The Ely miner. [volume] (Ely, Minn.) 1895-1986, 1934-06-08

~ assorted chaps In deshabille.
One is enormous and nearly bald;
the other slight. sleek haired and
intense looking. The second hur-
ries over to seat himself at the
grand piano by the windows. The
huge one hovers over Herr Glitz)
LARGE GENT: (rapturously): l.
T., listen-sit still-hold your breath
Get ready for the biggest thing that's
ever happened In music, even from US.
It's called "Sapphires in the Starlight"
All right, Phil-go ahead.
Chill obeys tumbling over the
keys in sort of berserk abandon,
while the other gives voice. 1t
really turns out TO be pretty nice
little song, at that, considering Its
daring novelty: the sapphires are
"your eyes," and starlight the
light of love for me-" Soon it's
ended, and the two composers are
facing Glitz expectantly)
GLITZ: Boys, that's nice. What is
it-a rumble?
PHIL (wailing): No, no-waltz, l..
t.! Don't you get it? Da-da-de-de-
dunn. dunl-dum-de-de-da. See?-perfect
three-four time.
GLITZ: Oh, sure! All right, boys;
we'll find for it spot in the next mu-
steal. So long.
LARGE GENT: Wait minute, L.
L. This is more than just another
tune; it's a cinch hit. Couldn't we rate
better deal on royalties?
GLITZ: Nix, nix; you know how
the contract reads on that
PHIL: Well, then how about a lit
tie salary raise for this piece?
GLITZ: Stop it, boys. There amt
no raises being passed out in times
like this. Now scram along, please.
(They take it with a shrug and
a sigh, and depart. Instantly the
director, who's been fretting him
self up to a real peak, resumes
the attack
STEVENS: Dammit, man, you let
every petty interruption take prece-
dence over this vital matter ! want
settled! viii you for the love of
heaven give me an order for that ad-
ditional five thousand?
GLITZ (precisely the same as an
hour ago): Positively no, Leo. | amt
tossing away no more gelt on that
show. You gotta find some other way
to get by.
CHATS all Stevens can stand, at
least for one session. He lets go
one purple oath, deliberately
knocks a row of books onto the
floor, and storms from the room.
Now for a moment L. Theodore
Glitz is dOne-a paunchy, sallow,
rather forIorn appearing little man
in that ornate place. Then the
phone rings)
GLITZ Unto it,: Yeahf 4.
Sure-of course 1 will, baby &.
You want what? Oh-okay
So? Hum, see -. see
Il should say not! &.
Why, absolutely you get it! Now
love papa little? Heb, heb;
that's swell! Gby, sweetie-
bunch.
(RestOring the instrument, he
turns at once to the photograph at
his elbow and snaps it's switch.
We hear hollow sound from the
screened box, and then L. 7. is
speaking, his tone. again that Of
the dynamic and commanding cap
tain)
GLITZ: Take some notes: Tell
Sam Klein / said he should find way
to break Bert Leroy's contract. The
dirty skunk didn't have Sheba Desi-
rees couch ready for her on the SET
today. And also telling him to fix
Sheba up new salary agreement at
fifty per cent raise. She can't afford
to learn a dance for every picture at
three thousand a week only. Then
another thing yet: See her director
gets fifty thousand extra allowance to
make more close-ups of Sheba. She
says they give that punk that's playing
opposite almost a third as much foot
age as her!
1t is, we suddenly and profoundly
feel, high time without more ado to
ring down the
CURTAIN. #