• 3 months ago
Transcript
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00:01:43Good morning, Miss Terry.
00:01:44Good morning.
00:01:45There's a mail for you.
00:01:48I hope this is what you've been expecting.
00:01:51Yes, it is.
00:02:00.
00:02:18This should cover my bill.
00:02:20Thank you, Miss Terry.
00:02:22If you'll endorse it, please.
00:02:24Oh, Edwards.
00:02:25Yes?
00:02:26Adjust Miss Terry's account.
00:02:28No, I think you'd better close it.
00:02:30Why, is there anything wrong?
00:02:31I hope the service hasn't...
00:02:33It's just become a little rich for my bank account.
00:02:36Oh, I understand.
00:02:38Close Miss Terry's account.
00:02:40Right away.
00:02:41It was my manager's idea that I register here
00:02:43and put up a good front for the press.
00:02:45I believed everything he told me.
00:02:47Oh, I see.
00:02:49Miss Terry, Mr. Blake calling you from Kansas City.
00:02:51You can take it in booth number one.
00:02:59Hello?
00:03:00Hello?
00:03:02Oh, hello, James.
00:03:04Don't tell me that's really you, Joan Terry.
00:03:07I suppose you've been too busy
00:03:08getting your name in electric lights on Broadway
00:03:10to write me a letter now and then.
00:03:12Or is that too much to expect from one's fiancee?
00:03:15Please, James, don't be cross.
00:03:17I have been busy.
00:03:18You've no idea how hard I've been trying to...
00:03:20I think I've been very patient with you, my dear.
00:03:23I permitted you to go to New York
00:03:24to seek a career just to humor you.
00:03:26But, James, you're not being fair.
00:03:29Surely you should know by this time
00:03:31that you've been chasing rainbows.
00:03:33But I...
00:03:34And besides, your real career
00:03:36is back here in Kansas City being Mrs. James Blake.
00:03:39Shall I wire the money for your transportation home, dear?
00:03:42No.
00:03:43I don't need any money, and I'm not chasing rainbows.
00:03:46Whether you have any faith in me or not,
00:03:48I'm going to make good on Broadway.
00:03:50And when and if I'm ready to come home,
00:03:52I'll buy my own transportation.
00:04:02There you are, Miss Terry.
00:04:05I'll have my luggage picked up this afternoon.
00:04:07Perhaps you would consider one of our less expensive rooms.
00:04:10We have a few at...
00:04:12Six dollars a week?
00:04:13I wish I could.
00:04:15Well, thanks anyway.
00:04:17Oh, Miss Terry,
00:04:19if I might make a suggestion,
00:04:21there's a sort of a girls' hotel,
00:04:23called Barton Hall,
00:04:24where you might rather be able to manage within your budget.
00:04:28Of course, it isn't as ornate,
00:04:30and you won't have the service
00:04:32which you will find here at Barton Hall.
00:04:34Of course, there's a connecting bathroom.
00:04:37Let me show it to you.
00:04:38It's very reasonable, you know.
00:04:40All right.
00:04:46Theodore!
00:04:49Yes, Ma?
00:04:50I just rented room number seven.
00:04:53That's Mrs. Billings, my wife.
00:04:56Now, as I was saying...
00:04:58And I won't have to look for my things in your bedroom any longer!
00:05:01What nerve! My perfume, my hair lotion!
00:05:03At least I didn't use your hair dye, did I?
00:05:08Well, here we are.
00:05:10Oh, I'm sorry. I hope we aren't intruding.
00:05:13Not at all. I'm moving out of this mousetrap anyway.
00:05:19She's always joking.
00:05:20Actually, she's moving into room number one.
00:05:23That's Thelma Mason.
00:05:25She opens at the Gaiety's next Tuesday.
00:05:28Shall I tell Mrs. Billings to make out a receipt?
00:05:31Well, I don't know.
00:05:35You see, it isn't exactly what I was looking for.
00:05:39I wanted something more...
00:05:40I don't think you could find anything more suitable,
00:05:43and so near Broadway.
00:05:44As a matter of fact,
00:05:45right through this window you could see Broadway.
00:05:48If it weren't for that building...
00:05:51Well, since you've already told Mrs. Billings you've rented room seven,
00:05:55I guess I'll...
00:05:56I assure you, you've made a splendid decision.
00:05:59The rent will be $16.50.
00:06:01$16.50?
00:06:02Payable in advance.
00:06:06I'll have your receipt and change downstairs at the desk.
00:06:10Thank you, Miss Terry.
00:06:19Oh, a hat in the bed is bad luck.
00:06:21In show business.
00:06:22Oh, are you an actress?
00:06:24Yes.
00:06:25This work is only temporary.
00:06:27Just sort of a fill-in between engagements.
00:06:29I understand.
00:06:34If there's anything you need, just call me.
00:06:37I'm Sue Collins.
00:06:38Thank you, Sue.
00:06:49Oh, I'm sorry.
00:06:51I thought you were my ex-neighbor.
00:06:53A fine reception you've planned for the new star of the Gaieties.
00:06:56Star?
00:06:57That ballest queen from Brooklyn?
00:06:59She's the great American tragedy of the stage.
00:07:02Oh, uh, I'm Glenda Benton.
00:07:04Nellie on the evening news.
00:07:06Nellie, you know, advice to the lovelorn.
00:07:08That's me, believe it or not.
00:07:10What do they call you?
00:07:11Joe.
00:07:12Joe.
00:07:13Joe.
00:07:14Joe.
00:07:15Joe.
00:07:16Joe.
00:07:17And what do they call you?
00:07:18Joan Terry.
00:07:19Looks as if we share the same bath.
00:07:21Yeah, I have the adjoining cell.
00:07:22And don't be surprised at anything you have to share in good old Barton Hall.
00:07:26Where you from?
00:07:27Kansas City.
00:07:28Oh, the old magic carpet of dreams, huh?
00:07:31Yes.
00:07:32I can see the bright lights of Broadway all the way from home.
00:07:35It's only a mirage, kid.
00:07:37There's a broken heart for every light on Broadway, and don't you forget it.
00:07:40Not for me.
00:07:41I'm going to make Broadway sing my song someday.
00:07:45Yeah, I know.
00:07:46You have to find out for yourself.
00:07:48Well, Joan, I'm in your corner.
00:07:50Anything I can do, just holler.
00:07:52Thanks.
00:07:53What's the name of that perfume?
00:07:55Allure of my heart.
00:07:56Would you like some?
00:07:57Thanks.
00:07:59I've been using impatience.
00:08:00Maybe this will wake the guy up.
00:08:08This is the worst piece of tripe I ever read.
00:08:10What are you going to do with it?
00:08:12It's for Sue.
00:08:13The sweet thing has been pestering me to get her a part.
00:08:16I told I would.
00:08:18And this is it.
00:08:19Oh, that's rich.
00:08:20And will she flop?
00:08:22Little Sarah Bernhardt may hear you.
00:08:31Here's your part, darling.
00:08:32You see, I didn't forget.
00:08:33Oh, you really meant it.
00:08:34Yes, dear.
00:08:35It's the part of Prunella.
00:08:36It's very important.
00:08:37You must study the lines very carefully so you'll know them when you audition.
00:08:41Oh, I shall.
00:08:42Would you like me to read for you now?
00:08:44Not now, dear.
00:08:45We're rather late for an appointment.
00:08:48I don't know how to thank you, Thelma.
00:08:50You're so kind to me.
00:08:52Not at all, my dear.
00:08:54Come, Betty.
00:08:59What a gag.
00:09:00Thelma, you're terrific.
00:09:09Orchids for madame.
00:09:28You must have the wrong room.
00:09:30This is room seven, isn't it?
00:09:31That's right.
00:09:32Then you must be it, sweet thing.
00:09:51Hello?
00:09:52Hello, honey.
00:09:53I'm in the lobby.
00:09:54Oh, are you?
00:09:55Well, sweet thing doesn't live here anymore.
00:09:59And if you will, I'll come right down with your orchids, Mr. Funny Papers.
00:10:03Sweet thing?
00:10:05Funny Papers, orchids?
00:10:08Hey, Pop, who's in number seven?
00:10:11Oh, I forgot, Mr. Dexter.
00:10:13Thelma Mason moved into number one this afternoon.
00:10:15Anyway, she's gone out for the evening.
00:10:17Oh, I see.
00:10:18Oh, and the flowers.
00:10:20I sent them to number seven, too.
00:10:23I guess that makes me a...
00:10:24A chump.
00:10:25With a capital C-H.
00:10:27She's out with a lighting expert.
00:10:28Top some angel will spell Thelma Mason.
00:10:30And he's going to try it out on the marquee at Electric Light.
00:10:33So she thinks.
00:10:36Steve, for a guy that's kicked around Broadway like you have,
00:10:39you're still not wise to the well-known brush-off.
00:10:41Brush-off?
00:10:42Don't be silly.
00:10:43Just a little friendly gesture, the old helping hand.
00:10:46So she'd better.
00:10:47You'll probably get hydrophobia.
00:10:49So what?
00:10:50She's out with...
00:10:51Mr. Funny Papers?
00:10:52Right.
00:10:53The Sunday edition in Technicolor.
00:10:54Well, these were delivered to me by mistake.
00:10:59Sweet thing.
00:11:01There's been no mistake.
00:11:03They're properly addressed.
00:11:04But I...
00:11:05I don't know you.
00:11:07Oh, that's a mere technicality.
00:11:08Take care of her, will you, Glenda?
00:11:10Oh, Joan, this is Steve Dexter.
00:11:12Wall Street's gift to Broadway.
00:11:13Miss Joan Terry from Kansas City.
00:11:15Oh, yes, I've seen your picture in the paper many times.
00:11:18With a couple of cuties draped around his neck.
00:11:20Hey, Glenda.
00:11:21Miss Terry's liable to think I'm nothing but a playboy.
00:11:23Well, are you?
00:11:25Only after fashion.
00:11:26Yeah, and how the fashion changes.
00:11:28One week blondes, the next week redheads.
00:11:30Just a fad.
00:11:31Exactly.
00:11:34One will get you ten, you have a cute gown to match these orchids.
00:11:40Oh, Glenda.
00:11:41You'd better wear these.
00:11:42You're dressed for a date tonight.
00:11:43No, thanks.
00:11:44I'm allergic to highbrow weeds.
00:11:46Oh, Miss Benton.
00:11:47I forgot to tell you.
00:11:48Mr. Thornton called and said...
00:11:49I know, I know.
00:11:50Said he couldn't make it.
00:11:52He's on business.
00:11:53Thanks, Pop.
00:11:54Can you imagine?
00:11:55To me this happens.
00:11:56Three times in the same guy.
00:11:58I must be slipping.
00:11:59Why don't you sit down and write yourself a letter?
00:12:01Sign it broken hearted.
00:12:02Because there's no more ink in my fountain pen.
00:12:04Anyway, I'm still going out.
00:12:06Tears belong in beer.
00:12:07Fine, let's all go.
00:12:08Oh, no.
00:12:09Threes the crowd.
00:12:10See you kids at the junior prom.
00:12:12Nelly rides alone.
00:12:14But twosomes are still the rage.
00:12:16Those orchids would look great on an evening gown.
00:12:18What do you say, Miss Terry?
00:12:19Broadway's just around the corner.
00:12:21And besides, this is my last night in town.
00:12:23Oh, are you leaving New York?
00:12:25Yes, on business to the coast.
00:12:26Incidentally, I'm stopping off in Kansas City,
00:12:28taking the Super Chief from there.
00:12:30But tonight, we still have Broadway.
00:12:32It'll be here when you get back.
00:12:34Ah, yes.
00:12:35But will you?
00:12:37Oh, I think so.
00:12:38Why?
00:12:39Well, I thought that if we made some of the high spots together,
00:12:41we'd have something interesting to talk about when I return.
00:12:44Isn't that right?
00:12:45I really wouldn't know.
00:12:47Like to find out?
00:12:49Well, that all depends.
00:12:51On what?
00:12:54Whether I have a gown to match these orchids.
00:13:08Are you as well as usual, Mr. Dexter?
00:13:10Just fine, Pierre, just fine.
00:13:12Two cocktails on the Dexter?
00:13:14The price of fame when Pierre starts naming cocktails after you.
00:13:18Two cocktails a la Jean Terry.
00:13:20Hey, Garçon, two cocktails a la Jean Terry, la même chose.
00:13:25Hungry?
00:13:26Should we leave it to Pierre?
00:13:28All right.
00:13:29Merci, mademoiselle.
00:13:30Merci, monsieur.
00:13:34Very nice.
00:13:35Cocktails, dinner for two, orchids.
00:13:39Mr. Funnypapers has quite a flair for nice things.
00:13:42Funnypapers?
00:13:43Oh, of course, you think I'm Funnypapers.
00:13:45Well, aren't you?
00:13:46No, no, no.
00:13:47Funnypapers is the nickname of a producer.
00:13:50Oh, then you didn't send these orchids.
00:13:52No, but I'm very grateful to Mr. Funnypapers.
00:13:55If he hadn't, I shouldn't have met the girl from Kansas City.
00:13:59So, here's to him.
00:14:02And to his orchids.
00:14:17Having fun?
00:14:46I'm having a wonderful time, Mr. Funnypapers.
00:14:58Hello, girls.
00:14:59Hello, Kansas City.
00:15:01Hey, what is this, the Ladies' Aid Society?
00:15:03The Barton Hall Reception Committee.
00:15:05Hello, Reception Committee.
00:15:06The sticks have certainly changed since I left.
00:15:08Yeah, a country gal makes good.
00:15:10Wouldn't you like some coffee, Joan?
00:15:12Thank you, Sue.
00:15:13I believe I will.
00:15:15I'm a little tired.
00:15:16By what?
00:15:17The lights at Broadway?
00:15:18Maybe she just got off the merry-go-round.
00:15:20If you're two fugitives from a striptease act, don't shut up.
00:15:23I'll take it easy, Glenda.
00:15:24They're only ribbing.
00:15:25Well, let's have it.
00:15:28Have what?
00:15:29Well, it's an old tradition.
00:15:31Everybody here has a story, or else they wouldn't be in Barton Hall.
00:15:34The girls believe in telling it once and getting it over with.
00:15:37But I...
00:15:38There isn't any story.
00:15:40I was in the little theater group in Kansas City.
00:15:43And I was told I had talent and ability
00:15:45and advised to try the big city,
00:15:47where my art would be appreciated
00:15:49and where I would have a better chance of success.
00:15:51So I came to Broadway,
00:15:53looking for a career.
00:15:55And here we are,
00:15:56a great, big, happy family,
00:15:58but just a little too noisy.
00:16:00Now, girls.
00:16:02Theodore!
00:16:05Yes, Ma?
00:16:09Good morning, Glenda.
00:16:10My, what big eyes you've got, Grandma.
00:16:12Look, honey.
00:16:13Jenny told me last night that her boss, Alexander Draper,
00:16:15is putting on a musical.
00:16:16So I told Jenny to drop in.
00:16:18You're ready to look for a job, aren't you?
00:16:20I certainly am.
00:16:21Oh, where'd you go last night?
00:16:23We went everywhere.
00:16:25Steve Dexter's a marvelous guy.
00:16:27That's James Blake.
00:16:29The boy back home?
00:16:30Mm-hmm.
00:16:31James wants to meet you.
00:16:32Oh, I'll be right there.
00:16:35Boy back home?
00:16:36Mm-hmm.
00:16:37James wants to marry me.
00:16:38He's very nice, but...
00:16:40Well, what does he do for a living?
00:16:42He's in the coal business.
00:16:43Oh!
00:16:44A bookkeeper, huh?
00:16:45Oh, no.
00:16:46He manages several coal mines for his family.
00:16:48Oh, a capitalist.
00:16:50And you blinded by footlights.
00:16:52I have to get up at 7.30,
00:16:53but if I had a coal mine who wanted to marry me...
00:16:56What's this? Homemade records?
00:16:58Mm-hmm.
00:16:59The only reminder of a very expensive manager.
00:17:02I made it at his request.
00:17:03Oh, do you mind?
00:17:04No.
00:17:16You in love again
00:17:20Once more
00:17:22I've loved in vain
00:17:25Once more
00:17:26That's you.
00:17:27I know the pain of a broken heart
00:17:30Come in.
00:17:31Hello, girl.
00:17:33It's June.
00:17:35Really?
00:17:37My love's an endless chain
00:17:42That takes me back again
00:17:46For another start
00:17:51Janie, I think you'd better take this career girl
00:17:53down to Draper's office.
00:17:54That I will do.
00:17:56However, don't order that mink coat just yet.
00:17:58I've been working for that guy for six months.
00:18:00And all he's ever said to me is,
00:18:01good morning and good night.
00:18:03Good luck, Joan.
00:18:12Quite swank.
00:18:13When you get no finance around here,
00:18:14you get up with all the drumming.
00:18:16Grab a chair and try to look temperamental.
00:18:18I'll do my best.
00:18:19No one on Broadway comes easier than breathing.
00:18:22And Alexander Draper is the all-time champ.
00:18:24Well, he's so cold-hearted,
00:18:25we even get along without air conditioning around here.
00:18:27Well, I'm sure he and Broadway
00:18:28aren't as bad as you're painting them.
00:18:33Listen, hon.
00:18:34Don't build yourself up for a letdown.
00:18:35Well, the Spanish Inquisition was patty cake, patty cake,
00:18:38compared to the going over
00:18:39you're going to get here on Broadway.
00:18:42Good morning, Mr. Draper.
00:18:43Morning.
00:18:45Miss Woods.
00:18:46Yes, sir.
00:18:48Hold everything.
00:18:49Keep your fingers crossed.
00:18:51Good morning, Mr. Bronson.
00:18:52Good morning.
00:18:53Mr. Draper's waiting for you.
00:18:57That's Mr. Bronson, the casting director.
00:18:59They'll be tied up for hours.
00:19:00Suppose you try some of the other offices
00:19:02and drop back around 5.
00:19:04All right, thanks.
00:19:05Seems to be quite a bit doing,
00:19:06but I'll be back at 5 for sure.
00:19:08Remember, don't talk to strangers.
00:19:10I won't.
00:19:11I won't.
00:19:12I won't.
00:19:13I won't.
00:19:14I won't.
00:19:15I won't.
00:19:16I won't.
00:19:17I won't.
00:19:18I won't.
00:19:19Don't talk to strangers.
00:19:44What did Murdoch say after you told him that?
00:19:46I didn't wait long enough to hear.
00:19:48Say, what about Mr. Draper?
00:19:49Well, the conference broke up at 4.30,
00:19:51but he hasn't come out yet.
00:19:53Oh, Mr. Draper, this is Miss Joan Terry.
00:19:55How do you do?
00:19:56Hello.
00:19:57She's been waiting quite some time to see you.
00:19:58What about?
00:19:59Well, I'm from the Kansas City Little Theater Group,
00:20:01and I'd like to...
00:20:02What do you do?
00:20:04Well, I have played leads, and I sing a little, and...
00:20:07All right, let me hear you sing.
00:20:09What are you going to sing?
00:20:11Will someday be all right, Mr. Draper?
00:20:13Anything.
00:20:19Someday when the clouds roll by
00:20:26I'll see you smiling through
00:20:33I'll see you smiling through
00:20:39As you used to be
00:20:46Before may days turn to grey dreams
00:20:58Someday when the clouds roll by
00:21:04I'll wait to hear you singing
00:21:10My heart will be near
00:21:20With a song you're singing
00:21:30Someday maybe you and I
00:21:36Will realize each promise
00:21:43That was taken from us
00:21:49When we parted
00:21:57If fate is kind, my darling
00:22:07We will know how we must die
00:22:19Someday when the clouds roll by
00:22:36Someday when the clouds roll by
00:23:04He's gone.
00:23:05Well, if this isn't the end of a perfect day.
00:23:15Thanks for everything, Jane.
00:23:16Now, don't rub it in.
00:23:17Good night.
00:23:18Good night.
00:23:28Come in.
00:23:31Oh, hello, Sue.
00:23:32I thought I'd bring you some extra towels.
00:23:33Thanks.
00:23:34You can just put them here.
00:23:35What is that you have?
00:23:36Oh, it's a play Thelma gave me to study.
00:23:38Would you like to have me read?
00:23:40But there is a tomorrow,
00:23:41and the dawn will come.
00:23:43Pause.
00:23:44Bringing with it the blue-eyed goddess of fortune.
00:23:46Double pause.
00:23:47Oh, at last opportunity was here.
00:23:50There.
00:23:51That's the most beautiful part of all.
00:23:53Do you think I give it the proper interpretation?
00:23:55It's very expressive.
00:23:57Shall I read some more for you?
00:23:58If you don't mind, I'm a little tired.
00:24:00Oh.
00:24:01Well, I'll go then.
00:24:03But I want to thank you for all your kindness to me.
00:24:05That's all right, Sue.
00:24:06If I can ever help you, just call on me.
00:24:09Thanks, Joan.
00:24:10You don't know what that means to me.
00:24:12The theater is all I live for.
00:24:32Oh.
00:24:33Oh.
00:24:34Oh.
00:24:35Oh.
00:24:36Oh.
00:24:37Oh.
00:24:38Oh.
00:24:39Oh.
00:24:40Oh.
00:24:41Oh.
00:24:42Oh.
00:24:43Oh.
00:24:44Oh.
00:24:45Oh.
00:24:46Oh.
00:24:47Oh.
00:24:48Oh.
00:24:49Oh.
00:24:50Oh.
00:24:51Oh.
00:24:52Oh.
00:24:53Oh.
00:24:54Oh.
00:24:55Oh.
00:24:56Oh.
00:24:57Oh.
00:24:58Oh.
00:24:59Oh.
00:25:00Oh.
00:25:01Oh.
00:25:02Oh.
00:25:03Oh.
00:25:04Oh.
00:25:05Oh.
00:25:06Oh.
00:25:07Oh.
00:25:08Oh.
00:25:09Oh.
00:25:10Oh.
00:25:11Oh.
00:25:12Oh.
00:25:13Oh.
00:25:14Oh.
00:25:15Oh.
00:25:16Oh.
00:25:17Oh.
00:25:18Oh.
00:25:19Oh.
00:25:25Is that you, honey?
00:25:26Yes, Glenda.
00:25:27Oh, I'm glad you're home early.
00:25:29Voice lessons, rent, food, car fare. I'm all out of money.
00:25:34Well, maybe I could...
00:25:35No thanks, Glenda.
00:25:37I've reached the end of the rainbow and the pot of gold isn't there.
00:25:41Mrs. James Blake, next stop.
00:25:43Oh, that way it is, I hope.
00:25:44I'm afraid so.
00:25:46I'm expecting him to call any minute.
00:25:48Mrs. Coal Mine. Won't that be something?
00:25:51Maybe it isn't such a bad deal.
00:25:52After all, you don't find coal mines running around in the street.
00:25:55Well, what about...
00:25:57I'll skip it. I was just thinking out loud.
00:26:01Up pops the devil.
00:26:05Hello?
00:26:06Yes?
00:26:08Oh, hello, James.
00:26:09Is that you, Joan?
00:26:11Yes, James, of course.
00:26:13Do you know why I'm calling?
00:26:15Yes, James.
00:26:17Is that your answer? Yes?
00:26:19Yes, James.
00:26:21Fine. Now you're really acting sensibly.
00:26:23I'll call for you the first thing in the morning.
00:26:26Yes, James.
00:26:28Then you won't be sorry.
00:26:29Good night, Joan dear.
00:26:31Yes, James.
00:26:36Yes, James. Yes, James.
00:26:38If you put that dialogue in water, it would swim.
00:26:41Oh, I'm sorry.
00:26:43I should talk.
00:26:45Like all the rest in Barton Hall, I know howling success.
00:26:49This poor Sue will never get a chance.
00:26:52And stupid Betty aping Thelma.
00:26:54And Polly, who's just dying to own one of those dresses she models for those big fat dames that can't even squeeze into them.
00:26:59The whole thing's a nightmare.
00:27:01You're lucky. You woke up in time.
00:27:04Maybe I should be thankful there is a coal mine.
00:27:07And, Glenda, James is really much nicer than he sounds or looks.
00:27:13What is that surprise you mentioned?
00:27:15Oh. Oh, nothing.
00:27:17No, what is it?
00:27:18Steve Dexter's in town.
00:27:20Steve Dexter?
00:27:22Yeah, and like a dope, I asked him to the party tonight.
00:27:26Aw, don't be so sad.
00:27:28Put on the glad rags.
00:27:29Tomorrow we'll be timing up for that home sweet home routine.
00:27:32But tonight, it's still New York and the goose hang is high.
00:27:37I've been working on a new routine, kids.
00:27:39It's an impression of our greatest colored tap dancer.
00:27:41Hope you like it.
00:27:52I know it's been three months since I gave you the part to study.
00:27:55After all, my dear, you know how producers are.
00:27:58I can't force them to call you.
00:28:00Oh, I didn't mean it that way, Thelma.
00:28:02It's just that I know my part so well now.
00:28:04In fact, all the parts.
00:28:12I'm sorry.
00:28:14It's all right.
00:28:16It's all right.
00:28:18It's all right.
00:28:20It's all right.
00:28:22It's all right.
00:28:46They don't get a kick out of anything but the guys in the front row.
00:28:52I want to...
00:29:02Ladies and gentlemen, for her premiere at Botton Hall
00:29:05and through the courtesy of Mom's sister in Hoboken, New Jersey...
00:29:10I give you Broadway's newest star,
00:29:12the girl room number seven.
00:29:19Come on, Kansas, will you join the fun?
00:29:21a blue. You can't let me down after I've been shouting praises all over the place
00:29:27all right. And play you in love with it.
00:29:36You know and love again by K.C.
00:29:39In her own inimitable style.
00:29:51Once more I've loved in vain once more I know the pain of a broken heart I'm blue in love again
00:30:11my love's an endless chain that takes me back again for another start I vow that I'll never come near you
00:30:36or even fall on my own for my heart has learned it will only get burned and yet I can't leave you alone
00:30:53I'm blue what can I do I thought when we were through my heart could forget you but in vain
00:31:13I'm blue in love again
00:31:35What's the matter Glenda? Did I give her stage fright?
00:31:37Look Steve, why don't you go ahead and keep her company?
00:31:40Why me?
00:31:41Oh, you wouldn't understand you big lug.
00:31:56Please Glenda, I'd rather be alone.
00:31:59I'll tell her when I see her.
00:32:01Oh.
00:32:03Is that all you have to say to an old friend?
00:32:05I'm sorry Steve. I am glad to see you.
00:32:09Funny, we do seem to meet just before we part, don't we?
00:32:14You mean you're leaving town?
00:32:16Yes, this is my last night. I'm going back home.
00:32:21But what about that burning ambition? Your career?
00:32:24Career? That's just an illusion.
00:32:27Wait days and days and then have some half-baked producer tell you to go to Hollywood.
00:32:32Get a name first.
00:32:34Pin your hope on some old fool who hasn't the heart to tell you he can't use you.
00:32:38But files your name in the wastebasket.
00:32:41Casanovas whose only interest is loose telephone numbers.
00:32:45You walk miles and miles each day just to save car fare.
00:32:50Career.
00:32:52So far as I'm concerned they can take Broadway and every line on it and dump it into the East River.
00:32:57I've heard that before.
00:32:59But Broadway gets into your blood. You'll be back.
00:33:02I'm afraid not.
00:33:04You see, I'm going to be married.
00:33:06Well, if that's the way you want it, you deserve the best.
00:33:12I hope the lucky man realizes it.
00:33:14He's really very nice, Steve. From my hometown.
00:33:18Well, haven't you anything to say?
00:33:21Don't you wish me luck?
00:33:23Certainly, Joan. Tons of luck.
00:33:25If you were my own kid sister I wouldn't have an argument.
00:33:28Have you ever made up your mind to marry the boy from back home?
00:33:32Well, I guess that's the way it should be.
00:33:34Happy ending.
00:33:38Thanks, Steve.
00:34:05It's a shame. Joan has worlds of talent.
00:34:09Why, she could be a star.
00:34:11Haven't I been telling you that for months?
00:34:13When she sang Blue and Love Again?
00:34:15Right there.
00:34:17You're not kidding, Janie.
00:34:19Girls, girls, I wish you'd stop your chattering and help me put the room to right.
00:34:23You know Mom will be coming home pretty soon.
00:34:25Shush, Pop.
00:34:27Gather round, kiddies.
00:34:29Glenda has an idea.
00:34:30Why can't we raise enough money to keep her going until she gets a break?
00:34:33Twenty-five dollars a week would do it beautifully.
00:34:36Say, that is an idea.
00:34:38And split up among us, it wouldn't amount to very much.
00:34:41A dollar and a half a piece.
00:34:43A dollar and a half isn't very much.
00:34:45She'd never take it.
00:34:47She'd think it was charity.
00:34:49But it needn't be charity.
00:34:51Why not do it in a legal and businesslike manner?
00:34:54You could even incorporate number seven.
00:34:56I mean Joan.
00:34:57Incorporate?
00:34:59Say, maybe you got something there, Pop.
00:35:01Certainly.
00:35:03Then she wouldn't be accepting charity.
00:35:05And you'd have protection for your investment.
00:35:07It sounds all right.
00:35:09I'd blunt my eye.
00:35:11What, with radio and stage and personal appearances?
00:35:13Why, she's liable to make $100,000 a year.
00:35:15And one-third of that ain't hay.
00:35:18Pop, get rid of some paper.
00:35:20Louise, you don't know enough about law to draw up a contract.
00:35:23After six months with Callahan, Callahan, Callahan, Callahan,
00:35:27and Goldberg, I know all the bare floors
00:35:30from status quo to habeas corpus.
00:35:33Come on.
00:35:42Whereas, we the undersigned,
00:35:45hereafter known as, uh,
00:35:48what do we name the corporation, girls?
00:35:50How about something with talent in it?
00:35:52Talent.
00:35:54That's it.
00:35:56Talent Incorporated.
00:35:58Perfect.
00:36:00Talent Incorporated, party of the first part,
00:36:02agrees to furnish Joan Terry,
00:36:06hereafter known as party of the second part,
00:36:10the sum of $25 a week.
00:36:14The sum of $25 a week.
00:36:18Of $25 per week.
00:36:22And whereas...
00:36:24And whereas...
00:36:26Theodore Billings, party of the third part...
00:36:31Theodore Billings, party of the third part...
00:36:37Agrees to furnish room number seven rent-free.
00:36:42Agrees to furnish room number seven rent-free.
00:36:48Rent-free?
00:36:51Rent-free?
00:36:53No, no.
00:36:55Mom would skin me alive if I can send her to this.
00:36:57The corporation was your idea,
00:36:59and you're the chief stockholder.
00:37:01I won't do it.
00:37:03Okay.
00:37:05Girls, don't you think Mom is just dying to know
00:37:07that Pop's been betting the horses again?
00:37:09It's blackmail.
00:37:11I protest.
00:37:13Overruled.
00:37:15Proceed with the contract.
00:37:16And whereas...
00:37:20And whereas...
00:37:27I've been saying this for a special celebration.
00:37:29It's warm, but it's pink champagne.
00:37:31Flickering Barton Hall?
00:37:33Shh.
00:37:35If Mom should ever hear this...
00:37:37She won't unless you talk in your sleep.
00:37:41We want the girl in room number seven!
00:37:44We want the girl from room number seven!
00:37:47We want the girl from room number seven!
00:37:50Okay, girls, off pedal.
00:37:52Go ahead, Pop, tell her.
00:37:54Joan, Miss Terry, I have the honor to present you
00:37:56with your first Broadway contract.
00:37:58The girls and I have formed a corporation...
00:38:00Talent Incorporated.
00:38:02Which gives us the sole and exclusive right
00:38:04to your services as an actress.
00:38:06In turn, you're to receive $25 per week
00:38:08and room number seven rent-free.
00:38:12I don't understand.
00:38:14It's very simple.
00:38:16We all think with a voice like yours, you have a future.
00:38:18And we're banking on it.
00:38:20Well, girls, I don't know what to say, except...
00:38:22Well, it's no use. I'm leaving tomorrow.
00:38:24Oh, you certainly give up easily.
00:38:26Some of us have been trying for years.
00:38:28And never getting to first base.
00:38:30We figure it'd be a better deal
00:38:32to pool our ambitions and hopes
00:38:34and concentrate on someone who has the best chance
00:38:36of making the grade, and baby, you're it.
00:38:38Do you think I'd leave if I thought I had a chance?
00:38:40Joan, we all have a lot of faith in you.
00:38:42You ought to have some in yourself.
00:38:44But I...
00:38:46Oh, yes, James, yes, James. Is that a future?
00:38:48It's all so fantastic.
00:38:50I don't want to disappoint anyone.
00:38:52Then it's a deal.
00:38:54Come on. You won't regret it.
00:38:59I really shouldn't,
00:39:01but this being a female corporation,
00:39:03it should be launched properly,
00:39:05like a battleship.
00:39:07Here's to Talent Incorporated and its greatest asset,
00:39:10the girl from room number seven!
00:39:13To all of you, from all of me.
00:39:20Mmm!
00:39:26And are you due for a KB, Mr. Coalmine?
00:39:34Are you trying to tell me you've changed your mind?
00:39:37Definitely.
00:39:38And you expect to walk out of my life
00:39:40because of this silly business
00:39:42about being a corporation?
00:39:44Pop Billings has the contract, if you'd like to see it.
00:39:46But, Joan, what about Mother?
00:39:48She's planning your reception,
00:39:50and my sister's choosing your trousseau.
00:39:52How romantic!
00:39:54Well, let me know when the price of coal goes down,
00:39:56Jimmy, old boy.
00:39:58I'd like to give someone a hot foot.
00:40:00And furthermore, I do not approve
00:40:02of the people with whom you associate.
00:40:05Joan,
00:40:06the train leaves at two o'clock,
00:40:08and you're going back to Kansas City with me.
00:40:10I mean what I say, and I'm not going back.
00:40:19May I ask who is Mr. Funny Papers,
00:40:22and why he presumes to address you so familiarly?
00:40:24Sweet thing.
00:40:26Oh, that's Steve Dexter. He's a...
00:40:28No, no, I mean he's a producer.
00:40:30You're rather confused, aren't you?
00:40:32Please, James.
00:40:34Steve Dexter, the notorious playboy.
00:40:36And who is he, the president of the corporation?
00:40:38Don't be silly. It was all an accident.
00:40:40I received the orchids from him by mistake.
00:40:43Orchids?
00:40:45And I have closed the deal this afternoon.
00:40:48We are crediting your account
00:40:50with 30,000 shares of TB&T.
00:40:55That's all, Miss Cunningham.
00:41:01Oh, Miss Cunningham.
00:41:03Yes?
00:41:04Send these to Miss Joan Terry, Barton Hall.
00:41:06You know the address.
00:41:08Get them there before one. She's checking out.
00:41:10Yes, Steve.
00:41:12Oh, Miss Cunningham.
00:41:14Yes?
00:41:16On the card, put goodbye and good luck.
00:41:18And I do mean number seven.
00:41:20And I do mean number seven?
00:41:22Right.
00:41:24Oh, you're still waiting. I'm terribly sorry.
00:41:26I'll tell Mr. Dexter you're here.
00:41:28Never mind. I'll tell him myself.
00:41:30Mr. Dexter, take my advice and send these to someone else.
00:41:32And just who are you?
00:41:34I'm James Blake, Miss Terry's fiance.
00:41:36That is, I was until you started in your conniving.
00:41:38Conniving?
00:41:40Yes, conniving.
00:41:42Sit down, Mr. Blake.
00:41:44I won't sit down. I'm here to tell you...
00:41:46I said sit down.
00:41:48Now, what's this all about?
00:41:50You know what you've done.
00:41:52Why cheapen it further by talking about it?
00:41:54Mr. Blake, I'm certainly glad you dropped in to see me.
00:41:56I've always wanted to meet someone like you.
00:41:58Just what do you mean?
00:42:00I don't know what you're talking about.
00:42:02You don't know about Joan going back on her promise to marry me
00:42:04because of the corporation those women concocted?
00:42:07You don't know about that?
00:42:09It's all news to me.
00:42:11Maybe you better keep on talking.
00:42:13Tell me more about this corporation.
00:42:15Oh, it's a preposterous idea.
00:42:17Talent incorporated to promote Joan's career or something.
00:42:20And when I came in here, I was sure it was your scheme.
00:42:23Not guilty.
00:42:25But it is a pivot of an idea.
00:42:28Mr. Dexter.
00:42:30No, thanks.
00:42:32I could offer Joan security, family, position.
00:42:37Do you honestly believe that she should sacrifice all that?
00:42:40No, not necessarily.
00:42:43Do you know Joan well?
00:42:45Yes, very well.
00:42:47I've met her exactly twice.
00:42:49And that calls for orchids twice?
00:42:52Listen to me, Mr. Blake.
00:42:55The orchids were strictly an accident the first time.
00:42:58These on purpose.
00:43:00A little going away gift.
00:43:02For a very sweet girl.
00:43:05I understand now.
00:43:07Perhaps I made a fool of myself barging in like this.
00:43:10Oh, I don't blame you.
00:43:12Joan's the kind of a girl that makes a man go around bumping into lampposts.
00:43:15Believe me.
00:43:17I hardly know what to say.
00:43:19Except you're a pretty smart person, Mr. Dexter.
00:43:22Steve to you, Jim.
00:43:24Thanks, Steve.
00:43:27But there's...
00:43:29There's still that harebrained corporation.
00:43:32Look, Jim.
00:43:34There's a high mortality rate on corporations.
00:43:36Especially that sort.
00:43:38The old law of averages is on your side.
00:43:40Perhaps you're right.
00:43:42Some of the girls will get tired of putting money into it after a few weeks.
00:43:45I hope the whole thing flops.
00:43:47But I'm too busy to wait around for bankruptcy.
00:43:51I've got to return to Kansas City on business.
00:43:53Call mine, you know.
00:43:55I understand.
00:43:57We better be asking too much of you, Steve, to...
00:44:00start to keep an eye on it for me.
00:44:02My pleasure. You can depend on it.
00:44:04Thanks very much.
00:44:06I appreciate everything and...
00:44:08excuse my rudeness.
00:44:09Forget it.
00:44:10Bye, Steve.
00:44:11So long.
00:44:17Miss Cunningham.
00:44:19Will you get Miss Terry on the phone, please?
00:44:33Hello?
00:44:34Oh, Joan?
00:44:35This is Steve.
00:44:37Let me be the first to congratulate you.
00:44:39No, no, no, no.
00:44:41On the corporation.
00:44:42So James did look you up.
00:44:44I hope he wasn't unpleasant.
00:44:46No, on the contrary.
00:44:48He's a rather substantial chap.
00:44:50Family position and all that.
00:44:52As a matter of fact,
00:44:54he more or less appointed me your guardian.
00:44:56How nice.
00:44:57Well, let me tell you something, Steve Dexter.
00:44:59I'm not your kid sister,
00:45:01and I do not need a guardian.
00:45:03Oh, now, wait a minute, Joan.
00:45:05I only meant to...
00:45:07Do you ever say the right thing, Mr. Dexter?
00:45:15And with the build-up we're going to give her,
00:45:17we can't miss.
00:45:18We're going to cover her with so much glamour,
00:45:20producers will be fighting for her autographs on contracts.
00:45:22You said it.
00:45:24I can hear Hollywood screaming for her right now.
00:45:26Well, here's the program.
00:45:27I'll handle the publicity.
00:45:29And you take care of the beauty work.
00:45:31I've already made an appointment for her.
00:45:33Louise, you think that photographer friend of yours
00:45:35will make the pictures we need?
00:45:37If he wants to get along with me, he will.
00:45:39Janie, you get some music arranged as soon as possible.
00:45:41Okay, if not sooner.
00:45:43Polly, you get the clothes.
00:45:45Hey, wait a minute.
00:45:47I can't take any of those gowns home with me.
00:45:49Oh, but that cute little friend of yours,
00:45:51what's his name?
00:45:53McDaniels is in charge of deliveries.
00:45:55No, you can't mean him, Glenda.
00:45:57You have my sympathy,
00:45:58but we all have to make some sacrifice.
00:46:00Sacrifice nothing.
00:46:02I'd be a burnt offering.
00:46:06We're going dancing tonight, aren't we, Polly dear?
00:46:09How can I say no?
00:46:13Hey, hey, don't sit down.
00:46:15You'll crease the dress.
00:46:17Polly, I really should have these dresses back at the store.
00:46:20I feel like an embezzler.
00:46:22Don't think about it, Joey.
00:46:24Just remember, we're going stepping tonight.
00:46:27All right, Ann, stop fussing.
00:46:29She's beautiful enough.
00:46:31Ready, Harry?
00:46:33Let's get this last one quickly.
00:46:35I want to get this stuff all over tomorrow's papers.
00:46:37I'm all ready.
00:46:39Would you girls clear the background, please?
00:46:41Now, Miss Terry, would you,
00:46:43over this way, to your left a little bit.
00:46:45Yeah, that's good.
00:46:47Now hold it.
00:46:49Smile.
00:46:51Okay, it's in the bag.
00:46:53The best dressed woman on the American stage.
00:46:55What stage?
00:46:57The whole thing is silly.
00:46:59I vote we come to our senses and forget it.
00:47:01Girls, Joan is everything.
00:47:03There's no argument.
00:47:05But if the producers won't bite
00:47:07after the campaign weave stage...
00:47:09Okay, Benedict Arnold Billings.
00:47:11Oh, Glenda, it isn't bad.
00:47:13But I can't juggle the books any longer.
00:47:15You know, Mom's beginning to smell a rat
00:47:17about that rent money I can't account for.
00:47:19And I'm a peace-loving man.
00:47:21Oh, you're all a bunch of weak-kneed backsliders.
00:47:23Just because the producers haven't been
00:47:25falling over each other to sign her up
00:47:27and plugging, you want to quit.
00:47:29What do you expect, miracles?
00:47:31Girls, I have great news for you.
00:47:33Frances Weaver got temperamental today.
00:47:35Walked out on her part and told Draper
00:47:37what he could do with his show.
00:47:39And boy, is he in a jam.
00:47:41Maybe Joan should go see him.
00:47:43Maybe your eye.
00:47:45This is one interview little Joan's not gonna miss.
00:47:47Could be a...
00:47:52Come in.
00:47:54There's always room for one more.
00:47:55Yeah, doesn't look like we're ever
00:47:57going to get a chance, does it?
00:47:59No, I guess not.
00:48:01Well, I'll try some of the other offices.
00:48:03They're coming picking fast now.
00:48:05Have I been turning them away?
00:48:09Who's first?
00:48:11Oh, she is, she is.
00:48:13Well, it's the first time in 25 years of show business
00:48:16I ever heard one actress give another a break.
00:48:18Come in, young lady.
00:48:25Oh, Bronson.
00:48:30Never mind, that part's been filled.
00:48:40Why, that dirty double-crossing weasel.
00:48:43She must have been eavesdropping on us.
00:48:45She doesn't care how she gets a break.
00:48:53Here they come.
00:48:55Quiet, everybody act natural.
00:49:04Well, why so glum, children?
00:49:06Oh, yes, I remember.
00:49:08The bottoms fell out of the market.
00:49:10I bet I could buy the entire stock
00:49:12of the corporation for $1.98.
00:49:14Marked down from $2.
00:49:16Listen, you burly burlesque queen.
00:49:18If you want that lovely face of yours
00:49:20to look like hamburger, just keep blabbering.
00:49:22And that goes for you too, you paw parrot.
00:49:23Really?
00:49:25Yes, Thelma, you're not acting quite fairly.
00:49:27After all, we are trying to accomplish something.
00:49:29Well, little Sarah Bernhardt Jr.
00:49:31That's all the thanks I get
00:49:33for trying to get you a break.
00:49:35Give me that script.
00:49:37Sue, did she give you that script?
00:49:39Yes, and she told me she'd get me an audition
00:49:41with Black and Horton as soon as I learned my lines.
00:49:43Thelma, I warned you.
00:49:45But I meant it.
00:49:47Can I help it if they went broke
00:49:49and didn't have enough money to put on the show?
00:49:51You knew that three months ago.
00:49:53Wait a second.
00:50:03Mom's favorite vase.
00:50:05Boy, if she ever finds out about this...
00:50:07I'd be willing to pay for this
00:50:09just to break it over Thelma's head again.
00:50:11Well, keep it quiet, girls.
00:50:13Hop will probably collapse
00:50:15when Thelma and Betty check out tomorrow.
00:50:17And you, falling for that phony.
00:50:19But it's a good script, Glenda.
00:50:21I can imagine.
00:50:23Here it is.
00:50:27Well, that's the best sketch
00:50:29I ever read in any musical comedy.
00:50:32Well, when are we going to vote
00:50:34this corporation out of existence?
00:50:36Never.
00:50:38Gather around, kiddies.
00:50:40Glenda has another idea, and this is it.
00:50:43Strictly from hunger.
00:50:45And this Joan Terry,
00:50:47even if she could sing like two nightingales,
00:50:49she still couldn't drag enough money
00:50:51into the box office to feed a canary
00:50:53with a feeling.
00:50:55Oh, amateurs in my theater.
00:50:57It would be a sacrament.
00:50:59You mean a sacrilege.
00:51:01Here comes the dawn,
00:51:03and I wake up without a dime.
00:51:05I still think it's good.
00:51:07But there is tomorrow.
00:51:09Comes the dawn.
00:51:11And with it, the shining sun
00:51:13bringing the blue-eyed goddess of fortune.
00:51:15Isn't that beautiful?
00:51:17Blue-eyed goddess of fortune?
00:51:19Even in Iowa, they don't have such corn.
00:51:21Sure, it's corny,
00:51:23but Glenda, how can we put a show on without money?
00:51:25That's what I'm trying to get through your thick skull.
00:51:27You can put this one on for peanuts.
00:51:29You don't have to pay rent for your theater.
00:51:31The cast will work for nothing.
00:51:33The publicity is on me for free.
00:51:35And on top of that, you get Joan Terry
00:51:37who will be a star overnight,
00:51:39or I'll eat that script without cream.
00:51:41Oh, you mean everything on a coincidental basis.
00:51:43You mean cooperative.
00:51:45Yeah, yeah, yeah, but I still think
00:51:47we need an experienced leading lady.
00:51:49Have you figured out what a leading lady
00:51:51with a big name would cost?
00:51:53With a leading lady,
00:51:55we ain't got money enough to put on a show.
00:51:57If we put on a show,
00:51:59we ain't got money enough to pay a leading lady.
00:52:01Oh, I tell you, it's a victorious circle.
00:52:03You mean a vicious circle.
00:52:05Yeah, and stop correcting me.
00:52:07Well, the trouble with you, Felix,
00:52:09is you want to eat your cake,
00:52:11but you're afraid of swallowing it.
00:52:13Now, in this case, the leading lady gets experience,
00:52:15we get a show, and it's all on the cuff.
00:52:17Not so quick.
00:52:19I'm the senior partner.
00:52:21I say yes and I say no,
00:52:23but that's what I do.
00:52:25You tell me what you do,
00:52:27and I'll give you a place to stay.
00:52:29I want to see you.
00:52:31Let's see you on stage.
00:52:37And here it is, five weeks,
00:52:39and instead of coming home,
00:52:41Joan's more determined than ever
00:52:43to go through with this nonsense.
00:52:45Don't forget, Jim, this is still Broadway.
00:52:47More shows fold on this cow pat
00:52:49than any street in the world.
00:52:51And with these two in back of this one.
00:52:53A dream came true for me one day
00:53:22From somewhere out of the blue
00:53:27For I just opened my eyes and there were you
00:53:36The stars may never shine again
00:53:41Or rainbows come into view
00:53:46I don't care whether they do
00:53:50For I have you
00:53:56Gave me your lips so tender
00:54:01My heart only loves him to stay
00:54:06Your kiss made me say I surrender
00:54:11I love you, I love you, what more can I say
00:54:17Dreams may come and dreams may go
00:54:22Like candles that fade in the blue
00:54:26Thank heaven that you're really you
00:54:31My dream came true
00:54:37Gave me your lips so tender
00:54:42My heart only loves him to stay
00:54:47Your kiss made me say I surrender
00:54:52I love you, I love you, what more can I say
00:54:59Dreams may come and dreams may go
00:55:06Like candles that fade in the blue
00:55:11Thank heaven that you're really you
00:55:16My dream came true
00:55:26Okay, kids, break it up. Fifteen minutes rest period.
00:55:31I may be wrong, but from where I sit, if the rest is like this,
00:55:35Horton and Black have a hit show on their hands.
00:55:37I'm going up to congratulate Glenda.
00:55:40Look up, Joe.
00:55:48Take it easy, Felix. They're just tired.
00:55:50They've been rehearsing all night and day.
00:55:52The show's all ready to open. It looks like a flop right now.
00:55:56You inducted me into this.
00:55:58I ought to have my head examined for a maroon.
00:56:00You mean moron. I inducted you.
00:56:03You're the senior partner. Anyway, I still think it's good.
00:56:06Don't think. It's your thinking that's going to cost me the money I borrowed from my wife to put into this.
00:56:11For two cents, I'd sell this turkey.
00:56:13Mr. Horton, I'd like a word with you.
00:56:15Have it with him. He's the senior partner.
00:56:17With a lemon on my hands, I don't want to talk to anybody.
00:56:19But you don't understand. I'm interested in buying a show.
00:56:23Buying a show?
00:56:25Yes.
00:56:26Oh, well, don't mind him. Talk to me.
00:56:31I'm the senior partner.
00:56:33What?
00:56:34Now, you will step into my office. We discuss the terms privately.
00:56:37Sir.
00:56:39Honey, the numbers are sparkling and the timing's like clockwork.
00:56:42And Joan Terry, a scintillating new star on the Broadway horizon.
00:56:45That's the way the reviews are going to read after the opening.
00:56:47Oh, thanks, Steve.
00:56:49By the way, how's the coal mine taking it?
00:56:52Not so good.
00:56:54What about Joan? Is she happy?
00:56:56Oh, Steve, are you such a big ninny or is it an act?
00:56:59Don't you ever figure anything out for yourself.
00:57:04You know, here, I've got a hit.
00:57:06Is this a hit, halloumi?
00:57:08Sure, that's what I've been saying all the time.
00:57:10Yes, of course. So it seems.
00:57:11Well, maybe at a price we could do business, Mr...
00:57:13Blake. James Blake.
00:57:15But there's one condition.
00:57:17Anything. You can have anything, Mr. Blake.
00:57:19You're a lucky man.
00:57:21When this show opens tomorrow night...
00:57:23That's the condition. The show must not open.
00:57:27You know, Joan,
00:57:29the moment I heard you singing that evening in Barton Hall,
00:57:31I felt that you were the only one that could really play this part.
00:57:34You're very sweet, Sue.
00:57:36And I know you'll do well, too.
00:57:38Oh, I know I shall. I've studied so hard.
00:57:40And wait till you see my lovely costume.
00:57:42It's simply beautiful.
00:57:43A new one? Have you made another change?
00:57:45Well, yes, Glenda switched me into another part again.
00:57:48Just a moment and I'll show you my dress.
00:57:50Oh, excuse me, Glenda.
00:57:52Little scatterbrain.
00:57:54Scatterbrain?
00:57:55Poor kid. She's all excited about her new costume.
00:57:57I certainly hope she clicks.
00:57:59She's not going on.
00:58:01Not going on?
00:58:02Look, Joan.
00:58:03I like Sue as much as you do. You know that.
00:58:05And there's nothing against her personally.
00:58:07But we've tried her out in every part in the show,
00:58:09and she can't make the grade.
00:58:11Sue will never be an actress.
00:58:13It's too bad, but that's it.
00:58:14We've all slaved to put this over.
00:58:16And it's better that she gets a little heartache now
00:58:18than to ruin everything for us later.
00:58:25It's the only time we ever have a hit,
00:58:27and you have to sell it.
00:58:28Keep quiet. Keep quiet.
00:58:30Well, boys, what do you think?
00:58:32Go ahead and tell her.
00:58:34You're the senior partner.
00:58:35Well, I think it sticks.
00:58:37The numbers slow, the timing is off.
00:58:39And with Joan Terry in the lead,
00:58:41I couldn't fill the house even with digits.
00:58:43I've absolutely decided this promo will not open.
00:58:47It's closed as of right now.
00:58:50Are you two screwballs out of your minds?
00:58:52Why, you'll pack them in after the opening.
00:58:53But the mastermind, my senior partner...
00:58:55Shut up.
00:58:56Just a minute, Mr. Dexter.
00:58:58What I do in my theater is my own business.
00:59:01Well, you can burn down this flea house for all I care,
00:59:04but this show will go on if I have to buy it myself.
00:59:07Well, the show is not for sale.
00:59:09Okay, but you're not gonna sell these kids down the river.
00:59:12Change your clothes, girls.
00:59:13I'll get you another theater.
00:59:14Hey, just a minute, Steve.
00:59:15You can't do this to me.
00:59:17Can't do what to you?
00:59:19Well, I mean, don't you think you've
00:59:21caused enough trouble already?
00:59:24Joan.
00:59:26Joan.
00:59:28This is your last chance.
00:59:30Please come with me.
00:59:31I've been patient long enough.
00:59:33He's been patient.
00:59:34What a laugh.
00:59:35Me waiting 10 years for a hit,
00:59:36and my senior partner sells a show to that drip.
00:59:39You mean you sold the show to him?
00:59:41Not me, not me.
00:59:42Felix made the deal.
00:59:44Oh, so that's it, huh?
00:59:51Please, Steve, let me say something.
00:59:53Joan, I can explain everything.
00:59:56It's...
00:59:57Well, it's because I love you.
00:59:59Zob, don't be so contemptible.
01:00:01The only person you could ever love is James Wellington Blake.
01:00:04Please, Joan.
01:00:05You're like a little boy who's never grown up.
01:00:07So smug and selfish and egotistical and cruel.
01:00:11So all right, you closed the show.
01:00:13Now you can watch us all squirm,
01:00:14because you know how much it all meant to us.
01:00:16Well, I certainly hope you're satisfied.
01:00:19As for me, I'm so glad, glad and happy, understand?
01:00:22That I didn't trade my life for you and your family
01:00:25and your stuffy mansion.
01:00:27Which one of you is Miss Joan Terry?
01:00:30I am.
01:00:31Anything wrong, Pat?
01:00:32Oh, hello, Mr. Dexter.
01:00:34I've got some bad news.
01:00:35You know Miss Collins?
01:00:36Sue?
01:00:37What's happened?
01:00:38They're taking her to an emergency ward,
01:00:40Morningside Hospital.
01:00:41She was hurt in an accident outside of the theater here
01:00:43a little while ago.
01:00:45And when they put her in the ambulance,
01:00:46she was calling for you.
01:00:49Joan?
01:00:51Joan?
01:00:53Yes, Sue?
01:00:57I was good last night, wasn't I?
01:01:02You were really great, Sue.
01:01:08She's delirious.
01:01:10I suggest you make your visit short.
01:01:19Oh, nurse.
01:01:21Is she going to be all right?
01:01:23I'm afraid we won't know for the next 48 hours.
01:01:38Wasn't it thrilling?
01:01:42The applause and the flowers.
01:01:46I'm so sorry I won't be able to go on tonight.
01:01:50Without you, Sue, there wouldn't be any show.
01:01:54No.
01:01:56There must be a show.
01:01:59We've all worked so hard.
01:02:03Promise me that the show will go on.
01:02:08Promise me.
01:02:10I promise.
01:02:12Promise me.
01:02:14I...
01:02:17I promise the show will go on.
01:02:42I promise.
01:03:09I'm certainly glad you decided to carry on.
01:03:11Anything else would have been stupid.
01:03:13Let's get the stupidity cleaned up once and for all.
01:03:16Yes.
01:03:18By the way, Steve,
01:03:20how long before you're going to realize
01:03:22that you're in love with Joan
01:03:24and she's in love with you?
01:03:41They took it sound from the smile of sweet Senorita
01:03:44They took it beat from the feet of lovely Chiquita
01:03:47The rhythm of their swaying knees
01:03:49Came from the breeze that swayed the trees above
01:03:54Then took a dance from the flash of dark eyes inviting
01:03:57They added a bliss of a gistly dark eyes exciting
01:04:00Then they mixed a tinder glance
01:04:02To make a scent of sweet romance
01:04:04A lovely, sweet romance
01:04:07Then they mixed a tinder glance
01:04:09To make a scent of sweet romance
01:04:11A love
01:04:14Dropping a moon
01:04:16Shining down upon a maid and a man
01:04:19While their hearts were singing a tune
01:04:22That's how the rumble began
01:04:27Two eyes aflame
01:04:29Gleaming from behind the lace of a fan
01:04:33The flames must have seemed to scare
01:04:36That's how the rumble began
01:04:40Now who could resist
01:04:42That magic moment in a night filled with charm
01:04:46And who would want to resist
01:04:49The thrill of tender embraces and contempting awe
01:04:54Dark hours were through
01:04:56As they danced as only real lovers can
01:05:00Except for the things coming true
01:05:03That's how the rumble began
01:05:07And so when the music played
01:05:14Sure that your thoughts go stray
01:05:21Back to those lovers' ways
01:05:28Then you may find romance
01:05:32As they did in the dance
01:05:34Dark hours were through
01:05:36As they danced as only real lovers can
01:05:40Except for the things coming true
01:05:43That's how the rumble began
01:05:51That's how the rumble began
01:06:21© BF-WATCH TV 2021
01:06:51Subs by www.zeoranger.co.uk