Plot
Betsy Brown is released from an orphanage into the care of Pop Shea, her parents' friend who runs a boarding house for theatrical performers. Sarah Wendling, the curmudgeon owner and next-door neighbor of the building, detests "show people" and their noise, and demands Pop pay the $2,500 back rent he owes or move out immediately. Her nephew Roger is in love with Pop's daughter Barbara and files suit against Sarah in order to gain control of the building and his inheritance, with which he plans to stage a show starring the hotel residents. Sarah questions the soundness of Roger's investment in the show, and Betsy convinces the judge to see the production before he decides the case. With the assistance of her friends, the little girl presents a lavish musical revue in the courtroom that so impresses one of the observers he offers the troupe $2,500 a week to star in his International Follies. Having had a change of heart, Sarah insists the show is worth $5,000 and convinces the impresario to double his offer. Roger and Barbara then announce their intent to wed and adopt Betsy.
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Famous quotes containing the word plot:
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)