Stage Door Screenplay

1

Stage Door

Screenplay by Morrie Ryskind & Anthony Veiller Based on the play by Edna Ferber & George S. Kaufman

1–6 EXT. FOOTLIGHTS CLUB—DUSKFADE INLONG SHOT of a row of brownstone-front houses in New York. From one of the houses we see girls entering andleaving the house—general street activity—DISSOLVE“FOOTLIGHTS CLUB”—on the front of this house.DISSOLVE7 INT. LOWER HALL AND LIVING ROOM—FOOTLIGHTS CLUBDust pan—broom—as dust being swept into pan, we hear voice singing “IL BACIO” by L. Arditi—as Hattie stoopsdown into scene, CAMERA PULLS BACK AND PANS UP—we see maid, Hattie singing; girls scattered over b.g.in living room CAMERA PANS WITH Hattie as she crosses, dumps an ashtray into dust pan—on table beside Judithwho sits reading—Olga is playing the piano. Bernice enters to mail rack.JUDITH:Do you have to do that?ANN:Oh, pipe down...Hattie continues singing. Phone rings.JUDITH:

(without looking up from magazine)

Get that customer, Hattie.EVE:If it’s for me, I’m in...Hattie, still singing—CAMERA PANNING WITH her—crosses to phone at desk in hall, picks up receiver as Lindacomes down stairs.HATTIE:

(sings)

It rings and it sings—tra-la...

(into phone)

Hello...LINDA:Is it for me?HATTIE:I dunno.

(into phone)

Miss Judith? Oh, Miss Judith...CAMERA PANS WITH Linda as she comes on down stairs. Mary Frances enters and goes up. Linda comes downinto living room as we hears, off:LINDA:

(stopping beside Judith)

It’s yours, Judy.Judith rises and crosses out to phone. Linda turns to girls in room.LINDA:Hello, hags...Some look up. Linda glances out window. Mary Lou enters with bag of pecans.MARY LOU:Look what Mother sent me from Louisiana.EVE:

(rising)

What are they?MARY LOU:Pecans.EVE:Pecans? Let’s open one—maybe there’s a check in it.BOBBY:Give me one.Linda now seated. Girls crowd around, getting pecans.8 DIFFERENT ANGLEA very determined and angry Jean comes whooping down stairs—Judith trying to talk over the phone.JUDITH:

(over phone)

Well, I had a date, but I guess I can get out of it...Sure, I can geta girl...

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Jean reaches newel post near Judith.JEAN:Where is she?JUDITH:

(Into phone)

Okay!

(to Jean)

Who?Jean goes on by.JUDITH:

(into phone)

Not you.CAMERA PANS WITH Jean on into living room. She stops before Linda.JEAN:Oh, there you are!LINDA:I beg your pardon.JEAN:Come on—take ‘em off!LINDA:Are you speaking to me?JEAN:You heard what I said—take off my stockings...LINDA:

(overlapping Jean)

What stockings?JEAN:If you don’t take ‘em off, I will and I’ll take off the hide right with them.

(starts removing Linda’s stockings)

LINDA:Wait a minute! These are my stockings.JEAN:Oh, no, they’re not If you think I’m going to give up my lunch to buy youstockings, you’re crazy!LINDA:Well—you owe me a pair, anyway.

(starts to remove other stocking)

ADELE:Oh, Mrs. Orcutt, Linda’s doing a strip-tease.LINDA:Oh, is that so!The ad lib here is all overlapped.SUSAN:You’d get a bigger crowd in the street.EVE:Why don’t you split ‘em—a stocking a piece?JEAN:From now on, you wear your own stockings or go bare-legged. The places yougo, it doesn’t make any difference, anyway.LINDA:

(rises)

Is that so?JEAN:Yes that’s so. Stretching my size eight over your big clodhopper twelves.LINDA:Can I help it if I get a Singer’s midget for a roommate?9 CLOSE SHOTLuther seated crocheting. Mrs. Orcutt hurries in—looks o.s. to girls.MRS. ORCUTT:What’s the trouble?LUTHER:Are you running a theatrical boarding house or a gymnasium?MRS. ORCUTT:Girls!

(rushing off to them)

10–12 PAN SHOTMrs. Orcutt comes rushing in to Linda and Jean who are still going about stockings.MRS. ORCUTT:Girls! Please! What’s going on here?LINDA:This hoyden accused me of stealing my own stockings.JEAN:She’s swiped her last pair of stockings from me.MRS. ORCUTT:

(all this overlapping)

How do you expect me to run a respectable house...JEAN:You’re doing the best you can with the people you’ve got.LINDA:I won’t be insulted by this little guttersnipe any longer.JEAN:

(shoving Linda)

I’ll guttersnipe you!LINDA:I’ll show you!MRS. ORCUTT:Now, here. I won’t have this going on in my house.

3

LINDA:It’s a good thing.TONY’S VOICE:

(from o.s.; overlapping)

Get the gloves!CAMERA PANS WITH Linda, Jean and Mrs. Orcutt to stairs in lower hall—dialogue from girls in living room o.s.overlapping lines.MADELEINE’S VOICE:Hey, Linda—let’s go wading.EVE’S VOICE:Let ‘em fight it out.MRS. ORCUTT:I wish you girls would find some other way to settle your differences.They all three stop at foot of stairs.JEAN:

(overlapping lines that follow)

I’ll flatten her ears flat against the side of herhead.LINDA:I’d like to see you try it.JEAN:Come on down here.EVE’S VOICE:The girls are just entering the ring.SUSAN’S VOICE:Maitland leads with a mouthful of air.LINDA:Well, I’m down here—so what?MRS. ORCUTT:Girls! Girls!LINDA:I won’t room with her any longer if you pay me for it.MRS. ORCUTT:Please, girls!JEAN:Good! It’s the best news I’ve had this year!LINDA:I’m moving right in with Madeleine this minute.MRS. ORCUTT:Please, girls!Linda starts up stairs. Jean speaks over Mrs. Orcutt’s last line.JEAN:That shouldn’t take long—everything you own is on your back.Mrs. Orcutt exits. Linda goes on up stairs. CAMERA PANS to include Judith still trying to talk over the tele-phone—Jean on stairs—from o.s. we hear:EVE’S VOICE:She’s down! She’s up! She’s down!JUDITH:

(holding hand over phone)

If this barroom brawl is over, I’d like to finish myconversation.JEAN:

(shouting up stairs after Linda; overlapping Judith’s line)

And when I get back to my room, you’re the only thing I want to find missing!JUDITH:

(into phone; also overlapping Jean)

Hello! What?...A riot?... Heavens no...Atthe Footlights Club? I should say not. Nothing exciting ever happens here.JEAN:

(to self, on finding run in hose; overlapping Judith)

Oh—oh—I knew it—Iknew it—Oh...JUDITH:

(still into phone)

Yes. All right... Eight o’clock. You betcha...Good-bye.

(hangsup)

13 CLOSE SHOT of Jean and Judith.JUDITH:

(to Jean)

Want a date?JEAN:Huh?JUDITH:I said, do you want a date?JEAN:Some more of those lumbermen?As Hattie, the maid, crosses through scene on way to front door:JEAN:That last couple we went stepping with were made of lumber... especially theirfeet.JUDITH:All right—you can stay here and gorge yourself on lamb stew again.

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She rises and crosses Jean, calling o.s.:JUDITH:Hey, Pat, want a date?JEAN:

(stopping her)

Wait a minute—wait a minute! Is it dinner?JUDITH:Yes.JEAN:Well, why didn’t you say so before you spoke...that lamb stew’s got mecounting sheep at night.JUDITH:You aren’t so particular about my friends when it’s for dinner.JEAN:They can’t step on you when you’re sitting down.JUDITH:You might try being just a little less insulting this time.JEAN:Me? Insulting to a lumberman? Why, the very idea—it’s preposterous. Do wedress?JUDITH:I suppose so. We usually do.JEAN:I’ll be there, my pet.Judith exits to living room. Jean, looking after her, Continues:JEAN:You know me, the lumberman’s delight!

(tucks herself up horn-pipe fashionand expectorates a la lumberman; sees something at front door o.s.)

14 CLOSE DOLLY SHOTHattie and Chauffeur at front door as Jean sees them.CHAUFFEUR:Mr. Powell’s car is waiting for Miss Shaw.HATTIE:I’ll tell her.CHAUFFEUR:Thank you.Hattie closes door. CAMERA PULLS BACK AND PANS WITH her as she crosses to Jean at foot of stairs.JEAN:Is it for Linda?HATTIE:Mr. Powell’s car.JEAN:Wait a minute—I’ll be the carrier pigeon.Hattie exits. Jean goes to foot of stairs and yells up:JEAN:Linda! Mr. Powell’s car is here. Mr. Powell isn’t here... just his car.15 INT. LIVING ROOM—FOOTLIGHTS CLUBCLOSE SHOT of Tony seated on divan. Eve in with cat, lies on divan—commenting:EVE:Peaceful little haven we have here.As she settles herself and cats we see a shadow on glass doors back of divan. Sound of knocking on door heard.EVE:What would that be?TONY:Mice.TERRY’S VOICE:How do you get in here?EVE:You might blast.TERRY’S VOICE:What?TONY:We don’t want any fish.EVE:Go ‘round to the other door. Can’t you read?Terry’s shadow exits.16 INT. HALL AND LIVING ROOM—FOOTRIGHTS CLUBDOLLY SHOT—Dizzy and Gerda enter through front door. CAMERA PULLS AHEAD OF THEM as they comeon into living room.DIZZY:Anybody use a couple of tired Tyrolean peasants?

6

Linda comes down steps. Jean stops her.JEAN:Need you be reminded that Mr. Powell’s car is waiting without.LINDA:You might speak louder in the future so everybody in the house can hear you.JEAN:I’m sorry. You see, I forget that you’re old and deaf.LINDA:If you’re more considerate of your elders, maybe Mr. Powell would send hiscar for you some day.JEAN:I can hardly wait.LINDA:Of course, he’d probably take one look at you and send you right back again,but you have to expect that.JEAN:Oh, is zat so?LINDA:You know, I think I can fix you up with Mr. Powell’s chauffeur—he has anawfully nice car, too.JEAN:Yes, but I understand that Mr. Powell’s chauffeur doesn’t go as far in his caras Mr. Powell does.LINDA:Even a chauffeur has to have an incentive.JEAN:Well, you should know.LINDA:Well, I hope you enjoy your lamb stew again tonight—I’ll be thinking of youwhile I’m dining on pheasant bordelaise.JEAN:Bordelaise no, less—whoo—girls listen—bordelaise....LINDA:Or maybe it’s casserole—I’m not quite certain.

(exits out front door)

JEAN:

(calling after her)

Well, be sure not to eat the bones and give yourself away,

(goes up stairs)

19 MED. SHOTTerry seated in chair near Register Desk in Living Room. Mrs. Orcutt comes in to her.MRS. ORCUTT:Did you wish to see me?20 CLOSE SHOTTerry is seated in chair, rises as she speaks to Mrs. Orcutt. Girls are seated around Living Room. Luther is seatednear desk, crocheting.TERRY:This is a theatrical boarding house isn’t it?MRS. ORCUTT:It’s considered one of the finest boarding houses.....TERRY:I was somewhat in doubt for the moment—Are you the person I see aboutaccommodations?MRS. ORCUTT:Accommodations? Yes, indeed. I hope you’ll pardon my appearance.Mrs. Orcutt. goes back of Register Desk as Terry goes to front of it. CAMERA PANS with them—Mrs. Orcutt looksthru register to see what rooms are available.MRS. ORCUTT:We had a little trouble in the kitchen—

(at desk)

I’ll just try and see what wehave available.

(ad libs)

Now—you see Ann and Mary room together....TERRY:I’d like a room with private bath.Girls in living room giggle.TERRY:Is there anything strange in that request?MRS. ORCUTT:Oh, you mustn’t mind the girls. They’re just full of fun. We’re like one greatbig family. I may not be able to give you just what you want, but I can put youin a room with a very charming girl temporarily, that is, until we get a vacancy.TERRY:How expensive are your rooms?MRS. ORCUTT:Thirteen dollars if you share a room, with a girl—in advance.

7

TERRY:Well, that seems rather high—isn’t there some reduction by the week?Girls In Living Room giggle—Luther looks interested in Terry as a possible prospect Judith guffaws.MRS. ORCUTT:It is thirteen dollars a week.TERRY:Oh, my mistake.MRS. ORCUTT:That doesn’t include luncheon.TERRY:Do meals go with the thirteen dollars?MRS. ORCUTT:Yes, indeed, and I must say we have a very fine kitchen.Terry hands $50 bill to Mrs. Orcutt—girls see it and react—Dizzy whistles softly—Mrs. Orcutt looks amazed.MRS. ORCUTT:I’m sorry. I haven’t any change.TERRY:Oh, that’s all right. I expect to be here for quite a while, anyhow. What shallI do about my baggage? It’s outside in the taxi.MRS. ORCUTT:

(calling toward dining room)

HATTIE!Hattie enters.MRS. ORCUTT:

(to Hattie)

Tell Frank to get Miss.....TERRY:Randall—Terry Randall.MRS. ORCUTT:Miss Randall’s baggage out of the taxi.Hattie exits. Mrs. Orcutt turns register around and hands pen to Terry, who signs register.21 MED. CLOSE SHOTMrs. Orcutt is standing behind Register Desk. Terry is in front of the counter and has just signed the register. Luthercomes up to desk.LUTHER:Pardon me. Mrs. Orcutt, has Mr. Hargraves of the Guild called me yet?MRS. ORCUTT:Why, no....LUTHER:Well, when he does call, tell him that I have read his play and I couldn’tconsider playing it—it’s far too trivial—I couldn’t consider...

(turns to Terry)

How do you do.MRS. ORCUTT:Miss Luther, this is Miss Randall. She’s going to be here with us for a while.LUTHER:Oh, how nice—are you in the theatre?TERRY:Not yet—but I hope to be.LUTHER:Ah, well—with the proper coaching there is no reason to despair....MRS. ORCUTT:

(to Terry)

If you’ll just come with me.CAMERA DOLLIES BACK as Mrs. Orcutt goes to foot of stairs in hall. Terry turns to Luther and says:TERRY:I beg your pardon.Terry follows Mrs. Orcutt to foot of stairs. Girls look Terry over. One girl whistles “Where Did You Get That Hat.”Luther follows them. Mrs. Orcutt sees men coming in entrance with trunks and stops.MRS. ORCUTT:Here are your trunks.

(to men)

Just take them right up to Miss Maitland’s room.Terry spies Bernhardt’s old chair in the hall and stops Mrs. Orcutt who has turned to go upstairs.TERRY:What’s that?MRS. ORCUTT:Oh, that’s one of the features of the Footlights Club.CAMERA DOLLIES BACK as Mrs. Orcutt, followed by Terry cross to Bernhardt’s old chair. Luther stalks them.Girls in living room move in closer so they can watch.MRS. ORCUTT:It’s the chair Bernhardt sat in when she was rehearsing over here in “QueenElizabeth.” I was in the company.TERRY:Oh, you were an actress?Luther steps up between them. Mrs. Orcutt reacts and moves back to foot of stairs.

8

LUTHER:Mrs. Orcutt played with all the stars. She supported me in many of my shows,haven’t you dear?Men with the trunks and other luggage enter and carry it up stairs.TERRY:

(looking at picture over chair)

That’s Bernhardt’s picture, Isn’t it? They sayshe was wonderful.LUTHER:Oh, she was very good—very good in some things. As a matter of fact...although it isn’t generally known—Bernhardt and I had the same coach.TERRY:Oh, I think coaching’s a waste of time. After all, acting’s only common sense.

(goes to Mrs. Orcutt at foot of stairs)

Mrs. Orcutt, followed by Terry, go on up stairs. Luther follows Terry to foot of stairs and calls after her.LUTHER:But that’s all a good coach applied—common sense. As a matter of fact, if Idon’t get the right play, I may do a little coaching myself.

(dabs handkerchief to eyes)

DISSOLVE OUTDISSOLVE IN22 INT. JEAN’S BEDROOMLONG SHOT—Jean hanging up her hose to dry—Drayman enters with a trunk—exits—as Taxi driver in withanother trunk—then Drayman back in with third trunk—Jean reacting to this stream of luggage.JEAN:What is this? Another boat docking?DRAYMAN:Mrs. Orcutt told me to put this stuff up here.JEAN:Yes, but this is not the store-room.The Drayman exits as Mrs. Orcutt and Terry enter room.MRS. ORCUTT:I’m quite sure you’ll like this room—it’s very bright.

(to Jean)

Jean, this isyour new roommate, Miss Randall—Miss Maitland.TERRY:We’ve met before, after a fashion.MRS. ORCUTT:Jean’s a very lively girl—I’m sure you both will get on very well together.TERRY:Yes, I’m sure of that.MRS. ORCUTT:Now, if there’s anything you want....TERRY:No, no, I’ll be all right, I Hope.Mrs. Orcutt exits—both girls are more or less taking the measure of the other.23 MED. SHOTof Terry and Jean—as Terry comes from back of bed to trunks f. g. and starts opening center one—Drayman in withthree bags which he puts on floor and exits.JEAN:When does your baggage get here?TERRY:

(opening trunk)

I’m expecting the bulk of it in the morning.JEAN:We could leave the trunks here and sleep in the hall. There’s no use crowdingthe trunks.TERRY:

(taking out furs)

I don’t know what we’re going to do when the wolf houndsarrive—I hope you don’t mind animals.

(tosses fur on bed)

JEAN:

(picking up fur)

Oh, not at all. I’ve roomed with a great many of them before.TERRY:Yes, I can see that.

(as she unpacks fur coat)

JEAN:

(smelling fur piece)

Fresh killed?TERRY:Yes, I trapped them myself.Jean drops fur to bed and comes f.g. to Terry.JEAN:Do you mind if I ask you a personal question?

9

TERRY:Another one?JEAN:Are those trunks full of bodies?TERRY:

(indicating trunks on either side of open one)

Just those—but I don’t intend tounpack them.JEAN:I was just thinking if the room got too crowded, we could live in the trunks.Terry has been unpacking and unthinkingly puts a dress across Jean’s arm which is leaning on trunk.TERRY:Yes, that’s a good idea. You don’t mind helping me unpack?

(tosses another dress over Jean’s arm)

I beg your pardon, you’re not the maid, are you?JEAN:That’s quite all right.

(Terry tosses another dress on her arm)

Oh, what alovely little dress—whipped up at home, by loving hands?TERRY:Every stitch.JEAN:Do you cook, too?TERRY:Nothing fancy. Just plain home Cooking.JEAN:I’ll bet you could boil a terrific pan of water.24 CLOSER SHOTDolly—as Terry takes picture from trunk and crosses to bureau b.g. saying—TERRY:I imagine half the bureau’s mine—

(puts picture on it)

You don’t mind if I putthis here, do you?Jean enters with arms full of dresses—looking at picture.JEAN:Why not? It’ll help scare the months away—an old friend of the family?TERRY:It happens to be my grandfather.JEAN:Grandfather? There is quite a family resemblance—especially around thewhiskers.TERRY:That’s a fairly intelligent observation—for you.

(goes back to her trunk and continues her unpacking)

JEAN:

(with a look at the dresses she is holding)

I’ll say he was a fairly generous oldguy as grandfathers go.TERRY:He always treated me very well.JEAN:Mmmmm—I suppose If you’d had your choice you’d have picked a muchyounger grandfather....TERRY:I see that in addition to your other charms, you have the insolence generatedby an inferior upbringing.JEAN:

(ribbing)

Fancy clothes, fancy language and everything.TERRY:Unfortunately I learned to speak English correctly—JEAN:It won’t do you much good around here. We all talk pig-Latin.25 MED. SHOTJean and Terry—CAMERA PULLS BACK as Jean comes forward to Terry—getting door to hall.TERRY:And I also use the right knife and fork, I hope you don’t mind.JEAN:All you need’s the knife...Do you mind if I hang these heah... (

she lets thedresses drop to floor)

Temporarily, of course. I must take my bawth.TERRY:That should help.JEAN:...and remember hawf the wardrobe is yours. And if anything of mine shouldget in your way, just toss it out the window.With her bath towel over her shoulder, she exits through door to hall—leaving Terry working at her trunk.26 INT. LIVING ROOM—LOWER FLOOR

10

FULL GROUP SHOT of girls discussing the newcomer.JUDITH:Did you get a load of her hat?DIZZY:I thought Orcutt would fall over in a faint when she handed her that fiftydollars.MARY LOU:If she had a fifty dollar bill, what’s she doing here?EVE:It must have been counterfeit. There’s no such thing as a fifty dollar bill.JUDITH:I think she’s as phony as that bill.OLGA:Well, I must have missed some fun.

(starting b.g. for hat rack in hall)

SUSAN:I’ll say you did—

(in hall b.g. we see Hattie enter and turn on lamp on newel post on stairs)

When she asked if meals went with the thirteen dollars, Ithought I’d bust a ligament.EVE:Maybe she’s a social worker doing a little slumming.JUDITH:Well, she picked the right place.EVE:Speaking of slums—when do we eat?HATTIE:

(coming up to group)

Wash your necks, children. The lamb’s about to besacrificed again.

(she exits to dining room)

Adele and Bobby and Dizzy start out.JUDITH:I should worry. Tonight is lumber night.SUSAN:I washed my neck yesterday.DIZZY’S VOICE”

(from hall)

So did I.EVE:

(sitting down with cat)

Well, I refuse to wash mine for lamb stew.26A CLOSE SHOTKay entering front door—weary—smiles to Dizzy o.s. as hears—DIZZY’S VOICE:Here’s Kay.KAYE:Hello.CAMERA PULLS BACK ahead of her as she comes forward to Dizzy.DIZZY:Any luck today?26B FULL GROUP SHOTas Kay and Dizzy come up to Judith, Eve and Susan.KAYE:No, but I’ve got great news. I actually saw one manager.JUDITH:

(rising and crossing)

An interview?EVE:

(calling O.S.)

Hey, Pat, the whole town’s under Water. Kay saw a manager.DIZZY:Was it much of an interview?KAYE:It wasn’t an interview... I just saw him as he rushed out of his office.JUDITH:At least you know there is such an animal. What did he look like?KAYE:Just like any other animal. He had on pants—tie and collar...DIZZY:Did he have hoofs?EVE:Did smoke come out of his nose?SUSAN:That’s what gets in your eyes, silly.JUDITH:Did he say “mama” when you squeezed him?KAYE:I didn’t get that close to him.EVE:You didn’t see a manager, dearie, what you saw was a mirage.HATTIE’S VOICE:

(calling from dining room)

Come and get it!DIZZY:Let’s go.

(exits)

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SUSAN:I’m starved.

(exits)

EVE:

(to cat)

Come on, Henry. Mama’ll get you some of that lovely lamb stew.Maybe there’s a mouse in it.

(rises and exits, saying)

Coming, Kaye?KAYE:I’ll be along in a little while.Judith crosses from back of chair—saying—JUDITH:Aren’t you having any dinner?

(sits)

KAYE:No. I’m not very hungry.27 INT. HALL AND LIVING ROOM—FOOTLIGHTS CLUBDOLLY SHOT—Judith and Kay.JUDITH:You’ve been awfully blue lately, Haven’t you?KAYE:

(rising from arm of chair)

Well, after playing a whole season in Powell’s outeroffice, he might at least have said ‘hello.’ It gets pretty discouraging once in awhile, but I guess it’s just part of the game.CAMERA PANS and MOVES IN WITH Kaye as she comes into hall—meeting Mrs. Orcutt at foot of stairs.MRS. ORCUTT:Oh, Miss Hamilton.KAYE:Hello, Mrs. Orcutt.MRS. ORCUTT:I,m afraid I must...KAYE:I know... I know what you’re going to say. If you could let it go just a littlelonger.MRS. ORCUTT:You know the rules of the house and it’s three weeks now.KAYE:I know...but I’ve practically been promised a part, and I’m not eating any mealshere...MRS. ORCUTT:You’re putting me in a very embarrassing position. I don’t want to beinconsiderate...KAYE:

(opening purse)

Well, maybe I could give you a little money on account... say,ten dollars?MRS. ORCUTT:That’s something.

(takes money)

KAYE:Thanks, awfully.Kay exits on up the stairs...28 INT. UPPER HALL—FOOTLIGHTS CLUBJean stands at bathroom door, pounding on it—we hear splash of water o.s.—JEAN:Hey, there, Ella, that’s still a community tub, you know.VOICE:I’ll be out in a minute.JEAN:You’ve been in there a half hour already.Kay is seen coming up f..g. stairs—JEAN:What do you think you are—a trained seal?VOICE:What’d you say?JEAN:I said—

(she turns to lean against wall just as Kaye passes her)

...if you wantto drown yourself why don’t you use the ocean?

(realizes Kaye isn’t going tostop, and follows her down hall)

Hey, Kaye, why don’t you say `hello’ to meany more?Kay stops at foot of stairs leading to third floor as Jean comes up to her—KAYE:Hello, Jean, I didn’t see you.JEAN:Well, you certainly must have heard me—KAYE:Don’t pay any attention to me, my mind’s been wandering lately.

12

JEAN:What’s the matter?KAYE:Oh, It’s just one of those days. Let’s sit down and have a good cry.JEAN:All right—cry on my shoulder, I’m going to bathe anyhow.KAYE:

(mumbling to self)

No casting today—if you’d leave your name and numberwe’ll get in touch with you—Mr. Powell is not seeing anyone until the end of the week—last week—and the week before—and the week before that—Somewhere, somehow I had the idea that I was a pretty good actress.JEAN:Come on, shake out of it, who got all those rave notices a year ago?KAYE:That was a year ago.JEAN:You do sound gloomy.KAYE:I don’t know why I’m hanging on—but there’s nothing else I can do andnobody I can go back to—except somebody I’ll never go back to.JEAN:Listen, you don’t have to go back to anybody. You’re the only good actress inthe Club. Something’s bound to come your way.KAYE:I hope so—but it better be soon.JEAN:Now look, Kay, I don’t like to butt into your private affairs—but if it’s a matterof a few bucks—KAYE:

(interrupting)

Oh, Jean, I’ve got to get that part in “Enchanted April”—it’sme—it’s my life—no one else can play that part—it belongs to me—I’ve gotto get it, it just can’t be otherwise—I’ve got to—I’ve got to—-

(breaking)

Kay puts her head on Jean’s lap and sobs.DISSOLVE29 INT. DINING ROOM—FOOTLIGHTS CLUB—NIGHTGirls seated around dining room table. Dinner is over.DOUGLAS:How about a snappy rubber of backgammon?ADELE:No, I can’t. I’ve got some jam to can.HATTIE:That’s all there is, there isn’t any more.SUSAN:That’s what I call a dinner fit for a king.BERNICE:If you don’t care what you say.MADELINE:I’ve got most of it caught in my teeth.EVE:Well, now I know why sheep herders go crazy. It’s the lamb stew.DIZZY:If you ever find this cat of yours missing around dinner time, I’m eating outthat night.EVE:I’ll bet Orcutt’s husband dies of wool poisoning.MARY BOVARD:That coffee tasted like iodine. They oughta serve bandages with it.EVE:Yeah, it would make a lovely linament.30 GIRLS HAVE ALL DRIFTED OUT OF DINING ROOMleaving Terry and Luther alone.LUTHER:I can’t tell you how interested I was in your discussion of

Twelfth Night

. It wasso intelligent.TERRY:Oh, thank you very much. I’m afraid that the rest of the inmates didn’t seem toshare your enthusiasm.LUTHER:Oh they’re barbarians. They’ve had no training at all. When I played

Twelfth Night

, even the smallest bit player—TERRY:Oh did you play in

Twelfth Night

?

13

LUTHER:Yes, I have a few of my notices here. If you’d care to see them?TERRY:I’d love to.LUTHER:How lucky—they’re right here on top. Don’t read all of it—just the bits that areunderlined. This one’s from Atlantic City.TERRY:Oh, you’re Ann Luther.LUTHER:Yes—they’re good, aren’t they?TERRY:They’re excellent. You must have been really good.LUTHER:All training, my dear—all training.31 INT. LIVING ROOM—FOOTLIGHTS CLUB—NIGHTSHOT.EVE:I don’t like to gossip, but that new gal seems to have an awful crush on Shake-speare.MADELINE:I wouldn’t be surprised if they got married.MARY LOU:You’re foolin’. Shakespeare’s dead.DIZZY:No!MARY LOU:Well, if he’s the same one that wrote

Hamlet

, he is.EVE:Never heard of it.MARY LOU:Well, certainly you must have heard of

Hamlet

.EVE:Well—I meet so many people.As Terry enters, followed by Miss Luther,MADELINE:Hang onto your chairs, girls. We’re in for more Shakespeare.TERRY:Is it against the rules of the house to discuss the classics?EVE:Go right ahead. I won’t have to take a sleeping pill tonight.LUTHER:It might interest you girls to know that all great actresses have known theirShakespeare.MARY LOUISE SMITH:How about their onions?LUTHER:I’m afraid I don’t understand what onions have to do with Shakespeare. If you’d listen to Miss Randall you might learn something.JUDITH:

(enters from stairs)

I like Amos and Andy.LUTHER:In my day we were not only actresses—we were technicians. We learned ourtrade from the ground up.SUSAN:That’s what we should have—a trade.DIZZY:I want to be a Swiss bellringer.JUDITH:I want to do something with my hands.EVE:Sit on ‘em.MARY LOUISE SMITH:You’d get further with your feet—they’re bigger.TERRY:The trouble with you is you’re all comics. Don’t you ever take anythingseriously?JUDITH:After you’ve sat around for a year trying to get a job you won’t take anythingseriously either.TERRY:Do you have to just sit around and do nothing about it?JUDITH:Maybe It’s in the blood. My grandfather sat around until he was eighty.TERRY:My grandfather didn’t. If he and a lot of others like him hadn’t crossed thecountry in covered wagons, Indians would still be living in Wichita and—

14

EVE:Who do you think is living there now?32 SHOTTERRY:You think you’re facing difficulties—What do you think of the men whocrossed the Rockies—PAT:Did any of ‘em crash a Manager’s office?TERRY:No, but if they’d wanted to, I’m sure they could have done it; and I’ll bet I cantoo.MADELINE:Maybe she can get through the door with vanishing cream.TERRY:Maybe I can.Gerda comes in, tosses polo coat to Dizzy.GERDA:Hurry up. We’ll be late again.JEAN:Well, the Edelweiss Sisters must be off. If we’re not on the stage at 8:30 theorchestra gets lonesome.

(puts on coat, singing)

We are the girls of theEdelweiss, We ain’t so pretty, but we’re awful nice

. (begins to yodel and exitswith Gerda)

All yodel.OLGA:

(desperately)

Can’t we ever have peace around here?

(goes to piano)

MADELINE:Quiet! Olga wants peace! peace at any price!EVE:You can’t have peace without a war first.TERRY:

(to Eve)

You sound very superior. What have you ever done in the theatre?EVE:Everything but burst out of a pie at a Rotarian banquet.33 SHOTTERRY:You all talk as though the world owed you a living. Maybe if you tried to dosomething for the theatre the theatre would do something for you.JUDITH:What theatre?PAT:Is there a theatre?EVE:I don’t know. Has anybody looked up the side streets lately?TERRY:It doesn’t seem to me that any of you take your work very seriously.JUDITH:Now that you’re here we’re all giving up.TERRY:At least I’m going to have a try at it—if I can act, I want the world to knowit—if I can’t I want to know it.EVE:Even your best friends won’t tell you.TERRY:It would be a terrific innovation if you could get your mind to stretch a littlefurther than the next wise crack.EVE:I tried it once and it didn’t snap back in place.LUTHER:Miss Randall’s right. All of you girls lack training. In my day, we worked veryhard in the theatre.BOBBY:Now days the audience does all the work—look at the strip-tease.LUTHER:

(horrified)

I’ll ask you not to mention the theatre in the same breath withthat—that—other thing—

(sputters)

The idea—in my day—MADELINE:When Knighthood was in flower—LUTHER:I beg your pardon?MADELINE:I’m sorry, I was just reading aloud.Hattie admits the lumbermen. Luther exits.DUKENFELD:Miss Canfield.EVE:Well—who’ll we pick on now?

16

37–39 SHOTJEAN:Imagine that, Judy? A taxi! I bet you drink champagne out of slippers andeverything.Jean and Millbank cross to Judith at door.MILLBANKs:Yeah—well, I never have—but you know—JEAN:Let’s go to Central Park. There are a lot of trees there. We can hang by our tailsand eat cocoanuts—JUDITH:You’re killing me.Judith breaks into the sentence by booting Jean with her knee as they both exit.FADE OUTFADE IN40 INT. JEAN’S & TERRY’S BEDROOM—NIGHTTerry is in bed reading. The door opens and Jean enters after her set-to with the lumbermen. She is slightlydisheveled and limping.TERRY:Hello.JEAN:How are all your folks?TERRY:What happened to you?JEAN:Nearly everything.TERRY:You’re limping.JEAN:Am I? Oh, so I am! Did you ever dance with one of those Seattle Romeos?TERRY:Maybe. I don’t remember.JEAN:If you did, you’d remember all right.TERRY:Why do you go out with them?JEAN:I’ll bite, why do I? They not only jump on you, but they bore you to death. Iknow how many cords of wood there are in a pint—I know that the pine treeis not deciduous or has acidosis or something, and the Oregon timber line isreceding so fast that in another thousand years the whole state will bepractically bald.

(Terry smiles at this)

Why am I telling you all this?TERRY:Why not? We’re going to share the same room—why not share our troubles?JEAN:We started off on the wrong foot. Let’s stay that way.TERRY:Don’t you ever stop quarreling?JEAN:What’s the matter? Can’t you take it?TERRY:I can take it—if you want it that way. May I ask a humble question?JEAN:If you ask it in English.TERRY:What do you do for air in this room?JEAN:In the summer you go without it entirely. At this time of the year you put thewindow up. What’s the matter—have you got a broken leg?Terry gets the idea and starts to open the window.TERRY:This thing seems to be stuck.As she puts up the shade, we see the sign blinking furiously. We hear Jean’s voice.JEAN’S VOICE:Don’t try to pull it down from the top or we’ll have the whole upper floor inour laps.TERRY:What do you do about that electric light?JEAN:Just leave it there.TERRY:I should think those blinking lights would keep you awake.

18

JEAN:

(almost asleep)

Ah, write it—down—on paper—I’ll read it—in the morning.Terry—as she smiles and settles down for the night, we hear a crescendo of street noises floating through the windowfrom Bagdad on the subway.FADE OUTFADE IN43 INT. SCHOOL OF DANCING—DAYGirls doing routine—Kosloff in.KOSLOFF:All right all right—that’s enough for today—more to come—Goodbye.Dancing girls breaking up.JEAN:Oh boy, I thought he was never going to call “time.”GIRL:We ought to buy him a whip.JEAN:Get me my wheel chair.ANN:

(to Jean)

Let’s run through our routine before Olga gets away.44 JEAN AND ANN CROSS TO OLGA AT PIANOJEAN:Well if I do any more dancing you’d better dash home and get my extra pair of legs.ANN:If you’d go to bed and get some rest instead of running around with thoselumber-jacks you wouldn’t be worn out all the time.JEAN:You’ve got something there.

(to Olga)

Olga darlin’—do you want to help usthrough our routine a couple of times?OLGA:When am I going to get time for my concert practice.ANN:Be a good girl Olga and when we’re famous we’ll buy you a lollypop.OLGA:

(patiently)

All right—all right—And for this I studied with Kolijinsky—

(sitsat piano)

As the kids go onto the stage—45 POWELL STANDS LOOKING GIRLS OVER AS THEY PASSAssistant enters to him.ASSISTANT:Well, well, well, Tony Powell! How are you?POWELL:Fine, Alex. How’s the new school?KOSLOFF:Oh fine—fine—thinking of putting on a musical?POWELL:No, l very likely won’t produce anything this year—unless I can find an angel.Alex laughs.POWELL:—Haven’t seen any flying around here, have you?ASSISTANT:Not lately!Powell sees Jean and Ann dancing off c. left.POWELL:Who’s the little blonde?ASSISTANT:Just one of the kids. Want to meet her?POWELL:Never mind. I’ll introduce myself. (he wanders off)46 JEAN AND ANN DANCINGAnn sees Powell watching them from off scene.ANN:Look who’s giving us the once over.JEAN:Where?ANN:Over there.JEAN:Who is it?

19

ANN:Nobody but Anthony Powell.JEAN:So that’s Linda’s soul mate—Who’s he staring at?ANN:I don’t know, but I hope it’s me.JEAN:You can have him.47 POWELL COMES UP TO ANN AND JEANPOWELL:Are you girls rehearsing for a musical?JEAN:No, we’re just getting over the d.t’s.POWELL:That’s a nice routine you kids have got there.JEAN:I hear yours isn’t bad either.Jean starts to dance away toward dressing room.ANN:We haven’t come to the best part of it yet.48 ANN AND POWELL LOOKING AFTER JEANPOWELL:

(to Ann)

What’s the matter with your girl friend?ANN:

(stuttering)

She’s just—just nervous—meeting such a great man you know.POWELL:Do I make you nervous too?ANN:

(shuffling her feet around)

A little—but I wouldn’t let you know it—Powell laughs.POWELL:Do you two girls expect to go on the stage?ANN:Oh we’re just hoofing around—waiting for someone to discover us—POWELL:Well, you’re discovered.ANN:

(more nervous)

I didn’t mean it that way—we thought maybe—you know, wemight get into a night club like the Grotto—POWELL:

(interjects)

The Grotto—ANN:Yeah, you know—or some place like that—you know—excuse me—I guessyou are getting me nervous—excuse me—Ann dances off leaving Powell looking after her with a quizzical smile—DISSOLVE49 INT. LIVING ROOM—FOOTLIGHTS’ CLUB—NIGHTDOLLY SHOT—Judith and a girl as Judith reads letter.JUDITH:There’s nothing like a cheerful letter from home—

(reads from letter)

Pa gotlayed off—my sister’s husband has left her—and one of my brothers sluggeda Railroad detective....

(looks up)

I guess that’s all....

(turns page)

Yes... lots of love and can you spare fifty bucks....Girls are now streaming out of dining room—CAMERA PULLS BACK AHEAD of them as they come forward—EVE:How did you like the vegetable soup tonight?GIRL:If It had been a little thicker it’d made nice hot water.JEAN:Next time she serves it, I’m going to bring a cake of soap and wash out a fewstockings.TONY:She must have got that meat loaf from the Smithsonian Institute.MARY:I wonder what was in it?EVE:I don’t want to know.JEAN:By way of variety, let’s complain about the food.JUDITH:If you weren’t so snooty you could have had a date with me tonight.JEAN:You can have my share of those timber wolves.

20

JUDITH:They may be timber wolves to you, but they’re meat and potatoes to meJEAN:Don’t you know any younger men?JUDITH:I’m tired of buying dinners for younger men.50 CLOSER SHOTon Ann, Jean and Judith.ANN:

(to Judith with a look at Jean)

She needs a good bawling out.JEAN:Don’t start that again.JUDITH:Start what?ANN:We’re doing our routine today and who should walk over to us but TonyPowell.JEAN:So what!JUDITH:You mean the great Anthony Powell?ANN:He’s pleasant to us and everything—and wants to know all about us—and sheruns out on him like he’s a bed of poison ivy.JEAN:I didn’t like the way he looked at me.ANN:You oughta be glad he looked at you at all.JEAN:He makes you feel like you oughta run home and put on a tin overcoat.ANN:Listen, don’t forget I’m part of this team—and if you think I’m practicingdancing just so I can dance away from managers you’re crazy.JEAN:He wasn’t looking for an act. He was putting one on.ANN:You oughta stop in at a service station and get pumped up.JUDITH:She ain’t exactly a flat, dearie—just a slow leak.OLGA:If it’s not food it’s men. Can’t we talk about something else.JUDITH:What else is there?51 CLOSE SHOTof Eve with cat on her lap, brushing it—Dizzy on divan eating an apple—look off scene to Girls—EVE:I’ll stick to my little Henry. He’s so reliable—if he isn’t here with me, I canalways find him out on the back fence.... and besides, he keeps horrid old micefrom biting Mama, don’t you, Henry?DIZZY:If Henry saw a full grown mouse he’d probably break down and have a goodcry.EVE:

(holding Henry up)

Resent that, Henry.52 INT. HALL—FOOTLIGHTS’ CLUB—NIGHTJean—meeting Kaye at stairway.JEAN:Hi, Kaye. Don’t you eat here any more, you lucky girl?KAYE:

(hesitantly)

Some friends of mine are in town—I’ve been out with them a greatdeal—JEAN:Not tree chopper downers, I hope?KAYE:No, just people.Jean sees Linda coming.JEAN:Psst! Pardon me, there’s a dust storm blowing up.

(affectedly)

Howjado.LINDA:

(flaunting her sable coat)

Have we met socially?JEAN:I hope not—

(taking in coat)

A very nifty piece of jack- rabbit you have there.LINDA:Just a little trinket my Aunt Susan gave me.

21

JEAN:I think it’s terribly unselfish of these little animals to give up their lives to keepother animals warm.Telephone rings.LINDA:They’re very smart little animals. They never make sacrifices for the wrongpeople.Hattie enters from b.g. to answer it—ad lib dialogue which overlaps as she speaks over phone—JEAN:You understand the rodent family much better than I do... By the way, I sawyour Aunt Susan today, and I think you show much better taste than hedoes—although that’s not saying much.HATTIE:(interrupting) It’s for you, Miss Jean.JEAN:Pardon me. You can think up a bright remark while I answer the telephone—but don’t keep Aunt Susan’s car waiting.Linda exits—as Jean speaks into phone.JEAN:Hello. Yes, this is Miss Maitland.53 PAN SHOTJean at phone—JEAN:

(at telephone)

Hello .. Speaking. Who?.. Berger .. the Club Grotto .. Yes.Where? When? .. Right away? I’ll go right over ..

(hangs up the phone and letsout a loud “Whoo-oopie!”)

PAN WITH Jean as she rushes to the hall tree, grabs Ann’s coat and her own hat.JEAN:

(ad lib, incoherent)

Call out the Marines! The depression’s over!CAMERA PANS her into living room—PAST Judith—JUDITH:

(as Jean passes her)

What’s the matter? Have you gone screwy?JEAN:

(to Ann)

Come on string bean...let’s get under way.ANN:What is it? .. a fire?JEAN:

(still incoherent)

It was Gordon. Gordon called from the dancing school....ANN:What about him? Did he propose?JEAN:He said to go over to the Club Grotto...and see a man by the name of Berger...ANN:About what?JEAN:He’s got an opening in his floor show...Jean grabs Ann and they run to hall door and exit—JUDITH:Good thing there’s not one in the floor or you’d fall through it.CHORUS:A job! Who’s got a job? What is a job? etc.TERRY:What’s the excitement?JUDITH:How should I know, I’m a stranger here myself.As Terry walks toward Kaye.GIRL:She hasn’t worked for so long it’ll practically be a come back.TERRY:

(amused—to Kaye)

They never seem to be at a loss for action around here.KAYE:It’s a little like a three-ring circus.TERRY:A little bit.KAYE:They’re a great bunch of kids.TERRY:I think so. They don’t seem to feel the same way about me.KAYE:Oh, you mustn’t mind them.Terry sits beside Kaye.

22

TERRY:I’m beginning to think there’s something definitely wrong with me.KAYE:You’re different, that’s all.TERRY:Well now why—I eat the same food—I sleep in the same kind of bed—I’veeven got a crease across my back from that lumpy mattress—I’m doing mybest to pick up their slang—though I’m not so hot—how’s that “Not so hot?”KAYE:They’ll get to understand you better after while. And maybe you’ll get tounderstand them a little better.TERRY:I suppose so.KAYE:They do make a lot of noise it’s true, it’s only to keep their courage and hidetheir fears—TERRY:Well now what have they got to be afraid of? Certainly they’re young enoughto have courage.KAYE:And young enough to have fears, too. You saw how excited Jean and Ann got just now—and that wasn’t even a job—just the prospect of one. You don’tknow what it means—waiting and hoping that some manager will interviewyou.TERRY:Well at least you don’t have that worry—I saw you in that play last year—youknow you’re a good actress.KAYE:I’m not so sure any more. How do you know who’s an actress and who isn’t.You’re an actress if you’re acting, but you can’t just walk up and down a roomand act, without a job and those lines to say, an actress is just an ordinarygirl—trying not to look as soared as she feels.Hattie has been coming forward from dining room b.g. with a magazine held in both hands—as she gets to Kaye sheputs it down on coffee table and we hear the sound of a plate under magazine—she lifts magazine a little and thensteps to Kaye and trying not to attract attention—HATTIE:Here’s something. I dashed off in the kitchen I want you to try.KAYE:But, Hattie, I’ve had dinner.HATTIE:Oh this is something extra special—

(to Terry)

I’ve been practicing’ cookin’in my spare time.Terry has been looking at a magazine—TERRY:

(rising)

Well I’m glad someone in that kitchen is practicing.HATTIE:I’ll just leave it—you may get hungry after while—if I don’t hear any screamsI’ll know I’m a success—Terry strolls out—realizing Kaye is really hungry. Mrs. Orcutt meantime has entered b.g. and calls—MRS. ORCUTT:Hattie!HATTIE:Coming!She turns and dashes toward Mrs. Orcutt—CAMERA SWINGING IN on Kaye—who sits looking toward magazinewhich covers sandwich—FADE OUTFADE IN54-59 INT. TEAROOM—DAYTerry and her father seated in f.g. booth.TERRY’S FATHER:So that’s final?TERRY:Yes, Dad, that’s final.TERRY’S FATHER:I’m sorry.

(Terry shrugs)

I thought by now you would have satisfied this sillywhim of yours—and be ready to come back home.

23

TERRY:If I thought that I couldn’t achieve something by myself without the aid of thefamily millions, I’d feel like a pretty sorry specimen.TERRY’S FATHER:But why must it be the stage? There are other things to achieve in life.TERRY:I don’t know, it just happens to appeal to me. Why did Grandfather Randallleave a comfortable home and go pioneering off into unknown country?TERRY’S FATHER:He made sacrifices for a reason—so that his family might have economicsecurity—TERRY:Security against what? Am I to have security so that I may learn to play a meangame of bridge, or ride to hounds, or marry a polo player? Is that whyGrandfather Randall went through all the hardships he endured?TERRY’S FATHER:You’ve got the family name to Consider—TERRY:

(hoots at this)

Don’t worry about the family name. So far as New York isconcerned, Terry Randall is just another stage struck girl from the MiddleWest. They don’t know me from Eve, but they’re going to if I have anythingto say about it.TERRY’S FATHER:I’m sorry, but I can’t support you in this idea any longer.TERRY:Financially, or morally?TERRY’S FATHER:If you’re to continue on with this notion, you’ve got to do it on your own.TERRY:All right, It will have to be on my own.TERRY’S FATHER:It you were to fail, then what?TERRY:If I’m a failure, I’ll be the first to admit it.TERRY’S FATHER:It may be years before you find out.TERRY:It may take a long time to prove anything—one way or another—but I’m goingto stick at it.TERRY’S FATHER:Would you be too proud to come home if you were a failure?TERRY:No, I’m a very practical girl. I haven’t that kind of pride.TERRY’S FATHER:Then you would come home if you failed?TERRY:

(half kidding)

Would you have me?TERRY’S FATHER:

(patting her hand)

Well, you’re pretty stubborn, but you’re still my favoritedaughter—let’s leave it there.

(beckons to their waitress)

Check, please.FADE OUTFADE IN60 INT. GROTTO—NIGHTNumber is going on—girl singing—Powell enters and Powell is introduced to Linda Shaw for the eighteenth time,by Pangborn.PANGBORN:

(to Powell)

Won’t you join us?POWELL:I hope I’m not intruding.PANGBORN:I should say not—no, indeed.61 POWELL SEATS HIMSELF AT TABLE WITH LINDA AND PANGBORNLINDA:

(bored with it all)

How many times have we been introduced—do you haveany idea?PANGBORN:Thirty-seven—including this evening.LINDA:Thank you.

(to Powell)

I wonder if we’re fooling anybody but ourselves?POWELL:You’re not in a very bad humor this evening.

24

LINDA:Well, if I have to have a stooge, you might at least get me somebodyinteresting.PANGBORN:I hate that word stooge. I am retained as an “escort”.LINDA:Stooge is good enough...Let’s get out of here. I’m bored with the place.POWELL:Why not relax a minute. They’ve got a couple of new numbers here I want tosee.LINDA:Are you getting interested in new numbers?

(Powell looks away annoyed)

PANGBORN:Shall I join in the conversation to make it look at though we’re all heretogether?LINDA:I think I can get you a job with a ventriloquist.62 SHOTof number going on—Ann and Jean come out and start specialty part of their dance. Both she and Linda react as theysee each other—63 LINDA AND POWELL DURING DANCELINDA:Well, well, life is full of surprises.POWELL:What do you mean?LINDA:Oh, nothing.POWELL:

(watching girls dance)

They’re a couple of cute kids—LINDA:You think so?POWELL:Who are they?LINDA:How should I know?—They’re just a lot of riff-raff they pick up around town.64 DANCE ENDS AND JEAN AND ANN EXIT WITH CHORUS65 AT TABLELinda, Powell and Stooge as dance ends—and a general dance number starts—the Headwaiter enters to Powell.HEADWAITER:You’re wanted on the phone, Mr. Powell.POWELL:

(to Linda; rises)

I’ll be right back. Why don’t you two dance?LINDA:If you get any wrong numbers, you can always get your nickel back.Powell exits—with a look at Linda.PANGBORN:

(who has risen)

Shall we dance?LINDA:No!Pangborn sits down, looking a bit annoyed by it all.DISSOLVE66 INT. DRESSING ROOM—NIGHTJean and Ann come in, Jean burning.JEAN:Did you hear what she called us?ANN:What do you mean—us?JEAN:I’ll riff raff her! I could have hit her over the head with this stick.ANN:You did everything but poke her eye out with it.JEAN:The way that Powell sat there grinning, I could have hit him too.ANN:That’s all we need.JEAN:What do you mean—‘that’s all we need”?ANN:I heard tonight that Powell owned half interest in this Club. Did you know that?JEAN:Oh-h-h—You know it did strike me kinda funny our getting this job here all of a sudden.

25

ANN:And then came dawn—JEAN:You don’t suppose he had anything to do with our being here—ANN:(interrupting) Atta gal Sherlock. I’ll bet you could put two and two togetherand get something out of it—JEAN:So that’s it.ANN:Don’t be a dope. If he ever smiled at me the way he did at you tonight, I’d doa three point collapse.POWELL:

(at doorway)

May I come in?ANN:Oh, how do you do, Mr. Powell! Come right in.Jean says nothing.POWELL:

(entering)

I thought you girls were very good tonight.JEAN:Thank you—we thought so too.POWELL:Mind if I sit down?JEAN:Why not? It’s your club.POWELL:

(sitting on couch)

Well, not exactly, I have a small interest in it—ANN:Don’t pay any attention to her, Mr. Powell. She’s slightly balmy.Ann goes out.POWELL:You don’t like me, do you?JEAN:How could I help liking a man who takes his mother out to a night club—thatwas your mother you were sitting with?POWELL:

(smiling)

No, that was my friend’s mother.JEAN:Oh, well—then I can speak freely.POWELL:

(smiling)

Go ahead.JEAN:I think your friend shows very bad taste in picking mothers.67 PAN SHOTPowell rises and crosses closer to Jean.POWELL:You know I’m—I’m beginning to think so myself.

(sits next to Jean)

Now, myideal mother is young, blonde, slim—and generally intriguing.JEAN:I’ll see if I can get you one for Mothers’ Day. What size?POWELL:Your size.JEAN:Well, that wouldn’t be so easy. You see I’m not the stock size.POWELL:Couldn’t we talk the whole thing over at dinner some night?JEAN:Well, I’m very fond of dinner. Would you send your car around for me?POWELL:Where would I send it?JEAN:I’m living at the Footlights’ Club. But the traffic around there is rather heavy.POWELL:I see.JEAN:So maybe you’d better send it around here first.POWELL:Perhaps—

(rising and replacing chair)

—that would be better.

(goes to door-way b.g.)

Shall we say tomorrow night? After the show?JEAN:Mama’ll have a lamp in the window.POWELL:Good night!

(he exits)

On Jean’s reaction we—DISSOLVE68-105 OMITTED

26

106 INT. POWELL’S OUTER OFFICE—DAYAd lib dialogue from telephone operator.OPERATOR:No, Mr. Powell isn’t in today... Have you an appointment?...Hello ...hello...Yes ... No, not casting at the moment... might call in later... thank you..etc.OLD ACTOR:

(to secretary as he presents card)

Mr. Powell probably will remember me. I’veplayed in several of his shows—SECRETARY:Yes, I know, Mr. Anderson—yes, I know, but Mr. Powell has several appoint-ments—ACTOR:Of course I could wait if you thought there was any—SECRETARY:You can wait if you like, but I’m sure there’s very little chance of seeing himtoday.ACTOR:Thanks—I’ll wait—OPERATOR:Hello—I’m sure I don’t know. You might call later—No, Mr. Powell’s out of town for the week-end—I’m sure I don’t know. You might write him a letterto this office...107 JUDITH AND EVE—SEATEDJUDITH:Did you get that?—out of town. I guess that was his double peeking throughthe door a little while ago.EVE:Imagine opening a great big office like this just not to see people.A bootblack enters, whistling, and goes through into Powell’s office.JUDITH:When he left town he forgot to take his shoes along.108 KAY ENTERSThe girls see her. Both call “Hello.”JUDITH:You better sit down. Mr. Powell’s out of town. He’s on a world tour and he’sin his office getting his shoes shined—EVE:Don’t be too loud. He may be under the rug.JUDITH:-- and he doesn’t see anybody except by appointment.KAYE:I’ve got an appointment. I’m going to read that part.EVE:Do you mind if I touch you?JUDITH:You’ll knock him off his chair.KAYE:I hope so. I’ve been studying all night.—Have you appointments, too?JUDITH:We’re waiting for Randall. If she doesn’t crash Powell’s office by two o’clock,she’s buying us lunch.EVE:We’re starting off with caviar—not that small sturgeon kind—

(indicatingsize)

—but that nice big whale caviar—VOICE:

(calls from o.s.)

Miss Hamilton.KAYE:Yes!JUDITH:Good luck, kid!EVE:The best!109 KAY GOES TO DESKSECRETARY:I’m sorry, Miss Hamilton, you can’t go in now. I tried to phone you today.Some unexpected business came up and Mr. Powell will have to cancel thatappointment.KAYE:

(sunk)

I can wait—

27

SECRETARY:He couldn’t possibly see you today. We’ll have to make it next week sometime. If you’ll keep in touch with me—KAYE:If I could only see him for five minutes I know—SECRETARY:I’m sorry—but you’ll have to make it next week.KAYE:Please make it today—because—She faints.SECRETARY:Here—here—you mustn’t do that—somebody catch her quick!General excitement as Kay is carried to couch by one of the waiting actors.GEORGE:(actor who carries Kay) Get some water—someone—quick!JUDITH:Kay!EVE:You get out of here. We’ll take care of her. Put her on the couch!SECRETARY:Here—give her this—I hope it’s nothing I said.JUDITH:Kay —Get some water, somebody!110 TERRY ENTERSTERRY:What happened?EVE:Powell broke an appointment with her and when his secretary told her about itshe went out like a light. (Kay starts to come to) Are you all right, kid?TERRY:Let me help.JUDITH:She’ll be okay.SECRETARY:Try rubbing her hands.EVE:Come on, darling—you fainted. Take a drink of water.KAYE:I’ll be all right.JUDITH:He’s a great guy—break an appointment with an actress so he can have hisshoes shined!TERRY:Who does this Powell think he is? (she starts for Powell’s door)SECRETARY:Here, you can’t go in there!TERRY:Just watch me.Terry has gone into private office.111 INT. POWELL’S INNER OFFICE—DAYTerry and Powell, as Terry rushes in, Bootblack shining Powell’s shoes.TERRY:Are you the great Anthony Powell?POWELL:

(thoroughly surprised)

And who might you be?TERRY:That’s not important.POWELL:By what right do you break into my office without an—TERRY:

(jumping him)

What right have you to barricade yourself behind closed doorsand refuse to see people?POWELL:It happens to be none of your business.TERRY:Do you know that a girl just fainted in your outer office because you broke anappointment with her?POWELL:

(still sharp)

I’m sorry, I didn’t know.TERRY:As long as you keep that door closed you’ll never know! You’re a producerand it’s your business to see actors... Why the greatest actress in the worldmight be sitting out there and you’d never give her a chance—POWELL:Are you the greatest actress in the world?

28

TERRY:Never mind me! I don’t need you, but those other girls do. They work andstarve, and go without decent food and clothes, in the hope that some daysomeone like you will come out of his office and notice them.112 SECRETARY ENTERS TO TERRY AND POWELLSECRETARY:I’m terribly sorry, Mr. Powell. This young woman rushed in here before I couldstop her.POWELL:It’s all right, Miss Arden. What happened to the girl who fainted?SECRETARY:She’s fine. Her friends are taking her home.POWELL:That’s all. I’ll ring if I need you.The secretary goes out with a doubtful glance at Terry.POWELL:Sit down, young lady. I want to have a talk with you.Terry reluctantly sits down. Powell hands a coin to the bootblack and dismisses him.POWELL:

(to bootblack)

All right, son, you can go, too.BOOTBLACK:Yes, sir.Bootblack exits—113 TWO SHOTPowell and Terry.POWELL:Now listen, my militant friend—I judge by your attitude that you hold mepersonally responsible for any possible tragedy in the lives of the girls whocome up here—Is that right?TERRY:No, it isn’t—but I do think you owe it to all these people to see them. Maybethey’ve got something...POWELL:Maybe they have, but do you realize that if I tried to see all the young girls whowant to be actresses that I wouldn’t have time to do anything else? Every yearabout fifty thousand girls decide they want to go on the stage—for one reasonor another. About forty- nine thousand five hundred of them are wrong. They’dbe better off if they stayed at home and washed dishes.TERRY:How about the five hundred who are right—do you see them?POWELL:Even if I could see them all, it wouldn’t do any good. There are about fifty girlsfor every job that’s open.TERRY:How do you know you get the right ones? You don’t even have the courtesyto come out of your office and say “NO” to them. That at least would be somecontact with the theatre.POWELL:Well, you’re one that can’t Complain. I’ve seen you—and you’re not the type.TERRY:You’re very smug, Mr. Powell—very smug.POWELL:Now, whether or no you’re satisfied that I’m not entirely responsible for thewoes of the theatrical world, I’d suggest that you run along and leave me herewith my conscience.He is leading the way to the door as he speaks.TERRY:

(as she leaves)

I doubt very much that you have a conscience.114 AS TERRY EXITS—POWELL CALLS TO SECRETARYPOWELL:Miss Arden,—I don’t want to see anybody else today—

(secretary enters and hands him card)

I don’t care who it is.—

(he looks at card)

Is he here?

(secretary nods. Powell looks off)

Oh, hello, Mr. Carmichael—come in.Carmichael enters.CARMICHAEL:Hello, Mr. Powell.

29

POWELL:Glad to see you—how are you?CARMICHAEL:Fine, thank you.POWELL:(as he closes door) I hope this has nothing to do with that—that other matter—Ithought that was all settled.CARMICHAEL:No—it isn’t anything like that.POWELL:(as he leads Carmichael to his desk) That’s fine! Sit down—have a cigar.CARMICHAEL:No, thanks.POWELL:Cigarette?CARMICHAEL:No.POWELL:We just had a little excitement around here.CARMICHAEL:Yes, I couldn’t help but hear— (casually) Who was the girl?POWELL:I haven’t the faintest idea. Some stage-struck damsel suffering fromoverexcitement. (as he seats himself opposite Carmichael at desk)CARMICHAEL:(still casually, but smoothly) Is she an actress?POWELL:If she is, she’s a pretty bad one. I can tell them a mile off.CARMICHAEL:Are you sure of that?POWELL:I seldom miss. Something ought to be done about these girls that come to NewYork and try to get on the stage—they’d be so much better off at home raisingfamilies.CARMICHAEL:That’s the way my client feels about it.POWELL:Your client?CARMICHAEL:You’re producing a play shortly, aren’t you?POWELL:“Enchanted April”? Yes. Why do you ask?CARMICHAEL:Well, this client I just spoke of is somewhat interested in the theatre—I can’tmention any name, you know how those people are, of course—but somewherehe got the idea that he would like to dabble in show business.POWELL:Well, fresh money is always welcome—CARMICHAEL:Under the circumstances—I’m not sure that you would be interested—POWELL:Under what circumstances?CARMICHAEL:However— (getting out contracts) here’s the proposition—we may as well talk it over, and afterwards, if you’re still interested—we can go on from there.He hands the contracts across the desk to Powell, and as he looks at them and starts to read them we—FADE OUTFADE IN115 INT. LIVING ROOM—FOOTLIGHTS CLUBHATTIE:(at phone) Hello....hello No, this is the Footlights Club... No, Footlights... No,Foot... How can it be the Beacon Laundry if it’s the Footlights Club... CertainlyI’m sure I’m right in it.... Is that so?... Go wash your own neck and see howyou like it!Down the stairs come Eve and Judith.OLGA:How is Kaye feeling?EVE:She’s all right.DIZZY:What did the Doctor say was wrong?EVE:Malnutrition, he called it. That’s Latin for not eating.JUDITH:All she needs is some good meals—Try and get ‘em—and a good long rest.

31

JUDITH:She’s fine.TERRY:It’s so silly of her to have gone without food.EVE:Oh, yes. I think it’s terribly silly to go without food.TERRY:I didn’t mean it that way. (sees Mrs. Orcutt off and exits)120-124 AS MRS ORCUTT COMES DOWNSTAIRS AND TERRY ENTERS TO HERTERRY:What did the Doctor say?MRS. ORCUTT:She’s going to be all right... I didn’t realize...TERRY:I think it was very stupid of her not to let people know—MRS. ORCUTT:It was very sweet of you to send in the doctor—TERRY:I asked you not to say anything about it—MRS. ORCUTT:Nobody knows that—TERRY:I know, but please don’t mention it again. It’s not that I’m sentimental—it’s just that the whole thing seems unnecessary to me—Terry goes on upstairs—Mrs. Orcutt exits—125 INT. JEAN AND TERRY’S ROOM—NIGHTJean parading In ermine cape—Linda enters with box of flowers—LINDA:May I come in?JEAN:Oh, sure. I guess you’ll be safe—the exterminators won’t be here untiltomorrow.LINDA:How did they miss you on their last visit?JEAN:I was out in society that day, with an old boy friend of yours.LINDA:Oh, yes—speaking of funerals—these flowers just arrived for you.JEAN:And my little flower girl brought them up to me—If I could find my purse I’dgive you a big five-cent tip.LINDA:I really came along to give you a tip—

(as Jean starts to unwind note)

—anddon’t bother to read the note—I can tell you what it says—“eleven roses andthe twelfth is you.”JEAN:

(reacting to note)

You’re doing very well, up to now—tell me more.LINDA:Oh, his routine is about the same for all the girls—It’ll finally end up with aquiet little supper in his penthouse—you know, with champagne and all thefixings—and the view and all that—and then there’s Harcourt—Harcourt’sreally a gem.....JEAN:

(interrupting)

That’s not Harcourt you’re wearing, is it?LINDA:No, my sweet...that is a little thing called a star sapphire—Harcourt’s thebutler. But he’s very discreet—you know, one of those butlers that tiptoesbackwards.JEAN:I know the type so well.LINDA:You’ll get to know him much better. He’s very deaf, so that’ll save you thebother of screaming for help—and—Oh, yes, I almost forgot the lighteffect—that really is something. It goes with the tired-little-boy routine, but Idon’t want to spoil it for you—I’l1 let it come as a surprise.JEAN:It must be awfully galling to you older women to lose your meal tickets toyounger `riff raff’—LINDA:It’s only a leave of absence, dearie—and in the meantime, I have my sable coatand my star sapphire to keep me company.

32

JEAN:

(fondling the sable coat)

It’s lovely, but I think you paid too much for it.LINDA:That’s your error—I’m not as generous as my Aunt Susan.

(Linda exits)

JEAN:

(pleasantly, as though this were the end of an afternoon tea—calls after her)

Anyhow, thanks for calling and if you ever need a good pallbearer, remember,I’m at your service.126 JEAN RETREATSto bed where she has left the note, and rereads it—angry and puzzled.127 TERRY ENTERSTERRY:I didn’t mean to eavesdrop, but I couldn’t help overhearing. You’re not reallyrunning around with this man Powell, are you?JEAN:Why not?TERRY:Why should you play with fire just to spite Linda?JEAN:

(defensively)

I can take care of myself.TERRY:Personally I think you need a governess.JEAN:Well why shouldn’t I go out with him? He’s very charming—TERRY:So are snakes.JEAN:

(still defensive, reaching for an excuse)

Besides, if I don’t go out with him I’llprobably lose my job and so will Ann, and we’ll be right back where we were.TERRY:That’s a lame excuse. You got along somehow before, didn’t you?JEAN:I’m sick of “getting along somehow.”TERRY:Why don’t you stick to your ideals? They’re a little crude, but they’re all right.JEAN:You should talk!TERRY:Good Heavens! Don’t start that grandfather thing again. Anything but that.JEAN:

(realizing that Terry is right)

Besides, it’s none of your business.TERRY:Sorry—By the way, that’s a beautiful ermine cape you’re wearing. Remarkablysimilar to one of mine—JEAN:I didn’t think you’d be back so soon. I don’t want you to think I intended toborrow it—I just wanted to see how I’d feel in one of these things.TERRY:Do you feel any different?JEAN:I’ll say!TERRY:Why don’t you wear it?JEAN:Do you mean it?TERRY:Why not? You may as well go to perdition in ermine—you’re sure to comeback in rags.JEAN:

(laughs)

You know, you’re funny—in some ways you’re not a bad egg.TERRY:As eggs go—I probably have my points.JEAN:Gee—thanks—

(she crosses to hall door—bewildered—opens door and as sheexits into hall goes into a “grand manner” strut and exits)

—DISSOLVE OUTDISSOLVE IN128 INT. HALL—FOOTLIGHTS CLUB—NIGHTJudith talking over phone—JUDITH:Of course I’m always glad to see people from the old home town—Yes, wellI’m playing in a show but I could have my understudy go on for tonight—Notat all. Anything for old Seattle. I’m not sure about dinner. Just a minute—

33

(quickly, to Hattie who enters on her way upstairs with bowl of soup for Kaye)

What’s on the menu tonight?HATTIE:What do you think?JUDITH:Don’t tell me—

(into phone)

I think I can manage—Yes, I’ll try to get anothergirl. Eight o’clock? Fine.Jean is coming down stairs, strutting. Eve stops her and feels of the ermine.EVE:Ah, what the well-dressed roommate will wear this season.JEAN:Pardonnez-moi?EVE:Take a look, Henry. That’s where you’ll wind up if you don’t behave yourself.Eve exits on upstairs as Judith comes up to Jean:JUDITH:

(to Jean)

If your line’s not busy tonight, there are a couple of lumber ---JEAN:

(as she goes on in to living room—CAMERA PANNING)

Oh don’t mention theword lumber—

(for the benefit of Linda)

I’m dining tonight on pheasantborderlaise, with peach fuzz dressing.GIRL:Where is Bordelaise?JUDITH:She doesn’t even know what pheasant is.LINDA:Naturally. There’s a difference between pheasant and peasant.JEAN:My friend would never think of serving peasant.LINDA:No, but he’s willing to take them out once or twice.Ann enters to Jean and starts her toward door—CAMERA DOLLIES as they come forward.JEAN:Ah, but when he’s through, he’s through—That’s what I like about my friend.129 CLOSE SHOTof Linda:LINDA:It’s one thing to borrow a friend’s friend, and another thing to hold ontohim—if you know what I mean.130 CLOSE SHOTAnn and Jean at front door—JEAN:

(to Ann, who has come up)

Would you mind telling the lady I don’t want to buyanything today.

(to room in general)

Good-bye all. When I return I’ll tell youhow the other hawf lives—nice meeting you!ANN:If it’s not asking too much, let’s not be late again.JEAN:Lead the way, Higgins.And as she starts out—Ann. gives her a shove on out the door and follows—closing door after them.131 EXT. FOOTLIGHTS CLUB—NIGHTJean and Ann come out of Club—closing door.JEAN:You don’t suppose she’s burned up, do you?ANN:Why don’t you two have it out with sharp knives?Jean is about to speak when she sees Bill coming up the steps.JEAN:

(rather excited)

Hello Bill.BILL:Hello Jean...Hello Ann.ANN:Hello—Make it snappy will you, we’re in a hurry.She goes on down the steps.BILL:What’s the matter with her?JEAN:Just a grouch. When did you get back?

35

JEAN:We’re even.POWELL:Did you enjoy the supper?JEAN:I didn’t dare to.POWELL:Why not?JEAN:It’d make it too hard to go back to that lamb stew.POWELL:You don’t have to go back to that lamb stew—

(sits on arm of her chair)

If youdon’t want to.JEAN:Do you have suppers like this all the time?POWELL:Practically all the time. Why?JEAN:I just wondered—I wish I’d been born lucky instead of beautiful and hungry.Butler starts around chair with Powell’s cup.POWELL:You can’t have everything and you are beautiful. I’m the lucky one.Jean’s head following Butler around.POWELL:Will you have a little more champagne?JEAN:No thanks, I’m afraid to stand up now.Butler has just passed her and stopped to shake out her napkin—Jean sits up—JEAN:Boo!The Butler reacts slightly, drops napkin on her lap and exits—136 JEAN AND POWELL—LOOKING AFTER BUTLERJEAN:I knew she was lying.POWELL:Who?JEAN:He’s not deaf at all.POWELL:Well, he hasn’t been.JEAN:You can’t trust people nowadays.

(she rises)

POWELL:No, that’s right, you can’t.

(rises)

Don’t you think you better have a littlecoffee?JEAN:

(indicating view off c. l)

S’a wonderful view.POWELL:Yes, it is—it’s a wonderful view—It’s a beautiful city, isn’t it—Just like afairyland—it’s full of color, romance, illusion and glamour.JEAN:I guess it depends on which window you see it from.

(starts out of scene)

POWELL:You should see it only from here.And he follows her.137 JEAN AND POWELL AS THEY COME FORWARDJEAN:Do those lights keep you awake?POWELL:They haven’t so far—JEAN:I love New York from up here. It looks all rouged and manicured and ready togo out for the evening.POWELL:You’re quite a philosopher, aren’t you?JEAN:Maybe it’s the champagne talking.POWELL:It’s might good “talk.”JEAN:It’s might good champagne.POWELL:Let’s have a little more of both.JEAN:

(passing the three little figures)

Who are the three little men?POWELL:They’re some little figures I picked up in the Orient.

36

JEAN:Anyone I should know?POWELL:Well, now, this one takes care of good little girls who work very hard to makea living. This one sees that they meet the right people—and this....JEAN:And this one went to market.POWELL:That’s right, and he also sees to it that little girls don’t have to eat lamb stew—JEAN:

(noticing framed photographs)

Did you pick her up in the Orient too?POWELL:(

clearing his throat)

No—no—that’s Mrs. Powell, we’re not divorced or anyt-hing like that—and that’s Junior, handsome boy, isn’t he? I never believe inmaking pretenses. Lots of men who are separated from their wives simply letit be understood that they’re not married. I believe—in this day and age, thata man can have his home on the one hand, and still live his own life—that is,any man of character.JEAN:That’s big of you.138 AS POWELL COMES AROUND AND STARTS LEADING JEAN FORWARD TOWARD DIVANPOWELL:Well, it happens to be the way I feel about it. Why don’t you relax? There’rea few things I want to talk over with you. After all, you must be very tired afterdancing all evening.As Jean sits on divan—Harcourt, the Butler, enters with champagne on tray and puts it on large coffee table—Powellcrossing to light switch back of divan.JEAN:Oh, there you are again? I’m so glad that you’re not deaf.HARCOURT:Yes, ma’am!JEAN:Because if you were deaf you couldn’t hear anything and that would beterrible.HARCOURT:Yes, it would be terrible.Throws a look at Powell, who signals for him to leave—and he backs out.JEAN:I never know whether he’s coming out or going in.Powell switches out most of the lights in the room.JEAN:What happened?POWELL:Well, isn’t that much more restful?As he comes up to her—JEAN:I thought something blew out.POWELL:Well, it does improve the view, now doesn’t

it? (indicating the lights of theskyline seen through back windows)

JEAN:

(without looking)

S’beautiful!139 JEAN AND POWELL ASPOWELL:

(crossing and sitting on floor at her feet)

It’s beautiful now, but think of howmuch more beautiful it will be with your name flashing across thehorizon—“Jean Maitland”—in letters that big.JEAN:

(doubles the size)

That big!POWELL:All right, that big!JEAN:They gotta be big enough to keep people awake!POWELL:It’ll keep people awake. I’ll be the sculptor and you the clay! I’ll mold you intothe greatest dancer Broadway has ever known. I’ll be Pygmalion and you’ll beGalatea.JEAN:Sounds like a fairy story.

37

POWELL:Isn’t life just a fairy tale? After all, aren’t grown-up people just little boys andgirls at heart? Oh, I know at the office I’m the gruff producer—that’s apose—but here, with you, I’m just a tired little boy with a dream.JEAN:Who are you going to be?POWELL:I don’t understand.JEAN:You were going to be somebody and I was going to be somebody.POWELL:

(comprehending)

Oh—yes, yes—Pygmalion and Galatea.JEAN:Which one am I?POWELL:You’re Galatea—JEAN:I’m Galatea.POWELL:Pygmalion was a sculptor who carbed the statue of a woman out of marble. Thestatue was so beautiful that he fell in love with her and his love was so deepand tender and true that it warmed the statue into life and they lived happilyever after.JEAN:Did they get married?POWELL:I don’t think so, I don’t believe people got married in those days.JEAN:I think it’s terrible.POWELL:What’s terrible?JEAN:They didn’t get married.POWELL:She was just a statue.JEAN:That’s what’s so terrible about it.POWELL:You mustn’t cry over a statue—the whole thing is a fairy story.JEAN:But after he’d gone to all that trouble and everything.140 AS POWELL RISES FROM FLOORPOWELL:He didn’t go to any trouble—now you’re just getting hysterical.JEAN:I’m not hysterical.POWELL:Besides, he had a wife and son, he couldn’t marry her if he wanted

to. (calls off scene)

Harcourt! Harcourt!JEAN:

(as he helps her to rise)

He should have thought of that first. She was probablyminding her own business.Harcourt enters from kitchen.POWELL:Come on, you’re getting yourself all excited over nothing.

(gives Harcourt signal to get her wrap)

JEAN:It may be nothing to you, but it was something to her. He can’t do that to her.POWELL:

(as he starts ushering her toward hall door b.g.)

You bet he can’t.141 AS POWELL AND JEAN COME FORWARDJEAN:Well, why don’t you do something about it—’stead of just standing there?POWELL:

(as they stop)

I’m going to do something about it—the very first thing in themorning

. (Harcourt enters with her wrap which Powell takes and puts around her)

You run along home now—get some sleep and don’t worry about any-thing. I’ll see my lawyer and we’ll get the whole thing straightened out.Harcourt starts for hall door.JEAN:What thing?

38

POWELL:

(reacts and starts her toward door)

Now look, my darling, what ever there isto be straightened out—Harcourt, open the door—here’s good old Harcourt—he’ll see you to your car—that’s a good girl—JEAN:You’re wonderful!POWELL:You’re wonderful, too—

(closing door on Harcourt and Jean)

Harcourt’swonderful, I’m wonderful—the whole thing’s wonderful—He closes the door—sighs in relief—takes out his notebook and as he starts looking through it, he comes forward—FADE OUTFADE IN142 INT. JEAN AND TERRY’S BEDROOM—CLUB—NIGHTJean enters—singing—JEAN:Our penthouse on Park Avenue—Away in the midst of the sky—

(as shecrosses to her bed—Terry is lying on her own bed)

It certainly seems ratherhigh—It certainly is high in the sky—TERRY:You seem rather high yourself. You must have had a pretty good time tonight.JEAN:(

sitting down on Terry’s bed, ermine cape in hands)

Everything’s wonderful—the view’s wonderful—supper’s wonderful—I won fifty thousanddollars—and Harcourt’s wonderful—TERRY:And who is Harcourt?JEAN:Whas’ his name?TERRY:Do you know your own name?JEAN:It’s going to be in letters that bi—

(Terry takes cape)

—No—that big.TERRY:Whose—yours or Harcourt’s?JEAN:You said it. He’s going to divorce his wife and marry Galatea—TERRY:Who’s Galatea?JEAN:She’s just a statue—they never should have got married in the first place.

(she falls back on the bed)

It’s going to be wonderful.TERRY:Yes, I’m sure everything’s going to be very wonderful.

(as she rises and putscape down)

JEAN:The view’s wonderful—TERRY:

(opening up Jean’s bed)

Yes, I know. Harcourt’s wonderful, and you’rewonderful—JEAN:And you’re wonderful.TERRY:And I’m wonderful too.

(getting her up)

JEAN:You are very wonderful.TERRY:Now come on—Let me help you off with your things.

(getting Jean onto her own bed)

JEAN:And we’re all going to the wedding—you’re coming too—TERRY:I’ll be there.

(getting Jean’s feet on bed and starting to take off her shoes)

JEAN:

(sits up)

Harcourt’s going to marry Galatea and we’re all going to live togetherin a sign that big—

(flopping back on pillow)

—and I feel terrible—TERRY:But isn’t it wonderful—

(puts Jean’s doll in her arms)

—and tomorrow you’regoing to have a wonderful hangover and that won’t be so wonderful....

(as shetakes off her other shoe)

JEAN:

(mumbling)

It’s wonderful—wonderful—Wonderful!

39

FADE OUTFADE IN143 INT. LIVING ROOM AND HALL—FOOTLIGHTS CLUB—NIGHTLinda—Eve—Judith—Madeleine and Mary Lou grouped around f.g.—girls coming home, etc., in b.g.—MADELEINE:

(as they all laugh)

Well that’s my story—

(to Linda)

How did you get into thetheatre?LINDA:How did any of us get into the theatre?MARY LOU:I’ve never been in a theatre—except as a spectator.LINDA:But where did you first get the bug?JUDITH:I guess it all started with me when I was a little girl. I went to see a circus andthere was a beautiful lady in pink tights—

(to Linda)

It wasn’t you, was it?LINDA:I don’t like pink—

(she sees Jean coming down stairs in hall b.g. and rises)

JUDITH:—riding a large, white horse...EVE:Sure it wasn’t a purple cow?CAMERA STARTS TO MOVE FORWARD as Linda goes b.g.—JUDITH:Well, whatever it was—here I am. No horse—no job—not even the pink tights.Still HOLDING f.g. group—Linda stops Jean in hall—LINDA:Is Mr. Powell’s car calling for you at the Grotto tonight?144-147 CLOSE SHOTLinda and Jean.JEAN:Mr. Powell’s car calls for me every night.LINDA:I was just wondering. I saw Mr. Powell at the Colony Bar this afternoon withanother young lady. However, you’ve done much better than I expected. Ididn’t think you’d last this long.JEAN:Is Madame certain she hasn’t been seeing things?LINDA:Madame is quite certain—but you’ll probably get a note later, saying he’s beendetained on business. When Mr. Powell doesn’t send his car, he always sendsa note. He’s quite courteous that way...And Linda exits up stairs—Anne comes rushing in to Jean—ANNE:This is where I came in—let’s get going--And Anne exits—Jean stands a moment—pondering the information Linda has just given her—then she slowly startsout as we—FADE OUTFADE INOF INCENSE burning before a bowl of flowers.DISSOLVE148 INT. POWELL’S PENTHOUSE—NIGHTTerry and Powell.POWELL:I expect this to be the greatest play I have ever produced. Every actress onBroadway has begged to play the part of Jeanette. It’s one of the greatest partsever written.

(he turns out the lights)

Isn’t that more restful?TERRY:On the contrary, it makes me feel slightly uncomfortable.POWELL:

(sitting next to her)

Why don’t you relax and let me tell you the story of theplay?TERRY:Go ahead.

40

POWELL:The scene opens on Long Island—it’s a beautiful spring day—Jeanette, that’sthe character I want you to play, is brokenhearted—her husband is about toleave her—

(he is now on floor at Terry’s feet)

TERRY:Are you sure you brought me up here to discuss this play?POWELL:Why do you ask?TERRY:I’m a suspicious person.POWELL:You want to be a star don’t you?TERRY:Under the proper circumstances—why don’t you sit back on the couch, you’llfeel more comfortable.POWELL:

(gets back up on couch—starts again)

How would you like to see your nameblazing across the horizon in letters that—He doesn’t get very far with this. Terry interrupts himTERRY:In big letters—it’s got to be a good sized sign, I’m used to that—so’s JeanMaitland.POWELL:What’s she got to do with it.TERRY:Are you in love with her?POWELL:No.TERRY:I thought so.POWELL:She’s just a little girl in whom I took an interest. As a matter of fact—she’sbecome more or less of a pest. (

exasperated)

Say, what are you—a districtattorney?TERRY:Not exactly.

(rises)

149 AS TERRY GETS A CIGARETTE AND COMES TO FG DIVANPOWELL:What’s Jean Maitland got to do with this discussion? Do you want to play thispart or don’t you?TERRY:I’m really tremendously flattered, but how do you know I can act?POWELL:(rising and coming forward) I know.TERRY:How do you know? You’ve never seen me on the stage.POWELL:How do you know that?TERRY:Because I’ve never been on the stage.

(sits)

POWELL:Well, I saw you perform in my office.TERRY:I wasn’t performing that day.POWELL:Whether you were or not, I know an actress when I see one.TERRY:I don’t see how you—POWELL:Do you ever stop asking questions?TERRY:Well, I like to know why—POWELL:You don’t have to know anything. I’ll do the talking. Whether you Were actingin my office or no—you did show fire and emotion and that’s what I need inthis part.TERRY:I’m not an emotional person.POWELL:You will be when I get through. I’ll mold you into one.TERRY:I don’t want to be molded. I believe in acting with my brain.POWELL:I’ll mold you one of those also.

(calls)

Harcourt!

(to Terry)

Would you likesome champagne?TERRY:No thank you.

41

Harcourt enters to them.POWELL:You don’t mind if I have some, do you?TERRY:Go right ahead.He starts to order champagne. A buzzer rings.HARCOURT:Are you expecting someone?POWELL:Get the champagne. I’ll answer it.

(Harcourt exits-- to Terry)

Do you mind if I answer the door?TERRY:Not at all.150 AS POWELL GOES TO DOOR BG—TERRY RISESwe see Jean in hall when door is opened—POWELL:How did you get up here?JEAN:Have you got a woman in this apartment?POWELL:Who wants to know?Terry reacts on seeing Jean—sinks to floor before divan—putting on an act.JEAN:Who has a better right?POWELL:Now, listen, I’m in a bad humor, and you’d better get down stairs the way yougot up—JEAN:How can you shout at me after—after all you promised me last night?POWELL:I’m not shouting!—and I didn’t promise anything—JEAN:Where is she?POWELL:Say, by what right do you come crashing into this—Powell and Jean see Terry reclining on floor before divan.JEAN:So, it’s you!TERRY:

(languidly)

Hello—POWELL:Say, what is this?

(coming around divan)

JEAN:That’s what I’m asking.151 AS TERRY SITS UP INNOCENTLY—JEAN AND POWELL STANDING BY DIVANTERRY:Mr. Powell’s just been telling me the plot of a play—JEAN:So that’s how you happened to be on the floor?POWELL:Come on, get up. That isn’t where I left you! What is this—a frame-up?TERRY:Tony, darling, control yourself.POWELL:Don’t Tony darling me! Come on, get up out of there.

(he gets her up from floor, onto divan, and turns to Jean)

And you go home immediately!Harcourt has entered with champagne on tray and stands bewildered.JEAN:I’ll go when you hear what I’ve got to say.POWELL:Say it and get it over with. She came up here to sign a contract to do a play—JEAN:

(seeing Harcourt with champagne)

What’s she going to sign it with— cham-pagne?POWELL:Harcourt, call the manager!JEAN:You needn’t call any manager. I thought I was in love with you, but I see mymistake now—I only went out with you in the first place to spite Linda.Harcourt has placed champagne down and started out—but stops near Jean—JEAN:

(turning on Terry, who now hides her face in her hands)

You’d better hide yourface—you double-dealing —double-dyed—

42

TERRY:Darling, I didn’t know what I was doing—JEAN:My own roommate—and you preach ideals. You and your grandfather—POWELL:Now look, I’ve had enough of this nonsense!He starts easing Jean toward Harcourt—JEAN:She preaches ideals so she can chisel when my back is turned.

(takes off fur cape and throws it at Terry)

Well you can take your old red--fox cape—I’llnever borrow another thing from you as long as I live

(starts to whimper)

anddon’t try to borrow anything from me, either...POWELL:

(as he sees her start to whimper)

Now, please don’t start that again...JEAN:

(turns on him)

I hope you two snakes will be very happy together. (Harcourtis just back of her and as she turns toward him) And you too, you reptile—She starts rushing toward door—Harcourt runs to keep ahead of her—opens the door and as she grabs it from himshe says—JEAN:Never mind—And slams door shut after her—Harcourt turns in despair and starts back toward Powell and Terry.152 TERRY IS CONVULSED WITH LAUGHTER—POWELL IS ANGRYPOWELL:What’s so funny?TERRY:Everything.POWELL:It’s not funny at all—what do you suppose she thinks?TERRY:

(rising)

Exactly what I want her to think.POWELL:But, why?Harcourt enters—backing out through kitchen door. Terry watches him then turns to Powell.TERRY:Well, for several reasons—in the first place, I like her.POWELL:She won’t like you very much after this.TERRY:She’ll see the light in time.POWELL:You mean you’d jeopardize your own reputation—aren’t you kind of a GirlScout?TERRY:Just a girl who uses her brain—

(crosses to photograph)

Anyhow, I wanted toshow you I can act.POWELL:You’re a faker.TERRY:We’re both fakers—isn’t faking the essence of acting?POWELL:It may apply to actors, but it doesn’t apply to me.TERRY:You—You’re a bigger fake than I am.POWELL:That’s libel.TERRY:

(indicating Junior’s photograph)

Not if I can prove it.—Now, this young manis your son, isn’t he?POWELL:Please keep my family out of this.TERRY:If he’s your son, he must be a lot older than you are—POWELL:I refuse—TERRY:

(goes on)

—because this photograph has been used to advertise a certainmilitary academy for a great number of years.POWELL:How did you know—TERRY:My brother went to that academy—

(picking up wife’s photo)

and this ladywhom you pretend is your wife—she’s done a lot of posing for face powderads, hasn’t she?

43

Terry turns photo face down.POWELL:My dear, you have broken up a very convenient marriage.TERRY:I think we understand each other.Powell puts out his hand and they smile as they shake hands.TERRY:Now, what about the play.POWELL:Oh, yes—

(they start to walk back toward divan)

Let’s get back to theplay—Now let’s see—Where were we—?TERRY:Long Island—POWELL:The scene opens on Long Island. It’s a beautiful, beautiful day in spring—andJeanette—TERRY:That’s me—POWELL:That’s the character I want you to play—is brokenhearted. Her husband isabout to leave her. Underneath, her heart is breaking, but she is doing her bestto bear up under it—FADE OUTFADE IN153 INT. LOWER HALL—FOOTLIGHTS CLUB—NIGHTLights are all down—One of the girls comes running down the stairs and in to group of girls, we faintly see f.g.—GIRL:Sh! Sh! she’s coming.JUDITH:

(to Hattie)

Go on—Hattie starts across hall—humming—as Kayo comes down stairs—KAYE:Where’s everybody, Hattie?HATTIE:I don’t know. Where do you want them to be?KAYE:Well Madeleine told me someone down here wanted to see me.HATTIE:Well if there is somebody here to see you, we’d better turn on the lights andgive them a chance.Hattie crosses out of scene—we hear music from piano off scene—playing “HAPPY BIRTHDAY TO YOU”—andgirls come running in from every direction—lights come up as they surround Kaye, singing, throwing confetti—Judith puts clown’s hat on Kaye, all of the girls wear trick hats—Miss Luther, Linda and Mrs. Orcutt joingroup—Hattie enters again—HATTIE:Not too much confetti, I’ve got to sweep it up—Eve at this throws handful of confetti right in Hattie’s face—and they all start out—Mrs. Orcutt meantime havinganswered the phone—MRS. ORCUTT:

(to Miss Luther)

It’s for you, Anne—Miss Luther goes to phone as Mrs. Orcutt exits after girls—154 INT. DINING ROOM—FOOTLIGHTS CLUB—NIGHTAs the girls all come trooping in with Kaye—on the table is a cake with one candle burning—EVE:Now, is that a cake, or is that a cake?KAYE:I feel like crying.JUDITH:Nix on the tears.KAYE:I don’t know what to say—EVE:No speeches at this banquet, dope—Hattie, bring on the ice cream.Hattie exits to kitchen—LINDA:

(to Kaye)

Sit right there—you’re the guest of honor—KAYE:

(sitting)

I see you’ve got the right number of years,

45

Miss Luther turns and exits from the room.158 PAN SHOTas Judith comes up to Kaye who is left standing stunned.JUDITH:Poor kid—we can’t even have a birthday party without Randall or somethingelse, crabbing it.OLGA:Why don’t you leave Randall alone? She hasn’t harmed anyone.JUDITH:No, but she always looks like she was ready to start.KAYE:Olga’s right. She hasn’t harmed anyone.EVE:All she did was steal the part you wanted to do.KAYE:It wasn’t my part just because I wanted to do lt. Last year I took a part awayfrom another girl who wanted it—EVE:This is different.KAYE:It’s not a bit different. Isn’t there enough heartbreak in the theatre without ourhating each other?JUDITH:You’re crying.KAYE:I’m crying because I’m happy. I had my moment in the theatre—

(through her tears)—

and I think Terry deserves her chance. If you say anything to her it’llonly make her unhappy and it won’t get me the job, will it?—There’ll be othershows—and other parts—and this is my birthday—I’m going to have a goodtime and the devil with the theatre.

(she sits down, sobbing)

FADE OUTFADE IN159 INT. TERRY AND JEAN’S BEDROOM—FOOTLIGHTS CLUB—NIGHTJean pacing—Terry enters—peeks in—then comes on in—acting drunk—singing—TERRY:

(as comes into bedroom, sings)

A penthouse—on Park Avenue—standing wayup in the sky, With Harcourt and you and I—with Harcourt and you and I—

(she sees Jean)

Were you waiting up for me?JEAN:You said it.TERRY:That’s sweet of you.JEAN:I’m not waiting up to be sweet.TERRY:It’s wonderful.JEAN:You and poison ivy salad are off my list from now on.TERRY:I’m going to be Pygmalion and I’m going to be Galatea. Both of ‘em—

(holding up two fingers—mumbling)

This little Pygmalion went to market, etc.JEAN:

(overlapping)

Some day they’re going to cut you open and find a rock whereyour heart ought to be.TERRY:Rock?JEAN:Yes, a rock.TERRY:

(singing)

Rock-of-ages—cleft for me—JEAN:You can have that old bag of bones. I don’t want him.TERRY:You’re too good for him—JEAN:He’s just about right for you—TERRY:And besides, he’s too good for you.JEAN:You don’t make sense.TERRY:A penthouse—on Park Avenue—

46

JEAN:I’ll talk to you when you’re in a listening mood.TERRY:Listen to the Mocking Bird—Listen to the Mocking Bird—Jean puts on her mask and jumps into bed. Terry, as she takes off her shoes, smiles confidently, still singing away.FADE OUTFADE IN160 INT. THEATRE—DAYDirector, Author and company on stage rehearsing—Powell and Miss Luther in auditorium with Press Agent.DIRECTOR:All right, places please—we’ll start the scene from the beginning.FATHER IN PLAY:Here she is now—coming up the garden path.KATE:What are we going to say to her?FATHER IN PLAY:I don’t know.MOTHER IN PLAY:The poor child. She’s probably broken-hearted. You better let me talk to herfirst.DIRECTOR:Well come on. Miss Randall, this is your cue.TERRY:

(entering)

I’m sorry. I didn’t realize that you were rehearsing again.DIRECTOR:In the theatre, Miss Randall, you’re supposed to come in on cue.TERRY:There are some men out here fooling around with ropes and things. Could youhave them stop?DIRECTOR:

(sarcastically)

We find it necessary to have men fool around `with ropes andthings’ in the theatre. If you’ll just pay attention to your cues and not talk back so frequently, we may get better results.TERRY:You needn’t be sarcastic.DIRECTOR:I apologize—deeply. Now get out there and come in on cue.Terry goes, reluctantly.MOTHER IN PLAY:

(again gives cue)

The poor child. She’s probably broken-hearted. You betterlet me talk to her first.TERRY:

(entering—with flowers)

Hello Mother .. Hello Dad..Hello Kate... The callalilies are in bloom again .. such a strange flower—suitable to any occasion. Icarried them on ray wedding day, and now I place them here—in memory of something that has died.FATHER IN PLAY:(coming up to her) He needs a good thrashing!MOTHER IN PLAY:You poor child.TERRY:Have you gathered here to mourn, or have you come to bring me comfort—

(coming to author and director and leading man at table)

You know thatspeech still doesn’t seem quite right to me.AUTHOR:You might learn to read it correctly. That would help.TERRY:I don’t see why you should object to an intelligent suggestion.161 TERRYstands at table with author, director and leading man—Powell and Luther standing in Auditorium.AUTHOR:

(rises and goes to Terry’s side)

I have written several successful plays, MissRandall—one of them won the Pulitzer Prize. How many plays have youwritten?TERRY:There’s an old saying that you don’t have to be a hen to know a bad egg.

47

DIRECTOR:There’s nothing wrong with the play, Miss Randall—I’ll explain this scene toyou once again. This woman’s husband has decided to leave her. She’s broken-hearted. Can you understand that?TERRY:Yes I can understand that—But you told me to be light—sophisticated—DIRECTOR:On the exterior. But inside—in here—

(indicating heart)

—your heart isbroken. There’s a smile on your face, but you’re crying in your heart.AUTHOR:

(comes to footlights and speaks to Powell in auditorium)

I refuse to sit quietlyand see my play butchered.LEADING MAN:

(rises and comes to footlights)

Mr. Powell—as long as every one is putting intheir two cents worth—somewhat promiscuously—I’d like to remind, you thatI have a Broadway reputation to consider—TERRY:

(coming up to leading man)

What has your Broadway reputation got to do withwhat I’m talking about?

(cigarette in her hand)

Give me a light, will you—MR. POWELL:Miss Randall, I’ll have to ask you to pay attention to the director.TERRY:Am I to walk around like a puppet, or am I to use my intelligence—MR. POWELL:You’re to do as you’re told!TERRY:You don’t need to yell at me.MR. POWELL:I am yelling at you.TERRY:If you think I’m so terrible, why did you hire me for the part?MR. POWELL:That’s what I’d like to know—probably temporary insanity, Now go ahead anddo as you’re told.Terry goes out, sulking. The play begins again.162-165 DOLLY SHOTPowell and Luther in Auditorium—Terry, 165 Director, Author, Leading Man and company on stage as they startrehearsal again—Powell turns to Luther—POWELL:How long have you been coaching this girl?LUTHER:I’ve only had her a month.POWELL:Incredible: No one could possibly get that bad in a month’s time

. (he startsaway)

LUTHER:

(stopping him)

Would you mind a suggestion?POWELL:Anything, please!LUTHER:I was wondering—could you perhaps see an older woman in the part?Powell turns away in despair—CAMERA FULLS BACK AHEAD OF HIM as he comes up aisle to Press Agentseated in Auditorium—POWELL:

(to Press Agent) I

don’t know what I’m going to do. Where is that fellowCarmichael? I’ve got to get out of this contract somehow.PRESS AGENT:He ought to be here any minute.POWELL:

(sees Carmichael off c.r.)

Here he is now.CAMERA PULLS ON BACK AHEAD OF Powell as he comes up aisle to Carmichael standing in back of theatre—company still rehearsing on stage b.g.CARMICHAEL:Well, Mr. Powell, how is everything going?POWELL:I want to get out of this contract.CARMICHAEL:I’m afraid that’s impossible.POWELL:Who is this mysterious client Of yours? The head of some combine trying toruin me?

48

CARMICHAEL:I don’t understand.POWELL:Well you listen to this rehearsal and you’ll understand.CARMICHAEL:

(pleased)

Isn’t she turning out as well as you expected?POWELL:She may have possibilities, but right now she’s a rank amateur—about asemotional as a fish, and she’s a nuisance in the bargain. She questions every-one—the director—the author—the actors—I don’t see how the play can beanything but a flop.CARMICHAEL:

(pleasantly)

Is that so?POWELL:

(furiously)

Well you seem to be pleased about the whole thing.CARMICHAEL:Well, after all, it’s my client’s money.POWELL:I told you I’d give you the money back and some to boot if you’ll let me outof the contract.CARMICHAEL:I’m sorry.POWELL:Is your client in love with this girl?CARMICHAEL:Well, to tell the truth—I believe he is.POWELL:Well, it takes all kinds of people to make a world.TERRY:

(from stage b.g.)

Mr. Powell.POWELL:(turning toward her) Coming.

(gives Carmichael a look and starts back downaisle)

Coming.TERRY:I want to talk to you a moment. I don’t know how anybody can do two thingsat once—POWELL:Quiet everybody! Let’s get this thing going—In f.g. Carmichael turns and exits—FADE OUTFADE IN166 INT. LIVING ROOM—FOOTLIGHTS CLUBBetty is at the piano, singing. Mary Lou is showing off her new dress.MARY LOU:Do you think this is fancy enough for an opening night?EVE:For Randall’s opening you ought to wear black.MARY LOU:Oh hush. She was nice enough to give us free tickets.EVE:She wanted to be sure there was someone in the audience.Susan and Bernice come in from outside.BERNICE:

(singing)

Oh the night was growing old As she trudged through snow and sleet.

(Susan chimes in on last two lines)

Her nose was long and cold, And her shoeswere full of feet.Susan opens an umbrella.BERNICE:Don’t do that! It’s bad luck.SUSAN:What do you think I’ve been having?Jean comes in. Mary Lou shows her the new dress.MARY LOU:Look, don’t you like my dress? Don’t you think it’s pretty?JEAN:

(Southern drawl)

Where’d you get it? Did mother send it from Louisiana?MARY LOU:She makes all my clothes.JEAN:

(still with Southern drawl; referring to decorations on dress)

Are those pecans?MARY LOU:No, they’re just doo-dads.

50

HATTIE:The butcher’s helper. He was a little hard to break down, but after I told himI had passes he nearly cut his thumb off—EVE:Why can’t

I

get a butcher?The bell rings.... consternation.HATTIE:Be still my heart—maybe that’s him now.JUDITH:

(as Hattie starts for the door)

Say, Hattie, this is your night. You’ve got tomake an entrance.

(to Eve)

Get her out of here. I’ll get the door—EVE:All right.Eve and Hattie leave the room, Eve still sewing Hattie’s dress.JUDITH:

(going out to door)

Hattie? Hattie, have a heart.167 INT. HALL—FOOTLIGHTS CLUB—NIGHT—RAINJudith enters to front door—opens it—Butch enters—JUDITH:Hello—

(puts her wraps and umbrella down on chair)

BUTCH:It’s raining.JUDITH:Oh, is that what it’s doing?BUTCH:It’s kinda wet.JUDITH:Rain usually is this time of year. (closes the door)CAMERA PULLS BACK AHEAD of them as Judith brings Butch forward to Linda and Anne, seated at entranceto living room.JUDITH:Hattle’ll be right up—Butch, I want you to meet Miss Fanibessio, MissFarnsbarns—BUTCH:How did you know my name was Butch?JUDITH:The same way you knew it was raining. (girls laught—Judith turns up brim of hat) Say, Butch, there’s something I want to talk to you about..

. (mixes doubletalk with line)

You know one of these days when Hattie comes down to marketfor some of that nice lamb, if your hand should slip and get a little chicken allmixed up in the lamb—Oh, girls, isn’t he handsome? Some people do thingsfor some people—I think you should too—and then other people do things forsome people and I think they should—don’t you—or don’t you think so—BUTCH:Why don’t you come down for the meat sometime?JUDITH:

(fussing over him, fixing his tie, etc)

Yes I will—I was telling the girls the otherday—I passed by and I saw you in your white coat and I think you’re mar-velous—yes sir—167A CUTof Hattie and Eve as they enter—Hattie stops as she sees Judith fussing over Butch—then she exits—167B HATTIE RUSHES IN TO JUDITH AND BUTCHHATTIE:I’d like to turn my back on you sometime when you had a handful of knives.Hello Butch!Eve enters and helps her on with her coat.JUDITH:Oh Hattie, Butch is so wonderful. He was just telling us the next time you goshopping he’s going to get some chicken all mixed up with the lamb—Hattie is dragging Butch toward front door—Eve opens door.BUTCH:Well, no I didn’t exactly—JUDITH:Now Butch, you know you promised.

51

EVE:Now Hattie, don’t do anything Butch wouldn’t do.HATTIE:We better get out of here while we’re all in good health. Come on—

(Butchstarts out, Hattie following, she turns and calls from doorway to Judith)

I’ll dosomething for you some day—like putting poison in your soup.

(sticks her tongue out and exits)

JUDITH:

(overlapping this)

Good-bye Butch.EVE:

(calls out door)

Butch, have you got a friend?BUTCH:

(from outside)

Uh-uh.EVE:Uh-uh—he hasn’t!

(closes door)

DISSOLVE OUTDISSOLVE IN168 INT. JEAN AND TERRY’S ROOM FOOTLIGHTS’ CLUB—NIGHT—RAINTerry is rehearsing by herself. She places a vase on a trunk.TERRY:The calla lilies are in bloom again—such a strange flower—suitable to everyoccasion. I carried them on my wedding day, and now I place them here—inmemory of something that has died.

(cue from brother; facetious)

Have yougathered here to mourn or have you come to bring me comfort?Terry is rehearsing these lines as Miss Luther enters with a tray of tea.LUTHER:

(overlapping)

I thought I told you to rest.TERRY:I can’t remember a line.LUTHER:

(pouring tea)

Of course you can’t—No one can an hour before curtain time onopening night. When you stop onto the stage they’ll all come back to you as if by magic.TERRY:Suppose they don’t come back.LUTHER:They will somehow. They always do.—Hero, have some tea.TERRY:I couldn’t. My stomach is all upside down.LUTHER:I’ll leave it here.

(puts cup back on tray)

TERRY:

(starting her lines again)

The calla lilies are in bloom—bloom—TERRY:

(sees Kaye enter—crosses to her)

Kaye! The doctor told you to stay in bed.KAYE:How do you expect me to stay in bed with all this excitement going on?TERRY:But you mustn’t disobey orders. I was going to come up and see you before Ileft.LUTHER:Keep her cheerful, Kay. She’s got first night nerves—you’ve had them—youknow. I’ll run along and get my things. We must hurry.

(to Terry)

Your coatand galoshes are there.

(to Kaye)

Please, dear, don’t let her do any morerehearsing.KAYE:I’ll sit on her.Miss Luther exits to hall, closing door.TERRY:

(pulling back curtains)

It would be raining tonight in the bargain.

(coming toKaye)

It’s that opening speech. If I could only get through that I’d be all right.Kaye watch me, will you—

(she again takes the flowers, again starts thespeech)

“The calla lilies are in bloom again—such a strange flower. Suitablefor any occasion —-“KAYE:May I make a suggestion?TERRY:I wish you would.

52

KAYE:The way you hold the flowers. I always felt that Jeanette would hold them asshe would a child. You see, they never had a child.TERRY:

(holds them to her)

Oh-h—I see Do you suppose that was what the authorintended?KAYE:I’m sure of it.—And when she says “in memory of something that has died”she—TERRY:Kaye, you know this play?KAYE:It’s not a play—

(jumps up and crosses to bureau)

It really happened—ithappened to someone I know.TERRY:

(as Kaye starts to weep)

Kaye, darling, don’t do that.KAYE:

(with half-stifled resentment)

This isn’t just your night. It’s my night too.—You’ve got to be a success tonight. You’ve got to give a great performance—no matter what happens—TERRY:Is something the matter?KAYE:No, I’m just excited, that’s all. Here, you sit down there. I’ll get you some tea.She gets cup of tea and gives it to Terry.TERRY:The condemned woman drank a hearty supper.Kaye is getting Terry’s galoshes.KAYE:

(kneels and puts them on Terry)

I felt the same way a year ago. I felt likerunning and hiding from everyone... But after you’re through that openingspeech, there’s a thrill you’ll never forget. It’s a thrill that can only come once.TERRY:I can’t figure out whether it’s thrill or agony.KAYE:It’s both.Miss Luther enters—wraps on—LUTHER:Aren’t you ready yet?—Come. We must be getting along.There is the hustle and bustle of leaving.169 EXT. HALLWAYAs the three come out of Terry’s room.LUTHER:Wish her luck, Kaye.TERRY:Yes, darling. Wish me luck.Kaye and Terry embrace. Miss Luther drags Terry toward the stairway.KAYE:

(almost screaming)

Terry! (Terry comes back to her. Kaye modifies herattitude) I want to give you this. (she takes a ring from her finger and places iton Terry’s finger) A girl gave it to me last year on my opening night—Itbrought me luck.TERRY:Oh, darling, you’re sweet... I wish you were going to be there to hold my hand.KAYE:I’ll be there...

(Terry looks at her) .

..in spirit.We hear ad lib track from downstairs—MUSIC, “good luck,” etcetera.170 CRANE SHOTKaye stands looking after Terry—then slowly she comes to stairway and starts up—CAMERA MOVING AHEADOF HER—a vacant look comes in her eyes—she hears sound of APPLAUSE—acclaim off—she mounts stairs—andexits o.s.171 INT. LIVING ROOM—FOOTLIGHTS CLUB—NIGHT—RAINBetty Jane at piano—singing “Sailboat in the Moonlight.” There is a scream. The girls react.LINDA:What was that?

53

Dizzy runs down the stairs, still screaming.OLGA:What’s happened?DIZZY:

(hysterically)

It’s Kaye! She jumped before I could stop her. She’s lying outthere—all huddled in the rain.Eve and Mrs. Orcutt start out through dining room b.g.—girls around Dizzy who is sobbing in Olga’s arms—ANNE:How awful!DIZZY:I tried to stop her! I tried to stop her!FADE OUTFADE IN172–173 INT. POLICE BROADCASTING STATION—NIGHTPolice Broadcaster at board f.g. talking into microphone—Other Police Officers b.g.POLICE BROADCASTER:

(into mike)

Calling car nineteen—calling car nineteen—Go to 87 West 58thStreet—ambulance call—girl leaped out window—possible suicide—Morristalking.Turns with paper in hand to one of the Officers—DISSOLVE174 INT. THEATRE—NIGHTCRANE SHOT—Starts on Close Shot of Orchestra Leader as starts overture—CAMERA PULLS BACK AND UPOVER HEADS of audience as they settle into seats, enter, etc., we catch a glimpse of Butch and Hattie down nearthe front—on back—see some girls from club being seated—wave back and forth—general atmosphere of anopening first night.DISSOLVE175 INT. TERRY’S DRESSING ROOM—THEATRE—NIGHTTerry at dressing table, head bowed—Luther stands beside her—Jean stands facing them—LUTHER:(to Terry) Poor darling. (to Jean) You shouldn’t have told her. She isn’tresponsible for Kay’s act.JEAN:She is responsible. It was Kaye’s part—it was Kaye’s life. Now it’s toolate—Kaye is dead.Terry looks up, dazed—tears running down her face.LUTHER:Please—JEAN:Kaye is dead—Kaye who never harmed anyone—and all because she hasn’t aheart—because she’s made of ice.LUTHER:I can’t listen to you any longer. You’ve got to leave!JEAN:

(backing to door)

I’m leaving. I’m going to go sit out front because Kaye askedme to be there. And every line she reads I’m going to say “that should beKaye’s line”—Every move she makes, I’m going to say “that should be Kaye.”--Kaye who is lying in a morgue all broken and alone. Now—I dare you to goon tonight!Jean opens door and exits—closing door after her—leaving Terry and Luther just staring after her.176 CLOSE SHOTof Terry and Miss Luther looking after Jean—Terry weeping—TERRY:I’ve got to get out of here. (rises and starts toward her raincoat) I’m not goingon tonight.LUTHER:You’ve got to go on.177-179 PAN SHOT

54

Terry and Luther—as she gets her raincoat.TERRY:Why didn’t someone tell me? I’d have given up a thousand parts rather thanhave this happen. I’m going out there and tell them that I’m not going on—

(she throws her coat down and runs to door)

and I’m going to tell them why.LUTHER:

(she rushes to door and stops Terry from leaving)

You can’t think only of yourself. Kaye’s dead. You had nothing to do with that, but there are fiftyliving people dependent on you. This show may mean as much to them as itmeant to Kaye.The ushers, the property men, the old women who clean out the theatre—each one of them has a right to ask you togo on and give as good a performance as you can. That’s the tradition of the theatre—TERRY:

(she goes back to dressing table—on point of breaking)

Oh hang the traditionof the theatre! I’m thinking of Kaye.LUTHER:

(crossing to her)

Very well then, think of Kaye. Are you going to let her down?You’ve got to give the performance she wanted you to give—then perhaps,wherever she is, you may bring her peace.There is a knock on the door.VOICE:Three minutes to curtain.LUTHER:Come now. We must hurry.Miss Luther starts fixing Terry’s make-up with powder puff to erase marks of tears—VOICE:

(another knock)

Miss Randall—three minutes to curtain.LUTHER:We’re coming!Miss Luther takes the dazed Terry toward door to hall—opens door and shoves Terry ahead of her as they exit towardbackstage—DISSOLVE180 INT. THEATRE LOBBY—NIGHTPowell and his Press Agent at aisle entrance—People entering and going down aisle to their seats—POWELL:

(looking at his watch)

Well—five minutes more.Giffey and Bobby, girls from Club, enter and go down aisle—Carmichael and Terry’s father enter—CARMICHAEL:Good evening, Mr. Powell.POWELL:Good evening.CARMICHAEL:Well, looks like a packed house.POWELL:That’s because they don’t know What’s in store for them.Carmichael and Terry’s father go on down aisle—Powell steps to aisle and looks after them.POWELL:Looks like the boy friend.Press agent steps over into aisle.POWELL:This is a very bad place to stand.PRESS AGENT:Why?POWELL:We’re likely to be trampled to death when they start running out.They both move aside—Powell looks at his watch again.180A INT. THEATRE—NIGHTOverture ends—lights go down and curtains part --the play starts—on stagewe see the Father, Mother and sister, Katein place—180AA INT. BACKSTAGECut Backstage. Assistant Director with script. Luther and Terry enter. CAMERA PANS THEM PAST Assistant whois rushing them—To Prop Man who places the lilies in the arms of the dazed Terry.

55

181A FLASHof Author and Director in wings watching—AUTHOR:Those are not the lines.DIRECTOR:No, but it’s the mood.AUTHOR:What’s come over that girl?181B INT. THEATRE—NIGHTFLASHES of girls from Club in audience. CUT of Powell—as reacts to change in Terry.181C BACK TO STAGEas play continues.TERRY:Who are you to say whether the end is good or not? I’ve learned somethingabout love that I never knew before ... that I never knew before ... You speak of love when it’s too late. Help should come to people when they need it ....

(sitting on arm of chair)

Why are we always so helpful to each other when it’sno longer any use?MOTHER IN PLAY:

(as she crosses and sits in chair)

My darling—you can’t stay here ... you mustlet us take you away somewhere ....TERRY:No. This is my home. This is where I belong. Love was in this house once, andfor me it will always be here ....nowhere else.FATHER IN PLAY:Surely you’re not going to see him.TERRY:Of course I’m going to see him. He’s coming to me today to say good-bye ..tosay good-bye—

(rises)

And one must always listen closely when people saygood-bye—because sometimes they’re really saying farewell ....182 PAN SHOTTerry crosses room—MOTHER IN PLAY:But darling, you can’t spend your life weeping—KATE:You’re young, Jeanette. There’ll be another love to comfort you and make youforget.TERRY:

(snapping out of it)

Oh sure, there’ll be lots of other loves—the more themerrier.MOTHER IN PLAY:Now you’re being flippant.TERRY:And why not? That’s better than moping for dead happiness—my tears can’tbring that back. So let us be gay—in memory of the gaiety that I once knew.And if it was a short love—anyhow, it was a merry one. And that’s more thanany of you can say—with all your respectable hypocrisy.DISSOLVE183 INT. POWELL’S PRIVATE OFFICE IN THEATRE—NIGHTCLOSE SHOT of Reporter seated at desk—talking over telephone—REPORTER:

(into telephone)

Listen, I’m up here at the theatre in Powell’s private office—get a couple of photographers over here right away—and don’t argue. ThisRandall gal’s going over big—hear the applause? Did you hear it? And wait Itell you who she is—Boy, this is plenty hot!DISSOLVE184-229 OMITTED230 INT. THEATRE—NIGHTLONG SHOT—SHOOTING OVER audience—Terry and leading man on stage—reading lines for end of play—

56

TERRY:Let’s not look over our shoulders at the dead yesterdays .... All that matters isthat you’re here and I’m happy again.FORBES:

(quoting Dobson’s poem)

“Love comes back to his ancient Dwelling --“;TERRY:

(takes it up)

“.. The old, old love that we knew of yore.”Curtain pulls closed—applause from audience—Lights come up—231 INT.THEATRE—STAGE—NIGHTFULL SHOT—CURTAIN OPENS—Leading man takes a bow—bows to Terry. She is still on floor, head on armof chair. Curtains close quickly.231A MED. SHOTon stage—Leading man turns to Terry still on floor.LEADING MAN:Come on. Come on—Take a bow.DIRECTOR:

(who has been standing in wings b. g. with author—runs forward)

Hold thatcurtain! Hold it!Luther enters excitedly from c. right wing. Director starts helping Terry to her feet. Miss Luther helping him.LUTHER:Come on child, they’re calling for you.TERRY:

(in a daze)

Who’s calling for me?LUTHER:You’re a success darling—Quick.They help her over to curtains.DIRECTOR:You’re a hit ! They want a curtain speech.TERRY:Do they?DIRECTOR:Yes—yes—go on out there.He half pushes her onto stage.232 LONG SHOTPowell, f.g. entrance to aisle—audience seated—lights up—applause—lights down—spotlight as Terry steps throughcurtain—TERRY:

(standing before curtain)

I suppose I should thank you on behalf of thecompany—and I know that I’m grateful for your applause—but I must tell youthat I don’t deserve it.—I’m not responsible for what happened on this stagetonight. The person you should all be applauding died a few hours ago—ayoung and brilliant actress who could no longer find a spot in the theatre. Itwas for her—more than for anyone else—that I was able to go on. I hope thatwherever she is, she knows and understands—and forgives.

(goes back throughcurtain)

Lights come up—audience applauds.232A FLASHESDuring speech we have FLASHES of Powell—Carmichael and Terry’s father—Jean and Anne in audience—restof kids from Club in audience—Hattie and Butch in audience—Luther and Director backstage, etc.232B LUTHER AND DIRECTOR BACKSTAGETerry backs through curtains—dazed. She puts her head on Miss Luther’s shoulder, then comes hurriedly out.232C FLASHbackstage as Terry, followed by Luther, comes off stage. Stage hands give her a hand, but she walks by themunheeding, and exits. Luther follows her out.233 INT. THEATRE LOBBY—NIGHTPeople coming out—Powell stands by aisle, still thinking of Terry’s curtain speech. As he crosses Lobby, a criticpasses him.

57

CRITIC:Hello, Powell.POWELL:Hello, George... Did you like the show?CRITIC:Little heavy, but the girl’s good...she’s all right.

(as he goes on down lobby)

POWELL:

(as he comes up to his Press Agent)

What in the name of time was the curtainspeech all about?PRESS AGENT:I don’t know what it was about, but she’s a sensation—and I just found outsomething else. That guy with Carmichael is her father.POWELL:Oh-h.BRENT:And the laugh’s on us—he’s nobody but Henry Sims, the wheat king.POWELL:The wheat king—what a publicity hook up.BRENT:Don’t worry, I spread it around—sh!

(as he looks off scene and sees Sims and Carmichael)

There’s the old man now!Powell starts toward them.234 CLOSE SHOTCarmichael and Sims as they come out to Lobby. Powell enters to them.POWELL:Well, well, Carmichael, what are you looking so blue about? We’ve got a hiton our hands.CARMICHAEL:That’s what I’m afraid of.POWELL:Well, I never doubted it for a minute—you might introduce me.CARMICHAEL:Oh, Mr. Powell—Mr.—er—er—POWELL:Glad to know you, Mr. Sims. You didn’t fool me for a minute. I knew whoyour daughter was all the time.SIMS:To be honest, Mr. Powell, this hasn’t worked out the way I expected.POWELL:Cheer up. Your investment will net you a quarter of a million dollars.SIMS:What good will that do me if I lose my daughter?Sims and Carmichael start down lobby.POWELL:Well, that’s the price of success—235 MED. CLOSE SHOTPress Agent f.g.—Carmichael and Sims going down lobby—Powell comes up f.g. to Press Agent.POWELL:Oh Brent, I forgot—get a big basket of flowers and send it to Randall’sdressing room right away...put this on the top...

(hands him a card)

Hurry it up.PRESS AGENT:Shall I put a few sprigs of wheat in it?POWELL:Never mind the sarcasm.Press Agent exits—Powell sees Ellsworth off scene.POWELL:Oh, hello, Ellsworth, you’re just the man I’m looking for.Ellsworth and woman enter scene.POWELL:Well, I kinda put one over on the boys, didn’t. I?ELLSWORTH:You mean the wheat king’s daughter?POWELL:Yes.ELLSWORTH:She’s good enough without that kind of publicity.POWELL:I know it. That’s why I kept it quiet.ELLSWORTH:She has rather a strange quality. Reminds me very much of that girl youbrought out last year.POWELL:Oh yes—

58

ELLSWORTH:What was her name?POWELL:Oh—HamiltonELLSWORTH:Yes—yes, Kaye Hamilton. Whatever happened to her?POWELL:She’s still around.ELLSWORTH:

(starts away)

strange quality.POWELL:

(calling after him)

Don’t forget to mention in our reviews that Randall’sanother Anthony Powell discovery.Powell turns and exits off toward dressing rooms.236 INT. TERRY’S DRESSING ROOM—THEATRE—NIGHTTerry seated before dressing table. Miss Luther kneeling before her and putting golashes on her.LUTHER:My dear, you’ll never know how good you were tonight. You were simplywonderful.TERRY:That wasn’t me out there tonight. It was someone else.LUTHER:It’s only after we have suffered that we can make the audience feel for us.TERRY:Does someone have to die to create an actress? Is that what the theatredemands?LUTHER:

(rises)

It takes more than grease paint and footlights to make an actress. It takesheartbreak as well.Miss Luther crosses to chair. A knock is heard on the door.237–238 JEAN ENTERSTerry rises. Jean goes to her and they embrace. Jean starts to speak. Both have tears running down their cheeks.TERRY:You don’t need to say anything. We’ll go to her.

(starts b.g. for her beret and umbrella)

LUTHER:Where are you going?TERRY:We’re going to see Kaye.

(getting her things)

LUTHER:But you can’t leave. There’ll be people here—the press—photographers.You’re an actress now, you belong to these people—A knock is heard on the door and Powell’s voice:POWELL’S VOICE:May I come in?TERRY:You see them for me.There is another knock at the door, as Terry and Jean leave by a side exit. Leaving a distracted Miss Luther lookingafter them.239 MISS LUTHER IS STILL LOOKING AFTER THE GIRLS—ANOTHER KNOCK IS HEARDPOWELL’S VOICE:

(o.s.)

Hello, hello, is there anyone in there?LUTHER:

(crosses to door)

Coming! Coming!

(opens door)

POWELL:

(entering)

I thought you’d never let me in. Where is Miss Randall?LUTHER:

(simply)

She’s gone.POWELL:Gone! I’ve an office full of people—reporters—society editors—photo-graphers—why didn’t you keep her here? You know the theatre better thanthat.LUTHER:

(very simply)

She had an engagement she couldn’t break.

(getting her thingstogether)

POWELL:Engagement. What is more important than her career?LUTHER:Well, it isn’t my fault.POWELL:Of all the colossal nerve! I build a star up over night and she runs out on me.

59

The Press Agent is entering with a huge basket of flowers. Powell turns to him.POWELL:

(to Press Agent)

Can you imagine that? I’ve got an office full of people and sheruns off somewhere on some kind of a date or something—Miss Luther quietly slips out of door during this.PRESS AGENT:What will I do with these?POWELL:I don’t care what you do with them—get ‘em out of here—The Press Agent starts to leave with the flowers.POWELL:Wait a minute—

(starts to get out his telephone notebook, and looks throughit as he mumbles)

Can you imagine—of all the colossal nerve—take a womanout of a wheat field—make a star out of her—opening night, too—

(showsPress Agent an address in notebook)

Press Agent exits with flowers.POWELL:

(pacing—still mumbling)

—spend a fortune on them and everything and theyrun out on you—haven’t any business doing things like that—FADE OUTFADE IN240 INT. LOWER FLOOR FOOTLIGHTS CLUB—NIGHTOpen on Hattie cleaning floor, singing IL Bacio. We hear laughter o.s. As CAMERA PULLS BACK we discoverthe girls are kidding Eve.BOBBY:

(heard through song)

Don’t take it so hard, Eve, it may all be a mistake.EVE:I’ll never put my trust in males again.Hattie crosses to b.g. as Terry comes in.241 MED. SHOTgroup.TERRY:What’s happened to Eve?JEAN:She’s brokenhearted. Henry’s in the cat hospital.TERRY:An accident?JEAN:No. He just had a litter of kittens.The girls laugh.TERRY:That’s easy to solve. Change his name to Henrietta.Mary Lou and Giffey enter from hall b.g.—GIFFEY:The miracle has happened. Mary Lou’s got a part.CHORUS:No—where?GIFFEY:Berger’s new show. The southern accent did it.All the girls group around them—MARY LOU:I’m so thrilled I want to scream.JEAN:Go ahead.Mary Lou screams.SUSAN:Do you feel better?GIFFEY:Read your part Mary Lou.MARY LOU:Well I’m supposed to be a girl from the South and I’m with a lot of other girls,and I say `Let’s go up to Westchester!’JEAN:Go on.MARY LOU:That’s it.

60

All the girls laugh.JEAN:You don’t read it correctly—you should say `Let’s go up to Westchester!’They give her various versions emphasizing different words until Mary Lou is completely confused, singing it, etc.—CUT TO:242 HATTIE—SWEEPING IN HALL—SHE SEES JUDITH COMING DOWNSTAIRS AND CALLS OUTHATTIE:Hold your breath folks. Here comes the blushing bride.!Judith comes down the steps. Hattie takes her suitcases and exits toward the street, CAMERA PULLING AHEADof Judith as she enters living room and girls sing “Here comes the Bride” and clap—Jean and Terry going to her.JUDITH:Well good-bye everybody—I’ve got to catch the seven o’clock train. Thanksfor everything—the shower and all. If any of you hams ever come to Seattle thehouse of Milbanks is always open to you.JEAN:I thought people out there lived in trees.JUDITH:Oh that’s only in the summertime—in the wintertime we live in burrows.TERRY:Well if we do come up to see you, I hope you’ll promise to give us woodchuck pie?JUDITH:Well it’s better than lamb stew.HATTIE:

(at the door; to taxi driver o.s.)

Okay, she’ll be right there.

(to Judith)

Yourbridegroom will own that taxi if you don’t hurry up.243 REVERSE DOLLY SHOTof Judith, Jean, Terry and Eve.JUDITH:(starting to weep) Well, good-bye everybody—now that I’m actually going Ifeel like having a good cry.EVE:You should weep! It’s the first job you’ve had in a year.JEAN:Cheer up! We’ll all come to your wooden anniversary. Heave!Jean and Terry join hands and pick Judith up, CAMERA PULLING AHEAD of them as they carry her to frontdoor—all singing “Here Goes the Bride,” they put Judith down—she turns, looking out to rest o.s.JUDITH:Well, good-bye everybody!

(ready to break)

244 JEAN AND TERRY RUSH HER ON OUT THE DOOR—HATTIE EXITSJEAN AND TERRY:Come on! Out with you! Back to Seattle!

(calling after her)

Good-bye —good-bye! Send us an old wooden shoe!Terry slowly closes the door.TERRY:(as she and Jean look at each other both a little subdued) Well, that’s that.They start to walk forward—CAMERA PULLING BACK and PANNING them as they cross to foot of stairs.JEAN:Poor kid. Why she hated to leave a dump like this is a mystery.TERRY:Oh, I know how she feels. To me it would be like leaving the house where Iwas born.They stop at foot of stairs.JEAN:Well, at least she’ll probably have a couple of kids to keep her company in herold age—and what’ll we have—some broken down memories—or an oldmangy scrapbook which nobody’ll look at.TERRY:We probably are a different race of people.JEAN:Maybe—tonight I feel like sitting in the moonlight and having somebody holdmy hand.She turns to desk and picks up the phone—dialing—Hattie crosses through the scene toward front door.245 CLOSE SHOT

61

at door—Hattie enters—opens door—a New Girl stands outside.NEW GIRL:Good evening!HATTIE:Hello!NEW GIRL:Who do I see about accommodations?HATTIE:

(calls o.s.)

Mrs. Orcutt—

(to girl)

She’ll take care of you. Come in.NEW GIRL:Thank you.As she comes forward timidly—and exits toward Mrs. Orcutt—246 DOLLY SHOTJean at phone, Terry up on stairs watching her—JEAN:

(into phone)

Hello—hello Bil!TERRY:

(kiddingly)

Don’t be sentimental. Remember, you’re a ham at heart.Terry goes on up stairs—CAMERA PULLING BACK—we see Linda coming down stairs.JEAN:

(into phone)

No, that was a friend of mine. How’s the new job coming on?That’s good.LINDA:Would you like me to carry a message to your late lamented Aunt Susan?JEAN:

(into phone)

Hold the line—gangrene has just set in.

(to Linda)

No message—Idon’t use that kind of language.LINDA:

(continues down stairs)

I just thought I’d ask.

(exits)

From b.g. we see Mrs. Orcutt and the New Girl coming toward f.g.JEAN:

(into phone; overlapping Linda)

How would you like to take an oldbroken-down hag to dinner and maybe for a ride out toward Bronx Park orsome place?Mrs. Orcutt and New Girl come up to foot of stairs. Mrs. Orcutt’s dialogue overlapping Jean’s phone conversation—MRS. ORCUTT:You’re very fortunate—one of our girls left just today. I think you might beinterested in this.

(indicates Bernhardt’s chair off c.r.)

It’s one of the featuresof the Footlights Club. It’s the chair Bernhardt sat in when she read “QueenElizabeth” over here. I was in the company. I think you’ll like it here. Now I’llshow you your room.

(they start up stairs)

We’re just one big happy family....I hope you won’t mind sharing it with another girl...

(they exit on up stairs)

JEAN:

(over phone)

Do I ? Maybe I feel a little romantic, I don’t know. One of thegirls got married today and it made me feel kinda blue...umhum...oh, I don’tknow...wouldn’t do any harm to talk it over.JEAN:

(still talking over phone)

Eight o’clock at the greasy spoon...all right pigeonpie!247 LONG SHOTHattie steps to dining room door and calls out—HATTIE:Come and get it!Girls run in wildly from either side of camera and take their places at the table ad lib yells as they fly past. Hattieducks back to curtain to protect herself as she nearly gets trampled in the scramble.FADE OUT

THE END

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Calificación:
Fecha de subida:	07/05/2009
Copyright:	Attribution Non-commercial
Etiquetas:	Fiction Screenplay Fiction Screenplay (menos)

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