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