Roberta Page #3

Synopsis: Football player John Kent tags along as Huck Haines and the Wabash Indianians travel to an engagement in Paris, only to lose it immediately. John and company visit his aunt, owner of a posh fashion house run by her assistant, Stephanie. There they meet the singer Scharwenka (alias Huck's old friend Lizzie), who gets the band a job. Meanwhile, Madame Roberta passes away and leaves the business to John and he goes into partnership with Stephanie.
Director(s): William A. Seiter
Production: Warner Bros.
  Nominated for 1 Oscar. Another 1 nomination.
 
IMDB:
7.1
Rotten Tomatoes:
83%
NOT RATED
Year:
1935
106 min
336 Views


if you'd care to.

Oh, I am so sorry.

But you will tell Madame Roberta

that I have an engagement

with the Marquis de Indiana?

Yes, Countess.

Well, now, I guess

I've got you to add to my worries.

It's time for your nap.

Stephanie, my child,

I'm adding to your many duties.

We're going to make John over.

I think he's very nice as he is.

A good tailor never hurt a man,

no matter how nice he is.

That's Ladislaw.

The doctor makes me

take a nap every afternoon

and Stephanie thinks

that music helps me go to sleep.

Ladislaw is our doorman and a prince.

A prince, your doorman?

A Russian prince.

If there were such a thing as a restoration,

Ladislaw would be in line for the throne.

Ladislaw, I hope

you're in good finger today.

- This is my nephew, Mr. Kent.

- Glad to know you.

Are you comfortable?

I want a drink of water.

Don't stand there, Ladislaw.

Play something. Play something.

You'll wake her.

You're darn right, you will.

I'll be hard to handle

I promise you that

and if you complain here's

one little Jane that will leave you flat

I'll be hard to handle

What else can I be?

Just ask my dad

the trouble he had controlling me

I have faults, to be specific

In a temper, oh I'm terrific

I throw chairs and tables and I never miss

Oh, I'm as cold as any shellfish

I tell lies, I'm mean, I'm selfish

Think it over, my warning is this

I'll be hard to handle, I'm making it plain

now just be a dear and scram out of here

cause I'm gonna raise Cain

I'm as cold as any shellfish

I tell lies, I'm mean, I'm selfish

Think it over my warning is

If you want me sweet and hot

Oh, I'll be hard to handle

I'm making it plain

Now just be a dear and scram out of here

Nice work, Countess, nice work.

Oh, well.

That was pretty good, boys

but listen, Candy, give me a better pick-up

after that second break, will you?

Okay. Okay, boss.

You know, this reminds me of the old days

when we used to give shows in your barn.

Yeah, we used to fight over

who handled the gate receipts.

You remember the valentine I sent you?

The one with the arrow piercing the heart

and dripping blood?

Oh, yes, I remember that. I think that's

the only valentine I ever received.

It's the only one I ever sent.

Those were the happy days, weren't they?

Do you know, I think I was

in love with you then, Huck.

- I know you were.

- You.

Me. And what's more,

I was madly in love with you.

- Oh, we were funny kids, weren't we?

- Oh, I suppose so.

Remember that beauty contest I won?

- Oh, you got a trip to Kansas City.

- Yeah, well you won it for me.

How did you get all those men

from the overall factory to vote for me?

That was easy.

I showed them a picture of Lillian Russell.

Lillian Russell?

What was the matter with my picture?

Well, if you must know,

we got a lot of votes from the farmers

with a picture of a prize heifer.

Oh, you.

He is coming now.

Listen, Huck, give it to him

and make it sweet and hot.

Come on, boys, the big boss is coming.

Let's jam it.

What's that?

You want an orchestra.

I have got one for you.

You are tearing your hair

to get good music, I bring it to you.

I take them away

from the Duke of Wattingham,

just to give it to you.

You give it to me?

How much does it cost?

What does it matter? Listen to them.

They are good.

They are very good.

They are hired.

I am glad

I didn't take those white-faced Indians.

I think maybe sometimes I am wrong.

But this orchestra

is superb.

And who did it for you?

Little Tanka.

The palefaces!

Who did it?

Little Tanka do it for me.

It's a frame-down.

That's what it is, a frame-down!

- Well, up or down, do we stick?

- Stick?

You're right,

you stick a knife upon my back.

- Voyda, what is wrong with them?

- What is wrong for them?

I cable for Wabash Indians

and what do I get? Indianians!

Get out! No job!

- I do not get it.

- Neither did we.

Very well, let them go!

Then I go with them!

Oh, yes? Where you going to?

Now, what was the name of that club

that made you the offer yesterday?

Oh, oh, the Club Antoine.

Oh, I could go there today.

They offered me a six-month contract

and I could take the band with me.

You go, you go.

You are not bluffing with Voyda.

Indians.

Now, listen, Mr. Voyda.

I think you're making a big mistake

by letting the Countess

go to the Caf Arman. I mean Antoine.

I think you ought to try

and make her stay here, if possible.

After all, Mr. Voyda,

your money is just as good as no money.

I mean, anybody's money.

That Caf Antoine.

I hold you to your contract with me.

I have your cable accepting it.

As for you, I can pay you as much money

as Antoine can pay you.

Everything is fixed!

I go and telephone my lawyer!

Boys, we're working.

Hurray!

Vive la France!

Vive la Russia, you mean.

Hello, Stephanie.

Stephanie, how's the Newfoundland pup?

- The all-American nephew?

- You won't recognize him.

Since you've been gone, Stephanie

has made a man of the world of him.

He's positively arresting.

You ought to see him, Lord Henry.

Your tailor has surpassed himself.

He looks wonderful.

But then I think

he has the knack of wearing clothes.

Not every man has, you know.

And he has a positive flair for languages.

The way he's taken hold of French

is amazing.

You should have heard him

tell a taxi driver where to go last night.

And Stephanie and I

have given him a few pointers

it would take most men

a lifetime to acquire.

What a start for a young fellow.

Au revoir, my dear.

You never looked lovelier in your life

than you do this minute.

Until tomorrow.

It's always nice to know

I shall see you tomorrow, Henry.

You've been saying

very pleasant things to me, lately, Minnie.

- Not really ill, I hope?

- No.

- Stephanie.

- Lord Henry.

- Where is John?

- Taking his French lesson.

Haven't you heard them?

No.

La winner!

Come on, boys, come in.

- So long, prof.

- So long, prof.

Can I get you something?

No, thank you.

Not even a drink of water?

No.

Sing, please.

Yesterday

Yesterday

Days I knew as happy sweet

sequestered days

Olden days

Golden days

Days of mad romance

And love joys

were mine to take

Mine to give

Free and gaily flaming life

was mine to live

Sad am I

Glad am I

for today

I'm dreaming of

yesterday

Joys were mine

to take

mine to give

Free and gaily flaming life

was mine to live

Sad am I

Glad am I

for today

I'm dreaming of

yesterday

- Sophie, Sophie.

- What's the matter?

Here's an article about John.

He's turned dressmaker.

Can you bear it?

lmagine John Kent in a smart dress shop?

He wouldn't know a smart dress

from last year's awning.

Well, the first place I'll make a beeline for

in Paris is going to be Roberta's.

It's all right, Fernande.

I was just saying goodbye to

a room in which I've been very happy.

But you are not

leaving Roberta's, mademoiselle.

Goodbye, Fernande.

Bonjour, Monsieur Fullback.

I wish to place an order.

Would you mind hemstitching

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Jerome Kern

Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as "Ol' Man River", "Can't Help Lovin' Dat Man", "A Fine Romance", "Smoke Gets in Your Eyes", "The Song Is You", "All the Things You Are", "The Way You Look Tonight", "Long Ago (and Far Away)" and "Who?". He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg. A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades. His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern's musicals and musical films were hits, only Show Boat is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted. Many of Kern's songs have been adapted by jazz musicians to become standard tunes. more…

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Submitted on August 05, 2018

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    "Roberta" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/roberta_17039>.

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