MURIEL: Have you seen "Peg o' My Heart"?
MAURY: No, I haven't.
MURIEL: (Eagerly) It's wonderful! You want to see it.
MAURY: Have you seen "Omar, the Tentmaker"?
MURIEL: No, but I hear it's wonderful. I'm very anxious to see it. Have you seen "Fair and Warmer"?
MAURY: (Hopefully) Yes.
MURIEL: I don't think it's very good. It's trashy.
MAURY: (Faintly) Yes, that's true.
MURIEL: But I went to "Within the Law" last night and I thought it was fine. Have you seen "The Little Cafe"?...
This continued until they ran out of plays. Dick, meanwhile, turned to Mr. Bloeckman, determined to extract what gold he could from this unpromising load.
"I hear all the new novels are sold to the moving pictures as soon as they come out."
"That's true. Of course the main thing in a moving picture is a strong story."
"Yes, I suppose so."
"So many novels are all full of talk and psychology. Of course those aren't as valuable to us. It's impossible to make much of that interesting on the screen."
"You want plots first," said Richard brilliantly.
"Of course. Plots first—" He paused, shifted his gaze. His pause spread, included the others with all the authority of a warning finger. Gloria followed by Rachael was coming out of the dressing room.
Among other things it developed during dinner that Joseph Bloeckman never danced, but spent the music time watching the others with the bored tolerance of an elder among children. He was a dignified man and a proud one. Born in Munich he had begun his American career as a peanut vender with a travelling circus. At eighteen he was a side show ballyhoo; later, the manager
