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Love In a Rush

On Broadway

Love In a Rush

Nov 07 1937


ANNCR (2 lines)

WOMAN (1 line)

VOICE, who narrates

SALLY MARTIN, of Muncie, Indiana

NEWSBOY (3 lines)

MAIZIE, Sally's roommate

ARNIE, crooked theatrical producer

JACK FREESE, Arnie's partner

PETER WEBB, wealthy and nice













(Music...."Give My Regards to Broadway" blending into chord..)

ANNCR: On Broadway! The makers of America's quality table salt.. 

WOMAN: Diamond Crystal Shaker salt -- in the round, red package with the picture of the shaker girl! 

ANNCR: Present the fifth of a new series of radio dramas -- on Broadway! 

(Broadway theme, blending into chord.) 

VOICE: What talented young girl has placed her future in the wrong hands -- and what will happen to her? 

(Voice theme fades to B. G. for..) 

VOICE: Broadway! The Street of Drama! The footlight drama of Broadway's hundred theatres, and the real life drama of the thousands of people who throng the gayest and the saddest street in the world. 

(Voice theme out..start traffic sounds.)

Broadway and forty-sixth street at 8 p. m. The crowd surges on. A cowboy, injured in Broadway's latest rodeo, limps along, one foot in a high-heeled boot, the other in bandages. 

A young girl walks along slowly with the crowd. With a tired gesture she tucks a lock of hair back under her inexpensive little hat. She looks interesting. Let's follow her. She is approaching the newsboy on the corner. 

NEWSBOY: (Fading in) Asxson cracks under third degree -- read all about it -- read all --

SALLY: Oh, isn't the night edition of the Times out yet? 

NEWSBOY: Not yet, Miss. (Up) Read all about it! 

SALLY: I'll take one of these. 

NEWSBOY: Okay. (Fading) Police find missing man in hospital -- Read all about --

(Voice theme up and out quickly) 

VOICE: The girl walks around the corner of 46th street, and into a cheap little hotel. The crowd on Broadway moves along, gradually becoming thinner. By four a. m. half the people have gone. Just before dawn the lights blink off. Broadway is silent, sleeping, preparing for another day..In the little hotel, just around the corner on 46th Street, the young girl is sleeping. The bleak light of early morning filters through the dingy rear window of her little room. 

(Sound: An alarm clock) 

MAIZIE: (Over alarm clock..yawning) A----h. Darn that alarm clock. 

(Sound: Cut alarm clock)

MAIZIE: Sally..Sally....Come on, hit the deck. 

SALLY: O----h...What time is it, Maizie? 

MAIZIE: Eight o'clock -- and I've got a rehearsal at nine -- Another day -- and if the show doesn't close before it opens -- another dollar. 

SALLY: (A bit wistfully) You don't know how lucky you are to be making a dollar.. (Slight pause) ..Maizie, how much do I owe you now? 

MAIZIE: O-h, I dunno..Say, do you think this little run in my stocking looks very bad? 

SALLY: How much, Maizie? 

MAIZIE: Oh, forget it. 

SALLY: I want to know. 

MAIZIE: Why?..If I'm not worrying about it, you shouldn't. 

SALLY: It must be a couple of hundred dollars by this time.

MAIZIE: I said forget it..Kick my shoe over this way, will you?....Why, say, when you land a play on Broadway, you can pay it all back by giving me a swell part. 

SALLY: (A little bitterly) When I land a play on Broadway.. 

MAIZIE: Sure..Haven't Arnold and Freese been considering that last thing you wrote? They're liable to be calling you up any time..For all you know, today might be the day. 

SALLY: Yes..I used to say that same thing to myself when I got up in the morning..Today might be the day..Only it never was. 

MAIZIE: Well, Broadway's a tough old street..You can't whip it all at once....Nobody does. 

SALLY: Oh, I know....When I came to New York to write I didn't expect it to be easy..I knew there were going to be disappointments and heartaches..But now after two years.. (Close to tears) Oh, Maizie, what am I going to do?

MAIZIE: You really want my advice....Give it up. 

SALLY: Give -- give it up? 

MAIZIE: Yes..Go back to Muncie, Indiana..You're too fine a gal to let Broadway break you. And it will break you....You're not like me I can take it..Not that I haven't had dreams, too. I didn't figure on always playing bit parts..But I can get by....And I can't stand seeing you eating your heart out this way..Look, I'll stake you to a ticket..Go back home, and forget Broadway. 

SALLY: No, no -- I can't do that, Maizie. 

MAIZIE: Why not? There are more important things....Havin' a good husband, and a couple of kids, for instance. 

SALLY: But you don't understand....Back home they expect me to be a success -- a big success....They believe in me.. 

MAIZIE: A----w---- 

SALLY: ..I can't let them down..I can't let you down....I can't let myself down. 

MAIZIE: Now what's the use of--? 

SALLY: When I was a kid back in Muncie I knew a boy named Peter Webb -- an orphan -- he lived with his uncle..They were poor -- had nothing..He ran away -- made something of himself..I don't know where he is now nor what he does. But he's always been an ideal of mine..I know it sounds funny, but -- I can't let that ideal down, either. 

(Music: "Sing Before Breakfast"..creeps in behind....) 

MAIZIE: Well, I don't quite get everything you're talkin' about but I know how you feel..I shoulda figured you weren't a quitter..and maybe today is the day..Come on let's go get some breakfast. 

(Music: "Sing Before Breakfast" up to blend with voice theme....)

VOICE: Ten-thirty....Along Broadway comes a girl, Sally..She walks briskly..Turns into a building, and takes an elevator....Now she stands, a little hesitantly, outside an office door. Its ground glass window bears the legend, "Arnold and Freese -- Theatrical Agents:" but the word "agents" has been blocked out with white paint-- (Cut voice theme) --and in its place, the word "Producers"..The girl opens the door and enters.... 

(Door opens and closes) 

SALLY: Good morning, Mr Arnold. 

ARNIE: Well!....Say, this is the first time I've ever seen a dream when I was wide awake..How are yuh, Honey? 

SALLY: I'm all right, thanks. 

ARNIE: All right?..You're sweet enough to eat. Whatayuh say we do eat? I know a swell little place right around the corner. 

SALLY: No, thank you..I've had breakfast and it's too early for lunch..Mr. Arnold..what about my play? 

ARNIE: Say! I'm glad you mentioned that. We'll have a decision on it by next Monday. 

SALLY: But, Mr. Arnold, last week you told me to come in today. And the week before that, you said to call Thursday---- 

ARNIE: Now, Honey, we've just had a little change of plans, that's all. The board doesn't meet till next Monday. 

SALLY: Whose board? 

ARNIE: I am -- bored with sitting around this office. Let's you and me take a Fifth Avenue bus---- 

SALLY: Mr. Arnold, why do you always put me off? 

ARNIE: Who? Me? I never put a lady off a bus in my life....Courteous Claud, they call me. 

SALLY: I mean about my play..I'm serious Mr Arnold. 

ARNIE: Aw, now, Honey---- 

SALLY: --Dreadfully serious. I've got to have an answer. I've just got to. 

ARNIE: Well, yuh see, Honey, Jack Freese is reading your play now, and---- 

SALLY: Then let me talk to him..Where is he? 

ARNIE: Now take it easy..Better let me talk to him..You stay right here.. (Fading) Don't run away now. (Off Mike) I'll be out of his ofiice in just a second. Maybe sooner. 

(Door opens and closes) 

ARNIE: (Fading in) Say, Jack -- Sally Martin is outside again, and---- 

FREESE: What's your idea in kidding that dame along?..Her play's so bad we'd have to have Gearge Kaufman rewrite it before we could throw it in the waste basket. 

ARNIE: Oh, I don't know..I thought it was kinda good in spots..She's worked awful hard on that play, Jack..

FREESE: Yeah -- all work and no play. 

ARNIE: ..I feel kinda sorry for the kid. 

FREESE: You'd better feel sorry for yourself. I've just been taking a gander at our books..We're broke -- so flat they could slip us through a crack under the door..We couldn't produce a show if we had one. 

ARNIE: Maybe we could get Charlie Prosser to back us. He's thrown things our way before.


FREESE: Huh huh. The last time we went to see him, it was an ink stand. 

ARNIE: Anyway, I think I'll call him on the phone-- (Jiggles hook)..Hello..hello..Say, what's the matter?..Hello.. 

FREESE: Oh, I forgot to tell you -- Another thing -- that phone's dead. They disconnected the service this morning. 

ARNIE: Well -- as the saying goes -- it's just no use talking. 

(Hangs up) 

FREESE: Besides I don't think Charlie Prosser is back from London yet. 

ARNIE: London?..(Slowly) Lon-don..Jack! (Then rapidly) I've got it! It just hit me. 'The greatest idea of my career.' The biggest thing in the history of show business! Get this..We'll bring Robert Gordon over from London. 

FREESE: Robert Gordon? 

ARNIE: Sure.....He's terrific! Everything he's appeared in has been a smash hit. With Gordon in a play we can't miss! What an idea. 

FREESE: Do you buy your straight jackets hand-me-down or tailor made? 

ARNIE: Wait -- wait -- listen -- 

FREESE: What are we gonna use for money -- marbles? 

ARNIE: We won't need any dough..With Gordon's name on a contract, we'll have people fighting to back the show -- any show he's in. 

FREESE: Look, my little man -- just in case you haven't heard -- every producer on Broadway has been trying to get ahold of Gordon for the last two years. The guy absolutely refuses to come to America. 

ARNIE: That's because he never had a play. We've got a play for him. 

FREESE: Ye-ah -- a play by Miss Sally Martin, of Muncie, Indiana..Did you ever stop and think--? ..No....all you do is stop....Here.. 

(Sound: Drawer pulled open and closed) 

FREESE: Take this play -- give it to Miss Martin -- and tell her we think is st---- ..Just hand it to her. 

ARNIE: We----ll----okay. 

(Slight pause) 

FREESE: (Sharply) Arnie! 

ARNIE: (Off Mike) Huh? 

FREESE: Come here..Take a look at this newspaper! 

(Sound: Rustle of paper) 

ARNIE: What? 

FREESE: Right there.."Capitalist to Live at the Ritz." 

ARNIE: What did you expect him to do -- die there? 

FREESE: Go on -- read it. 

ARNIE: "Peter H. Webb, who arrived from abroad this morning, will make his New York headquarters at the Ritz Hotel. After attending to business here, he plans to visit his old home town, Muncie, Indiana." ..So what? 

FREESE: Read those last two words again. 

ARNIE: "Muncie, Indiana".. Mun-- Why, say, that's the same town the Martin dame is from. 

FREESE: Ye----ah....Keep saying it over to yourself; you'll get it..Muncie, Indiana..Little girl from there trying to make good in big city....Girl meets capitalist  -- guy with a roll to you..Capitalist from same home town-- 

ARNIE: You mean we'll get him to back the show?

FREESE: No..We'll get him to put up some money for the show; then you and I will take it and go for a nice long vacation in South America. 

ARNIE: Aw, we can't do that, Jack..It wouldn't be right..Anyway, we don't even know the guy. He wouldn't---- 

FREESE: The Martin dame does..Muncie isn't such a big place that they haven't heard of each other..We'll let her give him a load of that sob stuff she's been giving us -- Call her in here. 

ARNIE: Yeah, but suppose he won't go for it? 

FREESE: So what?..We haven't anything to lose, have we? Call her in. 

ARNIE: (Fading) Okay.... 

(Door opens) 

ARNIE: (Off mike) Come in a minute, will yuh, Honey? 

(Door closes) 

ARNIE: (Fading in) You know my partner Jack Freese, don't you? 

FREESE: Sure she does..Well, Miss Martin, I guess congratulations are in order all right. We've decided to produce your play. 

SALLY: O--h!....Oh, Mr Freese! 

FREESE: Yep..We're going to make it the most elaborate production Broadway has ever seen -- putting our entire resources behind it. 

SALLY: Oh I -- I don't know how to thank you -- and -- and coming right now when I thought everything was----. Oh, you don't know what it means to me. 

FREESE: It means a fortune for you, Miss Martin -- and for Mr Arnold and myself..Tell her, Arnie, what we expect to clear on the first season. 

ARNIE: Oh -- say a million -- a million and a half.

SALLY: It -- it just doesn't seem as if it could be true. 

ARNIE: You're telling me. 

FREESE: But I've got it all figured out..Got my notes right here. Where are those notes?....Well, never mind -- I don't need 'em..The figures are all in my head. 

ARNIE: I don't doubt it. 

FREESE: Now to begin with, we're gonna bring Robert Gordon over to play the lead. 

SALLY: Robert..Gordon! 

ARNIE: That's right, Honey -- nothing small about us. 

FREESE: The only thing -- he wants fifty thousand dollars in advance. Isn't that what he said, Arnie, when you cabled him? 

SALLY: Cabled him?..Then you've already--? 

FREESE: Why, sure -- We've been in production with this show for months -- having sets built -- wardrobe made. We didn't want to tell you till we'd signed the contract with Gordon..You know, we wanted to surprise you. 

SALLY: Then that's why you've been putting me off. 

FREESE: Yeah -- Yeah -- that's it!....We didn't expect Gordon would demand an advance -- and now our capital is all tied up! 

ARNIE: A measly little fifty grand is all we need -- and it's got us stopped....Maybe we'd better forget Gordon. 

FREESE: No, no -- we're gonna put on Miss Martin's play right. If we can't get Gordon, I'd rather call it all off -- and lose every cent we've put into it. 

SALLY: Oh, but you can't afford to do that. 

ARNIE: What did the bank say, Jack?

FREESE: Thought it was a swell investment, but the law won't let them touch it..They mentioned a fellow who might be interested, though -- a guy named Peter Webb..

SALLY: Peter Webb? 

FREESE: Yeah -- Say, come to think of it, he's from your home town -- Muncie Indiana -- Ever hear of him? 

SALLY: If it's the Peter Webb I think it is, we went to school together..I was just speaking of him this morning. 

ARNIE: Well, whatayuh know? Think o' that, Jack. 

SALLY: He ran away from home..That was six or seven years ago. 

FREESE: Well, he's done okay for himself..They say he's worth millions. 

ARNIE: Fifty thousand to him would be peanuts. 

FREESE: It's too bad we don't know him, Arnie..But this firm never does business with people we don't know.

SALLY: But I know him -- at least well enough to talk to -- I'm sure he'll remember me. 

FREESE: No, no -- we wouldn't want you to do that. 

ARNIE: But why not, Jack? It isn't like we're asking him to donate the dough....He'll get it back a hundred times over. 

SALLY: Of course.. 

FREESE: I know, but---- 

ARNIE: Are you going to let a little foolish pride stand in the way of Miss Martin's success? 

FREESE: Well, maybe you're right, Arnie..Go ahead -- have a talk with him, Miss Martin....He's at the Ritz. 

SALLY: I'll phone him right now! 

FREESE: Uh-uh-uh-uh!....Don't -- don't phone him. Grab a cab and go over there. 

ARNIE: Have a nice long talk with him....Tell him all about your plans and ambitions.... 

FREESE: And bring him back here with you. 

SALLY: All right -- I will..(Fading) 'by! 

(Door opens) 

("Am I Blue",.. creeps in behind......) 

ARNIE: (Calling after her) And read him the play..It'll knock him dead. 

FREESE: I wouldn't be surprised. 

(Music...."Am I Blue" up and fade out....) 

FREESE: Say, quit pacing back and forth like a panther in the Bronx Zoo..You give me the heeb-jeebies. 

ARNIE: She oughta have been back here two hours ago..I told you it wouldn't work. 

(Clicking of phone hook) 

ARNIE: Hello....Hello..Aw, I forgot about this phone bein' disconnected..What did we get into this producing business for anyhow?....We did all right when we were agents. 

FREESE: We'll do all right now, if we can get ahold of this guy Webb. 

ARNIE: We'll do all right if we can get ahold of the mint, too. 

FREESE: Say, listen. If you don't like the producing business, I don't like your tone of voice -- your necktie -- the way you comb your hair -- or that dirty sneer you give me. 

ARNIE: I didn't give you that dirty sneer -- you've always had it.

FREESE: Now look here, wiseguy-- 

ARNIE: Say, if I took an aspirin, would you go away? 

FREESE: Whatayuh mean?..Aspirin is to get rid of a headache. 

ARNIE: I know it. 

FREESE: I've stood all I'm gonna stand from you..We're through -- do you get it -- through! 

ARNIE: That suits me..And the quicker, the sooner....You remind me of something on the end of a mop. 

FREESE: For two cents I'd let you have a sock in the puss. 

ARNIE: Save your dough..You'll need it to pay your hospital bill. 

FREESE: Oh, is that so?..Well----! 


ARNIE: Listen. 

FREESE: It's them. 

ARNIE: Quick -- get this desk straightened up..Empty that ash tray in the waste basket.


FREESE: Say, yuh got any cigars? 

ARNIE: Only a couple of stogies. 

FREESE: Tear the labels off of 'em, and put em in the humidor.


FREESE: Come in.... 

(Door opens) 

(Music: "That Old Feeling" creeps in behind......) 

FREESE: Well!....Miss Martin! 

(Door closes) 

SALLY: (Fading in) I'm sorry we're so late..We got to talking over old times..Mr. Freese -- This is Mr. Webb. 

(Music: "That Old Feeling" up to blend with voice theme..)

(Voice theme fades to B. G. for....)

VOICE: And so another character comes into this little backstage drama of Broadway..Will Webb see through the scheme in which Sally is an innocent participant?..If he does, what will happen? But first let us hear from Jean Paul King. 

(Music: Cue theme....) 

(Commercial Announcement) 

(Music: Voice theme at close of announcement....fading out..) 


FREESE: ......(An outburst of laughter)



ARNIE: --Well, that's the way kids are, Mr. Webb..I remember when I went to school.. 

WEBB: So, you see, I have a soft spot in my heart for anybody who comes from Muncie, Indiana....If I can do Miss Martin a favor--

SALLY: Everyone seems to want to do me a favor -- the whole world...If I could only make you all realize how big, and important it is to me, far beyond the money we'll make.... 

FREESE: And we'll make plenty of that..But sit down, Mr. Webb.... 

WEBB: Thank you..About this.. 

ARNIE: Here -- take this chair..It's more comfortable. 

WEBB: Thank you..About this....

FREESE: Cigar? 

WEBB: Thanks..As I was....

FREESE: Our own special brand....We have them made up for us in Havana.

ARNIE: Yes -- we know the ropes down there.

WEBB: As I was about to say-- 

ARNIE: Light? 

WEBB: (Puffs cigar) --about this-- 

FREESE: Oh, yes -- about the play!....Marvelous, isn't it? A great piece of work. 

WEBB: Well -- uh -- yes..Yes. I rather liked it -- although it seems to me the hero is a little abrupt in telling the girl he loves her.

ARNIE: But he does love her. 

SALLY: And when a man loves a girl he ought to tell her. 

FREESE: Right.. 

WEBB: I know -- but if there had been a little time spent in developing the romance-- 

ARNIE: That's just where this play is different..It starts with a bang. 

FREESE: The biggest thing that ever hit Broadway, Mr. Webb. It'll be stupendous! 

ARNIE: Sensational! 

FREESE: Gigantic. 

ARNIE: Now wait a minute, Jack. We don't want to give Mr. Webb the wrong impression..I know you're enthusiastic; but "gigantic" is a bit strong, isn't it? 

FREESE: Well, maybe you're right, Arnie....Conservatively speaking, it will be--- 

ARNIE: Colossal. 

FREESE: The very word -- colossal..Think of it, Mr. Webb -- the first set, a real lake -- with a hundred and fifty camels in it! 

SALLY: What?

WEBB: But I've always thought camels were desert creatures. You mean they swim in the lake? 

ARNIE: No, no -- the three hundred harem beauties swim in the lake. 

SALLY: Harem beauties? 

WEBB: But how are you going to get a theatre big enough--? 

FREESE: It's all figured out..First, we're going to remodel the theatre -- and take out all the seats. 

ARNIE: We'll have the audience in the aisles. 

FREESE: Then we're going to put the stage in the---- 

SALLY: But Mr. Freese, I'm afraid you're talking about another play..My play is laid in a little town in Indiana. 

FREESE: Ah, but we've changed that. It's to be Oriental! 

ARNIE: And we're going to call it-- Wait! I've got it!....Here's our title, Jack -- "A Night in Aphganistan".. Jot it down. 

FREESE: How do you spell Aphganistan? 

ARNIE: Uh -- "A" -- "A" -- "F" -- Uh -- change it to Turkey. 

SALLY: That's not the title, Mr. Freese..The play is called "So What Have We to Lose?" 

FREESE: No, no -- that's out..No box office draw. 

WEBB: It does strike me as a trifle long. 

ARNIE: That's right..Uh -- what about, "So What Have We?" 

FREESE: Still too long. 

ARNIE: Here it is!....It just came to me!....What a title!....Think of it -- spelled out on the marquee of the theatre in ten thousand electric lights! Opening Tonight -- "So what?" 

WEBB: Well -- uh -- if I may make a suggestion -- in view of the rather impetuous love affair involved, I'd call it "Love in a Rush". Does that suit you, Miss Martin? 

FREESE: Perfect..Perfect....I see you're going to be a great help to us, Mr. Webb--

ARNIE: Yes -- you've no idea. 

FREESE: -- a very valuable partner.

WEBB: I -- uh -- I'm not so sure about this partner business..How much is it going to cost to put on this show? 

FREESE: Well, you've produced shows before, Mr. Webb -- you-- 

WEBB: No -- no, I haven't! 


FREESE: (Together) O--H..Well, now let's see.. 

FREESE: I should say about two hundred and fifty thousand..We've got already tied up in the enterprise about -- uh -- How much would you say, Arnie, two hundred thousand more or less? 

ARNIE: It depends on where you put the accent..Er -- uh -- I mean yeah -- about two hundred grand-- 

FREESE: ..counting the camel scene. 

SALLY: But we don't need any camels. They haven't anything to do with the play. 

FREESE: They're only in the prologue..Of course we could drop that. 

WEBB: Then where does the rest of the expense come in? 

FREESE: Oh..I thought Miss Martin had told you..Just when all of our capital was tied up, we found we had to pay fifty thousand dollars in advance salary to Robert Gordon. 

WEBB: (Puzzled) Robert Gordon? 

ARNIE: Yes -- Robert Gordon -- He's to play the lead..We're bringing him over from London..Say, you don't mean to tell me you've never seen Robert Gordon on the stage? 

WEBB: No -- no, I haven't. 

ARNIE: Why, he's sensational! 

FREESE: Terrific! 

ARNIE: Four consecutive smash hits. 

FREESE: A play with Gordon in it can't miss. 

ARNIE: We'll make millions with him. 

SALLY: That's right, Mr. Webb..It will be a big theatrical scoop..His first appearance in America. 

WEBB: But are you certain you can get him? 

FREESE: It's all set, Mr. Webb..All we have to do is to cable him the fifty grand, and he'll be over on the next boat. 

WEBB: Well -- I don't know..It seems to me you're depending a great deal on this Robert Gordon..Suppose he's already signed up for something else. 

FREESE: But we've got the deal all set..Wait a minute..(Jiggles phone hook) Long distance..I want to talk to Robert Gordon....(To Webb) We'll settle this right now. 

WEBB: Oh, I wouldn't want to put you to the expense of calling London-- 

FREESE: That's all right, Mr. Webb -- We want you to feel perfectly satisfied with this enterprise before you put your money into it -- Hello -- Hello..Yes, yes -- I'm calling London. 

ARNIE: The next sound you hear will be the chimes of Big Ben. 

FREESE: I am holding on..Yes, Robert Gordon..

WEBB: Really, Mr. Freese, you're going to a lot of trouble---- 

FREESE: No trouble at all..I just want to-- Hello..Oh, hello, Bob, this is Jack Freese..Swell. How are you? Say Dick, I'm cabling you fifty thousand this afternoon-- 

WEBB: Mr. Freese, just a minute -- I --

FREESE: You said something, Bob -- it'll be the biggest thing on Broadway....Yeah, we want to start rehearsals right away..Okay, I'll see you here a week from Friday (Hangs up) He'll catch the boat from South Hampton tomorrow night. 

ARNIE: And here's a little agreement we've drawn up, Mr. Webb..Now if you'll just let me have your check. 

WEBB: Now hold on here.. 

SALLY: Why, what's the matter? 

FREESE: Yes -- what's wrong? You've read the play you know it's going to be a big hit..you've heard Gordon say he'll be here..

WEBB: But I'd like a little time to think it over. 

FREESE: Look, Mr. Webb -- I told Bob Gordon I was cabling the dough today....he's making plans to catch that boat..if we stall now, he'll be sore and the whole deal is liable to be off. 

ARNIE: All over a dinky check for fifty thousand. 

WEBB: After all, though, that's quite a bit of money....In spite of what you might have heard, I'm not a millionaire by any means..Fifty thousand represents a great deal to me. 

SALLY: But you can't lose, Mr. Webb....really you can't. 

WEBB: And what security do you give me? What do I get for my money..how much of an interest in the play? 

FREESE: Look -- I've made a lot of sacrifices to produce this show; I guess one more won't hurt..I'll give you fifty one per cent interest in the production rights of the play. 

ARNIE: You're crazy! Give him a bigger cut than we get?

FREESE: Why not? With forty nine percent we'll still make plenty..I'd rather do that than see the deal go by the boards. 

ARNIE: No......I don't go for that. 

FREESE: Am I going to have trouble with you, too....This show has a chance to make millions..Millions! Are we going to let it slip through our fingers? 

ARNIE: Well, I think you're nuts..but, okay..I'll write it into the contract. 

WEBB: But there's another thing, too....I've just arrived from abroad....I haven't made a banking connection here in New York..I'll have to do that before I can write a check. 

FREESE: Let's see..what time is it?....Two twenty five? Look..I'll go down to the bank with you..come on..we'll grab a cab. 

ARNIE: Here you are, Mr. Webb..just sign here..Jack, you sign the carbon..that's right, now just trade copies, and sign.. 

WEBB: I -- I hope everything will be all right. 

ARNIE: It's bound to be..there we are....Okie-doke. 

FREESE: Come on, Webb -- let's get going. 

WEBB: Yes -- uh..I'll -- (Fading) I'll see you later, Sally. 

Sound: (Door opens and closes) 

ARNIE: Whew! Well, that's that..how do you feel about it, honey? 

SALLY: Oh, it's marvelous....Mr. Arnold, I can't thank you and Mr. Freese enough. 

ARNIE: Think practically nothing of it. 

SALLY: ....and Mr. Webb, too....Think of it -- my play is actually going on ---- I'm going to call the folks in Muncie, and tell them!....(Clicking receiver) Operator.... 

ARNIE: Hey wait..that phone's disconnected.. (Catches himself) er..uh.... 

SALLY: Disconnected? 

ARNIE: Why..uh..I mean..it's..it's.... 

SALLY: (Clicking receiver) Hello -- hello -- (Slowly as she realizes) O---h....(She hangs up) Then then that call to Robert Gordon..it....it wasn't.... 

ARNIE: Take it easy, honey.... It was the only way we could get that stuffed shirt to come through....don't yuh see, we had to---- 

SALLY: You haven't hired Robert Gordon..you never intended to hire him....You've been lying..all the time..the whole thing was a lie.

ARNIE: Don't let it throw you. 

SALLY: Oh, what a fool I've been..Because I knew him -- because we went to school together -- you used me to trick him -- Well, you're not going to get away with it..I'm going to see he stops payment on that check....I'm going to tell him...... (Calls) Mr. Webb! 

ARNIE: Don't be a sap....You want your play produced, don't you? Or do you want to go back to Muncie and let 'em know you're a flop?

(Music: "That Old Feeling" creeps in behind......) 

SALLY: I don't care....I don't care about anything..except stopping him from putting up that money. 

ARNIE: Now listen.... 

SALLY: Mr. Webb....! 

ARNIE: ..wait!.... 

Sound: (Door Opens) 

SALLY: (Off mike and fading) Mr. Webb....Mr. Webb.... 

(Music: "That Old Feeling" up to blend with voice theme -- voice theme fades out....) 

WEBB: Listen, operator..I must get that number..Then keep trying till they do answer....and call me here in my room. 


WEBB: (Calls) Just a moment..Yes, operator..I'll be here in my room all evening..(Hangs up) 

(Door opens) 

WEBB: Sally! 

SALLY: Mr. Webb....I.... 

WEBB: I've been trying to get in touch with you for almost an hour, but the Arnold and Freese office doesn't answer! 

(Door closes) 

SALLY: Mr. Webb....I've got something to tell you -- something important --

WEBB: I've got something to tell you, too. You know I've been thinking over what you said this afternoon..about if a man is in love with a girl he ought to tell her..Sally, I love you. 

SALLY: Oh....h.. 

WEBB: But I haven't fallen in love abruptly like your hero in the play..I've always loved you....even when we were kids back in Muncie....after I ran away, I didn't have the courage to write to you..I was a nobody then -- a drifter -- and then two years ago, after I'd had a little success, my letters came back. 

SALLY: No, no..please..you mustn't say.. 

WEBB: When I met you here in New York, I couldn't believe it..it was like a miracle. 

SALLY: Oh, why did you have to tell me that? 

WEBB: But, Sally, I thought.. (A pause -- then slowly) I see -- there's someone else. Well, after seven years.... 

SALLY: It isn't that..Honestly it isn't..only now, what I've come to tell you..you've made it so difficult. I thought..you backed my play because you really liked it; not because.... 

WEBB: Oh, so that's what's bothering you..(He laughs) Well, you can get rid of that silly little notion right away....I think the play is splendid. 

SALLY: No, no..you don't understand yet.

WEBB: Oh, yes I do..and let me tell you something else. One of the main reasons I'm here in New York is to invest some money in a good play. 

SALLY: That's a nice lie..an awfully nice lie..but I can't believe it. 

WEBB: You've got to believe it....it's true. 

SALLY: How can it be? You're not a producer..you said you've never produced a play in your life. 

WEBB: I have to start sometime..I'll start with your play. 

SALLY: It's no use, Mr. Webb..you put the money into my play because you..because you love me..and now you're going to hate me....despise me. 

WEBB: But, Sally -- why ---- why? 

SALLY: Please -- don't ask me to explain now -- Call the bank and cancel that check. 

WEBB: But I didn't give Freese a check. 

SALLY: Oh -- thank heavens! 

WEBB: ....I paid him the cash. 

SALLY: Cash! 

WEBB: Yes -- and now I control fifty-one percent of the producing rights. 

SALLY: Oh, why did you do that? Why did you? 

WEBB: Sally, if you'll only tell me what's wrong.. 

SALLY: Everything is wrong -- you've been cheated -- robbed -- and I'm responsible for it. 

WEBB: You? How -- why?

SALLY: Arnold and Freese sent me to see you this morning -- they told me they needed the money to hire Robert Gordon -- I found out it was a lie. 

WEBB: But I still have the rights to the play. 

SALLY: What good will they do you? Don't you see, without Robert Gordon, the play will be nothing -- a failure -- All the money you've put in it, lost.

WEBB: Maybe we can still get Robert Gordon. 

SALLY: Not in a hundred years..he'd laugh at us. He'd laugh at Arnold and Freese. They never had any negotiations with him. They didn't call him in London -- it was all a bluff. 

WEBB: I know it. You see, I'm Robert Gordon. 

SALLY: (Utterly flabbergasted) You -- you're -- what did you say? 

WEBB: I said I'm Robert Gordon -- that's my stage name of course. I thought if I could find a suitable play while I was in this country, I'd stay here and do a Broadway show -- produce it myself -- So you see when I told you -- Sally! 

SALLY: (Faintly) I -- I think I'll sit down. 

WEBB: (Anxiously) You're all right, aren't you? 

SALLY: Just give me a minute.... 

WEBB: Oh, I'm sorry..I should have told you -- but the whole affair was so amusing I couldn't resist going through with it. 

SALLY: And you..you knew all the time that..? 

WEBB: Naturally..Besides, it was just the play I was looking for..and Arnold and Freese had the production rights. If they had found out who I was, they'd have held me up beautifully..(He laughs) I got it at a rather reasonable figure.. 

(Music: "That Old Feeling" creeps in behind..) 

SALLY: They still own forty-nine percent.

WEBB: Yes, but I don't think they'll show up to claim it. There happens to be some very unpleasant laws in this country dealing with people who obtain money under false pretense..Oh -- about the title I suggested..Do you like "Love In A Rush?" 

SALLY: Well, it's a bit breath-taking..But I think it's going to be wonderful. 

(Music: "That Old Feeling" up to blend with voice theme..) 

(Voice theme fades to background for:) 

VOICE: The story of a girl who lived in one of Broadway's hotels -- one story out of the thousand comedies and tragedies that are played every day in real life outside the doors of Broadway's theatres. Next week we take another stroll under the lights of New York's White Way, finding another person, with another story..Before we tell you about it, here's Jean Paul King with a word for the ladies. 

(Closing Commercial)