Approved | 1h 9min | Drama, Musical | 11 January 1944 (USA)
Joan Terry, a girl from the country wants to become a Broadway Star, but this proves to be not so easy.
Director: Wallace Fox
Writers: David Silverstein, Stanley Rauh, Sam Neuman
Stars: Frances Langford, Edward Norris, Iris Adrian
Joan Terry, a girl from the country wants to become a Broadway Star, but this proves to be not so easy.
Director: Wallace Fox
Writers: David Silverstein, Stanley Rauh, Sam Neuman
Stars: Frances Langford, Edward Norris, Iris Adrian
Category
🎥
Short filmTranscript
00:00:00.
00:00:30.
00:01:00.
00:01:30.
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 getting your name in electric lights
00:03:10on Broadway to 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...
00:03:21I think I've been very patient with you, my dear.
00:03:23I permitted you to go to New York to 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 that you've been chasing rainbows.
00:03:33But I...
00:03:34And besides, your real career is 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, I'm going to make good on Broadway.
00:03:50And when and if I'm ready to come home, I'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, if I might make a suggestion,
00:04:21there's a sort of a girls' hotel, Darden Hall,
00:04:24where you might rather be able to manage within your budget.
00:04:28Of course, it isn't as ornate and you won't have the service...
00:04:32Which you will find here at Darden 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, and so near Broadway.
00:05:44As a matter of fact, right 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.
00:06:0116.50?
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.
00:06:36I'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 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, 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?
00:07:11George.
00:07:12George.
00:07:13George.
00:07:14George.
00:07:15George.
00:07:16What do they call you?
00:07:17Joan Terry.
00:07:18Looks as if we share the same bath.
00:07:20Yeah, I have the adjoining cell.
00:07:22And don't be surprised at anything you have to share in good old Barton Hall.
00:07:25Where you from?
00:07:26Kansas City.
00:07:27Oh, 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.
00:07:34It's only a mirage, kid.
00:07:36There's a broken heart for every light on Broadway, and don't you forget it.
00:07:39Not for me.
00:07:40I'm going to make Broadway sing my song someday.
00:07:44Yeah, I know.
00:07:45You have to find out for yourself.
00:07:47Well, Joan, I'm in your corner.
00:07:49Anything I can do, just holler.
00:07:51Thanks.
00:07:52What's the name of that perfume?
00:07:54Allure of my heart.
00:07:55Would you like some?
00:07:56Thanks.
00:07:57I've been using impatience.
00:07:59Maybe this will wake the guy up.
00:08:07This is the worst piece of tripe I ever read.
00:08:09What are you going to do with it?
00:08:11It's for Sue.
00:08:12The sweet thing has been pestering me to get her a part.
00:08:15I told her I would.
00:08:17And this is it.
00:08:18Oh, that's rich.
00:08:19And will she flop?
00:08:21Shh, little Sarah Bernhardt may hear you.
00:08:29Here's your part, darling.
00:08:31You see, I didn't forget.
00:08:32Oh, you really meant it.
00:08:33Yes, dear.
00:08:34It's the part of Prunella.
00:08:35It's very important.
00:08:36You must study the lines very carefully so you'll know them when you audition.
00:08:40Oh, I shall.
00:08:41Would you like me to read for you now?
00:08:43Not now, dear.
00:08:44We're rather late for an appointment.
00:08:46I...
00:08:47I don't know how to thank you, Thelma.
00:08:49You're so kind to me.
00:08:51Not at all, my dear.
00:08:53Come, Betty.
00:08:58What a gag.
00:08:59Thelma, you're terrific.
00:09:27Orchids for madame.
00:09:29You must have the wrong room.
00:09:30This is room seven, isn't it?
00:09:32That's right.
00:09:33Then you must be it, sweet thing.
00:09:42Hello?
00:09:43Hello, honey.
00:09:44I'm in the lobby.
00:09:45Oh, are you?
00:09:47Well, sweet thing doesn't live here anymore.
00:09:49And if you will, come right down with your orchids, Mr. Funny Papers.
00:09:54Sweet thing?
00:09:56Funny Papers?
00:09:57Orchids?
00:09:59Hey, Pop.
00:10:01Who's in number seven?
00:10:02Oh, it's me.
00:10:03It's me.
00:10:04It's me.
00:10:05It's me.
00:10:06It's me.
00:10:07It's me.
00:10:08It's me.
00:10:09Who's in number seven?
00:10:10Oh, I forgot, Mr. Dexter.
00:10:12Thelma Mason moved into number one this afternoon.
00:10:14Anyway, she's gone out for the evening.
00:10:16Oh, I see.
00:10:17Oh, and the flowers.
00:10:19I sent them to number seven, too.
00:10:22I guess that makes me a...
00:10:23A chump.
00:10:24With a capital C-H.
00:10:26She'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 in 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.
00:11:09Take 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.
00:11:35You 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.
00:11:52Detained 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 brokenhearted.
00:12:02There'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.
00:12:09Free the crowd.
00:12:10See you kids at the junior prom.
00:12:12Nellie 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 superchief 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
00:12:41together, we'd have something interesting to talk about
00:12:43when 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.
00:13:07Are you as well as usual, Mr. Dexter?
00:13:09Just fine, Pierre.
00:13:10Just fine.
00:13:11Two cocktails a la Dexter?
00:13:13The price of fame when Pierre starts
00:13:15naming cocktails after you.
00:13:17Two cocktails a la Jean Terry.
00:13:19Hey, garçon.
00:13:21Two cocktails a la Jean Terry.
00:13:23La même chose.
00:13:24Hungry?
00:13:25Mm-hmm.
00:13:26Should we leave it to Pierre?
00:13:27All right.
00:13:28Merci, mademoiselle.
00:13:29Merci, monsieur.
00:13:33Very nice.
00:13:34Cocktails, dinner for two, orchids.
00:13:38Mr. Funnypapers has quite a flair for nice things.
00:13:41Funnypapers?
00:13:42Oh, of course.
00:13:43You think I'm Funnypapers.
00:13:44Well, aren't you?
00:13:45No, no, no.
00:13:46Funnypapers is the nickname of a producer.
00:13:49Oh, then you didn't send these orchids.
00:13:51No, but I'm very grateful to Mr. Funnypapers.
00:13:54If he hadn't, I shouldn't have met
00:13:56the girl from Kansas City.
00:13:59So, here's to him.
00:14:02And to his orchids.
00:14:28Having fun?
00:14:29I'm having a wonderful time, Mr. Funnypapers.
00:14:58Hello, girl.
00:14:59Hello, Kansas City.
00:15:00Hey, what is this, the Ladies' Age 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.
00:15:16Why, what?
00:15:17For life to Broadway?
00:15:18Maybe she just got off the merry-go-round.
00:15:20If you two fugitives from a striptease act,
00:15:22don'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,
00:15:32or else they wouldn't be in Barton Hall.
00:15:34The girls believe in telling it once
00:15:35and 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.
00:15:42And I was told I had talent.
00:15:44And ability.
00:15:45And advised to try the big city.
00:15:47Where my art would be appreciated.
00:15:49Where I would have a better chance.
00:15:50Of 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.
00:16:03Theodore!
00:16:05Yes, Ma?
00:16:15Good morning, Glenda.
00:16:16My, what big eyes you've got, Grandma.
00:16:18Look, honey.
00:16:19Jenny told me last night that her boss,
00:16:21Alexander Draper, is putting on a musical.
00:16:23So I told Jenny to drop in.
00:16:24You're ready to look for a job, aren't you?
00:16:26I certainly am.
00:16:27Oh, where'd you go last night?
00:16:29We went everywhere.
00:16:31Steve Dexter's a marvelous guy.
00:16:34That's James Blake.
00:16:36Boy back home?
00:16:37Mm-hmm.
00:16:38James wants to marry me.
00:16:39He's very nice, but...
00:16:41So, what does he do for a living?
00:16:42He's in the coal business.
00:16:44Oh!
00:16:45A bookkeeper, huh?
00:16:46Oh, no.
00:16:47He manages several coal mines for his family.
00:16:49Oh, a capitalist.
00:16:50And you blinded my footlights.
00:16:52I have to get up at 7.30.
00:16:54But if I had a coal mine who wanted to marry me...
00:16:57What'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.
00:17:04Oh, do you mind?
00:17:05No.
00:17:27That's you.
00:17:29Come in.
00:17:31Hello, girl.
00:17:36That's June.
00:17:38Really?
00:17:54Janie, I think you'd better take this career girl down to Draper's office.
00:17:57That I will do.
00:17:58However, don't order that mink coat just yet.
00:18:00I've been working for that guy for six months,
00:18:02and all he's ever said to me is,
00:18:03good morning and good night.
00:18:05Good luck, June.
00:18:14Quite swank.
00:18:15When you get no finance around here, you get up with all the drumming.
00:18:18Grab a chair and try to look temperamental.
00:18:20I'll do my best.
00:18:21No one on Broadway comes easier than breathing.
00:18:24And Alexander Draper is the all-time champ.
00:18:26Well, he's so cold-hearted,
00:18:27we even get along without air conditioning around here.
00:18:29Well, I'm sure he and Broadway aren't as bad as you're painting them.
00:18:35Listen, hon.
00:18:36Don't build yourself up for a letdown.
00:18:38Well, the Spanish Inquisition was patty-cake, patty-cake,
00:18:40compared to the going over you're going to get here on Broadway.
00:18:44Good morning, Mr. Draper.
00:18:45Morning.
00:18:47Miss Woods.
00:18:48Yes, sir.
00:18:50Hold everything.
00:18:51Keep your fingers crossed.
00:19:01Good morning, Mr. Brown.
00:19:02Good morning.
00:19:03Mr. Draper's waiting for you.
00:19:06That's Mr. Bronson, the casting director.
00:19:08They'll be tied up for hours.
00:19:09Suppose you try some of the other offices
00:19:11and drop back around 5.
00:19:13All right, thanks.
00:19:14Seems to be quite a bit doing,
00:19:15but I'll be back at 5 for sure.
00:19:17Remember, don't talk to strangers.
00:19:36What did Murdoch say after you told him that?
00:19:38I didn't wait long enough to hear.
00:19:40Say, what about Mr. Draper?
00:19:41Well, the conference broke up at 4.30,
00:19:43but he hasn't come out yet.
00:19:45Oh, Mr. Draper, this is Miss Joan Terry.
00:19:47How do you do?
00:19:48Hello.
00:19:49She's been waiting quite some time to see you.
00:19:50What about?
00:19:51Well, I'm from the Kansas City Little Theater Group,
00:19:53and I'd like to...
00:19:54What do you do?
00:19:55Well, I have places to go,
00:19:57but I'm afraid I can't make it.
00:19:59You can't make it?
00:20:00Well, I'm afraid I can't make it.
00:20:02I'm afraid I can't make it.
00:20:04Well, I have played leads, and I sing a little, and...
00:20:07All right, let me hear you sing.
00:20:17What are you going to sing?
00:20:19Will someday be all right, Mr. Draper?
00:20:21Anything.
00:20:27Someday when the clouds roll by
00:20:33I'll see you smiling through
00:20:40As you used to be
00:20:47Before bad days turn to great rain
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
00:22:50Someday 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.
00:23:20Good night.
00:23:29Come in.
00:23:31Oh, hello, Sue.
00:23:32I thought I'd bring you some extra towels.
00:23:35You can just put them here.
00:23:36What is that you have?
00:23:37Oh, it's a play Thelma gave me to study.
00:23:39Would you like to have me read?
00:23:40But there is a tomorrow
00:23:42And the dawn will come, paused
00:23:44Bringing with it the blue-eyed goddess of fortune
00:23:47Double paused
00:23:48Oh, that 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?
00:23:56It'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, well, I'll go then.
00:24:02But 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.
00:24:18I love you.
00:24:48Is that you, honey?
00:25:15Yes, Linda.
00:25:16Oh, I'm glad you're home early.
00:25:17The girls are throwing a party tonight.
00:25:18Mom's away and the cats are going to play.
00:25:20So put on your best bib and tucker
00:25:21And boy, have I got a surprise for you.
00:25:24What's the matter?
00:25:25Ah, don't let it get you down.
00:25:27It's no use, Glenda.
00:25:29Voice lessons, rent, food, car fair.
00:25:33I'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
00:25:38And the pot of gold isn't there.
00:25:41Mrs. James Blake next stop.
00:25:43Oh, so that's where it is.
00:25:44Well, I'm afraid so.
00:25:46I'm expecting him to call any minute.
00:25:48Mrs. Coal Mine.
00:25:49Won't that be something?
00:25:51Maybe it isn't such a bad deal.
00:25:53After all, you don't find coal mines
00:25:54Running around in the street.
00:25:56Well, what about...
00:25:57Oh, skip it.
00:25:58I was just thinking out loud.
00:26:01Up pops the devil.
00:26:05Hello?
00:26:06Yes?
00:26:08Oh, hello, James.
00:26:10Is 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.
00:26:28And 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.
00:26:47I know howling success.
00:26:49There's poor Sue who'll 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
00:26:56She models for those big fat dames
00:26:57That can't even squeeze into them.
00:26:59The whole thing's a nightmare.
00:27:01You're lucky.
00:27:02You 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
00:27:10Than he sounds or looks.
00:27:13What is that surprise you mentioned?
00:27:15Oh.
00:27:16Oh, nothing.
00:27:17No, what is it?
00:27:18Steve Dexter's in town.
00:27:20Steve Dexter?
00:27:22Yeah, I'm like a dope.
00:27:23I asked him to the party tonight.
00:27:26Aw, don't be so sad.
00:27:28Put on the glad rags.
00:27:30Tomorrow we'll be timing up for that
00:27:31Home sweet home routine.
00:27:33But tonight it's still New York
00:27:34And the goose hangs 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.
00:28:04I know it's been three months
00:28:05Since I gave you the part to study.
00:28:07After all, my dear, you know how producers are.
00:28:09I can't force them to call you.
00:28:11Oh, I didn't mean it that way, Delma.
00:28:13It's just that I know my part so well now.
00:28:15In fact, all the parts.
00:28:38They don't get a kick out of anything
00:28:40But the guys in the front row.
00:28:52Now, ladies and gentlemen,
00:28:53For her premiere at Bottom Hall
00:28:55And through the courtesy of
00:28:57Mom's Sister in Hoboken, New Jersey,
00:29:00I present to you,
00:29:02The New York Times'
00:29:04Mom's Sister in Hoboken, New Jersey,
00:29:07I give you Broadway's newest star,
00:29:10The girl room number seven.
00:29:16Oh, come on, Kansas, pretty, join the fun.
00:29:18Everybody has to do something.
00:29:20Really, girls, I feel rather blue tonight.
00:29:22Well, then sing a blue number.
00:29:24Oh, you can't let me down
00:29:25After I've been shouting praises all over the place.
00:29:27All right.
00:29:29Then play Blue in Love again.
00:29:31Okay.
00:29:35Blue in Love again by K.C.
00:29:38In her own inimitable style.
00:29:45Blue in love again
00:29:50Once more
00:29:52I've loved in vain
00:29:55Once more
00:29:57I know the pain
00:30:00Of a broken heart
00:30:04I'm blue in love again
00:30:10My love's an endless chain
00:30:16That takes me back again
00:30:21For another start
00:30:27I vow that I'll never
00:30:30I vow that I'll never
00:30:33Come near you
00:30:36Or even fall on the floor
00:30:41For my heart has learned
00:30:44It will only get burned
00:30:47And yet I can't leave you alone
00:30:53I'm blue
00:30:57What can I do?
00:31:00I thought when we were through
00:31:06My heart could forget you
00:31:10But in vain
00:31:13I'm blue in love again
00:31:26What's the matter, Glenda?
00:31:27Did I give her stage fright?
00:31:28Look, Steve.
00:31:29Why don't you go ahead and keep her company?
00:31:31Why me?
00:31:32Oh, you wouldn't understand, you big lug.
00:31:36Please, Glenda.
00:31:37I'd rather be alone.
00:31:38I'll tell her when I see her.
00:31:41Oh.
00:31:42Is that all you have to say to an old friend?
00:31:45No.
00:31:46No.
00:31:47No.
00:31:48No.
00:31:49No.
00:31:50No.
00:31:51No.
00:31:52No.
00:31:53No.
00:31:54No.
00:31:55No.
00:31:56No.
00:31:57No.
00:31:58No.
00:31:59No.
00:32:00No.
00:32:01No.
00:32:02No.
00:32:03No.
00:32:04Is that all you have to say to an old friend?
00:32:06I'm sorry, Steve.
00:32:08I am glad to see you.
00:32:10Funny.
00:32:11We do seem to meet just before we part, don't we?
00:32:14You mean you're leaving town?
00:32:16Yes.
00:32:17This is my last night.
00:32:19I'm going back home.
00:32:21But what about that burning ambition?
00:32:23Your career?
00:32:25Career?
00:32:26That's just an illusion.
00:32:28Wait 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.
00:32:42Casanovas whose only interest is loose telephone numbers.
00:32:45You walk miles and miles each day just to save car fare.
00:32:51Career.
00:32:53So far as I'm concerned, they can take Broadway and every line on it and dump it into the East River.
00:32:58I've heard that before.
00:32:59When 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.
00:33:08Well, if that's the way you want it.
00:33:12You deserve the best.
00:33:13I hope the lucky man realizes it.
00:33:16He's really very nice, Steve.
00:33:18From my hometown.
00:33:20Well, haven't you anything to say?
00:33:22Don't you wish me luck?
00:33:24Certainly, Joan.
00:33:25Tons of luck.
00:33:27If you were my own kid sister, I wouldn't have an argument.
00:33:30You've made up your mind to marry the boy from back home?
00:33:34Well, I guess that's the way it should be.
00:33:37Happy ending.
00:33:40Thanks, Steve.
00:33:57It's a shame.
00:34:12Joan has worlds of talent.
00:34:14Why, she could be a star.
00:34:16Haven't I been telling you that for months?
00:34:18When she sang Blue and Love Again?
00:34:20Right there.
00:34:22And you're not kidding, Janie.
00:34:24Girls, girls.
00:34:25I wish you'd stop your chattering and help me put the room to right.
00:34:28You know, Mom will be coming home pretty soon.
00:34:30Shush, Pop.
00:34:31Gather around, kiddies.
00:34:33Glenda has an idea.
00:34:36Why can't we raise enough money to keep her going until she gets a break?
00:34:39$25 a week would do it beautifully.
00:34:41Say, that is an idea.
00:34:43And split up among us, it wouldn't amount to very much.
00:34:46About a dollar and a half apiece.
00:34:48A dollar and a half isn't very much.
00:34:50She'd never take it.
00:34:51She'd think it was charity.
00:34:53Why not do it in a legal and business-like manner?
00:34:56You could even incorporate number seven.
00:34:58I mean, Joan.
00:35:00Incorporate?
00:35:01Say, maybe you got something there, Pop.
00:35:03Certainly.
00:35:04Then she wouldn't be accepting charity.
00:35:06And you'd have protection for your investment.
00:35:08It sounds all right.
00:35:10But my eye.
00:35:11What, with radio and stage and personal appearances?
00:35:14Why, she's liable to make $100,000 a year.
00:35:17And one-third of that ain't hay.
00:35:19Pop, get me some paper.
00:35:22Louise, you don't know enough about law to draw up a contract.
00:35:25After six months with Callahan, Callahan, Callahan, Callahan, and Goldberg,
00:35:31I know all the bare floors from status quo to habeas corpus.
00:35:35Come on.
00:35:37Come on.
00:35:45Whereas, we the undersigned, hereafter known as, uh,
00:35:51what do we name the corporation, girls?
00:35:54How about something with talent in it?
00:35:56Talent.
00:35:57That's it.
00:35:58Talent Incorporated.
00:35:59Perfect.
00:36:01Talent Incorporated, party of the first part,
00:36:05agrees to furnish Joan Terry,
00:36:09hereafter known as party of the second part,
00:36:13the sum of $25 a week.
00:36:17The sum of $25 per week.
00:36:23And whereas.
00:36:25And whereas.
00:36:27Theodore Billings, party of the third part.
00:36:32Theodore Billings, party of the third part.
00:36:38Agrees to furnish room number seven rent-free.
00:36:43Agrees to furnish room number seven rent-free.
00:36:53Rent-free?
00:36:54No, no.
00:36:55Mom would skin me alive if I consented to this.
00:36:58The corporation was your idea, and you're the chief stockholder.
00:37:01I won't do it.
00:37:03OK.
00:37:04Girls, don't you think Mom's just dying to know that Pop's
00:37:07been betting the horses again?
00:37:09It's blackmail.
00:37:10I protest.
00:37:12Overruled.
00:37:13Proceed with the contract.
00:37:16And whereas.
00:37:21And whereas.
00:37:28I've been singing this for a special celebration.
00:37:31Flecker and Barton Hall?
00:37:33Shh.
00:37:34If Mom should ever hear this.
00:37:35She 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!
00:37:48We want the girl from room number seven!
00:37:50OK, girls, off pedal.
00:37:52Go ahead, Pop, tell her.
00:37:53Joan, uh, Miss Terry, I have the honor to present you
00:37:56with your first Broadway contract.
00:37:58a contract the girls and I have formed
00:38:00a corporation talent incorporated which gives us
00:38:03a soul and exclusive right to your services as
00:38:05an actress and turn your to receive twenty five
00:38:08dollars per week and rule number seven rent free. I
00:38:14don't understand it's very simple we all think with
00:38:16a voice like yours you have
00:38:17a future and we're banking on girls I don't know
00:38:21what to say except when it's no use I'm leaving
00:38:24tomorrow or you certainly give up easily some of
00:38:27us have been trying for years and never going to
00:38:29first but we think it'll be
00:38:30a better deal to pull our ambitions and hopes and
00:38:33concentrate on someone who has
00:38:34a chance of making the grade and baby you're it do
00:38:38you think I'd leave if I thought I had
00:38:39a chance John we all have a lot of faith in you you
00:38:43ought to have someone yourself but I guess James Yes
00:38:47James is that
00:38:48a future it's also fantastic I don't want to disappoint
00:38:52anyone then it's
00:38:53a deal come on you won't regret it. I really
00:39:01shouldn't but there's being
00:39:03a female corporation it should be launched properly like
00:39:06a battleship. Incorporated and its greatest asset.
00:39:15To all of you from all of me.
00:39:22I'm.
00:39:29And I you do for
00:39:30a cave in the coal mine. Are you
00:39:37trying to tell me you've changed your mind definitely and you expect to walk out of
00:39:41my life because of this silly business about being
00:39:43a corporation I really have
00:39:45a contract if you'd like to see it but you know what about mother she's planning
00:39:49a reception of my sister's choosing your true so romantic Well let me know when
00:39:54the price of coal goes down to the old boy I'd like to give someone
00:39:57a hot foot. And furthermore I do not approve of the people with whom you associate.
00:40:06Joe. The train leaves at two o'clock and you're going back to Kansas City with me I
00:40:11mean what I say and I'm not going back.
00:40:20May I ask who is Mr Funny Papers and why he presumes to address you so familiarly
00:40:25sweet thing oh that's Steve Dexter he's not I mean he's
00:40:30a producer you're rather confused aren't you please James Steve Dexter the notorious
00:40:35playboy and who is he the president of the corporation don't be silly it was all an
00:40:40accident I received the office from him by mistake or kids. And I have
00:40:46closed the deal this afternoon we are crediting your account with thirty thousand
00:40:52shares of T.V.
00:40:54And T. That's all it's going to.
00:41:02Almost coming in yeah send these to Miss Joan Terry Barton Hall you know the address
00:41:08going there for one she's checking out. Almost coming in on the card.
00:41:14Put. Goodbye and good luck and I do mean number seven and I do mean
00:41:21number seven right. Oh you're still waiting I'm terribly sorry I'll tell Mr Dexter
00:41:27you're here never mind only myself Mr Dexter take my advice and send these to
00:41:32someone else just who are you I'm James Blake Miss Terry's fiancee and as I was
00:41:37until you started in your conniving conniving yes conniving sit down Mr I won't sit
00:41:42down I'm here to tell you I said sit down. Now what's this all about
00:41:50you know what you've done why keeping it further by talking about it Mr Blake I'm
00:41:55certainly glad you dropped in to see me I've always wanted to meet someone like you
00:41:59just what do you mean I don't know what you're talking about you don't know about
00:42:03Joan going back on a promise to marry me because of the corporation those women
00:42:07concocted you don't know about that it's all news to me maybe you better keep on
00:42:11talking tell me more about this this corporation oh it's
00:42:15a preposterous idea talent incorporated to promote Joan's career or something when
00:42:21I came in here I was sure it was your scheme not guilty but it is a bit of
00:42:26an idea Mr Dexter no thanks I could over Joan security family position do you
00:42:38honestly believe that she should sacrifice all that no not necessarily you know
00:42:44Joan well yes very well I've met her exactly twice and that calls for
00:42:50orchids twice listen to me Mr Blake the orchids were strictly an accident the first
00:42:58time these on purpose a little going away gift for a very sweet girl I understand
00:43:06now perhaps I made a fool of myself barging in like this oh I don't blame you
00:43:11John's the kind of a girl that makes a man go around bumping into lampposts believe me
00:43:15I hardly know what to say except you're a pretty smart person Mr Dixon Steve to you Jim
00:43:23thanks Steve but there's there's still that airbrain corporation look Jim there's a high
00:43:34mortality rate on corporations especially that sort the old law of averages is on your side
00:43:39perhaps you're right some of the girls will get tired of putting money into it after a few weeks
00:43:44I hope the whole thing flops but I'm too busy to wait around for bankruptcy I've got to return to
00:43:52Kansas City on business call mine you know I understand we're going to be asking too much of
00:43:58you Steve to start to keep an eye on it for me no not at all be a pleasure you can depend on
00:44:05thanks very much I appreciate everything and excuse my rudeness forget it bye-bye see you so
00:44:11long I was cutting up you get Mr Terry on the phone please
00:44:35hello Oh Joan this is Steve let me be the first to congratulate you no no no no on the
00:44:45corporation so James did look you up I hope he wasn't unpleasant no on the contrary he's
00:44:51rather substantial chap family position and all that as a matter of fact he more or less
00:44:57appointed me your guardian how nice well let me tell you something Steve Dexter I'm not your kid
00:45:03sister and I do not need a guardian oh now wait a minute Joan I only meant that do you ever say
00:45:08the right thing mr. Dexter and with the build-up we're gonna give him we can't miss we're gonna
00:45:20cover with so much glamour producers will be fighting for her autographs on contracts you
00:45:24said it I'm here Hollywood screaming for her right now well here's the program I'll handle
00:45:28publicity and you take care of the beauty work I've already made an appointment for Louise
00:45:33you think that photographer friend of yours will make the pictures we need if he wants to
00:45:36get along with me well Janie you get the music arranged as soon as possible okay it's not
00:45:41sooner Polly you get the clothes hey wait a minute I can't take any of those gowns home
00:45:46with me oh but that cute little friend of yours what's his name McDaniels is in charge of
00:45:50delivery no you can't mean it Glenda he's fat 45 and fall I'm going to do anything but that's
00:45:56asking too much you have my sympathy but we all have to make some sacrifice sacrifice nothing I'd
00:46:02be a burnt offering we're going dancing tonight aren't we Polly there how can I say no hey hey
00:46:13don't sit down you'll freeze the dress Polly I really should have these dresses back at the
00:46:19store I feel like an embezzler don't think about it Joey just remember we're going stepping tonight
00:46:25all right and stop fussing she's beautiful enough ready Harry let's get this last one
00:46:32quickly I'm gonna get this stuff all over tomorrow's papers I'm already would you girls
00:46:35clear the background please now mr. Terry would you over this way then to your left a little bit
00:46:43yeah that's good now hold it I smile okay it's in the bag the best dressed woman on the American
00:46:53stage what stage she hasn't even had a lukewarm interview the whole thing is silly I vote we come
00:47:00to our senses and forget it girls Jonah's everything there's no argument but if the
00:47:05producers won't bite after the campaign we've stayed okay Benedict Arnold Billings oh Glenda
00:47:11it isn't bad but I can't juggle the books any longer you know mom's beginning to smell a rat
00:47:16about that rent money I can't account for and I'm a peace-loving man oh you're all a bunch of weak
00:47:22backsliders just because the producers haven't been falling over each other to sign her up in
00:47:27the short time we've been plugging you want to quit what do you expect miracles girl I have
00:47:32great news for you Francis we've got temperamental today walked out on her part and told Draper what
00:47:37he could do with his show and boy is he in a jam maybe Jones you don't think maybe your eye this
00:47:42is one interview little Jones not gonna miss could be him come in there's always room for one
00:47:53more all of these girls were in to see mr. Draper yeah doesn't look like we're ever going to get a
00:47:58chance does it no I guess not well I'll try some of the other officers they're coming picking fast
00:48:05now have I been turning them away who's first oh she is the first time in 25 years of show
00:48:16business I ever heard one actress give another a break come in young really Oh Bronson
00:48:26never mind that part's been filled
00:48:40why that dirty double-crossing weasel she must have been eavesdropping on us
00:48:45she doesn't care how she gets a break
00:48:48here they come all right everybody act natural
00:49:04well why don't love children oh yes I remember the bottom fell out of the market I bet I could
00:49:11buy the entire stock of the corporation for a dollar 98 markdown from $2 listen you burly
00:49:17burlesque Queen if you want that lovely face of yours to look like hamburger just keep blabbering
00:49:22and that goes for you to you Paul parrot really yes tell me you're not acting quite fairly after
00:49:28all we are trying to accomplish something well little Sarah Bernhardt jr. that's all the thanks
00:49:33I get for trying to get you a break give me that script so did she give you that script yes and
00:49:38she told me she'd get me an audition with black and white and assumes I live my life so I warned
00:49:42you but I met it can I help it if they went broke and didn't have enough money to put on the show
00:49:47you knew that three months ago and seeing Draper this morning was just a hunch I suppose okay girl
00:50:03mom's favorite vase boy if she ever finds out about this I'd be willing to pay for this just
00:50:08to break it over Thelma's head again we'll keep it quiet girl Papa Bobby collapse when
00:50:12Thelma and Betty check out tomorrow and you falling for that phony but it's a good script
00:50:19and I can imagine really is Glenda just read this that's the best sketch I ever read in any
00:50:29musical comedy well when are we going to vote this corporation out of existence never gather
00:50:38around kiddies Glenda has another idea and this is it strictly from hunger and there's Joan Terry
00:50:45even if she could sing like two nightingales she still couldn't drag enough money into the box
00:50:50office to feed a canary on the regular lunch but all I have a choice and my theater it would be a
00:50:57sacrament you mean a sacrilege yeah comes the dawn and I wake up without a dime I still think it's
00:51:04good but there is tomorrow comes the dawn and with it the shining Sun bringing the blue-eyed
00:51:12goddess of fortune isn't that beautiful blue-eyed god is a fortune even in Iowa they don't have
00:51:19such call it's corny but we're gonna throw that part out in a rewrite Felix it'll be a surefire
00:51:23hit but Glenda how can we put a show on without money that's what I'm trying to get through your
00:51:27thick skull you can put this one on for peanut you don't have to pay rent for your theater the
00:51:31cast will work for nothing the publicity is on me for free and on top of that you get Joan Terry
00:51:36who'll be a star overnight or I'll eat that script without cream oh you mean everything on a
00:51:40coincidental basis you mean cooperative yeah yeah yeah but I still think we need an experienced
00:51:46leading lady have you figured out what a leading lady with a big name would cost yeah I figured
00:51:50out why do you think of my aspirin by the carload if we pay a leading lady we ain't got money enough
00:51:55to put on the show if we put on the show we ain't got money enough to pay a leading lady oh I tell
00:52:00you it's a victorious circle you mean a vicious circle yeah and stop correcting me well the trouble
00:52:05with you Felix is you want to eat your cake but you're afraid of swallowing it now in this case
00:52:09the leading lady gets experience we get a show and it's all on the cuff not so quick I'm the senior
00:52:14partner I say yes and I say no and that's positively final now let me think and here it is
00:52:29five weeks and instead of coming home Jones more determined than ever to go through with this
00:52:32nonsense don't forget Jim this is still Broadway more shows fall on this cow path than any street
00:52:38in the world and with these two in back of this one what they good producers very good from the
00:52:44shoestring circuit come on let's sneak over and catch a rehearsal on
00:52:59a
00:53:01dream
00:53:03came true
00:53:05for me
00:53:07one day
00:53:09come somewhere out of the blue
00:53:11for I
00:53:13don't know
00:53:15where
00:53:17to
00:53:19go
00:53:21but
00:53:23I
00:53:25will
00:53:27for I
00:53:29just opened my eyes
00:53:31and there were
00:53:33you
00:53:35the stars
00:53:37they never
00:53:39shine again
00:53:41all rainbows
00:53:43come into view
00:53:45I don't
00:53:47care whether
00:53:49they do
00:53:51for I have you
00:53:53for I
00:53:55have you
00:53:57gave me your lips
00:53:59so tender
00:54:01my heart
00:54:03told me love seemed to
00:54:05stay
00:54:07your kiss seemed to say
00:54:09I surrender
00:54:11I love you
00:54:13I love you
00:54:15what more can I say
00:54:17dreams may
00:54:19come and dreams
00:54:21may go like
00:54:23castles that fade
00:54:25in the blue
00:54:27thank heaven
00:54:29that you're really you
00:54:31my dream
00:54:33came true
00:54:39gave me your lips
00:54:41so tender
00:54:43my heart told me
00:54:45love seemed to stay
00:54:47your kiss
00:54:49seemed to say
00:54:51I surrender
00:54:53I love you
00:54:55I love you
00:54:57what more can I
00:54:59say
00:55:01dreams may
00:55:03come and
00:55:05dreams may go
00:55:07like castles that
00:55:09fade in the blue
00:55:11thank heaven
00:55:13that you're
00:55:15really you
00:55:17my dream
00:55:19came true
00:55:27okay kids break it up
00:55:29fifteen minutes rest period
00:55:31I may be wrong
00:55:33but from where I sit if the rest is like
00:55:35this Horton and Black have a hit show
00:55:37in their hands I'm going up
00:55:39and congratulate Glenda
00:55:41look up Jim
00:55:48take it easy Felix
00:55:50they're just tired they've been rehearsing
00:55:52all night and day the show's all
00:55:54ready to open it looks like a flop
00:55:56right now you inducted me into
00:55:58this I ought to have my head examined
00:56:00for a maroon you mean moron
00:56:02I inducted you
00:56:04you're the senior partner anyway
00:56:06I still think it's good don't think
00:56:08it's your thinking is going to cost me the money
00:56:10I borrowed from my wife to put into this
00:56:12for two cents I'd sell this
00:56:14turkey Mr. Horton I'd like
00:56:16to work with you have it with him he's the senior
00:56:18partner with a lemon on my hands I don't want
00:56:20to talk to anybody but you don't understand
00:56:22I'm interested in buying a show
00:56:24buying
00:56:26a show yes
00:56:28oh well don't
00:56:30mind him talk to
00:56:32me I'm the senior partner
00:56:34now you will step into my office
00:56:36we discuss the terms privately
00:56:38sir
00:56:40the numbers are sparkling and the timings like
00:56:42clockwork and Joan Terry a scintillating
00:56:44new star on the Broadway horizon that's
00:56:46the way the reviews are going to read after the opening
00:56:48ah thanks Steve by
00:56:50the way how's the coal mine taking
00:56:52it not so good
00:56:54what about Joan she happy
00:56:56ah Steve are you such a
00:56:58big ninny or is it an act
00:57:00don't you ever figure anything out for yourself
00:57:04you know here I've got a
00:57:06hit is this a hit
00:57:08have we sure that's what I've been saying all the time
00:57:10yes of course so it seems well
00:57:12at any period of price we could do business
00:57:14Mr. Blake James Blake
00:57:16but there's one condition anything
00:57:18you could have anything Mr. Blake
00:57:20you're a lucky man when
00:57:22this show opens tomorrow night that's the
00:57:24condition the show must not
00:57:26open
00:57:28you know
00:57:30Joan the moment I heard you singing that
00:57:32evening in Barton Hall I felt that you were
00:57:34the only one that could really play this part
00:57:36you're very sweet Sue
00:57:38and I know you'll do well too oh I know
00:57:40I've studied so hard and wait you see
00:57:42my lovely costume it's simply beautiful
00:57:44a new one have you made another change
00:57:46well yes Glenda
00:57:48switched me into another part again
00:57:50just a moment I'll show you my dress
00:57:52oh excuse me Glenda
00:57:54little scatterbrain
00:57:56poor kid she's all excited about her new costume
00:57:58I certainly hope she clicks
00:58:00she's not going on
00:58:02not going on look Joan
00:58:04I like Sue as much as you do you know that
00:58:06and there's nothing against her personally
00:58:08but we've tried her out in every part of the show
00:58:10and she can't make the grade
00:58:12Sue will never be an actress it's too bad
00:58:14but that's it we've all slaved to put this
00:58:16over and it's better that she gets a little heartache
00:58:18now than to ruin everything for us later
00:58:26the only time we ever
00:58:28have a hit you have to sell it
00:58:30keep quiet
00:58:32well boys what do you think
00:58:34go ahead and tell her you're the senior partner
00:58:36well I think it sticks
00:58:38the numbers slow the timing is off
00:58:40and with Joan Terry in the lead
00:58:42I couldn't fill the house even with Dennis
00:58:44I've absolutely decided
00:58:46this promo will not open
00:58:48it's closed as of right now
00:58:50are you two screwballs
00:58:52out of your minds while you pack them in after the opening
00:58:54but the mastermind my senior partner
00:58:56shut up just a minute
00:58:58Mr. Dexter what I do in my
00:59:00theater is my own business
00:59:02well you can burn down this flea house
00:59:04for all I care
00:59:06but this show will go on if I have to buy it myself
00:59:08well the show is not for sale
00:59:10okay but you're not going to sell
00:59:12these kids down the river
00:59:14change your clothes girls I'll get you another theater
00:59:16hey just a minute Steve you can't do this to me
00:59:18can't do what to you
00:59:20well I mean
00:59:22don't you think you've caused enough trouble already
00:59:26Joan
00:59:28Joan
00:59:30this is your last chance
00:59:32please come with me
00:59:34I've been patient long enough
00:59:36he's been patient what a laugh
00:59:38me waiting ten years for a hit and my senior partner
00:59:40sells a show to that drip
00:59:42you mean you sold a show to him
00:59:44not me not me Felix made the deal
00:59:46oh
00:59:48so that's it huh
00:59:52please Steve let me say something
00:59:54Joan I can explain everything
00:59:56it's
00:59:58well it's because I love you
01:00:00don't be so contemptible
01:00:02the only person you could ever love is James Wellington Blake
01:00:04please Joan
01:00:06you're like a little boy who's never grown up
01:00:08so smug and selfish and egotistical
01:00:10and cruel
01:00:12so alright you closed the show
01:00:14now you can watch us all squirm because you know how much it all meant to us
01:00:16well I certainly hope you're satisfied
01:00:18and as for me
01:00:20I'm so glad
01:00:22glad and happy understand
01:00:24that I didn't trade my life for you and your family
01:00:26and your stuffy mansion
01:00:28which one of you is Miss Joan Terry
01:00:30I am
01:00:32anything wrong Pat
01:00:34oh hello Mr. Dexter I've got some bad news
01:00:36you know Miss Collins
01:00:38Sue what's happened
01:00:40they're taking her to an emergency ward Morningside Hospital
01:00:42she was hurt in an accident outside of the theater
01:00:44here a little while ago
01:00:46and when they put her in the ambulance she was calling for you
01:00:48Joan
01:00:52Joan
01:00:54Yes Sue
01:00:58I was good last night
01:01:00wasn't I
01:01:02you were really great Sue
01:01:08she's delirious
01:01:10I suggest you make your visit short
01:01:24oh nurse
01:01:26is she going to be alright
01:01:28I'm afraid we won't know
01:01:30for the next 48 hours
01:01:42wasn't it thrilling
01:01:46the applause
01:01:48and flowers
01:01:50I'm so sorry
01:01:52I won't be able to go on tonight
01:01:54without you Sue
01:01:56there wouldn't be any show
01:01:58no
01:02:00there must be a show
01:02:04we've all worked so hard
01:02:08promise me
01:02:10that the show will go on
01:02:12promise me
01:02:14I
01:02:18I promise
01:02:20the show will go on
01:02:24the show will go on
01:02:54the show will go on
01:03:10I'm certainly glad you decided to carry on
01:03:12anything else would have been stupid
01:03:14let's get the stupidity cleaned up
01:03:16once and for all
01:03:18yes
01:03:20by the way Steve
01:03:22I just realized that
01:03:24you're in love with Joan
01:03:26and she's in love with you
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01:05:44That's how the Rumba begins!
01:05:53That's how the Rumba begins!
01:06:14That's how the Rumba begins!
01:06:44That's how the Rumba begins!
01:06:54That's how the Rumba begins!