 Astaire incorporates this into his routine, first startling him with a tap burst then escorting him ostentatiously to the telephone.As Horton leaves to investigate, Astaire continues to hammer his way around the suite, during which he feigns horror at seeing his image in a mirror – a reference to his belief that the camera was never kind to his face.The routine ends as Astaire, now dancing with a statue, is interrupted by Rogers' entrance, a scene which, as in "The Gay Divorcee" and "Roberta", typifies the way in which Astaire inadvertently incurs the hostility of Rogers, only to find her attractive and wear down her resistance.