All language subtitles for Stage Door Canteen

[MUSIC PLAYING]

-You guys who are writing
letters, hurry up.

It looks like this
will be our last stop.

-Hey look, Sarge.

My girl lives in
Jersey City, see.

And I was wondering if maybe
we might be headed for-- what

I mean is, is it still
a military secret?

Or do you know
where we're going?

SERGEANT: I sure do, Jersey.

-Yeah?

-We're to win a war.

-You know, something
tells me this is probably

the last letter you're going to
have to write to Mamie for me,

Dakota.

So finish it off hot,
you know, romantic.

Something she can
keep under her pillow.

-Well how about saying,
Mamie, sweetheart,

this will probably be my last
letter from American soil.

But wherever we're going, I'll
take the memory of your kisses

and your arms around me.

Is that hot enough
for you, Jersey?

-Mamie wrote me she sure didn't
know she could kiss me as

good as you said
she could, Dakota.

But she sure was
glad to hear it.

-Gee.

I guess I've been
missing something.

I haven't ever
even kissed a girl.

-Go on.

I bet you even try
to improve on Dakota.

Dakota says we may unload
right onto a transport.

So, so maybe this'll
be my last letter.

I just want you to know
that whatever happens to me,

I hope you'll be as proud
of me, dad, as I am of you.

Sorry for butting
in, California.

-That's OK, Jersey.

I haven't got a
girl to write to.

-Holy smoke!

Look, guy, a girl?

[COMMOTION]

-Cigarettes, boys.

Compliments of Greenfield, Ohio.

-Thanks, miss.

We're fresh out of smokes.

-Thank you.

-Any letters you want mailed?

-Oh, we sure have.

-Looks like you boys
are on your way.

-Yes, ma'am.

We sure hope so.

-Don't burn your
fingers on this one.

It's to my girl.

--[INAUDIBLE] Texas boy
is going to be a hero.

[TRAIN WHISTLE]

CALIFORNIA: I've been
wondering, Dakota.

You're always helping
us guys write letters.

But you never
write any yourself.

-Well, you see I lost
my mother and father

when I was still a kid.

-But haven't you got a girl?

-Nah.

I'm [INAUDIBLE] off
women for the duration.

-Well, if you'd like to
get letters from somebody,

I know my dad would be mighty
pleased to write to you.

-Thanks, did.

I might take your
dad up on that.

Sometimes a fellow feels like
he'd like to write somebody.

CALIFORNIA: I've been thinking
about those letters you've

been making up
for Jersey's girl.

Kind of makes a guy
wish he had a nice girl

he could kiss goodbye himself.

-It's not always
easy for a fellow

to meet a nice girl, kid.

-I know.

I was just thinking.

-You stick to just thinking.

It's cheaper, and
almost as much fun.

[BUGLE CALL]

-I guess the question
you men want answered is,

are we climbing a
gangplank this morning?

Well, you're going
to get a break.

You've got 24 hours leave.

Probably most of you have
never seen New York City.

Well, this is your chance.

You'll find that
your uniform is a key

to the hospitality of New York.

Don't abuse that uniform,
or the hospitality.

Report here for
reveille and orders

tomorrow morning at 6:00.

Meanwhile, you might
store up a few memories

to take with you
wherever we're going.

Company.

-[INAUDIBLE].

-Attention!

First Sergeant.

Dismiss the company.

-Attention.

And lock.

[INAUDIBLE]

Dismissed!

[CHEERING]

-All I hope is the
cens who read Mamie's

letters don't beat
me to her house.

-What do you say we get rid
of these field uniforms,

and give New York a once over?

-Yeah, maybe meet a nice girl.

-Wow.

Two bucks for a steak?

-Well, we won't have much
use for American money

where we're going.

Wonder what you
have to do to get

a waiter in this
richie restaurant.

Join the [INAUDIBLE] core?

-Hey, Dakota, look!

-Well, hello, Ms. V.

-Hello, Mac.

You know [INAUDIBLE], don't you?

-How do you do, Mr. [INAUDIBLE]?

Hello, [INAUDIBLE].

-Will you come this way, please?

Well, here we are.

It's all set up for you.

-I'm the man for the
turkey and the gravy.

-I've come for the ham

-No relation, I hope.

-[INAUDIBLE] all right.

The last time I saw her
she was dressed different.

-The boss volunteers the food.

And those famous
people volunteer

to pick it up for the
Stage Door Canteen.

You boys are chumps to
waste your dough here

when you can eat our
stuff down there for free.

Opens at 5:00.

-We just came in
for a look around.

-Yes, sir.

-Sure hope we meet
some pretty girls.

-See your cards, girls please.

Thanks.

Hello.

-Hello, how are you.

-Hello there.

How are you.

[INAUDIBLE], oh Lillian,
Selena Royal wants to see you.

-What about?

-I don't know.

She's off until day.

See your cards, girls, please.

LILLIAN: Want to
see me, Ms. Royal?

-Oh, oh yes, Lillian.

Come in.

Close the door.

Lillian, did you make a date
with a soldier in the canteen

last night?

-Why yes I did, Ms. Royal.

-Did you go out
with him afterwards?

-Yes.

-But you know the rules.

You know no girl
is supposed to make

a date with a soldier
she meets here.

-Oh, yes, Ms. Royal.

But he was such a nice boy.

I felt awfully sorry for him.

He was so lonesome, and
he didn't know a soul.

We only went over to Roseland
for a couple of dances,

and then the
[INAUDIBLE] for a bite.

I was in by two o'clock.

-I know, dear.

But these rules are
made for a good reason.

And we've got to be
strict with violations.

-I won't do it again.

-I'm afraid you won't
have an opportunity.

Because I've got to
pick up your pass.

-Does-- does that
mean I won't be able

to come down here
and help anymore?

-Yes.

I'm afraid it means just that.

-Oh please, Ms. Royal.

You're one of the
co-chairmen of the canteen.

Couldn't you please speak
to Ms. Cowell about it?

Can I have another chance?

Makes me feel like I'm
doing something to help.

And, because just like the
boys who come down here,

no matter how blue I
am, I get cheered up.

-I know just how you feel, dear.

But, well, there's
nothing I can do about it.

I've got to pick up your pass.

LILLIAN: It was just
that he was so homesick.

-You know [INAUDIBLE]?

I'll bet my folks would just
about swoon if they knew

I was entertaining Yankee
soldiers night after night.

--[INAUDIBLE], you
got Alabama dripping

from those pretty lips of yours.

I can hear it from here.

-Well, I declare, a
southern gentleman

amongst all these Yankees.

-Hello.

-Hey, kids, hurry up.

We're going to be late.

-Uh, my name's Ella Sue.

I'll see you later.

-I sure hope some of the
big stars and producers

are here tonight.

-Oh, they all come down
one time or another.

Every night there's
a different shift.

Come on, Ella Sue.

-I think I'm going to like this.

I just hope the place
isn't too fancy.

Do you think those
girls are actresses?

-Well, they're pretty enough.

-Thanks, fellows.

Your passes, [INAUDIBLE]
identification, OK.

-Here, food chip.

-Dog tags, fellows, please.

-Did you hear?

-Hear what?

-About Lillian.

They picked up her card.

-Oh, then she did go out
with that kid from Iowa.

-Hello, Peggy.

-Hello.

-Hello, Anne.

How are you?

-Hello.

-Hello, Vera.

-Hello, dear.

-Vera, this is our
roommate, Eileen Burke.

It's her first night
at the canteen.

-Hello, Eileen.

Hang your coat over there, and
pick up your apron over here.

And I hope your feet hold out.

-Thank you.

-Eileen, if you forget
any of the rules,

just ask Ella Sue or me.

-And suppose I meet a wolf?

-They won't make any
passes at you honey.

All you've got to do is just be
fun, but in a cute sort of way.

-Hmm.

Soldiers and sailors on
leave want something more

than somebody to talk to.

Hey, didn't I see your boss
cleaning tables out there?

-Mr. Pemberton?

Yes.

Why?

-How's for an introduction.

He's casting a new
play, isn't he?

-Now let's skip that
career for tonight, cutie.

You're here to show
the boys a good time.

And Mr. Pemberton isn't
here as a producer.

He's here to keep
the tables clean.

-Why couldn't I help him
clean up a table or two?

Give me a chance to show
him my press clippings.

-Oh, Eileen, forget yourself.

You just wait.

You'll find it
gets in your blood.

I've taken to counting
soldiers instead

of sheep to put me to sleep.

-What I'm wondering
is how I'm going

to say yes and no to that
southern boy at the same time.

-Ed Wynn, gee, we didn't
expect to see you here.

-Oh, nobody did.

As a matter of fact, when I
told those boys [INAUDIBLE]

I mean the biggest dignitaries
in the moving picture business,

when I told them that
I was coming here,

I walked into their room,
they got right on their knees.

What a reception.

What a tribute.

What a crap game.

[LAUGHTER]

-My goodness.

[INAUDIBLE]

Oh, you're in the Navy.

I can see that.

Here you are.

A male [INAUDIBLE],
for heaven's sake.

First one I ever saw.

Check your hat?

[INAUDIBLE]

-Hey, Dakota, isn't that Alan
Mowbray emptying ash trays?

-Yeah.

Imagine Alan Mowbray having
to get a job as a busboy.

I thought he was doing
all right in pictures.

-I say, old boy,
jolly party, isn't it?

-What did you say?

-A jolly party, isn't it?

-Foreigner.

-Say, George, you've been
having a lot of rainy weather

out in California
lately, haven't you?

-Oh, I wouldn't say that, Bill.

Just two feet of dew.

-Two feet of dew.

-Here you are, [INAUDIBLE].

-OK, George.

-Say George, tell me.

You've been taking
a lot of fighters

around to the Army camps for
the entertainment of the boys.

What's the greatest fighter
that you've ever seen?

-Pound for pound,
Henry Armstrong.

He's the only fighter
that held three

world's titles at the same time.

-You're right there.

How about these
Brooklyn Dodgers.

You're always rooting
for the Dodgers.

Think Brooklyn's going to
win the pennant this year?

-Well, I wouldn't know
anything about that.

But I know one team
that can't lose.

-Whose is that?

-That team there.

-How much for a ham
sandwich, please?

-There's no charge.

-Not for the chocolate
cake, either?

-No.

Here's some with icing.

-It's been a long time.

Are those oranges for us, ma'am?

-Of course they are.

-I haven't seen
one in two years.

Blimey.

It's just like
Christmas, ain't it?

Just like Christmas.

-Thank you.

-You're welcome.

-You're Katharine
Cornell, aren't you?

-Yes, how'd you know?

-Oh, our dramatic coach at
school has your picture.

He said we hadn't lived until
we'd seen you play Juliet.

See, we put it on.

And I was Romeo.

-You were?

What scene did you like best?

-You where Romeo
swears by the moonbeam?

Lady, by yonder
blessed moon, I swear,

that tips with silver all
these fruit-tree tops--

-Oh swear not by the
moon, the inconstant moon

the monthly changes
in her circled orb,

lest that thy love
prove likewise variable.

-What shall I swear by?

-Do not swear at all.

Or if thou wilt, swear
by thy gracious self,

which is the god of my idolatry.

And I'll believe thee.

-If my heart's dear love--

-Well, do not swear.

Though I joy in thee, I have no
joy in this contract tonight.

It is too rash, too
unadvised, to sudden,

too like the lightning that has
ceased to be ere one can say it

lightens.

Sweet, good night.

Parting is such
sweet sorrow that I

shall say goodnight
til it be morrow.

-Hey, what's
holding up the line.

-A little unrationed
ham being served.

For holding up the works, Romeo.

-I'll never eat
this orange, Juliet.

I'll just keep it to remember.

-Any of you guys seen a
little bit of Alabama sugar?

-You come along with me
to a table, southern boy.

I want you all to myself.

-I'm sure you boys
will pardon my absence.

-Hello.

-Hello.

-Are you going to be my girl?

-Why yes, I'll be your
girl while you're here.

What's your name.

-Well, the fellows
call me California.

But my real name is Jack Gilman.

-I like California best.

My name is Tina.

-How old are you?

-Oh, I'm not telling.

-Go on, please.

It's important.

-You name it, California.

-You're 18.

-Oh, gee, thanks.

You want me to hold your hand
while you drink your milk?

-You got nothing to
worry about, Eileen.

They're all gents or bashful.

See that tough Sergeant,
I bumped into him.

And I said, what do you do?

And he said I'm a chorus girl
in the Irving Berlin show.

--[LAUGHING] You give me lots
of assurance, Mr. Demarest.

-Where do you get that
Mr. Demarest stuff?

You know my name is Bill.

Don't be so nervous.

You act like this was
a first night opening.

Take it easy.

-Hello, Eileen.

-Well, hello, Ms. Scott.

-Well, how nice to see you.

What have you been doing
since the play closed?

-Well, nothing yet.

But I have prospects.

-Well, this is your first
night at the canteen, isn't it?

-Yes.

Are you one of the hostesses?

-Mhmm.

-I don't know how to start.

I've, I've got kind
of a sinking feeling.

-Well, if you're
going to sink, Miss,

you might pick this
chair right here.

-There's your answer, Eileen.

See you later.

-Please, I saved it for you.

Can I get you something to eat?

-No thanks.

We can't eat the food here.

-What's the matter with it?

It looks mighty good to m.

-It's a rule.

It was donated for
you to eat, not us.

-Where do you live.

-That's another rule.

Even if I wanted to,
I couldn't tell you.

-Sort of a civilian secret, huh?

Look, my name's Ed Smith.

And we're going to--

-Oh, that's another rule against
telling us where you're going.

-You get me wrong.

I don't know where I'm going.

I was just going to say--

-Oh, first we're supposed to
ask you where you're from.

-Sioux Falls, South Dakota.

-Then I think we're
supposed to ask

to see your
sweetheart's picture.

And we talk about
how nice she is.

-I haven't got a sweetheart.

I'm sort of between girls.

-Why Walter Winchell
had it that Ed Smith

and the belle of Sioux
Falls were sizzling.

-Well, I guess we
sizzle some at that.

-I'll never forget.

When the last war
was over, my captain

paid me the swellest compliment.

He said, Private Kennedy,
you are now and always

will be the perfect non-entity.

He always thought a lot of me.

-Hey Ed, didn't you start your
stage career in Vaudeville?

-Oh sure.

I came from a famous
Vaudeville family.

My uncle with Rajah,
Rajah and his Lions.

Did you ever see that act?

15 years my uncle
was in Vaudeville.

He used to open
the lion's mouth,

and put his whole head
right in the lion's mouth.

But one day the darnedest
thing happened-- [LAUGHING].

And-- hello, uncle.

[LAUGHTER]

[CHEERING]

-Listen, everybody.

This is Bert Lytell, your MC.

Fellows, I'm only
home for 10 seconds

to make an announcement.

You've heard it said that you
can't get blood out of a stone.

Well, you can't get it out
of our next guest, either.

Charlie McCarthy
and Edgar Bergen.

[APPLAUSE]

EDGAR BERGEN: Good evening,
ladies and gentleman.

I bring you greetings
from the mystic East.

And now with your
kind indulgence,

I shall delve into the mysteries
of supernatural and the occult.

-Hey Bergen?

-Yeah?

-Well, uh, what's the racket?

-Racket?

-Yeah.

-Young man, I
happen to be gifted.

-Say not so.

-Yes, indeed.

-I'll be darned.

-I'm a student of occultism.

-Of occult-usm?

-No, not tusm.

-No?

-No.

-What?

-Ism, ism, ism.

-Ism what?

-Aw.

[LAUGHTER]

-I am the seventh son of the
seventh son of the seventh son.

-Well come on, seven.

Do something.

Well, what, what's the,
what's the globule for?

-You mean this?

-Yeah, the bowling ball?

-Well, do you know what I
see when I look into that?

-Goldfish?

-No, no, no.

-Wh-what's it for?

-Well, you see it helps
me to focus my attention.

-Is that so?

-Yes.

When I gaze into the
crystal, a vision appears.

-Is that right?

-Yes.

-[INAUDIBLE] a vision.

Yeah.

Well, what's a vision?

-A vision?

-Yeah.

-What is a vision?

-No, I asked you first.

-Yes, I know you did.

Well, a vision, well it's
very much like a mirage.

-Oh, it's like a mirage.

-Yes.

-Oh, so that's what
it is. [INAUDIBLE].

What's a mirage?

-A mirage?

-Yeah.

-Well that's very
much like a vision.

-Yeah.

Oh, it's nice, like
a vision, I see.

Shall we go around again?

-No, no.

[LAUGHTER]

-Go ahead, professor.

Give out [INAUDIBLE].

-All right.

I will.

Now of course, in order
for me to do this,

I will have to go into a trance.

-Well, I'll wait here.

-Yes.

All right.

-Well, what is a trance?

-A trance?

-Yes.

-Well, it's a state of
semi-consciousness or sleep.

-Oh, is that so?

You haven't far to go.

-All right.

Now of course I must
have absolute quiet.

-Oh, you certainly should.

Yes.

-Yes.

-You think you can make it?

-Oh, I'll make it.

-[MUTTERING]

-[MIMICKING EDGAR]

-No, please.

-You think you--

-Shh.

-(WHISPERING) What did you say?

-Shh.

-Sounds like a puncture.

-All right.

Now shall I read
your past first?

-Do you think you can?

-I don't think.

I know.

-I don't think you know either.

-All right.

Shall I go back to where
you were seven years old?

-Oh it isn't necessary.

Nothing really happened
before I was 12.

-12, I see.

The name of Bessie appears here.

-Oh, it does.

Good old Bessie.

Whatever became of her?

She sat in front of
me in history class.

-I see.

Did you learn much
about history?

-Well not as much as I
learned about Bessie.

-You, uh, you were
very fond of Bessie?

-Yes, you can say that.

-You, uh, were you
in love with her?

-Oh, I wouldn't go so
far as to say that, no.

-But it was, it was more
than a speaking acquaintance?

-Oh you're darn right it was.

Yeah.

Tell me more.

-Yes.

All right.

I see you still don't believe.

-Frankly, no.

Very well then, I am
forced to employ hypnotism.

-Is he out of work again?

-No, no.

I want you to gaze into
my eyes, and concentrate.

Pfft, pfft.

-Are you, are you hypnotizing,
or are you watering the lawn?

-I'm concentrating.

Close your eyes.

Pfft.

-Aw, if you do that again, so
help me, I'll slug you, Bergen.

-All right.

Now at the count of
three, you'll be asleep.

One, two--

-Uh huh.

-Three.

Pfft.

-Aw, that does it.
[HOCKING LOUGIE]

-Hey.

-I'll do it, Bergen.

I'll do it.

--[INAUDIBLE] let us
return to the crystal,

and see what the
future holds for you.

-All right.

Let's return, yes.

What's in there.

-Well now, let me see.

Mhmm.

-Uh oh.

[HUMMING] [PANTING] [LAUGHING]

-I see a lot of trouble
ahead for you, Charlie.

-Yeah, but I think
it's worth it.

-Oh, Mr. Bergen, oh Mr. Bergen.

EDGAR BERGEN: Well,
Mortimer Snerd.

-Aw.

-Well, well.

Well, Mortimer.

Say, you look pretty
handsome in that hat.

-[HYUKING] That's right, yeah.

-Well, why don't you
smile at all the girls,

and show them your dimples.

Aw, come on, now.

Isn't that a pretty
girl down there?

-Oh yeah.

-Well now, why don't
you wink at her?

-No.

-She won't bite you.

-Oh, I wish she would Oh!

-Well, tell me, what
are you doing here?

-Well, I, I brought
you this case.

-Oh, you brought this in?

-Yeah.

-Well, isn't that a pretty
box for you to bring in?

-Well, that was easy, as
easy as AB, uh, AB, uh?

-ABC?

-Uh, yeah, yeah.

That's the one.

I always forget the other one.

-How old are you, Mortimer?

-Oh, I'm a, oh, I'm
a boy about my age.

-About your age, yes.

Where do you live?

-With grandpa on the farm.

-Oh, on the farm.

Is your mother living yet?

-Uh no, no.

-I see.

-Not yet.

-Not yet.

--[LAUGHING] You want me
to open this up for you?

-No, no, [INAUDIBLE].

What's there in the box?

-Well, it says
it's full of fish.

-No, no.

Where does it say that?

-Right there.

Cod.

-Oh, that's not cod.

-No?

-No.

That's C-O-D.

-[INAUDIBLE]?

Can't believe what
you read, can you?

-No.

-Shall I open it up?

-I opened the box magically.

-No.

-Yes.

-Well, let's see it.

-Abracadabra candelabra.

-Oh!

-[INAUDIBLE].

-Hello, Edgar.

Hiya men.

[CHEERING]

-(SINGING) Listen, America,
and you'll hear the story

of a boy who deserves a cheer.

I tip my lip to a Yankee
kid for this is what he did.

Three Jap planes
were up in the sky,

looking for trouble
while flying high.

Along came a Yank
and what did he do?

Ha!

And there were two.

Two Jap planes that used to be
three thought they'd get even.

But suddenly the Yank turned
around and gave them the gun.

Ha!

Then there was one.

He clipped their wings
with the greatest skill,

just like a barber.

He did these things to prove he
still remembered Pearl Harbor.

The one Jap plane leaped
leapt in the shoal.

Thought he'd be safer in Tokyo.

But the Yank kept on
until the job was done.

Ha!

Then there were none.

[APPLAUSE]

-Now what about making these
[INAUDIBLE] noises with me

lads?

Are you ready? [WHISTLING]

[APPLAUSE]

-(SINGING) Three Jap
planes were up in the sky,

looking for trouble
while flying high.

Along came a Yank
and what did he do?

-[INAUDIBLE]

-(SINGING) Then there were two.

Two Jap planes, there used to be
three, thought they'd get even.

But suddenly the Yank turned
around and gave them the gun.

-[INAUDIBLE].

-(SINGING) Then there was one.

He clipped their wings
with the greatest skill,

just like a barber.

He did these things to prove he
still remembered Pearl Harbor.

The one Jap plane still
leaped in the shoal.

Thought he'd be safer in Tokyo.

But the Yank kept on
til the job was done.

-[INAUDIBLE]

-Then there were none.

[APPLAUSE]

-Now boys, a sailor
has specially

asked me to sing
the Lord's Prayer.

(SINGING) Our Father, which
art in heaven, hallowed be they

name.

Thy kingdom come.

Thy will be done in
earth as it is in heaven.

Give us this day
our daily bread.

And forgive us our
trespasses, as we

forgive them who
trespass against us.

And lead us not into temptation.

But deliver us from evil.

For thine is the
kingdom, and the power,

and the glory forever Amen.

-Oh, thanks, [INAUDIBLE].

That was like a
breath from home.

-I'm glad you enjoyed it.

[INTERPOSING VOICES]

-You know, that, that's
my mother's favorite.

-Really?

-Well, lads, there's
somebody else

has to work for the living.

I've got to say toodle-oo
and god bless you.

Cheerio.

-Cheerio!

[APPLAUSE]

-Hey mac, ain't you Ray Bolger?

-You want to make
something out of it?

-All I asked him was,
was he Ray Bolger?

-Oh, there's Brock Pemberton.

He's putting on a new play here.

-Oh, you in the show business?

-Everybody here is,
one way or another.

-Where are you from?

-Oswego, New York.

But I studied
drama in Rochester.

-Oh, then you are an actress.

-Well, that's what it
says in my clippings.

-You don't look like an actress.

I mean, you look just like
the girls back in Sioux Falls.

Did you said they wrote
you up in the newspaper?

Got any clippings with you?

-Only amateurs carry
their clippings around.

-Aw, come on.

Let's see what they say.

-Well, sometimes you
might bump into a producer

like Mr. Pemberton.

So I do carry one, just in case.

-Eileen Burke, had four
lines as the insane sister.

Is that you?

But her portrayal of
tragic and growing insanity

impressed the audience.

You went nuts in a play?

-Yes.

-Show me how you looked
when you went nuts.

Oh, oh, what's the matter?

It's just that I've never
been out with an actress.

-Well, so far as
I'm concerned, this

is as far out with an actress
as you're going to get.

-Aw.

I was only kidding.

[APPLAUSE]

-Evening folks.

How are y'all?

[APPLAUSE]

-Hey, thanks for
listening to Sully Mason,

Harry Babbitt, Julie
Conway, Trudy Erwin.

Jack and Max and the whole Gang,
and "A Rookie and His Rhythm."

OK, come on.

Let's do it.

[MUSIC - "A ROOKIE AND HIS
RHYTHM"]

-(SINGING) There he goes,
a rookie and his rhythm.

Who's he with?

He's with a little whack.

What's he got, this
rookie and his rhythm?

-(SINGING) He's got one
commission officer's life.

-(SINGING) Aw, here he is,
a private who can jive it.

Here he is, a
private second class.

The gals prefer a
private who can jive it.

-(SINGING) He'll surpass
the Colonel making a pass.

-(SINGING) Though he's
new in the service,

with a gun he's still nervous.

And we need him to preserve us.

-(SINGING) He improves
the morale of a gal.

-(SINGING) Majors may
be very necessary.

-(SINGING) Strictly
in the military way.

-(SINGING) But give to me
a rookie and his rhythm.

-(SINGING) [INAUDIBLE] and
let the orchestra play.

Hip, hip, hip, hip,
one, two, three four.

Play it boys.

[INAUDIBLE] and let
the orchestra play.

[MUSIC - "A ROOKIE AND HIS
RHYTHM"]

[CHEERING]

-Oh no, gee.

You've been swell, fellows.

But I can see it in your eyes
that you want to get going.

So come on, gentlemen.

Let's dance.

[APPLAUSE]

[PLAYING MUSIC]

-(SINGING) Sleep, baby, sleep.

-This will give you
an idea how tight

they'll pack us
on the transport.

-I, I guess if a girl falls
in love with a fellow here,

it's really love.

Because we can't
spend anything on you.

-First time in
the canteen, boys?

Would you like to dance?

-Yes, ma'am.

And I want a blonde, five
feet three inches tall.

-I like a brunette,
five feet two.

-Virginia.

VIRGINIA: Yes?

-One blonde five
feet three inches.

One brunette five feet
two for these gentlemen.

-Say lady, how far can
we go with these girls.

-Just as far as
the door, sailor.

-Say, isn't that Helen Hayes?

-That's right.

She's one of the first
ladies of the theater.

-Sure.

I saw her play
Queen Victoria once.

-Could I have the honor of
dancing with you, Ms. Hayes?

-With all these young
girls, why would you

want to dance with me?

-So I could tell
my grandchildren

I once danced with
Queen Victoria.

-The honor is mine, young man.

-Hey, mac, all I wanted to ask
you was, was you Ray Bolger.

-What time you
through here, Eileen?

-12:00.

-What do you do when you leave?

-Why don't you try and meet
some of the other girls

before the evening's over?

-Oh, I get it.

-Well, how are you
doing at this table?

Getting everything you want?

-Not yet, ma'am.

But I'm trying hard.

-Hey, look, mac.

I want to get one
thing straight.

Are you Ray Bolger or ain't you?

-Take off that coat.

[BELL DINGS]

[APPLAUSE]

-Now fellows, now
comes a wistful

wag of stage and screen.

He spends most of his time
at the canteen, and looks it.

When he was a small boy
he got a double hot foot,

and he never got over it.

Here he comes, By
Jupiter, Ray Bolger.

[APPLAUSE]

-Fellows, I, I, I, I'd like
to tell you about my girl.

She's a beaut.

(SINGING) She has hair that
she wears like Veronica Lake.

So that 50% of her is blind.

She is known to her daddy
as mother's mistake.

She's the girl I
love to leave behind.

She is silly for soldiers
and mad for Marines.

And she can't get the
Coast Guard off her mind.

She keeps doing the cancan
in all the canteens.

She's a girl I love
to leave behind.

After dancing around the floor,
it's a pleasure to go to war.

Oh she giggles and gurgles
and rattles around.

Lou Costello is
slightly more refined.

While I fight in a tank,
or the plane in a Jeep,

she's the girl I
love to leave behind!

[APPLAUSE]

[MUSIC PLAYING]

-And halt.

One, two, three, four.

Oh!

[LAUGHTER]

-Right dress.

Front.

[INAUDIBLE]

Right shoulder arm.

[GRUNTING] Left shoulder arm.

[GRUNTING] hi, hello!

Order!

One beer.

Order, arm.

Oh, two, three, four.

Present arm.

Port.

Port.

Arm.

Right shoulder arm.
[GRUNTING] three.

Right face.

Left face.

About-- four or five
years ago, when I--

[LAUGHTER]

-About face.

About face.

Orders for the day.

[INAUDIBLE] first command, first
platoon, right [INAUDIBLE] ho!

Sir, would you
repeat the orders?

Yes, sir.

I'll peel them right
after this drill.

[INAUDIBLE] ho!

[MUSIC PLAYING]

-Hey soldier!

-[SCAT SINGING]

-[SCAT SINGING]

-[SCAT SINGING]

-[SCAT SINGING]
-[SCAT SINGING]

-[SCAT SINGING]

-[SCAT SINGING]

[MUSIC PLAYING]

[APPLAUSE]

-Hey Ray, how about
your autograph?

-OK.

[LAUGHTER]

-Excuse me, boys.

I've got to turn
on the phonograph.

-Do you theater people
have these canteens

all over the country?

-Oh sure we do.

We've got canteens--
why they have

one canteen in Washington DC.

It's the darnedest
thing you ever saw.

They don't have famous actors
waiting on the soldiers

like they do here.

Down in Washington,
Congressmen wait on the boys.

Those boys will starve to death
down there, you mark my words.

-Why, Mr. Wynn?

-Well, you know
how long it takes

a Congressman to pass anything.

[LAUGHTER]

-You wait and see.

[MUSIC PLAYING]

-This music means
good night, soldier.

-Well, good night, Eileen.

And goodbye two, I guess.

Are you coming here
tomorrow night?

-Why?

-Well, with me gone,
I thought maybe

you'd come and really
enjoy yourself.

-You know, Jeanne, you have
given me my happiest moment

since I joined the service.

-Oh, I'm glad.

-I hope you don't
sail, California.

I hope you'll be back.

Because I'd like to
be your girl again.

-I--

-Something wrong
with your throat?

-Yeah.

There's a lump in it.

-My feet's beat, beat
right down to my socks.

I'm soaking wet.

-That sailor I was with
danced like he was seasick.

And my last pair of nylons.

-Gee, I wish this war was over.

My feet hurt so.

-That little old boy from
Texas danced a pound off me.

He's the sweetest thing.

-The one I drew threw
cracks at me all evening.

-From where I sat,
it seemed like you

were throwing a few yourself.

-How'd you like it, Eileen?

-So-so.

Didn't even meet
Brock Pemberton.

-Oh, the way my
boy said good night

made me want it
to last all night.

-Mine used a shaving lotion
that made my knees weak.

-The boy I was with is on
his way home from Australia.

He said it's the first time
he's seen a girl in six months.

He was only 19.

-Some of them are awfully young.

-Some party, wasn't it, Dakota?

-Sure was, Romeo.

-I thought you said it
was hard for a fellow

to meet a nice girl in New York.

-I've been wrong before.

-I'm under the impression
that Yankee gal

didn't fall for
your charms, Dakota.

Why, I thought you
had a way with women.

-I guess I lost my touch.

CALIFORNIA: Dakota?

-Yes, kid?

-On our way home
tonight, you said

there was something
about Eileen.

What did you mean?

-Nothing.

I was only thinking.

CALIFORNIA: What?

-I was only thinking that
if we weren't sailing

I'd like to find out
what she's really like.

CALIFORNIA: But
you said you were

off women for the duration.

-I know.

Good night, kid.

-Good night.

I wonder how Jersey's
making out with his Mamie.

-Probably trying his darnedest
to live up to those letters

Dakota wrote for him.

-You think he'll get
in before reveille?

-I guess that's up to
his little old Mamie.

-Go on, private [INAUDIBLE].

-Well, sir, I ask myself.

Suppose something happens
to me across the water?

But then I says to myself,
suppose I don't marry Mamie,

and something happens to me?

Look what I'll miss.

-What about your intended bride,
if something happens to you?

-Well, I figured
that out too, sir.

I says to myself, Jersey,
if you get conked off,

Mamie will get your
insurance anyway.

Well anyway, sir, we got our
application to get married.

The rest is up to you, sir.

-How long have you been
going with this girl?

-Oh steady, sir, two years.

-Oh, then it isn't one of
those before shoving off

marital urges.

-Oh no, sir.

Me and Mamie fit together
like an old shoe.

-Well, I see no reason
why I shouldn't give you

permission to marry
the young lady.

Except, first, in order to
comply with the marriage laws,

you couldn't get married
until tomorrow anyway.

And second, by that
time you'll probably

be out on the Atlantic Ocean.

-You mean Mamie will have
to sleep on our intention

to wed for the duration, sir?

[PHONE RINGING]

-Captain Robertson speaking.

Why yes, Colonel Wright.

Very well, sir.

Private Wallace?

-Yes, sir?

-Looks like you're going to got
a consolation prize at least.

I can't promise the wedding.

But you and the men are going
to get another 24 hours leave.

-Oh thank you, sir.

Me and Mamie will sure know how
to use every hour of it, sir.

Thank you, sir.

Oh, pardon me, sir.

-Give my regards
to the young lady.

-Thank you, sir.

-Sergeant, issue 24-hour
passes to the company.

-Yes sir.

-I would like some
spread, please.

-Some what?

-Spread, for the bread.

-No more spread for the bread.

All out.

-No spread?

-Give me some corned
beef, will you?

-No more corned beef.

-I know, but I got
40 hungry soldiers

out there that want corned beef.
-Can I make corned beef?

-No, but I gotta have
corned-- don't stand there.

Do something.

Call somebody up, will you?

The OPA, the OPI, the OPX.

-Where?

-Washington, yes.

[INTERPOSING VOICES]

-Hello, I want to get
Washington DC, yes.

[INAUDIBLE]

Talk to somebody about
the food situation.

See, I'll get you

[INTERPOSING VOICES]

-Oh, hello, Washington.

I want to do something
about this food situation.

It's awful.
We have no corned beef.

We have no corned beef.

And we have no ketchup to
put on the corned beef.

If I was admin of Washington,
I'd fire you immediately.

MAN (ON PHONE): Do
you know who this is?

-No, and I don't care.
Who is it?

MAN (ON PHONE): This is the
head of the draft board.

-Do you know who this is?
MAN (ON PHONE): No.

-Goodbye.

-I do say it myself.

I can flirt up a
pretty sandwich.

This is for my darling.

-Well, thank you, my dear.

-Oh, it's not for you.

It's for that adorable
sailor from Savannah.

-Oh, is that the boy who
came up to me the other day

and said, thank you
Mr. [INAUDIBLE]?

And I said, you're
welcome, but what for?

And he said, I'm having so
much fun with your wife.

-Oh no, no.

That boy came from Norfolk.

-Oh, you do get
around, don't you?

-I don't, but the sailors do.

Coffee?

-If you please, ma'am.

I heard your recording of
"The White Cliffs of Dover,"

[INAUDIBLE].

-You did?

-I come from Dover.

-Oh, you do.

-I think it was magnificent.

-Oh, thank you very much.

I loved making the record.

-[INAUDIBLE]?

-I know you.

I've seen you act.

-Well, [INAUDIBLE].

Can it be that my personality
survives tray scraping?

-Aren't you Alfred Fontaine?

Isn't he?

-Yes.

Have another.

-Mr. [INAUDIBLE], my
career on the stage

won't be complete until
I've worked with you.

-Well, my boy,
now's your chance.

You walk this garbage pail
right up to [INAUDIBLE].

-Yes, Mr. [INAUDIBLE].

-Joanie, bring some more plates.

-All right, Ms. Fontaine.

-My goodness but
it's hot in here.

It's beastly hot.

I'm suffocating.

-That's what I say.

Now I feel natural.

-Oh my what a chest.

[MAKING TARZAN CRY] [COUGHING]

-Enjoying yourselves, boys?

Well, I mean, are you
getting enough to eat?

[INTERPOSING VOICES IN SPANISH]

-I hope so.

-Mrs. Kennish?

How are you, Mrs. Kennish?

It's Georgie Jessel.

Say, Mrs. Kennish, I wonder
if you wouldn't do me a favor.

It's such a lovely night out.

Would you mind walking up
four flights to my mother's

new apartment, and getting
her down to your phone?

Yeah.

No, unfortunately we
can't use our phone.

We got something is wrong.

We got with a bill, something.

I don't know.

Who knows what it is.

They sent up two men,
unscrewed the whole phone,

and took everything out.

The book they left, yes.

Oh, that's what it
is, Mrs. Kennish.

Yes, it's [INAUDIBLE]
in the downtown office.

Oh you say my mother is
there in your apartment?

Well, well that
is a coincidence.

I say it's good
that she's there.

You shouldn't r up
the stairs. yeah.

Would you put my
mother on the phone?

Say, soldier, would you tell
them I'll be right there?

-Sure.

-Thank you.

Hello?

Mom?

Georgie, your son, from
the money every week.

How are you, dear?

Oh, I'm fine.

I'm down here in the canteen.

You know, I go on in a minute.

No I, I can't talk
about the landlord now.

This will wait, like
always with the landlord.

No, you see Ethel
Merman, the star

of "Something for the
Boys" is going on.

Then I follow her.

-(SINGING) We'll be
singing hallelujah,

marching through Berlin.

We'll be singing hallelujah
marching through Berlin.

The devil put on
a different face.

He came to plague
the human race.

We'll put that old
devil back in his place.

Sing hallelujah.

Everybody clap hounds.

Shout hooray.

All their troubles
be carried away.

That Hitler man will
meet his judgement day.

Sing hallelujah!

We'll be singing hallelujah
marching through Berlin.

We'll be singing hallelujah
marching through Berlin.

When we get there,
we're gonna see

the world has peace and liberty.

That's the way it's
gotta be. 'Cause man's

no good unless he's free.

We'll be singing hallelujah
marching through Berlin.

We'll be singing
hallelujah marching

through Berlin,
marching through Berlin.

[CHEERING]

-I want to thank you girls
for filling in for us tonight.

I know how hard it is
in shoes and stockings.

-Oh, we wouldn't mind
coming every night.

-You got a letter
from cousin Milford.

All right.

What does he say?

He's in the Army three months.

He's already a
Brigadier General?

Yeah, [INAUDIBLE]
three months, you

couldn't be a Brigadier General.

Read the letter again.

He's generally in the brig.

This I thought.

This I thought.

Yeah.

Well all right, look.

I can't talk about
it anymore now.

Because I gotta
follow Xavier Cugat.

That's the Rumba King.

Xavier.

Xavier.

Xavier.

Stop saying gesundheit.

That's the man's
name, Xavier Cugat.

[APPLAUSE]

--[SPEAKING SPANISH] "The
Bombshell from Brooklyn."

You know, I've been
practicing on my accent

so much that it's
becoming perfect.

[LAUGHTER]

[MUSIC - "BOMBSHELL FROM
BROOKLYN"]

-(SINGING) She's a
bombshell of Brazilian

who has yet to see Brazil.

If I ever had a million,
I would [INAUDIBLE].

-(SINGING) She's a
bombshell from the Pampas.

She's a lady who has
been through the mill.

Just a bombshell from
Brooklyn, and not from Brazil.

And her accent is atrocious.

She's a senorita with
beans to spill, a bombshell

from Brooklyn, and
not from Brazil.

The only thing Brazilian
about her is her bump.

It makes your heart
begin to jump.

And though she talks of
haciendas to a chump,

she made her debut in
his Coney Island dump.

She is known as Belladonna.

But her birth
certificate says McGill.

She's a bombshell from
Brooklyn, and not from Brazil.

[MUSIC - "BOMBSHELL FROM
BROOKLYN"]

[APPLAUSE]

[MUSIC PLAYING]

-Well, I guess we better start
circulating ourselves, Eileen.

-Beg your pardon, miss.

But, uh, are you taken?

-Am I what?

-Are you taken for this dance?

-Oh, no.

-Any of our boys told you what
Australian beer is made of?

-No.

-It's made of,
uh, kangaroo hops.

-I'm going to wind
up a commando.

-You sure will.

-Not bad.

Cut the rug, Judy.

-Oh, is that so?

-Yeah.

-Oh.

-Oh.

-Oh.

-If she's cutting at all,
she's cut with me, see.

-Well, I'm cutting in, see.

-Well we wasn't dancing, see.

The lady was just showing
me a couple of steps.

-Well, I'll show her a
couple of steps, see.

-Maybe I can show you
a couple of steps.

-Now, now, now just between
us, boys, look here now.

There are rules in this joint.

You can't fight, you
can't dance together,

and I can't dance with you,
because I'm a senior hostess,

see?

-Who's yous?

-Mes?

Oh!

-Miss, uh, Ms. Ina Claire, may
I have your autograph please?

-Ah, a soldier and a gentleman.

Yous.

Here.

-All right.

All right.

Put Sister Erna on.

Hello, Erna.

Look, honey, I know this
isn't the time or a place

to say such things to you.

But what's going to be with
that fellow, for heaven's sake?

You're engaged now
33 years, Erna.

When he gets a job?

But he wouldn't get a job.

Any fellow who gets fired
from five and 10 cent store

because he can't
remember the prices, such

a fellow-- I'll be
there, [INAUDIBLE].

I'll be there.

Hello.

-What are you sticking
your neck out for?

Food or gals?

-Gals, sir.

-And I hope we find our own.

-Oh, you've been here before.

-Oh yes, sir.

We know our way around.

[LAUGHING]

-Before I joined up,
I was an engineer

on a banana plantation.

-An engineer on a
banana plantation?

-That's right.

I had charge of the machine
that bends the bananas.

[LAUGHING]

-She show you her
clippings, saucy?

She tell you how
she went nuts better

than anybody ever
went nuts before?

-Yes, but I thought
you went out.

I didn't know you was
having a private war.

Takes me back to
the sands of Egypt.

Take over, matey.

I held her for you.

-Thanks, pal.

-Look what we found, Dakota.

A little old Yankee gal, and
a daughter of the Confederacy.

-You want to dance?

-I just finished, thanks.

-I thought you weren't
coming tonight.

-I thought you were
on the high seas.

-Otherwise you wouldn't
have come, huh?

-Nice of that Australian
to look out for me for you.

-Oh, he knows you interest me.

-Oh, how chummy.

I suppose you talked me over.

-Sure.

He's stationed near
us over in Jersey.

He said if he got here before I
did, he'd rope you off for me.

I told him to look for the
prettiest girl in the place.

That's how he identified you.

-Hey, uh, you ever been
in this place before?

-Yeah, sure.

Well, look.

I've been in both
these here wars.

And, uh, I've been
pretty joints.

But I just can't
figure this one out.

-What do you mean, Sarge?

-Well, you come in.

You get free chow, free
entertainment, free dancing.

And with dames that come
right up and ask you to.

What I'd like to know is,
uh, when do we get clipped?

-Relax, Sergeant.

You don't.

It's on the level.

-What?

You mean we don't even
get rolled afterwards?

DAKOTA: Why no.

Let's see your hand, Eileen.

-Looks like you've
already got it.

-Mm, I thought so.

I'd never have guessed it.

-Guessed what?

-That you've got a lot
of emotion, and stuff.

And look at your
mountain of the sun.

You're going to be famous.

-On the stage?

-Didn't say where, just famous.

And look at your heart line.

You're going to meet
a guy in your 20s.

This fellow's going
away for awhile.

Says here he's coming back.

-Does it say I'll be gone
when he does come back?

-Yes.

He'll have to find you.

-Since I'm going to
be famous, I guess

he'll just have to look in
the headlines, won't he?

-Just one thing to
look out for, it says.

Not to be too ambitious or
cold-blooded about letting

your head guide you
more than your heart.

LOUDSPEAKER:
Attention, attention,

attention, everybody.

Attention.

Men attached to
the following unit

will report back their
post immediately.

This is an official order
from your commanding officer.

All men from the first
battalion 28 Marines

will report for duty at once.

-Goodbye, Helen.

This is it.

-So long, Jim, for
a little while.

-I sure hope so.

[ALL SINGING]

-Oh boy.

For a while I thought it
was going to be our outfit.

-I did too, for a minute.

I thought they were
going to call your name.

-Well, I didn't even
know you remembered it.

-Smith, Private Smith, isn't it.

-That's right.

-What's the matter with you two?

Haven't you been
properly introduced?

-We got to know each other
pretty well, Ms. Anderson.

-As they say in Madison
Square Garden, ma'am,

this is a return engagement.

--[LAUGHING] Well, I'll bet
two to one on the soldier.

Knock out in the second round.

-I like your friend,
Ms. Anderson.

-You and a few million others.

-What?

She famous?

-Are you kidding?

-Oh, she's Judith Anderson.

Why sure.

She played Mrs.
Danvers in "Rebeca."

-Oh, they do have
movies in Sioux Falls.

-We're not that
deep in the sticks.

I guess I'm not very
good company for you.

I must seem like a sap to you.

-Gordon said last night he'd
lost his touch with women.

-I'd like to give her a
quick kick in the you know.

-[CHUCKLING]

-I guess I'll head back to camp.

So long.

I'll see you and California
back at the barrack.

-Anything wrong?

-Yeah, with me.

-Uh, could I please
talk to you a minute?

You see, you see my wife's
having a baby back home.

She's in the hospital tonight.

And I can't be with her.

Gee, I'd sure love
to talk to somebody.

-Why certainly.

[LAUGHING]

-OK, boys.

Run along and have a good time.

If you want anything,
just holler.

-You're a swell
fellow, Tallulah.

-Thanks, Ms. Bankhead.

-You're not so bad yourself.

-I didn't know it was this late.

I'd better get going.

Mizpah.

-Mizpah?

What does that mean?

-Where did you get that
expression, young man?

-Oh, that's a little something
between me and my wife.

Instead of saying goodbye,
we always say mizpah.

-Well, what does it mean?

-It's a word from the Bible.

It's beautiful.

It means the Lord
watches between me

and thee while we are
absent one from another.

Well, soldier, you'll do your
job well under that sign.

And don't forget
we're going to do

our job well too,
under the same sign.

Mizpah, soldier.

-Mizpah.

-Ah ah ah ah.

Take it easy, sailor.

Don't go overboard.

-And now, everybody,
Guy Lombardo,

playing "Sleep, Baby
Sleep, in Your Jeep."

[MUSIC - "SLEEP, BABY, SLEEP, IN
YOUR JEEP"]

-(SINGING) Out 'neath the
[INAUDIBLE] sky where you lie,

I hope that you
hear this lullaby.

Sleep, baby, sleep in
your Jeep far away,

across the deep blue sea.

May you dream of me.

May angels care for
my boy over there,

and my prayer shall [INAUDIBLE].

May you dream of me.

You're just a babe
in my arms, a kid

on my knee, a wee little
tot nearly six foot three.

So sleep, baby,
sleep in your Jeep

while the blue shadows creep.

And then dream of me again.

-What's the matter?

-I asked him what his girl
had that I didn't have,

and he told me.

The rat.

[MUSIC - "SLEEP, BABY, SLEEP, IN
YOUR JEEP"]

[APPLAUSE]

-You know what?

-No, what?

-I've never even kissed a girl.

-Didn't you ever even
play post office?

-Oh yes.

But I never had the
nerve to collect

anything that a
girl sent for me.

Know what I've been wondering?

-Mhmm, I think so.

Would you like me to be
your number one kiss?

I'd be honored, California.

Of course, I, I wouldn't
dream of breaking

the rules down here.

But I'll bend them
a little for you.

You just pick your moment
when the lights are down

a little bit, and the
music's just right.

-(SINGING) So I'll say
good night sweetheart.

Until we meet tomorrow.

Good night sweetheart.

Sleep will [INAUDIBLE] sorrow.

Tears and parting
may make us forlorn.

But with the dawn
a new day's born.

-This music's just
right for-- you know.

SINGER: (SINGING) Though
I'm not beside you.

-Of course, the lights
are pretty bright.

-Want me to close my eyes?

SINGER: (SINGING) Sweetheart.

Still my love will guide you.

Dreams enfold you in--

-That isn't any old
phonograph record.

That's Kenny Baker singing.

-(SINGING) Good
night sweetheart.

Good night.

-I guess there are too
many people around.

-I'm sorry, California.

-So am I, Jeanne.

-Good night.

-Good night.

-California asked me how
old I was again tonight.

-What did you tell him, honey?

-A lie.

-Texas says that kid loads
their anti-tank gun faster

than any man in the
whole [INAUDIBLE].

-Oh girls, I had a
call from Gilbert

Miller Office for his new play.

And the part's a peach.

-Well, if it isn't
the life of the party.

-I'd be ashamed
of myself, Eileen,

treating Dakota like dirt.

-You certainly were an
all around heel tonight.

-The way you walked out on him.

-Who walked out on who?

I had to talk to a soldier
who was going to have a baby.

The way you two
jump on me, you'd

think he was General MacArthur.

-Well not yet, sugar.

But Texas does say he's
the best gunner there is.

-Oh, is that what he does?

-My goodness.

You've certainly been
showing a mighty lack

of interest in that young man.

-Did you know Dakota
turned out Sergeant stripes

just so he could
stick with his pals?

No, he's not General
MacArthur, but the boys

swear by him just the same.

-Dakota's a sweet boy, a lot
sweeter than he gets treated.

-He gets back what he gives out.

-Ever occur to you that if you
gave out with something nice,

that's what you'd get back?

-I sure do like the taste
of this new toothpaste.

Reminds me of mint juleps.

Now I'm going to read
my mail in comfort.

Texas says he feels out of place
[INAUDIBLE] canteen, Jeanne.

He wishes we could have
been back down South

under a little
old magnolia tree.

I kind of wish the same thing.

He's right cute.

-Darn it.

I, I wish California
had kissed me

tonight when nobody was looking.

I left myself wide open.

I kept think they'll
sail away without anybody

ever kissing him.

And it would be my fault, too.

I was sort of his last chance.

-Here's letter for you,
Jeanne, mixed up in mine.

It looks like it's
from your brother.

-Oh, Marine Corps, it is!

-That cute, handsome,
[INAUDIBLE].

Does he know Mary's
had her baby?

-Mhmm.

Mary wrote him.

The letter's on its way.

It's a boy.

-What's the matter?

Something wrong?

-No, but, just listen to this.

Dear sis, I'm still waiting to
hear from Mary about whether we

have a son or a
daughter or both.

By the time you receive
this, you and the folks

may have read about
us in the newspapers.

You know how censorship is.

I just want you to know, sis,
that I'm not afraid of anything

that may be ahead, and
assure you that we are all

anxious to do our utmost in
any engagement we might have.

We know our weapons
and equipment

are superior to theirs.

And in addition, each one of
us knows that man for man,

a Marine can out-shoot,
out-bayonet, outlast,

and if necessary kill
any blankety-blank Jap

he has seen so far
with his bare hands.

They can talk all they want
about the Japs' jiujitsu.

But a Marine will tell
you it doesn't work

against a roundhouse
right to the jaw.

Though neither I nor none of
you have mentioned it before,

there's naturally
a chance that I

may not come back from this war.

And of course I still
don't think folks

or Mary should be
reminded of it.

However, sis, I'd like
you, more than anyone,

to know my feelings.

Dad and mom always
did everything

a son could wish for.

You've been the perfect sister.

And I certainly consider myself
the luckiest man in the world

in having Mary for my wife.

Certainly no one in
this world has a greater

claim to happiness than I have.

I remember what dad
said when we all

had dinner before I shoved off.

He said that other
things may not matter,

but that I could never
live down a failure

in my country's service.

And I won't fail dad,
whatever happens.

Just as I remember always how
lucky I am to have a kid sister

like you.

Bill.

-He'll come back, honey.

-I know.

But I'll say my
prayers just the same.

Kind of gets you, though,
kids like Bill and California,

Dakota, and Texas.

-I guess this is as
good a time as any

to realize what
a heel I've been.

Good night, kids.

-Goodnight, honey.

-Night, Ella Sue.

-Night, y'all.

-Roll out, men.

On your feet, Tex.

Nobody ever won a medal in bed.

-Anybody ever did it
would be little old me.

-Gee, do you guys realize my
Mamie is only a couple of miles

away?

-Uh, mister?

Come here.

Um, you know Jersey Wallace?

-No, ma'am.

-We're going to get
married this morning

if he doesn't have
to go someplace.

-We've been going
together two years.

So his captain
gave him permission

[INAUDIBLE] you know.

-Yes, miss.

I know.

I hope you make it.

-Jersey and me figured
if it means we'll only

have the net 24 hours
together as man and wife,

it'll be worth it.

It's too bad you
don't know Jersey.

You'd be crazy about
him, like I am.

You ought to read the
beautiful letters he writes me.

I carry them with
me every place.

I like to read them over
while I eat my lunch.

Oh, the suspense is killing me.

JERSEY: Hey, Mamie, we're in!

24 hours.

Aww gee, honey.

We've got another
24 hours, baby.

Meet my best men.

This is Dakota.

This is Texas.

-Hello, Mamie.

-Hello.

-Well, you're right
pretty for a Yankee.

-[INAUDIBLE].

Oh, here's California.

He'll be your bridesmaid.

-Hello, Mamie.

-Oh gee, Jersey.

Being married to you is going
to be the most wonderful

thing that ever happened to me.

-Did you pick out
a marriage chapel?

-Yeah.

I got this one.

We'll get everything
for $10, including

the fellow who plays the organ.

-Oh gee.

That's swell.

Come on, guys.

Let's go.

[ORGAN MUSIC]

OFFICIANT: [INAUDIBLE] this man
to thy wedded husband, to live

together after God's
ordinance in the holiest

state of matrimony?

-I will.

-Well-- oh, yes.

Who gives this
woman in marriage?

-I guess I do, your honor.

-You will love each other,
and comfort each other?

-We will.

-We will.

-Repeat these words after me.

-In sickness and in health.

-In sickness and in health.

-Until death us do part.

-Until death us do part.

-As long as you both shall live.

-As long as we both shall live.

-Well, [CHUCKLING] nice of
you guys to escort us here.

[CHUCKLING] So long.

-Aren't you going
to invite us in?

-Well--

-Um, don't we get
to kiss the bride?

-Oh yeah, yeah help yourself,
now that I've signed her up.

-Uh, I've sort of promised my
first kiss to somebody else.

But I know you'll like
being married to Jersey.

I've been eating across
from him for six months.

He doesn't look so
good in the mornings,

but you get sort
of used to that.

[LAUGHTER]

-Uh, well, uh--

-Just what I was thinking.

Let's go, guys.

-OK.

Goodbye.

-Bye.

-See you later, fellows.

-(SINGING) How can I leave thee?

How can I from thee part?

You only have my heart--

-What are you guys going to do
between now and five o'clock

until the old canteen opens?

-I'm not going to
the canteen tonight.

-What else you guys want to do?

-Let's bowl.

-Oh, I'd rather go back
to the canteen, Dakota.

-Well, you run along
with Tex, then.

-No, I'll stick with you.

-Aw, who wants to bowl?

Besides, we don't
need the exercise.

We're getting plenty of
it where we're going.

I'll take in the
canteen tonight.

See you guys later.

-I wonder if Jeanne
will be there tonight.

-OK, kid.

We'll bowl this
afternoon, and go back

to the canteen tonight
for another fling.

-Thanks, Dakota.

-I should be envious of
you, Eileen, but I'm not.

You deserve it.

You read the lines beautifully.

-Thank you.

-Congratulations.

-What a break, playing
opposite Paul Muni.

-Bye.

I

-See you at rehearsal.

-So long.

And thanks.

It's funny.

This is the day I've
been waiting for.

But somehow I'm, I'm not
getting the kick out of it

that I thought I would.

-I know what's bothering you.

You're still thinking
of Dakota, aren't you?

Oh, come on.

Forget it.

He's, he's probably
forgotten you by now.

-Sure he has.

And he certainly took away
a fine impression of me,

didn't he?

-Oh, snap out of it.

-Hello, Eileen.

I hear you're in.

Good girl.

-Thanks, Mr. Muni.

Oh, this is my
friend, Ms. Ruble.

[INTERPOSING VOICES]

-Say, we're going over
for a little dinner

to celebrate, over
at the Algonquin.

Nothing elaborate,
just something quiet.

How about you two
joining us, eh?

-Oh, I'd love to, Mr. Muni.

But I--

-But I, But I. Come, come.

I won't take no for an answer.

See you over there, both of you.

Bye.

-Bye.

-Elsa, Elsa, I'd
like to be a giraffe.

-Why a giraffe?

So I could get in a
little extra necking.

[LAUGHTER]

-I'd like to be a skunk.

A skunk?

Why?

-So I could choose
my own friends.

[LAUGHTER]

-The boys are far too good.

I think we've got to
give he girls a chance.

Girls, $10 for the best answer.

If you could be any woman,
what woman would you be?

-Hitler's widow!

[CHEERS]

-Fellows, Ms. Ethel Waters
and the famous Count

Basie and his orchestra.

[APPLAUSE]

[PLAYING MUSIC]

-(SINGING) When you
sang your love song,

you used to make me sigh.

I listened.

When you call me, I
followed and followed

you til I was
swallowed by quicksand.

It was the devil who
brought you to me.

Now I'm caught in
those quicksands

that keep dragging me down.

Quicksands.

I knew your love couldn't last.

Here am I, sinking fast,
in those quicksands

that keep on dragging me down.

It was [INAUDIBLE].

I was walking with
you [INAUDIBLE].

How can our feet
ever carry my heart?

It's so [INAUDIBLE].

I heard those beautiful lies
with my eyes toward the skies.

Then those quicksands
started pulling

me down, down, way down.

Quicksand, you keep
on dragging me down.

[APPLAUSE]

-This is my last night at
the canteen, Ms. Skinner.

I'm joining the WAC tomorrow.

-Good girl, Patsy.

-Oh, fun.

-Dr. Kirsten, Mr. Hirshel.

-I'm from California.

And I've always--

-So am I.

-Excuse me, Mr.
Hirschl, but we're

trying to get some
friends in here.

-Well, bring them right in.

-Well, you see, we met them at
a bowling alley this afternoon.

-They're Russian sailors.

-All the more reason.

-One of them is a girl.

-Are they in uniform?

-Not all of them.

-Well, those without
uniform can go over

to our Merchant Marine canteen.

-Well, they don't understand
English very well except one.

He's the guide.

I think they'll have
to stick together.

-Well, as long as they're
here, why shouldn't we

at least let them look around?

-Certainly, Gene.

You can bring them in
as your personal guests.

I'm sure the boys
would love to see them.

-Uh, is there anybody here
who can speak Russian?

-Sam Jap.

He's a busboy tonight.

He's our man.

-Good.

-I'll get him.

-Bring in your friends.

[INTERPOSING VOICES]

-You haven't missed
one time, have you?

Wonderful.

-Hold everything.

Settle down for a second.

This young lady and these
men are our fighting allies.

They're Russian warriors.

All five of them
have been in battle.

This man here has been
wounded three times,

was discharged, and joined
the fleet as a volunteer,

believe it or not to recuperate.

[LAUGHTER]

-[SPEAKING RUSSIAN]

-[SPEAKING RUSSIAN]

-Oh, he's not afraid
of submarines.

He's been torpedoed three times.

-Are you a fighter?

-What is that, fighter?

-[MIMICKING AUTOMATIC WEAPON]

-Yes.

I seen battle.

-Many times?

-Yes, many times.

-What position do
you hold on the boat?

-I don't understand you.

-[SPEAKING RUSSIAN]

-I am assistant of captain.

go back to me yes you have any
romance of them I may have been

going so where is your baby
we want to know you need and

of Germans in occupied Russia.

-Then I can imagine what you
would do if you me a Nazi.

-Yes, my hand would not tremble.

[CHEERING]

-These people represent
the flesh and blood

that stopped the
Germans at Stalingrad.

Did I say stopped?

I meant exterminated.

Yes, we're all in the
same fight together.

Now go ahead and
have a good time.

[CHEERING]

-Boys, quiet for a moment.

You're going to meet an eminent
authoress, a lady of letters,

a young writer who went
from without rags to riches.

Also star of Star and Garter,
our own Gypsy Rose Lee.

[CHEERING]

-Have you the faintest
idea about the private life

of an exotic dancer?

Well, up until a
few years ago, it

was New York's second
largest industry.

Now the fan dancer's
education requires

years of concentration.

And for the sake of
explanation, take a look at me.

I began at the age of
three, learning ballet

at the Royal Imperial
School in Moscow.

Oh, I suffered and
suffered for my art.

Then of course, sweet briar.

Oh, dear college days.

And after four years of
psychology, zoology, biology,

and anthropology, my
education was complete.

And I was ready to make
my professional debut

for the Minsky's on 14th Street.

Now the things that go
on in a fan dancer's mind

would give you no
end of surprise.

But if you're
psychologically inclined,

there's more to see
than meets the eyes.

For an example, when I
lower my gown a fraction,

and expose a patch
of shoulder, I'm

not interested in your
reaction, or in the bareness

of my shoulder.

I'm thinking of some
painting, by van Gogh

or by Cezanne, or
the charm I found

in reading "Lady
Windermere's Fan."

When I lower the other side,
expose my other shoulder,

do you think I take
the slightest pride

in the whiteness
of that shoulder?

I'm thinking of
my country house,

or the jolly funny shooting--

[CHEERING]

-Have you the faintest
idea about the private life

an exotic dancer?

Well, up with a
few years ago, it

was New York's second
largest industry.

Now a fan dancer's
education requires

years of concentration.

And for the sake of
explanation, take a look at me.

I began at the age of
three, learning ballet

at the Royal Imperial
School in Moscow.

Oh, I suffered and
suffered for my art.

Then of course, sweet briar.

Oh dear college days.

And after four years of
psychology, zoology, biology,

and anthropology, my
education was complete.

And I was ready to make
my professional debut

for the Minsky's on 14th Street.

Now the things that go
in a fan dancer's mind

would give you no
end of surprise.

But if you're
psychologically inclined,

there's more to see
than meets the eyes.

For an example, when I
lower my gown a fraction,

and expose a patch
of shoulder, I'm

not interested in your
reaction, on in the bareness

of my shoulder.

I'm thinking of some
painting, by van Gogh

or by Cezanne, or
the charm I found

in reading "Lady
Windermere's Fan."

When I lower the other side,
expose my other shoulder,

do you think I take
the slightest pride

in the whiteness
of that shoulder?

I'm thinking of
my country house,

or the jolly funny
shooting grouse.

[MUSIC PLAYING]

-There's the music.

And that's my cue.

There's only one
thing left to do.

So I do it.

[MUSIC PLAYING]

-And when I raise my skirts,
with slyness and dexterity,

I'm mentally computing just
how much I'll give to charity.

And the white stockings I have
revealed, and just a bit of me

remains concealed.

I'm thinking of [INAUDIBLE] or
the third chapter of "All This,

and Heaven, Too,"
and none of those men

whose minds are obscene.

Ooh!

They leave me apathetic.

I prefer the more aesthetic,
thins like dramas by Rossini.

-Aww!

[MUSIC PLAYING]

[LAUGHTER]

[MUSIC PLAYING]

[LAUGHTER]

[MUSIC PLAYING]

[LAUGHTER]

-And then I take
the last thing off.

[GROANING]

-Well, practically.

And stand there shyly,
looking demurely at every man.

Do you believe for one moment
that I'm thinking of art?

MEN: No!

-Well, I certainly had am.

[CHEERING]

-That's all there is.

There isn't anymore.

-Do it like you did
in Star and Garter.

-Oh, boys, I couldn't.

I'd catch cold!

[CHEERING]

-Don't you ever
smile, Mr. Sparks?

-I'm smiling now.

-Well, uh, tell me, sir.

How did your face get that way?

-Don't you know where
everything is frozen these days?

-So that's the last
I saw of Egypt.

-Yes, well, I'd like you
to meet a pal of mine

who's maybe going
where you've been.

Dakota, meet Johnny Jones, a
real fighting man fresh and hot

from Australia.

-Oh, how was it down there?

-All kind of exciting spots.

I'm itching to get back.

-What's that you got
on your chest, Johnny?

-Oh, just a ribbon.

-Yeah, but it comes with a
Distinguished Service Cross.

-It's been a
pleasure meeting you.

I hope we meet again,
maybe down there.

-Right.

[INTERPOSING VOICES]

-What is it, boys? s there
something you wanted to ask me?

-How did you know?

-Oh, I've had this
experience before.

You just flew over, and
you want your English pound

notes changed into
American dollars.

Am I right about that?

-We want to do the town
before we take off.

-Good.

-We don't want to
short change you.

-Oh, don't you worry about that.

-[INAUDIBLE].

-Oh, yes, Johnny.

Here I am.

-Our MC isn't back yet.

He had to go to his radio show.

Would you please
introduce Freddy Martin?

-Oh, yes, of course.

Where is he?

-He's on stage already.

-All right.

I'll be right there.

-Thank you.

-Goodbye again, boys.

Good luck.

And happy landing.

[INTERPOSING VOICES]

[APPLAUSE]

-There's no need of introducing
Freddy Martin to you,

because I see that
you all know him.

[PLAYING MUSIC]

-(SINGING) Hurry home and get
yourself a comb and toothbrush.

Pack a pillow full of
dreams that may come true.

-(SINGING) In a little place
they call Don't Worry Island,

we can lease a piece
of paradise for two.

-(SINGING) There's a chipper
skipper on the moonlight

flipper who will stow away
your troubles in the sea.

-(SINGING) It's been said he's
heading for Don't Worry Island.

And if that's where he
is going, so are we.

-(SINGING) Concerning clothes,
I would advise a pair of lips,

a pair of eyes.

Outside of those,
take all the charm

that you can put into my arms.

-(SINGING) You can
reach right out

and pick a peach for breakfast.

You can shake your
dinner off an apple tree.

To a little place they call
Don't Worry Island, take along

your blue sarong,
and come with me.

-Gee, I wish Jeanne were here.

-[INAUDIBLE].

-How are you?

-Hello, boys.

Gotta get our aprons on.

-Hello.

-Hello, sugar.

-Hi, honey.

-Oh, where's Eileen?

-Looks like she's
gone and got a part

in Gilbert Miller's new show.

Guess she's off celebrating.

-Hear that you guys, Eileen's
landed a part in a show.

Isn't that great?

-Yeah.

And I bet you're
wondering why she isn't

doing her celebrating down here.

-Why sure.

We celebrate good.

-Are you here all the
way from [INAUDIBLE]?

-Yes.

-I'm one of the
Chinese Air Cadets

who came here to earn our wings.

-Too bad we haven't any chop
suey here for you Chinese boys,

I reckon.

-I'm thinking of introducing
chop suey in China when I get

back as the latest
American novelty.

-You sure do talk
funny for an Air Cadet

all the way from China.

-Well, and you sure
talk funny for a man

from the United States.

-Hey, aren't those
wings you're wearing?

-Yes.

We won them today.

And we're leaving
for China tonight.

You see, we are
rather anxious to try

our wings on those
sons of-- heaven.

--[INAUDIBLE] they
just won their wings,

and they're heading home
for a crack at Hirohito.

-The Chinese fighting march.

[PLAYING MUSIC]

-The commanding officer
of these new pilots

has asked me to speak for him.

He wants me to thank you boys
for your warm demonstration

of our feeling for them.

Don't you think it is
we who should thank them

and all the Chinese people
for their magnificent courage

and steadfastness?

It is like a light to guide
the free peoples of the world.

[APPLAUSE]

-Yes, that's a small
indication of how we feel.

And now, their
officer regrets having

to take them away so early.

But it seems they have some
work to do across the Pacific.

[CHEERING]

[MUSIC - "AULD LANG SYNE"]

-I want to thank you
boys for your friendship.

And I hope we meet again.

-So long, friend.

-Goodbye.

And don't forget to send
me a postcard from Tokyo.

-You bet I will Ms. Lang.

And thanks for your kindness.

-[INAUDIBLE].

[MUSIC - "AULD LANG SYNE"]

[CHEERING]

-Thank you very much.

Thank you, [INAUDIBLE].

We won't forget.

-Good luck.

Did you hear that, Dame May?

They were thanking us?

-Yes, I heard.

-What, eating alone, soldier?

-Yes.

Eileen isn't here
tonight, Ms. Anderson.

-Oh, well, do you want me to
introduce you to another girl?

-No thanks.

If it's the same Ms. Anderson,
I guess I'll just sit here.

And I, I want to apologize
for not knowing who you were.

-No apologies necessary.

I didn't know who
you were, either.

-Attention.

[APPLAUSE]

-[INAUDIBLE].

-(SINGING) A pair
of little people,

their biggest moment comes.

She says goodbye.

His soft reply is
heard above the drums.

In dreams we'll
always be together.

Beneath the moonlight sky,
we mustn't say goodbye.

Each night, I'll push
aside the mountains.

I'll drain the ocean dry.

We mustn't say goodbye.

I promise you that when
the postman rings, my heart

will be inside the
envelope he brings.

Oh don't you know the memories
we gather can never, never die?

We mustn't say goodbye.

I promise you that when
the postman rings, my heart

will be inside the
envelope he brings.

Oh don't you know the memories
we gather can never, never die?

We mustn't say goodbye.

[APPLAUSE]

-Hello.

-Well, you're all dressed up
to celebrate the new part?

-The girl tell you?

-Yeah.

Good luck.

I hope you're a hit.

-Well, thanks, Dakota.

-Well, there's no sense
in keeping the guy you're

going to celebrate with waiting.

-Don't you want me to stay here?

I had my hair done and
wore this dress for you.

-Yeah, I'll bet.

You said to yourself,
I'll bet Dakota

would like my hair
fixed this way.

But we'll probably never
see each other again.

I don't mean anything to you.

And--

-And I don't mean
anything to you.

Is that what you
were going to say?

-Oh, I was.

I couldn't finish it.

[APPLAUSE]

-And now, here's
something for the cats.

I'm going to bring you a clanky
brawl by a sharpie who plays

a licorice stick that's
out of this world.

The guy who knocked
them off their seats,

and rolled them into a
groove, Benny Goodman.

[CHEERING]

[PLAYING MUSIC]

-(SINGING) You had
plenty money, 1922.

You let other women
make a fool of you.

Why don't you do right,
like some other men do?

Get out of here, and
get me some money, too.

[PLAYING MUSIC]

-(SINGING) If you had
prepared 20 years ago,

you wouldn't be a-wandering
now from door to door.

Why don't you do right,
like some other men do?

Get out of here, and
get me some money, too.

[PLAYING MUSIC]

-(SINGING) Why don't you do
right, like some other men do?

Like some other men do.

[CHEERING]

[PLAYING MUSIC]

-OK, sugar.

Come on.

Give me some skin.

-What's that?

-Don't you jump?

-Huh?

-Jitter?

-Oh, not so good.

-Oh, well come on, honey.

I'll teach you.

[PLAYING MUSIC]

-Do your eyes
bother you, Jeanne?

-No, California.

Why?

-Well, they're killing me.

--[LAUGHING] Oh California,
you're my dream man.

How about it?

Do you want to hold
me while you dance?

-Mhmm.

[MUSIC PLAYING]

[CHEERING]

-Hello?

[HONKING]

-Hello!

[HONKING]

-[SCREAMING]

[HONKING]

-Hey.

Take your hat off.

Can't you see the ladies?

[HONK]

-Come on.

Take it off.

[LAUGHTER]

-Oh!

[LAUGHTER]

-Quiet, quiet everybody, please.

There comes a time
in everyone's life

when a moment of
seriousness is appreciated.

We offer you that
moment tonight.

It is my pleasure and privilege
to introduce one of the world's

great concert
violinists, Mr. Menuhin.

[APPLAUSE]

-I would like to play for
you, Schubert's "Ave Maria."

[MUSIC - "AVE MARIA"]

[APPLAUSE AND CHEERS]

-And now for the
first insect that's

ever been in the
Stage Door Canteen--

the "Flight of the Bumblebee."

[LAUGHTER]

[MUSIC - "FLIGHT OF THE
BUMBLEBEE"]

[APPLAUSE AND CHEERS]

-It's funny.

It wasn't hard to find
things to say when

we were taking
cracks at each other.

Now I--

-You've run out of words?

-No.

I'm just trying to
find the right ones.

We've wasted a lot
of time, haven't we?

Things keep coming to my mind.

And I feel like talking.

But we haven't any more time.

-I like this song.

But it seems like they
always play it too soon.

[MUSIC PLAYING]

-I'm going to make
it tonight, you know.

-I know.

And I'll be ready and waiting.

[MUSIC PLAYING]

-Pass the ammunition.

[MUSIC PLAYING]

-I know.

I'd love to meet you afterwards.

But you know the
rules too, Dakota.

I can't.

-Please, just for
a little while.

You realize we've never
been alone together.

-They'd pick up my pass.

I wouldn't want that to happen.

-Nobody need know.

-It's like the honor
system at school.

Even your best friends
have to report you.

-Suppose I were just anybody
who wanted to be with you,

and I just happened to see you.

That wouldn't make me a date.

-I just can't tell you the
subway station where I get off.

It's against the rules.

But the girls,
they live with me.

And they got off at
Washington Square.

-Goodnight, honey.

-Good night, sugar.

-Good night, California.

-Good night.

-I'll see you later.

-Hey, Dakota.

Why don't we stop off and
see "The Honeymooners?"

-I'll see you guys
at the barracks.

-Ah ah ah ah ah ah ah ah.

-[CHUCKLING] Coffee, yeah.

Lost my ration book.

Been a long time, you know?
[CHUCKLING] Ugh, FBI, huh?

-And Texas says he doesn't
like glamour girls.

He likes girls that
don't [INAUDIBLE].

Tex is awfully smooth.

He never says what
he's thinking.

-Who's got a key tonight?

I must have left mine
in my other purse.

-I've got mine.

If they go to
Egypt, do you think

they'll fall for those Egyptian
women with the [INAUDIBLE]?

-Oh, Ella Sua, are you sure you
locked the front door after us?

-Oh, no.

I'm not right sure.

-Well, I won't be able to
sleep until I make certain.

-Shucks, honey.

It was my fault.

I'll go.

-Oh no, no.

I'll go!

I didn't know what to do.

I was afraid that
they'd find out.

That's all the courage I need.

-Hello, Eileen.

-Hello.

-Well, hello.

-They're from the canteen.

They'll have to report me.

Oh, Dakota.

The stairs inside keep
going right up to the roof.

As soon as I make sure
the girls are asleep,

I'll join you there.

Say something, so everybody
won't hear my heart beating.

Yours is bouncing
around a bit, too.

Boom, boom, boom, boom.

It's a wonder they'd
let you in the army

with a heart like that.

You're skipping beats.

-If I'd kissed you before
I took my examination,

I'd still be in Dakota.

-My knees are shaking,
what with everything.

-Well, shall we sit down?

-There's so much for us to
find out about each other.

I wonder if we like
the same things.

-Like what?

-Well, like, like rainy weather.

-I like [INAUDIBLE].

We never got enough back home.

-I do too.

I like everything there
is about it-- the way

it makes the roof shine
at night, walking in it,

breathing deep.

Say, how do you
look out of uniform?

-Pretty naked.

[LAUGHING]

-What kind of clothes
do you like best?

-Uh, old ones,
baggy, [INAUDIBLE].

-I like that.

-Do you like dogs?

I had to leave my
dogs at the station.

Couldn't take the to camp.

I got a letter from
the old station master

saying they stayed there.

They wouldn't go home with
the folks I gave them to.

The old boy said he'd
keep them for me,

and let them live in the
baggage room when I got back.

I, uh, I miss those pups.

-Maybe someday we'll, we'll
walk with them in the rain.

-Would you mind if I had a
workshop in the basement?

-No.

I, I like the smell of
shavings, and the way

they crackle in the fireplace,
the smell of wood smoke.

And us sitting like this.

-Maybe it's evening.

I've just come home from work.

And we just had dinner.

We're sitting by that fireplace.

-I like nice hot baths on cold
nights before I go to bed.

-I'm a shower man myself.

-And I'm a tub girl.

We wouldn't fight over
anything, would we?

I've never proposed to another
boy in all my life, honest.

-It wouldn't be
fair to you, Eileen.

-I'm yours if you want me.

It's up to you.

And I'd love to get letters
addressed to Mrs. Dakota Smith.

-Suppose you were
the greatest star

on Broadway when I came back.

And I was only, well,
maybe a Sergeant.

-Then I'd have them
put Mrs. Sergeant

Smith up in lights,
five feet high.

We'll get some sleep.

I'll go to my rehearsal.

And I could be ready by five.

-It's dawn.

Where will I meet the bride?

-The same place we met--
Stage Door Canteen.

[PHONE RINGING]

-If that's a job for me,
don't ask any questions.

Just say yes.

-I will.

Hello?

Yes.

Oh, why that's ridiculous.

She didn't have a date
with a soldier last night.

She came home with us.

-Tell them I had a date with
the dearest, most adorable guy.

-Yes, she said she had a date
with the dears, most adorable--

what?

-You might as well
go on inside, girls.

I'll let you know when he comes.

-Hello, Eileen, what
are you doing out here?

-They took my card away,
so I can't go inside.

-Why?

-Oh, it's alright Ms. Royal.

I'm, I'm going to
be married today.

-You are full of surprises.

Congratulations.

-And mine, Eileen.

-Congratulations and good luck.

-Thank you.

-Have you ever broken
any rules, Selena?

-Gosh, you're right.

Shall we make an
exception in her case?

-Why don't we make
up a rule of our own?

The brides don't have
to wait on sidewalks.

-I'll get her.

Eileen.

-Here they come, girls.

Start circulating.

-She knows.

I told her.

I'll wait in the dressing room.

-Yes, ad I think it's wonderful.

The groom will probably
arrive with his entire company

to get her.

-Thanks, Ellen.

That's very sweet of you.

-OK, Ralph.

-I wonder many boys
will be in tonight.

-Oh, the usual number, I guess.

6,000 were here
over the weekend.

-Still keeps up.

Isn't it wonderful?

-Wonderful.

-Oh, first time at
the canteen, eh?

-Yes, ma'am.

-Well now would you rather
eat first or dance first?

-Eat first, I think, ma'am.

Virginia, show this boy
the ropes [INAUDIBLE].

This is Virginia Gray.

What's your name?

-Don Brandy.

Hello, Virginia.

-Hello, Don.

On second thought, I think
I'd like to dance first.

-Well, come on.

[MUSIC PLAYING]

-Thanks just the same.

But we won't dance
anymore for a while.

-I declare, just
look at the time.

It's getting awfully late.

-Oh, Eileen, you're
wanted in the foyer

with Ella Sue and Jeanne.

[MUSIC PLAYING]

-Oh, uh, I, uh, promised
to find you ladies.

Your [CLEARING THROAT],
your boys

sailed off to the
war this morning.

But they each gave
me something to say.

So I wrote it down
so I wouldn't forget.

The lad from the
South, miss, he, he

said he hoped he'd find you're
sitting in a little old hammock

under a magnolia tree
when he comes back.

The young lad from
California, miss, he, he

said to thank you for
making him feel like a man.

Dakota, miss, Dakota sends
you his, his dearest love.

He seemed a bit wrought
up, don't you know?

He said he hoped you'd
still be his misses

if-- when he comes back.

He said he'd love
you all his life.

-All his life.

He's got to live.

He's got to come back.

-He'll come back.

-Dear God, [INAUDIBLE] love
someone as much as I love him,

he's just about got to.

It isn't fair.

-You bet it isn't fair.

But it's happening.

-Oh, Ms. Hepner, I just heard--

-Yes, I know.

He sent you his
dearest love, and said

he hoped you'd be his
misses when he got back.

-I can't stand it.

I've got to get out of here.

-Wait a minute.

Why'd you volunteer
for this work?

-Because I wanted to help.

-Help what?

-I wanted to help my country.

-Why do you think your
country needs your help?

-We're In a war.

And we've got to win.

-Yes, that's right.

We're in a war.

And we've got to win.

And we're going to win.

And that's why the boy you
love is going overseas.

And isn't that maybe why you're
going to go back in there,

and get on your job?

Look, you're a good kid.

I don't wonder he loves you.

He knows what he's finding for.

He's fighting the kind of
world in which you and he can

live together in happiness,
and peace, and love.

Don't ever think about quitting.

Don't ever stop for a minute
working, fighting, praying,

until we've got that
kind of world for you,

for him, for your children,
for the whole human race, days

without end, amen.

NARRATOR: Tonight, every
night until victory,

thousands, millions of lads
like California, Tex, and Dakota

will find momentary escape from
the war, from homesickness.

Tonight, every night
until victory, this light

will be gleaming, offering them
laughter, music, friendship,

beauty, and something
to remember.

[MUSIC PLAYING]