Approved | 1h 9min | Drama, Music, Romance | 19 February 1945 (USA)
A Broadway writing team visits the granddaughter and great-great-granddaughters of a songwriter for his life story. An old diary holds interesting stories, but granny is protective of the family reputation. New romance complicates things.
Director: William Rowland
Writers: Rowland Leigh, Michael Foster, Leighton Brill
Stars: Shirley Ross, Barton Hepburn, Jane Farrar
A Broadway writing team visits the granddaughter and great-great-granddaughters of a songwriter for his life story. An old diary holds interesting stories, but granny is protective of the family reputation. New romance complicates things.
Director: William Rowland
Writers: Rowland Leigh, Michael Foster, Leighton Brill
Stars: Shirley Ross, Barton Hepburn, Jane Farrar
Category
🎥
Short filmTranscript
00:00:30♪♪
00:00:44♪♪
00:00:59Mama?
00:01:02My dear.
00:01:03Judy, my dear.
00:01:05There's something you might as well know before these terrible people from the North burst in on us.
00:01:10Well, why did you ask them to stay here?
00:01:12It was in the contract.
00:01:13Contract?
00:01:14I assure you, child, it was no pleasure for me to be forced to sell the story of your great-grandfather's life
00:01:19for common actors to perform before the gaping public.
00:01:22I'm not blaming you, Mama.
00:01:24After all, great-grandfather Britt Conway's memory belongs in a way to all the world.
00:01:30It does nothing of the sort.
00:01:32Britt Conway's memory belongs exclusively to this branch of the family.
00:01:36Yes, of course.
00:01:38Is that about great-grandfather?
00:01:41It's his private diary.
00:01:43I didn't know that he...
00:01:45No one but I knows what it contains and nobody else will know.
00:01:48Especially those busybodies from New York.
00:01:52I intend to destroy it.
00:01:55Oh, Mama!
00:01:58If they wish to write about his songs or the more respectable of his verses, that's their affair.
00:02:03But I refuse to have his indiscretions paraded before the public.
00:02:06Was my great-grandfather indiscreet?
00:02:09Everybody's great-grandfather was indiscreet.
00:02:12Your great-grandfather was indiscreet enough to write down his indiscretions.
00:02:16Mama.
00:02:18May I read the diary before you dispose of it?
00:02:22It would be of no interest to a well-brought-up young lady.
00:02:25Oh, yes, it would.
00:02:26And besides, I'm old enough to read almost anything now.
00:02:29Except bits of Shakespeare.
00:02:31Anyway, how can I deny all those rumors in Batonville about great-grandfather?
00:02:35Unless I know the real truth.
00:02:37And you know, I'll be...
00:02:38Miss Chatters, there's some foreigners here asking for you.
00:02:41Foreigners?
00:02:42Yes, a Mr. Shorthand named from Louisiana.
00:02:44Oh, well, that must be Mr. and Mrs. Kimbrough and Mr. Mott.
00:02:47Yes, and that's what they say their names is.
00:02:49Show them in, Liza Henry.
00:02:50Yes, Miss Chatters.
00:02:51I look awful.
00:02:54Mama, I promise to read only the nice bits.
00:03:00I'll go out this way so I won't run into any of Liza Henry's foreigners.
00:03:06And if we don't find it, there'll be no play.
00:03:10George.
00:03:11Oh, yes, my love.
00:03:13Straighten your tie. You look like something out of a circus.
00:03:16What's wrong with circuses?
00:03:17Nothing, old man.
00:03:19I barked with a freak show on the Rex Evans outfit last season.
00:03:22Wonderful people and quite out of the ordinary.
00:03:24If you're looking for a plot for one of your pictures, Mr. Mott, I've got...
00:03:27Miss Chatters says she receives you all now.
00:03:29Very kind of her, I'm sure.
00:03:31Keeping us all waiting like servants.
00:03:34An unfortunate simile, Valerie.
00:03:36Servants these days don't wait.
00:03:38Come on, George.
00:03:43There you are, my little man.
00:03:45Thank you, Mr. Kimbrough.
00:03:47And, uh, stick around.
00:03:50I have a hunch we'll be going back to the planter's house.
00:03:52Okay.
00:03:57How do you do? You must be Mrs. Kimbrough.
00:03:59Welcome to Battenville.
00:04:00How do you do, Mrs. Chatters?
00:04:02This is my husband, George.
00:04:05This is my husband, George Kimbrough, the playwright.
00:04:08How do you do?
00:04:09Oh, yes, and Stephen Mott, his assistant.
00:04:12How do you do, Mrs. Chatters?
00:04:13I can't tell you how grateful we are to you for allowing us to invade your privacy this way.
00:04:17Are you from the South, Mr. Mott?
00:04:19No, why?
00:04:20You have such nice manners.
00:04:21Thanks.
00:04:22My dear, you're going to be positively inspired in this quaint old room.
00:04:26Mrs. Chatters, your home is perfectly charming.
00:04:29It simply reeks with atmosphere.
00:04:31Of course, the first thing we have to do is move that writing desk over there
00:04:35so the light comes over his left shoulder.
00:04:37My husband is so particular when he's working.
00:04:39Everything has to be just so.
00:04:41What?
00:04:42That's genius for you.
00:04:44I'm afraid, Mrs. Kimbrough, your husband will have to exercise his genius in some other room.
00:04:49The arrangement of this furniture has not been altered since my grandfather, Brit Conway's, death.
00:04:54That's very interesting.
00:04:55Did the old boy die here?
00:04:57The old boy, as you choose to call him, was killed in a duel defending the honor of his family.
00:05:03How boring.
00:05:04None of my family was...
00:05:06Possibly none of your family had any honor to defend, Mrs. Kimbrough.
00:05:10Any day you want a job as a dialogue writer in Hollywood, Mrs. Chatters, just let me know.
00:05:14Thank you, young man. I'll remember that.
00:05:19I'll send for Liza Henry to show you to your rooms.
00:05:22I've given you and Mr. Kimbrough the blue bedroom.
00:05:24It used to be Brit Conway's.
00:05:26I bet you'll get a great kick out of sleeping in...
00:05:28George!
00:05:29And you're in the west room.
00:05:31It used to be my daughter Julie's school room.
00:05:33Sounds delightful.
00:05:34Charming.
00:05:35And where will my husband write?
00:05:37There's a perfectly good writing desk in the blue room.
00:05:40Well, it was good enough for grandfather Brit to write his...
00:05:43His what, Mrs. Chatters?
00:05:45His verses, of course.
00:05:49I'm afraid there is no other spare room in the house except a small room in the attic that used to be the butler's when we had a butler.
00:05:56You wouldn't mind taking the butler's room, would you, Steve, dear?
00:05:59You know how desperately important it is for George to be completely undisturbed.
00:06:03Really, Valerie.
00:06:04I mean, of course, for the two of you to be completely undisturbed.
00:06:08I don't mind a bit.
00:06:09That is, if the switchover doesn't cause you too much trouble.
00:06:12Not at all.
00:06:14Would you kindly ring the bell, Mr. Kimbrough?
00:06:17And have Liza Henry prepare the room.
00:06:19I'm afraid it'll take her some little time.
00:06:21Oh, that's perfectly all right.
00:06:22While the others are settling in, I'll take this opportunity, if I may, to stroll around your lovely garden.
00:06:28I'll come with you, Steve.
00:06:29There are one or two points of construction I must discuss with you.
00:06:32No, George.
00:06:33We must fix up your study, mustn't we?
00:06:36Men are such children, aren't they, dear Mrs. Charteris?
00:06:39Harmless, but children.
00:06:42I wish I could say the same of women.
00:06:46You rang, ma'am?
00:06:47Yes, Liza Henry.
00:06:49January 14th, 1859.
00:06:53Eleven more days until my beloved Marcy returns from her tour.
00:06:58Each day will seem a full year.
00:07:01To pass this interminable period, I have started to compose a ballad to be danced.
00:07:07I have chosen the power of Lafitte as my subject.
00:07:10Marceline will be adorable as Queen of the Mardi Gras,
00:07:14dancing and chanting me as Lafitte sings.
00:07:19The other by you call, saying love is all.
00:07:23Never think about tomorrow or yesterday.
00:07:26This madness we're sharing will live through the night.
00:07:29No thinking or caring.
00:07:32Sorry to disturb you.
00:07:33Oh, no, you didn't.
00:07:34Are you Mr. Kimbrough?
00:07:36No, I'm the Mont half of our disreputable collaboration, Steve Mont.
00:07:40How do you do? I'm...
00:07:42Mrs. Charteris, Miss Julie Charteris.
00:07:44Not only the great-granddaughter of the famous Brit Conway,
00:07:47but obviously a very charming young lady in her own right.
00:07:50Won't you sit down?
00:07:51Thanks.
00:07:52Are you from the South, Mr. Mont?
00:07:54Does I have such nice manners?
00:07:56No, because you pay such fulsome compliments.
00:07:59You've inherited your mother's gift of repartee.
00:08:02Say, that's an attractive tune.
00:08:04Brit Conway wrote it.
00:08:05Isn't the music box pretty?
00:08:07It was given to him when he married my great-grandmother.
00:08:09Lovely.
00:08:10How do the words go?
00:08:11No one knows.
00:08:12Brit left no record of them.
00:08:14Mind if I take the music box with me
00:08:16and have a shot at writing lyrics to the tune?
00:08:18Of course not.
00:08:20Only...
00:08:21Only what?
00:08:22Mr. Mont.
00:08:23Steve to a fellow author.
00:08:24Mr. Mont, I want to ask you a question.
00:08:26Which I'll do my best to answer,
00:08:27providing you call me Steve.
00:08:29Well then, Steve,
00:08:31what sort of a man are you going to turn my great-grandfather into?
00:08:35In the play, I mean.
00:08:36Well, an interesting one, I hope.
00:08:38Oh, that's what I was afraid of.
00:08:41Why?
00:08:42Well, you see, Mother doesn't approve of interesting men.
00:08:46And you, Miss Julie?
00:08:47Oh, I like them.
00:08:49Well, isn't it possible to write a play about a good man
00:08:53and make it interesting, too?
00:08:55Like, uh...
00:08:56Well, like Jefferson Davis or Woodrow Wilson.
00:08:58Was Brit like Jeff Davis or Wilson?
00:09:01No, not very.
00:09:03What was he like?
00:09:04Well, you saw his portrait in the drawing room.
00:09:06I didn't believe for one minute that was Brit Conway.
00:09:09Well, I'll have you know that that portrait was painted by a gentleman
00:09:12who comes from one of the first families in Louisiana.
00:09:14It looks like it.
00:09:16I take it back.
00:09:17You're a typical Yankee.
00:09:19Good.
00:09:20I like to see a bit of the Conway flair up in you.
00:09:22It's very becoming.
00:09:23You know nothing about Brit Conway.
00:09:26I have a feeling that nobody around here wants to give me any information about him.
00:09:30No scandal, if that's what you mean.
00:09:33Darling, don't you think those things are a trifle short?
00:09:37Well, long or short, they're better than the rags that were hanging here.
00:09:40Don't you think the whole effect is rather chic?
00:09:43I guess it's very artistic.
00:09:45The only thing is, it makes me feel dizzy.
00:09:48Always the enthusiastic husband.
00:09:50Always gives the little woman a pat on the back.
00:09:53If you ever said anything halfway decent to me,
00:09:55I'd fall right on my face on the floor.
00:09:57You love it.
00:09:59This here's Miss Julie's schoolroom.
00:10:02Oh, my goodness.
00:10:03I mean, it was Miss Julie's schoolroom.
00:10:08Supper's at 7 if you all feel strong enough.
00:10:13If you're all through with the decorating, ma'am,
00:10:14I have to be getting back to the planter's house.
00:10:16Yes, well, run along, young man.
00:10:18Oh, and thank you.
00:10:21Thank you very much, Mr. Kimbrough.
00:10:26You know, I've seen you somewhere before.
00:10:29It couldn't have been...
00:10:30No, it couldn't have.
00:10:32Besides, we hardly move in the same circles, do we?
00:10:35I don't move in circles at all.
00:10:37I come straight to the point.
00:10:41Looks like old times to see Valerie's drapes up again.
00:10:43You remember the last time, George?
00:10:45Sure.
00:10:46It was in Wilmington, Delaware,
00:10:48when we were trying out Tenderly Yours.
00:10:50And some old dame popped in
00:10:51and thought we were running a fortune-telling parlor.
00:10:53Oh, if that's the kind of humor you brought back from Hollywood,
00:10:56I only hope you won't persuade George to use it in a new play.
00:10:59And certainly not in my role.
00:11:01Talking of that,
00:11:02were you able to get any information out of the old dame?
00:11:04Not a thing.
00:11:05Either from the mother or the daughter.
00:11:07What's she like?
00:11:08The daughter, I mean.
00:11:09Oh, all right, I suppose.
00:11:11Not your type at all.
00:11:12What do you mean, not George's type?
00:11:14Well, I mean, not like you.
00:11:15You are George's type, aren't you?
00:11:17Oh.
00:11:18Well, come along, George.
00:11:20It's supposed to be at seven.
00:11:21We have to tidy ourselves up.
00:11:23You go ahead, dear, and I'll be along in a minute.
00:11:25There's something about your part in the play
00:11:27that I must discuss with Steve before I forget it.
00:11:29Oh, all right.
00:11:31I'll allow you five minutes.
00:11:33Steve,
00:11:35you're not to give George anything to drink.
00:11:37He's given alcohol up completely
00:11:39since you went away to Hollywood,
00:11:41and I'm not going to have that starting again.
00:11:43Well, where would I have a drink on me to give George?
00:11:46I don't know,
00:11:47but I want you both to remember
00:11:49that we're going to lead normal, healthy country lives
00:11:53as long as we have to stay in this quaint old morgue.
00:11:58And I haven't got a drink on me.
00:12:01Don't you bother your pretty little head about it.
00:12:04Say,
00:12:06she hasn't really reformed you, has she?
00:12:08I can work with almost anybody,
00:12:10but I draw the line at a reformed drunkard.
00:12:15Just a minute, brother.
00:12:17The gentleman in the audience asked for scotch,
00:12:20and here it is.
00:12:22Very ingenious, maestro.
00:12:25Any time you want anything to drink,
00:12:27just ask, name a drink, Kimbrough,
00:12:29and he will fix it for you.
00:12:31I can see neither your brains nor your throat
00:12:33have been rusting during my absence.
00:12:35Here's to you.
00:12:38Byron over there is full of gin.
00:12:40No kidding.
00:12:41Have another?
00:12:42Sure will.
00:12:44Now we're getting into the spirit of it.
00:12:46You know, Steve,
00:12:47I really believe that with Shakespeare
00:12:49and Byron to inspire us,
00:12:51we'll positively do the best work we've ever done
00:12:54right here in this very room.
00:12:55You can say that again.
00:12:58Hey, Marcelle.
00:13:00Yes, sir?
00:13:01Have you any absinthe at this dump?
00:13:03Absinthe is not permitted to be sold by law,
00:13:05and the Chez Marcelle is not a dump.
00:13:07Yeah, what is it?
00:13:08It's a bistro.
00:13:09And what's a bistro?
00:13:11Bistro is the French for dump.
00:13:16You'll go a long way
00:13:17before you'll find a sweller gal in Marcelle.
00:13:20Stands by the way,
00:13:21I'm sure you'll find one.
00:13:23You'll go a long way
00:13:24before you'll find a sweller gal in Marcelle.
00:13:27Stands for no nonsense, either.
00:13:29Isn't she some relation of Brick Conway's?
00:13:31Why, sure.
00:13:33She's his great-granddaughter,
00:13:34just like Julie Charteris.
00:13:36Only the Charteris side of the family
00:13:37put on all the ads.
00:13:39Marcelle runs the best dump,
00:13:40I mean, bistro,
00:13:42in Battenville.
00:13:43Speaking of Brick Conway,
00:13:45have you run across those two Yankees
00:13:46that's been stopping at the Charteris
00:13:48since last Sunday?
00:13:49Our firm drew up the contract with them
00:13:51for the old lady.
00:13:53It's supposed to be a secret,
00:13:54but these men are writing a play about Britain
00:13:56and they've paid well for the privilege.
00:13:58Oh, so that's how the long,
00:14:00outstanding Charteris accounts
00:14:02have been settled.
00:14:06Hey, Marcelle.
00:14:08Come here.
00:14:09Quick.
00:14:11What's the excitement, Pete?
00:14:12Is the planter's house burned down?
00:14:14No, Marcelle, but get a load of this.
00:14:22Valerie Velote,
00:14:23the black-laced bombshell of Burlesque,
00:14:25now wowing the boys in vexations of 35.
00:14:28Who's she?
00:14:29She's the wife of Mr. Kimbrough,
00:14:31the dame who high-hatted me
00:14:32when I drove them over the Charteris' last Sunday.
00:14:34You mean the wife of Kimbrough
00:14:35who's writing a play about great-grandfathers?
00:14:37Sure, and it's a perfect set-up for us.
00:14:40What is?
00:14:41Let's sit down and I'll explain it to you.
00:14:44Don't you see?
00:14:45These guys are down here
00:14:46to get the real dope on Britain,
00:14:47your great-grandmother.
00:14:48Only they've gone to the wrong house.
00:14:50They'll never get anything out of the Charteris'
00:14:51and you can give them the real lowdown.
00:14:53So I walk up to Mrs. George Kimbrough
00:14:56and I say,
00:14:57Hey, babe.
00:14:58And she says,
00:14:59Young man, how dare you?
00:15:01And then I whip out this paper.
00:15:03Then she faints, blackout, and where are we?
00:15:05Ah, but I'm still there when she comes to.
00:15:07And then I say,
00:15:08Now you listen to me, kid.
00:15:09And she says,
00:15:10What is it, honey child,
00:15:11being more democratic because of this paper?
00:15:13And I say,
00:15:14There's a gal in this town called Marcelle Conway
00:15:16and she's a real descendant of old man Britain.
00:15:18What's more,
00:15:19she's got the real lowdown on him, too.
00:15:21She'll sell it to you,
00:15:22but for big dough.
00:15:23Then you people can write the play
00:15:25and I can act Brit Conway in it.
00:15:27Oh, she'll stall around a bit.
00:15:28And then I wave the paper in front of her face again
00:15:30and she'll say,
00:15:31Okay, pal.
00:15:32Curtain.
00:15:33And then what?
00:15:35Then we'll be married.
00:15:37No, Pete.
00:15:38It's swell of you to dream it up,
00:15:40but it can't be done.
00:15:41Why not?
00:15:42I've played bigger parts than that in tent shows.
00:15:44I know.
00:15:45It's not that.
00:15:47Well, is it because of him?
00:15:51Partly.
00:15:52More because of her.
00:15:54Oh, now you're talking like old lady charterers.
00:15:57Maybe I am,
00:15:58but somehow or other
00:15:59I can't sell Marceline or Brit to a trick like that.
00:16:02Well, the charterers side of the family have.
00:16:04Perhaps I have more pride about Brit's second wife
00:16:07than they have about his first.
00:16:08What's pride got to get you?
00:16:10It's going to keep me right where I am
00:16:12doing a decent job in this joint.
00:16:14Being looked down upon by the wives of the guys
00:16:16who slip down here every chance to get to have some fun
00:16:19and a little music and a lot of laughs.
00:16:22And if you want to know the real lowdown, Pete,
00:16:25I wouldn't trade my lot with that of Cousin Julie Charterers
00:16:27for anything in the world.
00:16:29Atta girl.
00:16:44To Brit Conway.
00:16:45To Brit Conway.
00:16:46The most mysterious human being the world has ever known.
00:16:49You ain't wolfing, bud.
00:16:50Right.
00:16:55Well, boys, how's it going?
00:16:57Splendidly.
00:16:59Act one, scene one.
00:17:01Garden of the Conway's estate.
00:17:03As the curtain rises,
00:17:04a chorus of Negroes are harmonizing Brit Conway's
00:17:07famous spiritual sweet Sunday.
00:17:10God, I'm already yawning.
00:17:12Ah, but you ain't heard nothing yet.
00:17:14As the voices finish to thunderous applause,
00:17:17a magnificent specimen of young manhood
00:17:20emerges from the house.
00:17:22Passing among his faithful servitors,
00:17:24he, uh, uh,
00:17:26pats a few children on the head
00:17:28just to show what side he would have been on in the Civil War
00:17:31had he lived that long.
00:17:33Well, what does he say?
00:17:34That's what we don't know.
00:17:36Oh, great.
00:17:38I must say, that's a fine week's work.
00:17:42Well, my dear,
00:17:43don't forget that the walls of this house
00:17:45reek with romance and dramatic intrigue.
00:17:48You remember, dear,
00:17:49the walls of this house may have ears,
00:17:51but they don't talk.
00:17:52It's really not our fault, Valerie.
00:17:54We've been completely hamstrung
00:17:56by the contract Mrs. Charteris made with us.
00:17:58We're not allowed to put anything in the play
00:18:00that can't be proven to have happened,
00:18:02and the old lady,
00:18:03who apparently is the only living person
00:18:05who can give us that proof,
00:18:06point blank, refuses to do so.
00:18:08And as you very well know,
00:18:10compared to Madam Charteris,
00:18:11the Sphinx is a positive chatterbox.
00:18:14Well, it's up to you, Steve.
00:18:16What do you mean?
00:18:17The old lady may not talk,
00:18:19but the daughter will if she's given the right approach.
00:18:22Nonsense.
00:18:23Julie's a swell kid,
00:18:25but in the first place, she knows nothing.
00:18:27How do you know?
00:18:28George.
00:18:29Well, I mean,
00:18:30has Steve tried to get anything out of her
00:18:32in the way of information?
00:18:33Of course I have,
00:18:35but there's a certain limit.
00:18:36One cannot treat a Southern girl
00:18:38as though one were a discreet attorney.
00:18:40And on the other hand,
00:18:41one cannot write one's play
00:18:43if one has nothing one can put in it,
00:18:45can one?
00:18:46One cannot,
00:18:48and it looks as though two cannot either.
00:18:51Seriously, George,
00:18:52I think we ought to go back to Lord Byron.
00:18:54Great idea.
00:18:56Well, I mean to say,
00:18:57I think that Steve and I ought to have
00:18:59one more go at licking the Conway proposition.
00:19:02Well, all right, boys,
00:19:04but if we don't get anything out
00:19:05of the committee meeting this afternoon,
00:19:07gee, I forgot.
00:19:08I look awful.
00:19:09I have to change my dress.
00:19:10Do we have to go downstairs?
00:19:12I can think of nothing drearier
00:19:14than a group of club women
00:19:16laboriously discussing
00:19:17how to make this year's Brit Conway Festival
00:19:19more lugubrious than last year.
00:19:21We certainly do have to go downstairs,
00:19:23and furthermore,
00:19:24here's our plan of campaign.
00:19:26I shall dazzle the club ladies
00:19:28and endeavor to extract something from them.
00:19:30Steve,
00:19:31you concentrate on Julie Chalmers,
00:19:33and George,
00:19:34what can George do?
00:19:36I shall commune with Shakespeare.
00:19:38I'm sure I can get something out of him,
00:19:40if there's any left.
00:19:42What's that?
00:19:44Who's that now?
00:19:45Probably the ghost of Brit Conway.
00:19:50Oh, come in.
00:19:52Oh, I'm sorry, I thought that...
00:19:53Nonsense, my dear child.
00:19:55Come right in.
00:19:56What a perfectly charming dress.
00:19:58It's exactly like the one I came out in.
00:20:01Remember, George?
00:20:02The only dress I ever saw you come out in
00:20:04was the one you came out of
00:20:05in the follies of Let Me See...
00:20:06Oh, come on, George.
00:20:07We must tidy ourselves up, mustn't we?
00:20:10And when do your dear mother's charming guests arrive?
00:20:13The meeting begins at 4.30.
00:20:14That's what I came here to tell you.
00:20:16Oh, then we must rush.
00:20:18Steve, aren't you lucky you don't get all messed up
00:20:20and untidy the way George does.
00:20:22Of course, George does work much harder.
00:20:24Of course.
00:20:25I should go and help Liza Henry with the lemonade.
00:20:27Nonsense, my dear child.
00:20:28Now, you two young people stay right here
00:20:30and have a cozy little chat.
00:20:33I'll get Steve to show you how his model theater works.
00:20:36It's perfectly fascinating, isn't it, George?
00:20:38Isn't it, George?
00:20:40Yes, of course, if you have anything to play in it.
00:20:45Are you sure I haven't interrupted your work?
00:20:48Of course not.
00:20:49There's nothing I can work at.
00:20:52I thought writers just sat down and wrote.
00:20:56That's in on a little secret, Miss Julie.
00:20:58Unless they have something to inspire them,
00:21:00writers just sit down, period.
00:21:02I have nothing to inspire you here.
00:21:04I have enough inspiration right here
00:21:06for at least a dozen love songs,
00:21:08but not about Brit Conway.
00:21:10Oh, I see.
00:21:12I'm sorry.
00:21:13As a matter of fact, in the past week,
00:21:15I've been inspired to write one little thing.
00:21:18Oh, really?
00:21:19Like to see how we work out love scenes
00:21:21in our little model theater?
00:21:22I'd love to.
00:21:23Well, you stand over here.
00:21:25You'll be the audience,
00:21:27and I'll work out the set.
00:21:28What are you going to use for scenery?
00:21:30Huh?
00:21:31Here's the tree.
00:21:35Here's the well.
00:21:36Now all you need are the actors.
00:21:38There they are right here on this bench.
00:21:41And you work out the love scenes
00:21:42right here on the stage?
00:21:43Mm-hmm.
00:21:44Here's where the boy and girl
00:21:45have the inevitable little quarrel.
00:21:47We're going to do this in dance form.
00:21:49Quarrel?
00:21:50Well, just a lover's misunderstanding.
00:21:52When this happens, the boy is very hurt
00:21:55that he's falling in love.
00:21:57Well, what does happen?
00:21:59You'll see.
00:22:29© BF-WATCH TV 2021
00:22:59© BF-WATCH TV 2021
00:23:29© BF-WATCH TV 2021
00:23:59© BF-WATCH TV 2021
00:24:30© BF-WATCH TV 2021
00:24:41Did they have to quarrel?
00:24:43Don't lovers always quarrel?
00:24:44I suppose so.
00:24:46But why?
00:24:47Maybe because it's so much fun
00:24:48when they make up.
00:24:51© BF-WATCH TV 2021
00:24:57That's a better finish, isn't it?
00:25:02Miss Julie, the ladies
00:25:03are beginning to arrive now.
00:25:05I done told Miss Charter
00:25:06that you always help me
00:25:07with the lemonade.
00:25:08I can't keep on saying that.
00:25:10Y'all better come downstairs now.
00:25:13Won't you sit down, ladies?
00:25:14My daughter will be here immediately.
00:25:16Excuse me.
00:25:20You, I believe, are Miss Lanning?
00:25:22Indeed I am. Indeed I am.
00:25:24Well, isn't that nice?
00:25:26I can't tell you how proud I am,
00:25:27Mrs. Charters,
00:25:28to become social editor
00:25:29of the Battenville Gazette.
00:25:30Of course, I realize
00:25:31it's a tremendous responsibility,
00:25:33but I promise you
00:25:34that I intend to make
00:25:35the fame of my column ring
00:25:36throughout the entire South.
00:25:38I'm sure you will.
00:25:39Of course, we in Battenville
00:25:40were very fond of
00:25:41poor Hattie Cunningham,
00:25:42your predecessor.
00:25:43Whatever she wrote
00:25:44was in the best taste.
00:25:46Oh, indeed it was.
00:25:47And I can't tell you
00:25:48how distressed I was
00:25:49when I heard that
00:25:50after all those years
00:25:51of faithful service,
00:25:52they had to take her
00:25:53off to a mental home.
00:25:54That, Miss Lanning,
00:25:55is something we don't discuss
00:25:56in Battenville.
00:25:57Oh, there's that
00:25:58darling Miss Paper.
00:25:59Oh, excuse me.
00:26:02You're late, Julie.
00:26:03I know, Mother.
00:26:04I'm so sorry.
00:26:06Oh, how do you do, Miss Calhoun?
00:26:08I'm so glad you could come.
00:26:10I'd like you to know
00:26:11Stephen Moore.
00:26:12How do you do?
00:26:13He's writing a play
00:26:14about great-grandfather,
00:26:15you know.
00:26:16Excuse me.
00:26:18We're all mighty proud
00:26:19of Britt Conway
00:26:20in Battenville, Mr. Mott.
00:26:40Well, well, well,
00:26:42what have we here?
00:26:43The nectar of the gods?
00:26:45I don't know nothing
00:26:46about the nectar,
00:26:47but this is lemonade punch.
00:26:48I can smell the lemonade,
00:26:49but where's the punch?
00:26:50Miss Charters,
00:26:51she don't approve
00:26:52of no punch
00:26:53in lemonade punch.
00:26:54Quite right it is,
00:26:55Mrs. Charters.
00:26:56Sure ain't no job
00:26:57for just one pair of hands.
00:26:59How right you are.
00:27:00Let me help you.
00:27:01Oh, Miss Charters
00:27:02wish she would have
00:27:03a righteous fit
00:27:04if she see'd any
00:27:05to get help in the help.
00:27:06Well, I tell you what, then.
00:27:08I'll stay in here
00:27:09and mix punch
00:27:10just to keep it nice and cool
00:27:12while you go on out
00:27:13and serve the food.
00:27:14You're so kind, Mr. Kimbrough.
00:27:15We appreciate your help.
00:27:18Heaven helps those
00:27:19who help themselves.
00:27:21Drink to me only
00:27:22with thine eyes
00:27:24and I will
00:27:25pledge with mine.
00:27:28Mr. Muntz,
00:27:29at this meeting
00:27:30we intend to discuss
00:27:31the annual
00:27:32Britt Conway Festival
00:27:33intelligently
00:27:35and soberly.
00:27:37Atta girl.
00:27:46George, dear.
00:27:48Yes, darling.
00:27:54How do I look, darling?
00:27:56It's simple,
00:27:57but somehow I think
00:27:58it has chick.
00:27:59Oh, it's a knockout.
00:28:00I'll see it is.
00:28:02What have you been doing
00:28:03hanging around that punch bowl?
00:28:05Waiting for you, my love,
00:28:07because I wanted to make
00:28:08my entrance with the best
00:28:09looking woman in the place.
00:28:10Well, if that's intended
00:28:11as a compliment,
00:28:12take a look at what's inside.
00:28:15Get a load of Lady Macbeth.
00:28:17Yes, but Mrs. Charter
00:28:18was as outdone Shakespeare.
00:28:20What do you mean?
00:28:21There were only three
00:28:22witches in Macbeth.
00:28:33Ladies,
00:28:34I want you to meet
00:28:35Mr. and Mrs. George Kimbrough.
00:28:40What a clever idea of yours,
00:28:41Mrs. Kimbrough,
00:28:42to come to the meeting
00:28:43dressed for the festival.
00:28:47What a delightful bon mot.
00:28:50Oh, I must write that down
00:28:51for the Gazette.
00:28:52Mr. Mott, how did it go?
00:28:54Right over everybody's head.
00:28:57Oh, you're all
00:28:58so brilliant and witty.
00:28:59Poor little me,
00:29:00I feel quite out of it.
00:29:02Not at all.
00:29:03Liza,
00:29:04would you give Miss Lanning
00:29:05some lemonade?
00:29:06Yes, sir, Mr. Mott.
00:29:07Liza Henry's lemonade punches,
00:29:09famous in Batonville,
00:29:10I'm told.
00:29:11Yes, ma'am.
00:29:12I reckon this lemonade punch
00:29:13is going to make history.
00:29:16Why so pensive, Miss Julie?
00:29:18The lovers did get together,
00:29:19didn't they?
00:29:20At the end of the day.
00:29:21Lovers always do
00:29:22if they're honest with each other.
00:29:23Yes, I know,
00:29:24but you can't always be.
00:29:25Yes, you can
00:29:26if you're truly in love,
00:29:27as these two are.
00:29:29How do you know they are?
00:29:31I'm the author,
00:29:32and the characters in my play
00:29:33are not truly imaginary.
00:29:35Oh, there you are,
00:29:37dear Mr. Mott.
00:29:38This is the most delicious punch
00:29:41Oh, silly me.
00:29:43Punch.
00:29:48In my opinion,
00:29:49this year's Red Conway Festival
00:29:52should be conspicuous
00:29:53above all for its dignity.
00:29:57Precisely.
00:30:01Oh, thank you.
00:30:02I will.
00:30:03Some lemonade, darling?
00:30:04No, thank you.
00:30:06Once I'd like a real drink
00:30:07and a stiff one at that.
00:30:09I'm perfectly satisfied with this.
00:30:12Oh, Mr. Kimbrough,
00:30:13that delightful Mr. Mott
00:30:14has just told me
00:30:15that you and he
00:30:16are writing a most fascinating play
00:30:17about our own Brit Conway.
00:30:19I, Miss Lanning,
00:30:20oh, Mrs. Kimbrough,
00:30:21I do hope you're going to allow me
00:30:22to describe your scrumptious gown
00:30:24in the Battenville Gazette
00:30:25on Sunday, perhaps.
00:30:27Somehow or other on Sunday,
00:30:28they allow us to be
00:30:29just a little more,
00:30:30how shall I put it,
00:30:31risque?
00:30:33If Battenville can take it,
00:30:34I can.
00:30:36Oh, and Mr. Kimbrough,
00:30:37I suppose Mrs. Charters
00:30:38has told you all the details
00:30:39of Brit Conway's
00:30:40fascinating life story?
00:30:42Oh, yes.
00:30:43Mrs. Charters has confided in me,
00:30:45confidentially, of course,
00:30:47that Brit Conway was born,
00:30:48was married, and died.
00:30:50I was even able to
00:30:51wheedle the dates out of her.
00:30:52Oh, how fascinating.
00:30:54And I suppose you were able
00:30:55to obtain material
00:30:56from the other Conway descendants?
00:30:58Who's that?
00:30:59Oh, a young woman
00:31:00by the name of Marcel Conway.
00:31:01She runs a,
00:31:02oh, how shall I put it,
00:31:03a cafe in the other part of town,
00:31:05of course.
00:31:06It seems that Brit
00:31:07had a, oh, how shall I put it,
00:31:09a romance with a girl's
00:31:11great-grandmother.
00:31:13After his first wife died,
00:31:14of course,
00:31:15Brit Conway was a gentleman.
00:31:17And where did you say
00:31:18this young lady lives?
00:31:20Oh, I wouldn't know
00:31:21that, really.
00:31:22We young ladies of,
00:31:23how shall I put it,
00:31:24breeding,
00:31:26never patronize a place
00:31:27of that, how shall I put it?
00:31:29Ilk.
00:31:31Just so.
00:31:36And now, ladies,
00:31:37I think it's time
00:31:38for the committee meeting
00:31:39to commence.
00:31:41George,
00:31:42you stay here.
00:31:43I'm slipping out.
00:31:44Can't take it anymore, huh?
00:31:45Well, I don't blame you.
00:31:46Somehow I'm going to find
00:31:47this Marcel Conway girl.
00:31:49Wonder where she hangs out.
00:31:51Why don't you ask
00:31:52my boyfriend, Pete?
00:31:53He knows everything.
00:31:54Pete?
00:31:55Yeah, you know the boy
00:31:56at the hotel,
00:31:57the one who thought
00:31:58he knew you when.
00:31:59The first bright idea
00:32:00you've had in a week.
00:32:01Now, listen,
00:32:02I'll take Steve
00:32:03and we'll find this dame
00:32:04tonight.
00:32:06You stay here
00:32:07and amuse these ghouls.
00:32:08Amuse them?
00:32:10I'll have them rolling
00:32:11in the aisles.
00:32:14Let's forget about
00:32:16tomorrow or yesterday.
00:32:19This magic we're sharing
00:32:22will live through the night.
00:32:25Bravo!
00:32:26Beast!
00:32:27Exquisite, my dear child!
00:32:29She's lovely, isn't she, though?
00:32:30Say, folks,
00:32:31how would she be playing
00:32:32her own great-grandmother
00:32:33opposite me as Brit?
00:32:34Well, whoever told you
00:32:35my husband would cast
00:32:36you as Brit?
00:32:37Well, it's like this,
00:32:38Miss Velofti.
00:32:43You see, it's just like I said,
00:32:44only she forgot to say.
00:32:45Young man, how dare you?
00:32:47I'm sorry, Mrs. Kimbrough.
00:32:48I told Pete not to play
00:32:49that trick on you.
00:32:50How did you know?
00:32:51Stage and sports,
00:32:52black lace bombshell,
00:32:53vexations 1935.
00:32:56Oh.
00:32:59Well, I want you to know
00:33:00I was the greatest
00:33:01band dancer on 42nd Street.
00:33:04I used to come out
00:33:05in a little black lace job.
00:33:08Of course, I never used swing.
00:33:09I always had my own music.
00:33:11Classy stuff, you know.
00:33:12I used to start out with a little,
00:33:14just a little teeny bump.
00:33:17And then I really got going.
00:33:19And by the time I hit second stage...
00:33:21Yeah.
00:33:24Oh, uh, Miss Conway,
00:33:25this young man,
00:33:26brought us around here
00:33:27because we understand
00:33:29that you're a lineal descendant
00:33:30of the divine Brit Conway,
00:33:32about who, about whom
00:33:33my husband is writing a play.
00:33:35And you want the real dough
00:33:36upon great-grandfather.
00:33:38I'll say we do.
00:33:39Your cousins,
00:33:40the Charterers family,
00:33:41may be very excellent people,
00:33:42but they seem to know
00:33:43remarkably little
00:33:44about their own ancestor.
00:33:45Yeah, and what they do know
00:33:46they're not telling.
00:33:47I'm sorry,
00:33:48but I'm not selling ancestors
00:33:49this year.
00:33:51Oh, that's too bad.
00:33:53That means that George and Steve
00:33:55will be forced to use
00:33:56the rather dull story
00:33:57provided by Mrs. Charterers.
00:33:59Dull?
00:34:00Dull?
00:34:01Why, the fellow was dynamite.
00:34:02You bet he was.
00:34:03Well, not according
00:34:04to your cousin Julie.
00:34:05She paints him
00:34:06as a saintly bore
00:34:07whose only romance
00:34:08was a rather insipid
00:34:09Victorian courtship
00:34:10of her great-grandmother.
00:34:11That's a lie.
00:34:12Brit had one great romance,
00:34:14and that was with Marceline.
00:34:16Well, there were other romances
00:34:17in his life,
00:34:18but his first wife probably
00:34:19meant less to him
00:34:20than any of them.
00:34:21He didn't fight duels over her
00:34:22as he did over Marceline.
00:34:24And he didn't write
00:34:25love songs to her,
00:34:26but he did to my great-grandmother.
00:34:28Did he ever write
00:34:29a love song to Marceline?
00:34:30Sure he did.
00:34:31Valerie, this is something else
00:34:32Mrs. Charterers hasn't given us.
00:34:34We don't need her now.
00:34:36Miss Conway, would you...
00:34:37I'm sorry.
00:34:38I wish I could help you.
00:34:39But you can.
00:34:40You have Brit's song.
00:34:41Pete, you mustn't.
00:34:42Now we're getting somewhere.
00:34:44Here it is.
00:34:47Just as I saw you the first time,
00:34:49you're still a part of my heart.
00:34:54Valerie, this is terrific.
00:34:55Just what we've been looking for.
00:34:57The finale.
00:34:59Brit, piano,
00:35:00singing to Marceline.
00:35:01Please, Mr. Mont,
00:35:02I know I can play Brit for you.
00:35:11I know you will be pleased to hear
00:35:13that those eminent men have let us,
00:35:16Mr. George Kimbrough
00:35:18and Mr. Stephen Mont.
00:35:21I'd like him for Christmas.
00:35:28Have kindly consented to supervise
00:35:31this year's Brit Conway...
00:35:37Festival.
00:35:39Festival.
00:35:44Meeting adjourned.
00:35:58Goodbye, Mrs. Chyrish.
00:36:00I must say,
00:36:02I never tasted a more delicious lunch.
00:36:06They should never come here.
00:36:07They don't come into my place.
00:36:08Why should I barge into theirs?
00:36:10Oh, don't be silly.
00:36:15Oh, dear.
00:36:16Oh, dear.
00:36:17Oh, dear.
00:36:18Oh, dear.
00:36:19Oh, dear.
00:36:20Oh, dear.
00:36:21Oh, dear.
00:36:22Oh, dear.
00:36:23Oh, dear.
00:36:24Oh, dear.
00:36:25Oh, dear.
00:36:26Oh, dear.
00:36:35Oh!
00:36:36You're late.
00:36:37The meeting's over,
00:36:38and you should try the lush.
00:36:41It's dipentious.
00:36:45Oh-oh!
00:36:46I haven't seen anything like that
00:36:48since I was a bootlegger
00:36:49in Cedar Applause, Iowa.
00:36:50Well, come on, kids.
00:36:53Is there anything left to tidy up?
00:36:55Only Miss Calhoun looks to me like she's going to be here on Judgment Day.
00:37:03I can't understand what could have gotten into Mother's death.
00:37:06I can.
00:37:08So can I.
00:37:11What is the meaning of this?
00:37:15How dare you bring this woman into my house?
00:37:19Well, from the looks of your guests, you should be flattered to receive anybody who can still stand up.
00:37:23Introducing the contestants in tonight's main event.
00:37:26On my right, Battling Charterist. On my left, Kid Kimbrough.
00:37:29Be quiet, George. This is serious.
00:37:32We found Marcel Conway, a real descendant of Brit.
00:37:35Well, I'm very happy to know you.
00:37:37How do you do?
00:37:38Any luck?
00:37:39She can tell you the true story of Brit Conway.
00:37:41Yeah, and it's a pip.
00:37:42Miss Conway can tell you any story she chooses to fabricate, Mr. Kimbrough.
00:37:46But not in my house.
00:37:48I've no reason to invent a story about Brit Conway and my great-grandmother.
00:37:52And I've no reason to conceal anything.
00:37:54I'm proud of her.
00:37:56And I'll be obliged if you'll take your pride and your gossip back to the disreputable place you run, wherever it is.
00:38:02Mother, please.
00:38:03Mrs. Charterist, can't we sit down and discuss this thing rationally?
00:38:06There's nothing further to discuss.
00:38:08Oh, yes, there is.
00:38:10We made a contract with you to tell us everything about Brit Conway.
00:38:14You took our dough and didn't deliver.
00:38:16Naughty, naughty.
00:38:17That doesn't excuse you from bringing an unwelcome guest to my house.
00:38:21Mrs. Charterist is right.
00:38:23Even the lowest joints have the right to refuse service.
00:38:26I'm sorry.
00:38:27If Miss Conway goes, we're going too.
00:38:29That's right.
00:38:30That's your privilege, Mr. Monk.
00:38:32But before you go, may I remind you that by our agreement,
00:38:35you're forbidden to put anything in your play about Brit Conway that cannot be proved in writing.
00:38:41Would it be too much to expect of southern hospitality
00:38:45to see that our bags are packed and sent to the planter's house
00:38:48where we shall be taking up residence?
00:38:51Pete!
00:38:52Yeah, I know you want me to take down all that junk you hung up upstairs.
00:38:55What do you mean junk?
00:38:57That's priceless batik.
00:38:59Have it your own way, bombshell.
00:39:01Steve, George, Marcel, dear.
00:39:04Since none of us are welcome in this house,
00:39:06we'll wait outside until Pete comes downstairs.
00:39:15You know, George, I think I'll hang the drapes in here before I put the batik over my bed.
00:39:30No, Valerie, why bother about drapes and batiks at a time like this?
00:39:35Why not?
00:39:36You boys are all set now, thanks to me.
00:39:38Marcel gave you enough material for three operettas.
00:39:42Incidentally, I think she'd be swell as Marceline.
00:39:45What's the good of that, Valerie?
00:39:47You heard what Mrs. Charteris said.
00:39:49Unless we have proof in writing, she'll never give her consent.
00:39:52Don't be too sure.
00:39:54Get a look at this.
00:39:57Plans for Brit Conway Festival by Eurodice Lanning, society editor.
00:40:02At the magnificent home of the genial Mrs. Ambrose Charteris
00:40:04and her delightful daughter, known to her intimates as Miss Julie,
00:40:07the advisory committee for the Brit Conway Festival was royally entertained on Tuesday afternoon.
00:40:12The food was sumptuous and the punch was...
00:40:14pernicious.
00:40:20The highlight of a remarkable afternoon was the announcement by our hostess
00:40:23that this year the festival would be supervised by none other than those two celebrated Broadway dramatists,
00:40:28Mr. George Kimbrough and Mr. Stephen Mott.
00:40:32What's so wonderful about that?
00:40:34Well, you didn't finish it.
00:40:36The cooperation of the two famous authors who are preparing a play on the life of Brit Conway
00:40:40based on the intimate details of his life, as recounted by Mrs. Charteris,
00:40:44guarantees that the festival will be the most successful in the annual series.
00:40:50And for this, we have to thank Battenville's leading citizeness in social life,
00:40:54Mrs. Ambrose Charteris.
00:40:57Oh!
00:40:58What difference will that make?
00:41:00Obviously, you've never lived in a small town.
00:41:05Hey, folks, guess who's here.
00:41:08Miss Julie?
00:41:09No, no, the old dragon herself.
00:41:14How nice of you to drop by, Mrs. Charteris.
00:41:17Won't you sit down?
00:41:19Thank you, I will.
00:41:20I'm not as young as I was.
00:41:22We've just been reading about you in the Battenville Gazette.
00:41:25Yes, it is because of that I came here.
00:41:28The learning woman is obviously mentally defective,
00:41:31In fact, we're amazed this idiotic article has placed me and my daughter in a most difficult position.
00:41:36How true, how true.
00:41:38I have no intention of mincing words.
00:41:40I was guilty on Tuesday of an unpardonable breach of etiquette
00:41:44under, I must say, extremely provoking circumstances.
00:41:48You ordered us out of your house.
00:41:50That's not quite true.
00:41:52We offered to leave and Mrs. Charteris agreed.
00:41:55Let us say that I acted hastily.
00:41:58To put my cards on the table,
00:42:01I need you to ensure the success of the festival.
00:42:05And in what way do we need you?
00:42:09I happened to be rummaging in an old bureau today
00:42:12and I found some papers in Brit Conway's handwriting.
00:42:15Unpaid bills, no doubt.
00:42:17On the contrary, they contain what I believe you Broadway people refer to as some hot stuff.
00:42:23So the deal is, we come to the festival, you give out the dirt.
00:42:29That is so.
00:42:30It's a deal.
00:42:31Okay by me?
00:42:32Uh-uh.
00:42:33On one condition, Mrs. Charteris.
00:42:36My husband and Mr. Martin are being in complete charge of the festival.
00:42:39Including the songs that are sung and danced.
00:42:42Provided they're genuine songs by my grandfather.
00:42:44Oh, they'll be the real McCoy.
00:42:46And over the choice of performers.
00:42:50You mean...
00:42:51Those are my terms.
00:42:52Take it or leave it.
00:42:58You leave me no alternative.
00:43:04I accept.
00:43:08I can only say this of you, Mrs. Kimbrough.
00:43:11You represent the triumph of mind over manners.
00:43:19Hear the bayou call
00:43:24Saying love is all
00:43:29Let's forget about tomorrow or yesterday
00:43:39This magic we're sharing
00:43:45This magic we're sharing
00:43:49Delicious!
00:43:50Will live through the night
00:43:53Somehow I feel Britt wrote this with his heart.
00:43:56Thinking not caring
00:44:00If it's wrong or right
00:44:05We old chatting lords
00:44:10Jealous this is sore
00:44:15Only fools refuse the spell of the bayou call
00:44:25Love is ours tonight
00:44:30Let its flame burn bright
00:44:36We'll obey the bayou call
00:45:06We'll obey the bayou call
00:45:36We'll obey the bayou call
00:45:44We'll obey the bayou call
00:45:52We'll obey the bayou call
00:46:00We'll obey the bayou call
00:46:08We'll obey the bayou call
00:46:16We'll obey the bayou call
00:46:24We'll obey the bayou call
00:46:32We'll obey the bayou call
00:46:40We'll obey the bayou call
00:46:47We old chatting lords
00:46:52Jealous this is sore
00:46:57Only fools refuse the spell of the bayou call
00:47:08Love is ours tonight
00:47:13Let its flame burn bright
00:47:18We'll obey the bayou call
00:47:48Ladies and gentlemen,
00:48:01it had been my intention to have thanked Mr. Kimbrough and Mr. Monk
00:48:05on behalf of my grandfather, Britt Conway, for the performance here tonight.
00:48:10But I find I am unable to do so
00:48:12because the exhibition we have just witnessed
00:48:14in no way represents the character and ethical point of view
00:48:17of my illustrious ancestor.
00:48:19Oh, but it does. I...
00:48:22And I warn these gentlemen
00:48:25that if they dare to perform what we have just seen
00:48:28in New York or anywhere else,
00:48:30I shall sue them for vilifying the character of Britt Conway.
00:48:34What do you know about Britt's point of view or character?
00:48:37I have no intention of entering a public debate.
00:48:39That's because you're afraid to. I'm not.
00:48:42You and your daughter are ashamed of Britt.
00:48:45Oh, you look smug when his name is mentioned.
00:48:48But you're scared to be proud of him as he really was.
00:48:51If you think he was great in your careful way,
00:48:53I'm telling you he was twice as great the other side of town.
00:48:57Speak a little slower, will you, dear?
00:48:59I'm a bit rusty on my shorthand.
00:49:03That's all.
00:49:05Can't waste any more time.
00:49:07I'm going back to the Chez Marcel where your husbands...
00:49:10That is, if any of you ladies are lucky enough to have husbands,
00:49:13are probably waiting to have a drink and some laughs with me.
00:49:19I'm sorry, Steve, if I've messed up the chances for your play.
00:49:22Oh, that's all right.
00:49:23Julie.
00:49:24Yes, Mama?
00:49:25Finally escort me to the house.
00:49:26I must remind you, Mrs. Charteris,
00:49:28we made a little deal with you the other day at the hotel.
00:49:31I advise you to consult with my lawyers about that.
00:49:34And what about the Britt Conway papers you promised us?
00:49:37Your memory must be playing you tricks, Mr. Kimbrough.
00:49:40Good evening to you.
00:49:42Steve, there's something I must tell you.
00:49:45I'm afraid there's nothing you can tell me, Mrs. Charteris, that I'd believe.
00:49:52Come on, let's go to Marcel's place.
00:49:54We need some fresh air.
00:50:01Just walking around and moping, honey, won't do no good.
00:50:05Don't come over and cut through your wish.
00:50:07It might come out.
00:50:14I wish I was dead.
00:50:16When you tell your wishes, they don't come true.
00:50:20I tell you, Miss Julie, what we'll do,
00:50:22we'll make it your fortune instead.
00:50:26Look, honey, now here's how your fortune starts.
00:50:31Now this here's your picture, the queen of hearts.
00:50:35Look at how she frowns.
00:50:37That means you're hearty, that's it.
00:50:40And if I'm mistaken, it's on account of this here jack.
00:50:45I do believe it's Mr. Steve.
00:50:48Miss Julie, honey, the reason why you're feeling bad
00:50:52is because you're holding back something we ought to have.
00:50:56This two of hearts.
00:50:58Now that means a man and woman story.
00:51:02A man and woman that long ago been gone to glory.
00:51:07I reckon it's about Mr. Britt.
00:51:10Miss Julie, you just won't admit to Mr. Steve
00:51:14your grandpa was a natural man.
00:51:17And honey, ever since the world began,
00:51:20menfolks has been menfolks, don't you understand?
00:51:23Well, that story would bring shame on the family name.
00:51:27Well, there ain't many men the Lord picked out to write real music.
00:51:33The Lord is forgiven if mistakes a man like that are made in living.
00:51:38And if it's Mr. Britt's life you begrudging,
00:51:41then honey, you cause yourself better judging than the good Lord himself.
00:51:46You're right, Liza Henry.
00:51:48I must get Britt's diary to him.
00:51:50But how?
00:51:52I don't want Steve to think I'm chasing him.
00:51:57I guess the Lord will forgive me for what I did.
00:52:01So here's the old diary.
00:52:04And for hiding.
00:52:06I may have been provided.
00:52:09Boy, I'd have given anything to have heard you give that old dragon the works.
00:52:13It was a dumb thing to do, really.
00:52:15The boys lost the chance to do the play,
00:52:17and now I won't be able to show people what Marceline was really like.
00:52:20Yeah, and Broadway will never see me as Britt Conway.
00:52:23I know. It's tough on you, Pete.
00:52:26It's tougher on Broadway.
00:52:28Guess I'll have to go back to the trapeze act.
00:52:30Is there anything you haven't been?
00:52:32Yeah. Married.
00:52:34But we'll fix that, won't we, honey?
00:52:39Excuse me.
00:52:41Marcel, I have to come to see you.
00:52:43Why?
00:52:44I have something for you.
00:52:45I can get along quite nicely without hush money, thank you.
00:52:48Oh, no, it's not that.
00:52:50Anyway, I don't have any money.
00:52:52Marcel, I have to speak to you.
00:52:55Privately.
00:52:56Privately meaning without me?
00:52:57Pete, would you mind running downstairs?
00:52:59Yeah, I know. I've played these scenes with ten shows.
00:53:04Why did you come here?
00:53:10I want you to give that to Mr. Mont.
00:53:14This looks like the real thing.
00:53:16It is.
00:53:19Handwriting's the same.
00:53:22Here's all about the first time he and Marceline met.
00:53:28Why did you bring this to me?
00:53:30Why not to Steve himself?
00:53:32Because...
00:53:33Oh, I can't begin to explain, and you wouldn't understand.
00:53:38But please, please promise me one thing.
00:53:41That you'll never, never tell Steve, Mr. Mont, that you got it from me.
00:53:46Will you promise?
00:53:48It's a deal, cousin Julie.
00:53:50Thanks.
00:53:52Marcel, please believe me, I...
00:53:58I must go.
00:54:00Do you know what I believe?
00:54:02For the first time, I believe that Brick Connery really did marry your great-grandmother.
00:54:07Thanks.
00:54:09Oh.
00:54:10Oh, well, thanks anyway.
00:54:21Britt!
00:54:22Dear Britt.
00:54:24As I was singing your song, I suddenly realized that it was written not for me, but for Marceline.
00:54:31You can deceive with words, but melody cannot lie.
00:54:36No, Valerie.
00:54:37Try and get a little real feeling into it.
00:54:40You're supposed to be a dame who suddenly discovered that the boy she loves has gone sour on her.
00:54:45If these ridiculous words you've written, there's no poetry in them.
00:54:49As, for instance...
00:54:51As, for instance, as you were singing your song.
00:54:54Well, what's wrong with that?
00:54:57Except the way you sang it.
00:54:59An artiste does not sing a song.
00:55:02She renders it.
00:55:04I'm right, aren't I, Steve?
00:55:06What?
00:55:07Oh, sorry. Afraid I wasn't paying attention.
00:55:10That's been the trouble ever since we left Batonville.
00:55:12You'll pay attention to nothing, contribute nothing, do nothing except play that one tune that you won't even let us use in the show.
00:55:19Yes, Steve.
00:55:20Why can't I sing that song?
00:55:22You mean render it, Valerie, dear.
00:55:25Sorry, Valerie, but no.
00:55:27The song isn't right for you.
00:55:28It's a song, a song for...
00:55:30For Miss Julie, I suppose.
00:55:32Precious Miss Julie.
00:55:34Who did her darnedest to keep us from doing this show.
00:55:38If we're going to open Thursday, we'd better get on with the rehearsal.
00:55:41Sorry, George, haven't been much help to you lately.
00:55:44Oh, that's all right.
00:55:45Say, by the way, I saw the rest of Marcel's costumes this morning.
00:55:49They're terrific.
00:55:50They should be.
00:55:51Being a heck of a mess if it weren't for Marcel.
00:55:53Now, where were we?
00:55:55Playing songs for Miss Julie.
00:55:58Raving about Marcel's costumes.
00:56:00Completely ignoring your leading lady.
00:56:03Okay.
00:56:04We'll go to your next entrance.
00:56:06Act two, scene three.
00:56:09Valerie, this is where you come down the stairs.
00:56:11There are no stairs in this set.
00:56:14I know, my love, but if you have an ounce of imagination,
00:56:18or even a modicum of memory,
00:56:20try and picture the charterist household
00:56:23and imagine yourself walking down the steps.
00:56:26Well, if there's one thing I do know,
00:56:29it's how to walk.
00:56:31All right.
00:56:34The chorus has just finished the reprise of Sweet Sunday.
00:56:38Take a split second for the applause,
00:56:40and then walk down, quite simply, stage center.
00:56:44Off we go.
00:56:50Oh, oh, oh.
00:56:52What have I done to deserve this?
00:56:54You've written a very silly play, and what's wrong anyhow?
00:56:57I said walk,
00:56:59not slither, slide, and squirm all over the place.
00:57:02I was supposed to be a southern lady,
00:57:04not a snake charmer at Coney.
00:57:06Listen, George Kimbrough, and listen good.
00:57:09I did plenty okay with fans and bubbles and doves,
00:57:13and long after your gallant balladeer is back in the warehouse,
00:57:17I'll still be waving a fan, see?
00:57:20I shall now retire to my dressing room
00:57:23until you are ready to render your apology.
00:57:27Much as I admire my grandfather's compositions,
00:57:30don't you get a little tired of hearing that same tune all day long?
00:57:33I like it so much.
00:57:38Oh, thank you, Liza Henry.
00:57:40We'll come back in a little while and see how the tea thing is away.
00:57:43Yes, sir.
00:57:45What's the matter, Miss Julie?
00:57:47Ain't my molasses cookies good this time?
00:57:49Oh, they're delicious.
00:57:51I'm just not hungry, that's all.
00:57:53Ain't that enough to keep us for our lives since Mr. Steve left?
00:57:58Why, Julie, there's a letter from your Uncle Horace in New York.
00:58:03Ain't that nice?
00:58:11Oh, what can this be?
00:58:14Gallant Balladeer, new operetta based on the life of Brit Conway.
00:58:20On Thursday next at the Monarch Theater,
00:58:23Gilbert Wilson will present a new work
00:58:26from the prolific pens of George Kimbrough and Stephen Mont.
00:58:30The story of this musical is based on authentic data
00:58:33found in a diary
00:58:36written by Brit Conway himself.
00:58:40This diary was discovered only recently
00:58:43by the enterprising authors while visiting descendants
00:58:46of the famous Southern Balladeer in Batonville, Louisiana.
00:58:50There can only be one answer to this.
00:58:53Liza Henry must have been bribed for those creatures.
00:58:56That's not true. I took the diary.
00:58:59I did.
00:59:02Julie, my daughter.
00:59:05No, Mama.
00:59:07Brit Conway's great-granddaughter.
00:59:10Oh, Mama, I know how you feel.
00:59:12But times are changing.
00:59:14It isn't that people are any less strict in their standards.
00:59:17It's just that they're more human, more understanding.
00:59:20Nonsense.
00:59:22Humanity and understanding are modern words for laxity.
00:59:25Sloppy sentimentality.
00:59:28I presume you've temporarily taken leave of your senses.
00:59:31And if you recover them, go to your room and remain there.
00:59:48Platters House?
00:59:50Yeah.
00:59:52Yeah, this is Pete. Who are you?
00:59:54Julie.
00:59:56Oh, Miss Julie Charteris.
00:59:59Why, yes, Miss Julie. I guess I know most everything.
01:00:03Where could you pawn an antique music box?
01:00:07Now let me see.
01:00:10Why, yes. Sure I know.
01:00:14Curtain going up. Take your seats, please.
01:00:18Curtain going up. Take your seats, please.
01:00:22Curtain going up. Take your seats, please.
01:00:25Curtain going up.
01:00:27You'd think after 15 years it would get better, but it doesn't.
01:00:30Remind me to close my eyes when Valerie makes that entrance down the staircase.
01:00:35I shall have passed quietly out long before that.
01:00:40Say, there's John Furbank of Morning Career.
01:00:43Give an ear and find out what kind of a mood he's in.
01:00:45I'm so nervous I've gone stone deaf.
01:00:47Okay.
01:00:51Oh, I'm going to enjoy this.
01:00:54What's wrong, dear?
01:00:56Never should have eaten those oysters.
01:01:04Well...
01:01:10Never again.
01:01:15Oh, it's ten past nine already. We'll never get there before the end of the play.
01:01:19It's tough on you, Miss Julie, but I guess it'll run more than one night.
01:01:23Even if I'm not playing Brett Conway.
01:01:25Attention, northbound passengers for New York.
01:01:28The bus has been repaired and is now ready to leave.
01:01:31Where will we get to New York?
01:01:34Your bus will arrive at the 42nd Street terminal at approximately 10.55 p.m.
01:01:39Take your seats, please.
01:02:03Only fools refuse the spell of the Bayou call
01:02:12Love is ours tonight
01:02:18Let its flame burn bright
01:02:23We'll obey the Bayou call
01:02:30The Bayou Call
01:03:00The Bayou Call
01:03:30The Bayou Call
01:03:49Just one more scene and we're out of our agony.
01:03:51Do they like it out front?
01:03:53I'm crazy about it.
01:03:54I'm crazier about you.
01:03:57I wanted to tell you, Marcel, if it hadn't been for you, the show never could have gone on at all.
01:04:01I'm good, Steve, but not that good.
01:04:03I meant the diary.
01:04:05If you hadn't found it for us, there never would have been a gal in Balladere.
01:04:10Steve, dear, I'm going to do something I've never done before.
01:04:14I'm going to break a promise.
01:04:16A promise?
01:04:17I didn't find that diary.
01:04:19Julie Charters brought it to me and made me promise I wouldn't tell you where it came from.
01:04:23Julie? But why?
01:04:25Because she's in love with you, you dumb clock, and she got it into her head that you and I were in love.
01:04:30Which is silly, because apart from knowing that you and Julie are, Pete and I are.
01:04:42Get ready for the finale, Miss Conway.
01:04:48You got a couple hundred bucks on you, George?
01:04:50Just about.
01:04:51Give it to me.
01:04:52Why?
01:04:53Shh. If you people aren't enjoying the show, keep quiet so that others can.
01:04:57Sorry, I've got to get to Battenville right away.
01:05:00You mean before the show is over?
01:05:01What difference does the show make? This is important. Give me that doll.
01:05:04I was going to take Valerie to supper on this.
01:05:07Ah, well, Valerie eats too much anyway.
01:05:10Will you keep quiet?
01:05:11I'm very sorry.
01:05:13Say, Steve...
01:05:24Hey.
01:05:45That's my girlfriend, Marcelle, taking her call.
01:05:47Isn't she gorgeous?
01:05:48Sure.
01:05:50Who's that guy taking the call with her?
01:05:52Miss Conway, of course.
01:05:54Boy, is he corny.
01:05:58Told you you'd enjoy it.
01:05:59Excellent.
01:06:01Excellent.
01:06:02What's that music they're playing?
01:06:04I like it.
01:06:05I was not in the show.
01:06:07Wasn't written for the public.
01:06:09A song for Miss Julie.
01:06:16Get away, boys!
01:06:22Get away!
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