDROOM DOOR OPENs)
(STONE A ART BOTH WHISTLE)

Gertie, they're sensationalll
Why it's Elizabetht

Good Heavensi IS that mine?
Oh, I knew I'd just make a fool
of myself. Please, I'll change
this ridiculous get up right

away.

Ridiculousl Why you're simply
stunning, Elizabeth!

You make me proud to be your
father.

-l53-

SOUND

KNOCK ON DOOR

GERTIE:

HIG:

ELIZ:

STONE:

GERTIE:

STONE:

GERTIE:

ELIZ:

AUDIO VIDEO
fie, your making your agent,
I'm getting you in movies.

I can't understand why I never
noticed how lovely you were
before.

Ever hear of camouflage? She was
a master at it.

(WAMS OVER AND OPENS IT: IN CONES
WAITER.WITH TABLE AND FOOD) Ah,
Jean Sablon with the Gilger Ale.
Looks cute in that silver bucket,
doesn't it? Bring it in and set

it up. (WAITER FOLLOWS INSTRUCTIONS)

(HASN'T TAKEN EYES OFF ELIZ. STRUCK
BY HER CHANGE) Elizabeth, would you
do me the honor of having lunch with
me?

Why Arthur, I'd be delighted.

(TURNS TO GERTIE, SNILINC) Shall we
make it a foursome, Gertie?

I would have died if you hadn't
asked me...ah...ah...
Elmer. Call me Elmer, Gertie.

Elmer. How sweet. Do you know
you are a very handsome man?

(ON WAY OUT 0? DOOR WITH ART) I'm
beginning to see what you mean,
dear. (BOTH COUPLES LEAVE CLOSING
DOOR AFTER THEM)

Nu, how you likin' dat. Veli, you
brought food, nu, sit down mit me
and eat. (STARTS TO SIT DOWN”
ET.)

ANALYSIS
of the

TELEVISION SCRIPT

-155-

Television, though a constricting and frequently exasperating
medium, is not the mystery many writers make it. The same rules of
good writing style apply to it as to any other type of writing; any
capable writer willing to concentrate intelligence and hard work on
the subject can master its intricacies. It is difficult to analyze
a television script because of the extreme youth of the industry.

As it is still in its infancy, anything that can be said about it now
may not apply in a few months. Also, the medium is too young for any
definite authority in the field to be recognized, and as yet there
has been no general writing format developed. The factor of its
youth influences the writer in another aspect: the audience also is
young, uneducated in its television tastes, and of extremely widely-
varying interests. "Surveys have shown that families buy television
sets for all kinds of reasons, ranging from some professional inter-
est to the fact that they have small children and can't go out very
much."1 This widelydvaried interest and the fact that the televis-
ion audience is still sampling all types of ShOWS‘With the enthusiasm
of the small boy sampling the wares in the candy store is a great ad-
vantage to the author with original ideas, because as yet the industry
and the audience are in the experimental stage and will try anything
which seems feasible.

Even though the industry is so young, it is possible to define
many of its virtues and limitations. Let us take a quick look at
these, and then study some of them as they apply to the writer.
Television's main virtue in the eyes of both the writer and the

l. Oscar Katz, "The Audience", Author's League Bulletin, 36:4,
January, l949.

 

-l56-

audience is that the elements of imagery are so much greater than in
radio. The audience sees the performance, as with the stage and

live radio, while the actors are performing it, although what they
see, unlike the stage, is greatly reduced in size. The fact that the
audience sees the performance is both a help and a hindrance to the
writer. It gives him a great many aids to presentation. In addition
to dialogue, sound effects and music, which are all the radio writer
can utilize, the television author uses costumes, scenery, lighting
effects, stage properties, gestures, and facial expression to put
across his ideas.

Although it would appear that the audience's watching the per-
formance gives the author a great many production helps, it imposes
fully as many restrictions. Here are some of the production factors
involved. All television scripts must be written with the camera in
mind. This aspect of camera limitations will be more fully discussed
later; suffice it here to point out the important factors. The icono-
scope is restricted in that it cannot see with clarity beyond the
object in focus. Therefore, the writer may not indicate two simultan-
eous significant pieces of action one behind the other. The camera
limits the actor's technique and the amount of space in which the
action may take place. The actor must use simple gestures and point
all movement at the camera. The small space which the camera covers
definitely limits the size of the cast. The script has greater

mobility than the one-act play in shifting from one locale to anot-

her, but there is a great deal less freedom of movement than in a

-357-

radio script. And keeping the movement flowing smoothly from one
scene to another is much more difficult than in either the one—act
play or the radio script.

‘ The last important limitation which the author must keep in mind
is one of writing style; he must remember that his audience is again
similar to the radio audience in being small groups rather than one
large unit, calling for a greater intimate, conversational quality
than the style of the one-act play. He must maintain high interest
and suspense as in the radio script, for although the television
audience has no such wide choice as the radio audience, it is just as
easy for the television watcher to flip a switch at the first sign of
boredom and loss of interest.

"A good television script grows out of visual concepts with dia-

"2 "The Gorgeous Brain” grew out of the

logue to heighten the effect.
scenario that was used for the stage play and radio script written

for this thesis. The plot in the television play was developed in
the same four parts as the stage play; beginning, conflict, crisis
and denouement. It follows the pattern of the stage play and presents
the same comedy theme of a Hollywood star proving she has intelligence
as well as beauty.

Action and movement in the video script is one of the most impor-
tant and difficult phases which the writer faces. It should be re-
membered that the necessity of writing the television script with
the camera in mind was mentioned earlier. Using the thesis script as

an example, let us make a more detailed study of just how the camera

2. Ruth Friedlich, "Its A New Technique", Author's League
BUIWGtin, 0pc Cite, p. 170

 

-l58-

influences the writing of the script in relation to action. Before
starting his writing, the author should be familiar in general with

the technique of producing the television show. Let it be under-

stood that the author does not have to include camera directions in

his script. Daring his experience at WEBB} the author was interested
to discover that the television producers plot all the camera action.
Camera direction is not the primary concern of the writer. However, it
should be obvious that a thorough knowledge of the types of camera
shots used -- close-up, medium.close, long shot, full figure, high
angle, dolly shots, travel shots, running shots, moving shots -- would
be invaluable. "It is the writer's responsibility to know precisely
the whole physical expression of his story in terms of the eye as well
as the ear."4 If the writer knows the possible and probable shots used
for different types of scenes, he can plot his action.with the visual
aspects in mind, making it easier for him to write, and incorporating
just enough camera and stage direction to help the action to move
smoothly and with greatest effectiveness. He cannot merely write a
script and leave it completely to the producer to turn it into an
effective show.

Dupuy states that action.must be planned for camera takes. The
stage business must be plotted to take place in limited playing areas.
Takes can be planned to be switched from close-ups to long shots to
build the scene and story continuity.5 All the action in the video

3. Television Station, WBKB, l90 N. State St., Chicago, Ill.

4. Henry Benker, "A Directoréwriter Looks at TV", Author's
League Bulletin, 36, DP. Cite, p. 130

5. J. Dupuy, Television Show Business, General Electric Co.,
Schenectady,’l945, pp. 26-27.

 

 

 

-l59-

script for this thesis was planned with the camera in mind. The
stance taken by Gertie and Mr. Stonehurst, as two boxers in a ring,
was planned especially for the cameras. Another camera-planned
scene was the one in which Mr. Stonehurst enters with his ”peace"
gifts for Gertie. His awkward stance and hesitant presentation of
gifts give the camera the time to take different shots of the scene,
staying within its limited area but still preSenting enough action
to aid in the progression of the play. The author must remember that
the actors have to play it close, face the camera, move slow‘y,'with-
out jerks.6

The action in the television show is the same as in the one-act
play: inherent and imposed. But unlike the stage play, television's
small screen sets up other special rules for the writer to take into
consideration. It is clear that emotion, so far as it is reflected in
the face, can.be conveyed effectively only in the closeup. The medium
shot is less telling in this respect than it is on the giant movie
screen. On the other hand, the pattern of moving bodies, as in dancing
and sport events, is quite satisfactory on the small television screen.
Here the fact that the face is the size of a dime and utterly devoid
of character matters very little. Also, the small actions termed
"stage business" must be planned with this thought in mind.

It is generally agreed that a minimum factor of eight to one

can be assigned the effectiveness of sight and sound over that

of sound alone. Applying this index to program production, we
can conclude that the action of "stage business" becomes pre-

dominantly important in television. NOW'that we are able to
produce pictures over the air, it is not surprising to find

6. Robert H. Emerick, "writing for Television", Author's
League Bulletin, 35:l5, December, 1947.

 

-l60-

that the audience prefers action pictures to samples of still

life....Normal movement and action should be written into the

television story in order to avoid the immobility that is

more appropriate to the other arts.7

The writer must have an abundance of movement and action implicit
in the script. Some of this implicit movement in the thesis script
is exemplified by Max's entrance into Gertie's suite with the news-
paper and his scurrying around, looking for Gertie and a place in which
to read her the paper. The writer has inserted directions as well as
dialogue lines for Max to follow. More implied action is shown in
Arthur's meek entrance into Gertie's suite. The half-way entry and the
accompanying dialogue invitation by Gertie brings about the action re-
quired for.Arthur's completed entrance.

Television differs radically from radio in one other technical
matter important to the writer. In radio, changes from scene to scene
are quick and easy. There are no limitations of time and place. But
in television, there are several limitations, imposed by the physical
setup of the studio, the budget of the production and the number of
cameras available. The need for concentration of action within a
limited number of sets is most important.

Concurrent with the above problem is the one of arrangement of
the exits and entrances and passages of time to allow the actor suffi-
cient opportunity to make changes in costume, makosup, etc.

Mabley states that due to the audience attending of the "live"

television show obvious rules are derived such as that an

actor must be given time to alter makeup or costume. Neither

can he make any side excursions for location shots unless these

are put on film. The actors and the lumbering cameras are, in

fact, constricted to a very small area indeed, and the television

7. Edward Mablqy,"TV Tips for writers", Author's League
Bulletin, 56, op. cit., p. 19.

 

-151-

studio at present is approximately as resourceful as the
stage, perhaps a bit less so.

The small screen indicates that scripts shaped up for two or
three characters at a time have the best possibilities for effective
production. If close-ups and medium close-ups can.be worked plenti-
fully into the script, the writer will have achieved additional
factors in his favor. "In telecast technique, a close-up shows only
shoulders and head; a medium close-up expands as far as the knees."9

The author has written the thesis video script with the above in
mind/bggy once has more than three characters in any one scene. This
is the final scene of the play where the plot demands that all five
characters be together. Even in this scene, however, the author has
worked out the distribution of the dialogue so that no more than two
or three are speaking together, and the camera can easily be adjusted
to these smaller groupings, and not lose any of the continuity of the
story.

The most important problem of all for the writer is the one of
completely visualizing his characters in form and movement. It is the
writer's responsibility to know precisely the whole physical expres-
sion of his story in terms of the eye as well as the ear.

Henry Denker states that the trick in television writing is "how
to establish character in the fewest lines; when to sacrifice char--
actor for plot requirements."10

The author was fortunate in being directed to write his one-act
play so that he had established his characters in the fewest lines and

8. Ibid, p. l9.

9. Robert H. Emerick, op. cit., P. l5.
10. Henry Benker, op. cit., p. l3.

-152-

had created enough contrast and personal points in each character that
when the writing of the television script took place he just followed
the same procedure that had taken place in the stage play.

The characters were once again developed in three dimensions and
the author followed the Same procedure, as in the play. The added
feature of having the audience see the faces of the characters made
it easier to bring out the author's visualization of created characters.
The author had his characters in mind as well as his theme before he
sat down and wrote them from.the three above phases.

The author pictured the following character points and was aided
by the camera's close-up shots in obtaining them. He wished Gertie's
face to appear very attractive, and due to the aid of make-up the
audience could easily visualize that she is a beautiful and attractive
woman. Elizabeth with her plain face, would not only look washed out
but would supply the desired contrast needed for the two women on a
television screen. Max would be very colorful and the close-ups of
his face would aid in bringing out the shrewd managerial characteris-
tics. Arthur would appear pale, slim, and reserved in all action
and movements. Stonehurst would appear rotund, red-faced, and have
a grey moustache.

. In writing dialogue for the video script, the radio writer finds
that where his effort up to now has been to convey a mental picture
of an action by means of words and sound, he must reorient himself to
the fact that the action is now visible, and the words and sound are

of supplementary, and therefore secondary, importance. The radio

..l63-

writer must adjust to the idea that what people are doing interests
an audience more than what they are saying.

The dialogue for the video Script was a duplication of the dia-
logue used in the stage play and was used as an aid to the action as
Brander Matthews stated, "the skeletmof a good play is a pantomine."

Television is generally considered an outgrowth of radio due to
the fact that broadcasters are operating most TV stations and as many
valid buSInesses and organizational practices have carried over from the
established radio medium.

So for now,

all that is usually asked or wanted of writers is a dialogue
script slightly embellished with stage business. Assuming -
and with jolly good reason - that no author understands the
intricacies of studio operation, the overworked director
prefers to add his own camera specification, to iron out
video problems in the course of precious rehearsal time, and
finally to rely on his judgement as the prOgram goes on the
air. Seldom.do performers, crew, or those at the control-
board know, on paper, exactly what is to appear on the
screenoj]

Television, although referred to as radio plus sight, must be con-
sidered as a theatrical medium. The writer interested in the new medium
must, for the present, rely on.a thorough knowledge of the theater or

motion pictures. Until television develops a complement of writers,

the field must depend on old-non-royalty plays and short stories.

ll. Ruth Friedlich, op. cit., p. l6.

-154-

PART IV

BIBLIOGRAPHY

Arcner,‘William, Play—Making, DOdd. Mead and Co., New York, l934

 

Baker, George Pierce, D:amatic Technique, Houghton Mifflin and Co.,
Boston, l9l9.

 

Brown and Garwood, General Principles of Play Direction, Samuel
French, New York, l937.

 

Crafton and Royer, The Problems of Play Production, F. S. Crofts and
Co., New York, l928.

 

Dolmen, John, Jr., The Art of Play Production, Harper and Brothers,
New York, l946.

 

Egri, Lajos, The Art of Dramatic Writing, Simon and Schuster, New York,
1946.

 

Heffner, Selden, and Sellman, Modern Theater Practice, F. S. Crofts
and Co., New York, 1946.

 

Hewitt, Barnard, Art and Craft of Play Production, J. B. Lippincott
Co., New York, 1940.

 

Marx, Hilton, The Enjoyment of Drama, F. S. Crofts and Co., New York,
1940. ' "'

 

Selden, Samuel, An Introductionin Playwrighting, F. S. Crofts and
Co., New York, l946.

 

RADIO

Abbot, Naldo, Handbook of Broadcasting, MoGraw-Hill Co., New York
l94l.

 

Barnouw, Erik, Handbook of Radio‘Writing, D. . Heath and Co.,
' Boston, l947.

 

,_Crews, Albert, Professional Radio Writing, Houghton Hifflin Co.,
New York, l946.

 

Lawton, Sherman, Radio Drama, Expression Co., New York, 1930.

 

Rogers, Ralph, D08 and DONTS of Radio'Writing, Associated Radio
Writers Inc., Boston, l937.

 

Thomas, Howard, How to write for Broadcasting, George Allen and
.Unwin Ltd., London, 1940

 

wylie, Max, Radio writing, Farrar and Reinhart, New York, l939.

 

-166-

TELEVISION

Denker, Henry, "A Directoréflriter Looks at TV", Author's League
Bulletin, 36:4, January l949.

 

Dupay, Judy, Television ShOW'Business, General Electric Co.,
Schenectady, l945.

 

 

(”Emerick, Robert H., "Writing for Television," Author's League
Bulletin, 35:l5, December, 1947. ‘

 

Friedlich, Ruth, "It's A New Technique", Author's League Bulletin,
36:4, January, 1949

 

Katz, Oscar, "The Audience", Author's League Bulletin, 36:4,
January, l949.

 

Mabley, Edward, "TV Tips for Writers", Author's League Bulletin,
36:4, January l949.

 

Television Station, WBKB, l9O N. State St., Chicago l, Illinois

-157-

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