Generic Radio Workshop Script Library (BACK)

Series: The Screen Guild Theater
Show: Easter Parade
Date: Mar 22 1951

CAST:
ANNOUNCER
JOHNNY, the college man
DON, the dancer
NADINE, Don's self-centered partner
HANNAH, a Michigan gal in New York
MIKE, bartender
MARTY, accompanist
1ST MAN
2ND MAN
3RD MAN
AL, stage manager
FRANCOIS, headwaiter
FRANK, usher
ESSIE, Nadine's maid
and a CHORUS

MUSIC:

DRUM ROLL

ANNOUNCER:

The American Broadcasting Company brings you THE SCREEN GUILD PLAYERS!

MUSIC:

THEME ... THEN IN BG

ANNOUNCER:

Tonight, it's Judy Garland, Fred Astaire, Peter Lawford and Monica Lewis in Metro-Goldwyn-Mayer's great springtime musical, "Easter Parade"!

MUSIC:

THEME ... THEN IN BG

SOUND:

APPLAUSE

ANNOUNCER:

Some stories are as old as time and some are as new as love; some music as haunting as yesterday and as promising as tomorrow. Now, you put a story like that to music like that -- and you have exactly the sort of memorable picture that we're bringing you tonight, starring Judy Garland, Fred Astaire, Monica Lewis and Peter Lawford -- and spotlighting Irving Berlin's unforgettable score. Yes, as a special holiday treat, THE SCREEN GUILD PLAYERS bring you Metro-Goldwyn-Mayer's "Easter Parade"!

MUSIC:

INTRO OF "EASTER PARADE"

CHORUS:

(SINGS) In your Easter bonnet, with all the frills upon it,
You'll be the grandest lady in the Easter parade.
(THEN CROONS WORDLESSLY, IN BG)

MUSIC:

CONTINUES BEHIND NARRATION--

JOHNNY:

(NARRATES) Yes, Easter was just around the corner. Spring was in the air. And those days, back in Nineteen Twelve, spring could turn a young man's fancies to-- Well, just about where they turn 'em today.

Nineteen Twelve; I was still in college then, but any time my profs didn't nail me down, I was apt to head for New York and Broadway. I loved the theater and knew a lot of performers, but I guess my best friend was always Don Hewes and, of course, Nadine.

Nadine was Don's dancing partner. "Nadine and Hewes," you must have heard of them. And so the day before Easter, when I got to New York, I headed right over to Nadine's place. (CHUCKLES) I should have guessed that Don had beaten me to it.

DON:

Happy Easter, honey! Happy Easter--! Hey, where are ya?!

NADINE:

Right here. You could see me if you put all those packages down.

DON:

Oh, yeah.

SOUND:

PACKAGES DROPPED

DON:

Sorry I'm late. Got tied up with an Easter rabbit. He asked me to bring these over to you.

NADINE:

Don--?

DON:

Go on, start opening.

NADINE:

Don, I - I wish you hadn't.

DON:

Never argue with an Easter bunny!

SOUND:

PAPER WRAPPING TORN OFF PACKAGES

DON:

Now, there's a hat, perfume, gloves-- I think there's a bracelet in one of those boxes and-- Hey! Didn't the men come for your trunk? I told 'em to pick it up this morning.

NADINE:

It, uh, wasn't ready.

DON:

(GOOD-NATURED) Okay, we'll send it by pigeon. Come on, you've got to try on this hat. Our train doesn't leave till tomorrow afternoon. We'll have time to walk in the Easter parade.

NADINE:

Don, I don't want to take that train.

DON:

Aw, it's the last one that'll get us to Chicago for our opening. Just look at this! This hat's going to be wearing the prettiest girl on Fifth Avenue.

NADINE:

Don, I've had an offer to do a Broadway show.

DON:

Sure you have, honey. I've had a dozen myself.

NADINE:

Yes, I know, but--

DON:

Well, we're a team, baby! We're playing the big time. You see that name painted on your trunk? "Nadine and Hewes" -- that's written in star dust.

NADINE:

But they've offered me a wonderful contract. They want to star me. And -- (CHUCKLES) -- you could dance with anyone.

DON:

Hey, wait a minute! Now, this isn't just dancing, honey. I - I've danced with a lot of girls; it was just business.

MUSIC:

INTRO TO "IT ONLY HAPPENS WHEN I DANCE WITH YOU"

DON:

That was before I met you. This is different, baby. This is us.
(SINGS) It only happens when I dance with you,
That trip to Heaven till the dance is through.

With no one else do the Heavens seem quite so near.
Why does it happen, dear, only with you?

Two cheeks together can be so divine
But only when those cheeks are yours and mine.

I've danced with dozens of others the whole night through
But the thrill that comes with Spring
When anything could happen
That only happens with you.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

DON:

(LOVINGLY) Nadine, Nadine. Oh, I mean that, too. Come here, baby.

JOHNNY:

Hi, you two! I hope I'm intruding.

NADINE:

(PLEASED) Johnny!

DON:

(LIKEWISE) Professor! When did you get in?

JOHNNY:

Just a few minutes ago. I had to stay over and make up an exam.

NADINE:

Oh, imagine letting college interfere. Johnny, it wouldn't be a holiday without you.

JOHNNY:

Nor without you. New York's going to be awfully dull. I wish you two weren't leaving.

DON:

Well, you know what they say--

NADINE:

I'm not leaving.

DON:

Huh? Now, now, darling--

NADINE:

I signed that contract, Don.

DON:

You did what?

NADINE:

I signed it this afternoon. I'm going into a show.

DON:

(STAMMERS) You're kidding! Why, we've signed contracts for the next six months!

NADINE:

You've signed them. They can't hold me.

DON:

What goes on?

NADINE:

Oh, Don, I know it sounds terribly selfish of me, but I've gotta think of myself. There's no future for me in just being a dancer. Please understand.

DON:

(BEAT, GRIM) Well, maybe I do. So long.

SOUND:

DON'S FOOTSTEPS AWAY

JOHNNY:

(CALLS) Don!

SOUND:

DOOR CLOSES AS DON EXITS

NADINE:

Johnny, you understand, don't you?

JOHNNY:

Well, frankly, no. Nadine, this doesn't make any sense. I don't mean just the dancing. I always thought that you and Don--

NADINE:

(CHUCKLES) Did you?

JOHNNY:

Well, he's done everything in the world for you. Why do you want to walk out on him?

NADINE:

(CHUCKLES, SEDUCTIVELY) Don't you know --- Johnny darling?

JOHNNY:

(UNEASY) I, er-- I think I'd better go after Don.

MUSIC:

BRIDGE

MIKE:

Here you are, Mr. Hewes; another double.

DON:

Thanks. That's what I like about Pastini's. You order a double and you get a double.

MIKE:

Why not? I only mix 'em, I don't drink 'em.

DON:

Mike, can you drown a brunette in this?

MIKE:

How tall is she?

DON:

Five foot six. She's not going to Chicago.

MIKE:

They mostly never do when they're five foot six.

DON:

(CHUCKLES) I've got to hand it to you, Mike. You certainly know a lot about women.

MIKE:

I should. I've been single all my life.

DON:

Smart man.

MIKE:

Look, working behind a bar like this, you kind of find out what makes people tick. Trouble -- that's what brings 'em in here. I've been listening to troubles for fifteen years and I can boil them down to two classifications.

DON:

What are they?

MIKE:

Women. And their mothers. ...

JOHNNY:

(APPROACHES) Don? Hello, chum.

DON:

Oh, hello, Johnny.

MUSIC:

IN BACKGROUND, BAND PLAYS INTRO TO "EVERYBODY STEP" AND CHORUS GIRLS SING THE LYRIC--

GIRLS:

(SING) Ev'rybody step to the syncopated rhythm;
Let's be goin' with 'em when they begin.
You'll be sayin' "Yessir. the band is grand" --
He's the best professor in all the land.

Listen to the pep that emerges from the middle
Of the jazzy fiddle under his chin.
Oh, what music!
The clarineter could not be better;

Hear that strain --
I don't know just what it is, but it's great.
They simply ruin it;
Look at 'em doin' it.
Come, come, don't hesitate --

Ev'rybody step if you want to see a glutton
When it comes to struttin' over the ground,
Wait'll you see my little sweetie and me
Step-step-stepping around.

NOTE:

CHORUS GIRLS SING THE ABOVE LYRIC DURING FOLLOWING--

DON:

Have a drink. Professor, listen. You're just in time for the floor show.

JOHNNY:

No floor show, Don. I'm taking you back to Nadine.

DON:

Did she send you for me?

JOHNNY:

Well, no. But I'm sure that--

DON:

Sit down. Have a drink.

JOHNNY:

Listen, Don. Nadine didn't mean all those things she said. You two belong together. She can't get along without you any more than you can get along without her.

DON:

(DEFENSIVE) Who says I can't get along without her?

JOHNNY:

Oh, now don't get sore. I just--

DON:

You see those girls out on the floor? Any one of them has as much talent as Nadine.

JOHNNY:

Oh, you're crazy.

DON:

I taught her everything she knows -- how to dance, how to walk, how to wear clothes. I could take any one of those girls and do the same thing!

JOHNNY:

And it wouldn't be Nadine. Look, I promised myself I'd take you back. Are you coming?

DON:

Not until Nadine asks me. And she will. She's a sentimentalist. She'll come around when contracts are out of season.

JOHNNY:

You won't change your mind?

DON:

Thanks for trying, Professor. You'd better run along.

JOHNNY:

(RELUCTANT) Well, I'll see you later. (MOVING OFF, TO MIKE) Take care of him, Mike.

MIKE:

That I will.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

DON:

Any one of them! Any girl out there! Mike? Do you think I need Nadine?

MIKE:

Well, Mr. Hewes, like I always say--

DON:

Hold it. Those girls are coming off. Now, look. There's one. Er, uh-- (CALLS) Oh, you! Young lady?!

HANNAH:

(OFF) Me? (COMING CLOSER) Uh, did you call me?

DON:

(INTENTLY) Yes. I think you'll do.

HANNAH:

You think I'll do what?

DON:

I'm looking for someone to dance with.

HANNAH:

Well, why don't you try the Lonely Hearts Club? Look, if you'll excuse me, I've got to get back and do my--

DON:

Wait. I mean I need a new dance partner. I'll give you a hundred dollars a week.

HANNAH:

(SARCASTIC) Oh. Really? Oh, I couldn't get along on that.

DON:

All right, a hundred and fifty.

HANNAH:

(AMUSED, DOESN'T BELIEVE HIM) Ah, that's fine. Now if you don't mind, I've got to get back and do my number.

DON:

Sure. I'll get a practice room at Michael's. Know where it is?

HANNAH:

(PUZZLED) Yes, but--

DON:

Good. Tomorrow morning, ten o'clock. (MOVING OFF) Good night.

HANNAH:

(BEAT, TO HERSELF) Good riddance. (TO MIKE) Mike, you saw that. What do you do with a fresh guy like that?

MIKE:

Oh, I wouldn't say fresh. Unhappy maybe. A little lonely.

HANNAH:

(CHUCKLES) Lonely? I'll say. Bet he just escaped from his keeper. The nerve of him, wanting me to give up a good steady twenty-five a week.

MIKE:

Know who he is?

HANNAH:

I don't care. I don't care if he's--

MIKE:

Name is Don Hewes.

HANNAH:

Well, he can't just walk in here and-- (STUNNED) Don Hewes?

MUSIC:

ORCHESTRA PLAYS INTRO OF "I WANT TO GO BACK TO MICHIGAN" ... THEN IN BG

MIKE:

(CHUCKLES)

HANNAH:

Don Hewes?!

MIKE:

Kid, you better hurry. I think you're on.

HANNAH:

(SINGS) I was born in Michigan,
And I wish and wish again
That I was back
In the town where I was born.
There's a farm in Michigan,
And I'd like to fish again
In the river
That flows beside the fields of waving corn.
A lonesome soul am I;
Here's the reason why:

I want to go back,
I want to go back,
I want to go back to the farm,
Far away from harm,
With a milk pail on my arm.
I miss the rooster,
The one that useter
Wake me up at four A.M.
I think your great big city's very pretty;
Nevertheless, I want to be there,
I want to see there
A certain someone full of charm.
That's why I wish again
That I was in Michigan,
Down on the farm.

I want to go back,
I want to go back,
I want to go back to that old farm,
Far away from harm,
With a milk pail on my arm.
I miss the rooster,
The rooster that useter
Wake me up at four A.M.
I think your great big city's very pretty;
Nevertheless, I want to be there,
I want to see there
A certain someone full of charm.
That's why I wish again
That I was in Michigan,
Down on the farm.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

MUSIC:

TRANSITION ... THEN OUT BEHIND--

DON:

Marty? Marty, what time is it?

MARTY:

Two minutes after ten. Looks like she's late, Don.

DON:

Maybe she isn't coming. I hope. (CHUCKLES SELF-CONSCIOUSLY)

MARTY:

What made you do a thing like that? Were you drunk or something?

DON:

Oh, let's say I got a little -- emotional. But she isn't here so there's no reason we have to stay.

HANNAH:

(RUNS IN, FAST AND BREATHLESS) Mr. Hewes?! Am I late, Mr. Hewes? I'm terribly sorry. Couldn't get a bus. Today is Easter Sunday, you know. I finally walked. Oh, you should have seen Mr. Pastini's face last night when I quit my job. He was furious! He-- (STOPS SHORT, BEAT, UNCERTAINLY) Good morning.

DON:

(UNHAPPY) Say that again.

HANNAH:

(MYSTIFIED) Good morning.

DON:

I mean about quitting your job.

HANNAH:

Well, you told me to quit my job. You said that--

DON:

I know what I said. This is Marty, my accompanist.

MARTY:

Hi.

HANNAH:

Hello.

DON:

And your name is--?

HANNAH:

Hannah Brown.

DON:

(DISBELIEF) What?!

MARTY:

(DRY) Exotic.

DON:

Well, we can change it. Uh, sure we can. (DOWN TO BUSINESS, RAPIDLY) Look, there's nothing to this. Now, uh, take four steps, a half-turn to the left, and drop into a curtsy as I bow to you. Rise slowly for four counts, right leg pivoting, left leg full extension. On five, twist to the right and fall left with your arms straight for the first lift.

HANNAH:

(BEAT) I beg your pardon? ...

DON:

You, uh, you didn't understand?

HANNAH:

(NO) Uh uh.

DON:

Even part of it?

HANNAH:

(NO) Uh uh.

DON:

The elemental, full extension?

HANNAH:

No.

DON:

Miss Brown, what idiot said you were a dancer?

HANNAH:

You did. ...

MARTY:

(DEADPAN) Mr. Hewes? Do you want to ask that question again?

DON:

Never mind. If I said it, she's a dancer. All right, Miss Brown. (CLEARS THROAT) We'll start at the beginning. Left foot forward.

HANNAH:

(OKAY) Mm hm.

DON:

(BEAT) Uh, left foot forward.

HANNAH:

(PAUSE, IN DESPAIR) Oh, you're gonna hate me.

DON:

What's the matter? You know your left foot from your right foot.

HANNAH:

I'm never sure.

DON:

Oh, no!

HANNAH:

(RAPIDLY) Well, it isn't my fault. When I was a little girl I was left-handed and the doctor told my mother I might grow up to be a dangerous criminal so they made me do everything right-handed and now I'm not sure any more. ...

DON:

But how did you dance in the floor show?

HANNAH:

Well, I always wore a garter on my left leg. Only now, no garter.

DON:

All right, all right. (AS IF TALKING TO A CHILD) Now, this is your left leg.

HANNAH:

Uh huh.

DON:

Oh, yes. And this is your right leg. Okay?

HANNAH:

(YES) Mm hm.

DON:

(TO MARTY) Music.

MUSIC:

SOLO PIANO BEGINS (BERLIN'S "LAZY") ... THEN IN BG DURING FOLLOWING--

DON:

(WALKS HER THROUGH ROUTINE) Four steps. Half-turn left. Curtsy. Four counts. That's right. One, two, three, four. Now, right leg pivot. Left leg full extension.

MUSIC:

ORCHESTRA JOINS PIANO, TOPS DIALOGUE ... THEN UP FOR BRIDGE ... THEN ORCHESTRA FADES OUT AND PIANO CONTINUES SOLO--

DON:

That's better. That's it now. But softer. More pliant. Keep your eyes fixed on mine. Your eyes. No, don't stare at me like you're ready to strike! (ROMANTIC) Softly, with yearning; caressingly. Make every man in the audience wish he were in my shoes. That's it. Now, your lips close to mine. Closer. Closer. (ABRUPTLY) Okay, lunch!

MUSIC:

PIANO OUT

HANNAH:

Lunch?

DON:

Yes. Come on and get some lunch.

MUSIC:

BRIDGE

SOUND:

CITY BACKGROUND ... TRAFFIC (VINTAGE AUTOS AND HORSE-DRAWN VEHICLES), MURMURING PASSERSBY, ET CETERA

DON:

There's a place I know on the other side of Fifth Avenue. We'll eat and then get back to work.

HANNAH:

Mr. Hewes?

DON:

Hmmm?

HANNAH:

You know, you don't have to go on with this.

DON:

Oh, forget it. You're doing-- You're gonna be fine.

HANNAH:

But - but you're the most wonderful dancer I've ever seen. You can get anyone to dance with you. You can get the very best.

DON:

I don't want the very best. I want you.

HANNAH:

(DISMAYED) Oh.

DON:

(QUICKLY) I mean, you didn't ask for the job. I picked you -- and you're going to make good. You've got to make good. So stop your worrying and--

HANNAH:

(ENTHRALLED) Oh, look! Fifth Avenue! The Easter Parade! I'd completely forgotten. Isn't it wonderful?

DON:

It's all right, if you like Easter parades.

HANNAH:

I used to read about it back home -- Easter Sunday, Fifth Avenue, all the beautiful women in their gorgeous clothes. Oh, look, look!

DON:

What's biting you now?

HANNAH:

Over there, the one they're all staring at.

DON:

Well, that's what a woman expects in the-- (STARTLED) Huh?

HANNAH:

(REVERENT) She's lovely, isn't she? What a beautiful lady.

DON:

That's no lady; that's Nadine. ...

HANNAH:

Nadine? Oh, you mean she's the one who--?

DON:

Recently of Nadine and Hewes.

HANNAH:

Oh, my, she's beautiful. Really beautiful. The way she walks, and her clothes--

DON:

See her nose?

HANNAH:

Yes?

DON:

Well, one year from now you're going to put it out of joint.

HANNAH:

I am?

DON:

Come on down this side street; I'll tell you about it.

SOUND:

THEIR FOOTSTEPS, AWAY FROM THE NOISE ... CONTINUES IN BG, OUT AT [X]

DON:

Next Easter, we'll walk down that avenue and you'll cause more excitement than an earthquake. Every head will be turned to look at you. Everyone you pass will whisper your name. Every man will admire you, every woman envy you. You remember that -- one year from today!

HANNAH:

(THRILLED) One year from today!

DON:

Now, first, we've got to find your name. Something exotic, alluring. Uhhh, I've got it! Juanita!

HANNAH:

(BEAT, UNSURE) Juanita? Do you think I'm the type?

DON:

No. No, not at all. We'll make you the type.

HANNAH:

Oh, but I'm not like that. I mean, well, Mr. Hewes, I'm - I'm just -- Hannah Brown. Couldn't I just be myself?

DON:

Look. Believe me, I know this business. A girl dancer has got to be exotic. A peach!

HANNAH:

I suppose I'm a lemon. ...

DON:

I didn't say that. I mean, well, look, when you walk down the street alone, do men try to catch your eye?

HANNAH:

Well, of course.

DON:

Do they turn to look at you?

HANNAH:

How do I know? I don't turn to look at them.

DON:

All right. Let's see. [X]

HANNAH:

Let's see what?

DON:

Well, let's see if you-- Let me see if they give you the double-O. I'll stand here.

HANNAH:

(STAMMERS) You mean you want me to, uh--?

DON:

Yeah, you walk ahead.

HANNAH:

Well--

DON:

I've got to find out. Go ahead. I'll stand here and watch.

HANNAH:

Uh-- Well-- All right.

SOUND:

HANNAH'S FOOTSTEPS WALK OFF

DON:

(MUSES THOUGHTFULLY TO HIMSELF) First man didn't even give her a tumble. Second one went right by her, too. And that third one is-- Uh oh. He turned. And there's another guy turning to look at her. And another. (LAUGHS) Oh, that's swell. (CALLS) Hey! Hey, Miss Brown! Wait! Wait for me!

SOUND:

DON'S HURRIED FOOTSTEPS TO HANNAH

DON:

(CHUCKLES) It's all right! You've got it! Come on. Come on, let's go eat.

SOUND:

THEIR FOOTSTEPS AWAY BEHIND--

DON:

Now, the first thing tomorrow, we'll shop for some clothes. I'll pick them myself and then-- (FADES OUT)

1ST MAN:

(TO 2ND MAN) Hey, mister? D'you notice that girl?

2ND MAN:

Never saw anything like it in my life.

1ST MAN:

Yeah. Why was she stickin' her tongue out at us?

MUSIC:

AN ACCENT ... BRIDGE ... THEN BEHIND NARRATION--

JOHNNY:

(NARRATES) Yes, believe it or not, that's how they started -- the new dancing team of Juanita and Hewes. I didn't even meet Hannah then; I had to hustle back to college. But I used to get Billboard every week and that way I was able to follow the act. I wouldn't exactly say that that was easy. The act wasn't setting the world on fire. I had to hunt to find out where they were booked -- mostly in little second-rate houses. I kept worrying about Don all the rest of that term and the minute the summer vacation started, I--

DON:

(GOOD-NATURED) Hiya, Professor! Welcome home; haven't seen ya lately.

JOHNNY:

Well, the faculty are very narrow-minded, you know. They think a college student ought to go to class. How are ya, Don?

DON:

Oh, swell. Swell. Couldn't be better.

JOHNNY:

Looks to me as if you'd lost a little weight.

DON:

Well, breaking in a new act-- You know how it is.

JOHNNY:

Er, you tell me. How is it?

DON:

Swell.

JOHNNY:

On the level, Don. How do people like the new team?

DON:

(UNHAPPY) Why should I try to kid you, Johnny? They don't. The team isn't going over at all. They don't like us two hoots and I don't even know why.

JOHNNY:

I know why one person doesn't like it.

DON:

Who?

JOHNNY:

Nadine. I had lunch with her today.

DON:

You mean she's thinking about the old act, huh? What'd she say?

JOHNNY:

Well, she said you've got to make your partner stop imitating her.

DON:

Juanita? Imitating Nadine? Why, that's the craziest thing I ever heard. You tell Nadine for me I said-- I, uh-- (BIG REALIZATION) Hey! That's it!

JOHNNY:

(CONFUSED) What?

DON:

Brown! Hannah Brown!

JOHNNY:

What in the world are you talking about?

DON:

Why-- Greatest song-and-dance act in the world! Uh, sorry, Johnny. I gotta rush. (MOVING OFF) See you soon, huh?

JOHNNY:

(CALLS AFTER HIM) Hey, Don--?

DON:

(OFF) Yeah?

JOHNNY:

(SARCASTIC) Next time I'll bring a friend along. A squirrel.

MUSIC:

AN ACCENT ("NUTS IN MAY") ... THEN BEHIND NARRATION--

JOHNNY:

(NARRATES) It's the funny the way things happen. I met Hannah Brown that same afternoon. I met her and I didn't even know who she was.

SOUND:

JOHNNY'S FOOTSTEPS ... IN THE POURING RAIN ... IN AGREEMENT WITH FOLLOWING--

JOHNNY:

(NARRATES) I was walking down Broadway and it started to rain. I ducked into the entrance of a corner drugstore and there she was. (SMITTEN) There she was, and there I was. And I knew I had to do something about it so I said the first thing that came to my mind. (TO HANNAH) Weatherman said rain today. Can't even trust him any more. (NARRATES) She smiled a little and I turned to her and just then someone came barging through the door.

SOUND:

THUMP! OF DOOR ... JOSTLE OF MAN, HANNAH AND JOHNNY

HANNAH:

Ooof!

3RD MAN:

Sorry.

JOHNNY:

Oh, me, too. I'm terribly sorry, Miss, uh--?

HANNAH:

(UNEASY) Oh, it - it wasn't your fault. But you don't have to keep your arms around me.

JOHNNY:

Oh.

SOUND:

JOHNNY STEPS BACK

HANNAH:

Isn't this awful? My new hat.

JOHNNY:

Horrible.

HANNAH:

I beg your pardon?

JOHNNY:

The weather, I mean. Your hat is beautiful.

HANNAH:

I hope the rain stops soon. I have an appointment.

JOHNNY:

No one would expect you to be on time in this.

HANNAH:

(CHUCKLES) He would.

JOHNNY:

Oh, really? Then if I were you, I'd, uh-- I'd divorce him.

HANNAH:

No, he isn't my husband.

JOHNNY:

(GLAD TO HEAR IT) Oh. Well, then I wouldn't marry him.

HANNAH:

No, it's nothing like that. This is business. Well, I think the rain is stopping now.

JOHNNY:

(WORRIED) Oh, no. No, it can't.

SOUND:

CLAP! OF THUNDER

JOHNNY:

(TO THE SOUND) Thanks. (TO HANNAH) You know, I, er-- I bet you like to walk in the rain.

HANNAH:

(CHUCKLES) Yes, as a matter of fact, I do, but--

JOHNNY:

But that's at home, in the country?

HANNAH:

Yes.

JOHNNY:

In the woods, on a spring day, with the leaves dripping rainbows?

HANNAH:

Mm hmm.

JOHNNY:

And, uh, you wouldn't be wearing a hat. You'd be dressed in--

HANNAH:

Uh, excuse me. I really must be going.

JOHNNY:

Oh, not in this rain. Why, there's an epidemic. Pneumonia! You wouldn't want to-- Let me get you a cab. I can take you wherever you're going.

HANNAH:

Uh, thank you. (MOVING OFF) I think I'd better walk.

JOHNNY:

(CALLS AFTER HER) But, miss, I--! Look, what about your hat?

HANNAH:

(OFF, MERRILY) He picked it out! I never did like it!

MUSIC:

ACCENT AND TRANSITION

HANNAH:

(NERVOUS) I'd've been here in time, but it started to rain--

DON:

All right.

HANNAH:

I don't think I'd be here yet but I met a young man--

DON:

I said, all right. Now, listen closely. This is important. I found out what's the matter with our act.

HANNAH:

You have?

DON:

You've been trying to be somebody else.

HANNAH:

I've been--?

DON:

Look at you.

HANNAH:

What's the matter with me?

DON:

Well, that - that dress.

HANNAH:

You picked it out.

DON:

And that hat.

HANNAH:

You picked this out, too. I--

DON:

And the way you move when you do your numbers.

HANNAH:

(LOW, DEFENSIVE) I do it just the way you showed me.

DON:

Well, from now on, you're going to be natural; you're going to be yourself.

HANNAH:

(SURPRISED) I am?

DON:

Yes, we're gonna start all over. Right from the beginning. No more fancy dresses and la-de-da. No more Juanita. Juanita's dead. From now on, you're going to be plain Hannah Brown.

HANNAH:

Huh. Well, whatever you say.

DON:

You're gonna dance like Hannah Brown, act like Hannah Brown, sing like Hannah Brown and - and you know what else?

HANNAH:

What?

DON:

We're gonna change the name. To Hannah and Hewes!

HANNAH:

Hannah and Hewes?!

DON:

(ENTHUSIASTIC) Baby, something tells me we're on the way!

MUSIC:

INTRO FOR "SNOOKEY OOKUMS"

DON & HANNAH:

(SING) All day long he calls her
Snooky Ookums, Snooky Ookums.
All they do is talk like babies;

She's his jelly-elly roll,
He's her sugey-ugar bowl.
Here's the way they bill and coo,
Poogy-woo, poogy-woo, poogy-woo.

All night long he calls her
Snooky Ookums, Snooky Ookums;
All night long the neighbors shout,
"Cut it out! Cut it out! Cut it out!"

They cry, "For goodness sake!
Don't keep us all awake,
With your snookey-ookey-ookey baby talk!"

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

MUSIC:

INTRO FOR "RAGTIME VIOLIN" ... THEN IN BG

HANNAH:

Four bows! Oh, Don, do you think they like us?

DON:

Well, I don't think they're applauding for exercise, honey.

DON & HANNAH:

(SING) Fiddle up, fiddle up on your violin;
Lay right on it, rest your chin upon it,
Doggone, you better begin
And play an overture upon your violin.
Hurry up, hurry up with your violin;
Make it sooner, don't you stop to tune 'er,
Fid-fid-fid-fiddle the middle of your ragtime violin.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

MUSIC:

INTRO FOR "WHEN THE MIDNIGHT CHOO-CHOO LEAVES FOR ALABAM'" ... THEN IN BG

HANNAH:

Oh, Don, all the time it gets better and better!

DON:

We'll find out how good we are tomorrow.

HANNAH:

Tomorrow?

DON:

Tomorrow, Miss Brown, we audition for Ziegfeld.

HANNAH:

(EXULTANT) Oh! (SINGS) When the midnight choo-choo leaves for Alabam' ...

DON:

Alabam'! Alabam'!

HANNAH:

(SINGS) I'll be right there ...

DON:

Where'll you be? Where'll you be?

HANNAH:

(SINGS) I've got my fare ...

DON:

Show it to me, show it to me!

HANNAH:

(SINGS) When I see that rusty-haired conductor-man ...

DON:

What'll you do? What'll you do?

HANNAH:

(SINGS) I'll grab him by the collar
And I'll holler,
"Alabam'! Alabam'!"

DON:

Wow!

HANNAH:

(SINGS) That's where you stop your train
That brings me back again
Down home where I'll remain,
Where my honey lamb
Am.

DON & HANNAH:

(SING) I will be right there with bells,
When that old conductor yells,
"All aboard! All aboard!
All aboard for Alabam'."

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

DON:

Well, I guess we must be good, Al. The chorus likes us.

AL:

Aw, you just got 'em to put on an act so you can hold Mr. Ziegfeld up for more dough.

HANNAH:

(NERVOUS) Oh, but we didn't! Really! We - we just--

DON:

(AMUSED) Hannah -- he's kidding.

AL:

Sure. The boss said to bring you up to his office. I think he's got Nadine there now.

DON:

Nadine?

AL:

Yeah, Nadine's the star of the show. Mr. Ziegfeld wants you to do some numbers with her.

DON:

But - but I didn't even know she was--

HANNAH:

(CRUSHED) Don? I - I think I'll run along.

DON:

Oh, but you can't. Not now. Mr. Ziegfeld is waiting.

HANNAH:

No, you - you won't need me just to talk business. I'll see you back at the hotel.

SOUND:

HANNAH'S HURRIED FOOTSTEPS TO STAGE DOOR WHICH OPENS AND SHUTS ... TRAFFIC BACKGROUND (CLIP-CLOP OF HORSES, ET CETERA)

HANNAH:

(TO HERSELF, TEARFUL) Well, let him have her if he wants her. Let him have his Nadine. I don't care. I--

JOHNNY:

(APPROACHES) You! It's you again! It really is you, isn't it?

HANNAH:

Well, I think so. ...

JOHNNY:

Where have you been? I've been back to that drugstore every time it rains. Oh, if you only knew how I've prayed for rain.

HANNAH:

(AMUSED) Huh. Well, it has been a little dry, hasn't it?

JOHNNY:

Gosh, it's good to see you. How are you?

HANNAH:

Oh, I'm fine.

JOHNNY:

Tell me, didn't you just come out of that theater?

HANNAH:

Yes, but, er--

JOHNNY:

What were you doing in there?

HANNAH:

Auditioning.

JOHNNY:

Auditioning for what?

HANNAH:

For the Ziegfeld Follies. (DRY) Haven't you ever heard of Hannah and Hewes?

JOHNNY:

Hannah and--? You're not Hannah Brown?

HANNAH:

(LAUGHS) Don't tell me you've ever heard of me.

JOHNNY:

Well, you bet I have. From Don.

HANNAH:

Ohhh. You know Don?

JOHNNY:

Know him? We're like brothers. And look, I'm not gonna lose you again. How about dinner with me tonight?

HANNAH:

Well, I--

JOHNNY:

Please. I'm almost in the family.

HANNAH:

All right.

JOHNNY:

Great! I'll fix it with Don; I'll pick you up at seven-thirty and--

HANNAH:

(CHUCKLES)

DON:

(OFF) Hey! Professor!

JOHNNY:

Hello, Don!

DON:

(CLOSER) Well, this is wonderful. Wonderful! How are ya, Johnny?

JOHNNY:

Well, pretty good. I, er--

DON:

Uh, Hannah, this is Johnny Harrow, greatest guy in the world. Johnny, this is Hannah Brown.

HANNAH:

(CHUCKLES) Hello.

DON:

Professor, what are you doing tonight?

JOHNNY:

Well, I, uh, had planned to, um--

DON:

Oh, forget it. You're having dinner with us. You wanna get yourself a date?

JOHNNY:

(CAREFULLY) Well, I have a date. Sort of. I mean--

DON:

Well, bring her along! Any friend of yours is a friend of mine. (CHUCKLES)

JOHNNY:

Well, I'm certainly glad you feel that way. Miss Brown, I'll pick you up at seven-thirty.

DON:

Huh?

JOHNNY:

You're welcome to join us. (SLOW AND POINTED) If you feel you have to. ...

DON:

(BEAT, GRASPS THE SITUATION) Well, there's, uh-- No. There's no point in wasting an evening on me. Have fun, kids. Well, see you in the morning, Hannah.

HANNAH:

Don?

DON:

(OFF) Yeah?

HANNAH:

Wha - what about the Follies? When do we start?

DON:

(OFF) We don't start, baby. I turned it down.

MUSIC:

FOR A CURTAIN

SOUND:

APPLAUSE

ANNOUNCER:

We will return with the second half of "Easter Parade," starring Judy Garland, Fred Astaire, Peter Lawford and Monica Lewis in a few seconds.

MUSIC:

SCREEN GUILD THEME ... THEN OUT BEHIND--

ANNOUNCER:

Now the American Broadcasting Company presents the Screen Guild Players in Act Two of "Easter Parade," starring Judy Garland, Fred Astaire, Monica Lewis and Peter Lawford.

MUSIC:

FANFARE ... THEN INTRO OF "EASTER PARADE"

CHORUS:

(SINGS) In your Easter bonnet, with all the frills upon it,
You'll be the grandest lady in the Easter parade.
(THEN CROONS WORDLESSLY, IN BG)

MUSIC:

CONTINUES BEHIND NARRATION--

JOHNNY:

(NARRATES) You can imagine how I looked forward to that night. Nothing like Hannah had ever happened to me before. I wanted to make it a big night. Our night. A night we'd both remember all our lives. So, of course, I took her to Francois'.

MUSIC:

FOR A CLASSY RESTAURANT ... IN BG, OUT GENTLY AT [X]

FRANCOIS:

It is good to see you again, monsieur. There are just two of you?

JOHNNY:

Er, just the two of us. I hope.

FRANCOIS:

Ah, then we must fix you something special. Beef stroganoff perhaps. PheasantSous Cloche, the breast of pheasant, is nice. And wine, of course.

JOHNNY:

Yes. Yes, of course. But I think we'll wait a while to order. We want to talk.

FRANCOIS:

But naturellement. Our atmosphere is very nice for talk. Mademoiselle, you think so, too, yes?

HANNAH:

Oh, yes. It's very nice.

FRANCOIS:

Good. Then the evening will be a happy one. (MOVING OFF) Call me, monsieur, when you are ready.

HANNAH:

Johnny, it - it really is nice here.

JOHNNY:

Why do you think I brought you? Now then, what'll we talk about?

HANNAH:

Oh, I don't know. [X]

JOHNNY:

Well, we've got to talk. We promised Francois.

HANNAH:

Johnny? You and Don are good friends, aren't you?

JOHNNY:

Yes, very good.

HANNAH:

Uh huh. Has - has Don ever been married?

JOHNNY:

No.

HANNAH:

Engaged?

JOHNNY:

Why?

HANNAH:

Well, I was just curious. He never talks about himself. We only talk about dancing.

JOHNNY:

Good.

HANNAH:

It's all strictly business.

JOHNNY:

Oh, that's - that's even better. Um, now let's talk about us. Do you know that scientists claim people fall in love quickest during rainstorms? I can prove it. That's when I fell.

HANNAH:

(STAMMERS) Oh, Johnny--

JOHNNY:

Oh, you're not angry with me, are you?

HANNAH:

Angry? No. I'm very proud. I only wish that-- Johnny, I'm sorry.

JOHNNY:

So am I. Who is it? Don? I, uh, guess it's pretty obvious.

HANNAH:

(CHUCKLES) He doesn't even know I'm alive.

JOHNNY:

Oh, that's awful.

HANNAH:

Oh, it's not his fault. When they were passing out the wishes, I wished for him.

JOHNNY:

Well, I - I guess we've done our talking. What about some food?

HANNAH:

I'm not very hungry, really.

JOHNNY:

Neither am I. Would you like to leave?

HANNAH:

Yeah, all right.

JOHNNY:

(CALLS) Francois?

FRANCOIS:

(APPROACHES) Ah, yes, monsieur. You have decided?

JOHNNY:

Yes, we're leaving. We won't be dining.

FRANCOIS:

(MILDLY OFFENDED) Oh? As you wish, monsieur.

JOHNNY:

We'll be back again. Some other night.

FRANCOIS:

Yes, of course. Some other night. You will find, monsieur, that our food is good, too.

MUSIC:

BRIDGE

BIZ:

MURMUR OF LOBBY CROWD

FRANK:

Second act curtain going up! Second act curtain! Second act, please!

DON:

(FRIENDLY) Say, think you could crowd one more into standing room?

FRANK:

Sorry, sir, it's opening night and-- (RECOGNIZES DON) Oh. Mr. Hewes.

DON:

Hiya, Frank. Gonna slip me in?

FRANK:

Sure thing, you bet; go right ahead.

DON:

Thanks.

MUSIC:

INTRO FOR "HOW DEEP IS THE OCEAN" BEHIND--

FRANK:

Oh, and, uh, you better hurry, Mr. Hewes. That's Nadine's big number coming up now.

NADINE:

(SINGS) How much do I love you? I'll tell you no lie
How deep is the ocean? How high is the sky?

How [many times a day do I think of you?
How many roses are sprinkled with dew?

How far would I travel to be where you are?
How far is the journey from here to a star?

And if I ever lost you, how much would I cry?
How deep is the ocean? How high is the sky?]

MUSIC:

SONG FADES OUT

SOUND:

TRANSITIONAL PAUSE ... FADE IN APPLAUSE

MUSIC:

LINGERS IN BACKGROUND

FRANK:

Man, that Nadine is wonderful, isn't she?

DON:

(MELANCHOLY) Yeah. Yeah, I guess she is.

FRANK:

Looks like Ziegfeld's got another big hit.

DON:

Yeah, yeah, I guess he has.

MUSIC:

UP, FOR A BRIEF TRANSITION ... THEN OUT

SOUND:

PHONE RINGS ... RECEIVER UP

HANNAH:

Hello?

JOHNNY:

(FILTER) That you, Hannah? It's your stage door Johnny.

HANNAH:

Oh, Johnny, I'm so glad you called. I was just about to call you.

JOHNNY:

(FILTER) Now don't tell me you're breaking our date for tonight.

HANNAH:

No, but I've been so worried about Don. Have you heard from him? I - I haven't seen him since yesterday morning.

JOHNNY:

(FILTER) That doesn't mean anything's happened to him. What are you worried about?

HANNAH:

Well, he's been so depressed these last few weeks. Ever since he turned down the Follies and with all those rave reviews this morning, I was afraid that he might--

SOUND:

KNOCK ON DOOR

HANNAH:

Wait. Wait a minute, Johnny. There's someone at the door. Hold the line.

SOUND:

HANNAH'S FOOTSTEPS TO DOOR WHICH OPENS

HANNAH:

(PLEASED) Don!

DON:

(UPBEAT) Hello, baby! Papa's home! (CHUCKLES)

SOUND:

DOOR CLOSES

HANNAH:

Oh, Don. You're so happy. Didn't you read the reviews?

DON:

Oh, sure, sure. Pretty good, too. But, honey, wait till you read ours.

HANNAH:

Ours?

DON:

Dillingham wants us for a show.

HANNAH:

Dillingham?!

DON:

Yeah, he called me this morning. I've been down there all day talking to him. He's going to star us, build a whole show around us.

HANNAH:

(THRILLED) Oh, Don!

DON:

Hey, where's the calendar? I want a calendar.

HANNAH:

Calendar? Calendar? Oh, it's over here on the desk. Here.

DON:

(RAPIDLY) Right. Now, let's see. We start a week from Monday. Four weeks rehearsal. Four weeks on the road, Philadelphia and Boston. That'll bring us into New York the first of April. It's late in the season. He thinks it's a good summer show.

HANNAH:

Oh, Don, Don, look. April seventh.

DON:

On a Sunday. What about it?

HANNAH:

Oh, it's Easter! We'll be here for the Easter parade.

DON:

We will? Oh, yeah, that's right, yeah. Sure. We have a date, haven't we?

HANNAH:

(CHUCKLES) And you remembered.

DON:

Well, naturally. Look, look, how 'bout celebrating tonight? We'll go out and do the town.

HANNAH:

I'd love it.

DON:

Good. I'm going over to meet with the writers. Pick me up at my apartment, huh?

HANNAH:

All right, all right.

DON:

Eight o'clock.

HANNAH:

Uh huh.

DON:

(MOVING OFF) And be on time for a change!

HANNAH:

(LAUGHS, CALLS AFTER HIM) Eight o'clock sharp! (BEAT, TO HERSELF) Now I'll have to call Johnny and-- Oh, my gosh! Johnny!

SOUND:

HANNAH'S HURRIED FOOTSTEPS TO PHONE ... PICKS UP RECEIVER

HANNAH:

Johnny? Johnny, you still there?

JOHNNY:

(FILTER, A BIG YAWN ... THEN DRY) Congratulations.

HANNAH:

Oh, then you heard what Don said? Isn't it wonderful?!

JOHNNY:

(FILTER) It's great. By the way, I hope you don't mind if I break our date tonight.

HANNAH:

(APOLOGETIC) Ohhh, Johnny.

JOHNNY:

(FILTER) Oh, that's all right. We'll celebrate tomorrow night. Goodbye.

HANNAH:

Oh, thank you, Johnny, you're an angel. Goodbye.

SOUND:

HANGS UP PHONE

MUSIC:

BRIDGE

SOUND:

DOORBELL RINGS ... DOOR OPENS

HANNAH:

Well, here I am. Hope I'm not late.

DON:

You're right on time. Come on in. Here, let me take your wrap.

HANNAH:

Oh, aren't we going out?

DON:

Well, if you don't mind, I thought we'd have dinner here.

HANNAH:

(QUIETLY PLEASED) I'd love it.

DON:

No one to disturb us. Just the two of us.

HANNAH:

Just the two of us.

DON:

I've got some dance ideas for the show. I thought we could go over them and--

HANNAH:

(COOL) Give me that wrap! (NO RESPONSE, UPSET) Give it to me!

DON:

Hey, wait a minute! Where are you going? What have I done?

HANNAH:

Nothing! That's what you've done -- nothing! We had a date tonight, not a rehearsal!

DON:

Yes, but I--

HANNAH:

I should have known you weren't human! You're nothing but a pair of dancing shoes! You've got tap plates where your heart ought to be!

DON:

Oh, but--

HANNAH:

I'm tired of being a prop around here! When I'm with you, I don't even feel like a girl!

DON:

Yes, but--

HANNAH:

You're not even human! You're a pair of dancing shoes!

DON:

You said that.

HANNAH:

I don't care! (DEFLATED) Besides, I - bought a new dress.

DON:

It's very pretty.

HANNAH:

Oh, how would you know? You haven't even looked at me.

DON:

That's not true. Sure I look at you. All the time. Why--

HANNAH:

All right. Prove it. I'll close my eyes. Now -- try to tell me what color they are!

DON:

Huh?

HANNAH:

What color are my eyes?!

DON:

(BEAT, QUIETLY) They're - brown.

HANNAH:

(BEAT, QUIETLY) That's right. ...

DON:

Brown eyes. Cute little nose. A mouth that was made just for kisses. Like this.

HANNAH:

(PAUSE FOR A KISS, THEN LOVINGLY) Oh, Don. ...

DON:

Um, I'll, uh-- I'll get my hat and coat. We'll go out to dinner.

HANNAH:

Oh, no, please. It's all right. I'd like to stay.

DON:

But you said--?

HANNAH:

That was before. I don't mind now. ...

DON:

Neither do I. But when I think of all the time we've wasted dancing--

HANNAH:

Oh, but, Don, it wasn't wasted. It was wonderful.

DON:

It was, wasn't it? And it's going to be even more wonderful. Wait until after opening night.

HANNAH:

Opening night? (REALIZES, NERVOUSLY) Oh, Don!

DON:

What's the matter?

HANNAH:

Oh! What - what if I forget which is my left foot?!

DON:

(CHUCKLES) You know what, Miss Brown? I think we'll start right from the beginning.

MUSIC:

BRIDGE

NADINE:

Essie, you've got your ticket all right?

ESSIE:

Oh, yes'm. I got it, Miss Nadine. Right here in the last row where I can get out fast and telephone you.

NADINE:

Remember now, call me right after her first number.

ESSIE:

Yes'm, I know. Feel just like a critic, I do.

NADINE:

What do you mean?

ESSIE:

Well, here I am going to opening night. And if I gotta say it's good -- (LAUGHS) -- goin' to be just too bad!

MUSIC:

TRANSITION

SOUND:

KNOCK ON DOOR

AL:

(FROM BEHIND DOOR) Two minutes, Miss Brown! On stage, please!

HANNAH:

Thank you! Coming!

DON:

Here you go, baby. This is it!

HANNAH:

Oh, Don -- can people die of fright?

DON:

Oh, the second you get on that stage, you'll feel fine.

HANNAH:

Tell me the order again, quick.

DON:

Well, first, you do a number alone. Then I do my number. And then you do your big number. And then we go out and do the town.

HANNAH:

(CHUCKLES) Gosh.

MUSIC:

PIANO INTRO OF "I LOVE A PIANO" ... THEN IN BG

HANNAH:

(MOVING OFF) Oh-oh! There's my number!

DON:

(CALLS AFTER HER) Go ahead, baby. Now you've got a date with a piano.

HANNAH:

(SINGS) I love a piano, I love a piano;
I love to hear somebody play
Upon the piano, a grand piano--
It simply carries me away.

I know a fine way to treat a Steinway;
I love to run my fingers o'er the keys, the ivories,

And with the pedal I love to meddle,
When Padarewski comes this way,
I'm so delighted if I'm invited
To hear the longhaired genius play

So you can keep your fiddle and your bow,
Give me a P-I-A-N-O, oh, oh--
I love to stop right beside an upright
Or a high-toned baby grand.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

MUSIC:

INTRO OF "STEPPIN' OUT WITH MY BABY" ... THEN IN BG

ESSIE:

Hello, Miss Nadine. This is Essie calling.

NADINE:

(FILTER) Well, how was she?

ESSIE:

Oh, she don't hold a candle to you. She come out singin' some kind of song to an old piano. 'Course, you coulda done it, but she couldn't do it for sour apples.

NADINE:

(FILTER, VERY PLEASED) All right, Essie, you can come back.

ESSIE:

Well, maybe I ought to catch the rest of the numbers. Mr. Hewes been dancing with a lot of girls and now he's gonna sing it.

NADINE:

(FILTER, RELUCTANT) Wellll---

ESSIE:

(QUICKLY) Yes'm, goodbye! (BEAT, TO HERSELF) Man, what a show! Wouldn't miss it for nothin'!

DON:

(SINGS) Steppin' out with my baby--
Can't go wrong 'cause I'm in right.
It's for sure, not for maybe,
That I'm all dressed up tonight.

Steppin' out with my honey--
Can't be bad to feel so good.
Never felt quite so sunny,
And I keep on knockin' wood;

There'll be smooth sailin' 'cause I'm trimmin' my sails
With a bright shine on my shoes and on my nails.

Steppin' out with my baby--
Can't go wrong 'cause I'm in right.
Ask me when will the day be--
The big day may be tonight.

CHORUS:

(SINGS) Steppin' out with my baby--
Can't go wrong 'cause I'm in right.
It's for sure, not for maybe,
That I'm all dressed up tonight.

DON:

(SINGS) Steppin' out with my honey--
Can't be bad to feel so good.
Never felt quite so sunny,
And I keep on knockin' wood;

CHORUS:

(SINGS) There'll be smooth sailin' 'cause I'm trimmin' my sails
With a bright shine on my shoes and on my nails.

DON & CHORUS:

(SING) Steppin' out with my baby--
Can't go wrong 'cause I'm in right.
Ask me when will the day be--
The big day may be tonight.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

MUSIC:

INTRO FOR "BETTER LUCK NEXT TIME" ... THEN IN BG

ESSIE:

Hello, Miss Nadine, this is Essie again.

NADINE:

(FILTER) How is it going?

ESSIE:

From bad to worse! Mr. Hewes just did a number with a lot of girls and any one of 'em was better than that Miss Brown.

NADINE:

(FILTER, PLEASED) That's fine, Essie. Now hurry back here--

ESSIE:

Well, she's just goin' to do her big number. Somethin' about "Better Luck Next Time." I better stay here and watch it because, the way she sings, there may not be a next time!

NADINE:

(FILTER, RELUCTANT) Well, I really need you here--

ESSIE:

(QUICKLY) Yes'm, I'll catch it for ya; goodbye!

SOUND:

PHONE DISCONNECTS

ESSIE:

(LAUGHS UPROARIOUSLY)

HANNAH:

(SINGS) "For ev'ry rose that withers and dies,
Another blooms in its stead;
A new love waits to open its eyes
After the old love is dead."
That sounds all right in a careless rhyme,
But there's seldom a second time.

Better luck next time--
That could never be,
Because there ain't gonna be no next time
For me,
No siree.

Made up my mind
To make another start;
I've made my mind up
But I can't make up my heart.

I'd like a new lucky day--
That would be nice--
But this comes just once in a lifetime,
Not twice.

So don't say, "Better luck next time"--
That could never be,
Because there ain't gonna be no next time
For me.

MUSIC:

SONG ENDS

SOUND:

APPLAUSE

DON:

What did I yell ya?! What did I tell ya, honey?! Now, just wait until you read the reviews!

HANNAH:

Oh, Don, I'm so happy.

JOHNNY:

(APPROACHES) Miss Brown, may I have your autograph?

HANNAH:

Johnny!

JOHNNY:

Congratulations. You were wonderful. It's a smash it.

DON:

Look, look, I'm taking Hannah out to celebrate. Why don't you come along, Professor?

JOHNNY:

Oh, no, you don't. Tonight's on me. I've made reservations for the Ziegfeld roof.

DON:

(SURPRISED) The Ziegfeld roof?

HANNAH:

(WORRIED, STAMMERS) Isn't Nadine appearing there after her show?

JOHNNY:

Oh, gosh, that's right. I didn't realize. Look, look, I'll cancel the reservations; we'll go somewhere else.

DON:

No, no. I think it's a good idea.

HANNAH:

(MEEKLY, STAMMERS) I was hoping we could go to Pastini's tonight -- where we first met.

DON:

No. No, tonight you belong to Broadway, Hannah. You've got to let your public see you. Okay, Johnny! The Ziegfeld roof!

MUSIC:

BRIDGE

NADINE:

(PURRS) Johnny, how sweet of you to come backstage. I was afraid I'd lost you to Hannah and Hewes.

JOHNNY:

No, not at all. I brought them along.

NADINE:

Here?

JOHNNY:

Sure, they're at my table out there.

NADINE:

You know, I'm sorry for her, Johnny, really sorry.

JOHNNY:

Huh?

NADINE:

Well, Essie went over to catch the show. She told me what a flop it was. It's too bad that Don had to go and--

SOUND:

FROM OFF, CHEERS AND APPLAUSE OF ZIEGFELD CUSTOMERS

NADINE:

Listen! I wonder who's getting the big hand.

JOHNNY:

Hannah and Hewes.

NADINE:

What?!

JOHNNY:

(DRY) I don't think Essie will ever rate as a critic. They made a terrific hit tonight.

NADINE:

But I don't understand. I thought--

MUSIC:

INTRO FOR NADINE'S NUMBER ... THEN IN BG

JOHNNY:

There's your music, Nadine. I think you're on. Alone.

MUSIC:

FILLS A PAUSE AS NADINE TAKES THE FLOOR

NADINE:

Maestro! Hold it, will you?! Just a minute, please!

MUSIC:

OUT

BIZ:

CUSTOMERS MURMUR CONFUSION

NADINE:

Ladies and gentlemen, I know this is a little unusual, but my former partner, Mr. Don Hewes, is here this evening and I'm sure you'd all be very happy if I could persuade him to do one of our old numbers with me -- "It Only Happens When I Dance with You."

MUSIC:

INTRO FOR "IT ONLY HAPPENS WHEN I DANCE WITH YOU" ... THEN IN BG

DON:

Oh, no, no. Now wait a minute! No-no-no! This is your spot, Nadine! I only came here to--

BIZ:

CUSTOMERS ENCOURAGE HIM WITH CHEERS AND APPLAUSE

DON:

Well, I--

NADINE:

Don, I'm afraid we've got you outnumbered!

DON:

Oh, no, no. Wait! Now, wait! Hold it! Hold the music, please!

MUSIC:

OUT

DON:

(STAMMERS THROUGH AN IMPROVISED SPEECH) Oh, thank you, thank you, ladies and gentlemen. You're very kind, but this has been a very busy night for us and I know you'll forgive me if I beg off this once. But while we have the spotlight handy, uh, I want you to meet a certain lovely young lady whom you've already taken to your hearts. I'm sure you'll want to tell her yourselves how much we've all fallen in love with her. Come on, Miss Hannah! Take a bow! (NO RESPONSE) Hannah? Hannah?

NADINE:

(WITH RELISH) Too bad, Don. Looks like she's left.

MUSIC:

BRIDGE

MIKE:

No, sir, I'd never have believed it, Hannah. The biggest night of your life and you end up back here in a dump like Pastini's. Trouble?

HANNAH:

(STAMMERS) I just wanted to get away for a little while, Mike.

MIKE:

Sure. Hey, if there's anything I can do for ya -- break somebody's neck or something -- just say the word.

HANNAH:

Thanks, but there's nothing any one can do.

SOUND:

JOHNNY'S FOOTSTEPS BEHIND--

JOHNNY:

(APPROACHES) Hannah?

HANNAH:

Johnny. What are you doing here?

JOHNNY:

I guess I'm making a career of it -- following people to Pastini's. Why'd you run away?

HANNAH:

Why? Wasn't it obvious? Tonight, of all nights, he just couldn't stay away from her, could he?

JOHNNY:

That wasn't why Don went there tonight.

HANNAH:

Why else?

JOHNNY:

Because he's in love with you.

HANNAH:

In love? With me?

JOHNNY:

Of course. He knew it tonight and he wanted Nadine to know it, too. He wanted to show you off.

HANNAH:

Oh, Johnny, no.

JOHNNY:

Oh, Hannah, yes.

HANNAH:

Oh, Johnny, I've made an awful mistake!

JOHNNY:

Shouldn't be too hard to rectify.

HANNAH:

Well, how? When? What'll I do?

JOHNNY:

Tomorrow's Easter Sunday, isn't it? And don't you have a date with Don?

HANNAH:

Well, yes, I - I did, but--

JOHNNY:

Well, if I were you, I'd make him keep it.

HANNAH:

How? Oh, that's easy enough for a man, but-- (BEAT, BIG REALIZATION) Wait a minute! Why not?!

JOHNNY:

Why not?

MIKE:

That's what I always say -- "Why not?"

MUSIC:

TRIUMPHANT BRIDGE

SOUND:

DOOR CLOSES

DON:

Who was it, Marty? Who was at the door?

MARTY:

Messenger -- with some packages for you.

DON:

For me? Well, let's open 'em.

SOUND:

PACKAGES UNWRAPPED

DON:

Hey! Look at this. Chocolate Easter eggs.

MARTY:

And it says on top, "Happy Easter, darling." Well, you never told me.

DON:

Obviously, they've got the wrong apartment.

MARTY:

Sure. Why don't you open the other one?

DON:

Funny, this looks like a hatbox.

MARTY:

Looks like it? It is a hatbox.

DON:

Well, why would anybody send me a--?

MARTY:

Can you beat it? A top hat! With a rabbit in it!

DON:

Well, for the love of--

SOUND:

DOORBELL RINGS

MARTY:

I'll get it.

SOUND:

MARTY'S FOOTSTEPS TO DOOR WHICH OPENS

HANNAH:

Hello, Marty!

MARTY:

Well, hi!

HANNAH:

(CHUCKLES MERRILY)

DON:

Hannah? Hannah darling--

HANNAH:

(MOCK INDIGNATION) Aren't you ready yet? Just like a man.

DON:

But--

HANNAH:

Where's his jacket, Marty?

MARTY:

Right here.

DON:

But--

HANNAH:

Don't you know we're going to be late?

DON:

Late for what?

HANNAH:

The Easter parade! We had a date, remember?!

DON:

Look, Hannah, sweetheart, I--

HANNAH:

Uh uh. Put those arms in your jacket.

DON:

Please--!

HANNAH:

That's it. Now the hat.

SOUND:

HAT ON HEAD

HANNAH:

Oh, that's fine. Now -- let's have a look atcha.

DON:

What?

MUSIC:

HARP INTRO FOR "EASTER PARADE"

HANNAH:

Mmmmmm -- not bad. Not bad at all.
(SINGS) Never saw you look quite so pretty before.
Never saw you dressed quite so charming what's more.
I could hardly wait to keep our date this lovely Easter morning
And my heart beat fast as I came through the door
For

In your Easter bonnet, with all the frills upon it,
You'll be the grandest fellow in the Easter parade.

I'll be all in clover and when they look us over
We'll be the proudest couple in the Easter parade.

DON:

(SINGS) On the avenue,
Fifth Avenue,
The photographers will snap us
And you'll find that you're
In the rotogravure.

HANNAH:

(SINGS) Oh, I could write a sonnet about your Easter bonnet
And of the guy I'm taking to the Easter parade.

DON:

(SINGS) On the avenue,
Fifth Avenue,
The photographers will snap us
And you'll find that you're
In the rotogravure.

CHORUS:

(SINGS) Oh, I could write a sonnet about your Easter bonnet
And of the girl I'm taking to the Easter parade.

MUSIC:

UP FOR A BIG FINISH AND OUT BEHIND--

SOUND:

APPLAUSE

ANNOUNCER:

You've just heard Judy Garland, Fred Astaire, Peter Lawford and Monica Lewis with the Screen Guild Players in Metro-Goldwyn-Mayer's "Easter Parade." And, as an extra posey for our Easter bonnet, here are our stars back to the microphone for a final word.

ASTAIRE:

I, uh, I just wanted to say that it's wonderful to be back here again with the Screen Guild Players. This program helps support the greatest cause in our industry, the Motion Picture Relief Fund and its country house and hospital. All of us in Hollywood are proud to help that great work by appearing on this radio show. Judy, isn't that true?

GARLAND:

Well, Fred, I guess it must be true -- any time a dancer enjoys doing a radio show. (CHUCKLES)

LAWFORD:

Quit kidding him, Judy. You loved it, too.

LEWIS:

As did we all. And as we're all going to love next week's show, too.

GARLAND:

Oh, yes -- which reminds me. Ladies and gentlemen, next week's show is one of the most powerful and realistic dramas ever brought to the screen -- the sort of vital, hard-hitting story that made stars out of two of its leading men, and made excited talk all over the country. Both those men are going to be here next week with a couple of co-stars who rank among your favorites. So, for a really thrilling hour of exciting drama, tune in THE SCREEN GUILD PLAYERS next week for Twentieth Century-Fox's great story, "Kiss of Death," starring Victor Mature, Richard Widmark, Thomas Gomez and Coleen Gray. Take a tip from me and don't miss it.

MUSIC:

THEME

SOUND:

APPLAUSE ...