All language subtitles for Gold.Diggers.Of.1933.1933.1080p.BluRay.x265-RARBG_English

♪ Gone are my blues
and gone are my tears ♪

♪ I've got good news
to shout in your ears ♪

♪ The long lost dollar
has come back to the fold ♪

♪ With silver you can turn
your dreams to gold oh ♪

♪ We're in the money
we're in the money ♪

♪ We've got a lot of
what it takes to get along ♪

♪ We're in the money
the sky is sunny ♪

♪ Old man depression you are
through you done us wrong oh ♪

♪ We never see a headline
'bout a breadline today ♪

♪ And when we see the landlord ♪

♪ We can look that guy
right in the eye oh ♪

♪ We're in the money
come on my honey ♪

♪ Let's lend it spend it
send it rolling around ♪

♪ We're in the money
I say we're in the money ♪

♪ We've got a lot of
what it takes to get along ♪

♪ And so we're in the money
look up the skies are sunny ♪

♪ Old man depression you are
through you done us wrong ♪

♪ We never see a headline
'bout a breadline today ♪

♪ And when we see the landlord ♪

♪ We can look that guy
right in the eye ♪

♪ We're in the money
come on my honey ♪

♪ Let's lend it spend it
send it rolling around ♪

♪ Er'way in-hay the oney-may ♪

♪ Er'way in-hay the oney-may ♪

♪ Er'way ot-gay a-lay ot-lay
of-way Ut-way ♪

♪ It-way akes-tay o-tay et-gay
a-lay-ong-lay ♪

♪ Er'way in-hay the oney-may ♪

♪ We're in the money
oh come on my honey ♪

♪ Let's lend it spend it
send it rolling around ♪♪

Hey, who are you?

You'll find out.

Come on, boys.

Might as well begin right here.

- Get out of here.
- Get out of here.

Hey, hey, you, you, hey, hey,
go take them clothes off. Go on.

'Come on, you punk,
get out of here.'

Come on, get these music racks
out of here.

Wait a minute. Wait a minute.
What is this?

- What is this?
- Well, who are you?

I'm Barney Hopkins,
producer of this show.

Oh, yeah?
Well, it's tough luck, brother.

I'm from the sheriff's office.

Legal attachment
to collect for the credit.

Corpus delicti, or seize the body.

What, again?

- Don't you dare.
- Don't worry, sis.

This will look nice
in the sheriff's office.

- 'Alright, come on.'
- 'Get down that..'

What's the excitement?

It means they close the show,
dumbbell.

'Hey, give me that costume.'

I beg your pardon.

Well, we've got to
take it back, actress.

Well, that's as far back as it goes.

Sorry, miss,
they got to have that top.

You can at least give me car fare.

- What for?
- This is our dress rehearsal.

We got a great show.
It opens tomorrow night.

You can't do this to me just
because I don't pay a few bills.

When the show opens, I will pay up.

Tell it to the sheriff.

This is the fourth show in two months

that I've been in of and out of.

They close before they open.

The depression, dearie.

I can remember when that
alarm clock used to ring.

Those good old days
when you had to get up.

Come on, let's get up
and look for work.

I hate starving in bed.

Name me a better place to starve.

Your stomach.

Well, let's get up and get dressed.

I thought we might try
the flea circus.

Maybe they got something for us there.

What can we get at a flea circus?

Fleas.

- You can get those here.
- Alright.

Come on, let's get up.

One, two, three.

How about some nourishment?

Yeah, what's on the menu, Trixie?

Well, we'll see what
the neighbors have to offer.

You guys cut the bread
and set the table.

- Have we any bread?
- Yeah, have we any table?

What neighbors.
Oh, what neighbors.

I can remember not so long ago
a penthouse on Park Avenue.

With a real tree, and flowers

and a fountain, and a French maid.

And a warm bath
with salt from Yardley's.

And a little dress
that Schiaparelli ran up.

And a snappy roadster,
and a ride through the park.

- Now stealing milk.
- That's alright.

The dairy company stole it from a cow.

Just about a year ago this time,
I was on my way to Havana.

The birds were singin'
and the sky was blue.

And I said to the big mug
in the next pew

"I need a couple of
hundred dollars, big boy."

And he said,
"In my pants pocket."

You know, I reached over
and I took $500

out of his back pants pocket
just like that.

And all I got left are his
pajamas and I'm a milk snatcher.

Hmm, guess we got to give it back.

Maybe it's the piano remover.

Fay!

Who'd you think it was, the wolf?

If it was, we'd eat it.

Why the blue spectacles, grandma?

So the landlady won't recognize me.

I'm obligated to her
for a little item called rent.

Well, if you've come to make
a touch, the bank has folded.

Your millions are safe, Trixie.

I came to tell you gals good news.

Barney's puttin' on a new show.

- Barney?!
- Barney Hopkins?

- Rehearsals start in two weeks.
- He must have found an angel.

Well, come on,
let's go over and find out.

That's right, as soon as the mob finds

out they'll all be after him.

- Come on, let's hurry.
- 'We can't all go.'

We haven't got enough decent clothing

left to wrap around one of us.

Yeah, and if one doesn't look modish

with Barney, it's thumbs down.

Well, let's see if we can scare
up enough to make at least

one of us look, as you say, modish.

- Who's to go?
- Let's match for it.

- Taxis.
- Yellow.

- Checkered.
- Red top.

Black and white.

- Checkered!
- Checkered!

- Oh, Carol wins.
- Oh, gee.

I look much better in clothes
than any of you.

If Barney could see me in clothes..

He wouldn't recognize you.

Say, what happened
to your lovely mink coat?

Uncle's got it.
Uncle's got everything.

We've even hocked our inlays.

Honey, you'll have to give me
my stockings back.

- Oh, sure, there they are.
- Fay?

You got to give Carol that dress.

Don't, I've got to go back
to the drugstore.

Oh, we'll give you something
good enough for a drugstore.

I know, but the dress belongs to them.

- I'm a hostess there.
- Stand still.

So am I, a hostess.

I've got to entertain Barney
with the idea

of putting us to work.

Don't forget to stand
in the light, Carol

when you're talking to Barney.

Gee, they certainly know what
they're doing when they dress

their hostesses in that drugstore.

Well, you don't look bad.

Now, take these papers
get through the enemy's lines

and ride like blazes.

- Taxi fare.
- Lots of luck, Carol.

Thanks. Well, here we go,
laughing and wondering.

Say, watch yourself in the clinches.

Don't forget that dress
belongs to the drugstore.

I'd like to meet that druggist.

Now, the best comedian on Broadway

will proceed to make beds.

Well, I'm going to
get a glass of milk.

♪ In the shadows ♪

♪ Let me come and sing to you ♪

♪ Let me dream a song
that I can bring ♪

♪ To you ♪

♪ Take me in your arms ♪

♪ And let me cling to you ♪

♪ Let me linger long ♪

♪ Let me live my song ♪

♪ In the winter
let me bring the spring ♪

♪ To you ♪

♪ Let me feel
that I mean everything ♪

♪ To you ♪

♪ Love's old song ♪

♪ Will be new ♪

♪ In the shadows
when I come and sing ♪

♪ To you ♪

♪ Dear ♪

♪ In the shadows ♪

♪ When I come and sing ♪

♪ To you ♪♪

Oh, you can't turn
these sheets anymore.

They've only got two sides.

Polly, will you quit mooning over

that good-for-nothing
songwriter again?

Now where's that going to get you?

Oh, he's wonderful, Trixie.

Honey, he's a songwriter.

So is Irving Berlin.

What's wrong about being a songwriter?

How long have you known him?
Two weeks?

What do you know about him?

I knew everything I wanted
to know the minute I met him.

- Maybe it's Carol.
- Ooh.

Hello.

It's true, it's really true.

He's puttin' on a show.

Oh, it's true.
Barney's putting on a show.

We're comin'
right up to the apartment.

Be there in ten minutes.
Phone all the girls.

Phone Fay and Ruth and Mary and Gwen.

Phone them all. Tell them to
come right up to the apartment.

He hasn't cast yet, no.

Hurry and don't lose him.

- They're coming up.
- Who?

Barney and Carol. Phone Fay.
Phone all the girls.

- We're all set.
- No, no, you phone 'em.

Say, I've got to dig up
the old sex appeal.

The way I feel this morning
I'll need a steam shovel.

- Half a mile, four, eight..
- Step on it, Polly.

Oh, they ought to be here
any minute now.

'Almost ready.'

Oh, gosh, to think
that we're going to have

real jobs again, earn money.

Yeah, and I've been
off the gold standard so long.

Oh, it's them.

Come on in, Barney,
and meet the girls.

- Hello, Mr. Hopkins.
- Howdy. Howdy.

- Hello, Mr. Hopkins.
- 'Hello, Mr. Hopkins.'

'I've seen that face before.'

Well, if it isn't Barney.

Good old, smiling, big-hearted Barney.

Barney, we hear
you're puttin' on a show.

Yes, I'm doin' a show.

Well, you sound more
enthusiastic than usual.

- Does that mean it's good?
- You said it's good.

It's the finest thing I ever had.

Oh, come on over here and sit down

and tell us all about it,
Mr. Hopkins.

Well, I've figured it out
from every angle, kids.

And I can't see how it'll run
less than six months

or gross less than half a million.

That's figurin' on 30 grand a week.

At the Broadhurst we could do 40.

We'll do 40 with this show.

'Gosh.'

- I remember you.
- Oh, do you?

'You were in the chorus.'

Someday you're coming
out of the chorus.

Oh, thank you, Mr. Hopkins.

Could you use me, too,
Mr. Hopkins?

Sure, I'm going to use
all the girls I used before.

Carol, here, will be featured.

And Trixie as comic.

I got some ideas
for song numbers for you, honey

that will drape 'em over their seats.

Something new, different.

What's the show about?

It's all about the depression.

We won't have to rehearse that.

Now, it's my idea..

- Who's that playing?
- Oh, some palooka songwriter.

I don't know that number, what is it?

It's his own.
He composes music.

Shut the window,
and let's get on with this.

Wait a minute.
That's not bad.

Ask the fellow to come on over.

- Oh, Brad.
- Hello.

- Come on over, quick.
- Alright.

You know, that number's got
a great feel to it.

The boy's got something.

- Yeah, a piano.
- What's he done?

Well, he hasn't had a chance
to do anything yet, Mr. Hopkins.

- But he has genius.
- Yeah?

Well, the show business
could stand a little genius.

- Oh.
- Oh, Barney.

What's the idea
of wasting time with a genius

when there's hard-working girls
like us to worry about?

- What is it, honey?
- Come on.

I want you to meet somebody.

This is Brad Roberts,
Mr. Hopkins.

- Mr. Hopkins is our producer.
- Never mind that.

- Sit down and play.
- Play what?

That number you were just playing.

- I know, but I..
- Don't be afraid.

- You're among friends.
- Go on, Brad.

- Well, alright.
- Oh, I beg your pardon.

Say, what's this all about, anyway?

Go ahead and play.
Sing it if you got words.

Alright. Here goes.

♪ I've got to sing
a torch song ♪

♪ For that's the way I feel ♪

♪ When I feel a thing ♪

♪ Then I can sing ♪

♪ It must be real ♪

♪ I couldn't sing a gay song ♪

♪ It wouldn't be sincere ♪

♪ I could never croon ♪

♪ A happy tune ♪

♪ Without a tear ♪

♪ I have my dreams
but one by one ♪

♪ They vanish in the sky ♪

♪ I try to smile
and face the sun ♪

♪ But romance passes by ♪

♪ I've got to sing
a torch song ♪

♪ To someone far apart ♪

♪ For the torch I bear ♪

♪ Is burning there ♪

♪ Right in ♪

♪ My heart ♪♪

That's great. I like it.
You got anything else?

Yes, I have a couple of things.

- Well, play 'em. Play 'em.
- Alright.

Oh, hello, Mr. Hopkins.
Charming to see you again.

Sit down. Sit down.

No, I don't like that, son.
It's too dull.

What is this, a piano lesson?

Or are we going to hear
about this show?

Say, have you got something
with kind of a march effect?

- March rhythm to it?
- Yes, I have.

I have something about a forgotten man

but I don't have the words to it yet.

Well, play it, play it.

I tell you, I just got the idea
for it last night.

I was down on Times Square

watching those men in the breadline

standing there in the rain

waiting for coffee and doughnuts.

'Men out of a job,
around the soup kitchen.'

Stop!

Go on. That's it!
That's what this show's about!

The depression, men marching,
marching in the rain.

Doughnuts and crullers,
men marching, marching.

Jobs, jobs, and in the background

Carol, spirit of the depression.

A blue song.

No, not a blue song,
but a wailing. A wailing.

And this gorgeous woman

singing this song
that'll tear their hearts out.

The big parade.
The big parade of tears.

That's it!
That's it!

Work on it!
Work on it!

- I'd like to do a specialty.
- Sit down.

You'll do a blackout.

I'll cancel my contract with
Warren and Dubin. They're out.

I want you to write the music
for this show, and the lyrics.

- Can you write lyrics?
- You bet he can.

I got it all figured out,
and I want your stuff, son.

It's great.
I definitely want it.

Mr. Hopkins, you can have it.

- On one condition.
- Yeah?

If Ms. Parker, Polly, has a
principal part in the show.

She's helped me a lot,
she's really great herself.

You're tellin' me?
I'm tellin' you.

And I'll tell you something else, too.

You got a swell voice
and a great personality.

You're different.
You've got class.

I want you to sing in this show.

Thanks a lot, but that's impossible.

Now listen, you and Polly
would make a swell team

'like the Astaires.'

You'd be a knockout
for the mushy interest--

I'm sorry, but it's impossible.

But Brad, why not?

I can't, honey, for a lot of reasons.

Let me get in on this.

Isn't there going to be
any comedy in this show?

Plenty.

The gay side, the hard boiled side

the cynical and funny side
of the depression.

I'll make 'em laugh at you
starvin' to death, honey.

Be the funniest thing you ever did.

Did you ever see me ride a pony?

When do rehearsals begin, Barney?

- Rehearsals?
- 'Uh-huh.'

- When I get the money.
- Get the money?

- 'Money?'
- Money?

That's always the way it is.

I got the show, I got the music

I got the cast, I got
the theater, all raring to go

and it's the old, old story.

- Money.
- No money at all?

- Not even the old shoestring.
- But you said..

- You let us think that..
- What did I let you think?

I told you I had a great show,
and I have.

- But you said it was all set.
- It is set.

It's been set for six months.

Every time I get an angel
to put up the bankroll

something happens.

'I had one yesterday.'

Only today, he came to me
and said he and his wife

who was suing him for divorce,
had become reconciled

and she didn't want him fooling
around in the show business.

And here I am, holding the bag.

You've got your nerve, Barney.
What about these girls?

They've given up jobs
just because you said that..

Oh, you ought to be ashamed
of yourself.

Gee, it's tough enough without
you makin' mugs out of us.

We counted on this, all of us.

Wait a minute, kids.
I'm not going to let you down.

I've got other irons in the fire.

Two men are due here tomorrow
from out of town.

- Texas cattle.
- Yeah, Texas cattle.

How can they sell cattle?
Who eats meat anymore?

All I can say is..

How much do you need?

Fifty thousand dollars.

There isn't $50,000 in the world.

Not to put a show on with, anyway.

Alright then, who needs $50,000?
Make it 40, 25.

If I wanted to chisel,
and I know how to chisel

I could do it for 15, but..

I'll advance you 15.

Say, what does he use?
I'll smoke it, too.

Quit joking, will you?
It isn't smart

to make gags when girls are starving.

Oh, Brad, this is too serious
a matter to all of us.

Honey, I mean it.
I'll be glad to do it.

Where can you get 15 grand?

'He means real money,
not streetcar transfers.'

Remember, one condition,
Polly is featured.

Anything you say.

Nope. I can't give you a check
for certain reasons.

I'll give you cash tomorrow.
Is that alright?

You fell for it, Barney.

He did. He fell for it.

That's what's commonly known as a gag.

It's not a gag.
I mean it.

Tomorrow,
I'll be in your office at 10:30.

You have my word for it.

Well, I'm going to go work
on that number a little

so I'll see you later.

Goodbye, honey.

- Brad.
- Yes?

- Brad, this is cruel.
- What, honey?

To kid about a thing like this.

I'm not kidding.
I'll give him the money.

He'll have it in his office at
half past 10 tomorrow morning.

Where are you going to get $15,000?

Well, honey, I'll tell you.
I'm.. See this ring?

I just give it a little twist,
make a wish, presto.

Oh, Brad.

Oh, trust me, will you, honey?

- And I'm not joking.
- Well, that's just the trouble.

- I do trust you.
- Oh, honey.

- What?
- No, I won't say it yet.

I have an idea,
and I want to get to the piano

before I lose it.

See you later, huh?

He meant it. Really, he did.

I'd stake my life on it.

Faith, hope, and charity.

You have faith, Barney hopes,
and we all need charity.

Wait a minute.

Listen.

He's got it.
Just what I want.

Don't you hear that wailing?

Wailing.

Men marching, marching,
marching in the rain.

Jobs.

Jobs.

Gee, don't it get you?

Well?

There's no answer
at Mr. Roberts' apartment.

Now Trixie can say,
"I told you so," but I won't.

It hurts too much.

Come in. Come in.

Gigolo Eddie always shows up
at the wrong time.

Hello, Barney,
heard you got your mitts

on some dough to open a show.

Thought you might want to celebrate.

- Fresh off the boat.
- Well, you heard wrong.

Pull up a coffin and lie down
with the rest of us.

Gee, business is so tough
that nobody even wants

to owe me anymore.

- You can go.
- But you hired me for the day.

I thought I was going
to need a secretary.

Well, you'll pay me for the day

or I'll make a complaint
to the agency.

I wish there was somebody
I could complain to.

Who are you?

We're the Kentucky Hillbillies.

Who?

The Kentucky Hillbillies.

- Singing.
- Dancing.

- Music.
- Wisecracks.

Do you know your old Kentucky home?

You said it.

Scram right back there.

Your old mammy's waitin' for you.

We get it.

I better lock this joint
before the acrobats

and midgets start flocking in.

Good morning. You're early.

I-I'm sorry I kept you all waiting.

I got a new idea for a number.

And I lost all track of time.
Got a piano?

- I'll play it for you.
- Hey, listen, kid.

I'm the comedian around here.

We've had enough of your gags.
They're not funny.

Please stop it, Brad.
There's a limit to everything.

I'm going to lock this office.
Get out of here, all of you.

Well, don't you want the money?

- Don't kid me.
- Well, there you are.

Fifteen thousand, cash.

Brad, I always knew
you were on the level.

Rehearsals start at 9 o'clock
in the morning.

Fresh off the boat.

♪ Pettin' in the park ♪

♪ Bad boy! ♪

♪ Pettin' in the park ♪

♪ Bad girl! ♪

♪ First you pet a little ♪

♪ Let up a little ♪

♪ And then
you get a little kiss ♪

♪ Pettin' on the sly ♪

♪ Oh my! ♪

♪ Act a little shy aw why? ♪

♪ Struggle just a little
then hug a little ♪

♪ And cuddle up
and whisper this ♪

♪ Come on
I've been waiting long.. ♪

- 'Wait a minute. Wait a minute.
- Wait a minute. Hold it.'

Hold it, girls.
Oh, Gordon, listen.

You've got to put some life
into that song.

You got to sing it
with some pep and some feeling.

You got the whole thing wrong.
Listen.

Play me the first chorus, will you?

Here's the way it goes.
Now come on.

♪ Pettin' in the park ♪

♪ Bad boy! ♪

♪ Pettin' in the park ♪

♪ Bad girl! ♪

♪ First you pet a little ♪

♪ Let up a little ♪

♪ Then you get a little kiss ♪

♪ Pettin' on the sly oh my! ♪

♪ Act a little shy aw why? ♪

♪ Struggle just a little
then hug a little ♪

♪ Cuddle up and whisper this ♪

♪ Come on ♪

♪ I've been waiting long ♪

♪ Why don't we get started? ♪

Wait a minute, wait a minute.

What am I doing that's so wrong?

Well, listen, you do this
right in the middle part.

♪ Come on
I've been waiting.. ♪

That's not the melody.
Here it is.

♪ Come on
I've been waiting long ♪

♪ Why don't we get started? ♪

Alright. Alright.

Now, let me tell you something.

I've been a juvenile for 18 years

and you're going to tell me
how to sing a song?

Come on, fellows,
let me down, will you?

I want to get a glass of water.

Come on, girls and boys,
show me that dance chorus.

Come on, snap into it.
Hit it now.

Come on, let's go.
Give me.. Come on.

Listen, Brad, why don't you do
this juvenile part yourself?

You've got it over Gordon like a tent.

Reconsider.
Give your songs a break.

Barney, I told you, I can't do it.

You say you can't,
but you don't tell me why.

You've got a voice,
you got personality.

You can do it,
but you won't. Why?

Barney, will you let it go
at that once and for all?

No public appearance.

- Hi, sweets.
- Hello.

Listen, honey, you've got quite
a yen for that boy, haven't you?

Oh, I, uh, I like him, of course.

There's something
awful funny about him

something very mysterious.

Listen, did he ever tell you
where he got that $15,000?

And why he has to live on $25 a week

when he can go out and come back
with that much money?

Now, look. "Toronto bank clerk
took $20,000

'from bank and disappeared."'

I can read.

That's quite a coincidence,
I should say.

- What's a coincidence?
- And look.

"New York police asked to check
up Broadway nightspots."

And here's the description of
him, "5'9", dark hair."

That could describe anybody.

Well, it couldn't describe me,
and it couldn't describe you

and it does describe him,
he is about 5'9"

and he has got dark hair,
and where did he get that cash?

Oh, don't be ridiculous, Trixie.

You're letting your imagination
run away with you.

Now, listen, honey, I don't want
to see you fall in love

with a guy who's going to get
you into a lot of trouble.

- I know, but, but I'm sure.
- What are you sure?

What do you actually know about him?

Does he ever talk about himself?

Does he ever mention his family?

You remember that he wouldn't
give Barney

a check, it had to be cash?

And he won't go out there
and play Gordon's part. Why?

Because he's afraid that newspaper..

Listen, don't talk,
and don't come back here.

- You promise?
- I said I wouldn't, didn't I?

So long.

Don't say anything to anyone,
will you, Trixie?

On the right. Hold it there.

- Let her down.
- On stage.

Stage, lady. Come on.

On stage.

You know, this stuff is just as good

to rub with as it is to drink.

It penetrates.

Show me the spot.

He's been rubbing me for an hour

and he says,
"show me the spot."

- What's this?
- It's his lumbago.

- Get up.
- I can't, I tell you. I can't.

Oh, you can't get up, can't you?

Oh! No, don't.
Please, oh, don't.

Straighten up, you permanent juvenile.

Oh, I can't, I tell you.
I can't.

You don't suppose you're going
out there and singing

love song with your back
doubled up, do you?

What kind of a love song
do you think this is?

You've got to straighten up.
You've got to stop being a baby.

Mind over matter.
Mind over matter.

- I can't, I tell you.
- I got a show!

I spent weeks
and months getting a show.

I've worked.
I've slaved.

Opening night.

We open tonight, and he's got lumbago.

Go out and announce
the show is postponed.

Give them their money back.

Tell 'em our juvenile man's
dying of old age.

Listen, kid, now it's up to you.

Now you've got to do it.
You got to go on in his place.

- I can't do that, Barney.
- Why can't you do it?

The curtain's going up.
The show is going on.

Your girl's in it.
Your music's in it.

Your money's in it.
You've got to go on and do it.

- There's a reason why.
- There can't be any reason.

- Alright.
- Well, what is your reason?

Now, listen, I don't care
if you have to go to jail

after this performance,
you ought to forgot

about yourself and do this anyway.

Do you know what it means
if this show doesn't go on?

Do you know what it means
to the girls in this show?

Those poor kids who gave up jobs
and will never be able to

find other ones, these times.

Those kids who've been
living on nothing

starving themselves the six
weeks we've been rehearsing

hoping for this show to go on
and be a success?

Well, they're counting on you.
You can't let them down.

You can't. If you do..

Well, God knows
what'll happen to those kids.

They'll have to do things
I wouldn't want on my conscience

and it will be on yours.

Now, you can go out
and sing Gordon's part

and put this show over.

And if you don't, well, I
don't care what your reason is.

She's right, Brad.

I hadn't thought about it in that way.

Yes, of course.

- I'll do it.
- Great, kid. I knew you would.

Walter, get Gordon's dress suit.

Get him a dressing room.
He's not on for seven minutes.

They won't have to hold the curtain.

- Right.
- Come on, kids.

- We've got to..
- 'Oh, boy!'

Get him ready.

Gee, if anything happens to him
now, we're responsible.

Say, you know, there's more
to that kid than I thought

there was, he has nerve, he's regular.

He belongs in the show business.

He's risking going to prison for us.

Oh, I like that kid.

If he goes to prison for this
I'll visit him there

I swear I will.

I want to see him and let him
know that I know what it means.

- Brad.
- 'Hello.'

Put your ear close to the door.

I want to whisper something to you.

- 'Alright, honey.'
- Oh, Brad.

It's wonderful of you to take
this chance tonight.

It's, it's courageous.

'Oh, it's not courageous,
exactly.'

'Say, but how do you know?
Do you know?'

Oh, but don't think about it, Brad.

Ju.. Just think about,
I love you.

And I always will,
no matter what happens.

'Oh, gee, that's swell, honey.'

After tonight,
you can tell me all about it.

I'll understand,
and, and maybe I can help.

- After tonight?
- 'Hurry, Ms. Parker.'

- 'Hurry, Mr. Roberts.'
- Wish us luck, sweetheart.

Oh, I do. I do.
I wish us luck.

♪ Every night a body
should relax ♪

♪ After all the wear
and tear ♪

♪ Get that oxygen
your body lacks ♪

♪ Get it in the open air ♪

♪ Go and find
a little rendezvous ♪

♪ Underneath the starry skies ♪

♪ Take someone who's sweet
along with you ♪

♪ For a little exercise ♪

♪ Pettin' in the park ♪

♪ Bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ First you pet a little
let up a little ♪

♪ Then you get a little kiss ♪

♪ Pettin' on the sly ♪

♪ Oh my! ♪

♪ Act a little shy
aw why? ♪

♪ Struggle just a little
then hug a little ♪

♪ Cuddle up and whisper this ♪

♪ Come on
I've been waiting long ♪

♪ Why don't we get started? ♪

♪ Come on
maybe this is wrong ♪

♪ Well gee what of it? ♪

♪ We just love it
pettin' in the park ♪

♪ Bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ Whatcha doin' honey? ♪

♪ Oh I feel so funny ♪

♪ Pettin' in the park with you ♪

♪ Pettin' in the park ♪

♪ Pettin' in the dark ♪

♪ Let up a little ♪

♪ Then you get a little kiss ♪

♪ Pettin' on the sly ♪

♪ Act a little shy ♪

♪ Struggle just a little
then hug a little ♪

♪ Cuddle up and whisper this ♪

♪ Pettin' in the park ♪

♪ Bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ Whatcha doin' honey? ♪

♪ Oh I feel so funny ♪

♪ Pettin' in the park
with you ♪

♪ Pettin' in the park
bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ First you pet a little
let up a little ♪

♪ And then
you get a little kiss ♪

♪ Pettin' on the sly
oh my! ♪

♪ Act a little shy
aw why? ♪

♪ Struggle just a little
then hug a little ♪

♪ And cuddle up
and whisper this ♪

♪ Come on come on
I've been waiting long ♪

♪ Why don't we get started? ♪

♪ Come on ♪
♪ Come on ♪

♪ Maybe this is wrong ♪

♪ But gee what of it?

♪ We just love it ♪

♪ Pettin' in the park
bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ Whatcha doin' honey?

♪ I feel so funny ♪

♪ I'm pettin' in
the park with you ♪

♪ Pettin' in the park
bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ First you pet a little
let up a little ♪

♪ And then
you get a little kiss ♪

♪ Pettin' on the sly oh my! ♪

♪ Act a little shy
aw why? ♪

♪ Struggle just a little
then hug a little ♪

♪ And cuddle up
and whisper this ♪

♪ Come on
I've been waiting long ♪

♪ Why don't we get started? ♪

♪ Come on
maybe this is wrong ♪

♪ But gee what of it? ♪

♪ We all love it ♪

♪ Pettin' in the park
bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ Whatcha doin' honey?
♪ I feel so funny ♪

♪ I'm pettin' in the park
with you ♪

♪ Pettin' in the park
bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ Pet a little
let up a little ♪

♪ And then
you get a little kiss oh ♪

♪ Pettin' on the sly oh my!
Act a little shy aw why? ♪

♪ Struggle a little
then hug a little ♪

♪ And cuddle up
and whisper this ♪

♪ Come on
I've been waiting long ♪

♪ Why don't we get started?
Come on ♪

♪ Maybe this is wrong
but gee what of it? ♪

♪ We just love it ♪

♪ Pettin' in the park
bad boy! ♪

♪ Pettin' in the dark
bad girl! ♪

♪ Whatcha doin' honey?

♪ I feel so funny ♪

♪ I'm pettin' in the park
with you ♪♪

Who is the boy?

Brad Roberts, according
to the announcements.

And the program says he did most
of the music, too. Smart kid.

Well, there's something familiar
about him. I've seen him.

Not in the theater, either.
Wait a minute.

- Let me have a nickel.
- Yeah. Yeah.

I'm going to find out..

Listen.

Why, I can't believe it.

The description, and I knew
I'd seen him someplace before.

Let's go back and get Barney
to tell us the truth.

What a front-page story
that will make.

Come on back with me.

- Polly, look at this.
- 'What?'

Look at it.

'Oh, gosh!'

'Oh, I can't believe it.'

'I never dreamed
of such a thing.'

'Ha-ha! I always knew that kid
was somebody.'

'You can't fool me much.'

Why, Trixie Lorraine,
you thought I was a fool

to have anything to do with him.

You don't know
when I'm kidding, do you?

Mr. Bradford?

He's over there on the lounge, sir.

Thank you.

- Good morning.
- Good morning, Robert.

- You're late.
- Not much, am I?

- Seventeen minutes.
- Hello, Peabody.

- How are you, young man?
- Sit down.

Thank you.

I'll come directly
to the point, Robert.

Your family is greatly disturbed
over what has occurred.

I hope you appreciate the fact
that I flew here this morning

in uncertain weather.

As trustee of your estate,
and your elder brother

I represent the family in saying
that we cannot have you

mixed up in this theater business.

You know how we feel.

'Your mother is greatly concerned'

and every member of your family.

I cannot begin to describe to you

my dear boy, the extent of the shock.

I'm sorry everybody
in the family is shocked

but I'd better come directly
to the point, too.

Music is my career, you know that.

Music, yes, but--

Well, I mean the kind of songs
that's sung in shows

and over the radio, and on record.

I don't mean the kind of music

played by the Boston Symphony
Orchestra.

You have to be half dead
to compose that.

I want to write
this other kind of music.

This show was my big opportunity.

The show clicked. I've got my
start, and I'm going on with it.

As to appearing with the show

I know how you feel about that.

And I did the best
I could to stay out of it.

But an emergency came up,
and I had to do it.

Now I can't let them down.

Besides, I like it.

Much as the family regrets
that one who bears our name

should go in for this
sort of sensational career

in preference to banking.

Nevertheless, we've agreed
not to oppose you.

One thing, however,
we must and will insist upon.

And what's that?

This girl, this showgirl whose
name is linked with yours..

Polly Parker.

- Well, what of it?
- What of it?

- Simply this..
- Listen.

Before you say anything about
her, you better know this.

I'm in love with Polly Parker,
and I'm going to marry her.

- If she'll have me.
- What?!

I'm going to complain
to the house committee.

Just what I said.

You'll marry this cheap little show--

Oh, wait a minute.

That's pretty much
of an old-fashioned idea.

Families don't interfere
with love affairs nowadays.

And if they do,
it doesn't mean anything.

If you marry that girl, you'll
get not one cent of income.

I don't have to remind you
that until you're 30

I have the absolute legal right
to cut off your income.

I understand, and if that's all
you have to say to me

you're just wasting your time.

I've got more important things to do.

I shall certainly complain
to the house committee.

- I can't understand him.
- It's the girl.

I know these showgirls.

They're just little parasites,
little gold diggers.

I don't doubt it.

I remember, in my early youth

I trod the primrose path
on the Great White Way.

There I learned the bitter truth
that all women of the theater

were chiselers, parasites.

Or as we call them, gold diggers.

I remember, well, one experience I had

with a woman of the theater.

It was the day of the big
Harvard game.

We all came down

a stout company of young blades

eager to learn about life.

I met this girl at the stage
door of the old casino.

'We went to Rector's
for a bite.'

I had a cold bird and a bottle.

She nibbled at a steak.

Her name was Eunice.

She called me Fuffy.

I don't know why she did,
but she called me Fuffy.

I'm going to see her.

Oh, I don't know where she is
now. That was 30 years ago.

Oh, no, I mean this
Polly Parker woman.

I wouldn't go if I were for you.

You're only putting yourself
into their hands.

I tell you, they're all blackmailers

gold diggers, parasites.

I resign!

- No.
- Yes.

♪ When I feel a thing ♪

♪ That I can sing ♪

♪ It must be real ♪

♪ I couldn't sing a gay song ♪

♪ It wouldn't be sincere ♪

♪ I could never croon.. ♪

- Come in.
- 'Hey, shut the bathroom door.'

'I will, Trixie.'

♪ Without a tear
I have my dreams.. ♪

'Come in, come in.'

♪ They vanish in the sky ♪

♪ I try to smile
and face the sun ♪

♪ But romance passes by ♪♪

Well, who is it?

'I am J. Lawrence Bradford.'

Yes?

I've come to see
Ms. Polly Parker.

Oh, yes?

I'm the brother of
Robert Treat Bradford

'whom you probably know
as Brad Roberts.'

Oh, you're Brad's brother.

Sit down, I'll be dressed
in just a minute.

- 'Don't bother, Ms. Parker.
- I can say what I have to say--'

- But you see, I'm not..
- Please, Ms. Parker.

'I've just spoken
to my brother.'

He tells me, uh,
he wants to marry you.

You're making a mistake.
If you'll let me explain--

Don't bother to explain.

I've told him
if he disgraces the family

by marrying a showgirl,
the family is through with him.

Did you say, "Disgrace the
family by marrying a showgirl"?

I said exactly that.

Showgirls are reputed to be, uh

parasites, chiselers, gold diggers.

Oh! Showgirls are excellent
in their way

attractive creatures, even fascinating

but hardly fitted to shine
in the upper social circles.

'This is not directed against
you personally, Ms. Parker.'

No, I understand that, not personally.

All showgirls are parasites,
chiselers, and gold diggers.

- Exactly.
- Hm.

- And now--
- You better let me tell you--

Just tell me how much?

- How much what?
- What is your price?

How much do you want
to release his brother

from his promise to marry you?

Well, this is very funny.

I see nothing amusing in it,
Ms. Parker.

Please, don't let's waste time.

- How much?
- I'm sorry.

- 'Sorry?'
- No price on me.

Oh, but I insist, Ms. Parker.
You must have a price.

I'm inclined to be generous
in the matter.

After all, I realize
that Bob is a headstrong boy.

But I'm in charge of him,
and I feel I know

what is best for him.

I've had about enough of this.

If you don't mind..

Oh, I beg your pardon,
but am I interrupting?

No, not at all.

This is Brad's brother,
J. Lawrence Bradford.

I'm charmed.

Beware, Trixie's a showgirl.

Mmm, and who is this
distinguished looking young man?

- 'I don't know.'
- I'm Faneul H. Peabody.

- Faneul?
- Faneul.

When I know you better,
I'll call you Fanny.

Have you got a cigarette?

Mmm, gold.

Oh, my error.
Have you a light?

Mmm, your hand is shaking.

What an unexpected pleasure.

Now, come along, let's sit over
on the other side of the room.

Oh, come on. Come along.

You know, I used to know some Peabodys

but I think they came from Texas.

Oh, sit down, now.
Come on, sit down.

There.

Mr. J. Lawrence Bradford

tells me I must give Brad up.

'He also says we're chiselers
and gold diggers'

'and wants to know my price.'

Well, have you told him, Polly?

I was about to tell him
where to head in.

Oh, oh, I wouldn't be too hasty.

I'd at least discuss it further.

After all, we're grown up, sensible.

You're a woman of the world,
I'm a man of the world.

Oh, we ought to have a conference.

Isn't that what businessmen
always have

when they're away from home?

Conferences?

I know a new speaky, it just opened.

Their liquor is good,
and do I know good liquor.

It's right around the corner,
and we'll be with you

'in just two minutes.'

I'll just slip into something.

- Oh, I beg your pardon.
- What's that?

My slip.
Come along, Polly, dear.

Let's not keep them waiting.

Here's something
for you to read, Mr. Bradford.

And, um

here are some pictures
for you to look at.

Now, you amuse yourselves, won't you?

We'll just be two minutes.

Fanny.

Peabody, you're disgusting.

I'm going to tell them the truth
and kick them out.

After what he called you?
A parasite?

Say, what is a parasite?
You better resent it.

He did get under my skin.
Stuck-up snob.

They've had their turn.
Let's have ours.

We'll take them for a ride.

Use the bathroom
while I use the phone.

Uh, Endicott two.

Hello, Madam Minnie?

This is Trixie Lorraine.

Say, you know the hat with the, uh..

Yeah. No, no.

The expensive one.

Oh, did the buzzer buzz?

Oh, what's that?

A C.O.D. for Ms. Polly Parker.

- Seventy-five bucks.
- Seventy-five bucks!

Just for a little hat?

But she'll look adorable
in that, won't she?

Yes, she will.

Now let me see.
What does C.O.D. mean?

That means you've got to pay for it.

Oh, how inconvenient.

Well, you'll have to take it back.

Oh, dear.
She'll be in such a bad mood.

- Who will?
- Polly.

She did so want to wear that hat

when she went out
for lunch with you today.

Oh, dear. When she doesn't get
what she wants..

You just don't know Polly.

Oh, so disagreeable.
She's no fun at all.

Just sits there.

She won't agree to anything you say.

She probably won't even
want to go with us.

Mm, we three will just
have to go alone.

Well.. Oh!

'There you are, boy.'

Take it back.

Here, here, wait a minute.

- How much is it?
- 75 bucks.

Seventy-five... for a hat?

Well, sure, that's what
the ticket calls for.

Here.

- Leave the hat.
- Oh, you darling, man.

Polly's just going
to love you for this.

Polly, this sweet
big brother of Brad's

has insisted upon paying for your hat.

- Oh, but he mustn't do that.
- Oh, but he has.

- Oh, but I couldn't.
- Oh, but you must.

Oh, that looks adorable
on her, doesn't it? Doesn't it?

Yes, now all you need is a corsage.

'I think lilies of the valley
and gardenias.'

I guess I'll need orchids.
Shall we send out for some?

- Yes.
- Let's be going.

I must get a 4 o'clock train
to Boston.

Oh, well,
I'm very sorry, Mr. Bradford

but I just couldn't leave
the room without a corsage.

And I wouldn't let Polly.
I just couldn't

let her go out that way.

We'll buy you a corsage on the way.

- But let's hurry.
- Oh, isn't he a darling?

Oh, you're just so generous.

Oh, uh, oh, Polly, I wonder
if you'd would answer that.

I'm going to powder my nose.

- Well, what's this?
- Well..

Looks like another hat.

- We have a hat, my lad.
- Oh, but I was--

You must have the wrong address.

- Oh, no.
- Who's the hat for?

- A Ms. Trixie Lorraine.
- Oh, it's for Trixie.

Oh, let me see it.

Look, isn't this ducky? Look!

- How much?
- Well, uh, it's somewhere..

- Let me see the bill.
- Bill? Yes, sir.

Seventy-five dollars.

- Do all hats cost $75?
- Now, you dear, sweet man.

You are not going to pay
for that. You're not.

Trixie.
Come on in, Trixie.

Well, I'm very much afraid
I haven't the change.

- How much do you need?
- $5.

Oh, you just keep that.
Buy yourself a yacht.

Oh, but I get so seasick.

- Well, thanks.
- Trixie, Trixie.

Uh, did, uh, did you call me, Polly?

Isn't this darling?
Handsome bought it for you.

Oh. You sweet lamb.

Oh, he shouldn't have paid for it.

Oh, dear. Now he'll think
I'm extravagant.

Oh, but what a pretty hat.

You do like me in it,
don't you? Hm?

You know, I think
we ought to take a stroll

on Fifth Avenue and look at the shops.

Oh, you'd be surprised

how reasonable things are these days.

Come on, J. Lawrence.

I'm a busy man, Ms. Parker.

And I cannot afford to waste more time

in coming to
an understanding with you.

I've been wanting
to ask you a question.

Are your eyes hazel?

- My eyes?
- Mmm-hmm.

- Please, Ms. Parker.
- They are hazel.

And such nice eyes.

Such a good, kind expression.

Ms. Parker, please.

Oh, now don't be so formal.

Didn't you promise to call me Polly?

- Polly.
- Thanks.

- Oh!
- Oh. I beg your pardon.

Oh, that's alright, Fannykins.

I got to have another cigarette.

Platinum. Mmm.

- Oh, hello, everybody.
- Get her.

Just when I was
beginning to have a good time.

Introduce me, won't you?

Oh, I thought you'd left.

- Ms. Fortune, Mr. Bradford.
- How do you do?

- Charmed.
- Y-y-you didn't introduce me.

Oh, Ms. Fortune,
this is Mr. Peabody.

Oh, Mr. Peabody.

Ms. Fortune.

My good fortune.

My good man,
are you by any chance punning?

- Uh, I'm quite a punster.
- I get it.

I suppose you were a stroke on
your college punsing team.

That's funny.

That's very funny.

Ms. Fortune,
won't you join us?

Oh, I'd love to.
I'm just in the mood.

Some champagne?

Indeed, my doctor recommends it.

- Did you have a mother?
- What?

Whose name was Eunice?

No, I don't think so.

I did have a mother..

...whose name was Gertrude.

You look like Eunice.

You do look like Eunice.

- Ow! Gee!
- What's the matter?

Fay has an attack of chiseling.

It's chronic with her.

Another look at him
with those bedroom eyes

and I'll break your leg.

Excuse me for whispering.

Fay and I have so much in common.

Can we have some more champagne?

A quart.

Now I tell you,
there's only one thing to do.

We've got to spend more time here.

We've got to see more of her.

I don't wish to see any more of her.

What I've seen convinces me.

We absolutely must make her
think we're an easy proposition.

Suckers, you might say.

'What are you
shaking your head for?'

I'm thinking of the consequences.

I believe
I can make this girl transfer

her affection from him to me.

What?

Oh, don't misunderstand me.

Nothing personal in it.

This girl is smart.

Now what are you
shaking your head for?

- Are you afraid?
- Uh, uh..

A-afraid of what?

Well, I confess I'm a little afraid.

That girl is very fascinating.

But we're not boys, are we?

Well, hardly.

We're men, aren't we?

And we needn't succumb to
that sort of feminine allure.

- Need we?
- Indeed, we needn't. Need we?

Just because they want something

we, we don't have to give in, do we?

No. Not at all.

Now let me have a light, please.

- A light?
- 'Certainly.'

A light?

Oh, yes, yes.

Where's your lighter?

Oh, my, m-my lighter? Oh.

'Where'd you get the lighter?'

- Fanny gave it to me.
- Fanny?

Oh, this is marvelous.

- This is wonderful.
- Who's Fanny?

Fanny is Faneul H. Peabody.

The kind of man I've been looking for

lots of money and no resistance.

Oh, Peabody's the family lawyer.

Oh, this is great.

Well, I don't think it's so funny.

We must tell Brad's brother the truth.

The truth about what?

The truth about Carol not being me.

Oh, no, no,
you've got to go on with it.

He thinks he's pretty darn smart.

- Take him for a ride.
- You said it.

Let's go on playing this game.
Gee, it's for prizes.

Look what I got already,
gold, platinum, animals.

That's nothing compared to what
I'm going to get out of Fanny.

Well, I don't think it's right.

It's only going to cause
Brad more trouble.

Hey, listen, I could do
something that'd make him

come to Polly on his knees
and beg her to marry Brad.

- I've got an idea.
- That's right, honey.

"Use well before shaking."

We're going to have
a lot of unnecessary trouble.

But I'd marry Polly
with or without his consent.

I want to get even with him.

Oh, I want a chauffeur with a car.

I want a chauffeur
with buttons and a uniform.

And I want a dog. Oh.

I want a dog named Fanny.

Buy the little doggie for Trixie.

Oh. What do you want
the beast for?

Then I'll have something
to remember you by.

What name do you wish to engrave
on the collar, madam?

Fanny.

It's, uh, not that kind of a dog.

His name is Fanny.
It's a pet name.

Oh. Every time I look at my dog,
I'll think of you.

Then I'll have two little Fannys.

Here, hold him while I powder my nose.

- Shall we dance?
- Certainly. Why not?

- I thought this was my dance.
- Sorry, Bob.

Why don't you dance
with this nice young lady?

Thanks. I'll dance with
whom I please.

- Shall we indulge?
- Why sure, what can I lose?

My brother's jealous.

He has no reason to be.

I am not prepared to say that.

Well, then, I'll say it for you.

Oh, you're as light as a heifer,
a feather.

You know..

I'm much more
the sort of man for you, Polly.

Yes, you have your good points.

- Let's dance, honey.
- Don't look at me that way.

He may see you.

Am I registering jealousy or am I not?

No, you're wonderful.

Watch it. Look jealous.
Here they come.

- Come on, honey. Let's dance.
- Okay.

Oh, I bet you think it's bolder,
dancing this way.

I think it's delightful.

- I'm a clumsy soul.
- Oh, you're a dear.

- I'm getting old.
- Aren't we all?

Say, I'm a little bit old myself.

You, old? Why, you're the very
personification of youth.

Oh, thanks, but honest.

I don't know
what's the matter with me.

I have a yen for
a little house in the country

and the fireside, and carpet
slippers for the old man.

- Who's the old man?
- Ah, you'd run if I told you.

Oh, I couldn't run very far.
I'm very fat.

Say, can you imagine me
getting sentimental?

The most hard boiled dame
on the dirty White Way.

You're not hard boiled.
That's just on the surface.

Underneath, you're..

Say, what do you know
about me underneath?

Uh, I mean..

Oh, I know what you mean,
you old sugar.

You watch out.
I'm falling in love with you.

And, oh boy,
when love comes at my age..

- Guess who?
- It's little Fay.

- Yes.
- It's little phooey.

Oh, Fay, darling,
I have something to show you.

- Will you excuse us, please?
- Surely. Surely.

- Can you see that?
- See what?

Can you read where it says exit?

- Exit.
- You said it.

You start walking,
and you keep walking.

And if you ever come near him again

I'll break both your legs.

I could easily resent that.

- Scram.
- Oh!

- Did little Fay cry out?
- No, no.

That must've been
the cornet you heard.

Pardon me,
but I think this is my dance.

- Oh, I'm so sorry.
- Quite alright.

Beautiful, isn't it?

Yes, beautiful.

You know, I've been watching you
and wondering..

You're so obviously
a girl of breeding.

- Who are your people?
- My father?

'My father was an official
in the government service.'

Her father was a letter carrier.

Mother, mother was an invalid.

Her mother could have
licked John L. Sullivan.

Then how does it happen?

What are you doing in the theater?

Well, you see, it was like this.

I was at finishing school

when my parents died.

And they left me..

An orphan.

Yes, an orphan.

I had to find something to do.

'Earn money.'

'And all I could find was..'

Well, you see?

I do see.

You're the sort of child who..

The sort of girl who..

Not cheap, not vulgar.

Not at all like people of the theater.

'You know, you are the girl'

'my brother should
be interested in.'

- Well, I don't like that.
- Neither do I.

So we're all too vulgar
for J. Lawrence Bradford.

No. Not at all.

All except this nice little girl.

I'm too cheap and vulgar.

No. I didn't mean that.

I'm going home.
I'm not going to stay

and be insulted like this.

'Polly.'

- 'Polly.'
- I'm getting lonesome.

Polly, you misunderstood me.

I think you're..

'Here I am, honey.'

Now, I..

I want to make you understand, I..

I wouldn't offend you
for anything in the world.

Oh, let's forget it.

How about another drink?

Here.

I'll forgive you.

Bottoms up.

I want to say..

About you..

Like me?

Like isn't the word.

It goes deeper than that, Polly.

I don't understand it myself.

I love you, Polly.

- You're drunk.
- No, I'm not..

Yes, you are. You're drunk.

I love you, Polly.

Oh, you don't mean
a word you're saying.

You're just playing, aren't you?

I am, you know.

Oh, stop it.

Oh, you are drunk.

- Who is it?
- 'It's me, Trixie.'

- Where's your key?
- Here it is.

I can't manage it,
my fingers are frostbitten.

- Where'd you leave Fanny?
- I left Fanny behind.

He's waiting.

Well, what's the matter with
him, sleeping sickness?

He passed out.

Well, he doesn't have to pass
out all over our lounge.

- Say.
- Say what?

Have I an idea?
Ask me, "Have I an idea?"

- Have you an idea?
- Listen.

We'll stick him into bed, your bed.

- Oh, no, you don't.
- Oh, don't get excited.

- You'll sleep with me.
- Oh.

Then, when he wakes up in the morning

will we have him where we want him?

Will he do just
what we want him to do?

- Ask me, will he?
- I don't like it.

Well, you want to get even with him.

- Don't you?
- Yes, I do.

Well, can't you see,
when he wakes up in the morning

what will he ask himself?

What would anyone ask himself?

"What has happened?"
He will ask himself.

"What am I doing in this girl's
bed?" He will ask himself.

And how many answers are there
to that, huh? You tell me.

Oh, but nothing will have happened.

Of course not,
nothing will have happened.

- You said it.
- But he'll think..

Say, you know what he'll feel like?

He'll feel like, what do they
call them? Oh, yes, a cad.

- It's a bet. I'll do it.
- You take his head.

No. You take his head,
I'll take his feet.

I don't want to look at him anymore.

Say, you know,
I thought you were getting

'kind of stuck on him.'

Don't be stupid, Trixie.

I was just putting on a good act.

A very good act.
You certainly fooled me.

Okay, dearie, here you go to bed.

There, now, my little man.

And if you think I've fallen for
that apple-cheeked boyfriend

I've been chiseling.

Say, you'd be surprised
what plans I have for him.

And will he be surprised.

Say, I'm going to take him
like Graham took Waterloo

or whatever he took.

♪ And when he ♪

♪ Wakes up in the morning ♪

♪ When he wakes up
in the morn ♪♪

Hey, what's this?

- Oh, it can't be. It isn't?
- It is.

Oh, how did he get there?

He passed out, so we tucked him in.

Oh, this is wonderful.
This is marvelous.

I'm afraid we've gone too far.

- Gone too far? Oh, no.
- Yes.

- This is only the beginning.
- Say, I have to run.

I've something important to attend to.

I'll be back in an hour.

So, my dear brother, you'll cut
off my income, will you?

Won't let me marry Polly, will you?

Well, listen, old fellow,
you don't know it yet

but you're going to wake up
a kinder and a wiser man.

'Good morning.'

Good morning.

How would you like your eggs?

'Where do you think
you're going?'

'Do you think you can do
what you did last night'

and get away with it?

Ruin a young girl's future
just because she loves you?

I don't know where I am,
or what you're saying.

Oh, that's too bad.
I'll tell you where you are.

Oh, I know where I am, alright.

I mean, figuratively speaking,
I'm confused.

I.. I don't know what happened.

Well, I do.

Plenty, brother, plenty.

Tell me.

- Now what do you want me to do?
- Sit down.

- How much is it worth to you?
- Worth? What for?

Call it payment for
a night's lodging, if you like.

You don't mean it.
Polly doesn't know..

Hey, listen,
what do you think Polly is?

Oh, I never would have believed it.

But why not?
What else could I expect?

You said it. What else?

I know what you need, a pen.

Five thousand, is that satisfactory?

What do you think this is,
the Mills Hotel?

Ten thousand, then.

- And that's all I'll do.
- Well, don't feel generous.

- It's not so much.
- That's your opinion.

Uh, the pen?

And now, have you any objection
if I go on my way?

Objections? Oh,
let me open the door for you.

Thank you.

Come back when you can't stay so long.

- I got it. Oh.
- Got what?

Rest your eyes on that.

What's the matter, isn't it enough?

I don't want it.
I don't want any of it.

Say, what's the matter
with you? I knew it.

You are carrying the torch
for that back bay codfish.

- I'm not. I hate him.
- Sure you do.

Why he's got no more feelings
than a hyena.

He has, too. Don't you talk
that way about him.

'Why? We've just been
playing him for a sucker.'

- 'He's just a chump.'
- He's not a chump.

He's kind, and he's good.

Sure, you hate him, alright.

No, I don't. I love him.

Oh, I've never felt so happy
in all my life.

I've, uh..

I've got a confession to make.

Well?

Well, uh..

Last night
I told Ms. Lorraine, Trixie

that I cared for her deeply

and she admitted an equal
affection for me.

For the first time
in my life, true love

real love, with a real woman.

Look.

Look at that.

I've been tricked.

You certainly have.

That's the girl.

That's the girl Robert planned
to marry all along.

The one I intended to save him from.

There's no doubt about it.

They've certainly made a fool of you.

- What about you?
- Who, me? Well, I..

Did you know? If you knew,
why didn't you tell me?

What do you think
I brought you along for, anyway?

To heave ponderous, ridiculous
sighs at that giraffe?

Who are you calling a giraffe, sir?

I've a suspicion
it's the woman I love.

You love.
You give me a pain.

You're coming along with me.

I'll show them
I'm not such an easy mark.

- Where to?
- To that woman's house.

The one who posed
as Polly Parker, who led me on.

I'm not going with you.

- I can't.
- Why?

Well, I have, uh, a dinner engagement.

A conference.

Alright, I'll go by myself.

But I'll show her.

But I never said
your brother wanted to marry me

and I never said my name is Polly.

I took that for granted.

You take too darn much for granted.

I'll ask you to
return my check, please.

Your check? That's on exhibition
over there on the wall.

I knew you'd probably
stop payment on it.

- I'll take the necessary steps.
- You'll do what?

Listen, you made a sap out of yourself

and you tried your best
to make a sap out of me.

Now I never want
to see you again, understand?

And as for your check..

Well, you don't think
I hold myself as cheaply

as all that, do you?

Cheaply? $10,000?

Well, that's your estimate
of me, not mine.

That check is framed, not cashed.

I put it there to remind me

never to get mixed up
with your kind again.

Now get out, will you, please?

- Get out.
- No, I will not get out.

- You must.
- No, I will not.

Not until I've told you
what I think of you.

Don't you dare.
Get out.

I was drunk the last time.
I'm not now.

I mean it.
I love you, Polly.

My name's not Polly.

Whatever your name is.

Carol, that's my name.

Cheap and vulgar Carol.

Daughter of a Brooklyn saloon keeper

and a woman who took in washing.

Carol, the torch singer
at Coney Island

cheap and vulgar.

Every time you say cheap and vulgar

I'm going to kiss you.

Cheap and vulgar.

Cheap and vulgar.

Cheap and vulgar.

I didn't mean to
fall in love with you.

I was only playing a game.

I didn't mean to fall in love
with you, either.

I was trying to play
a little game myself.

You're going to forgive
Brad and Polly, aren't you?

- No, I'm not.
- Oh, but you must.

- If they're married..
- Oh, they are.

They phoned me from the city hall.

I'll have their marriage annulled.

- Oh, but you said yourself--
- I don't care what I said.

I was confused, upset.

Well, maybe you're confused about us.

No, that's one thing I'm sure about.

But their marriage is off,
definitely off.

Well, then so is ours.

You mean you won't marry me?

I certainly do.

- Oh, I'm late. The show. Sorry.
- But Polly..

- See you later.
- Carol. You haven't told me.

- 'We've got to settle this.
- Carol!'

Come on, hurry up.
We've got a show.

♪ Shadows on the wall ♪

♪ I can see them fall ♪

♪ Here and there ♪

♪ Everywhere ♪

♪ Silhouettes in blue ♪

♪ Dancing in the dew ♪

♪ Here am I ♪

♪ Where are you? ♪

♪ In the shadows
let me come and sing to you ♪

♪ Let me dream a song
that I can bring to you ♪

♪ Take me in your arms
and let me cling to you ♪

♪ Let me linger long ♪

♪ Let me live my song ♪

♪ In the winter
let me bring the spring ♪

♪ To you ♪

♪ Let me feel that
I mean everything to you ♪

♪ Love's old song ♪

♪ Will be new ♪

♪ In the shadows
when I come and sing ♪

♪ To you ♪

♪ In the shadows let me come
and sing to you ♪

♪ Let me dream a song
that I can bring to you ♪

♪ Take me in your arms
and let me cling to you ♪

♪ Let me linger long ♪

♪ Let me live my song
dear one ♪

♪ In the winter let me bring
the spring to you ♪

♪ Let me feel that
I mean everything to you ♪

♪ Love's old song ♪

♪ Will be new ♪

♪ In the shadows
when I come and sing ♪

♪ To you dear ♪

♪ In the shadows
when I come and sing ♪

♪ To you ♪

♪ In the shadows let me come
and sing to you ♪

♪ Let me dream a song
that I can bring to you ♪

♪ Take me in your arms
and let me cling to you ♪

♪ Let me linger long
let me live my song ♪

♪ Let me bring
the spring to you ♪

♪ I'll mean everything
to you ♪

♪ Love's old song ♪

♪ Love's old song ♪

♪ Will be new ♪

♪ Will be new ♪

♪ In the shadows
when I come and sing to you ♪

♪ In the winter
let me bring the spring to you ♪

♪ Let me feel that
I mean everything to you ♪

♪ Love's old song
will be new ♪

♪ In the shadows when I come
and sing ♪

♪ To you dear ♪

♪ In the shadows
when I come and sing ♪♪

On stage.

On stage.

Hurry up, boys.
Snap it up, will you?

On stage, "Forgotten Man" number.

"Forgotten Man" number,
everybody on stage.

'Come on, girls,
make it snappy.'

' "Forgotten Man" number,
on stage.'

- Alright, girls, on stage.
- "Forgotten Man" number.

On stage, "Forgotten Man" number.

Alright, Ms. Carol,
"Forgotten Man" number.

Congratulate us.

- We are man and wife.
- Oh, you're not.

I ought to know, I'm the bride.

- Oh, Trixie, I'm so glad.
- We're married, too.

- My heartiest congratulations.
- Same to you, Peabody.

- Oh, isn't it wonderful?
- At my age?

Oh, at any age.

Well, come on, honey.

- Hello.
- Hello.

I got him signed,
sealed, and delivered.

Good girl.
Keep him close to home.

Here, wait a minute.

I understand you two are married.

I'm going to have it annulled.

You can't annul our marriage.

Not yours, stupid, his.

- You can't do that.
- Yes, I can.

You've interfered enough.
We're married

and we're going to stay married.

Today you asked me to marry you.

- He did?
- Yes, he did.

Yes, I proposed, and I was sincere.

If you do this to Polly and Brad

I wouldn't marry you if you were
the last man on Earth.

I told you that once, and I meant it.

Much as I love you,
nevertheless, I am determined

to look after my brother's interests

whether he likes it or not.

Arrest him.

You have a warrant. Perjury.

Falsification of age
in obtaining a marriage license.

You can't hold me on that.

Technically, we can,
pending an investigation.

Oh, Brad, what are we going to do?

What's holding up the show?
Do you want to ruin me?

My brother just had me arrested
for getting married.

Arrested? Where's the cop?

Here he is.
Detective Jones.

Detective, my eye.
He's a ham actor.

That's no way to speak of an artist.

Why, I've played with Sir Henry Irving

George Arliss, and David Warfield.

Scram. You're a washout.

You've been playing cops
on Broadway for 25 years.

Snitch.

'Get out there
and do your number.'

Is everybody nutty?

- Here.
- What's this?

I'm sure Carol will endorse it
to you for a wedding present.

Ten thousand dollars.

What a brother.

You mean, what a sister-in-law.

You mean, what a Fanny.

I don't know if he deserves
a bit of sympathy.

Forget your sympathy.

It's alright with me.

I was satisfied to drift along
from day to day

till they came and took my man away.

Remember my forgotten man?

You put a rifle in his hand.

You sent him far away.

You shouted, hip, hooray!

But look at him today.

Remember my forgotten man.

You had him cultivate the land.

He walked behind a plow

the sweat fell from his brow.

But look at him right now!

And once he used to love me.

I was happy then.

He used to take care of me.

Won't you bring him back again?

'Cause ever since the world began

a woman's got to have a man.

Forgetting him you see

means you're forgetting me

like my..

...my forgotten man.

♪ Remember my forgotten man ♪

♪ You put a rifle
in his hand ♪

♪ You sent him far away ♪

♪ You shouted hip hooray! ♪

♪ But look at him today! ♪

♪ Remember my forgotten man ♪

♪ You had him
cultivate the land ♪

♪ He walked behind a plow ♪

♪ The sweat fell from his brow ♪

♪ But look at him right now! ♪

♪ And once
he used to love me ♪

♪ I was happy then ♪

♪ He used to take care of me ♪

♪ Won't you bring him
back again? ♪

♪ 'Cause ever since
the world began ♪

♪ A woman's got to
have a man ♪

♪ Forgetting him you see ♪

♪ Means you're forgetting me ♪

♪ Like my forgotten man ♪

♪ You remember ♪

♪ We are the real
forgotten men ♪

♪ Yes remember ♪

♪ Who have to lead
this life again ♪

♪ We sallied forth to fight ♪

♪ For glory was our pride ♪

♪ But somehow glory died ♪

♪ Now they're just a memory ♪

♪ Oh remember ♪

♪ Remember your forgotten men ♪

♪ We want him back ♪

♪ You've got to
let us live again ♪

♪ We came we marched away
to fight for U.S.A. ♪

♪ But where are we today? ♪

♪ Oh where are they today? ♪

♪ And once
he used to love me ♪

♪ I was happy then ♪

♪ He used to take care of me ♪

♪ Won't you bring him
back again? ♪

♪ Oh bring him back ♪

♪ 'Cause ever since
the world began ♪

♪ A woman's got
to have a man ♪

♪ Forgetting him you see ♪

♪ Means you're forgetting me ♪

♪ Like my ♪

♪ Forgotten man ♪♪